Is there a way to make a shape of a picture move to the music? So will look like a visual. Would I need to draw the shapes on the image or what would I need to do? Thanks!
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Part of Picture (shapes) move to music
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Motion tracking text onto a shirt
HI Guys!
I am trying to take a video that I shot of a model wearing a blank shirt (I added blue tracking markers) and be able to add text and non-moving graphics to the shirt but make it look as if it was always on there.
I want to do this to create short video advertisements for my company. My trouble comes when there is some kind of movement in front of the text, I.e a hand moving of hair falling in front, or her rotating, I want to be able to have it look natural And move with the flow of the shirt. And to also be able to remove the markers.
if you guys would be able to help me with that I would be extremely grateful- or point me in the direction of a video tutorial - that would be wonderful.
There re is a video done by an Israeli guy if two people waking (one green and one white shirt) which shows how to get content on a shirt but it is very simple video of them just walking forward with no obstructions or position markers.
Thanks so much!
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Re: Shortcut for exiting Type Tool?
What is "Keypad-Enter" or "Command+Return/Enter" listed as in the shortcut keys menu. I want to assign it to a button on a mouse. Thanks!
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Re: Help with puppet pin and face tracking.
I did as you stated, but when I whip pick the Puppet Pins to the face tracker points the Puppet pins all go to one spot. The position numbers are exactly the same yet they are not connecting. Please help
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Re: Part of Picture (shapes) move to music
There are about a hundred ways to do this. The first step is to decide what frequencies you want to feature and edit your sound in something like Audition. If the music does not require a new EQ to isolate certain frequencies you can use it without creating a second copy. Then you either use the Audio to Keyframes effect or purchase Sound Keys from Red Giant to give you some usable data from the wav file. (BTW, you should be using 16 bit 49KHZ uncompress PCM WAV files in your video projects and you should avoid MP3).
Once you have extracted the data you can apply that data to everything from Puppet Pins to distortion meshes using expressions. You could use any distortion tool that has numeric values associated with the controls. The tool you use depends on the look you want.
If you wanted to get really fancy you could apply 8 Magnify or Bulge effects centered over the eight large kind of pentagon shapes on the outside edge of the image and another bulge or magnify effect over the center and drive them all with expressions to make everything grow and shrink with the music.
Decide exactly what parts of the image you want to move and how you want those parts to move maybe we can give you an efficient workflow. Here's an example using an adjustment layer with a quickly drawn mask and one instance of Twirl.
The green line is the mask that limits the distortion from the adjustment layer to everything inside the mask. The mask is expanded and feathered to give a smooth transition. The Keyframe Assistant was used to generate keyframes from the Audio layer (bottom) and an expression was used to tie the rotation value in twist to the audio values. In the Graph Editor I checked the minimum and maximum values for both channels and then I experimented with the rotation value to pick a max distortion level. Inside the Interpolation section of the Expression Language menu in the timeline you'll find this method:
ease(t, tMin, tMax, value1, value2)
t is the value you want to look at, tMin is the minimum value - for both channels that is 0 and 11. The value1 and 2 property is the range of the new numbers I wanted to deliver to the rotation property of Twist. I used the pickwhip to define the variable t as the value both channels then just filled in the numbers. The final expression looks like this:
t = thisComp.layer("Audio Amplitude").effect("Both Channels")("Slider");
ease(t, 0, 11, -90, 90)
You can use this procedure on any effect that has numbers in the controls and get any look you want,
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Re: Color banding
Hello, adding noise (without color) helped. Thanks!
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Re: Motion tracking text onto a shirt
You separate the thing that are in front of the shirt by rotoscope. This involves duplicating the footage and some masking.
The most efficient technique for tracking depends on the shot. Most of the time Mocha will be your best tool and tracking markers are usually not necessary. It all depends on the shot.
Show us the shot and I'll try and point you to the most efficient solution.
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Re: Playhead leaving lagging ghost lines while scrubbing timeline - Ae - Windows 10 64-bit
This sounds like a bug that was fixed with an AE update. Check for an update. I don't mean a newer version, I mean an update to your current version.
