use After Effects to slow down the action Canon T2i 60 fps Slow Motion

use After Effects to slow down the action Canon T2i 60 fps Slow Motion

To get the "super slow motion", after I filmed at 60fps, I through it into the program "After Effects". I used an effect that comes with the program called "Time Warp". This allowed me to make the 60fps, to 1000fps. The way this works is the computer processes/adds frames in between the frames that are already in existence. It took several days for the computer to process the clips into the super slow motion that appears as well, so it does take a lot out of the computer, as far as processing goes. Another similar program that does something similar to this slow motion effect, is a program called "Twixtor". It's another great program that is very similar, however you have to buy it as a separate plugin, and it is a little expensive, but if you do a lot of slow motion, it's totally worth it :)
The concept and the acting was cheesy and silly, but creating this video was 100% pure fun.
I decided to shoot the whole sequence in a 720P 60 fps mode, with the intent of slowing some parts down for true slow motion in the 24 fps edit line. I was a little concerned about the lack of sharpness compared to 1080p, but GH2 holds up very well — much better than T2i.
I inserted "Bill + Kathy" (dropzone and the airplane owners) at 00:13 in After Effects, for a little gag the locals might appreciate. Motion tracking with Mocha worked well, as usual. Photoshopped decal slipped a little during tracking, but you really had to look frame by frame.
I forgot about the 180 shuttle rule at 00:46, shooting it in 1/50 by accident instead of 1/125, resulting in undesirable motion artifact for some indoor shots. Freefall footage, however, shot in 1/200 shuttle speed, looked pretty good in slow motion, with the footage conformed from 60 to 24 fps.
For color grading, Magic Bullet Mojo was used for ground footage. It turned out a little dark, so lightened it a little using Colorista. For skydiving footage, Colorista was used, bringing up the shadows and giving a slight greenish tint. I added a little yellow to the midrange and a bit of red to lightend hilights.
As I use the GH2 more, I really could use for shallow DOF. I need to get a faster lens. For technical aspect of achieving slow motion

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nesting compositions after effects

nesting compositions after effects

Each composition has its own settings for resolution, duration, etc. These are independent of the main project and other compositions. You define these settings when you create a new composition, and you can also change them at any time by selecting Composition > Composition Settings from the main menu (shortcut Crtl/Cmd+K).

For most compositions one of the presets will be suitable but you can customize settings as you like.

Note: See composition duration for a couple of tips on setting the duration.

The Advanced tab includes a few advanced options as pictured below. In most cases you can ignore these.

It is usually best to make the composition settings the same as the footage, e.g. Don't change the frame rate unless you really need to. Fortunately, After Effects provides an easy way to create new compositions from footage using the correct settings. Simply drag the footage from the project panel to the Create New Composition icon as pictured below. Bingo — a new composition with exactly the same settings as the footage.

Note: If you click the Create New Composition icon instead of dragging a file onto it, a new empty composition is created.
The next step of the workflow is to create a composition, in which you will create all animation, layering, and effects. An After Effects composition has both spatial dimensions and a temporal dimension, called a duration, or length in time.

Compositions include one or more layers, arranged in the Composition panel and in the Timeline panel. Any item that you add to a composition—such as a still image, moving-image file, audio file, light layers, camera layers, or even another composition—becomes a new layer. Simple projects may include only one composition, whereas elaborate projects may include several compositions to organize large amounts of footage or intricate effects sequences.

To create a composition, you'll drag the footage items into the Timeline panel, and After Effects will create layers for them. Follow these steps:

In the Project panel, Ctrl-click (Windows) or Command-click (Mac OS) to select the bgwtext composition as well as the DJ, gc_adobe_dj, kaleidoscope_waveforms, and pulsating_radial_waves footage items.
Drag the selected footage items into the Timeline panel. The New Composition from Selection dialog box appears

After Effects bases the size of the new composition on the selected footage. In this example, all of the footage is sized identically, so you can accept the default settings.

