Return-Path: Received: from mail-yh0-f48.google.com ([209.85.213.48] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 5397633 for AE-List@media-motion.tv; Tue, 04 Mar 2014 21:49:21 +0100 Received: by mail-yh0-f48.google.com with SMTP id z6so84503yhz.7 for ; Tue, 04 Mar 2014 12:49:49 -0800 (PST) DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:from:date:message-id:subject:to :content-type; bh=UK6R3PHEqFJxWcNGE8mIkYJqYqjwc8T0bwNxYuz6R2A=; b=HwDrR701jbKMkravtogCufKy+dngjyBSnO2UZF4j5Rcyt5VuKoo/6QCVV7PmrbIP83 U2kroAjIRk2xUien4s/4+O60NuUbOeIrXnEGLLtvRd5AmpdsViuO/chjSIK9CSRiAz05 S55XHizDKjuK09NIbrOicbwVibpcQ5UwR9WtvB8sh11yKUUKnFOc80jIUTA6bvAlXw1/ wJRyT7nSoWIDYAdukc4xpcCD+E0y6Pl6fzMEBd216V1MB9AIshaXZc7dSLlXKTYoABJM ZdWrNZERsrK7q8r+6dylpAGmbHHnfxXRXEx4qY8N6rsyW5jzDNo8lvMZhY785KX1W1df 0klA== X-Received: by 10.236.15.102 with SMTP id e66mr1797885yhe.69.1393966189142; Tue, 04 Mar 2014 12:49:49 -0800 (PST) MIME-Version: 1.0 Received: by 10.170.160.6 with HTTP; Tue, 4 Mar 2014 12:49:09 -0800 (PST) In-Reply-To: References: From: Teddy Gage Date: Tue, 4 Mar 2014 15:49:09 -0500 Message-ID: Subject: Re: [AE] AI > PSD > AE workflow recommendations? To: After Effects Mail List Content-Type: multipart/alternative; boundary=089e0122a3d488686104f3ce0bea --089e0122a3d488686104f3ce0bea Content-Type: text/plain; charset=ISO-8859-1 Well because stencil alpha on a layer blending mode stencils ALL layers beneath it, if I wanted to do a text element like that in a big project, it would need to be above the text but below everything else I did not want stenciled. Instead of being applied as an effect to a single layer. On Tue, Mar 4, 2014 at 3:28 PM, Roei Tzoref wrote: > Teddy you meant on the top right? Stencil alpha/luma is always on top > or I misunderstood what you meant > > > On Tue, Mar 4, 2014 at 8:32 PM, Teddy Gage wrote: > >> That's cool. I use stencil alpha a lot as a blending mode, this takes >> away the problem of having to leave it on the bottom of the layer stack. >> >> As for cool effects that I think go under-utilized, I've been using time >> displacement a lot, it can make a simple animation look really complex. >> >> >> On Mon, Mar 3, 2014 at 9:36 PM, rendernyc wrote: >> >>> one example would be to do a channel blur on a layers alpha (or fast >>> blur over the entire layer, etc)... but then CC composite and set it to >>> stencil alpha. >>> >>> now the edge blur gets contained in the layers original alpha >>> >>> this is the alpha channel ...the top here is just a channel blur, the >>> bottom has the CC composite as well >>> >>> https://www.dropbox.com/s/ox6d6bq04rane3l/Screenshot%202014-03-03%2021.28.37.png >>> >>> >>> >>> >>> On Mon, Mar 3, 2014 at 6:14 PM, Roei Tzoref wrote: >>> >>>> could you elaborate on that technique? >>>> I didn't quite get the "crop it back to its original borders" >>>> >>>> if you could, give me a simple set of effects on a layer where I could >>>> see the visual practical use for it. >>>> thanks >>>> >>>> >>>> On Tue, Mar 4, 2014 at 12:21 AM, rendernyc wrote: >>>> >>>>> CC composite is great for many things... i tend to reach for it mostly >>>>> for its stencil alpha blend modes so that you can apply effects to a layer >>>>> and then crop it back to its original borders >>>>> >>>>> >>>>> On Mon, Mar 3, 2014 at 5:16 PM, Roei Tzoref wrote: >>>>> >>>>>> I see. looks like you managed it well. >>>>>> thanks for taking the time to share it visually, I appreciate it. >>>>>> >>>>>> I will also look into experimenting with CC Composite - behind >>>>>> feature technique you mentioned. >>>>>> usually I use CC Composite for making blend mode version of my >>>>>> composite for enriching the color and atmosphere and not beyond that. >>>>>> >>>>>> >>>>>> On