[Andrew Kramer]

Well…
If you select a layer on the timeline and double click the mask tool (box or the cirlce) It will automatically create a mask the size of your layer.
Then push “f” and the feather properties come up and you can quickly make the layer feathered. Also just to the right of the title safe button in the monitor is a show/hide masks, if you switch this off you wont be accidently moving masks while you work. You can also lock masks to avoid that problem as well.

Here are 2 cool shortcut that I enjoy using when keyframing:

1. Shift + (parameter) for example: Press “P” to bring up Position info, then press Shift + “A” to bring up the anchor point while maintaining your position as well, instead of just switching.

2. Press “U” brings up all the paraments that have keyframe values so you can change them. Or Press “u”, “u” quickly and it brings up parameters that have been adjusted but not keyframed.

You can also copy and paste masks if you are repeating your self.

Good Luck
Andrew

[Andrew Kramer]

A collegue of mine once told me “you can be great at every program but it’s better to the master of one”. He was referring to similar programs like a 3d package for instance. I agree, I think you’d be better to master one or the other.

whats the ol’ saying, “jack of all trades, Master of none” These days you have to know how to do everything like: edit, composite, compose, title, color correct, dvd author, But if you find a program that suits your needs learn it.

Good luck,
Andrew

[Andrew Kramer]

Well in After Effects It’s nice to be able to experiement with multiple camera moves in the same comp so it’s hard to say,
Andrew

[Andrew Kramer]

I think i know what you mean…
One way might be to precompose the portion you were working on and then put a position key frame at the beginning and end of your precomposed part. then match up the beginning with the previous frame and the end with the following frame and the shift should be subtle.

also you may want to turn on the continuous rasteration so the edges aren’t hidden for data that may be available.

Andrew

[Andrew Kramer]

Well…
I’ll Try to answer the first part of your question.
Combustions strengths over After Effects…
1. Better Tracker, AE’s Tracker is good and fully functional but thats the truth2
2. Combustion has better roto tools, B-Splines, Better Paint Functiobnality, AE has great paint tools but they can be a bit intensive after many strokes.
3. Built in particles, Pretty much particle illusion is built into the program, AE has great 3rd part particles generators but the built in ones not too great, also the cc Particle world is good but can’t compare.
4. 3d Max Support,
5. A slightly better track view,
6. Integrated color correction controls, very fast perhaps comparable to Ae but… I digress
7. Integration with High end systems like smoke, flint etc.

So why is After Effects my only solution for Visual Effects… The workflow and the interface feels right to me, most of the programs shortcomings compared with Combustion don’t make a big difference because there is more that 1 way to skin a cat.
A good after effects use will tell you “i can achieve anything a combustion user can”, I’d have to agree.
Like wise a good combustion user might say the same…

At the end of the day theyre just tools, to this day i have never asked myself or could even fathom a project where i might say “gee, I wish I could do this on combustion”

Download demos if you really want to choose.

Btw, I could make a list just as long for features in AE, but you didn’t ask.

Andrew

[Andrew Kramer]

well one way might be…
use the echo time filter to create a faux slow shutter, you can also create a vignette that has blurred edges.

Pre-compose your final sequence and thend duplicate an instance over top the original and then add a round mask to the top layer, invert the mask, feather the edges, and then add a fast blur and remember to repeat edge pixels.

you could also use a glow filter to give it that blown out look on some highlights.

Andrew

[Andrew Kramer]

Great Article,
I know the type. 😉

Andrew

[Andrew Kramer]

Could you post an example of your problem.
It’s sounds complicated…

[Andrew Kramer]

Assuming your source footage is interlaced…
Set your field order in the interpret footage settings. I believe you should set it to lower first. Then Place your clip on a composition and slow the clip down to 200 percent and the fields will appear separated and you should have twice as many whole frames.

Andrew

[Andrew Kramer]

https://www.videocopilot.net/tutorials.html

There is a linear way to create camera shake using the wiggler at the bottom.
You can also use the wiggle expression and apply it to your target and your camera position.

Good luck,
Andrew