It sounds like your process is backwards. You should be creating a multilayer PSD file and then importing that as a comp when you bring it into AE. Your layers in Photoshop will be maintained as layers in the AE comp. If you edit the PSD, simply reload the footage. If you turn on the 3D switch for the comp and layers, you can transform the comp in…

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If I have a bunch of footage files all in the same place, but then move all of them to a different folder, they will then show up as unlinked media in my AE project. My expectation based on experience is that re-linking one file from the new location will cause all of the remaining files to re-link if they all reside in the same new location as…

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Since you say your audience is already familiar with Photoshop and Illustrator, I would prepare both a multi-layer PSD file and a multi-layer AI file and bring them into After Effects as comps (not as “flattened” files) to show your audience that After Effects basically adds “time manipulation” to Photoshop and Illustrator. Show them how you can…

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My email address is still up there a few posts back…

– Terry

gotcha…

I’d try to get the font.

😉

How much text are you talking about? Too much to type? The latest iOS lets you use an iPhone camera as an optical character recognition (OCR) device. Filip’s solution sounds like it could work, but that sounds like it’s much more involved. I would first try to transcribe or convert your Illustrator paths into text that you could simply paste into…

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Hi Michael,

Did you find a solution?

– Terry

I guess I have to post my email address. Strange.

terrycoolidge

[at]

gmail

[dot]

com

Hi Michael,

As a freelance motion graphics animator, I have had several projects where a client has purchased an AE template and had me customize it for them with their footage/graphics/etc. I would be happy to discuss this further with you via direct messages.

– Terry

I was going to say what Walter said. But if you feel you want to stick with 2D, you definitely should have a character be in its own nested comp so you’re only having to ”turn off” a single layer and then “turn on” another single layer when switching from in-front to behind. Regarding your concern about not having the other comp elements visible w…

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Several hours long? I would be looking for a video playback solution that allows for scripting randomized sequencing of animated clips/loops. This doesn’t sound like a job for After Effects to me. Not the right tool for what you’re wanting to do in my opinion.

When adding an element to a comp, drag it from the project panel into the timeline instead of into the comp window. Dragging to the comp window will place it wherever you drop it, but dragging to the timeline will place element at the center of the comp by default.

Does the green “minimize/maximize“ button at the top left corner of the window not work? You could also just double click somewhere in the empty space of the title bar of the window frame.

If layers that have already been imported have “changed” in the Illustrator file, as long as those changes have been saved in the AI file, you simply need to reload the footage in AE. No need to import again.

While there may be tutorials out there that go into greater detail, it seems to me there are some basic ways to make CG animation look more like film:

• 24 frames/second

• motion blur

• depth of field blurring

• film grain

Any one of these techniques will help CG footage look less computer generated. Using all of them will push the look even further.

In your second screenshot…

All layers appear to have out points set. The comps (layers) have durations that are longer than what will be shown since the out points have the layers ending early. Layer 4 appears to be the only layer that also has an in point set that doesn’t coincide with the actual first frame of the comp (layer).

A folder with pre-made comps is pretty easy…

Just one man’s opinion, but your expressions solution seems to me like you’re trying to be too clever. There are only seven different possibilities for start dates. I would be inclined to just make seven different calendar comps, all with 31 numbers, and then mask out the “31” when appropriate (and the “30” and “29” as well for February). Mayb…

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I would have both the circle and the null centered at the origin so that the position for both is 0, 0, 0. Place an icon at the origin and then slide it along just one axis until it intersects the edge of the circle. Copy the position of the icon and paste it to the other two icons so that all three icons are at the same point in 3D space. Set the…

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I’ve created 3D carousels like this in the past, and I always have my elements parented to a 3D null layer. I recommend creating the parent link with one icon at a time, rotating the null layer before attaching the next icon, as opposed to trying to position the icons in three different locations in 3D space. Just have all three icons at their o…

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Is the text you’re trying to change selected? A specific text string (characters) has to actually be selected, i.e. “highlighted.” Just selecting the text layer won’t do it. Otherwise you’re just setting the default text color for the next time you create text.

Your response suggests that your layers don’t truly have to be that big. You’re just trying to avoid more work. Make a pre-comp as big as you can and put your nine layers in that. That should solve your visible separation issues during motion which is something that has to be fixed. Figuring out how to achieve the speed and blur you want is sec…

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So you have a reason why your layers have to be that big? Do you not have the option of working around the size limitation by making a single pre-comp the largest allowable size and then placing your nine-layer array in that?

Have you tried nesting your nine layers in a pre-comp and then tie the pre-comp to your separate layer that uses the two expressions?

You’ll have to render your animation out without motion blur and then bring the clip back into After Effects as a piece of footage. Apply the “CC Force Motion Blur” filter/effect to the footage. There are plenty of online tutorials and YouTube videos that go into more detail if you need it.

I’m not seeing anything I would describe as a “glow.” Perhaps you are responding to the “popping” that occurs from the embossed edge (lit from above) contrasting with the black outline. Seems like a straightforward gradient fill combined with a simple bevel/emboss effect. Typically bevel/emboss is a layered effect utilizing a transfer mode like…

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Do you have any 2D layers in between your 3D layers in your timeline? That can affect draw order. To be safe, have your layer order in the timeline be consistent with what you’re trying to achieve in 3D space, and don’t have any 2D layers mixed within your “stack” of 3D layers.

No need to switch to the hand tool. You can hold the space bar no matter what tool is currently selected and drag in the composition window to “navigate.” You can also drag two fingers on a trackpad.

You don’t need to select it in the “display” (composition) window if the layer is already selected in the timeline. Type “v” to make sure the transform tool is selected for moving a layer’s position with the mouse. Or move the layer a pixel at a time by tapping the arrow keys (hold SHIFT while tapping arrows to move 10 pixels per tap).