After Effects Apprentice: Real-World Skills for the Aspiring Motion Graphics Artist PDF
Preview After Effects Apprentice: Real-World Skills for the Aspiring Motion Graphics Artist
Real-World Skills for the Aspiring Motion Graphics Artist AFTER EFFECTS TRISH & CHRIS MEYER 4th Edition Version CC DEDICATED to the After Effects team, past and present: from those hearty pioneers at the Company of Science and Art (CoSA) who revolutionized our industry, to the current innovators at Adobe who keep this vital program fresh. Fourth edition published 2016 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2016 Trish and Chris Meyer The right of Trish and Chris Meyer to be identified as authors of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. Third edition published by Focal Press 2013 All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging in Publication Data An application has been submitted for this material. ISBN: 978-1-138-64307-9 (hbk) ISBN: 978-1-138-64308-6 (pbk) ISBN: 978-1-315-62954-4 (ebk) Publisher’s Note: This book has been prepared from camera-ready copy provided by the authors. Additional materials are available on the companion website at www.routledge.com/cw/meyer iii Table of Contents d Pre-Roll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Exploring the After Effects landscape. 1 project structure 2 main Application window 3 Tools panel; Project panel 4 importing footage 5 Footage panel 6 transparency and alpha channels 8 Composition panel 9 Timeline panel x Introduction xi Getting Started d Lesson 1 – Basic Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Building your first animation while you learn a typical After Effects workflow. 20 composition basics 22 starting a project; creating folders 23 importing footage; alpha channels 24 creating a new composition 25 adding layers to the Comp panel 26 changing property values (scrubbing) 27 animating Position; the motion path 28 previewing the animation 28 navigating between keyframes 28 managing the comp view; zooming 29 applying Easy Ease In 29 adding the foreground layers 30 duplicating and replacing layers 31 more precise placement; snapping and grids 32 adding solid layers 32 applying, copying, and pasting effects 34 dragging footage to the Timeline panel 36 editing motion paths; spatial keyframe types 38 animating Scale 39 animating Rotation; animating Opacity 40 rendering 42 importing layered Photoshop and Illustrator files 10 Layer panel 11 Info, Preview, Audio panels 12 Effects & Presets; Effect Controls; other panels 13 workspaces; stacked panels 16 previewing 17 work area 18 preview behaviors TABLE OF CONTENTS iv d Lesson 2 – Advanced Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Manipulating keyframes to create more refined animations. 44 keyframe basics 46 Anchor Point overview 47 Anchor Point tool 48 motion control moves 50 Graph Editor 51 speed versus value graphs 52 panning and zooming time 53 editing graph curves 54 easing animations 55 improving the timing; Graph Editor Sets 56 Separate Dimensions 60 Motion Sketch 61 smoothing keyframes 62 Auto-Orient 63 Motion Blur 64 Roving keyframes 65 Time-Reverse Keyframes 66 Hold keyframes 68 time display and timecode d Lesson 3 – Editing Layers and Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Learning how to trim layers and enhance them using blending modes and effects. 70 layers and stacking order 71 moving layers in time 72 trimming layers 73 trimming in the Layer and Footage panels 74 slip editing 75 Sequence Layers keyframe assistant 77 looping footage 78 image sequences 79 changing the frame rate; Time Stretch 80 applying effects 82 blending modes 84 effects and solids 85 effect motion path 87 Effects & Presets panel; searching for effects 89 animation presets 91 Behavior presets 92 layer styles 94 adjustment layers 95 filmic glow trick 96 property links with effects 97 third-party effects 98 higher-quality scaling TABLE OF CONTENTS v 102 masking tools; creating mask shapes 104 Free Transform Points 104 masking in the Layer panel; Ellipse tool 105 Mask Feather 106 animating a mask path 107 creating a vignette; Mask Expansion 108 masking with the Pen tool (Bezier masks) 110 effecting a masked area 111 mask path interpolation; First Vertex 112 Mask Interpolation keyframe assistant 113 effects that can use the mask path; Scribble effect 114 Mask Modes and multiple masks 115 Mask Opacity 116 creating and editing RotoBezier masks 117 Audio Spectrum effect 118 Rigid Mask Tracker 120 Face Tracking 122 variable mask feathering 126 Alpha Track Matte 128 nesting a track matte composite 130 Luma Track Matte 131 animating matte layers 132 Stencil Luma and Stencil Alpha 134 Color Keying; Keylight; greenscreen 136 Key Cleaner and Advanced Spill Suppressor 139 effects with track mattes and stencils d Lesson 4 – Creating Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Using masks, mattes, stencils, and keying to cut out portions of a layer. d Lesson 5 – Type and Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Animating text and working with music are essential to motion graphics design. 