How To Add Cross Dissolve In After Effects

After Effects User Guide
Beta releases
1. Beta Program Overview
2. After Furnishings Beta Abode
3. Features in Beta
  1. Backdrop panel (Beta)
Getting started
1. Get started with After Effects
2. What's new in Later Effects
3. Release Notes | After Effects
4. After Effects system requirements
5. Keyboard shortcuts in Later on Effects
6. Supported File formats | After Effects
7. Hardware recommendations
8. Later on Effects for Apple silicon
9. Planning and setup
10. Setup and installation
Workspaces
1. General user interface items
2. Become to know Subsequently Effects interface
3. Workflows
4. Workspaces, panels, and viewers
Projects and compositions
1. Projects
2. Composition basics
3. Precomposing, nesting, and pre-rendering
4. View detailed performance information with the Composition Profiler
5. Cinema 4D Composition Renderer
Importing footage
1. Preparing and importing withal images
2. Importing from After Effects and Adobe Premiere Pro
3. Importing and interpreting video and audio
4. Preparing and importing 3D image files
5. Importing and interpreting footage items
6. Working with footage items
7. Detect edit points using Scene Edit Detection
8. XMP metadata
Text and Graphics
1. Text
  1. Formatting characters and the Grapheme panel
  2. Text effects
  3. Creating and editing text layers
  4. Formatting paragraphs and the Paragraph panel
  5. Extruding text and shape layers
  6. Animating text
  7. Examples and resources for text animation
  8. Live Text Templates
2. Motion Graphics
  1. Work with Movement Graphics templates in After Furnishings
  2. Use expressions to create drop-down lists in Motility Graphics templates
  3. Work with Essential Properties to create Motion Graphics templates
  4. Replace images and videos in Move Graphics templates and Essential Backdrop
Drawing, Painting, and Paths
1. Overview of shape layers, paths, and vector graphics
2. Paint tools: Brush, Clone Stamp, and Eraser
3. How to taper shape strokes
4. Shape attributes, pigment operations, and path operations for shape layers
5. Use Offset Paths shape effect to modify shapes
6. Creating shapes
7. Create masks
8. Remove objects from your videos with the Content-Aware Fill up panel
9. Roto Castor and Refine Matte
Layers, Markers, and Camera
1. Selecting and arranging layers
2. Blending modes and layer styles
3. 3D layers
4. Layer properties
5. Creating layers
6. Managing layers
7. Layer markers and composition markers
8. Cameras, lights, and points of involvement
Blitheness, Keyframes, Motion Tracking, and Keying
1. Blitheness
  1. Blitheness basics
  2. Animative with Boob tools
  3. Managing and animating shape paths and masks
  4. Animative Sketch and Capture shapes using After Furnishings
  5. Assorted blitheness tools
  6. Work with Information-driven animation
2. Keyframe
  1. Keyframe interpolation
  2. Setting, selecting, and deleting keyframes
  3. Editing, moving, and copying keyframes
3. Motility tracking
  1. Tracking and stabilizing motility
  2. Face Tracking
  3. Mask Tracking
  4. Mask Reference
  5. Speed
  6. Time-stretching and time-remapping
  7. Timecode and fourth dimension display units
4. Keying
  1. Keying
  2. Keying furnishings
Transparency and Compositing
1. Compositing and transparency overview and resources
2. Alpha channels, masks, and mattes
Adjusting colour
1. Color basics
2. Utilise the Adobe Color Themes extension
3. Colour management
4. Color Correction effects
Furnishings and Blitheness Presets
1. Effects and animation presets overview
2. Effect list
3. Simulation effects
4. Stylize effects
5. Audio effects
6. Distort furnishings
7. Perspective effects
8. Channel effects
9. Generate effects
10. Transition effects
11. The Rolling Shutter Repair event
12. Blur and Sharpen effects
13. 3D Channel effects
14. Utility effects
15. Matte furnishings
16. Dissonance and Grain effects
17. Detail-preserving Upscale outcome
18. Obsolete effects
Expressions and Automation
1. Expression
  1. Expression nuts
  2. Agreement the expression language
  3. Using expression controls
  4. Syntax differences betwixt the JavaScript and Legacy ExtendScript expression engines
  5. Editing expressions
  6. Expression errors
  7. Using the Expressions editor
  8. Use expressions to edit and access text backdrop
  9. Expression language reference
  10. Expression examples
2. Automation
  1. Automation
  2. Scripts
Immersive video, VR, and 3D
1. Construct VR environments in After Furnishings
2. Utilise immersive video effects
3. Compositing tools for VR/360 videos
4. Tracking 3D camera movement
5. Work in 3D Design Space
6. 3D Transform Gizmos
7. Do more with 3D animation
8. Preview changes to 3D designs real time with the Real-Fourth dimension Engine
9. Add responsive design to your graphics
Views and Previews
1. Previewing
2. Video preview with Mercury Transmit
3. Modifying and using views
Rendering and Exporting
1. Basics of rendering and exporting
2. Export an After Effects project as an Adobe Premiere Pro project
3. Converting movies
4. Multi-frame rendering
5. Automated rendering and network rendering
6. Rendering and exporting still images and still-image sequences
7. Using the GoPro CineForm codec in After Furnishings
Working with other applications
1. Dynamic Link and Later Effects
2. Working with After Effects and other applications
3. Sync Settings in After Effects
4. Creative Cloud Libraries in After Effects
5. Plug-ins
6. Cinema 4D and Cineware
Collaboration: Frame.io, and Squad Projects
1. Collaboration in Premiere Pro and After Furnishings
2. Frame.io
  1. Install and actuate Frame.io
  2. Use Frame.io with Premiere Pro and Subsequently Furnishings
  3. Frequently asked questions
3. Squad Projects
  1. Get Started with Team Projects
  2. Create a Team Project
  3. Collaborate with Team Projects
Retention, storage, functioning
1. Memory and storage
2. Improve functioning
3. Preferences
4. GPU and GPU driver requirements for Subsequently Effects

