Kalleheikki Kannisto
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COW Coin
Forum Replies Created
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(With a sample image open) Record an action that crops the 4:3 image to 16:9 proportions (set canvas size height to 75%, width 100%).
Use File>Automate>Batch… to run this with a set of files (all files in a specific folder) and output to a different folder.
“How to use Batch” details here: https://howto.wired.com/wiki/Batch_Process_Images_in_Photoshop
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From the looks of it, your circle is not in the center of the square, so if they have a common center point, it is off-center. If you select the circle layer, you should see the anchor point, which is the point the layer rotates around. You can move it with the “pan behind” tool.
Alternately, you can draw a new shape layer for the dotted line from the center point holding ctrl+shift (for drawing from center and constraining proportions). A shape layer Stroke has Dashes option.
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Should be as simple as three or four solids with these colors using feathered animated masks.
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The only way I know to accomplish this is to use an anchored object aligned to the page edges. Meaning you would make another text frame (probably on another layer so as not to interfere with the rest of the layout) insert your graphic there as an anchored object and set it to align to page bottom and spine + offset down by your bleed amount. Then it will automatically shift to left and right from the spine. It’s a bit of a hassle to set up, but you can then store all those settings as Object styles for a couple of different scenarios depending where on the page the object is.
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If you’re not concerned about rotation, you want to track just one stable point at the neck in both pieces of footage, the tie is probably the best option. For the overlay (new head) footage, use the tracking data to stabilize it around that point, then in the main comp, use the tracking data to move the new head layer around with the body.
Mask close to a natural break point, like right outside the collar, just enough to cover the earlier collar. I’d leave the original shoulders, as they won’t match up if the person moves their arms.
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Effect>Text>Numbers would be the simplest way to do it. Animate the value from 500 to 486 with keyframes.
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You probably already tried Flash then?
Another Particular-based option occurred to me: How many points maximum are born at the same time (in the same frame — the same “day” or whatever your minimum time frame is)? If it is a manageable number, you could have that many Particular Emitters being controlled by expressions reading your table data for position and size, emitting one particle for each frame (up to as many particles as are born for that frame) and moving to a new point at each frame.
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I would think you’d have to go about it a bit differently. You’d want to compare the 3D position of the camera to an ideal (linear) interpolation between its beginning and end positions (at beginning and end keyframes) and use this value for time remapping to remove the difference. Pixel Motion frame blending could work for creating the in-between frames.
That’s my first theory.
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I can think of many ways to accomplish this, but I don’t know what it currently looks like (in motion) nor the look you are going for so it is difficult to give you a definitive answer. Too many questions: What does the background look like? The Wiggle expression moves the things in a smooth manner, so what do you mean by “jumping” around all over the place? Are the text layers 2D or 3D? How fast does the text move, how far, etc. etc.? A sample clip would clarify the matter.
I would expect the 7 text layers to move smoothly around — especially if you can still read them. If the pieces of text move all around the screen smoothly and randomly, you can’t really avoid the situation where they overlap.
In any case, my first idea would be to add a black background with a soft edge to each piece of text so that when it goes in front of some other text, the other text gets obscured and you can read the front text clearly. Even a semi-transparent background would help it. Actually, even a drop shadow effect might work.
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Sounds like you will need a particle system. Do you want to display the same item at each location at specific times and scale?
Not that I have done anything with this amount of layers, but one possible route to investigate is Plexus with nulls. I haven’t used Plexus, but from what I’ve read, it should be able to place particles based on nulls. I would assume that 50000 nulls takes much less toll on the system than 50000 comps. A null could be born at a specific time and location and have a scale. Then if you can have particles on a single Plexus layer be based on the nulls, that might work.
…of course there is still the scripting question of how to get the nulls created automatically.
Anyways, might be worth a try creating a comp with 50000 nulls and see if AE still responds fine.