[Graham Quince]

Is Collapse Transformations checked on the precomp ? It looks to me like the black solid in the background of the “race track” example is larger than the comp it is in and as a result of collapse transformations it is appearing uncropped.

Simplest solution would be to mask the comp, but as you are asking about Set channels, then I’d need to see the settings on that effect to tell anything further.

[Graham Quince]

If you toggle the Mask and Shape Path visibility switch in the comp window, it should highlight where the 2D plane is. It’s a little odd, but my guess is they are both just off the stage.

[Graham Quince]

Just tried it. Having the layers all selected and hitting F then trying to change the feather only works for the top layer that I’m adjusting.

But if you select each mask feather property instead then you can adjust multiple properties at once. I don’t know if this is something new as I hadn’t tried to adjust mutliple feathers before.

[Graham Quince]

This is going a bit further than you might want, but this is the sort of thing CC Particle World can do:

https://youtube.com/shorts/jdzG2LeKKzw

Tutorial: https://youtu.be/OCVZ9HA5DUo

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[Graham Quince]

Hmm, I think it might be that the creator converted the text to shape layers then animated them to appear. The reason I think that is the slash of the N animates in on its own. I can’t think of a text animation that does that.

[Graham Quince]

Recently, whenever I’ve struggled with keying, I’ve found that rotobrush solves the problem for me. Combined with Key Cleaner and Advanced Spill Suppressor, it’s given me a better key. No good for hair of course, but that’s not something you’re worrying about with your shot.

[Graham Quince]

But you can set keyframes for it. The stopwatch is right there

[Graham Quince]

Maybe Trapcode Shine’s fractal noise isn’t based on a loopable value (is this something you know should be there?).

Looking at the available properties, Evolution speed is probably the closest equivalent. So you could set keyframes and then add an expression like:

loopOut(“cycle”);

Which would get your keyframes to repeat, or you could go for:

loopOut(“pingpong”);

Which would see the speed bounce between your two keyframe values, or lastly:

loopOut(“continue”);

Which keeps the value increasing, but by moving the keyframes along the timeline lets you set the speed.

[Graham Quince]

Hard to tell without looking at your set up, but you could try using the Levels or Curves effect to boost the brightness.

[Graham Quince]

You should be able to use a track matte pointing to one layer, which means you would have to precompose the foreground objects, or you could check out the Set Matte effect – applied that to your light rays layer, then point it at your foreground objects.

Set Matte works quite well, but you may run into an issue where the 3D space does not line up with the 2D layer. In which, I’m back to suggesting a precomp. You could use a script like Video Copilot’s 3D Precompose which keeps your camera linked across both comps.