[Gustavo Saliola]

Hi Dan! As usual, and trough time, thanks for your kind and resourceful answers! In my case, I’m trying to parent paint clone strokes “clone position” and “position” to a null’s position, but maintaining both actual values, so I don’t have to manually adjust the paint work done.

I know in my gut that it can’t be too difficult, but having googled for 2 hrs. and found myself here again, I think there’s hope.

[Gustavo Saliola]

Thank you Dan! Twice in the same day, and many years later, you solve another one for my project needs. This time, an array of bubbles with photos that rotates like swirling as a group, but maintains it’s horizon individually.

[Gustavo Saliola]

Hi Dan! (And sorry for the slightly off topic) I’m working on a 3D After Effects project where i need to trigger a precomp (Let’s say a glow/burst of light FX) in the same place and time that a 3D layer (avatar/bubble) pass through a big 3D layer and disappears. I know Particular allows that, but i’m already using it and want to make it this sequence as light for the system as possible. Is there an Expression/Script/Plugin for that?

I hope you’re well and thanks.

[Gustavo Saliola]

Thanks Darby! 14 years later, this one solved me a problem with a current mograph project. Needed to show a virtual space with “hundreds of far and tiny instagram profiles” which really only 12 exist. So made a small 9:16 precomp with (those) 12 frames and assigned as Sprite in Particular, with the Time option “Random – Still Frame.”

[Gustavo Saliola]

Hey Roei! It’s nice to “meet again” here, for the same mask issue with Adobe After Effects, a few years later! I’m working in a project which needed this! So, thanks The Cow!

Hope (all of) you’re safe in this times.

[Gustavo Saliola]

Yes indeed, Dustin is right on point with the request. It would be not only good, but great to be able to use the camera data resulting from tracking for stabilization purposes. And no, the stabilizer doesn’t always solve everything. I’m not getting good stabs in a long crane shot that due to a long arm, it shakes and sways in irregular ways than confuses the stabilization, in each mode tried (warp, position/scale/rotation).

And for the record, Blaise, this is my 2nd day on this shot and prior to this, 2 more days in mocha stabilizer module with better results but unable to paste correctly the data in AE (Getting parallax errors and crossed corner pins).

So Dustin, make the request, i’ll second you.

[Gustavo Saliola]

I’m sure it’s a good solution, but it’s time for Adobe to address this and be in the real game like Mocha.

Every post in their request forums is a chance to be heard. Please write them!

Thanks.

[Gustavo Saliola]

Hi Roei! I’ve written too! Hope it gets addressed ASAP!

Long Live Post Production!

[Gustavo Saliola]

Hi everyone! Let’s go step by step, from last to first.

The right call is in Roei Tzoref. Is the best example of show how Adobe is wrong or lazy with this issue and how Imagineer with Mocha is right and solved it with the right programming.

The UBER KEY mode.

I use it in a daily basis and it’s GOLD. It offers me the chance to modify ONCE a unlimited vertex points and this to be applied to all remaining keyframes WITHOUT changing all by hand.

By 2017, seems to Adobe had not cracked yet.

This is the issue i think this post is all about, and the goal that Dave LaRonde was not understanding (Correct me Dave if i’m wrong).

[Gustavo Saliola]

Thanks Bryan. Normally, i use all of the methods described by you (Mocha, multiple tracks). This time is just a wish for commodity. It’s so simple that i’m sure there’s and expression for that. As i said earlier, a simple expression that maintains the original brush/clone position, but moves linked to a null/position.