[Darby Edelen]

[jim lefevre] “maskOp = thisComp.layer(“MOON_REVOLVE”).transform.orientation[1];
if (maskOp > 90) AND (maskOp <270){
[100];
}else{ [0] ; }”

if((maskOP > 90)&&(maskOp < 270))

The && is an operator that will return true only if the statements on both sides evaluate to true.

There is also the || operator which will return true if one of the statements on either side is true (the ‘OR’ operator).

If you’re doing this to make the layer invisible when pointing away from the camera there’s a better solution:

https://motionscript.com/design-guide/invisible-facing-away.html

Darby Edelen

[Darby Edelen]

You can do this with the brush tool (cmd-b/ctrl-b). It’s on the tool bar. Every time you stroke with the brush tool you will create an instance of a “brush” in the effect applied to the layer. In the brush there are stroke options, these allow you to animate the brush stroke on and off in addition to a wealth of other options.

The brush tool doesn’t work in the composition viewer, you’ll have to use it in layer view.

Darby Edelen

[Darby Edelen]

Thanks for the answer. I discovered that I had an unnecessary Connect object that was causing the mess. I’ll be more conservative with Connecting things in the future 🙂

Darby Edelen

[Darby Edelen]

I believe the Finder, Final Cut Pro and QuickTime all use various forms of color management, but they’re not very predictable and don’t follow the standards that Adobe uses.

As far as I recall, QuickTime and Final Cut Pro will arbitrarily assign or guess at a color profile to use based on the footage codec. AE does this as well, but does a better job in addition to allowing you to notice that it’s wrong (if it’s wrong) and fix it.

Darby Edelen

[Darby Edelen]

[Ben Oliver] “found my culprit…..when set to half resolution, it doesn’t show up…..but at full, it’s there… IDEAS?”

Effects that use pixels will always give different results when you’re using fewer pixels to render those effects 🙂

Usually the difference is slight but in this case it appears to be a problem for you. My recommendation would be to preview your problematic areas at full resolution. You can put a region of interest over the problem spots in the frame to limit additional rendering overhead. Then once you can see the problem: fix it.

Darby Edelen

[Darby Edelen]

Your active camera looks to have a very wide angle. The camera viewing frustrum that you see in the Custom View gives a sense of that. The frustrum does not, however, extend out to infinity as the camera’s view actually would. Try rotating around a bit in the Custom View to get a better sense of where your camera is pointed. You can do this with any of the camera tools (the unified camera tool works nicely) by using them in the Custom View pane.

Darby Edelen

[Darby Edelen]

Check your view options. While in the Comp viewer (make sure it’s the active pane) go to View > View Options and make sure that the upper section has its checkboxes in order.

Darby Edelen

[Darby Edelen]

Here are some pictures to show a setup that works pretty well.

Layer Breakdown

Shadow Map Settings

Darby Edelen

[Darby Edelen]

You can directly edit the keyframe points of a motion path in the composition or layer view with the pen tool. This works just like editing regular mask vertices.

So with the pen tool you can opt-click (alt-click on pc) the keyframe points to convert them to linear.

Darby Edelen

[Darby Edelen]

So where is the screen that your image projecting onto? I only see the projection image, which appears to be in front of the background images (obscuring them from the active camera). Generally you’ll not only want your projection image to be set to 100% light transmission, but also to Cast Shadows – Only.

The plane that your projector is casting onto should be 3D, white (or close to white, it could be an actual image of a projector screen), and set to Accept Shadows – On and Receive Lights – Off.

Darby Edelen