Kalleheikki Kannisto
1
COW Coin
Forum Replies Created
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A pretty simple way would be to use your typing expression for the part being added and two other text layers for the text before and after. These three layers would be hidden. Then combine the three into a fourth text layer’s source text with pickwhip, adding + in between each.
Kalleheikki Kannisto
Senior Graphic Designer -
Element 3D has issues when either the Element layer or the lights are moved from their original starting time in the timeline. Try to avoid doing that and you’ll be much happier. Includes trimming the beginning of the comp or the beginning of the layers. It is better to use light brightness setting if you want to turn lights on or off when working with Element.
Kalleheikki Kannisto
Senior Graphic Designer -
I’m afraid there’s no easy solutions apart from getting a different piece of footage where the bells are swinging.
If you have to use that specific bell tower, my inclination would be to find a video clip with a similar-looking bell that is swinging and composite it with this. It may prove to be quite tricky.
Another, rather far-fetched, option would be to find a small bell that looks similar, film it yourself on green screen and composite it.
Then again, if the bells are as dark as they appear here, where you don’t really see the interior shading, you might get away with faking the motion with a subtle warp in addition to scale and slant. Not that that’s gonna be too easy either.
As Blaise points out, the best result will require a 3D plugin or program. And that’s a whole subject in itself.
Kalleheikki Kannisto
Senior Graphic Designer -
I can only think of a rather complicated solution which involves measuring the individual letters widths one by one outside of the timeline. It is bound to be slow if done that way. Perhaps it would make more sense to measure the letters beforehand and create a table from which to calculate the actual length of the line based on characters and their widths with an expression. The kerning values would likely have to be approximated, I don’t know how that is implemented in AE.
Kalleheikki Kannisto
Senior Graphic Designer -
!=means “not equal to”Kalleheikki Kannisto
Senior Graphic Designer -
So you want the entire background to be redrawn on a bass drum hit?
That would be something like this.
1) Emit all particles at once, during one frame, at the beginning of each second, with a life of 1/25 of a second. So, if you have a frame rate of 25 and want 25 particles, that would be 25×25 = 625particles per second. This way you will have a comp where the background changes every frame. Precomp that moving all attributes.
You might want to consider at this point how many different background you actually need. Every second of footage gives you 25 different backgrounds. I would settle for 100, which would be 4 seconds — adjust precomp length accordingly.
2) Prerender that precomp. (You cannot time remap a Particular layer.)
3) Generate SoundKeys trigger output for your bass. Use 0-1 range and “instant” fall off.
4) Generate second output with same range with trigger set to 0-1 but with “none/integrate” fall-off. This way every bass hit will add to the previous value.
5) Time Remap the prerendered background footage layer. The following time remap code will use these two Soundkeys outputs but ignore cases where the output stays at 1 on consecutive frames. Also, if you’ve made the footage shorter, say 4 seconds, you will need an expression that gives you the modulus (remainder of division) of 4. That would be:
if(thisComp.layer("SoundKeys").effect("Sound Keys")("Output 1")==1){
n=time;
while (nLeave out the %4 if you don't need to circulate in the first four seconds.
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Note: Time remapping a layer and then applying an effect to the same layer will NOT time remap the effect. The effect needs to be inside the time remapped precomp, not applied at the same level.
Kalleheikki Kannisto
Senior Graphic Designer -
Have you tried the Optics Compensation effect?
Kalleheikki Kannisto
Senior Graphic Designer -
Make the particles large enough, blur them and then use the curves adjustment on the alpha channel to “blobbify” them together.
Kalleheikki Kannisto
Senior Graphic Designer -
I would use the emit at bounce event of the aux particles. If the aux particles are set up the same way as the main particles, they should look the same. I’ve used that approach to change the color of particles on bounce, matching other settings and changing the color of the particles.
If that doesn’t work, you could emit the particles behind the wall and use an obscuration layer as the wall, that way the particles appear only when they are through the wall.
Another option to explore is to use an emitter that emits directionally from a plane, skipping the original point emitter altogether.
Kalleheikki Kannisto
Senior Graphic Designer -
It’s been years since I used Painter, but it might work (in Painter) if you use clone as the color source for a wet brush and paint on a new wet layer.
Kalleheikki Kannisto
Senior Graphic Designer