Tertiary-party effects in this category included with Later on Effects:

CC Glass Wipe effect
CC Grid Wipe effect
CC Image Wipe effect
CC Jaws effect
CC Calorie-free Wipe effect
CC Line Sweep effect
CC Radial ScaleWipe effect
CC Scale Wipe effect
CC Twister event
CC WarpoMatic effect

Online resource about transitions and Transition effects

For an instance of how to use animation presets to create custom transitions, see this entry in Stu Maschwitz's ProLost blog. From this folio, you can download the Film Burn down blitheness preset, which adds film-similar flicker to layers and adds a film burn transition to the ends of the durations of layers.

Chris Zwar provides an example project on his website that uses the Deportation Map effect, the Turbulent Displace result, the Texturize effect, and a combination of Blur and Color Correction effects to create a transition in which an image appears as a watercolor image washed onto a rough piece of newspaper.

Dave Scotland provides a video tutorial on the CG Swot website that uses the Fractal Noise upshot to create a transition between withal images.

About Transition effects and the Transition Completion property

All Transition furnishings except the Iris Wipe effect have a Transition Completion property. When this belongings is 100%, the transition is consummate, and the underlying layers evidence through; the layer to which the effect is applied is entirely transparent. You typically animate this property from 0% to 100% over the time of the transition.

Block Dissolve outcome

The Block Dissolve effect makes a layer disappear in random blocks. The width and superlative of the blocks, in pixels, tin can be set independently. At Draft quality, the blocks are placed with pixel precision and take sharply defined edges; at Best quality, the blocks can be positioned with subpixel precision and have soft edges.

This upshot works with viii-bpc and sixteen-bpc color.

Bill of fare Wipe effect

This effect simulates a group of cards displaying a movie and then flipping to display some other picture. Menu Wipe provides control over the number of rows and columns of cards, the flip direction, and the transition direction (including the ability to utilize a gradient to decide flip lodge). Y'all tin can besides control randomness and jitter to brand the effect appear more realistic. By varying the rows and columns, you can also create venetian blind and Chinese lantern effects.

The Card Wipe issue shares many controls with the Bill of fare Dance result.

