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                <h1>
                    Place a layer in time
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                <div><div class="section"><p>The
layer duration bar represents the layer duration visually. The In,
Out, and Duration columns in the Timeline panel represent the layer
duration numerically.</p>
<div class="note"><span class="notetitle">Note:  </span> To choose which columns are visible
in the Timeline panel, choose Columns from the panel menu, or right-click
(Windows) or Control-click (Mac&#160;OS) a column heading.</div>
<p>These
procedures move the entire layer in time.</p>
</div>
<ul><li class="stepexpand"><span>To set the In point or Out point numerically,
click the number in the In or Out column for the layer in the Timeline
panel.</span></li>
<li class="stepexpand"><span>To move the In point or Out point to the current time,
Alt-click (Windows) or Option-click (Mac&#160;OS) the number
in the In or Out column for the layer in the Timeline panel.</span></li>
<li class="stepexpand"><span>To move the In points of selected layers to the beginning
of the composition, press Alt+Home (Windows) or Option+Home (Mac&#160;OS).</span></li>
<li class="stepexpand"><span>To move the Out points of selected layers to the end
of the composition, press Alt+End (Windows) or Option+End (Mac&#160;OS).</span></li>
<li class="stepexpand"><span>To move selected layers one frame later, press Alt+Page
Down (Windows) or Option+Page Down (Mac&#160;OS). To move selected
layers 10 frames later, press Alt+Shift+Page Down (Windows) or Option+Shift+Page
Down (Mac&#160;OS).</span></li>
<li class="stepexpand"><span>To move selected layers one frame earlier, press Alt+Page
Up (Windows) or Option+Page Up (Mac&#160;OS). To move selected
layers 10 frames earlier, press Alt+Shift+Page Up (Windows) or Option+Shift+Page
Up (Mac&#160;OS).</span></li>
<li class="stepexpand"><span>To move the entire layer in time by dragging, drag the
layer duration bar to the left or right. To snap the layer duration
bar to significant points in time (such as markers, or the start
or end of the composition), Shift-drag the layer duration bar.</span> <div class="note"><span class="notetitle">Note:  </span>When you drag a layer in the Timeline panel, the Info
panel displays the name, duration, change in time, and In and Out
points for the layer. </div>
<div class="fignone"><img alt="" id="ma_24" src="images/ma_24.png" /><div class="figdesc">Before and after dragging the duration bar</div><br /></div></li>
</ul>
<div class="section"><p>Jeff Almasol provides a script on his website with which
you can move selected layers as a group, aligning the group to a
specific time in the composition: <a href="http://www.adobe.com/go/learn_ae_jeffshifter" target="_blank">www.adobe.com/go/learn_ae_jeffshifter</a>.</p>
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                    <div><p>&#160;<a href="WS3878526689cb91655866c1103906c6dea-7e60a.html">Layer switches and columns in the Timeline panel</a></p><p>&#160;<a href="WS3878526689cb91655866c1103906c6dea-7e93a.html">Select layers</a></p><p>&#160;<a href="WS3391C8C2-3332-41c0-9A3A-A8A864E43E84.html">Shortcuts: layers</a></p><p>&#160;<a href="WS3878526689cb91655866c1103906c6dea-7e70a.html">Trim, extend, or slip-edit a layer</a></p><p>&#160;<a href="WS3878526689cb91655866c1103906c6dea-7f01a.html">Timeline panel</a></p>
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</html>                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                  P                                                    n
                                                                                                                                                                             6
I    f : \ g a m e s \ h a l f   l i f e   2 \ h l 2 \ s o u n d \ a m b i e n t \ a r e a s \ r o o m t o n e \                                                                                                                                                                                                                                                                                                                                                                                                                                    Q     Q           EKo        P                                                    ƚ                                                                                                                                                                             6