Tue, Mar 4, 2014 at 12:05 AM, rendernyc wrote: >>>>>> >>>>>>> https://db.tt/8QVmkoIw >>>>>>> >>>>>>> this would be a precomp within the full piece >>>>>>> >>>>>>> >>>>>>> On Mon, Mar 3, 2014 at 4:29 PM, Roei Tzoref wrote: >>>>>>> >>>>>>>> couldn't possibly make an image in my head from all you just wrote >>>>>>>> but sounds like you know your stuff. >>>>>>>> all the best. >>>>>>>> >>>>>>>> >>>>>>>> On Mon, Mar 3, 2014 at 10:45 PM, rendernyc wrote: >>>>>>>> >>>>>>>>> just a bunch of diferent shaped dots and ovalish shapes that make >>>>>>>>> up part of a globe that is part of a larger logo. >>>>>>>>> >>>>>>>>> wanted to have them each build on in one color with some inertia >>>>>>>>> bounce and then scale back down down leaving the the 100% scale dot in the >>>>>>>>> logo color behind. >>>>>>>>> >>>>>>>>> fill color with the non logo color >>>>>>>>> take a layer and use transform effect with 0->100->0 scale with an >>>>>>>>> inertia expression >>>>>>>>> set anchor and position to width/2 >>>>>>>>> CC composite set to behind to leave the logo color at proper size >>>>>>>>> and position behind. >>>>>>>>> opacity is 0 hold kf then 100 at scale 100 >>>>>>>>> >>>>>>>>> copy effects category and paste to all >>>>>>>>> >>>>>>>>> select all and use rift to randmize start point and you have a >>>>>>>>> nice effect in a few minutes of work >>>>>>>>> >>>>>>>>> >>>>>>>>> On Mon, Mar 3, 2014 at 2:45 PM, Roei Tzoref wrote: >>>>>>>>> >>>>>>>>>> thanks for sharing >>>>>>>>>> not to imply you should get rid of the layers :) >>>>>>>>>> just that you should merge them if you don't need them >>>>>>>>>> separately, which relates to scott's problem. >>>>>>>>>> >>>>>>>>>> I'm intrigued about the logo with the 600 layers... >>>>>>>>>> >>>>>>>>>> >>>>>>>>>> On Mon, Mar 3, 2014 at 9:29 PM, Rendernyc wrote: >>>>>>>>>> >>>>>>>>>>> It's a logo. So it needs to be precise. >>>>>>>>>>> >>>>>>>>>>> Trust me if I didn't I wouldn't :) >>>>>>>>>>> >>>>>>>>>>> I split it into 3 files to get it to import >>>>>>>>>>> >>>>>>>>>>> On Mar 3, 2014, at 2:01 PM, Roei Tzoref >>>>>>>>>>> wrote: >>>>>>>>>>> >>>>>>>>>>> do you really need all those 600 layers in your composition? >>>>>>>>>>> if you don't need to move them separately then the answer is >>>>>>>>>>> no... >>>>>>>>>>> even if you do I could only imagine its some sort of particles >>>>>>>>>>> or fractals that you could recreate in some other way in AE >>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>> On Mon, Mar 3, 2014 at 7:47 PM, rendernyc wrote: >>>>>>>>>>> >>>>>>>>>>>> and here i am reading this thread and have to say i havent >>>>>>>>>>>> really come across these issues. >>>>>>>>>>>> >>>>>>>>>>>> of course now i reading my email because i am waiting for AE >>>>>>>>>>>> to import a 600 layer AI file and it seems to have choked... ugh >>>>>>>>>>>> >>>>>>>>>>>> >>>>>>>>>>>> >>>>>>>>>>>> >>>>>>>>>>>> On Sun, Mar 2, 2014 at 2:52 PM, scott.aelist < >>>>>>>>>>>> scott.aelist@gmail.com> wrote: >>>>>>>>>>>> >>>>>>>>>>>>> If it's helpful i've posted a little diagram of my process >>>>>>>>>>>>> here: http://i.imgur.com/resFDjm.jpg >>>>>>>>>>>>> Teddy yes I save all my SVOs into one AI file... still, it is >>>>>>>>>>>>> very time-consuming to have to handle each of these layers individually. I >>>>>>>>>>>>> have move them to a new layer, group them (if the object isn't grouped), >>>>>>>>>>>>> scale them up, name the layer... etc etc. I thought I might be able to open >>>>>>>>>>>>> the PS in AE but it treats all the SVOs as placed raster objects, not as >>>>>>>>>>>>> vector objects. >>>>>>>>>>>>> Roei thanks for your comment. If you have any tips i'd love to >>>>>>>>>>>>> hear. >>>>>>>>>>>>> >>>>>>>>>>>>> I feel like there is no quick solution