Darby Edelen
Forum Replies Created
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There are several different viewing options for the Graph Editor, but only two basic modes: Speed and Value. It sounds like you’re viewing the Value graph and you want to be viewing the Speed graph. To switch modes use the second drop down menu from the left at the bottom of the graph editor (it’s just to the right of the eyeball).
The Speed graph shows the rate of change of the Value graph. If you look at your current Value graph it is sloping up and to the right at a rate of 1 unit per frame (a slope of 1). When you switch to the Speed graph you’ll see that you have a flat horizontal graph with a value of 1 (the rate of change, or slope, of the value graph). The above is all not really necessary to understand but it gives some good background to a few important points about the speed graph:
When the speed graph is sloping upward the change in value is accelerating.
When the speed graph is flat the value is changing at a constant rate.
When the speed graph is sloping downward the the change in value is decelerating.
Darby Edelen
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If both layers are continuously rasterized (like Shape Layers) you can apply the Set Matte effect to the shadow layer and point the effect at the layer you want it “clipped” to.
If you’re working with non-composition sized footage items then you could try one of these:
A) duplicate the footage item that needs the shadow and use this as an alpha track matte for the shadow layer. More info here:
B) Pre-compose each element that needs a shadow with its corresponding shadow layer and use the Preserve Transparency layer switch. This works like a clipping mask but clips to ALL of the layers below it:
Darby Edelen
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There’s not enough information to give you a useful answer. Is the character made up of layers or is it a footage item? Is the pink background a layer or is it part of the same footage item as the character? Basically: how is what we see here put together?
Darby Edelen
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[Miguel Lluesma] “Meaning the scale did not affect the fact that particles are not visible, I am sure you understand what i am running into. is there a fix for this?”
How far away is the particle emitting light after scaling the scene down? You can delete the scale null as I mentioned in the previous post to check.
If it’s still too far away you’ll need to scale the scene down more. Alternatively your Particular effect may be set up wrong.
Darby Edelen
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[Miguel Lluesma] “Anybody knows any solution for this? thanks in advance.”
First create a 3D null at the origin of your imported scene (which should be [0,0,0]). Next you should parent all of the imported nulls, cameras and solids to this null. That null now controls your scene scale. If you scale it down to 1% then your one centimeter should equal 1 unit in AE instead of 100.
You can optionally delete the null once you’ve done this to see your the new coordinates on the layers, or you could unparent the layers from the scene scale null (as long as they’re parented to the null they’ll report the same coordinates).
Darby Edelen
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It won’t work quite the same as median (which has always been slow, unfortunately) but you can apply a Fast Blur and then Levels. Increase the Blur radius a little beyond what you think you need and go to the ‘Alpha’ section for the Levels. You can use the gamma and white/black inputs to change the density and falloff of the blur.
Darby Edelen
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Ted’s suggestion to use pre-comps still applies in the case you described. You could do your animation with the character standing still in a pre-comp, then move that into the main comp and animate the position around. You’d always have the “standing still” animation in the pre-comp when you need it.
If you’ve already done your animation then you might try using the pre-compose function (ctrl-shift-c on pc, command-shift-c on mac). I’d use “Leave All Attributes” which will leave all effects and keyframes in the main comp. You could then cut the effects/attributes that you need from the main comp and paste them in the “standing still” pre-comp. Sometimes there are details that make this complicated, but it might be worth a shot.
Darby Edelen
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How perfect is perfect in this case? I’d recommend aligning them in your orthographic views (front and top for example) and grouping them under a null.
An alternative might be moving the axis center of the object to the point at which you want it to attach and then move it using the snap settings of the move tool to snap to an edge/poly/point on the other object.
Darby Edelen
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This forum is for help with expressions, so your question would be better suited to the general After Effects forum. I can answer you here, but it’s more likely to get an answer (or three) in the general forum 🙂
There’s a text animation preset that will give you text on a circular path. Search for “rotate around circle” in your Effects & Presets panel or in Animation > Browse Presets…
Apply this preset to your text layer. You can scale the Mask Path in order to increase the radius of the circle. The preset has the “First Margin” property animated to rotate the text, you can adjust these keyframes as you need or alternatively remove them and animate the Rotation Z of the layer.
The most challenging part of this might be to occlude the text when it’s on the backside of your sphere. For that I’d probably just create a 3D solid layer to matte the text layer.
Darby Edelen
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[Vishesh Arora] “But I am not able to understand that why after parenting the layer to Null in the last step will freeze the transform properties??”
The Null resides at the origin (anchor point) of the layer at that point. Parenting the layer back to the Null will zero out the layer’s transforms (“freeze” them) because the Null and layer’s transforms are the same at that point in time and a child’s (the layer) transformations are relative to the parent’s (the Null) transformations.
Darby Edelen