I    f : \ g a m e s \ h a l f   l i f e   2 \ h l 2 \ s o u n d \ a m b i e n t \ a r e a s \ s e w e r \                                                                                                                                                                                                                                                                                                                                                                                                                                         (Q      Q           !<H        P                                                                                                                                                                                                                                 6
I    f : \ g a m e s \ h a l f   l i f e   2 \ h l 2 \ s o u n d \ a m b i e n t \ a r e a s \ s k y _ s c r a p e r \                                                                       <?xml version="1.0" encoding="UTF-8"?>
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                <h1>
                    Move layers in space
                </h1>
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                <br clear="both" /><div id="minitoc"><div class="t"><div class="b"><div class="l"><div class="r"><div class="bl"><div class="br"><div class="tl"><div class="tr"><div><h3>Contents [<a href="#" onclick="return toggleMiniToc('minitoc-links', this);" class="hideLink">Hide</a>]</h3><ul id="minitoc-links"><li><p><a href="#WSB1D87ECF-2BD8-4187-BBF4-ACC32BBDCE06a"><h4 class="topictitle4">Move layers by dragging in the Composition panel</h4>
</a></p></li><li><p><a href="#WS35B15380-4B6B-4383-8048-889F3A5EA5F4a"><h4 class="topictitle4">Move layers by directly modifying the Position property</h4>
</a></p></li><li><p><a href="#WS48D53859-0251-4d2a-B928-1E2BD8B40929a"><h4 class="topictitle4">Move layers with arrow keys</h4>
</a></p></li></ul></div></div><br clear="both" /></div></div></div></div></div></div></div></div><br clear="both" /><div><div class="section"><p>When you move a layer in space, you modify
its Position property.</p>
<p>You can separate the components of
a Position property into individual properties—X Position, Y Position,
and (for 3D layers) Z Position—so that you can modify or animate
each independently. (See <a href="WSB9C92251-D2B9-49de-8B7E-EE981AD17522.html">Separate dimensions of Position to animate components individually</a>.)</p>
<p>Jeff
Almasol provides a script on his website that places a new null
layer on the line between the anchor points of two selected layers;
you use a slider control on the null layer to reposition the null
layer along this line: <a href="http://www.adobe.com/go/learn_ae_jeffnewparallaxnull" target="_blank">www.adobe.com/go/learn_ae_jeffnewparallaxnull</a>.</p>
<div class="tip"><img src="images/tip_help.png" />To move selected layers so that their anchor points
are at the center in the current view, choose Layer &gt; Transform
&gt; Center In View or press Ctrl+Home (Windows) or Command+Home
(Mac OS).</div></div>
</div>
<div id="WSB1D87ECF-2BD8-4187-BBF4-ACC32BBDCE06a" class="nochunk"><a name="WSB1D87ECF-2BD8-4187-BBF4-ACC32BBDCE06a"></a><h3 class="topictitle3">Move layers by dragging in the Composition panel</h3><div><div class="section"><div class="tip"><img src="images/tip_help.png" />To snap the edges of a layer
to grids or guides as you drag, choose View&#160;&gt; Snap To
Grid or View&#160;&gt; Snap To Guides.</div></div>
<div class="p"><span><img src="images/dingbat.png" />&#160;Select one or more layers, and then
drag a selected layer using the Selection tool <img src="images/P_Select_Lg_N.png" />.</span> <p>When you move a layer by dragging it in the Composition
panel, the Info panel shows the change in the Position property
as you drag.</p>
</div>
</div></div>
<div id="WS35B15380-4B6B-4383-8048-889F3A5EA5F4a" class="nochunk"><a name="WS35B15380-4B6B-4383-8048-889F3A5EA5F4a"></a><h3 class="topictitle3">Move layers by directly modifying the Position property</h3><div><ol><li><span>Select one or more layers.</span></li>
<li><span>Press P to show the Position property in the Timeline
panel.</span></li>
