[Philip Bowser]

That would be super cool if you did make one. I’d be interested.

Philip. Bowser

[Philip Bowser]

I don’t know of a presets that will do exactly this. However there are some cool tools I know of that will get you there faster than doing everything manually.

At the more expensive end of this is the 2D Physics Engine Newton 2: https://aescripts.com/newton/
Which is super cool and will probably serve as an extremely useful tool for the rest of your life. However, because of it’s price point I’ve never had the pleasure of working with it, so I can only vouch for it based on what I’ve seen other people create… which is really cool stuff.

Something else which could help, all though would need some more manual work than the Newton approach, is using the Ease and Wizz script https://aescripts.com/ease-and-wizz/
That will get you some cool looking elastic/bouncy animation which you can apply to nulls, offset each one via expressions or manually shifting over a frame or two, and then parent whatever text/graphics you want to those nulls.

Also, this post by Dan Ebberts deals with elastic connections via expressions. Perhaps you could use a variation of this and apply it to multiple layers: https://www.motionscript.com/design-guide/elastic.html

If you do end up finding a preset for this though please post it here, I would love to know about it.

Hope this helps.
Cheers,

Philip. Bowser

[Philip Bowser]

Interesting.. you are right actually. When I clicked on “Broadcast Design” in the forum list it brought me here as well. I didn’t know they were synonymous. You’d think they would be different forums as Broadcast Design is more general than just the After Effects software.

Well, I wish I knew more about “Broadcast Design” graphics to help ya out.
Good luck!

Philip. Bowser

[Philip Bowser]

To my knowledge, After effects doesn’t have any live capabilities like this. There are functions within After Effects to animate properties according to an audio track in the timeline, but non of this is a live stream. You would have to render out your composition before hand with an accompanying audio file generating the animation, and then play that movie file.

Is this what you mean? Or do you need actual real-time visualizations that are a result of a live audio feed?

I’m not familiar with gstreamer unfortunately, but I don’t think After Effects is your solution for real-time graphics.

Philip. Bowser

[Philip Bowser]

This is a little bit late but something like this might be kind of cool:

-On a new solid apply CC Burn Film – animate the “Burn” value from 0 to 100.

-Apply Turbulent Displace – bring the “Size” down to something small like 10, and the “Amount” up to something high like 250 or until it looks “turbulent” enough for ya.

– Apply Roughen Edges – Crank up the “Border” to something like 30, and the “Complexity” up to 3. Play with the border until it looks edgy enough for ya.

– Apply CC Vector Blur – Set the “Property” to affect Alpha and bring down the “Amount” to something like -20 or until it looks organic and bacteria-ish enough for you.

You now have a an animated matte that looks a little bit like bacteria growing. You can use this as an Alpha Matte for your text! You may want to play around with some textures for your text to enhance this.

Hope this helps!

Philip. Bowser

[Philip Bowser]

It looks like you’re correct. There is definitely some easing on the motion. Hard to exactly what values they would have used. Try opening of the Graph Editor and playing with the curves on the keyframes until it’s looking nice. Also, one technique I use a lot is playing with the “Keyframe Velocity” parameters.

Select your keyframes and choose Animation>Keyframe Velocity from the top menu (Command+Shift+K on Mac or Control+Shift+K on PC) and you can change the influence that those keyframes have on speed/easing.

Think of the “Speed” parameter as the initial velocity the object has when it starts moving. So a value of zero would mean it starts from completely still and gradually picks up speed.

The “Influence” parameter is essentially how long it takes that object to reach its maximum speed. A value of 5% would mean that it would reach it’s top speed very quickly. A value of 80% means it would move very slow at first, gradually picking up speed until it would need to move very fast to get to it’s second keyframe in time.

Try setting both the incoming and outgoing velocities to these parameters:
Speed: 0 pixels/sec
Influence: 75%

You’ll notice that the animation starts out slow, then accelerates to a snappy move, and lastly decelerates again nicely.