to this and i simply >>>>>>>>>>>>> need to file a feature request asking to be able to convert Smart vector >>>>>>>>>>>>> objects to shape layers. >>>>>>>>>>>>> >>>>>>>>>>>>> >>>>>>>>>>>>> >>>>>>>>>>>>> On Sun, Mar 2, 2014 at 11:34 AM, Roei Tzoref >>>>>>>>>>>> > wrote: >>>>>>>>>>>>> >>>>>>>>>>>>>> hey scott. >>>>>>>>>>>>>> >>>>>>>>>>>>>> I would like to help you solve your workflow problem. >>>>>>>>>>>>>> >>>>>>>>>>>>>> I work on a news channel where we have to deliver very fast >>>>>>>>>>>>>> and rely on fast psd/ai->ae workflow >>>>>>>>>>>>>> making the shift from psd vectors to ae is kind of my >>>>>>>>>>>>>> expertise. >>>>>>>>>>>>>> I also teach students where troubleshooting psd/ai->ae is my >>>>>>>>>>>>>> main teaching focus. >>>>>>>>>>>>>> but enough about me, please contact if you still need some >>>>>>>>>>>>>> help and me I am pretty sure I can help you sort some of this mess out. >>>>>>>>>>>>>> >>>>>>>>>>>>>> >>>>>>>>>>>>>> >>>>>>>>>>>>>> On Sun, Mar 2, 2014 at 1:31 AM, scott.aelist < >>>>>>>>>>>>>> scott.aelist@gmail.com> wrote: >>>>>>>>>>>>>> >>>>>>>>>>>>>>> I'm frustrated with the amount of redundant file prep i'm >>>>>>>>>>>>>>> having to do on a current job and I'm wondering if there's a faster way. >>>>>>>>>>>>>>> I'm tasked with animating some little vignettes for a travel show. >>>>>>>>>>>>>>> A friend is illustrating the shot in photoshop and then i >>>>>>>>>>>>>>> have to animate from the PSD. Ideally I would just import the PSD into AE >>>>>>>>>>>>>>> and go, but I can't. A lot of the assets are vector objects so I end up >>>>>>>>>>>>>>> opening EVERY SINGLE smart vector object in AI and then I have to save all >>>>>>>>>>>>>>> these layers out as AI files. I thought maybe I could import the PSD into >>>>>>>>>>>>>>> AE and convert it to shape layers or an AI file there, but no dice. I >>>>>>>>>>>>>>> should also mention that I have to scale up all these vector assets 200% >>>>>>>>>>>>>>> because sometimes I need layers larger than they appear in the PSD, and if >>>>>>>>>>>>>>> I use continually rasterize it often screws up any effects or puppeting I >>>>>>>>>>>>>>> have on my layer. This takes an enormous amount of time and my client >>>>>>>>>>>>>>> doesn't understand why I can't turn these things out in a day or two, and I >>>>>>>>>>>>>>> have to make these dubious-sounding excuses of how I have to 'prepare' all >>>>>>>>>>>>>>> these assets for animation. Is there a faster way? And am I the only one >>>>>>>>>>>>>>> who scales up all their AI assets before bringing into AE? >>>>>>>>>>>>>>> >>>>>>>>>>>>>> >>>>>>>>>>>>>> >>>>>>>>>>>>> >>>>>>>>>>>> >>>>>>>>>>>> >>>>>>>>>>>> -- >>>>>>>>>>>> danny princz >>>>>>>>>>>> >>>>>>>>>>>> vimeo.com/rendernyc >>>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>> >>>>>>>>> >>>>>>>>> >>>>>>>>> -- >>>>>>>>> danny princz >>>>>>>>> >>>>>>>>> vimeo.com/rendernyc >>>>>>>>> >>>>>>>> >>>>>>>> >>>>>>> >>>>>>> >>>>>>> -- >>>>>>> danny princz >>>>>>> >>>>>>> vimeo.com/rendernyc >>>>>>> >>>>>> >>>>>> >>>>> >>>>> >>>>> -- >>>>> danny princz >>>>> >>>>> vimeo.com/rendernyc >>>>> >>>> >>>> >>> >>> >>> -- >>> danny princz >>> >>> vimeo.com/rendernyc >>> >> >> >> >> -- >> _____________________________ >> VFX & Motion Graphic Artist >> teddygage dot com >> > > -- _____________________________ VFX & Motion Graphic Artist teddygage dot com --089e0122a3d488686104f3ce0bea Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable
Well because stencil alpha on a layer blending mode stenci= ls ALL layers beneath it, if I wanted to do a text element like that in a b= ig project, it would need to be above the text but below everything else I = did not want stenciled. Instead of being applied as an effect to a single l= ayer.=A0


