Trapcode Particular has changed a TON since that tutorial came out. There’s actual wind and air physics now. Motion Paths are now like a displacer (as is the old wind [now called Drift] and the old turbulence field) where they push off from wherever they would be naturally based on their physics settings.

Anyway, that doesn’t help you – it just…

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If you have things in the shot that are moving, that makes it hard too. Mask out the car, dust in the air, etc. in a precomp so that just the ground and maybe buildings and whatnot are in the shot and try tracking that.

If you have a wide angle lens on the camera, getting a solid camera track can be tricky. I usually use Red Giant’s Lens Distortion…

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There’s a new feature in After Effects that makes tying the source point of an effect to null objects really easy. This video shows it off. (When the video was made, the feature was in beta, but it’s in the “shipping” version now.)

Did you upload the right video? I don’t see any ball.

Just based on your description, Trapcode Echospace lets you repeat a layer with offset animation and progressive transformation (that is, scale getting smaller), if you have Red Giant things.

If not, you could try Dan Ebberts’ https://www.motionscript.com/mastering-expressions/follow-the-leader.html

It’s very likely your professor is using an older version of After Effects. The composition presets were significantly pared down and reorganized relatively recently.

There isn’t a “simple” solution for this, but it is certainly doable.

The easiest solution would be Trapcode Particular which is a third-party 3D particle tool that I’ve been using for decades now. It’s the industry standard particle tool for AE users.

If you don’t have Red Giant things, you could probably do it with CC Particle World, but you’ll…

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You can use the map with height information as a track matte for the snow layer. Animate, say, a Threshold effect (with some blurring and maybe Fractal Noise overlaid) to reveal the snow.

It may be because you don’t have a graphics card. According to the requirements page, Magic Bullet Looks needs:

At least 2 GB GPU memory for HD resolution output and 4 GB GPU memory for 4K projects. GPU memory requirements are multiplied by the number of monitors attached

Since you only have the integrated graphics on your CPU, Looks might just not… Read more

When you initially apply Magic Bullet Looks to your clip, you shouldn’t see anything change. You first need to go into the effect controls and hit the edit button to adjust your effect.

Go back to VideoCopilot.net and re-download the plugin. They’ve put out updated versions that work with Multi-Frame Rendering.

That looks an awful lot like a creative use of Flex. Flex – aescripts + aeplugins – aescripts.com

I wouldn’t say it knocks my socks off, but Sketchify in Red Giant Universe can get some pretty nice looks. Depending on what you’re going for, it might be perfect paired with Universe Texturize Motion. (There are a ton of tools in Universe, so if you do get it, be sure to have a look at all of them so you can really get your money’s worth. There’s…

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For what it’s worth, you might not even need to work at that resolution. A LOT of films (including Marvel movies) usually work at 2k and then upscale.

Do you have the toggle to show masks and layer controls off? Try toggling it.

That looks to me like Film from Red Giant’s Magic Bullet Suite.

It’s not a preset; it’s a third-party plugin. Here’s a screenshot of it in use in an older project of mine.

You can find out more about it at https://www.maxon.net/red-giant/magic-bullet/film

That said, I usually use those film tools inside of Magic Bullet Looks because I also like…

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The Lens Distortion Matcher from Red Giant’s VFX Suite can do some magical things if you’ve got it. It’s extremely handy for working with wide-angle shots like you describe.

If you don’t have it, sometimes using Mesh Warp and manually creating the lens distortion grid can solve things, but it takes a lot of tedious work to match the distortion. Try…

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I’m really not sure what you’ve got going on in your project. Generally speaking, it is faster for AE to deal with pre-rendered things rather than having to calculate everything fresh.

That said, a lot can vary depending on what content you’ve got in your project, the storage your pre-rendered files are sitting on, and even what format you…

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Instead of painting and tracking, have you considered using Content Aware Fill for Video? It might work just fine. Alternatively, you could just grab a few stills from the video and use tools in Photoshop to make your clean plate (don’t forget to renoise!)

If it’s just a one-off, you can subscribe to RG for just a month which is really cheap for such a powerful collection of tools (while you’ve got it – might as well use Magic Bullet Looks to juice up your project too).

But, if not, you can try it manually with the Optics Compensation tool in AE or even more manually with Mesh Warp.

Drones tend to have wide angle lenses that can kind of mess with the camera tracker. You might try removing the lens distortion before tracking.

If you happen to have Red Giant’s VFX Suite, the Lens Distortion Matcher effect can not only do that for you, but, it can also re-distort whatever effects you’re adding to the shot to match the original…

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Remember, you have the Lite version of Cinema 4D included with your After Effects subscription. You could get pretty close to this with just the Lite features, I think.

When you migrate your Particular setup, it doesn’t work? If that’s the case, file a ticket with Maxon – they’re actively trying to fix migration issues.

That said, this should be fairly easy to do with using that same texture as a layer emitter.