161 adding the Wiggly Selector 162 rendering with an alpha channel 164 multiple selectors and animators 166 using text animation presets 168 saving text animations as presets 169 editing Photoshop text layers 170 adding audio to a comp 171 spotting audio; using layer and comp markers 172 mixing and enhancing audio 141 creating basic text 145 creating text Animators; Range Selectors 147 animating text Position 148 animating text Rotation and Opacity 149 randomizing the order of characters 149 creating cascading text; working with selection Shapes 151 setting the text Anchor Point 152 animating by words 153 title safe areas 154 animating text Blur and Tracking 155 text on a path 156 Per-character 3D animators 159 Ease Low and Ease High TABLE OF CONTENTS vi d Lesson 7 – Expressions and Time Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Using expressions and playing with time. 208 using the pick whip to create expressions 209 altering expressions 210 stabilizing shadows 212 matching value ranges (the linear expression) 214 looping keyframes 215 expression tips 216 the wiggle expression 217 expression controls 217 keyframing the wiggle expression 218 creating a master controller 219 converting sound to keyframes 220 frame blending 221 Pixel Motion 222 Pixel Motion Blur 223 stop-motion tricks; Preserve Frame Rate 224 Preserve Frame Rate with effects 225 adding handle with freeze frames 226 time remapping (varispeeding) 228 using the graph editor to smooth time d Lesson 6 – Parenting and Nesting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Grouping layers to make them easier to coordinate. 174 parenting, nesting, and expressions defined 176 assigning a parent 177 parenting, opacity, and effects 178 parenting with null objects 180 nesting to group layers; using guides 182 editing precomps 184 nesting a common source 185 navigating composition hierarchies 187 sizing precomps 190 precomposing a group of layers 192 precomposing a single layer 194 render order explained 195 splitting work between comps 196 precompose options compared 196 using precomposing to reorder 198 edit this, look at that (ETLAT) 200 continuous rasterization 202 collapsing transformations 204 compound effects Comp1 Composite All Layers FLATTEN FLATTEN FLATTEN Masks Effects Transform TABLE OF CONTENTS vii d Lesson 8 – 3D Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 Adding a new dimension to your animations. 232 moving and rotating layers in 3D space 234 multiplaning effects 236 3D motion paths 237 multiple views 238 adding a camera; camera settings 239 using the camera tools; 3D views 240 moving and animating cameras 242 building a camera rig 244 layer and camera auto-orientation 246 camera depth of field blur 248 3D lights 250 Material Options 252 casting shadows 254 Light Transmission 256 Light Falloff 276 Warp Stabilizer 279 Reversible Stabilization 281 point-based tracking and stabilization 282 creating track points 284 applying stabilization 285 when tracks go wrong 286 2D motion tracking 287 applying a motion track 288 tracking interlaced footage 288 Radio Waves effect 289 applying tracks to effect points 291 planar tracking with mocha AE CC 294 pasting the mocha track into After Effects 295 mocha Shape 298 3D Camera Tracker 299 defining the plane; moving the target 300 creating a Track Null; parenting 302 adding 3D text 302 creating a shadow catcher 304 Rolling Shutter Repair d Lesson 9 – Track and Stabilize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274 A key to visual effects work is removing or re-creating camera movement. 258 adjustment lights 259 Ray-traced 3D renderer 260 extrusion and beveling 262 Fast Previews 263 bending footage layers 264 transparency; index of refraction 266 reflections 268 environment layers 269 ray-tracer image quality 270 CINEMA 4D renderer preview TABLE OF CONTENTS viii d Lesson 10 – Paint, Roto, and Puppet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 Exploring Paint, Roto Brush, and the Puppet tools. 307 basic painting 309 erasing strokes 309 Paint Channels 310 Paint blending modes 310 brush duration bar 311 animating strokes 312 revealing a layer 313 creating organic textures 314 tablet settings 315 cloning 316 transforming strokes 317 basic Roto Brush 320 Roto Brush workflow; the base frame 322 propagating strokes 324 corrective strokes 326 refining the matte 328 Refine Edge 330 Puppet Pin tool 331 animating puppet pins 332 Puppet Overlap tool 333 recording puppet animation 333 Puppet Starch tool 334 multiple shapes d Lesson 11 – Shape Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336 Creating, animating, and extruding vector-based shapes. 