On Tue, Mar 4= , 2014 at 3:28 PM, Roei Tzoref <yooofi@gmail.com> wrote:
<= blockquote class=3D"gmail_quote" style=3D"margin:0 0 0 .8ex;border-left:1px= #ccc solid;padding-left:1ex">
Teddy you meant on the top right? Stencil alpha/luma is al= ways on top
or I misunderstood what you meant


On Tue, Mar 4, 2014 at 8:32 PM, Teddy Gage <teddygage@gmail.com><= /span> wrote:
That's cool. I use sten= cil alpha a lot as a blending mode, this takes away the problem of having t= o leave it on the bottom of the layer stack.=A0

As for cool effects that I think go under-utilized, I've= been using time displacement a lot, it can make a simple animation look re= ally complex.


On Mon, Mar 3, 2014 at 9:36 PM, rendernyc <rendernyc@gmail.com&g= t; wrote:
one e= xample would be to do a channel blur on a layers alpha (or fast blur over t= he entire layer, etc)... but then CC composite and set it to stencil alpha.=

now the edge blur gets contained in the layers original alph= a

this is the alpha channel ...the top here is just a cha= nnel blur, the bottom has the CC composite as well




On Mon, Mar 3,= 2014 at 6:14 PM, Roei Tzoref <yooofi@gmail.com> wrote:
could= you elaborate on that technique?
I didn't quite get the "= ;crop it back to its original borders"

if you could, give me a simple set of effects on a= layer where I could see the visual practical use for it.
thanks
<= br>
On Tue, Mar 4, 2014 at 12:= 21 AM, rendernyc <rendernyc@gmail.com> wrote:
CC composite is great for many things... i tend to reach for it mostl= y for its stencil alpha blend modes so that you can apply effects to a laye= r and then crop it back to its original borders


On Mon, Mar 3, 2014 at 5:= 16 PM, Roei Tzoref <yooofi@gmail.com> wrote:
I see. looks like you managed it well.=A0
thanks for t= aking the time to share it visually, I appreciate it.

<= div>I will also look into experimenting with CC Composite - behind feature = technique you mentioned.
usually I use CC Composite for making blend mode version of my composi= te for enriching the color and atmosphere and not beyond that.
<= /div>


On Tue, Mar 4, 2014 at 12:05 AM, rendernyc <rendernyc@gmail.com><= /span> wrote:
https://db.tt/8Q= VmkoIw

this would be a precomp within the full piece


On Mon, Mar 3, 2014 at 4:29 PM, Roei Tz= oref <yooofi@gmail.com> wrote:
couldn't possibly make an image in my head from all you just wrot= e
but sounds like you know your stuff.=A0
all the best.