Mess around with those settings (I’d suggest checking “Continuous” at first so the incoming and outgoing are the same) until you get something looking snappy like your reference.

To help better understand this, see how changing these values will also affect the curves in the Graph Editor.

Hope this helps!

Philip. Bowser

[Philip Bowser]

Unfortunately if you want to generate new layers and apply effects to them automatically you’ll need a script to do so. Presets only apply effects to the selected layer/layers that have already been created. At that point you’ll have to evaluate the scope of the project to determine if its worth spending the time writing a script.

Could it be as simple as making two presets labelled appropriately and giving your artists instructions to apply both?

For instance your presets would show up in the effects bin as “Project 01 – Heavy Lifter” and “Project 01 – Adjust This”

Or are you looking for something a bit more plug-n-play?

This isn’t exactly what you’re looking for, but something neat I’ve stumbled on before is that if you have a bunch of Adjustment layers/Color Solids making up the final grade, you can pre-compose all of that and select the “continuously rasterize” button and all of the Adjustment Layers will work through the precomp. Makes it very neat to organize and turn on/off. You could perhaps have all of that set up in an empty project file named “Project 01 CC” and get your artists to import that project into their current one and copy over the color correction precomp.

Cheers,

Philip. Bowser

[Philip Bowser]

I agree with you, that is a little annoying. I’m not sure if you’re on a Mac or PC, but I’ve been able to switch programs by pressing Command + Tab without After Effects stoping a ram preview on my Mac. Or by using the dock to switch apps. However you are correct that After Effects will stop a ram preview if you click anywhere inside of AE. It would be great if there was a preference setting to tell After Effects to only stop the rendering of a ram preview if you press the stop button or it’s associated hot key. That way an accidental mouse click doesn’t halt a render.

Perhaps there is a reason for it being this way that I am not thinking of..

Philip. Bowser

[Philip Bowser]

In addition to Dave’s comment, it looks like you’re going to have to roto out your subject to get the cleanliness of whats happening in your reference. If you notice, only Rihanna/whoever that other creepy guy is are the ones who echo. That way other elements in the frame don’t echo as well. Unless of course that’s what you’re going for.

Another cool plug-in to play around with is the CC Time Blend if you have it.

Philip. Bowser

[Philip Bowser]

This is a great question! And not one exclusive to the Oculus Rift. I had previously pondered about how one would go about match moving panoramic footage for an interactive short film I was going to develop. In all of my research it doesn’t seem as though there are any tools built specifically for tracking this type of footage.

There were two potential solutions I came up with that I never put into practice, but here they are anyways:

Solution 1:
Track all cameras individually/unstitched in a tracking software (I use PFTrack). You can use the first camera track’s position/rotation data as a “hint” for the second camera track, and then use the second camera’s data as a hint for the third and so forth. You’re going to want to align each of the cameras to each other in virtual space as they were set up in real world space. There are tools for this in PF Track but I’m not sure what software you would use. You then export all of your cameras to your 3D app or AE. You animate whatever magic you’re trying to have happen and render it out separately from each 3D camera view. Then you stitch each of those renders back together using the same technique that you stitched the original footage together and if all works out perfectly for some reason it should line up! And Composite away!

Solution 2:
If your individual graphic elements will only be localized to a certain area in your panoramic footage, you may be able to get away with rendering out those portions of your panoramic video as regular HD footage (essentially cropping in to the 16:9 dimension you desire) and then do a camera track on just that portion, add your effects, render out, and then bring that render with your effects back into the panoramic composition and line it up to that original portion you rendered out.

Because this is such an unusual request, I doubt there are any easy tools out there for this kind of problem. And without any camera data or scene surveying recorded on set to make the tracking easier, it could prove to be extremely challenging to get anything usable. However if you find a solution please post about it, I would love to know how you end up solving this!!

Cheers,

Philip. Bowser