336 creating a shape layer 337 Fill and Stroke settings; editing shapes 338 multiple shapes 339 Even-Odd Fill 340 shape effects 342 Bezier Shapes; Pen tool 344 Convert to Bezier Path 345 Create Shapes from Text 346 Repeater 348 compound shapes; Merge Paths 350 gradients 352 Wiggle Transform 354 advanced strokes; dashes and gaps 356 animating a stroke 357 Create Shapes from Vector Layers 358 extruding shape layers TABLE OF CONTENTS ix 362 CINEMA 4D user interface 363 Project and Render Settings 364 frame rate issues 366 navigating the Viewport 367 Extrude object 368 Light Setups 369 Materials 370 texture selection and projection 371 Ambient Occlusion 372 cameras 373 keyframing 374 CINEWARE Render Settings 375 extract camera and lights 376 creating text 378 importing Illustrator files 379 Fracture object 380 Plain effector 383 render quality; Interactive Render Region 384 Target Light 408 Resources, Production Credits d Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396 Perfecting your renders, as well as dealing with other video issues. 396 rendering: under the hood 397 render templates 398 Adobe Media Encoder 400 rendering movies; rendering sequences 401 issues that affect image quality 403 flickering 403 subpixel positioning 404 resampling in action 405 non-square pixels 406 fields and interlacing 407 3:2 Pulldown d Lesson 12 – CINEMA 4D Lite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360 Integrating a 3D application into the After Effects timeline using CINEWARE. 409 Index 386 using the After Effects camera 387 Object Buffers 390 importing model 392 shadows 393 using layers 394 Multi-Pass x It’s simple: We’re attracted to interesting imagery that moves. Adobe After Effects excels at creating that imagery, be it an opening title for a television program, special effects for a commercial or film, an animated banner in a sports stadium or at a trade show, entertaining content on websites or mobile devices, or informational displays in shopping malls, at airports, or even in elevators or cars. In contrast to editing software that specializes in creat- ing a linear story, the power of After Effects is in layering multiple images to quickly convey visually rich or complex ideas. After Effects is a deep, mature tool that allows you to combine video, film, photographs, scans, illustrations, PDFs, 3D objects, text, and music in myriad ways, plus create elements of your own. You can arrange, animate, and treat these components, and render the result to a wide variety of formats for print, the web, video, film, and more. In short, master After Effects, and you will be able to craft compelling imagery for a wide variety of clients and tasks. Our goal in After Effects Apprentice is to teach you the most important core features through a series of practical, hands-on exercises. Every lesson is grounded in our own real-world experiences, showing you the right way to use the right feature for a given task. We start out with simple animations to help you over that first step in learning the program, eventually working up to animating text, motion tracking and stabilization, and creating 3D worlds. This book has been designed for a variety of users. Our primary target is a beginner or student new to motion graphics or visual effects. Or, perhaps you are a video editor or web designer who wants to learn “just enough” After Effects to help raise the quality of your productions. On the other hand, you might also be a longtime or former user looking for a refresher course – especially as you upgrade from an older permanent license version to a Creative Cloud subscription. In this edition we’ve made a point of also adding in some more advanced material, from motion tracking tricks and refined text animation techniques, to integrating MAXON CINEMA 4D Lite which is now bundled with After Effects. We realize different people learn differently: Some prefer to read; some prefer to watch. That’s why in addition to this book, we’ve created a companion After Effects Apprentice video series. We’ve tried to make this book as concise as possible while still conveying the information we think you need; the videos allow us to expound a bit more and explain what we’re thinking when we make certain design or tech- nical decisions. The videos are available through multiple outlets, listed on onlinetraining.crishdesign.com. Whether you choose one or use