This effect works with 8-bpc color.

Card Wipe effect — Original (upper-left), and with outcome applied (lower-left and correct)

Basic controls

Transition Width

The width of the area that actively changes from the original to the new image.

Back Layer

The layer that appears in segments on the backs of the cards. You tin use any layer in the limerick; its Video switch tin can even be turned off. If the layer has effects or masks, precompose the layer first.

Rows & Columns

Specifies the interaction of the numbers of rows and columns. Independent makes both the Rows and Columns sliders active. Columns Follows Rows makes just the Rows slider active. If y'all cull this pick, the number of columns is always the same as the number of rows.

Rows

The number of rows, upward to g.

Columns

The number of columns, upwards to thou, unless Columns Follows Rows is selected.

Rows and columns are always evenly distributed across a layer, so unusually shaped rectangular tiles don't appear along the edges of a layer, unless you're using an alpha channel.

Bill of fare Scale

The size of the cards. A value smaller than 1 scales the cards down, revealing the underlying layer in the gaps. A value greater than 1 scales the cards up, creating a blocky mosaic as they overlap each other.

Flip Axis

The axis effectually which each card flips.

Flip Direction

The direction in which the cards flip around their axes.

Flip Order

The direction in which the transition occurs. You can as well use a gradient to ascertain a custom flip order: Cards flip offset where the gradient is black and terminal where the gradient is white.

Gradient Layer

The gradient layer to use for the Flip Gild. You tin utilise any layer in the composition.

Timing Randomness

Randomizes the timing of the transition. If this control is set to 0, the cards flip in order. The higher the value, the more than random the guild in which the cards flip.

Camera Organisation

Whether to utilise the upshot'southward Camera Position backdrop, the effect'southward Corner Pins backdrop, or the default composition camera and light positions to return 3D images of the cards.

Camera Position controls

X Rotation, Y Rotation, Z Rotation

Rotate the camera around the corresponding centrality. Use these controls to look at the cards from the meridian, side, back, or any other bending.

X, Y Position

Where the camera is positioned in 10,y space.

Z Position

Where the camera is positioned along the z centrality. Smaller numbers motility the photographic camera closer to the cards, and larger numbers motility the photographic camera away from the cards.

Focal Length

The distance from the photographic camera to the paradigm. Smaller numbers zoom in.

Transform Club

The society in which the photographic camera rotates effectually its three axes, and whether the camera rotates before or later on it'south positioned using the other Camera Position controls.

Corner Pins controls

Corner Pinning is an culling camera control system. Use it as an assist for compositing the result of the effect into a scene on a flat surface that is tilted with respect to the frame.

Upper Left Corner, Upper Right Corner, Lower Left Corner, Lower Correct Corner

Where to attach each of the corners of the layer.

Motorcar Focal Length

Controls the perspective of the upshot during the animation. If Auto Focal Length is unselected, the focal length you specify is used to find a camera position and orientation that place the corners of the layer at the corner pins, if possible. If non, the layer is replaced by its outline, drawn between the pins. If Auto Focal Length is selected, the focal length required to match the corner points is used, if possible. If non, it interpolates the correct value from nearby frames.

Focal Length

Overrides the other settings if the results you've obtained aren't what you need. If you ready the Focal Length to something that doesn't correspond to what the focal length would be if the pins were actually in that configuration, the image may await unusual (strangely sheared, for example). Simply if you know the focal length that you are trying to match, this control is the easiest style to get correct results.

Jitter controls

Adding jitter (Position Jitter and Rotation Jitter) makes this transition more realistic. Jitter works on the cards before, during, and afterward the transition occurs. If you want the jitter to happen only during the transition, get-go with the Jitter Amount at 0, animate it upward to the desired corporeality during the transition, and so animate it back down to 0 at the completion of the transition.

Position Jitter

Specifies the amount and speed of jitter at the x, y, and z axes. X, Y, and Z Jitter Amount specify the corporeality of inapplicable movement. The Ten, Y, and Z Jitter Speed values specify the speed of jitter for each Jitter Amount option.

