Darby Edelen
Forum Replies Created
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You’ll need to start by duplicating your text layer. Set your old text layer’s Casts Shadows property to “Off.” Set the new text layer’s Casts Shadows to “Only” and the Light Transmission to 100%. The last step is to adjust the duplicate text layer’s text color to try and match the shadows in your footage.
Darby Edelen
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With the circle spline selected there should be a section in the Object tab of the Attributes Manager that includes an “Intermediate Points” drop down menu as well as a Number, Angle and Maximum Length property. These control how many intermediate points are used along the spline.
The default is Adaptive which will add intermediate points to keep the change in angle along a curve at or below the Angle value (a lower Angle value means more intermediate points).
Depending on what you need the extrusion for you may be fine using Adaptive with a lower Angle value, or you might want to use another option.
For most purposes I like the ‘Natural’ option. This takes a Number value to define how many intermediate points there are in between each pair of spline points.
If you make a circle spline editable you’ll see that the resulting spline is made of 4 points. So if you leave the Number value at 8 in the Natural mode you should end up with 36 subdivisions in your extrusion (4 spline sections * 8 intermediate points per section = 32 + 4 original sections = 36). If you increase the Number value to 16 then you would end up with 68 subdivisions.
The Uniform intermediate points mode is similar to Natural only the distribution of the intermediate points should be more… uniform 🙂 With the Natural mode points should be clustered around areas that need more detail where as with the Uniform mode they will be evenly distributed across each spline segment.
Darby Edelen
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Optical Flares should be placed on a 2D layer to respond correctly with a camera.
You might be able to achieve the result you’re looking for in another way. Try placing the flare (not the layer) in 3D space at the text location. You may also need to animate the ‘Center’ property so that the flare resolves as a line in the correct location. This depends on the look you’re shooting for.
Hope that helps.
I don’t have Optical Flares on this computer so I can’t give more specific guidance than that at the moment.
Darby Edelen
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The toWorld() expression should reference the null at the end of the parent/child chain in your case. There is no need to reference the parent, it’s only there to facilitate the childs animation.
Darby Edelen
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Usually you don’t want to apply Optical Flares to a 3d layer. Is there a specific reason you are doing that in this case?
Darby Edelen
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You could use a null parented to the null instead. You’d need to use the toWorld() expression in both the XY position and the Z position property of the emitter (use an emitter shape that allows you to animate these properties).
I often like to use a Layer expression control effect to point particular to the layer I want my expressions to use.
Darby Edelen
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What are the project’s Color Settings? How are the source files being interpreted? What are the color management settings in the output module you are using?
Darby Edelen
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It looks like the “Insert” key may be the issue.
I found this with the handy dandy “Customize Commands…” menu option under the Window > Customization menu. This is usually only helpful if you know the name of the command, I lucked out when I filtered for “Pivot.”
Darby Edelen
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Many effects use layer coordinates or operate within layer boundaries. These effects may behave strangely when applied to layers that have Continuously Rasterize or Collapse Transformations enabled.
You might notice, for example, that if you apply a Generate > Circle effect to any of your layers with the CR/CT switch enabled that no matter how much you scale down (or up) the layer the Circle will still render in the exact same location.
Effects use Composition Space to calculate instead of Layer Space when applied to layers with the CR/CT switch on.
What this means is that your Puppet Pins are no longer pinned in relation to the layer’s coordinates, but in the composition’s coordinates. As you’ve discovered, this doesn’t work.
My recommendation is to place each layer you need to use the Puppet tool with into its own high resolution composition, continuously rasterize the layer within this composition, then place these pre-comps in your final composition without collapse transformations on.
Darby Edelen
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To continuously rasterize vector graphics inside pre-comps you’ll need both the continuously rasterize switch enabled on the vector graphic as well as the collapse transformations switch enabled on the pre-comp layer.
Darby Edelen