both, we hope After Effects Apprentice helps you on your path to a fulfilling career. Trish & Chris Meyer Crish Design Introduction Learning After Effects is key to creating a wide range of moving imagery. xi Learning any new piece of software can be as frustrating as it is rewarding – especially if you are unfamiliar with how it works or what a book is trying to tell you to do. Although we know you’re probably anxious to jump right in, please take a few moments to read these introductions – we promise they will help reduce your stress level later on: • This Getting Started section explains how to use this book and its associated files. • The following Pre-Roll section will help familiarize you with the “lay of the land” inside After Effects including the user interface, plus explain how projects are structured. In a program as broad as After Effects, there are features you will use almost every day, and those you may use only once a year or less. The exercises in this book are designed to familiarize you with the core tools and features in After Effects (plus a few important “gotchas”), preparing you for many of the real-world tasks you will encounter. Software Versions To use this book, you need to install Adobe After Effects CC 2014, CC 2015, or later on either your Macintosh or Windows computer. If you do not have a licensed copy, Adobe makes fully functional time-limited trial versions available on its website at www.adobe.com/downloads/. This book, including all of the screen shots, was created using After Effects CC 2015.1 (also known as version 13.6). However, most of the lessons can be executed using After Effects CC 2014, as the project file format is the same. The main difference is the preview mechanism has changed; we’ll discuss that in more detail in the Pre-Roll section. And, we’ll mention when a feature is not supported in CC 2014. You can also load these project files in later versions of After Effects, as the core features often remain the same. Preferences We assume you are starting out using the default After Effects preferences. If you have modified your current pref- erences, created custom templates, and so on, and want to save those preferences, launch After Effects and open Preferences > General. At the bottom of that dialog, click Reveal Preferences in Finder/Explorer. Copy that file to a safe place. Then, to restore the default preference settings, quit After Effects, and hold down Command+Option+Shift on Mac (Ctrl+Alt+Shift on Windows) while re-launching the program. You can always later copy your saved prefer- ences file back to where you found it to restore your custom settings. (Note that if you have only added Render Settings and Output Module templates, and have not changed the program’s Preferences, you will be okay using your current Preferences file.) Project Files The project files and source media that go along with this book are online at www.routledge.com/cw/meyer. You will need to create an account on that site, including answering a question about the content of the book. Getting Started How to use this book including project files, version numbers, and terminology. In the Project panel, twirl open one of the subfolders inside the Sources folder; missing items will be displayed in italics. Double-click a missing item: This will bring up a standard file navigation dialog where you can locate that item. Select the missing file from its corresponding Sources subfolder on your drive and click OK. Provided the folder relation- ship between the project and the source files it uses has not changed, After Effects will search for the other missing items and link them in as well. Virtually all of the material inside this book and in the downloaded exercise files are copyright protected and are included only for your own learning and experimenta- tion. (The United States map in Lesson 6 and the Indian Territories map in Lesson 9 are in the public domain.) Respect copyrights: Some day, it could be you who made that cool graphic… After you’ve registered, return to that page and click on the Project Files menu. Then click on the link for the Lesson you’re on, and a .zip archive should download automat- ically. Decompress that .zip archive, and you will have a self-contained folder with everything you need for that lesson. Copy that folder to a convenient place on your computer’s drive and double-click the .aep project file inside it. After opening any lesson’s project for the first time, you should use Edit > Save As and give it a new name. This will ensure you keep the original version intact for future reference. If After Effects is unable to find a project’s source files, you will see a warning dialog when the project