Scott Spengler
Forum Replies Created
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Jennifer,
I use brute force to add anticipation and overshoot.1. Keyframe your ball from left to right (or wherever to wherever) with linear keys.
2. Select your second keyframe, copy it, move down 2 or 3 frames, and paste it.
3. Now go back to your 2nd keyframe and just slide your ball a little towards the direction you need your overshoot.
Elegant? Not really. But it works pretty well and once you get the flow down it’s pretty fast. Be sure to add a little squash and stretch with your scale or bez warp or mesh warp. Whichever fits your situation best. Fun stuff. Make sure motion blur is enabled and turned up pretty high too.
You can probably do some searches for an expression that’ll give you some of this, but this is a nice “down and dirty”.
Good luck.
Scott
ps. I like to have the first keyframe set to Ease out, 2nd one set to linear, and third set to Ease in. You’ll need to experiment to find which combo you like best.
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Jennifer,
I use brute force to add anticipation and overshoot.1. Keyframe your ball from left to right (or wherever to wherever) with linear keys.
2. Select your second keyframe, copy it, move down 2 or 3 frames, and paste it.
3. Now go back to your 2nd keyframe and just slide your ball a little towards the direction you need your overshoot.
Elegant? Not really. But it works pretty well and once you get the flow down it’s pretty fast. Be sure to add a little squash and stretch with your scale or bez warp or mesh warp. Whichever fits your situation best. Fun stuff. Make sure motion blur is enabled and turned up pretty high too.
You can probably do some searches for an expression that’ll give you some of this, but this is a nice “down and dirty”.
Good luck.
Scott
ps. I like to have the first keyframe set to Ease out, 2nd one set to linear, and third set to Ease in. You’ll need to experiment to find which combo you like best.
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Paul,
This seems to be fairly close and quick:1. Create a 150×150 solid. Apply Render>Ramp. Ramp type circular. Start Ramp 75,75 – white. End Ramp 75,150 – black. Now apply Channel>Shift Channel, take alpha from Luminance.
2. Duplicate this solid. Move down 3 secs in timeline and animate one solid left and one solid right.
3. Create an adjustment layer.
Apply Adjust>Threshold. Default of 127 is fine.
Apply Blur>Fast Blur 22.
Apply Image Control>Colorama. I set the output cycle to Solarize Red.
Apply Channel>Shift Channels. Take Alpha from Red.4. Press Ram preview.
Now just make a new one where the first ones land, and move them off a little, repeat as necessary.
You may want to a Turbulent Displace to add a little more of the goopiness to the whole thing.
Looks faily decent. I hope this helps.
Scott
ps. Or you could jsut buy TinderBox 2 which has a Blobs plug in it. It does pretty much just what we just made above.
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Anthony,
I’m guessing you’ve already tried just a complete restart? If not, try alt+ * for your comments. That’ll open the window to type comments in right away.Not much help if you’re banging in markers to the beat of your audio though.
Good luck.
Scott
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You’re doing nothing wrong.
PhotoShop CS2 can use more than 3 gigs of memory. AE can only use 2 gigs. You’re doing nothing wrong.
Scott
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You may have something there. As much as I bitch about the AE>MAYA>AE pipeline, it is the only way we’ve got for now. Should probably just suck it up and try once more to get the workflow down. It’s reassuring to hear that’s it’s working well for you.
It’s strange, I’m more than happy to spend hours futzing with color combinations or blur/mode combinations, but won’t consider spending 30 minutes to an hour setting up an AE>Maya>AE camera transfer.
I may need to reconsider that.
Scott
ps. I still have the check ready for some savvy developer though. And yes, the C4d>AE pipeline was bliss. Now that Maya 7 finally has a decent render layer system I feel I _may_ be approaching the productivity level I had in Cinema.
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Trev,
I’m _so_ with you. I’ve been looking for this for a couple years now. AE camera export to Maya and a reliable, _accurate_ export of Maya camera data to AE. I’ll be the first in line with my checkbook when someone finally makes this easy and _reliable_. For now the only way I can get AE camera into Maya is with BouJou. Talk about killing a fly with an elephant gun.Scott
ps. Don’t even talk to me about importing ma.s and scripts. For me that’s truly garbage.
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Mike,
Drag in your footage and press, select the layer, and press S and then shift+P. That will solo your tranforms to only Scale and Position.Hope this helps.
Scott
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It’s a right+click on the parent column to bring up the option to “hide this”. As far as your modes troubles, it may have to do with your source footage. Do you have at least 2 layers that can interact with each other? Not all footage will react with every mode due to differences in chroma and luma. Try this: creat a new layer and apply Render>Ramp to it. Make the ramp colors something gross like a pink and bright green. Make sure this layer is a the very top of your comp. Now monkey with the modes and you should get _some_ sort of reaction/color change. Since you’re new to AE here’s a really cool way to hammer through the transfer modes to find the coolest one for each unique situation. Select a layer, hold shift and hit the + and – keys on your keyboard (not the extended keyboard). Great for lots of choices quickly.
Good luck and welcome to AE. It’s really a lot of fun.
Scott
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David,
I can be working with on a project that contains a couple .avi for several days with no problems. Then out of the blue, AE decides it doesn’t like one of the .avi anymore, and won’t render the project. Sucks.The only “solution” I’ve found is to work with QT audio exclusively.
Not a big help to your problem, but know you’re not alone with AE’s finickiness.Scott