Ben G unguren
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After Effects Coin
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COW Coins
Forum Replies Created
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For this method to work you’d need your layers to be vertically ordered in the way you want them to appear (whichever is on top goes first, the one underneath goes next, etc).
You could set up your animation on one layer, then copy/paste that data onto all the other layers, so they all animate in at exactly the same time. Make all your layers 2 frames long by selecting all, moving 2 frames past the in-point, and press opt+] (alt+]). Next you right click on the layers (still all selected) –> Keyframe Assistant –> Sequence Layers… Tell it not to do any overlap, click OK. Now go to the end of your comp and press opt+] to extend the clips again.
Of course, the “2 frames” is a guess — make that gap as long as you want it to be….
Ben Unguren
Motion Graphics & Editing
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There are a number of options — TIFF, OpenEXR, Photoshop, Radiance. They should give you the same results. When working with sequences for Photoshop tweaking, I often export DPX sequences with default settings, but that will give you 16-bit color, not full 32-bit floating point. But floating-point sequences are huge, so I only export those when I really need them — for instance when I am cleaning up a background plate to mix in with some 32-bit RED footage that’s hasn’t been in for color correction yet. My advice is make sure you need the 32-bit info before exporting. In most cases 16-bit will give you all you need, and speed up your workflow as the files will be smaller….
Ben Unguren
Motion Graphics & Editing
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The roughen-edges stuff needs to happen in a comp that isn’t have collapsed transformations applied. The easiest method for this in my mind is to nest it inside the comp it is currently in, and don’t enable continuous rasterization for that comp. That’s kind of confusing, isn’t it? Here’s a diagram
CURRENT:
MAIN COMP –> NESTED COMP w/effect (Cont Rasterized in Main Comp)SOLUTION:
MAIN COMP –> NESTED COMP 1 (Cont Rasterized in Main Comp) –> NESTED COMP 2 w/Effect (Not Cont Rasterized in Nested Comp 1)It isn’t clear why you’re continuously rasterizing, but if it’s a size issue, then simply double or quadruple the size of Nested Comp 2, change layers and effect settings appropriately, then scale down in Nested Comp 1. Since you’re using continuous rasterization for Nested Comp 1 in the Main Comp, you’ll be able to “scale” the Nested Comp 2 back up to where you need it, as the negative scaling happens in Nested Comp 1, not 2.
Wow, continuous rasterizing not only has a long name but can boggle the mind sometimes.
Ben Unguren
Motion Graphics & Editing
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Tricky stuff. The green channel for that image is without doubt the cleanest, and I’d probably use that channel to generate any kind of procedural matte. If it were me, I’d probably try to isolate the skin between the red lines using a combination of procedural mattes and rotoscoping (with mocha). Then I’d try to color the skin between the two red lines to match the paint, and composite. The trickiest part will be to eliminate the edge that will invariably appear between the true red lines and the faked middle red line….
Ben Unguren
Motion Graphics & Editing
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For what it’s worth, when I’m working a 30-second commercial that’s more-or-less locked, I’ll send the entire thing to AE and stay in AE. If there are any tweaks, I’ll make them in AE. Definitely not recommended for longer projects, or projects where only one or two shots need AE, but otherwise I’ve found it simpler to stay in one app.
Ben Unguren
Motion Graphics & Editing
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Sorry, friend — no idea. I’ve never had that issue, so I can’t quite say what’s happening. Upload a screenshot if you like, and I’ll see if anything stands out….
Ben Unguren
Motion Graphics & Editing
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Lens flare doesn’t have an alpha channel in it. You could fake an alpha channel in AE (using, for instance, the “Shift Channels” filter after the lens flare filter, and setting Alpha to be the layer’s Luminance channel. But you may need to do a fair amount of alpha levels adjustment to make that work how you want it…
A second option, which I like better, is to render out two videos — one with everything but the flare, and one with only the lens flare. Start and end each render at the same time, so things will line up easily in PPro, where you can set the flare above the other animation, and change the flare’s composite mode to screen or add.
Ben Unguren
Motion Graphics & Editing
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Note that the asterisk key adds a marker to selected layers only. I will often put in a layer, turn off its visibility, and use is exclusively for layer markers. You might even want more than one layer for this is you’re trying to sync multiple elements….
Ben Unguren
Motion Graphics & Editing
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Hold the command/ctrl key down while dragging the timeline around and you’ll hear samples of the sound at the current time.
Ben Unguren
Motion Graphics & Editing
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I’m feeling a bit nervous arguing against Dan Ebberts, but couldn’t you add an Animator for tracking or line spacing and then use the “Tracking Amount” or the “Line Spacing” stopwatches for linking expressions….
I don’t think there is an animator for “Font size” per se, though you can animate Scale via an animator….
Ben Unguren
Motion Graphics & Editing
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