opens. xii By the way: Just because we provide you with all of the materials you need, this does not mean you can’t use your own images and video instead! Indeed, we encourage you to use your own sources and to try your own variations on our ideas instead of just typing in the numbers we give you. There are gazillions of motion graphics styles out there. Although we can demonstrate only a few of them here, you will learn what you need to re-create a lot of what you see on TV – or in your own imagination. Fonts With Creative Cloud, Adobe changed to a system where fonts are not necessarily installed with a new piece of soft- ware. Instead, you can use Adobe Typekit – included with your Creative Cloud subscription – to add fonts you may not have currently installed. If you open a project file and get a message that a font is missing, open the Adobe Creative Cloud application and look under Assets > Fonts. If needed, enable Typekit, then click Add Fonts from Typekit. Search for the missing fonts, click Use Fonts, then Sync Selected Fonts. After a pause for them to download, reload your project. System Requirements Adobe lists the system requirements for After Effects on the associated web page: www.adobe.com/products/aftereffects/ systemreqs. That page lists the minimum requirements; the bigger display you have, the more pixels you can see, while more RAM allows you to create longer previews to check your results as you work. If you plan to take advantage of the Ray-traced 3D renderer (introduced in the last third of Lesson 8 and HOW TO USE THIS BOOK g If sources are missing, After Effects will display a warning dialog . f Missing sources appear in italics in the Project panel . Double-click a missing item to relink the source . HOW TO USE THIS BOOK xiii Shortcuts and Phrases After Effects runs on both Mac OS X and Windows and is nearly identical on both platforms. That said, there are numerous elements in an After Effects project to keep straight, such as files, compositions, effects, and expres- sions. To help indicate what we’re talking about, we have a handful of particular type conventions and shorthand phrases that we will be using throughout this book: • Words in bold refer to the names of files, folders, layers, or compositions you are using. These words refer both to files on disk and to items inside your project file. • “Words in bold and in quotes” are text you should enter – such as the name for a new composition or solid. (Obviously, you should not enter the quotes themselves.) • Words in this typewriter font indicate code inside an expression. • Menu items, effects, and parameter names do not get a special font. • When there is a chain of submenus or subfolders you have to navigate, we separate links in the chain with a > symbol: For example, Effect > Color Correction > Levels. • To help make you a faster user, we mention keyboard shortcuts throughout this book. They are indicated by a special keyboard font. The Macintosh shortcut – such as Cs to save a project – is presented first and is colored red (followed by the Windows shortcut – such as Ls – in parentheses, colored blue). Keyboard shortcuts that are the same on both platforms are in gray, such as typing s to reveal a layer’s Scale parameter. The modifier key icons we use mean: C Command (Mac) O Option (Mac) L Control (Windows) A Alt (Windows) • After Effects makes extensive use of “context-clicking” on items to reveal additional menus or options. To context- optionally used in portions of Lessons 9 and 11), you really want to have a compatible NVIDIA CUDA-enabled GPU (Graphics Processing Unit) in your video card or on the motherboard of your laptop. This greatly accelerates ray- traced rendering. You can still use the ray tracer without it, but performance may be so poor that you could become discouraged. Compatible GPUs are listed on the System Requirements web page mentioned above. In addition to Adobe’s processor and operating system restrictions, we personally suggest that you use an extended keyboard (or that you learn how to access the function and numeric keypad equivalent keys on your laptop), and a three-button mouse; one with a scroll wheel is a nice bonus. We also recommend installing an SSD (Solid State Drive) to use for your applications and/or the After Effects cache. The disk used for this cache is set in Preferences > Media & Disk Cache. Retina and HiDPI Displays An increasing number of laptops and even desktop com- puters now feature “Retina” (Apple) or “HiDPI” (Microsoft) displays. After Effects supports these by rendering its user interface elements at higher resolution. However, there is a gotcha with how content is displayed: A magnification or “zoom” level of 