On Mon, Ma= r 3, 2014 at 10:45 PM, rendernyc <rendernyc@gmail.com> wro= te:
just = a bunch of diferent shaped dots and ovalish shapes that make up part of a g= lobe that is part of a larger logo.

wanted to have them each build on in one color with some ine= rtia bounce and then scale back down down leaving the the 100% scale dot in= the logo color behind.

fill color with the non logo color
take a lay= er and use transform effect with 0->100->0 scale with an inertia expr= ession
set anchor and position to width/2
CC composite set to behind to leave the logo color at proper size= and position behind.=A0
opacity is 0 hold kf then 100 at scale 100

co= py effects category and paste to all

select all an= d use rift to randmize start point and you have a nice effect in a few minu= tes of work


On Mon, Mar 3, 2014 at 2:45 PM, Roei Tzoref <yooof= i@gmail.com> wrote:
thanks for sharing
not to imply you should get rid of = the layers :)
just that you should merge them if you don't need the= m separately, which relates to scott's problem.

I'm intrigued about the logo with the 600 layers...=A0
=


On = Mon, Mar 3, 2014 at 9:29 PM, Rendernyc <rendernyc@gmail.com> wrote:
It's a logo. So i= t needs to be precise.=A0

Trust me if I didn't= I wouldn't :)

I split it into 3 files to get it to import=A0

On Mar 3, 2014, at 2:01 PM, Roei Tzoref <yooofi@gmail.com> wrote:

do you really nee= d all those 600 layers in your composition?
if you don't need to mo= ve them separately then the answer is no...=A0
even if you do I c= ould only imagine its some sort of particles or fractals that you could rec= reate in some other way in AE=A0


On Mon,= Mar 3, 2014 at 7:47 PM, rendernyc <rendernyc@gmail.com> w= rote:
and here i am reading this = thread and have to say i havent really come across these issues.

of course now i reading my email =A0because i am waiting for AE to imp= ort a 600 layer AI file and it seems to have choked... ugh



On Sun, Mar 2, 2014 at 2:52 PM, scott.aelist <scott.aelist@gmail.com> wrote:


On Sun, Mar 2, 2014 at 11:34 AM, Roei Tzoref <yooofi@gmai= l.com> wrote:
hey scott.

I would like to help you solve your workflow problem.

I work on a news channel where we have to deliver very fast and rely o= n fast psd/ai->ae workflow
making the shift from psd vectors to ae is kind of my expertise.
=
I also teach students where troubleshooting psd/ai->ae is my main t= eaching focus.
but enough about me, please contact if you still n= eed some help and me I am pretty sure I can help you sort some of this mess= out.



On Sun, Mar 2, 2014 at 1:31 AM, scott.aelist <scott= .aelist@gmail.com> wrote:
I'm frustrated wit= h the amount of redundant file prep i'm having to do on a current job a= nd I'm wondering if there's a faster way. I'm tasked with anima= ting some little vignettes for a travel show.
A friend is illustrating the shot in photoshop and then i have to ani= mate from the PSD. Ideally I would just import the PSD into AE and go, but = I can't. A lot of the assets are vector objects so I end up opening EVE= RY SINGLE smart vector object in AI and then I have to save all these layer= s out as AI files. I thought maybe I could import the PSD into AE and conve= rt it to shape layers or an AI file there, but no dice. I should also menti= on that I have to scale up all these vector assets 200% because sometimes I= need layers larger than they appear in the PSD, and if I use continually r= asterize it often screws up any effects or puppeting I have on my layer. Th= is takes an enormous amount of time and my client doesn't understand wh= y I can't turn these things out in a day or two, and I have to make the= se dubious-sounding excuses of how I have to 'prepare' all these as= sets for animation. Is there a faster way? And am I the only one who scales= up all their AI assets before bringing into AE?





<= span>--
danny princz

vimeo.com/rendernyc<= /a>





<= /div>--
danny princz
=
vimeo.com/rend= ernyc




--

<= /span>
=


<= /span>
--

<= /span>



--
danny princz

vimeo.com/rendernyc


--
_____________________________
<= div>VFX & Mo= tion Graphic Artist
teddygage dot com




--
=
_____________________________=
VFX & Motion Graphic Artist
teddygage dot com
--089e0122a3d488686104f3ce0bea--