Click OK to create the new composition. The footage items appear as layers in the Timeline panel, and After Effects displays the composition, named bgwtext 2, in the Composition panel.
Click in the Timeline panel to make it active, and then press F2 to deselect all layers.
When you add a footage item to a composition, the footage becomes the source for a new layer. A composition can have any number of layers, and you also can include a composition as a layer in another composition, which is called nesting.

About Layers

Layers are the components you use to build a composition. Any item that you add to a composition—such as a still image, moving-image file, audio file, light layers, camera layers, or even another composition—becomes a new layer. Without layers, a composition consists of only an empty frame.

Using layers, you can work with specific footage items in a composition without affecting any other footage. For example, you can move, rotate, and draw masks for one layer without disturbing any other layers in the composition, or you can use the same footage in more than one layer and use it differently in each instance. In general, the layer order in the Timeline panel corresponds to the stacking order in the Composition panel.

This composition contains five footage items and therefore five layers in the Timeline panel. Depending on the order in which the elements were selected when you imported them, your layer stack may differ from the one shown in this example. The layers need to be in a specific order as you add effects and animations, however, so you'll rearrange them now.

Drag bgwtext to the bottom of the layer stack (if it isn't already there). Drag the other four layers 

NOTE

You may need to click a blank area of the Timeline panel or press F2 to deselect layers before you can select an individual layer.

From this point forward in the workflow, you should be thinking about layers, not footage items. You'll change the column title accordingly.

Click the Source Name column title in the Timeline panel to change it to Layer Name, as shown in Figure 6.
Choose File > Save to save your project so far.

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3D Camera Tracker in After Effects CS6

3D Camera Tracker in After Effects CS6

Adjustable Mask Edge Feathering
The new Mask Feather Tool (located in the Pen Tool drop-down palette) in After Effects CS6 allows you to select specific points along the edge of your mask to adjust the amount and direction of the feathering you need. This eliminates the necessity to build multiple masks that have to be tracked or modified over time, and instead you can concentrate on one adjustable edge mask around objects you intend to roto. You can select existing Vertices along the path with the Mask Feather Tool and add an adjustment handle between the selected point to create a soft transition, or select several points to confine your adjustments to specific regions. And of course all of the Mask Feather Tool points are keyframable along the Timeline.
Adobe has addressed many user requests in the release of After Effects CS6 and provided several powerful features to help motion graphics designers and filmmakers produce better content without needing to rely on a lot of third-party plug-ins or apps. The totally revamped 3D environment now includes bendable footage and comps and extrusions for text and vector shapes - all integrated into an interactive raytracing environment where the various 3D layers truly interact with each other. Adjustable mask feathering, Rolling Shutter repair for DSLR footage and an amazing 3D Camera tracker have also been added to the mix. Built on top of major performance enhancements and caching features, makes After Effects CS6 a must-have update.
Rolling Shutter Repair
One of the most problematic issues with DSLR footage is the rolling shutter or "jello effect" caused by rapid panning against vertical lines in your scene - such as the edges of buildings, windows, busses, poles, trees, etc. Adobe has included the Rolling Shutter Repair effect to After Effects CS6 (also included in Premiere Pro CS6 as well). While the effect is applied directly to the footage layer, it can reduce the effect greatly but may require some additional tweaking and keyframing to control the amount of correction on certain footage.
Learn how to use the new 3D Camera Tracker by creating a 3D project that adds animated text to a movie. See how the tracker works in the background to analyze a scene and then automates the addition of an animated 3D camera with text. See how to adjust, manipulate and add animators and other effects to the text for amazing results.
Place and track 3D elements on 2D footage for precise visual effects and motion graphics. The 3D camera tracker automatically analyzes 2D footage in the background and places elements on that footage, with complete control over depth of field, shadows, and reflections.

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after effects make Slow-Motion Movie

after effects  make Slow-Motion Movie

Speeding up or slowing down an entire layer by the same factor throughout is known as time-stretching. When you time-stretch a layer, the audio and the original frames in the footage (and all keyframes that belong to the layer) are redistributed along the new duration. Use this command only when you want the layer and all layer keyframes to change to the new duration.
If you time-stretch a layer so that the resulting frame rate is very different from the original frame rate, the quality of motion within the layer may suffer. For best results when time-remapping a layer, use the Timewarp effect.

