Composition Search For Mac

Oct 15, 2018 - Learn about After Effects compositions and work with settings to organize. Panel, right-click (Windows) or Control-click (Mac OS) in the Composition panel. When working with a complex project, you may find it easiest to. Result Windows Mac OS Select all Ctrl+A Command+A Deselect all F2 or Ctrl+Shift+A F2 or Command+Shift+A Rename selected layer, composition, folder, effect, group, or mask. Matthew Aucoin is a composer expanding the potential of vocal and orchestral music to convey emotional, dramatic, and literary meaning. A talented pianist, writer, and conductor in addition to a composer, Aucoin melds sound and language to create musical works that vividly communicate the nuances. Apple fruit contains good quantities of vitamin-C and β-carotene. Vitamin C is a powerful natural antioxidant. Consumption of foods rich in vitamin-C helps the body develop resistance against infectious agents and scavenge harmful, pro-inflammatory free radicals from the body.

1. Composition Search For Mac Pro

A composition is the framework for a movie. Each composition has its own timeline. A typical composition includes multiple layers that represent components such as video and audio footage items, animated text and vector graphics, still images, and lights. You add a footage item to a composition by creating a layer for which the footage item is the source. You then arrange layers within a composition in space and time, and composite using transparency features to determine which parts of underlying layers show through the layers stacked on top of them. (See and.) A composition in After Effects is similar to a movie clip in Flash Professional or a sequence in Premiere Pro.

You render a composition to create the frames of a final output movie, which is encoded and exported to any number of formats. (See.) Simple projects may include only one composition; complex projects may include hundreds of compositions to organize large amounts of footage or many effects. In some places in the After Effects user interface, composition is abbreviated as comp. Each composition has an entry in the Project panel. Double-click a composition entry in the Project panel to open the composition in its own Timeline panel.

To select a composition in the Project panel, right-click (Windows) or Control-click (Mac OS) in the Composition panel or Timeline panel for the composition and choose Reveal Composition In Project from the context menu. Use the Composition panel to preview a composition and modify its contents manually. The Composition panel contains the composition frame and a pasteboard area outside the frame that you can use to move layers into and out of the composition frame. The offstage extents of layers—the portions not in the composition frame—are shown as rectangular outlines.

Only the area inside the composition frame is rendered for previews and final output. The composition frame in the Composition panel in After Effects is similar to the Stage in Flash Professional. When working with a complex project, you may find it easiest to organize the project by nesting compositions—putting one or more compositions into another composition. You can create a composition from any number of layers by precomposing them. After modifying some layers of your composition, you can precompose those layers and then pre-render the precomposition, replacing it with a rendered movie. (See.) You can navigate within a hierarchy of nested compositions using the Composition Navigator and Composition Mini-Flowchart.

(See.) Use the Flowchart panel to see the structure of a complex composition or network of compositions. The current time for a composition is indicated by the current-time indicator (CTI), the vertical red line in the time graph. The current time for a composition also appears in the current time display in the upper-left corner of the Timeline panel. For more information on moving the current-time indicator, see.

The left side of the Timeline panel consists of columns of controls for layers. The right side of the Timeline panel—the time graph—contains a time ruler, markers, keyframes, expressions, duration bars for layers (in layer bar mode), and the Graph Editor (in Graph Editor mode). To open the Composition Settings dialog box to change composition settings, do one of the following:. Select a composition in the Project panel or activate the Timeline or Composition panel for a composition, and choose Composition Composition Settings, or press Ctrl+K (Windows) or Command+K (Mac OS).

Right-click (Windows) or Control-click (Mac OS) a composition in the Project panel or Composition panel (not on a layer), and choose Composition Settings from the context menu. To save a custom composition settings preset, set Width, Height, Pixel Aspect Ratio, and Frame Rate values in the Composition Settings dialog box, and then click the Save button. To delete a composition settings preset, choose it from the Preset menu in the Composition Settings dialog box, and click the Delete button.

To restore default composition settings presets, Alt-click (Windows) or Option-click (Mac OS) the Delete button or the Save button in the Composition Settings dialog box. Anchor Click an arrow button to anchor layers to a corner or edge of the composition as it is resized. Preserve resolution when nested and Preserve frame rate when nested or in render queue For a composition to retain its own resolution or frame rate, and not inherit those settings from the containing composition. For example, if you have deliberately used a low frame rate in a composition to create a jerky, hand-animated result, you must preserve the frame rate for that composition when it is nested.

Composition Search For Mac Pro

Similarly, the results of rotoscoping may look wrong when converted to a different frame rate or resolution. Use this setting instead of the Posterize Time effect, which is less efficient. Motion Blur settings. Shutter angle: The shutter angle is measured in degrees, simulating the exposure allowed by a rotating shutter. The shutter angle uses the footage frame rate to determine the simulated exposure, which affects the amount of motion blur. For example, entering 90° (25% of 360°) for 24-fps footage creates an effective exposure of 1/96 of a second (25% of 1/24 of a second).

