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4

I'll assume the camera op was fooling with the exposure? You'll need to key-frame color correction or AE's Auto Color function may work for you: https://helpx.adobe.com/after-effects/using/color-correction-effects.html If you go the CC route it may help to watch the YC waveform rather than the image itself. The Color Stabilizer effect may also work for ...


3

You need to animate the anchor point. This is the point towards which an image will zoom if you increase its scale. So when you zoom in to the paperwork you have to put the anchor point under the paperwork. Trouble is the anchor point is also the point at which the image is attached to the composition, so moving it will normally cause the image to move. ...


2

In Photoshop (or Illustrator), in a new layer above the vector shape, create a solid shape of the mask you want (with rounded corners). Export that layer alone as an image and import into AE. Use auto-trace to create a mask from it. See https://helpx.adobe.com/after-effects/using/creating-shapes-masks.html#create_a_mask_from_channel_values_with_auto_trace


1

The output file doesn't have any sound because there is no audio in the timeline that you are rendering. The output format (MP4 vs. AVI) doesn't have any effect; both formats can contain an audio track or not. Checking the box to output audio only has any effect if there is already an audio track in the timeline. If there's no audio track, the output will ...


1

To add to what integris said, your main option is to attempt to counteract the lighting changes by keyframing artificial "lighting" in the opposite direction of the real-world changes. So when the brightness decreases in the video, you need to add brightness at the same rate. If the adjustments are fast step-changes (like instantaneously changing the ...


1

Exporting to H264 will always introduce a slight colour shift due to a gamma tag in the file header. At least, I didn't find any solution to export without a gamma shift. Neither in AE nor in any other video editing program. Maybe also have a look at this answer: http://video.stackexchange.com/a/10336/11423


1

The layers in a pre-comp don't have access to information about the comp(s) they're nested in AFAIK, but I can think of a workaround in this case: apply a fill effect to the nested layer and drive its colour value using the name of the parent comp, e.g. if (thisComp.name == "Blue"){[0,0,255]} else if (thisComp.name == "Red"){[255,0,0]}… and so on. Or you ...


1

random updates at the sub-frame level (so its value actually changes even during a frame, for example when motion blur is on). To force it to update only once a second you need to use the seedRandom function, with the timeless attribute set to true, and a seed that changes every second. Using Math.floor(time) will return a value that increases once every ...


1

The way I would normally do this would be to have multiple layers, each with the identical PSD in its "starting point" magnification. For each area of interest, use the Pan Behind tool to move the anchor point to that area of interest. Then keyframe the move/zoom into that area of interest, adding whatever annotations or highlights to draw the viewer's ...


1

I would take a learning from templates on videohive. Pre-comp all the text layers and put them in a separate organized folder in the project. This way if they have to edit the after effects file its just a matter of changing the text in the precomped layers. With that being said, I guarantee that you will never have on a week to week basis the same size text ...


1

With these kinds of things, I suggest not even using a green screen in the first place, especially one that is in an app and casts a green glow on the actors hands or body and picks up on reflections. Its much easier to have, instead, either a green piece of paper (which honestly will not really work in daylight in terms of the key but will at least give you ...



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