Ben G unguren
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After Effects Coin
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COW Coins
Forum Replies Created
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Make sure all the animating stuff is in the precomp. Then it should work simply by enabling time remapping (command+opt+T) for your layer. Just tweak your start and end keyframe and you’re set.
Using Timewarp for remapping is mostly used with original footage, to add motion blur or introduce tween frames. If you have a precomped animation, and you time remap it, AE will automatically interpolate additional values for you so the write-on effect should move smoothly.
Ben Unguren
Motion Graphics & Editing
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This is a short-term solution, but if you are able to get a full-quality RAM preview, then press command+NUM0 (like you would for a typical RAM preview, but adding CMD, or CTRL on a PC). This will load a RAM preview as usual, but instead of playing it back, it asks you for a place to save the movie file. AE will then “render” your movie entirely from the frames stored in the RAM so no additional processing will take place, other than writing the movie file.
Ben Unguren
Motion Graphics & Editing
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The “blur map” is a greyscale image, where the brightness of the image varies with the distance of the thing in the shot from the camera. Usually these are generated from a 3d app, like Cinema 4D, to allow you to add camera blur to computer-generated footage. Using one image to influence the intensity of another filter is sometimes called a “compound effect.”
Since you are working with real-world footage rather than CG renders, you will need to do some rotoscoping (as already suggested). It is possible to generate a depth mask (a custom version of the greyscale image that a 3D app can generate) but in most cases it isn’t worth the trouble — separating elements with duplicated footage and animated masks, then blurring each layer the desired amount can often do the trick. And it might be less work (though it will still be a lot of work!); good luck!
Ben Unguren
Motion Graphics & Editing
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You normally shouldn’t try to match moving footage manually. You need to track it. You can try the tracker built in with ae (right-click on a layer in a comp, choose “track footage” etc), or, if the camera is moving a lot, you may want a 3d tracker like syntheyes, or try the Camera Tracker plugin, which runs within ae. A 3D tracker will cost you some money, though…
Ben Unguren
Motion Graphics & Editing
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Your linear wipe has a single value (0-100%) while the shine position requires two values (X and Y). It sounds like you are only animating the Y value, so something like this would work:
yVal=[your linear formula here]
xVal=value[0]; // this simply takes the existing X position value
[xVal,yVal]Ben Unguren
Motion Graphics & Editing
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Have you tried the file in other apps? (QT player, MPEG Streamclip, etc)
If you can open it in MPEG Streamclip, I’d just re-export it from there to a high-quality codec and try importing the new file instead. A bit of a workaround, but if it’s just one clip, this lets you keep moving.
Ben Unguren
Motion Graphics & Editing
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Yea, this is a difficulty with adjustment layers…. Any ideas I have all involve multiple adjustment layers, where you would use masks to “feather” the effect; each adjustment layer has a slightly reduced effect. With a simple choker, you could overlap the effect with a minimal choke each time; with other effects you would have to mask the inside and outside of each adjustment layer.
While this is a bit of a pain, you could precomp the adjustment layers and collapse the transformations in the nested comp. And that will make it look a bit neater…..
Ben Unguren
Motion Graphics & Editing
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Works perfectly! You are singularly awesome, Mr. Ebberts.
Your use of linear in there is great – and I can just swap in “ease” instead to soften the motion. Very helpful; that taught me a lot!Ben Unguren
Motion Graphics & Editing
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Thank you sir!
Ben Unguren
Motion Graphics & Editing
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Those are good points, Dan, thanks.
Yes, so far I’ve been using roving keyframes. I figured I can and ease the expression if I needed to.
I didn’t even think about when to start the expression. I was thinking I would have multiple effects on a single layer, so it would probably need to be at the first keyframe for each expression.
So… I could sample the speed at the frame after the first keyframe — that makes sense. But how could I reverse engineer the speed to influence the resulting position?
Ben Unguren
Motion Graphics & Editing
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