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Its advantages are that its accelerated, and has a more accurate, organic fractal behavior.

As a result, we obviously go over each new release with a fine-tooth comb, looking for which new features will make our lives easier, will give us new looks, and which may open up new avenues of business for us.

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That last point has become particularly interesting in light of Adobes acquisition of Macromedia, plus their focus on integrating functionality across the various programs in the Creative Suite.

In addition to articles up here on ProVideoCoalition, there are several other places where you can glean additional information.

When it is up, you can access the entire Help file by clicking here, and search for features of specific interest.

Click here to jump straight to the New Features page; click here to jump straight to the page that describes changes in the User Interface between CS3 and CS4.

The course is called After Effects CS4: New Creative Techniques; when it goes live, it can be found here.

Two of the movies are scheduled to go online at the same time as the CS4 announcement; the remaining ten will go live once CS4 ships.

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New Feature previews for Illustrator CS4, Flash CS4, and Photoshop CS4, plus full courses for the new features in Fireworks CS4, Soundbooth CS4, and Dreamweaver CS4 (these last three are available as public betas from the Adobe Labs web site.) If you dont already have a yynda.com subscription, you can get a free all-access 7-day trial on us by clicking here.

After a major overhaul in CS3, the UI has gotten some additional tweaks in CS4.

Its darker, its tighter (fewer rounded corners), some of the objects are smaller (be still, shaking mouse hand), some UI names are shorter (while other names are longer for example, character limits on comp and layer names as well as many other items have now been lifted), selected layer bars have texture again, the Render Queue is a lot more space-efficient, and so forth.

There are other nice tweaks as well, such as Layer and Comp markers finally having parity in regards to features, and markers can now have a duration (illustrated as a thin bar extending away from the marker, underneath its text).

There are also a few gotchas, such as the shortcut to open Interpret Footage having changed (at least we got a new button for it along the bottom of the Project panel), and some tweaks in the way you open nested comps.

There are a couple of new elements in the UI which will make a big difference in your daily life inside After Effects: the new QuickSearch fields, and the new Composition Navigator plus Mini-Flowchart.

These make it easy to isolate specific elements based on their name, file type, duration, parameter name, comment, and so forth.

This will be a big boon in particular for large andor disorganized projects.

A big tip of the hat to Todd Kopriva for spearheading an effort to make Help much morewell, helpful.

Along the top of the Composition panel, you will now see a chain of composition names, including the one you currently have selected, one that flows into the current comp (the most recently-used or otherwise most important comp, if you have more than one nested in the current comp), and the next comp in the chain that the current one feeds.

Click on the arrow to the right of a comps name in the Comp Navigator, or merely tap Shift with the Comp panel forward, and you will get a more detailed diagram that shows the entire chain, including cases where one comp flows into several and vice versa.

We see this being particularly handy late at night, on deadline, when the client has asked for a minor change in a complicated project you can quickly see just who is connected to whom.

Its not overloaded with parameters (for better and worse), and is very quick and easy to use.

It is a simple, accelerated alternative to the Smart Blur effect we got a couple of releases ago.

A sample of its results are shown below, with Before being on the left, and After on the right.

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