Adobe 12040118 - After Effects Standard Tutorial page 600

Add mode is specified, partial opacity and the Inverted option are also supported. Mask feather is not supported. The result of overlapping masks
with Add mode and partial opacity may appear differently in the SWF file than in After Effects. (See Mask modes.)
Effects Path Text, Audio Waveform, and Audio Spectrum are supported for output to SWF format.
All Path Text options are supported, except the following: Composite On Original, Fill Over Stroke, and Difference mode.
Lines drawn by the Audio Spectrum and Audio Waveform effects are converted to vectors. The following unsupported features are ignored:
Outside Color (only Inside Color is used), Softness, and Composite On Original. In addition, only uniformly thick lines are included in the SWF file.
For example, if you select the Use Polar Path option in Audio Spectrum, lines become thicker farther from the center in After Effects, but in the
SWF file the lines remain at the same thickness.
The waveforms may increase the SWF file size, so decrease the Displayed Samples value in the Audio Waveform effect or the Frequency Bands
value in the Audio Spectrum effect, or decrease the frame rate to make the SWF file smaller.
Resolution SWF files are always created at full resolution (size of composition); JPEG-compressed bitmap images are rendered at full
resolution.
Adobe Illustrator files Only stroked paths and filled paths in CMYK or RGB color spaces are supported.
Layers that have Illustrator source files are converted to corresponding SWF items if the layer does not contain masks or have Collapse
Transformations enabled. Illustrator layers that contain masks or have Collapse Transformations enabled are rasterized. The SWF file maintains
the Illustrator crop marks. Artwork outside the crop marks is included in the SWF file even though it's not visible, thereby increasing the file size.
The SWF export report lists information for unsupported features in Illustrator files for the first frame in which the Illustrator file is visible.
Unsupported features are ignored or rasterized (depending on whether you've selected Ignore or Rasterize Unsupported Features) on all frames in
which the footage is visible.
Render and export a composition as an FLV or F4V file
FLV and F4V files contain only pixel-based (rasterized) video, not vector graphics, and they aren't interactive.
The FLV and F4V formats are container formats, each of which is associated with a set of video and audio formats. FLV files generally contain
video data that is encoded using the On2 VP6 video codec and audio data encoded using an MP3 audio codec. F4V files generally contain video
data that is encoded using an H.264 video codec and the AAC audio codec.
Note: After Effects CS4 and earlier also provided the option to encode video data in FLV files using the Sorenson Spark video codec.
You can play a movie in an FLV or F4V container file in many different ways, including the following:
Import the file into the Flash Professional authoring application and publish the video in a SWF file.
Play the movie in the Adobe Media Player (AMP).
Preview the movie using Adobe Bridge.
After Effects markers can be included as cue points in an output FLV or F4V file. To transfer keyframes or global property values into the Flash
Professional authoring application from After Effects, run the Convert Selected Properties To Markers.jsx script before rendering and exporting
an FLV or F4V file.
You render and export a movie to the FLV or F4V container format using the render queue, just as you do with other formats. (See Render and
export a movie using the render queue.)
To include the alpha channel in the FLV output, use the On2 VP6 codec and select Encode Alpha Channel in the Video tab of the export settings
dialog box. After Effects premultiplies channels with black when encoding transparency in FLV files. (See Alpha channel interpretation:
premultiplied or straight.)
When you render and export a composition to the F4V or FLV format from a 32-bpc project, the rendering of colors with values under 0 and over 1
does not produce results that preserve the appearance of the composition in After Effects. To avoid unexpected results, you can work in an 8-bpc
or 16-bpc project when creating a composition that you intend to render and export to F4V or FLV format. Alternatively, you can work in a 32-bpc
project, render and export the composition to another format, and then convert the output file to F4V or FLV.
Online resources about FLV and F4V formats
This video from the After Effects CS5: Learn By Video series demonstrates export to FLV and F4V formats.
Jan Ozer provides technical details and tips in "Encoding options for H.264 video" on the
using the H.264 video codec.
Kush Amerasinghe provides an overview of H.264 and F4V in "H.264 for the rest of us" on the
Robert Reinhardt provides information about video for Flash Player in some sample chapters from his book Video with Adobe Flash CS4
Professional Studio Techniques on the Peachpit website. In the
disadvantages of the On2 VP6 and H.264 video codecs.
More information about FLV and F4V formats—including the F4V specification—is available on the
Fabio Sonnati provides recommendations for settings for H.264 (F4V) movies for mobile devices on the
More Help topics
Adobe Developer Connection
"Compression primer" chapter, he explains in detail the advantages and
website for encoding video
Adobe Developer Connection
Adobe Developer Connection
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