Greg C neumayer
1
COW Coin
Forum Replies Created
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When I run out of memory and get too artwork heavy for AE to import (if that’s your problem),
I either have to break the file up into multiple files,
or I try to find a way to procedurally recreate duplicates (i.e. duplicate trees that are randomized may be able to be randomly placed in AE using a particle generator or a script) -
Thank you.
Even after your guidance, it’s still convoluted and not intuitive. Even in v. 2015.2 it takes multiple clicks that aren’t productive to get what I need, and then I still need to stop and ask myself, “Let’s see, which of the 3 bounding boxes that I’ve memorized is this?”I’d rather make a skinny mask on a solid!
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This just saved my bacon! I got an hour in and forget to save my project!
Worth the $10. -
If you’re working with 3D objects and z space, you can simply adjust your z (depth) position to keyframe the right depth position over time.
When I need to do this but want to stay in the 2D world, I usually get the objects doing what I want to do in XY space, then split the layer (CMD-SHFT-D) and put one of the half-layers beneath the layer of the object I need to pass behind.
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Ignoring the large circles for a moment, could you set up (in Particular) a grid emitter with 100 x points and only 1 y point? Then, use a by-directional emitter, or just run two copies with one flipped. Depending on how you want the particles to react, you could use Air to slow them down after emission, Wind (or just Velocity) to give them a constant velocity, or Gravity to have them speed up.
For the large ones, you could create another similar Particular instance to handle those.
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LOL. Yeah, I recently (1/16) started using this 13.7 release. It works well for me, and I do like the new improvements to ram previews. Overall, general rendering seems faster as well, despite feeling like I’m missing something because I don’t see the familiar “multiprocessing” any more.
But the previous version from Summer ’15… whew. Yeah, that one wasn’t even usable for me. No visual render update, no “hand” tool on a 2nd monitor, etc. It’s much improved since then.
I’m sure it’s not easy for Adobe devs who have to balance firm “release dates” with cross-app compatibility. Concurrent suite releases likely make it easier to design cross-app features, but I’m sure it creates a dis-incentive for just pushing stuff out the door, ready or not!
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I’ve drifted to the following habits over time:
Project Window:
Only expose Comps that will be rendered. They all start with “_main”. This helps others (or me– 3 years later) navigate the project.
Keep everything else in folders, “MUSIC, VO, AI, and a catch-all: COMPS”Timeline:
I like to give masks a fuchsia color/label. Things I’m not using but want to keep around are “none” labelled.
I group related animations by color, just to help me grab them all when needing to add just 10 frames of time to something before the next sequence.Finder:
–I call files, “ProjectName_1” so they increment correctly. I increment anytime I feel like it, or always if I’ve sent something to the client.
–Any renders that are for approval/comment are work-in-progress: “wip1_ProjectName.mov”.
–Any re-renders of the same file (like failed renders or prematurely quit) are “wip1b_ProjectName.mov” I add the b,c,d letter to let me know that it’s just a re-render of the same file. This allows me to avoid the frustrating “file-busy” errors, or simply keep track of permutations that may be only output-module specific, when there were no actual changes to the AE file.
–Anything approved and delivery quality uses “r” for “render”. e.g: “r1_ProjectName.mov” This makes it easier for things to alphabetize, and when the project is done, I can safely throw away anything using “wip”.
–Projects are in a ClientFolder (inside Dropbox), and are labelled “2016.2_ProjectFolderName” This keeps all my projects chronological.
–Projects that have been “Collected” get a green finder Label dot.Never:
— use “final” or “approved” in names. Everything is simply incremented, and can easily be revisited.Collaborating:
— Projects that get sent to associate/subcontractors get a .dot increment to the naming until they come back home. For example, I start a project, “myProject_1”, incrementing until “myProject_4”. Then I send it to a subcontractor who also works on it. They save it as “myProject_4.1”, “myProject_4.2” etc. When it comes back to me, I take “myProject_4.3” and promptly rename it “myProject_5”, then “myProject_6”, etc.I’m sure there are other things I do that I haven’t thought of. I’m interested in picking up some tricks from you all!
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It sounds like you’re simply asking about linking amplitude to scale.
If so, try this tutorial by Dan Ebberts:
https://www.motionscript.com/design-guide/basic-audio.html -
Sweet. A post from literally 11 years ago answered my question!
Yeah, I was looking for something that would replicate that “long shadow” look that wasn’t even popular when this post was written. Note that the Trapcode effect is called “Starglow” (Shine is a different one.)
Trapcode, want to make an easy buck? Repurpose Starglow for a “long uni-directional shadow” effect. My only feature request would be to give us a 360 directional controller instead of constraining to Up, Down, Down Right, etc… A “add grain or texture” feature could also be cool. But this is a great way to play around with multi-colored shadow effects.
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Just to update my post…
50,000 data points turned into comps kills AE (which wasn’t surprising). I don’t think a comp can really manage more than a couple hundred items, so I’ll need to find another solution there. AE may not be the best tool for this job…