Saturday, November 3, 2012

Modify Shapes in After Effects

Modify Shapes in After Effects

Modify Shapes in After Effects
Working with Masks Using the Rectangle and Ellipse tools The Rectangle tool, as the name ... You create mask shapes with these tools by dragging them in the ...
01 Open After Effects and create a new composition (Cmd/Ctrl+N). Choose any settings you're comfortable with – I've used HDTV 1080 25 with a duration of 4 seconds. Next select the Pen tool and draw out a shape. In this case I opted for some typography. Alternatively you can import shapes from Illustrator, or take the easy route and just use the Text tool.
02 Once you've finished drawing your shapes or typography, make them into a 3D layer by clicking the empty boxes underneath the Cube icon to enable 3D. Now bring up the composition settings (Cmd/Ctrl+k). Under the Advanced tab you'll see a drop-down menu. Change the renderer from Classic 3D to Ray-traced 3D. Click the Options button to bring up the quality settings. This is where render times can really stack up. I'd recommend working with low quality settings (Ray-tracing Quality: 4, Anti-aliasing Filter: Box) but changing them for higher settings when it comes to your final render.
03 Now go back to your composition. Under your shape layers settings you will notice a new heading called Geometry Options – it's here that we can extrude shapes. Click Extrusion Depth and set it to around 200.
04 If you look at your shape's extrusion, you'll notice it just looks like a black solid without much definition. That's because we need to add a light into the scene. To do this, go to Layer>New>Light. Remember though, more lights mean longer render times. In the Light Settings panel, choose your settings from the various options – I've gone for a Spot light type. Make sure you check the Cast Shadows tick box too, otherwise your shapes won't have any shadow. You can alter the Shadow Diffusion value to change the sharpness of the shadows.
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Tuesday, October 30, 2012

use After Effects to slow down the action Canon T2i 60 fps Slow Motion

use After Effects to slow down the action Canon T2i 60 fps Slow Motion

use After Effects to slow down the action Canon T2i 60 fps Slow Motion
To get the "super slow motion", after I filmed at 60fps, I through it into the program "After Effects". I used an effect that comes with the program called "Time Warp". This allowed me to make the 60fps, to 1000fps. The way this works is the computer processes/adds frames in between the frames that are already in existence. It took several days for the computer to process the clips into the super slow motion that appears as well, so it does take a lot out of the computer, as far as processing goes. Another similar program that does something similar to this slow motion effect, is a program called "Twixtor". It's another great program that is very similar, however you have to buy it as a separate plugin, and it is a little expensive, but if you do a lot of slow motion, it's totally worth it :)
The concept and the acting was cheesy and silly, but creating this video was 100% pure fun.
I decided to shoot the whole sequence in a 720P 60 fps mode, with the intent of slowing some parts down for true slow motion in the 24 fps edit line. I was a little concerned about the lack of sharpness compared to 1080p, but GH2 holds up very well — much better than T2i.
I inserted "Bill + Kathy" (dropzone and the airplane owners) at 00:13 in After Effects, for a little gag the locals might appreciate. Motion tracking with Mocha worked well, as usual. Photoshopped decal slipped a little during tracking, but you really had to look frame by frame.
I forgot about the 180 shuttle rule at 00:46, shooting it in 1/50 by accident instead of 1/125, resulting in undesirable motion artifact for some indoor shots. Freefall footage, however, shot in 1/200 shuttle speed, looked pretty good in slow motion, with the footage conformed from 60 to 24 fps.
For color grading, Magic Bullet Mojo was used for ground footage. It turned out a little dark, so lightened it a little using Colorista. For skydiving footage, Colorista was used, bringing up the shadows and giving a slight greenish tint. I added a little yellow to the midrange and a bit of red to lightend hilights.
As I use the GH2 more, I really could use for shallow DOF. I need to get a faster lens. For technical aspect of achieving slow motion
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Friday, October 26, 2012

After Effects pixelated font

After Effects pixelated font

After Effects pixelated font
Hi there, I'm new to after effects and I'm looking for tips on how I can seamlessly merge compositions together to make it look as one such as the one shown in many of Andrew Kramers product showcases especially the evolution one here
I believe they are multiple compositions (pre-comps) inside one main comp. Sure Target could have been used to move the camera from comp to comp; and it looks like they either just move past the camera or the opacity is lowered to make them invisible to reveal the composition behind.
1. Dynamic linking PP into AE, then copy and pasting my entire timeline. Problem: the graded footage doesn't show back up in the timeline in PP. Instead, it's contained within the dynamically linked file which has NO transitions, the timing is messed up, etc.

2. Dynamic linking AE into PP, after having copy and pasted my footage from PP. I then paste the footage back into PP, but none of the grading appears. And all my transitions are gone. Plus, when I try to render, the entire picture gets squished. 

3. Selecting each clip and "Replace with after effects composition" works like it should...until either/both programs crash and cause all kinds of dynamically linked issues. Plus, I lose transitions doing it this way and when adding back in the transitions, I get an error "not enough frames, will double frames..." and it never looks right.

My ideal workflow would be to simply finish the edit in PP, move the whole project to AE, and edit each clip, all while retaining the transitions from PP. And then render/export out of AE. 
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Wednesday, October 24, 2012

Panels and workspaces Learn After Effects

Panels and workspaces Learn After Effects

how to customize the After Effects user interface
After Effects CS5 is a 64-bit application that can take full advantage of large amounts of RAM and multiple processors (CPUs), but setting the appropriate preferences is crucial. In this lesson you'll learn how to configure After Effects to use RAM and CPUs (processors) as appropriate for your computer system, your footage, and your project needs. You'll also see what hardware factors affect performance and what improvements can be made to increase performance.
Interface Overview
After you launched AE, it will be nothing on the window unless you start a new project or open a previous project. To start a new project, go to File>>New>>New Project;
The interface is divided into several areas: 
Project Area: All your footage and stock resource will be placed in the project area; 
Composition Area: The composition area allows you to monitor the result of your manipulation and you can also visually orientate your footage in the composition canvas;
Timeline: Here is where most of your animation work will be done;
Tool Bar
At the top of the interface you will find the tool bar which allows you to activate different tools;
Generally, Selection/Hand/Zoom tools are for navigating through your project; Rotate/Camera/Pan Behind tools are used to move elements around in 2D/3D space; Mask/Pen tools allow you to create assisting elements for your project; Brush/Clone Stamp/Eraser tools are three major pixel manipulation tools; Local/World/View Axis Modes are primarily for 3D composition;

Timeline Control
By default, Timeline Control is located at the very right of the interface; it allows to control playback of previewing. You can set the preview option according to the computational power of your workstation;
Shortcuts
Here is a few frequently used shortcuts in producing animation; it is highly recommended to remember them because it will help you speed up your work flow tremendously;
ALT+ SHIFT + Any Following Keys to display different options in layer;
T - Opacity
A - Anchor Point
S - Scale
P - Position 
R - Rotation
O - Jump to the end of the timeline
HOME - Jump to the beginning of the timeline
SPACE BAR - Play/Preview
CTRL + D - Duplicate Layers
Understanding Composition
Comp = Container
Composition is the key concept of AE; comp(short for composition in AE) is very much like a container. It is the place where you store/arrange all the things such as images, sound, text, and video. Also, each comp has an independent timeline. Moreover, since comp is a container, you actually can take one comp(let's name it comp A) which contains many different things and place it into another comp(comp B); then the comp A become one item just like other items in comp B and you can place it on comp B's timeline and applying effects to it like any other piece of footage; this process is referred as "nesting" in the industry
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