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1

Here's the math(s): 90 images to make a 10 second video at a frame rate of 25 frames per second (fps) (in the UK) = 25 fps * 10 seconds = 250 frames 250 frames / 90 images = 2.778 frames per image So each frame would need to be onscreen for just under three seconds, which wouldn't look particularly smooth - for smooth motion you'd ideally have 25 images ...


3

It's because of Spatial Interpolation. You need the spatial interpolation to be set to linear, and by default it is set to Auto Bezier. Right click on the keyframe at 3'00, and select Keyframe Interpolation. Change the Spatial Interpolation to linear, and it should solve the problem. What's happening: Instead of drawing straight lines (linear lines) ...


1

There's one way I know of to find the clip that is using the filter. Inside the timeline, you will see a small badge with the letters 'fx' on your clips. If it it grayed out, there is no effect applied. If it is colored purple, yellow, green, or red, then you have an effect on the clip. You can read about that more here... ...


0

Another thing to try before shelling out for Twixtor is the default frame interpolation built-in to AE. You'll see the frame-blending checkbox in the timeline window, click it once and you get the the frame mix mode, where one frame is dissolved into the next to create the interpolated frames. this is fast-n-easy, but it probably won't produce great ...


1

The most-recommended way to do this is with Twixtor, a pricey plugin for AE and other platforms. They offer a watermarked free trial. There are some free alternatives out there but I haven't used them so I can't say for sure they'll suit your need. One is SloMoVideo and if you google that you'll see videos from people who've tried it.


2

Animate the x value of the Size property of the rounded rectangle path, rather than the Scale to leave your strokes the same width. This will let you change the size of the rectangle without affecting the stroke size, or indeed the size of the corner radius. However the down side is that you can't just drag the corners in the comp window, this will affect ...


4

If you created the shape with the rounded rectangle tool, then you won't initially have the same control over the transform as you would if you'd made the shape with the pen tool. But there's a simple fix. Just right-click on "Rectangle Path X" and convert to bezier path. Now you'll be able to use the selection tool to draw a marquis around the individual ...


1

There are a couple of ways to achieve this: Use a track matte. Create a layer with the desired size / shape and put it above the zooming layer. You can use masks to create any shape you want, or use an image that has an alpha channel, or even just a copy of the original layer without the animated scale. On the zooming layer go to the Tack matte / mode ...


0

Ok, it's relatively straightforward using some expressions. But then again isn't everything? Assuming you've got your original rotating beam layer, your epicycle layer which is parented to the original beam, and your Venus layer parented to that. You need to find the co-ordinates of the center of the Venus layer, relative to the Composition, in order to ...


1

I don't know if this might be an option or even work but, couldn't you get a dark piece of paper or card and create a linear curve from the bottom under the seat to extend to the floor creating a curve just at the end so it looks like part of the chair.


1

The best bet is probably a combination of more light and using a flatter exposure. h.264 in particular does very bad with noise levels in shadow as do many CMOS sensors. If you are near the dark end of what the camera can capture, you are going to get lots of noise. The obvious solution is to keep things away from the dark end of what you can capture. ...


4

To reduce or eliminate the greenish reflection on the front of the table, you can buy some dark gray or black construction paper, or something equally non-reflective, cut it to size, and tape it over the 2 dark rectangles on the front of the table. I have 3 different solutions for the foot-shadows on the floor. You could point a semi-dim spotlight ...


4

here's a solution that I've used. It can be used to reveal a shape path, or as a way to add a smooth fade-out on the stroke effect as-is: Create your dotted path using the pen tool (or whatever you like), then use the path to create a mask on a new adjustment layer. I use an expression so that I can dynamically change the path - just alt-click the ...


2

I would recommend you use a different plugin, use the shatter plugin. Follow the steps in this tutorial http://www.macprovideo.com/hub/after-effects/after-effects-text-that-blows-away-like-sand This will let you break apart your circle into particles. Then when done the composition, simply pre-comp the layer and use the time/time-reverse layer to let the ...


1

I tried to accomplish a similar effect and used the 'Vegas' and 'Echo' (or a similar) effect in AE to create an alpha matte. The problem with the 'Vegas' effect is that when you set your line to be right before the beginning of the path, it appears at the end of it (try it out, you'll quickly notice what I mean). My solution was to only use a little dot in ...


4

A simple way in blender or any other 3d package would be to use a boolean modifier, if you want to subtract real geometry: use a array modifier to duplicate your shape create a path and aligning the objects on it animate the object count of the array modifier create a simple geometry for subtracting the path objects at the beginning add a boolean ...


1

Animating a shape layer with the pen tool is the same for 3D layers as it is for 2D. One problem is that if you're moving paths around on a layer that is not parallel with the view then you have pespective issues, or parts of your layer might go out of view. To get around this you can create a new camera that is parented to the shape layer - best to do this ...


2

To find the pixel dimensions of a layer you can use this expression: layer.sourceRectAtTime(t = time, includeExtents = false) t: the time index, in seconds. A floating-point value. includeExtents: true to include the extents, false otherwise. Extents apply to shape layers only, increasing the size of the layer bounds as necessary. This is ...


