[Steve Roberts]

I’d set up a big comp that is the “world”, basically. Each title will be a “stop” on the “world tour”. That is, each title is a separate comp dragged into the big comp as a 3D layer, and placed somewhere in the 3D space. A camera is added, and this camera zips around from title to title. You place the titles so you can only see one at a time. Sometimes it’s a trick of keyframing their opacity (hold keyframes) so they’re invisible until you turn and face them.

That way you can place more titles in the space — you may be facing three titles, but #2 and #3 are invisible. When you face that way again, you hide #1, and show #2.

… if I understand you correctly.

Steve

[Steve Roberts]

AE 6.5 includes a “remove grain” effect, which should do the trick. The default settings are pretty good, but there’s lots of room for tweaking if you need it. Give it a go.

Steve

[Steve Roberts]

“As far as RAM available I

[Steve Roberts]

In the help, it’s under animating layers>previewing animation.

Yes, it will play back in real time, once the frames have rendered.
The amount of material played back depends on the amount of RAM you have free.
You need to edit>purge image caches every so often.
There are different RAM preview options available.
There’s an audio button on the time controls palette for RAM preview.
To play more frames, lower magnification and resolution in the comp window. Purge. For best results, make sure the two (mag, res) match.

For more info, check the help. Read the manual. A training tape is a complement to the manual, not a substitute.

Steve 🙂

[Steve Roberts]

Or go to Digital Anarchy.

Steve

[Steve Roberts]

Sounds like you should use the shatter effect, render and reverse playback.

Steve

[Steve Roberts]

… or draw a mask with the pen tool then apply effect>render>stroke and animate the effect’s end point.

Steve

[Steve Roberts]

Well … here’s a very simplified explanation

1. NTSC is the standard in North America and Japan.
2. It always displays (plays back) at 29.97 frames per second on TV. This is for DV, DVD, VHS, Betacam, DigiBeta, 3/4 and Betamax.
3. It always displays in fields. To picture fields, imagine a frame of video sliced into 480 thin horizontal slices. First, the odd slices (1,3,5, etc.) are shown. Then the even slices are shown 1/60 of a second later. The odd and even slices alternate. Each group of slices is called a field. Most DV cameras record video this way: “interlaced” is another term. (the anal-retentive may refer to my disclaimer at the start)
4. If you animate things and render to fields, your motion is such that each set of slices (field) is different. It’s like having 60 half-frames per second, to give an illusion of smoother motion. Some say it looks video-like.
5. If you render without fields, you render 29.97 frames per second, and each frame is unsliced … like a film frame. This is called “progressive scan”. Some say it looks more like film than video.
6. A TV is showing fields when playing back progressive footage, but it’s just that each field is identical.
7. 99 fps would only be possible when playing back on a computer only. No TVs can be involved. DV would not be involved — it only works at 29.97. Besides, depending on the size of your frame, it’s likely that no computer could play back 99 fps.
8. 29.97 is 30 to everyone else except us video techs, who must know the difference. You might want to Google for some video basics, or Google “Videosyncrasies”.
9. If you’re in Europe, you use PAL, not NTSC. It is 25 fps or 50 fields per second.

Hope that helps,
Steve

[Steve Roberts]

Well … here’s a very simplified explanation

1. NTSC is the standard in North America and Japan.
2. It always displays (plays back) at 29.97 frames per second on TV. This is for DV, DVD, VHS, Betacam, DigiBeta, 3/4 and Betamax.
3. It always displays in fields. To picture fields, imagine a frame of video sliced into 480 thin horizontal slices. First, the odd slices (1,3,5, etc.) are shown. Then the even slices are shown 1/60 of a second later. The odd and even slices alternate. Each group of slices is called a field. Most DV cameras record video this way: “interlaced” is another term. (the anal-retentive may refer to my disclaimer at the start)
4. If you animate things and render to fields, your motion is such that each set of slices (field) is different. It’s like having 60 half-frames per second, to give an illusion of smoother motion. Some say it looks video-like.
5. If you render without fields, you render 29.97 frames per second, and each frame is unsliced … like a film frame. This is called “progressive scan”. Some say it looks more like film than video.
6. A TV is showing fields when playing back progressive footage, but it’s just that each field is identical.
7. 99 fps would only be possible when playing back on a computer only. No TVs can be involved. DV would not be involved — it only works at 29.97. Besides, depending on the size of your frame, it’s likely that no computer could play back 99 fps.
8. 29.97 is 30 to everyone else except us video techs, who must know the difference. You might want to Google for some video basics, or Google “Videosyncrasies”.
9. If you’re in Europe, you use PAL, not NTSC. It is 25 fps or 50 fields per second.

Hope that helps,
Steve

[Steve Roberts]

If Conoa involves wrapping a layer around the cone, then make sure that the layer is a composition. Then you can mess around with the composition, possibly by sliding the content down so the top part is transparent, and the changes therein will show up in the cone.

You might want to separate the window tabs of the main comp and the other comp so when you make changes in one comp, they’re reflected in the other comp. That is, when you change the “content” comp, you can see the cone change.

You see?
Steve