Kalleheikki Kannisto
1
COW Coin
Forum Replies Created
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Is that actually the code you are using? It would create a path that is one pixel long.
Kalleheikki Kannisto
Senior Graphic Designer -
Scaling the layer results in that problem. You can fix it though: Create a new null object, parent your current null that follows path to it and scale the parent null. Once the right size you can unparent and remove the extra null.
Kalleheikki Kannisto
Senior Graphic Designer -
The first one is using a pond ripple effect plus some other blurring and levels. The second one is using text animators (possibly a preset with an expression selector to move one letter at a time) with an overshoot. Both can be done without plugins.
Kalleheikki Kannisto
Senior Graphic Designer -
Can you share an example (video) of a scene with this problem with the type of camera move you are doing? Seeing what you are dealing with might prompt other ideas.
Kalleheikki Kannisto
Senior Graphic Designer -
There are two options in Particular to prevent this. One is making sure that the particles are not so close and do not move in such a way as to cross over each other in the z space. This is what I use mostly. Often works better with the camera set to a tele lens to shorten the apparent distance between the particles .
The other option is turning them into additive blending mode, which is not useful in the case of simulating solid 3D objects with 2D particles.
Stardust can prevent 3D objects (not 2D) going through each other if you use physics collision. I’m pretty sure you could do a in-between solution by using a flattened 3D box (a plane with some thickness to it) and map your texture to it. This way the particles bounce off each other. Not 100% sure if you can retain the sprite-like always-facing-the-camera option when using physics, though, since I haven’t attempted this.
I find that Particular is easier to use. Stardust documentation is somewhat incomplete and some of the concepts — such as what is a physics effect and what isn’t — are inadequately explained. Combining both physical simulation and non-physical effects you can still end up with particles going through each other, as the non-physical effects are essentially post-effects added to physics simulation. But the physics simulation is very nice once you got it working. If you were using actual 3D objects, that would definitely be the way to go.
Kalleheikki Kannisto
Senior Graphic Designer -
I haven’t upgraded to CC2019, so I don’t know for certain, but I’m pretty sure it does. Works fine in CC2018.
If you want to try and do this without plugins, you can stack up four (or more) copies of the dot layer and motion blur the dots into streaks at different angles to make a star shape. Add a further blur and glow effect on top of each and animate the glow, blur and motion blur lengths to give the same appearance.
Kalleheikki Kannisto
Senior Graphic Designer -
You’ll need a version of your image/logo/text made of dots for the beginning part of the animation. Trapcode Starglow (rather than Shine) or Video Copilot Optical Flares can be used to create the star-shaped flares from the dots. Blow that out very bright and, in the background, fade in the final image/logo/text.
Kalleheikki Kannisto
Senior Graphic Designer -
Looking at the spec sheet the image matrix is 7:4 while the “display setting” is 4:3. My conclusion based on the result would be that 7:4 ratio image is what they are actually showing.
Kalleheikki Kannisto
Senior Graphic Designer -
Depending on how much the camera viewpoint (physical camera location as opposed to camera target) is moving, you can do one of two things.
1) Camera location relatively static but point of interest moves around: Put the masks on a solid layer and track the motion of the image to move the entire layer. Keyframe and adjust first and last frame masks to account for any perspective changes. Making the solid layer an obvious color (red) and 25-50% opacity will allow youto see through it while you adjust the masks. You can use this solid layer (put it back to 100% opacity) as a track matte for a copy of the original footage. That way you get just the buildings. You have four layers (from bottom): The footage, the 3D rendered footage, the footage and the track matte (hidden from view).
2) If the camera location is moving over a large distances so that the perspective is changing radically, you will have to do much more keyframing with the mask. You can do this on a solid layer like in option 1 if you need/want to track the motion of the camera. Or you can do this directly on the copy of the footage if the shots are very stable to begin with. But you will have quite a number of keyframes to set to make the mask move correctly. I generally start from the beginning and end frames and split the difference recursively, adding keyframes (if they are needed) between shorter and shorter spans of time until the shapes are reasonably well matched.
Kalleheikki Kannisto
Senior Graphic Designer -
It has something to do with moving the layers (either the lights or the Element layer) from their original position or extending the time line after applying Element. For some reason Element doesn’t like that. So you might be better off making a new comp with the final length and copying the Element effect to it and making new light layers with the same setting as the original.
Kalleheikki Kannisto
Senior Graphic Designer