[Paul Conigliaro]

I was able to somewhat sloppily create this effect (assuming a 640×480 image):
1. Create a comp @ 10×480 with the projected movie inside.
2. Rotated the comp 90°Y in 3D space and used Corner Pin to distort the image into the triangular shape of a projector beam.
3. Duplicated the process across the entire image.
4. Changed transparency mode of “light beam” comps to add and adjusted transparency.

My result using only 3 light comps (left edge, right edge, center) should be attached. If this looks like what you’re looking for, let me know and I can see if I can get you a better description.

Also, keep in mind that this is just approximating volumetric light. There will be glitches, namely that using 10 pixel wide chunks like this will leave 10 pixel wide gaps along the screen in 3D space. But now I think I’m just not making sense any more.

[Paul Conigliaro]

I’d recommend against using the dissolve transparency mode in this case as that only produces 1-bit transparency (IE, either a pixel is fully opaque or fully transparent, no in-between).

If switching to normal or another transparency mode still produces stray pixels (which I’m not sure why it would) use a combination of a mild blur (.5 to 1) and curves or levels on the layer being used as the matte. The blur will soften the edges a bit and the curves or levels can be used to fine-tine the edges.

Let me know if that helps.

(As a side note, I completely had the layer order reversed earlier. I thought you were using the clouds as a luma matte for the car layer, now I see that you are trying to do a sky replacement. Take a look at this tutorial from Video Copilot: Advanced Sky Replacement. It might help you.)

[Paul Conigliaro]

Apologies for getting that one wrong. I knew about render orders, but didn’t realize that the Continuously Rasterize switch changes the render order.

I also rarely use shape layers, so I really should not have have posted without looking into the problem more.

[Paul Conigliaro]

A few effects tend to ignore 3-D layers. The best way (in my mind) to do this would actually be to create the grid in photoshop (large, maybe 2048×2048) and bring that layer in to AE.

If you want to stick strictly within AE, I’d do it this way: Make a large comp (maybe 1024 or so). Make a comp-sized solid and apply the Grid effect. Then nest that comp and us it for your 3-D floor (possibly multiple copies).

[Paul Conigliaro]

To me, it looks like this was done more manually than with a a plugin. Echoes are simple time-remapped layers. Since the kite surfer is against a blue sky, keying could be done off the blue channel, right? (Notice that the when the echo takes place, the surfer is only over the sky, as soon as he crosses the horizon, the clips transition back to a single shot.)

Also, I think there’s more going on here, the camera track seems slightly manufactured. So there might be additional compositing going on. (Pretty sure the beach is faked.) I could be wrong, though.

[Paul Conigliaro]

CC Cylinder is a pre-installed plug-in that you should already have. However, keep in mind that this plug-in will just produce a cylinder, not an unfurling scroll. But you could probably produce the effect with a second flat layer underneath that gets revealed as the cylinder rotates.

[Paul Conigliaro]

It sounds like it might just be a slightly off workflow. (Forgive me if it sounds like I’m talking down to you, but I’m not sure how much knowledge you have of AE.)

Remember that an alpha or luma matte must be applied like this:
1. Clouds
2. Car Shot -> Luma Matte

That is, your clouds are being used as an alpha channel for the car layer below. When setting this, your cloud layer should immediately turn off so it is no longer visible. Any blending mode should be applied to the car shot, not the cloud layer.

It sounds like you might have set the luma matte right, but then turned the cloud layer back on and applied the blending mode to that. If the clouds aren’t quite working right as an alpha, you can apply a levels or curves effect to adjust the blacks and whites.

Does this help at all?

[Paul Conigliaro]

Agreed with Daryl. Sounds like a memory limit. How much RAM is in your system?

[As a side note: currently AE will only use 3GB of RAM as it is a 32-bit app. I don’t think this has changed in CS4. So yes, buy more RAM, just know that throwing 6GB at your computer will not result in 6GB available for AE.]

[Paul Conigliaro]

Columbia College Chicago has a decent film program. They’ll start you off with the ‘core’ classes: fiilm production, screen writing, etc. Then you get to specialize after that. (If I remember correctly, you can complete the core in 3 semesters, but be prepared to work hard for it. The counselors will try to spread those classes out and result in staying longer.)

I was in the editing and motion graphics concentrations and really enjoyed it (class of 04). Wide variety of editing choices to pick from (commercial, documentary, narrative). The instructors are actually working professionals and don’t just sit in a classroom all day (great resource for both information and job leads). I’d highly recommend it.

[Paul Conigliaro]

If you want a completely flat speed between two keyframes, the best way to keep it flat is to select both keyframes in the Graph view, then slide only one of them in time. This way, the speed remains constant and won’t introduce any curves.

However, to the broader question: I’m not sure if you can completely eliminate the influence handles. But the method I described earlier should keep them from switching to “Current Settings.”