Steve Renard
Forum Replies Created
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I can’t link to a tutorial, but here’s a step-by-step:
1. Create a new comp 100x100px, 1 frame long, and call it “particles”.
2. Create a new solid in that comp and draw a mask or a collection of masks that will be your particle shape. (If you make the comp more than one frame, you can create other shapes and they will all be pulled into the particle system).
4. Create another new comp at whatever your delivery size is (ie 1920×1080) and call it “master”
5. In the “master” comp, create a new solid and call it “Particular”
6. Apply the Particular effect to the solid.
7. Drag the “particles” comp into the “master” comp.
8. In the Particular effect panel, twirl down the Particle section.
9. For Particle type pull-down menu, select “Textured Polygon”
10. Twirl down the “Texture” section. For the Layer, select your “particles” layer, and for Time Sampling select “Random – Still Frame”You should now have a custom particle. There are tons of variations on this theme but those are the basics.
Good luck,
Steve————
Steve Renard
Media Director, Cicada Design Inc.
and Freelance Know-it-all
647-406-7991
srenard@cicadadesign.ca
http://www.cicadadesign.ca -
Yes, so long as you’ve planned the shot correctly. Also yes if you haven’t, but it will be a lot more work.
I’d start with Andrew Kramer’s tutorial on matte paintings on VideoCopilot.net – he says everything in there that I would say. After that, it’s up to your imagination.
Good luck!
Steve————
Steve Renard
Media Director, Cicada Design Inc.
and Freelance Know-it-all
647-406-7991
srenard@cicadadesign.ca
http://www.cicadadesign.ca -
Sounds like a particle system on a separate layer would be the way to go. Basically do what you were saying and put the grit into a comp, but instead of doing full frames just do say… 20 frames of a 100×100 comp with a different individual grit element on each frame. Then use that as the source for your particles.
Particular would probably be the easiest to do, but I think CC Particle World can do this too. In Particular, for a 1920×1080 frame, I’d use a box emitter that’s 1920x1080x0, velocity 0, and a particle life of 1 frame (the life of the particles is usually measured in seconds, so you’ll have to do some math to figure out what it would be – at 30fps it’s .0333). Put your 100×100 comp into your title card comp, make it invisible, and set Particular to use that comp as the texture for the particles. Set the sampling to “Random – Still Frame” and you will get a bunch of grit and junk appearing on your title card, and it should be different every frame. Then just change the rate of emission to get more or less grit on each frame.
Good luck!
Steve————
Steve Renard
Media Director, Cicada Design Inc.
and Freelance Know-it-all
647-406-7991
srenard@cicadadesign.ca
http://www.cicadadesign.ca -
It’s not clear from this screen grab what the globe should look like, and what you’re looking at in AE that’s different. I know you posted a grab of it before but it’s still a bit ambiguous on this end.
It would be helpful, too, if you could post a screen grab from within AE with at least the FX visible for each layer so we can see what’s going on. I can see that the scale isn’t working, but it does appear that some effects aren’t hitting that layer either.
And as either Todd or Dave said, always preview in “Active Camera” so that you know what you’re looking at.
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Steve Renard
Media Director, Cicada Design Inc.
and Freelance Know-it-all
647-406-7991
srenard@cicadadesign.ca
http://www.cicadadesign.ca -
The short answer is no.
The long answer is that if you’re willing to work with the Roto Brush for a while, you can probably come up with something pretty good, but there are limitations to it, and if there’s a lot of motion blur you will be in for a fair bit of headache. But – it can be done. Just make sure you explore the various functions of the Roto Brush first, and be sure to “Decontaminate Edge Colors”
Good luck!
————
Steve Renard
Media Director, Cicada Design Inc.
and Freelance Know-it-all
647-406-7991
srenard@cicadadesign.ca
http://www.cicadadesign.ca -
If I understand you correctly, you want to have a B&W video with a few bits of color in various places. First question: Is it always the same color? If so, why not use the “leave color” effect?
If it’s not always the same color (or group of colors), it sounds like you’re on the right track but have missed a step, perhaps. From what you said, it sounds like either you put the masks on the null objects themselves, or on either the B&W or the color layer. To achieve what you’re looking for, I think you need to do a series of six (one per null) separate solid layers with masks on them, link each to one of the null objects, and then make six copies of your color footage and use each masked solid as an alpha matte.
Be warned, though, that unless this is an extremely short shot, or you have a high tolerance for drift in the masked areas (or both), it’s unlikely that you’ll be able to get a good result from this technique. For a really tight mask in this situation, you’re probably looking at using the Roto Brush, at the very least, if not doing manual rotoscoping, if you want to stay within AE. You might be able to get better results through Mocha for AE (ships with CS5) but my experience has been so-so with that too.
Good luck!
Steve————
Steve Renard
Media Director, Cicada Design Inc.
and Freelance Know-it-all
647-406-7991
srenard@cicadadesign.ca
http://www.cicadadesign.ca -
What do you mean when you say “export the composition”? Do you mean rendering it? Or bringing some part of the comp into another program somehow?
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No problem – glad to be helpful!
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It sounds like somehow you’ve made some (or all) of those layers into adjustment layers, or changed their blend modes.
First, in the timeline, look for this column:
See the one that looks like a half-white, half-black circle? That’s the adjustment switch. If that is checked, for your layer, that layer is an adjustment layer, which means that any effect applied to that layer acts as if it is being applied to all the layers below that one in the layer stack. (Watch some of Andrew Kramer’s stuff on Video Copilot to get a handle on how this actually works – it took me a while to understand it, and to understand the power of adjustment layers).
If that’s not it, look at the bottom of that column for the “Toggle Switches/Modes” button and click it to bring up the blend modes, which looks like this:
Check that you haven’t changed the blend modes to “Multiply” or “Linear Light” or any number of other things that could give you a weird look.
Good luck!
Steve -
I haven’t worked with boujou so I don’t know what sort of properties those nulls might have, but I don’t see any reason why you couldn’t take a 100×100 solid and Alt-drag it into the timeline to replace the nulls. Just select all of your null objects, click and drag the solid from the Project panel onto the timeline, and hold down Alt(Win)/Opt(Mac) when you release the mouse button. This will replace all those nulls with that solid.
Steve