CS6 saw the debut of the ray-traced renderer. If you had an NVIDIA card in your PC, it worked reasonably well. I don’t recall how it worked if you had an NVIDIA card in your Mac. Regardless, if you switch your comp to the ray-traced renderer, you can extrude vector shapes like shape layers and text (texturing it well might be a bit trickier). So,…

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Another way to do it without precomposing would be to place your paper texture at the top, use the people layer as a track matte for the paper texture and make sure you turn the paper texture back on. With the new Track Mattes in the latest version of AE, you have a TON more flexibility on where you put layers and the track mattes that affect…

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If anybody would it’s this guy: (142) Trapcode Fluids Particle Generator | FX Suite V2 – YouTube

Check out all of his videos – he’s got some tutorials that could point you in the right direction.

That said, if you’re not too tied to Particular, there are also other options like this one: (142) Cheap Tricks | Recreate a Druun Entirely in After…

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Have you tried putting all of your splines in a Connect object and then using that in place of the spline in the sweep object?

There isn’t one that I know of. There is Move Anchor Point 4 and Motion 4 from Mt. Mograph that both move the anchor point for you, but more to a specific point (center, right, top, bottom, etc.).

Motion 4, however, does a TON more than that. Very popular tool.

AE can export ProRes on Windows too.
C4D on Windows can read ProRes too.

Are you experiencing a problem with this workflow?

I don’t know what the issue is, but I do know Trapcode engineers are looking for folks in similar situations so they can chat with you. Message RedGiantNews on Twitter or Instagram and let them know you’re experiencing this issue and would be willing to chat with an engineer about it.

Oh, yikes. I’ve heard pretty nice things from some folks about running the M1-native version of AE. Too bad you’re missing out on that.

If you’ve got Red Giant Complete, then you have Real Lens Flares which works nicely on M1. It’s the brand new tool that actually simulates light going through a lens profile for more realistic flares. It’s a bit…

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What version of Magic Bullet Looks are you using? The latest update works on M1 natively without needing to go through Rosetta.

I know. I ran into this issue recently too. I’m very hopeful for Wednesday’s announcements.

That’s a known bug. It should be fixed in an upcoming release. Maxon has announced that this Wednesday, they’re introducing new stuff across all their tools, so tune in and see if there’s a new version of Particular. (If so, this fix should be in it!)

You would create a map to drive the displacement of the mesh and that map (which would be a precomp would just have a (feathered) rapidly expanding circle outline.

That’s just a particle trail with the particles having a tiny bit of movement and growing over life with (possibly) Roughen Edges applied.

Apply an expression to your keyframed parameter. loopOut(type = “continue”)

They will be separate layers. Don’t put Particular and Element on the same layer.

You’ll have to get clever about how it works. Once you get it looking the way you want, you may need to duplicate your layer of Particular and put one below and one above the E3D layer and use the distance visibility settings to trim them to show up where they’re…

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You would use a particle effect of some kind. After Effects has a number of them built in (like CC Particle World), but for something as complex as that, you’d probably want to turn to third party tools like Trapcode Particular.

It sounds like you’re looking for the Center Axis To… command in C4D.

You don’t have to be in polygon mode to freeze your transformations in Cinema 4D. It works exactly like it does in Maya.

In the attribute manager, go to the coordinates tab and there’s a whole freeze transformations section.

Are you just asking for chromatic aberration kind of effect or genuine 3d glasses?
AE has a built-in 3d Glasses effect, but it’s dependent on you having two sources to drive it (either footage from two cameras or two precomps with offset cameras).

The Maxon One license is a license for the whole kit and caboodle. There are not separate licenses for each part of it which is unfortunate when you end up in this sort of situation.

If you set your Particle Type in Trapcode Form to Textured Polygon (and then pick an appropriate Sprite), you get them to follow the surface.

I can’t see your example, but if you set your particles in Form to be Textured Polygons, they’ll flow along whatever shape you make.

I have never considered loopOut() to be tempermental. You just have to feed it what it wants! For a loop that repeates, I usually have three keyframes. Beginning, end, and beginning again. And I also usually specify what kind of loopOut it is. cycle vs. continue

Open up the Create Nulls From Paths script (in the Window menu).

Select the path you’d like the shapes to follow.

Press the Trace Path button.

It’ll give you a null with a control to put it wherever you’d like along that path (keyframed, so you’ll want to turn off the keyframes [press U to reveal all keyframed properties]).

Parent a triangle to that…

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There are a number of ways to do this. One would be to use the paths to nulls script panel to place these objects along the path.

Users do get choice. Generally speaking, you should be fine. YouTube defaults to playing 60fps videos at that frame rate. If somebody has a poor connection though, it’ll throttle down.

And also some devices are limiting, but, again, generally speaking you’ll be fine.

Yes. The issue is how our eyes process motion and frame rates. You’ll need different horizontal speeds depending on what frame rate you’re working with.

Really good camera operators working in Hollywood have their formulas for each lens and how fast they can or can’t pan. It’s way easier in motion graphics because we can just see it and retime. A…

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