Rotation Jitter

Specifies the amount and speed of rotation jitter around the x, y, and z axes. X, Y, and Z Rotation Jitter Amount specify the amount of rotational jitter along an axis. A value of 90° makes it possible for a card to rotate upwards to 90° in either management. The X, Y, and Z Rot Jitter Speed values specify the speed of rotational jitter.

Gradient Wipe result

The Gradient Wipe effect causes pixels in the layer to go transparent based on the luminance values of respective pixels in some other layer, called the gradient layer. Dark pixels in the slope layer cause the corresponding pixels to get transparent at a lower Transition Completion value. For instance, a simple grayscale slope layer that goes from blackness on the left to white on the right causes the underlying layer to be revealed from left to right every bit Transition Completion increases.

This result works with viii-bpc and 16-bpc color.

The gradient layer tin can be a still image or a moving image. The slope layer must be in the same limerick equally the layer to which you apply Gradient Wipe.

You can create gradient layers in many ways, such as using the Ramp effect or creating them in Photoshop or Illustrator.

Transition Softness

The caste to which the transition is gradual for each pixel. If this value is 0%, pixels in the layer to which the effect is applied are either completely opaque or completely transparent. If this value is greater than 0%, pixels are semitransparent at the intermediate stages of the transition.

Gradient Placement

How the pixels of the slope layer are mapped to the pixels of the layer to which the effect is practical:

Tile Gradient

Uses multiple tiled copies of the gradient layer.

Center Gradient

Uses a unmarried instance of the slope layer in the heart of the layer.

Stretch Slope To Fit

Resizes the slope layer horizontally and vertically to fit the unabridged area of the layer.

Capsize Gradient

Inverts the influence of the slope layer; lighter pixels in the gradient layer create transparency at a lower Transition Completion value than do darker pixels.

Iris Wipe issue

The Iris Wipe consequence creates a radial transition that reveals an underlying layer. Specify the number of points used to create the iris using a range of vi to 32 points, and specify whether an inner radius is used. If Apply Inner Radius is selected, you can specify values for both Inner Radius and Outer Radius; the iris isn't visible if Outer Radius, Inner Radius, or both are set to 0. The iris is roundest if both Outer Radius and Inner Radius are set to the same value.

The Iris Wipe result is the only Transition effect that doesn't have a Transition Completion holding. To breathing the Iris Wipe effect to betrayal the underlying layers, animate the Radius properties.

This effect works with eight-bpc and xvi-bpc color. In After Effects CS6 or later, this issue works in 32-bit color.

Linear Wipe consequence

The Linear Wipe effect performs a unproblematic linear wipe of a layer in a specified direction. At Draft quality, the edge of the wipe isn't anti-aliased; at Best quality, the edge of the wipe is anti-aliased and the plumage is polish.

Wipe Angle

The direction that the wipe travels. For example, at xc° the wipe travels from left to right.

This effect works with eight-bpc and xvi-bpc colour. In Afterward Furnishings CS6 or later on, this effect works in 32-bit color.

Linear Wipe effect — Original (upper-left), and with effect applied (lower-left and correct)

In a video tutorial on the Artbeats website, Steve Holmes demonstrates the use of not-animated instances of the Linear Wipe result to crop a layer from various angles with softly feathered edges.

Radial Wipe effect

The Radial Wipe issue reveals an underlying layer using a wipe that circles effectually a specified point. At All-time quality, the edges of the wipe are anti-aliased.

Start Angle

The angle at which the transition starts. With a outset angle of 0°, the transition starts at the elevation.

Wipe

Specifies whether the transition moves clockwise or counterclockwise, or alternates between the ii.

This result works with 8-bpc and 16-bpc color. In After Effects CS6 or later, this effect works in 32-chip color.

Radial Wipe effect — Original (upper-left), and with consequence applied (lower-left and right)

Venetian Blinds consequence

The Venetian Blinds effect reveals an underlying layer using strips of specified management and width. At Draft quality, the strips are animated with pixel precision; at All-time quality, the strips are blithe with subpixel precision.

This outcome works with eight-bpc and 16-bpc colour.