<li><span>Modify the Position property in the Timeline panel.</span></li>
</ol>
</div></div>
<div id="WS48D53859-0251-4d2a-B928-1E2BD8B40929a" class="nochunk"><a name="WS48D53859-0251-4d2a-B928-1E2BD8B40929a"></a><h3 class="topictitle3">Move layers with arrow keys</h3><div><ol><li><span>Select one or more layers.</span></li>
<li><span>To move selected layers one pixel left, right, up, or
down, press an arrow key. To move 10 pixels, hold Shift as you press
the arrow key.</span></li>
</ol>
</div></div>

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                    <div><p>&#160;<a href="WSA964B7EB-1AD1-489a-AEC1-2E8E92172D35.html">Safe zones, grids, guides, and rulers</a></p><p>&#160;<a href="WS3878526689cb91655866c1103906c6dea-7dada.html">Layer anchor points</a></p><p>&#160;<a href="WS3878526689cb91655866c1103906c6dea-7e93a.html">Select layers</a></p><p>&#160;<a href="WS3878526689cb91655866c1103906c6dea-7dd2a.html">Layer properties</a></p><p>&#160;<a href="WS3878526689cb91655866c1103906c6dea-7c30a.html">Effects and animation presets overview</a></p><p>&#160;<a href="WS3391C8C2-3332-41c0-9A3A-A8A864E43E84.html">Shortcuts: layers</a></p><p>&#160;<a href="WSDFCB87B3-1465-4273-B025-1359940C951D.html">Shortcuts: modifying layer properties</a></p>
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I    f : \ g a m e s \ h a l f   l i f e   2 \ h l 2 \ s o u n d \ a m b i e n t \ a r e a s \ c i t y \                                                                                                                                                                                                                                                                                                                                                                                                                                           P     P           &v3        P                                                    `                                                                                                                                                                              6
I    f : \ g a m e s <?xml version="1.0" encoding="UTF-8"?>
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                <h1>
                    About alpha channels and mattes
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                <div><p>Color
information in After Effects is contained in three channels: red
(R), green (G), and blue (B). In addition, an image can include
an invisible fourth channel, called an <dfn class="term">alpha channel</dfn>,
that contains transparency information. Sometimes, such an image
is referred to as an <dfn class="term">RGBA</dfn> image, indicating that it
contains an alpha channel.</p>
<div class="fignone"><img alt="" id="str_channels" src="images/str_channels.png" /><div class="figdesc">Channels at a glance</div><br /><dl><dt class="dlterm">A.</dt>
<dd>Separated color channels</dd><p class="dlseparator"></p><dt class="dlterm">B.</dt>
<dd>Alpha
channel represented as a grayscale image</dd><p class="dlseparator"></p><dt class="dlterm">C.</dt>
<dd>Composite
using all four channels with a background showing through transparent
areas</dd><p class="dlseparator"></p></dl>
</div><p>An alpha channel provides a way to store images and their transparency
information in a single file without disturbing the color channels.</p>
<p>When you view an alpha channel in the After Effects Composition
panel or Adobe Premiere Pro Monitor panel, white indicates complete
opacity, black indicates complete transparency, and shades of gray
indicate partial transparency.</p>
<p>A <dfn class="term">matte</dfn> is
a layer (or any of its channels) that defines the transparent areas
of that layer or another layer. White defines opaque areas, and
black defines transparent areas. An alpha channel is often used
as a matte, but you can use a matte other than the alpha channel
if you have a channel or layer that defines the desired area of
transparency better than the alpha channel does, or in cases where
the source image doesn’t include an alpha channel.</p>
<p>Many file formats can include an alpha channel, including Adobe
Photoshop, ElectricImage, FLV, F4V, TGA, TIFF, EPS, PDF, and Adobe
Illustrator. AVI and QuickTime (saved at a bit depth of Millions
Of Colors+), also can contain alpha channels, depending upon the
codec (encoder) used to generate the images stored in these containers.