100% on a normal display corresponds to a zoom level of 200% on a Retina display, or either 150% or 200% on a HiDPI display. If you have one of these displays, whenever we say something like “set the Magnification level to 100%,” translate that number to what is supported by your display. For example, all of the screen shots in this book were taken on a Retina iMac or MacBook Pro, so you will see 200% in the bottom left corner of panels where you might expect to see 100%. click, use the right mouse button; we will say “right-click” in the instructions. If you are using a Macintosh single-button mouse, hold down the L key while clicking. On a Macintosh laptop’s trackpad, you can also click with two fingers to “right-click.” • After Effects makes a distinction between the normal section of the keyboard and the numeric keypad, especially when it comes to the E or R key. When you see R, we mean the carriage return key that is part of the normal keyboard; when you see E, we mean the key on the numeric keypad. If you are using a keyboard without a numeric keypad, in place of E press CR (LR). • The Preferences are located under the After Effects menu on the Mac (and under the Edit menu on Windows). We’ll just say “Preferences” and assume you can find them. Finally: Relax! Have fun! It’s only software; you can’t break it. And remember there is often more than one solution to any problem – especially when artistic expression is involved. Rather than give you a set of rigid recipes that must be followed exactly, our hope instead is to give you a set of skills that you can draw on to realize your own ideas while using this wonderful program. Website Tech Support If you have trouble accessing the supporting web materials for this title, please contact our publisher’s customer service department using the Feedback form on the companion website at www.routledge.com/cw/meyer or by using the contact form at www.routledge.com/info/contact. HOW TO USE THIS BOOK xiv For Instructors Each lesson in After Effects Apprentice demonstrates essential features through a series of hands-on exercises. They are supplemented with sidebars and numerous tips that cover technical issues and other features of inter- est. Additionally, many of the lessons end with a series of challenges you can give your students to have them build on what they’ve learned. We’ve also included a lot of real-world tips, including how to work with clients and potential delivery requirements. We hope that you will find this format useful and can adapt it to your specific needs. This book was created using After Effects CC 2015. After Effects CC 2014 will load the same project files without modification, and it contains most of the features covered in this book (the big difference being how previews function, as discussed in the following Pre-Roll section). If necessary, you can load the project files into CC 2014 or CC 2015 and use File > Save As > Save a Copy As CC to run them on the first Creative Cloud version, but again some of the more recent features may not be supported. We have created a companion After Effects Apprentice video training series which you may find useful to watch. In addition to getting to see and hear us actually walk through the steps, we share a lot of our thought process as we make design and technical decisions. This background may aid your own understanding, as well as provide additional ideas for how to explain individual concepts to your students. For distributors of these video courses, check our web page onlinetraining.crishdesign.com. The contents of this book and its accompanying files online are copy- righted. Each student must own his or her own copy of this book. You may not duplicate this book’s text, project files, and associated materials for your students if they do not own a copy of this book. As long as they do, you may download the project files and media from the companion website www.routledge.com/cw/meyer and copy them to their individual computers, or you may place the files on a classroom server for them to access. Provided each student owns the book, you are free to then modify the tutorials and adapt them to your specific teaching situation without infringing copyright. Thank you for helping protect our copyrights, as well as those who contributed sources – your cooperation enables us to write new books and obtain great source materials for your students to learn from. We hope you and your students enjoy the results. Qualified teaching professionals can request evaluation copies of our books directly from Routledge. Please search for the book title on www.routledge.com and follow the Comp Exam Copy link.
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