[Filip Vandueren]

Here’s the hack:

find a Hex editor that can find and replace strings in any file.
Check out the hex-value of your current value first and do a global replace for it in a copy of your file.

The Fill parameter will be preceded by “(ADBE-Fill-0002 … Color … then the Hex value of your color)”
So you might include that in your search-query

[Filip Vandueren]

I think he means there are different layers that each have a light-sweep at the same position, not one lightsweep running over all of them together ?

Just copy the effect and the keyframes, or if you want to keep tweaking and want to absolutely synch the effect, you can create pickwhip-expressions (look in the manual) for the parameters of the “child layers” effect to the same parameters on your “parent” layer.

[Filip Vandueren]

I think he means there are different layers that each have a light-sweep at the same position, not one lightsweep running over all of them together ?

Just copy the effect and the keyframes, or if you want to keep tweaking and want to absolutely synch the effect, you can create pickwhip-expressions (look in the manual) for the parameters of the “child layers” effect to the same parameters on your “parent” layer.

[Filip Vandueren]

I think it would be best to finish the project in Premiere, because it’s easier to preview stuff, instead of always having to do a ram-preview.
A true video editing program is much easier especially for such long and relatively simple compositing.

If the graphics-layer is in effect a series of still, with very little animation happening for long times, i would render out a Quicktime animation codec, with quality 95-100%, but keyframes set pretty high.
Import that in premiere on overlay it, do the sound editing there. (don’t work in premiere so I can’t help you with those steps)

[Filip Vandueren]

yes, if you give it enough Ram of course.

Many plugins are not yet designed for multiple processors, so you’ll see more of the speed-increase if you render with a Watch-folder and multiple instances of the After effects and it’s render engine.
Or if you use a solution like Nucleo.

[Filip Vandueren]

I made a new project with a 7.1 setup, lol
haven’t tested the final output, and my solution for doppler turns out to be not that full-proof: you’ll hear a sudden speed change to normal when the layer suddenly stops. Easing helps.
But anyway, that doppler thing is easily switched off by turning off the time-remapping-expression

Here’s the new project, it works with a “select mic” layer, so you can hear/render one mic at a time, and it’s set-up in 3D,
I’d love to hear some feedback if someone winds up doing a monitoring test. (well not actual feedback 😉 )

https://www.vandueren.be/forumstuff/doppler/sevendot1.aep

some tips for testing:
1) to choose a “speed of sound”-value: (only needed fpr the doppler effect)
imagine at what speed your layer is moving, for example 36 mph.
Look at the pixel-speed, for example: 287 px/s
now google – no really:

speed of sound * 287/36 in mph
link:speed of sound * 287/36 in mph

and that’s your physically accurate speed of sound in pixels/second (now if only I could factor out sea-level 😉 )

2) If you parent the soundlayers, or the mics to a null or a camera or whatever, the expressions have to be rewritten (toWorld…), because they assume worldspace co

[Filip Vandueren]

I made a new project with a 7.1 setup, lol
haven’t tested the final output, and my solution for doppler turns out to be not that full-proof: you’ll hear a sudden speed change to normal when the layer suddenly stops. Easing helps.
But anyway, that doppler thing is easily switched off by turning off the time-remapping-expression

Here’s the new project, it works with a “select mic” layer, so you can hear/render one mic at a time, and it’s set-up in 3D,
I’d love to hear some feedback if someone winds up doing a monitoring test. (well not actual feedback 😉 )

https://www.vandueren.be/forumstuff/doppler/sevendot1.aep

some tips for testing:
1) to choose a “speed of sound”-value: (only needed fpr the doppler effect)
imagine at what speed your layer is moving, for example 36 mph.
Look at the pixel-speed, for example: 287 px/s
now google – no really:

speed of sound * 287/36 in mph
link:speed of sound * 287/36 in mph

and that’s your physically accurate speed of sound in pixels/second (now if only I could factor out sea-level 😉 )

2) If you parent the soundlayers, or the mics to a null or a camera or whatever, the expressions have to be rewritten (toWorld…), because they assume worldspace co

[Filip Vandueren]

Does that mean all plugins can use similar functionality, or do they have to be coded that way.

For example, If I use the “set channels” effect and reference a layer that’s blurred, will I get the blurred channel without precomposing ?

[Filip Vandueren]

Does that mean all plugins can use similar functionality, or do they have to be coded that way.

For example, If I use the “set channels” effect and reference a layer that’s blurred, will I get the blurred channel without precomposing ?

[Filip Vandueren]

Hey BB,

not sure what you used for the explosions, but perhaps you could make them a bit more dirt, sand, grass and gunpowder, and less kerosene and plasma-core 😉

It’s a bit over the top + it contrasts even more because of the orange color. if you can get them more monochrome, it will probably also heighten the impact of your ending: the logo will be the first use of color we see.
But get a less effects-y way to introduce the logo. perhaps a dissolve of the elements one by one can be enough…