Entering 1° applies almost no motion blur, and entering 720° applies a large amount of blur. Shutter phase: The shutter phase is also measured in degrees. It defines an offset that determines when the shutter opens relative to the beginning of a frame. Adjusting this value can help if an object with motion blur applied appears to lag behind the position of the object without motion blur applied. Samples per frame: The minimum number of samples.

This minimum is the number of samples used for frames for which After Effects is not able to determine an adaptive sampling rate based on layer motion. This sample rate is used for 3D layers and shape layers. Adaptive sample limit: The maximum number of samples. For information on specific Advanced composition settings not listed here, see the related sections. You can use the options in the 3D renderer tab to choose the right 3D renderer for your composition. You can choose from the following renderers in the Renderer menu:.

Classic 3D. CINEMA 4D. Ray-traced 3D The 3D functionality of the CINEMA 4D Composition Renderer and the Ray-traced 3D renderer is nearly identical with the extrusion of 3D text and shape layers and bending of other 3D layers (solids, footage, and so on) into curved planes. However, the rendered results can be different because they generate results using different renderers and support different sets of features.

For example, there are differences in the 3D layer material options and other layer behaviors. The CINEMA 4D Composition Renderer renders 3D layers including extruded text and shapes and curved 2D planes to make the process of animating 3D text and logos from scratch easier.

The performance of the CINEMA 4D renderer is much faster than the CPU-only performance of the Ray-traced 3D renderer. Quality: The Quality level that you set on the slider affects the parameters that determine how the CINEMA 4D Composition Renderer draws the 3D layers. You can see the resultant renderer parameters in the Options, Anti-aliasing, and Reflectance boxes. The single Quality setting makes it easy for you to choose a balanced combination of rendering speed and acceptable 3D rendering quality without understanding and modifying the various rendering quality parameters. The following parameters are modified when you adjust the Quality slider:. Ray Threshold: This value helps to optimize render time. Ray Depth: The Ray Depth determines how many transparent objects (or areas made invisible using the alpha channel) can be penetrated by the renderer.

Reflection Depth: When a ray is sent into the scene, it can be reflected by reflective surfaces. The higher the Reflection Depth, the further rays are followed into the scene and the results rendered. Shadow Depth: Shadow Depth behaves analogous to the Reflection Depth. The Shadow Depth setting defines the shadow depth with which visible shadow rays are calculated. Anti-Aliasing: Geometry is the default anti-aliasing setting that smooths all object edges (automatically with 16x16 sub-pixels).

Reflectance: Layer sampling is the default Reflectance setting that defines the quality of matte reflections. Click the Options button to launch the Ray-traced 3D Renderer Options dialog box.

You can also Ctrl-click (Windows) or Command-click (Mac OS) the Current Renderer Indicator button in the upper-right of the Composition panel to launch the dialog box. Here you can choose:. Ray-tracing quality: Click the Ray-tracing quality setting to change it according to your workflow. Higher values for ray-tracing quality decrease noise but greatly increase render time.

Ray-tracing quality controls the number of rays fired per pixel (for example, a value of 4 fires 16 or 4x4 rays, and 8 fires 64 rays). A larger number produces a more accurate pixel at the expense of computation time. A value of 1 provides better performance, but there won't be any reflection blur (for example, it is always sharp), soft shadow, depth of field, or motion blur. Increasing the Ray-tracing Quality value does not increase the sharpness. Instead it decreases the noise inherent in point sampling.

Use the lowest value that produces an acceptable amount of noise or no noise. Anti-aliasing Filter: Controls the method of averaging the fired rays for a pixel.

None fires all rays within the bounds of a pixel, whereas the others spread the grid of fired rays partially across adjacent pixels to produce a better average. Box, Tent, and Cubic (which is not bicubic) are listed in the order of better quality. None. Box. Tent. Cubic The anti-aliasing filter controls the amount of blurriness.

None gives the sharpest result but the edges of the projection catcher may look aliased, with Box blur, Triangle, and Cubic giving blurrier results.

Welcome to the USDA Food Composition Databases This Web site allows you to search the following USDA Food Composition Databases from one location:. USDA National Nutrient Database for Standard Reference Legacy Release, April 2018. USDA Branded Food Products Database You can search the database by food item, food group, or manufacturer's name to find the nutrient information for your food items. You can also generate lists of foods sorted by nutrient content.

In addition, data from the following Special Interest Databases will be shown along with the corresponding food items from the USDA National Nutrient Database for Standard Reference:. Flavonoids, Release 3.3, March 2018). Isoflavones, Release 2.1, November 2015. Proanthocyanidins, Release 2.1, March 2018 The can also be accessed from the same search page.

For more information and documentation on the current version of this database, select from 'Documentation and Help' on the main navigation bar above. The Databases used in this search program are maintained by the,. The web site was jointly developed by the USDA Nutrient Data Laboratory, and the Food and Nutrition Information Center and Information Systems Division of the National Agricultural Library.