For Adobe Illustrator EPS and PDF files, After Effects automatically
converts empty areas to an alpha channel.</p>
<p>Some programs can store multiple alpha channels in one image,
but After Effects only interprets the fourth channel as an alpha
channel.</p>
</div>

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                    <div><p>&#160;<a href="WS3878526689cb91655866c1103906c6dea-7f7ea.html">Alpha channel interpretation: premultiplied or straight</a></p>
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</html>                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                  pQ     HQ           /Sy2,        Q                                                                                                                                                                                                                                 6
I    f : \ g a m e s \ h a l f   l i f e   2 \ h l 2 \ s o u n d \ i m p a c t \ p h y s i c s \ f l e s h \                                                                                                                                                                                                                                                                                                                                                                                                                                       Q     pQ           H6@XC        pQ                                                                                                                                                                                                                                 6
I    f : \ g a m e s \ h a l f   l i f e   2 \ h l 2 \ s o u n d \ i m p a c t \ p h y s i c s \ f l e s h \ h e a v y \                                                                                                                                                                                                                                                                                                                                                                                                                           Q     Q           DL        Q                                                                                                                                                                    P                                                             6
I    f : \ g a m e s \ h a l f   l i f e   2 \ h l 2 \ s o u n d \ i m p a c t \ p h y s i c s \ g l a s s \                                                                                                                                                                                                                                                                                                                                                                                                                                       Q     Q           QEMK        Q                                                    P                                                                                                                                                                             <?xml version="1.0" encoding="UTF-8"?>
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                <h1>
                    Interpret a footage item by assigning an input color profile
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                <div><div class="section"><p>You control color management for
each footage item using the Interpret Footage dialog box. </p>
<p>The
input color profile determines what calculations are performed when converting
the colors of a footage item into the working color space for the project.
If a working space has not been set—that is, if color management
is not on for the project—then you cannot assign an input color
profile.</p>
<p>In some cases, files that you import have ICC profiles
embedded in them. When you import these files, you can be confident
that the colors that you see are as the producer of the footage
originally intended. After Effects can read and write embedded color
profiles for Photoshop (PSD), TIFF, PNG, and JPEG files.</p>
<p>If
a footage item does not have an embedded color profile, you can
assign an input color profile using the Interpret Footage dialog
box or by adding or modifying a rule in the interpretation rules
file (interpretation rules.txt). After Effects interprets the footage
item as if the source footage was created using this color profile,
so be certain to assign a profile that matches (or at least approximates)
that used to create the source footage. </p>
<p>Non-RGB footage items
(such as CMYK, Y'CbCr, and camera raw images) cannot be assigned
an input profile. Their native color space is displayed in the Interpret Footage
dialog box. Conversion of non-RGB color values to RGB color values
is handled automatically for each format.</p>
<p>If you don’t assign
an input color profile, and After Effects doesn’t have a rule in the
interpretation rules file with which to make an interpretation,
the colors of the footage item are assumed to be in the working
color space of the project.</p>
<p>When color management is enabled,
the input color profile for a footage item is shown in the information
area at the top of the Project panel.</p>
<p>The Interpret As Linear
Light option determines whether the assigned input color profile
is interpreted as being linear (gamma equals 1.0). This option also works
when color management is turned off for the project. (See <a href="WS44E9CED2-117D-4c19-879E-D553BB88B886a.html">Gamma and tone response</a>.)</p>
<p>You can prevent the conversion
of colors into the working color space for a single footage item
by selecting Preserve RGB in the Color Management tab of the Interpret
Footage dialog box. This option preserves RGB numbers; color appearance
is not preserved. Turning off color management for a specific footage
item is useful when the footage item is not intended for visual
display, but is instead intended for use as a control layer—for
example, a displacement map.</p>
</div>
<ol><li class="stepexpand"><span>Select a footage item in the Project panel.</span></li>
<li class="stepexpand"><span>Choose File &gt; Interpret Footage &gt; Main.</span></li>
<li class="stepexpand"><span>In the Color Management tab of the Interpret Footage
dialog box, choose a value from the Assign Profile menu.</span> <p>If you don’t see the profile that you want in the Assign
Profile menu, select 