[Filip Vandueren]

When you do a RAM preview, there’s a little frame-rate counter in the Info-window, if it turns red and says “NOT realtime”, your audio will be out of sync with what you you’re watching.

Try previewing in halfres if that’s the case.

[Filip Vandueren]

Hi Patryk,

the downside of using the wiggler is that it will introduce a different random motion, instead of a bit of your original camera shake,

If that’s not what you want, try this:

after you’ve stabilized the shot add this expression to the Position-parameter:

precision= 50; // use a percentage from 0-100 % ,
position= ( value*precision + anchorPoint*(100-precision))/100 ;


[Filip Vandueren]

Hi Patryk,

the downside of using the wiggler is that it will introduce a different random motion, instead of a bit of your original camera shake,

If that’s not what you want, try this:

after you’ve stabilized the shot add this expression to the Position-parameter:

precision= 50; // use a percentage from 0-100 % ,
position= ( value*precision + anchorPoint*(100-precision))/100 ;


[Filip Vandueren]

If you just use grow bounds, you’ll get the same performance-issues: it needs to set up a huge 4000×4000 buffer.

There’s actually a movie/tutorial on the Trapcode site that deals with the problem and suggest several work-arounds, each with their own advantages and disadvantges:

Shine cutoff (How to avoid having the rays cut off)

perhaps in your case the adjustment-layer approach could work.

greets,

Filip

[Filip Vandueren]

Hi Kim,

If both layers were fully opaque to start with, there’s no need to do it for the bottom layer too.
Because at a input value of 50% grey,
both layers would be at 50 % opacity, wich does not add up to 100%

And here’s a faster way;

• Get the three layers situated in your file
• make only layer C visible
• switch to channels and command-click on the RGB-channel -> turns the grayscale equivalent into a selection
• hide layer C, show layer A & B
• Select layer B (you should still sea the ‘marchin ants’ of your complex selection.
• click on the layer-mask icon -> it automatically creates a layer mask that’s equal to the current selection

If that’s wrong, you should invert the mask.

[Filip Vandueren]

Sorry for all the animated GIFs

It’s staring to look like a 1994 website 😉

[Filip Vandueren]

Hi Doug,

basically it’s just two copies of a square solid (100x100px) with a ramp filter.
Set the ‘Ramp Shape’ to ‘radial ramp’,
and the ‘start of ramp’ set to the middle of the solid (50,50 in this case)

You could also make a radial black to white gradient in Photoshop.

so you’ve got two (or more) copies, set their modes to multiply (the comp-background should be white) and animate them.

that gives you something like this:

I added an adjustment layer with a brightness-contrast-filter.
I often use brightness-contrast with a very high contrast (93-98%), that way it gives you a softer kind of anti-aliased threshold-effect.

So only the grey values that are dark enough show through, because of the multiply, when the two circles get nearer, the pixels in between get darker too, so when they reach the threshold, a connection between the two is visible.

here’s another variation using blurred text and a radial gradient.

I’ve included the project file for the blobby text: blobtext.aep

it just took a few minutes to tweak the blur-level, brightness-contrast setting and opacity of the layers.

[Filip Vandueren]

Just an idea,
I haven’t tried this, but could you mix in the same footage from 1 or more frames earlier and applying a ‘lighten’ transfer-mode.

[Filip Vandueren]

Take a look at this:

It’s this:

with Contrast = +95

just two soft circles multiplied.

[Filip Vandueren]

If you’re on a MAC Graphicconverter does a much faster DPI setting batch.
But I agree it’s an Italian Sausage request (I don’t know how to spell balony ?)

the 72 vs 96 dpi is a Mac vs PC issue that affects fontsizes on the web, so maybe the boss thinks that the video will look too small on a PC or something like that.