Problems like this are pretty difficult to diagnose without AE version details down to the last decimal point and a screenshot.
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Re: speed up Render speed in After Effect 2017?
Add more system resources by upgrading your computer or design your comps and your workflow with more efficient techniques.
Visual effects take a long time to render, they always have. Things are slowly improving but the more complex the composition the longer it is going to take to render.
Some video sources, like MPEG or MP4, take more system resources to decode before any processing takes place so be careful when selecting a format for your source videos.
Temporal effects take a long time to render. Large frame sizes take along time to render. Rendering time actually increases logarithmically with frame size so work at the Maximum frame size required for your project and not larger.
Assets, images, video, and illustrations that are significantly larger than the frame size of your project take longer to process than assets that will be at or 100% scale at some point in your composition.
Learn what effects slow things down and look for workarounds.
Pick a rendering workflow that matches the types of comps you are working on. Directly rendering an H.264 (a very good industry standard deliverable format) in the Adobe Media Encoder is going to take longer than rendering a digital intermediate using a fast rendering frame based visually lossless format directly in AE using the Render Cue and Output Module. For some complex projects the fastest way to a deliverable h.264 file is to render an image sequence from your comps in AE, edit the image sequence and sound in Premiere Pro and Audition, and then use the AME to render your compressed deliverable.
Don't do things in AE that you can do in Premiere Pro. Only use After Effects for creating composites and motion graphics that cannot be created in any other way, then edit in Premiere Pro. AE is for making shots, Premiere is for editing movies. Use the right tools for the job.
Now if you want to get specific about your workflow, your composition structure, your system and your delivery requirements we may be able to give you some more suggestions. I can give the same assignment to two students working on identical machines and have one project take several seconds per frame to render and the other take several minutes per frame and the end result will be almost identical. There is no magic button you can push, you just have to learn how things work and gain some experience to make the most of your hardware. My personal limit is 7 minutes per frame. If I can't get a complex comp to render faster than that I change something, but most of my work renders at several frames per minute.
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Script that links particular Emitter position to a nulls position.
Hi there, So I have a particle I want to play on multiple nulls I have imported from Maya. Easy enough I can just link the Emitter x,y to the pos of the null and then link the z to the pos of the null. One down 48 to go.... These nulls are all animated and the reason I am using nulls is because they can rotate and I can control the rotation in Maya or in AE. If I control them in Maya I have to link the rotation of the emitter in particular from x,y,z to the Orientation of the null. X, Y, Z. This is extremely tedious and I feel like there has to be a script out there or something I can do where I just select the layer that has particular and the null i want and hit a link script.
Any Ideas?
Thanks
Jon
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Re: AE 2017.2 - Slow Preview, Slow All-Around
How do I set up RAM Preview so it behaves like it used to?
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Re: After effects CC: How to render a composition without 'square pixels' enabled and not changing footage aspect ratios?
The issue was apparently resolved enabling Pixel Aspect Ratio Compensation in composition window and performing small adjustments on footages that were with different percentages size.
Thanks Katie Houghton and Rick Gerard for the responses!
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Re: After effects CC: How to render a composition without 'square pixels' enabled and not changing footage aspect ratios?
Rick, thanks a lot for the learning recommendation on "pixel aspect ratios and video standards" I really perceived I have some gaps to get updated, including to better understand requirements for current TVs like the 4k and new features of current versions of after effects.
Are there any good references on pixel aspect ratio and current production standards you could point me to?
Thanks!
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Re: Script that links particular Emitter position to a nulls position.
For tedious expressions that I am going to be using all the time I save them as animation presets. Instead of a layer name you can use index-1 to indicate the layer above.
If I saw the timeline and knew exactly what you were doing I could give a better answer.
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Can figure out how to work Puppet tool multiple layers. Any tips?
Basically I got 3 layers involving a tree and a bluejay. I want the bluejay to go inside its tree home (its just a nest half way inside the tree). With puppet tools I can get the bluejay to flutter around and hop in. The way its layered, it looks like the bird goes in correctly with a bit of the true hiding the bluejay in front.
I have the tree split into 2 layers, one BEHIND the bluejay, and 1 INFRONT.
