Kyle Hamrick
Forum Replies Created
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The above suggestions may work, but really, this is a good example of why you should be working with a preview monitor. Thin lines and TVs just don’t get along very well – that’s just the nature of the beast, unfortunately.
Also, you realize that your text is outside the safe zone, right? You’ve got the overlay on, but it doesn’t seem like you’re using it…. You need to move your entire lower graphic up so all the text stays inside that inner rectangle.
Kyle Hamrick
Editor/Motion Graphics Artist
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Check out Dean Velez’s demo AE projects. He’s got one that’s all water-related stuff, and off the top of my head, I’m pretty sure this is one of them. Plenty of other good stuff here too!
https://theanvel.com/free_aeps.php
Kyle Hamrick
Editor/Motion Graphics Artist
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I’ve done something similar to this before, where I duplicated the layer and used an actual torn piece of cloth/paper as a track matte, using the appropriate transfer mode for each half of the object. I then precomposed the two halves of the logo so the page turn would use them correctly.
I can go into more detail if you need it. Hope this was helpful!
Kyle Hamrick
Editor/Motion Graphics Artist
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The Effect Essentials plug-in “Camera Flash” obviously does a fine job of this. Of course, you gotta buy it….
Kyle Hamrick
Editor/Motion Graphics Artist
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Some of them aren’t a major investment at all. You can get a new 4×5 Graphire4 for only about $75-80. Sure, that’s not a huge area for freehand drawing or anything, and the higher-end models have better sensitivity, but it’s definitely a good place to start. Even with a relatively small writing area, you’ll appreciate the WORLD of difference between that and a mouse. As some people like to say, using a mouse for graphics is like trying to paint with a bar of soap.
I’ve been using a 4×5 graphire (almost exclusively) both at home and work for the past two years. My wrist is much happier, and I LOVE LOVE LOVE using it. Obviously, if you’re wanting to be able to come closer to freehanding stuff, you’ll probably want one of the more expensive models, but if you’re just looking to see if it will help you be more precise and faster in your graphics programs (which it definitely will) I would HIGHLY recommend checking it out.
Kyle Hamrick
Editor/Motion Graphics Artist
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Can’t make promises about being royalty free, but they’re free free.
Kyle Hamrick
Editor/Motion Graphics Artist
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Draw a mask down the center of your layer where you want the crack to be. Close the mask so it encompasses the whole half of the layer. Duplicate it (CTRL+D), then set the copy’s mask to Subtract. Your layer should look whole, but now you’re got two pieces, which you can easily move independently.
As far an animating the actual crack, you could simply move the layers’ anchor points to the bottom of the crack, then rotate them slightly away from each other. Or, you could apply a Stroke to one of the layer masks, and use it to sort of trace over the area of the mask that makes up the crack. I can think of about five other ways to do this, depending on what you’re actually wanting to do.
Once you’ve gotten your crack animated, simply keyframe the pieces moving away from each other, then use the Shatter filter when you want them to shatter.
Make sense?
Also, what Ian was referring to was splitting the layer at the time they actually separate. SHIFT+CTRL+D splits a layer. Then you’d duplicate that new later section of it, and do exactly what I said above. That’s the ideal way to do this, so your computer isn’t having to render both copies of the layer all along. Do as you please.
Kyle Hamrick
Editor/Motion Graphics Artist
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Those IT guys like to feel like they’re in control of everything. If it’s anything like my office, they’ve got everyone’s administrator priveledges locked away, so you can’t install anything without their permission anyway.
So very efficient…
Kyle Hamrick
Editor/Motion Graphics Artist
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Depending on what you’re doing, a quick (and cheaper) solution could also be to simply make several duplicates of your stroke layer, and push each one 1 pixel further back into Z space. Just make as many as you need to give it the desired depth.
You could even decrease the brush size as you get further from the “home position” if you wanted it to taper on the Z axis.
Kyle Hamrick
Editor/Motion Graphics Artist
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Depending on how close to the effect you’re looking to get, if you’ve got access to a blue/greenscreen, I think you’ll be able to replicate this to a satisfactory degree. If you can have your actors wear high contrast clothing you can key them out, then make them into silhouettes, but with a little definition – like how you can see buttons and zippers and such on the band’s jackets. I don’t really know about the faces – who knows – depending on what you’re going for, you could give them some high-contrast makeup as well, then you could have mouths at least. Can’t really think of a way to do the eyes without actually animating them on…
Perhaps some combination of the above with Aharon’s cartoonification?
Kyle Hamrick
Editor/Motion Graphics Artist