[George Goodman]

Looks like a frame by frame hand drawn/painted animation. I’m afraid there’s no easy way to achieve it, just a lot of manual work. For alternatives, you can always look at animated fonts. These guys are pretty awesome: https://animography.net/

“|_ (°_0) _|”

Sincerely,

George

http://www.vimeo.com/georgegoodman
http://www.linkedin.com/in/georgefranklingoodman

[George Goodman]

I’ve oddly had this happen to me too when I reuse adjustment layers. I’m not sure what’s going on, but it just seems to create a white solid rather than applying the effect. I’m assuming its just a bug. I’ve gotten around it by creating a new adjustment layer each time. I’m guessing you’re using a feathered mask on the layer and thats why it looks like it has a gradient – so just copy and paste that mask to the new adjustment layer.

“|_ (°_0) _|”

Sincerely,

George

http://www.vimeo.com/georgegoodman
http://www.linkedin.com/in/georgefranklingoodman

[George Goodman]

You could type out 10 (or so) different text layers (each one frame long) so that each letter was shifted one space to the left, precomp it, then use a loop out expression with time remap.

“|_ (°_0) _|”

Sincerely,

George

http://www.vimeo.com/georgegoodman
http://www.linkedin.com/in/georgefranklingoodman

[George Goodman]

I would think the secret is in levels and curves. Notice that the blacks aren’t crunched all the way down to full black and the whites arent full whites either. also, the mids seem to be occupying a pretty similar space so that they are all pretty close to eachother without too much contrast. I dont think there is much color work done other than just getting the natural colors that were already there.

“|_ (°_0) _|”

Sincerely,

George

http://www.vimeo.com/georgegoodman
http://www.linkedin.com/in/georgefranklingoodman

[George Goodman]

Ya, use this:

https://aescripts.com/save-comp-as-project/

Rather than importing an entire project, go into that project, select the comp you want and this script will save only things used in that comp into its own project.

It’s pretty freakin sweet.

“|_ (°_0) _|”

Sincerely,

George

http://www.vimeo.com/georgegoodman
http://www.linkedin.com/in/georgefranklingoodman

[George Goodman]

Yes, you can do this with expressions. Just change the names of the comps and cameras in the expressions appropriately. You’ll have to link whatever attributes you intend to change. Put these expressions in the precomp cameras that you want to follow the main comp camera

Point of Interest:
comp(“MainComp”).layer(“MainCompCamera”).transform.pointOfInterest

Position:
comp(“MainComp”).layer(“MainCompCamera”).transform.position

Orientation:
comp(“MainComp”).layer(“MainCompCamera”).transform.orientation

X rotation:
comp(“MainComp”).layer(“MainCompCamera”).transform.xRotation

Y rotation:
comp(“MainComp”).layer(“MainCompCamera”).transform.yRotation

Z rotation:
comp(“MainComp”).layer(“MainCompCamera”).transform.zRotation

If you are changing other camera options, you’ll have to put an expression for each. The easiest way to do this is to have both timelines visible, open up both cameras, option-click on the child property you want to link, then use the pickwhip and drag it to the parent property.

“|_ (°_0) _|”

Sincerely,

George

http://www.vimeo.com/georgegoodman
http://www.linkedin.com/in/georgefranklingoodman

[George Goodman]

I often use an open pen shape with a stroke and the trim paths animator as a track matte for revealing stuff, but I’m not sure that is the best method for you. You probably don’t want to reveal straight lined edges, something more organic would be better I imagine. The paint brush tool might be the ticket.

If you were going to do it with a pen tool and use trim paths, you would probably want to overlap the line somewhat and also use an offset paths animator. This way it would continue growing.

Again, there are a lot of ways to approach this, I would just do whatever you are most comfortable with.

“|_ (°_0) _|”

Sincerely,

George

http://www.vimeo.com/georgegoodman
http://www.linkedin.com/in/georgefranklingoodman

[George Goodman]

I think your basic concept is right, but there are a couple of ways to go about it.

If you’re not doing a green screen, consider using the roto brush to separate the actress from the background. Then you could use a mask or trackmatte for your color layer.

One thing that I think would help sell the effect would be if the colored area was continuously growing, even if it were ever so slight. It would feel a little more alive this way.

Hope that helps.

“|_ (°_0) _|”

Sincerely,

George

http://www.vimeo.com/georgegoodman
http://www.linkedin.com/in/georgefranklingoodman

[George Goodman]

Thanks Jeff – I’ll definitely check that book out. I’ve needed something new to read for my commute anyway 🙂

The improv group is a very unique idea – I love it! The foundation of improv being that you always go with it and never refute definitely seems like a good way to give an idea the chance to float before sinking it. I know some of the best ideas don’t sound so great until they develop. That said, I assume we’ll have to establish some type of natural rhythm to decide when to send an idea to its grave.

For others interested, I’ve also found this to be a pretty good resource:
https://www.adcracker.com/brainstorm/Brainstorming_Techniques.htm

I haven’t checked out any of their tools yet, but if anyone has experience with them, I’d be interested in hearing about it.

Thanks again!

“|_ (°_0) _|”

Sincerely,

George

http://www.vimeo.com/georgegoodman
http://www.linkedin.com/in/georgefranklingoodman

[George Goodman]

Thank you Mark, I think that’s very valid and insightful.

“|_ (°_0) _|”

Sincerely,

George

http://www.vimeo.com/georgegoodman
http://www.linkedin.com/in/georgefranklingoodman