[David Bogie]

> In effect, you and I are talking about 2 very different effects (neither of which was actually asked about, now that I look at the string). In yours, there is more then one force event. In mine, there is a break in time, and then a resuming of time.Your dsolution is not appropriate for what I was refering to.
Not that you aren’t right about the possibilites, but that’s not what I was talking about.< Oh. I suppose I could go back and look at the OP. bogiesan This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

> On the other hand if you’re trying to do an effect where the expolsion stops, but then starts again, you’ll have to do as mylenium says.< Beg to continue to disagree. There is a second Force control in Shatter. You can use it to start up the effect again by keyframing the viscosity to a lower value at the same time. It's not necessarily simple because the shatter map is reapplied but it's much more convincing than time remapping because the physics are realistic. Or you could apply Shatter a second time to a copy of the layer. Shatter is often misunderstood and, as witnessed here, often incompletely explored by the wonks. Want to make Shatter work wonders? Invest in Total Training's AE series. bogiesan This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

You don’t really need to post the same question all AE forums. Sometimes you will get wildly differing opinions so it can be helpful. it’s usually just a waste of bandwidth. Please be sure to go back and close all of your threads. We ask that you synopsize your solution, or explain your failure, and post such information back to each of your forums for the benefit of all future seekers.

Caustics and Wave World require tons of experimentation and testing. They are compound effects designed to be used as modifiers for other effects. They are supremely weird and ultra-repsonsive. The output is supposed to be subtle. You need to open the Effects Help PDF that came with the application and you might want to invest in Total Training’s AE series. It will be money well spent even if you only view the Caustics and WW segments. The investment will pay off handsomely if only in saved time on your title sequence.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

> Maybe you could crank up the viscosity at that moment, methinks.< Mylenium knows more about AE than I possibly could ever, but tweaking the physics controls in Shatter is far more useful than time remapping. Shatter is incredible. Most of us only sue 10% or less of the functionality. bogiesan This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Two more critical factors in selling a faked effect like this:
What else is in your shot that might reflect the lights? A Coke bottle on the control panel, a mirror, window or sunglasses?
Is there anyone or anything in the shot that would be lit up by the panel’s indicators?

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Making a skeleton walk in AE is an exercise in insanity, a sure path to madness.
Hire a 3d artist.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

You guys have all the fun.
The Boise Idaho AE Users Club meets every weekday at my office.
Attendance is always 100%.
Interesting topics but no discussion or question/answer period.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

>Use a white solid.
Set mode to Multiply.< Dan may be the only human here who understands composite modes. I just push buttons at random until I get something that looks what I think I want. bogiesan This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

> “video wall”. The comp has about 120 layers of video (each layer about 5 seconds long). < Pre-rendering allows you to replace most of the individual layers with movies. That is, if you've got a wall, you're scaling and positioning all of your video layers and precomps, yes? And you've got 120 individual items in the wall or do you have more like 9 or 16 video monitors that have a series of dissolving or cutting clips that appear in each one? If the latter, you'd [prendered most or all of the comps that are in each monitor window. Then you're only positioning the movie, you're not processing every frame of all of those individual items. bogiesan This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Yar, but AE’s camera has no barrel distortion. You would need to process the view form the camera after it’s been grabbed. There might be a way to nest the camera output into a downstream comp. Never seen it done but there was talk earlier of doing “live on-stage cameras to projection monitors.”

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”