1

Are you using a keying effect? Does your flicker look anything like the original images posted here? https://forums.adobe.com/message/5112063 If so, this issue has been around for a while, and we never seemed to get an accurate response from Adobe. However, there are some workarounds spelled out in that post.


3

I suggest you to build a real lighting rig and maybe stabilizing her neck. If you decide to do it afterwards you have to: modeling the head and her hair (scan it if this is possible) tracking the shots with blender or pftrack replacing the head in your favourite package There are some obstacles: to get realistic shadows and highlights you probably ...


2

Most light walls in AE are made using a matrix of sorts, rather than individually creating many light layers. Trapcode Form would allow you to create a 2D array of individual glowing particles, which can then be "driven" by another layer, to adjust the brightness of each individual particle. A lamp image could be used for the particles, and additional glow ...


2

Yes, it is possible in either, but the difficulty level is going to depend on how complete of an illusion you want. The easiest effect is to simply setup a soft circle as an adjustment mask and apply an exposure increase to it. This will result in looking like there is extra light on the masked area of the shot. The problem is that it won't produce ...


1

After reviewing the PDF, I can confirm that you are misreading it. They are looking for a flash animation, not a video. You will not be able to use your After Effects assets at all. You need to remake the ad as a flash animation in Adobe Flash using vector graphics in order to fit within their 50KB limitation.


0

At 200px by 200px, you are looking at extreme levels of limitation. You may want to consider something like a gif at that point unless you also need audio. Just audio alone for 8 seconds completely blows your 50KB bandwidth budget. 50KB is a mind numbingly small amount of data. At 8kbps, no raster video format will be usable, even at 10fps and 200 by ...


1

It is not possible to use blending modes in a 3D scene. What can be done though, is to use several scenes or 3D objects with a scan line renderer and a cam. Each of those are merged with the blending mode of choice after the scan line renderer in 2d.


4

That's called: Banding. About Color Banding from Wikipedia: Colour banding is a problem of inaccurate colour presentation in computer graphics. In 24 bit colour modes, 8 bits per channel is usually considered sufficient to render images in Rec. 709 or sRGB. However, in some cases there is a risk of producing abrupt changes between shades of the same ...


2

Using After Effects this is not an issue. After Effects has CameraRAW support and by that also support importing DNG sequences. You import them just as you would any other image sequence. Then simply make the sequence into a composition and add it to the render queue. AFAIK After Effects has the OpenEXR plugin integrated since CS5.5. In case I'm wrong you ...


1

Did you unlink the scale x and y before you set it? if you don't the y will be set to -100 too. It's the little chain link next to the value. What you described should work, masks are transformed with their layers. There's a more convenient way of flipping a layer - by going to the Layer menu and choosing Layer>Transform>Flip Horizontal


3

The position property is an array, which is a container with a number of components in it, in this case the three position values: x, y and z. To specify an array you use this notation foo = [A,B,C] where A, B and C are the individual values – constants, variables, whatevs. TL;DR to create an array you put a number of comma-separated values in square ...


1

Pre comp your layer, then apply the Mirror effect to the comp. If your comps are 1920x1080, set the mirror centre to 960x540, and the reflection angle to 0. I think your scaling to -100% didn't work because it's a masked layer. You might have more luck using a shape layer to create your line, then you should be able to scale it as you suggested.


1

I think you need to use the Rotobrush rotoscope tool in AE.. Good luck! It will take a while... Tutorial link: https://library.creativecow.net/harrington_richard/after-effects-cs5-roto/1


0

I'm fairly certain you can use alpha masking in Premiere. Basically you make a black and white animated layer that provides the opacity for the footage in Premiere and the effect gets applied to combine the two layers. I will double check when I get home to make sure I'm not accidentally thinking of After Effects though. I sometimes cross the two in my ...


1

The issue could be Optical Flares, it doesn't fully integrate into AE's 3D space but has its own coordinate system. The usage of AE lights is somewhat of an workaround for that. Have a look at this plugin/script, that could help: http://www.videocopilot.net/tutorials/3d_pre-compose_script/ It's exactly made for what you want to do.


2

It's easy to do with a quick expression: Alt/Option-click the stop watch for the position property. You'll see the default expression transform.position is automatically inserted. The position property is an array – it contains the X, Y and Z value components. We want to lock it so that only one of the values can change. So we have to pick the array apart ...


2

here's another trick worth knowing that will do the job without any third party software. To quickly duplicate your layers: first set the label colour to something you haven't used in your comp. duplicate it, and then click on the label and choose Select Layer Group, duplicate the selected layers to create four layers. Repeat and you'll have eight, sixteen, ...


2

You need to click the Collapse Transformations (sun icon) on your [Comp 3D] layer. Otherwise your main comp will treat your other comp as a flat layer in a 3D space, if that makes sense?


1

You could also use the Trapcode Echospace plugin to achieve the same kind of thing


2

You can move any object by dragging on the Position coordinates in the object's timeline. Alternatively, you can constrain to a single dimension when moving an object in the canvas by putting your cursor over the appropriately coloured arrow (R, G, B, = x, y, z). Wait for your cursor to show a letter next to it, then drag the object.


3

Check whether you have Collapse Transformations enabled in your comp1. It's a litte sun icon:



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