Mike Park
Forum Replies Created
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I believe time remapping works by setting keyframes for points in your video footage and then moving those keyframes to either shorten (speed up) or lengthen (slow down) the length of that footage. You can place keyframes at the points in your video you want to manipulate and then change the keyframe types (bezier, linear, etc) to control the rate of change in speed to either linearly interpolate or ease in using easy ease keyframes. The best way to exercise full control over this is to open up the graph editor and visually inspect the velocity curves and make sure they are what you want.
I hope this makes sense and wish you best of luck.
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If you really want to go the motion tracking route, all you need to do is create a small layer about 2x the size of the hole you want to fill. Track the shot and then position the layer over the hole. Apply the tracking data to a null then parent the small layer to the null. Next, duplicate your original footage, place it below the small layer and switch the track matte to the small layer alpha matte. This will fill in the hole and you dont have to motion track any masks.
Depending on the length of your shot and the amount of motion, it may be easier to just animate the pen mask with keyframes.
Let me know if you have any questions.
Best of luck
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If you are only animating 7 things, I would do it by hand. The problem with using Particular with custom particles is that it tends to repeat objects frequently. So, you might have two or three instances of the same objects flying into the box at the same time.
However, if you want to start slow and then have a ton of objects fly into the box and dont care about repeats, I would do a mix. I would start out with hand animation to customize the look of the objects you can clearly see and then as things speed up, switch over to particular as it will greatly speed up your work flow and you are not as concerned with seeing the objects, only the blurred feel of objects going into the box. Make sure you switch on motion blur at the bottom of Particular, crank up the settings and perhaps the opacity. Should work fine.
Let me know if you have any questions.
Best of luck
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The answer to your question was given in the link you provided. Particular allows you to rotate the emitter. What I think you are wanting to do is rotate the particles aroud a center axis, which is different than rotating the emitter. The particles will not inherit the emitter’s rotation, but will continue along the trajectory you gave it in the velocity parameters. I hope this makes sense. You can rotate around the particles using a camera to give the effect you are after. The best way is to create a camera and a null object. Parent the camera to the null and animate the rotation of the null. If you need to know why I suggest a null, let me know. Unless you have other 3d layers in your scene, this will work. If you have other 3d objects you don’t want rotated, then you may need to use Trapcode Form. It is another plugin, not an option in Particular.
Let me know if you have problems.
Best of luck
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I personally would not use AFX to rough cut the tracks. I would use the cut tool in Premiere, then export the project to AFX for effects. You will have better control and the audio is much easier to work with in Premiere. When you export the Premiere project to After Effects, each cut will come in as a seperate layer, allowing you to tweak individual cuts. That way, you can do the fine tuning in Premiere with the lip syncing by hand, and do post in After Effects.
FWIW
Best of luck
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There were quite a few effects in the video you linked. Can you be more specific as to which effects?
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The answer to both of your question is yes, it can be done in AFX.
As for the best way, it would be simplist to do the bouncing ball by just animating or keyframing the position of the ball and using bezier curves at the apex of the bounce. I would recommend a new ball for each shot or line and then you can simply duplicate the layer and move the keyframes to correspond to the new text.
As for the color changing text, the simplist way I can think of is to have your text layer in white. Create a new yellow layer comp size and create a mask. Animate the mask to slide over in time to the music. Then, duplicate the original text layer so that you have one text layer above and one layer below your yellow layer. Next, use track mattes and use the original text layer as an alpha or luma matte. Make sure you turn back on the opacity of the white layer.
Then you should be able to do either method.
Best of luck
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Ill take a stab at your question 1
I am assuming that you recorded audio along with your video. I am also assuming that the music was in the background and that your talent lip synced in time with the music in the background. So then the only thing you need to do is sync the clean audio (studio version) with the background audio from the video. If this is the case, it would be easiest to twirl down the audio from the video and match up the wave forms. Pick a prominent wave point and move the audios into sync.
However, if your problem is that your talent was off quite a bit on the lipsyncing with the background music, you will have a much tougher time and will have to hand correct everything based on the lips of the talent. If you have multiple camera angles, you can cut back and forth to help instead of trying to speed the video footage up and down to sync to the clean audio.
Best of luck
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You answered your own question and apparently unknowingly, answered the original question you posed. Yes, that is the way to create new particles without motion. The other way, if you wanted strictly 2d or wanted a custom shape, would be to use a layer emitter.
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If I were doing this quickly, using only After Effects and Photoshop, I would apply an icy texture to the text using a blending mode and mask and then animate a mask to reveal the icy texture. Same thing for the screen. Basically have two images, one normal and one icy, and use a mask to animate the freezing. Just a thought.
Best of luck!