So it would be from front to back
- Tree front (hides the nest and bluejay slightly to give appearance of depth)
- Blue Jay (in front of BG but behind tree front)
- Tree Back (background)
Thats how its layered. Now this wasnt a problem but my daughter suggests I should make the tree sway to give it more "aliveness" so I cant say no. Im desperate. Ive been looking up puppet tools but they all describe single character process. I cant find one that shows how to deal with moving intersections.
Ive only ever used AE for compositing and simple work. Ive never had to do this kind of motion work.
To sum it up, I need to make both layers of the tree sway while the bird still looks like it goes into the center of the tree without the tree looking like it has a huge tear in-between. I believe the answer is somewhere in pre-comps but I cannot wrap my head around this. Any help or point in the right direction would be GREATLY appreciated.
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Re: After Effects 2017 - Effects Lag when adjusting values
With this new version, i'm experiencing the same exact problem.
I can't work and i do lot's of work in AE.
When moving around the screen it's really laggy and sometimes impossible to even work with it. I do alot of mask and i can't even do a proper one or even animate them.
It's sad that this is happening
Hopefully they fix it quickly!
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Re: Can figure out how to work Puppet tool multiple layers. Any tips?
You have two options. First puppet pin will not work on layers that have moving areas of transparency. IOW, if you animate the bird so that it appears to go into the tree, then pre-compose the crow and the tree and try to puppet pin both together you'll end up with a problem with the mesh because it is based on the opacity of the layer. When the bird moves outside the mesh created in the first frame it will leave parts behind.
Without seeing your comp with the modified properties of all layers revealed it's pretty hard to visualize exactly what is going on but I suspect that the easiest solution may be to drop a colored solid behind the animation of the bird moving into the tree then precompose all layers and animate the tree swaying using puppet pin, then use Keylight to remove the solid background and insert the background artwork you want in the scene. This is assuming you want the bird to move to the tree, then into the tree and have the tree moving throughout the entire scene.
The only other way I can see to do this is to use a distortion mesh of some kind to move the tree and everything else so you don't have problems with puppet pin mesh.
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Re: Script that links particular Emitter position to a nulls position.
Hey Rick! That might work. Little new to expressions, How do you save the expression as an animation preset?
That index-1 might do the trick.
Basically i have this setup repeated in my comp 48 times
Solid layer
Particular
Emitter
Position x,y
Position z
Rotation x
Rotation y
Rotation z
Null
position x,y,z
Orientation x,y,z
so I need to link the particular position to the null position and each Rotation axis to the null orientatoons.
Thanks for for your help
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Strange results in Mac AE CS6 rendering speed tests
I'm trying to optimise render speed in Mac Pro AE CS6. Machine specs: 96 GB RAM, 3.46 GHZ, 2x6-core, OSX 10.11.6.
I rendered a test 20-second shot with and without multiprocessing, and with RAM disk cache and with HD cache .
Memory allocation: 50 GB RAM for RAM disk, 10 GB for other apps, leaving 46 GB for AE.
Cache for RAM disk set to 49 GB, as I got an error message saying it could not use the 50 GB. Presumably because there a folder called "AE cache] which reduces the 50 GB.
Threads in MP: 2 GB allocated to each, getting use of 20 threads.
Results:
SET-UP TIME TO RENDER
HD cache, no Multiprocessing 72 minutes
HD cache with MP 72 minutes
RAM disk cache, no MP 49 min 36 sec
RAM disk cache, with MP 70 min
These numbers appear to show that MP slows down rendering using a RAM disk. I would have hoped the reverse. They also show MP has no effect with an HD cache. Again, I would have expected MP to be faster.
During render, the bottom of the Render Queue screen read "RAM 1% of 96 GB used. Huh? Am I mis-setting parameters? Any advice gratefully received.
[I did read on-line articles by Adobe for this, but they always describe the buttons themselves and not how to use them in an INTEGRATED PROCEDURE for optimisation.]
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Re: Strange results in Mac AE CS6 rendering speed tests
I have no idea what to make of our render tests without knowing the structure of your composition and what your render settings are.
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