Time-stretch a layer from a specific time
In the Timeline or Composition panel, select the layer.
Choose Layer > Time > Time Stretch.
Type a new duration for the layer, or type a Stretch Factor.
To specify the point in time from which the layer will be time-stretched, click one of the Hold In Place options, and then click OK.
Layer In-point Holds the starting time of the layer at its current value and time-stretches the layer by moving its Out point.
Current Frame Holds the layer at the position of the current-time indicator (also the frame displayed in the Composition panel), and time-stretches the layer by moving the In and Out points.
Layer Out-point Holds the ending time of the layer at its current value and time-stretches the layer by moving its In point.
Time-stretch a layer to a specific time
In the Timeline panel, move the current-time indicator to the frame where you want the layer to begin or end.
Display the In and Out columns by choosing Columns > In and Columns > Out from the Timeline panel menu.
Do one of the following:
To stretch the In point to the current time, press Ctrl (Windows) or Command (Mac OS) as you click the In time for the layer in the In column.

To stretch the Out point to the current time, press Ctrl (Windows) or Command (Mac OS) as you click the Out time for the layer in the Out column.

Time-stretch a layer but not its keyframes
When you time-stretch a layer, the positions of its keyframes stretch with it by default. You can circumvent this behavior by cutting and pasting keyframes.

Make a note of the time at which the first keyframe appears. (Placing a composition marker is a good way to mark the time.)
In the Timeline panel, click the name of one or more layer properties containing the keyframes you want to keep at the same times.
Choose Edit > Cut.
Move or stretch the layer to its new In and Out points.
Move the current-time indicator to the time at which the first keyframe appeared before you cut the keyframes.
Choose Edit > Paste.
This seems to be the most common question with After Effects so here's a tutorial that will show you how to export/render in After Effects.

1. Generally when working in After Effects you'll constantly be setting the work area start/end points (B key / N key) so you can preview only the part of your composition that you're working on. Before you add your composition to the render queue you'll need to reset this (assuming you want to render the whole composition).
2. Place the playhead at the start of your composition. You can drag, but pressing the home key is the easier and more reliable method.
3. Now that the playhead is in the right location press B to set the work area start location. Again, you could drag the bar below the playhead, but using the shortcut keys is easier, more efficient, and more reliable.
4. Now drag the playhead to the end of the composition or press the end key.
5. Press the N key and set your work area end location. Then add the composition to the render queue.
6. The Render Queue tab will appear in the timeline area. I'll be leaving the name of my file and output location alone, but if you want to give your movie a filename to be saved as you would click on the "Comp1.mov" text and it would bring up the "Output Movie To" menu. The menu will also allow you to change the location of where your movie will be saved.

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precomposition, nesting or pre-rendering in after effects

If you never heard of the terms precomposition, nesting or pre-rendering, then it's about time you did. These seemingly trivial tidbits will save you a lot of headaches and time in the long run, and they'll keep your project area more organized which, in turn, will continue to save you more time and headaches. It's a cycle, really.
Precomposition
Precomps will help keep your work area more organized and allow you to do Pre-Renders much easier. After you have created a bunch of layers, select them and then do one of the following to create a precomposition: On a Mac press Control + Command + C, on a PC press Control + Shift + C or click and drag the layers to the Create a New Composition icon
Nesting
Nesting is the same thing as precomping, only backwards. Instead of creating the layers and then creating the composition, you are taking the compositions and putting them into a new composition. It really is the same thing. To Nest your comps, just drag and drop all your compositions into a new composition.
Pre-Render
Doing this will help save you a lot of time when previewing and rendering your project. As you can imagine, working with so many layers and effects can be hard on your system when trying to render them all at one time. What pre-render does is it simply renders the composition you choose a head of time so the final render will take less time and everything will move that much faster. To do a Pre-Render, select the composition you would like to render and then in the menu select Composition > Pre-Render…

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