Scott Frizzle
Forum Replies Created
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I agree; it’s the way to go on the quads, and probably the duals as well. It has changed my workflow considerably on more complex projects. Once you get used to all the features and implement them into your workflow you really save a ton of time, even beyond what you’d expect from fully utilizing your processors. Pay attention to how much time you spend watching AE either rendering to RAM preview or to disk while you sit there unable to do any more work. Not only will those render times drop dramatically, but you’ll be able to keep right on working while they chug away.
If you do projects of any complexity at all I say go for it.
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Yes, this is the type of thing clients think there is a button for, but in reality it’s a pain. I’m not sure I understand what you mean by “loop,” but one thing that I found that really helps this sort of animation is to, as Dave said, find the beat if the song. In a separate comp, get your ball bouncing in place to the beat of the song. Once you have the ball bouncing in place to the beat of the song, bring this comp into the comp where you’re doing your type (you can also render out a short loopable sequence of the ball bounce and use this.) Since your ball is already bouncing perfectly to the beat, all you have to do is to animate the bouncing ball comp along the x axis, which eliminates the need to have a bunch of motion paths to perfect every time you move the ball.
Another thing you can try if the client wants the ball to bounce on every syllable is to use time remapping to speed up and slow down the ball bounce comp so that the ball is bouncing off the words as they are spoken. You have to be sure to keep the keyframe intervals in order so you can return to the correct rhythm over and over again, but once you get the hang of it it works pretty well. I once did an entire sing-along music video for Clifford The Big Red Dog this way, and the ball was actually a spinning dog bone. I still wanted to kill myself when it was done, but it was the easiest way I could imagine.
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Yes, this is the type of thing clients think there is a button for, but in reality it’s a pain. I’m not sure I understand what you mean by “loop,” but one thing that I found that really helps this sort of animation is to, as Dave said, find the beat if the song. In a separate comp, get your ball bouncing in place to the beat of the song. Once you have the ball bouncing in place to the beat of the song, bring this comp into the comp where you’re doing your type (you can also render out a short loopable sequence of the ball bounce and use this.) Since your ball is already bouncing perfectly to the beat, all you have to do is to animate the bouncing ball comp along the x axis, which eliminates the need to have a bunch of motion paths to perfect every time you move the ball.
Another thing you can try if the client wants the ball to bounce on every syllable is to use time remapping to speed up and slow down the ball bounce comp so that the ball is bouncing off the words as they are spoken. You have to be sure to keep the keyframe intervals in order so you can return to the correct rhythm over and over again, but once you get the hang of it it works pretty well. I once did an entire sing-along music video for Clifford The Big Red Dog this way, and the ball was actually a spinning dog bone. I still wanted to kill myself when it was done, but it was the easiest way I could imagine.
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One technique is to use CC Cylinder applied to diagonal lines to create helix shapes. You’ll have to duplicate and offset the lines to get a double helix, but I imagine it’s doable within certain limitations.
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If you have AE 7 you can export out to FLV.
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Is the 60% setting your Maximum Memory Usage or your Maximum RAM Cache Size? 60% should be fine for the RAM cache, but I’d get your Maximum Memory Useage up to at least 100% if it’s not there already.
I would also recommend getting more RAM. AE is capable of using 3 gigs on the Mac, so ideally you’d have 3 gigs available for AE with enough left over for your other apps and the OS itself.
A couple other things that might speed things up: If you have more than one disk drive available, keep your project and source files on a separate drive other than your startup drive. This will give you better performance overall.
Also try enabling disk cache; that might help, but I don’t think I’d do this if you don’t have a separate drive from your startup disk.
Good luck!
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Select the spline, then go to structure> edit spline> reverse sequence. Done!
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Hey, just a quick note for those of you using the Quaker animation preset: I’ve discovered that for some reason if you’re using Quaker on an adjustment layer (my preferred method) in AE7, you get borders between the image tiles. I don’t know why this is, as this method works fine in AE 6.5. I haven’t found a fix yet, and I’m no sure there is one, but I just thought I’d let you know since I haven’t posted aboything about this on my site.
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Hey, just a quick note for those of you using the Quaker animation preset: I’ve discovered that for some reason if you’re using Quaker on an adjustment layer (my preferred method) in AE7, you get borders between the image tiles. I don’t know why this is, as this method works fine in AE 6.5. I haven’t found a fix yet, and I’m no sure there is one, but I just thought I’d let you know since I haven’t posted aboything about this on my site.
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Give this a shot:
https://www.scottfrizzle.com/temp/basketball_bump.jpg
It’s a tileable (horizontally and vertically) basketball bump map that I made for a 3d basketball, but it should work fine for a football too. You could use it in conjucntion with a dark brown or leathery textured background to create the bumps you need. Let me know if this works for you.
-scott