Nick Berrisford
Forum Replies Created
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A variation on the pre comp method mentioned would be to build an animation of your bars going across and then you could use Time Remapping to “scale” it’s length to the length of your other comp.
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To get the tapered look you will need to try something like animating the custom particle so that it scales over time.
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Depending on the exact final look you trying to acheive, Trapcode’s 3D stroke is probably your best bet. It doesn’t do a blend between shapes like Illustrator, but you can use the repeater to duplicate the stroke multiple times and offset them in 3D space to get a similar effect.
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Trapcode’s Particualr is a good option. And they have a tutorial on their site that deals with smokey text.
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I am fairly sure that AE simply looks at the number of pixels and not what the resolution of them is set to. I believe there used to be a 4000 pixel limit on imported EPSs or something, but I don’t think that applies anymore. I have put HiRes scans in of images with a pixel count of over 8,000 and they work – very slowly though. You don’t say how big the pixel count of your artwork is. But the best way to speed things up is use versions that are no bigger than they will need to be in the comp. Using much larger images and scaling them in AE is going to slow you down. So if they are much bigger than needed, it migght be a good idea to sample them down in PS if render timesa are a real issue.
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You have to remember to check your clipboard settings in the preferences. It’s a checkbox that says something like “AICB” or some such.
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If I am picturing it ccorrectly in my head, it is Template Gothic – an Emigre font as I recall.
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I got Shine a while back and it goes deeper than Light Rays. You have way more control over the look and color of the rays (up to 5 colors) and they look more organic than Light Rays’. Also with Shine, you can use a null to take the Shine source into a 3D space in relation to the object it is emmiting from, giving a more realistic look (theres a tutorial at trapcode.com). While I haven’t tried doing so in Light Rays, I’m not sure you can do that with the same results.
Demo Shine, you will immediately see it is far different than Light Rays . . . whether or not it is worth the extra money for it depends on how much you think you will need light ray effects and how sophisticated you need them to be.
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“I started by positioning the text in a large comp (5000×5000). I then nested this into my final comp where I keyframed the position, rotate and scale properties of the large accordingly.”
It sounds like you are trying to do this as one piece that you then animate a unit. Is that right. If I am understanding that correctly, that’s not the best way to go about it. I would do each text element as it’s own layer so as to have ultimate flexibility and control. There’s too much going on to do it effectively without doing so.
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Here’s specific about the Sprint Ads. One is CG, but the cooler one, that looks just like that video is stop motion with post work pulling it all together:
There’s also some stuff and links anout light painting here, along with the ads and that music video:
https://www.davidairey.com/light-drawing-and-light-writing/