Sam Moulton
Forum Replies Created
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try going to the advanced tab in composition settings and increase the number of samples for motion blur
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You’re biggest problem is that you’re adding lightning to the clip and not to a new black solid placed above the clip and set to the length you want.
If you insist on trying to do everything on one layer you can always animate the blend with original property which is available on many effects. If it’s not there, then you’ve got to either find something that you can turn off or use two layers. Using Advanced Lightning instead of Lightning you can animate core and glow opacity to zero. Either technique will solve your problem.
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did you activate?
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For the web you want to work in a square pixel comp. Just import your HDV comp or footage into a square pixel comp and AE will handle the PAR correction automatically. Just scale the footage to either crop or fit it to the comp making sure that your X and Y scale values are identical.
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Just crop the polaroid… EZ
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If that tga file is a single frame from your footage and not some kind of capture or recompressed image, it’s about the nosiest tga file that i’ve ever seen. The first thing you’ve go to do is remove the noise, which is clearly visible when you apply keylight and start making adjustments. I didn’t have time to try anything, but you’re not going to have very much luck keying that image until you remove the color noise. Try
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almost all of my projects are 32 bit because everything that has a motion blur or a glow or moves works better, looks better, is just, well, better. CC is easier, blends are easier, compositing is easier. . .
The project size isn’t bigger, and I find that, in many cases, the render time doesn’t go up that much when compared with 16 bit projects. I do not render anything to formats that support float. Most are either to a 10 bit codec (black magic) or lossless animation, so my rendered files aren’t any different. I’d dig out a few of the float tutorials here or at total training and give it a go. Once you get used to the workflow and learn how to use the tools to integrate non float plug-ins, you’ll have a hard time going back.
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CC Light Burst or Trapcode Shine
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From what I understand you want to pull back through a tunnel of images and as they get a certain distance from the camera you want them to fade out.
The part I don’t understand is why visibility matters if the layers are behind the camera, because you can’t see them when they are behind the camera. Dan’s expression should work just fine if you establish the proper distances for the images to start and end their fade out.
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It’s called fluid simulation and you can’t do it with any particle systems that I know that work directly in AE. There are several 3D apps that do fluid simulations. Try google.