Chris Smith
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I’d say consult the manual regardless. You paid for it and it will explain in much more detail how to use basic functionality the best.
Chris Smith
https://www.sugarfilmproduction.com -
Some notes about it are:
1. Some of the more vine like thin curves can be built in Illustrator. Add each “vine” to it’s own layer. Bring in the illustrator file into AE so the layers are still respected. Then use each vine stroke as it’s own mask. Assign the “Stroke” filter to it and give it a thick setting to use as it’s own alpha. Then just animate the Stroke end point. So in effect, a thicker version of the line unerases itself looking like it’s being drawn.
2. I’ve looked at some of these effects frame by frame and think that the artist actually uses a brush stroke frame by frame to unerase parts here and there till he builds up a really organic looking animation.
Chris Smith
https://www.sugarfilmproduction.com -
Also, very important.
A gag with illumination just does not work unless it affects the other objects in the scene. So remember to give the illusion that is ligting up your car and the ground as well.
I mild use of lens flares would probably help with this as well. If you have Knoll Flares, create flares without all the lens elements so it stays simple and use it to give the illusion that the lightning ring and it’s surroundings are illuminated.
Chris Smith
https://www.sugarfilmproduction.com -
I think ideally it’s done in 3D by mapping a bunch of lightning movies and other elements onto the surface of a taurus. Then render these out and recomp them in AE so that each rendered clip has different opacities, blur, color, etc in AE to help build up a big nasty ring of lightning.
If you have to stick in AE alone, maybe map the lightning onto the surface of CC Sphere or CC Cylinder and play with angles to match up. Then roto out the parts of the sphere you don’t need.
But basically I think it’s a matter of mapping lots and lots of elements onto a shape.
Kind of like in a recording studio how they take one or two singers and keep overdubbing the same lines over and over again changing pitches every once in a while to get a huge backing vocal sound after 24 – 40 overdubs.
I think this is the same approach but visually. Even add in some noise elements, some particle stuff, etc.
I’d just create a bunch of greyscale layers that are rendered out. Bring them back in and just futz with them. Change their tint, blur, opacity, transfer mode, speed, etc…
Chris Smith
https://www.sugarfilmproduction.com -
If you have the rotobezier option unchecked, it should be identical to PS as it uses bezier curves. I personally prefer rotoing with rotobezier on since it uses B-Splines instead of bezier.
Chris Smith
https://www.sugarfilmproduction.com -
You keep switching the word lighting for lightning. Is it a Lightning effect that encapsulates the vehicle?
Chris Smith
https://www.sugarfilmproduction.com -
Not quite clear. Are the objects moving because they were shot that way or are they moving because they were keyframed? If Keyframed, just copy and paste the keyframes or copy and paste the null layer with the motion and reparent the new layer to it.
Chris Smith
https://www.sugarfilmproduction.com -
Not quite clear. Are the objects moving because they were shot that way or are they moving because they were keyframed? If Keyframed, just copy and paste the keyframes or copy and paste the null layer with the motion and reparent the new layer to it.
Chris Smith
https://www.sugarfilmproduction.com