[Kalleheikki Kannisto]

This is how I read it:

cnt = number of layers used for the tunnel, as set by a control (likely a slider)
indexoffset = the first layer used (assuming there are layers that you don’t want to include as tunnel layers), as set by a control
idx = layer index (which AE generates internally) minus indexoffset
tunLenght = tunnel lenght; how many layers make up the tunnel (set by control)
spd = speed at which the layers are moved along z axis, one length of tunnel in seconds (set by a control)
tunFrames = how many frames that one length of tunnel takes to travel
fps = frames per second
zOffset = how much to offset along z-axis for one frame

The main calculation is then done in this part:
z = - zOffset * ((timeToFrames(time) % tunFrames + spd * (fps / cnt) * (idx - 1)) % tunFrames);
Which calculates the modulus of full tunnel lengths traveled, i.e. subtracts the number of complete tunnel lengths traveled.
This is then returned as final position value transformation (change to current value):
transform.position + [0, 0, z];

[Kalleheikki Kannisto]

No plug-ins are necessary, but to get this effect you need to use 3D layers.
The round tunnel can be made with CC cylinder, the angular tunnels can be constructed from 3D planes, four planes for rectangular, six planes for hexagonal etc.
In all cases you’ll need to precompose the animated audio visualization onto the 3D layer (whether plane or cylinder). The animation moves along the planes, the planes themselves are stationary.
A wide angle lens (15 mm) will give it depth like that seen in the template.

[Kalleheikki Kannisto]

Hi Luke,

I don’t know if there are any tutorials for the optics compensation method. It just came to mind trying to think of any built-in effects that could be used.

The next relatively good option for creating a spherical warp with built-in tools is mesh warp (plus a circular track matte to make it appear perfect).

A more complex option is to use an animated displacement map (at 16 bits), but it would take me hours to figure out exactly how that would be set up.

I also tried the method of enlarging the CC sphere radius while decreasing the map size — it ends up looking essentially the same as optics compensation, but is more difficult to do. And it doesn’t go all the way to a flat map.

In any case, I believe the key is to come up with of a good way to animate a plane wrapping into a sphere rather than the other way around. There are several ways to do this, not sure what is the best for you.

[Kalleheikki Kannisto]

Mesh expansion and/or resolution (number of triangles) is inadequate for the purpose. Turn on mesh so you can see it and then adjust expansion and triangles until the mesh covers the cut-out character in full. These options are right in the tool bar next to the puppet pin tool when it is active.

[Kalleheikki Kannisto]

For the flower I suggest separating the stems and animating them up, then scaling up the flower parts in the end from (near) zero to 100%.

Expressions that use CC Bend to bend the flowers might create a suitable undulating effect. You want to make the expressions take into account the position of the flower and perhaps use a sine curve so that they undulate in waves, not all individually out of sync.

[Kalleheikki Kannisto]

Understanding composition, contrast, color harmony and color association, perspective, rhythm, art motif, center of attention, etc. is more important than the ability to use a specific software if one wants to create a professional result in any visual field: photography, illustration, layout, cinematography or motion graphics.

Software skill is secondary to design ability.

[Kalleheikki Kannisto]

Looks like they’ve simply used an animated mask on the right edge of the tree, revealing the second shot.

You could also add the tree as an image (or whatever you have going past the camera) on another layer if you don’t have anything suitable in the original footage, and animate it to hide the transition mask. The speed of the (tree) element may be different depending on your shots: whether it is a pan or a dolly shot.

Other than that it is a matter of making sure the two shots match adequately (in terms of camera motion and color).

[Kalleheikki Kannisto]

Hi Abraham,

Great, thanks. Will do.

Kalle

[Kalleheikki Kannisto]

Use the Optics Compensation effect instead of CC Sphere.

[Kalleheikki Kannisto]

(In After Effects) Make a copy of the footage layer, draw a tight mask around the time code (taking into account how much it shifts) and apply Median filter, 6 pixels or so.