Return-Path: Received: from mail-yk0-f174.google.com ([209.85.160.174] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 5473212 for AE-List@media-motion.tv; Wed, 14 May 2014 17:20:26 +0200 Received: by mail-yk0-f174.google.com with SMTP id 9so1685854ykp.5 for ; Wed, 14 May 2014 08:20:25 -0700 (PDT) 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=2N32YNftqNool4q+XU4mK5ZpwIDXsy8FSEaQMSKlsFM=; b=GctjCoe63nq775/lcX/6jJb+F7zob5D0+3LBNevR0dRwY1A98l6QWO/Qz0HGAeHRMF N4NveRgbuGBtiC+rwQBFStOQyFWOlcpKMsO4Vvn8XsptlZQbYBHblHLInuBYmnYIxR4M 71cmpBGGblyE0H0wZxm7gtm5HoRTMTgMEqtKv7UtwUhcGWAopE/evC4jnMDFwoUSmWxy Jz9bD6rfH+jLg1TlhMgSQfk+axkU2TQiKicS7h5zmr3zIbgmdKFhzwtx08EZCsRvNrgm f7+YchpCqJR1tVX9rmkQ1rL8rH6iw463hiQMDAZ9vTCa8WHkAQtGXI63iFKZON5dTYjk THLA== X-Received: by 10.236.167.105 with SMTP id h69mr6309726yhl.30.1400080824608; Wed, 14 May 2014 08:20:24 -0700 (PDT) MIME-Version: 1.0 Received: by 10.170.76.134 with HTTP; Wed, 14 May 2014 08:19:42 -0700 (PDT) In-Reply-To: References: From: Teddy Gage Date: Wed, 14 May 2014 11:19:42 -0400 Message-ID: Subject: Re: [AE] Doppler Weather Graphic To: After Effects Mail List Content-Type: multipart/alternative; boundary=20cf303f6b72352f5104f95db80d --20cf303f6b72352f5104f95db80d Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable My advice if you do go the particular route - use a layer as particle map (Emitter type: Layer) to determine particle size (Layer Emitter -> Layer RGB Usage -> Lightness =3D Size), this controls where particles will appear= - instead of trying to wrangle particles and emitters to your bidding with velocity controls. On Wed, May 14, 2014 at 11:07 AM, Teddy Gage wrote: > Honestly my first approach would not be particular, but a series of > stacked shape layers, each with animated fractal noise scaled really smal= l > on both alpha and color channels - this way you get individual control of > colors, independent animation for each color (not tied to colorama map) a= nd > then parent it all to a null for overall animation. Mettle Freeform pro > could come in very handy for shaping the overall forms in real time as > well. > > Particular could definitely work, but you may find yourself with some ver= y > particular challenges when doing something like this. > > Pun definitely intended. > -TG > > > On Wed, May 14, 2014 at 9:02 AM, D wrote: > >> I=E2=80=99ve followed the same general direction as you suggest Chris bu= t used >> Particular to generate the basic movement with a Mosaic preset on top. T= he >> preset was a great start point as it uses Fractal noise, Mosaic, Median = and >> Tri-Tone which is perfect as I have a palette of 3 colours. I then added >> posterise time onto an adjustment layer for the whole comp. >> >> Much easier to create than I had imagined. >> >> Cheers. >> >> >> On 14 May 2014 11:48, Chris Zwar wrote: >> >>> Well these sorts of questions are always fun=E2=80=A6 here's thinking o= ut loud: >>> >>> - I'd be thinking about how these types of images are generated. I'd >>> work greyscale and then use colourama at the end. You could eyedropper= the >>> reference still to get the same colours. >>> >>> - The images are quite low res, and I'm guessing quite low FPS. So I'= d >>> use the mosaic effect to make it blocky, and posterise time (either the >>> plugin or as a time remapping expression) to reduce the frame rate of t= he >>> animation >>> >>> - There's a subtle bend in the graphics. There are a few options for >>> this in the distort effects, including CC bender, CC bend it and the ol= d >>> stock favourite Polar Co-Ordinates. >>> >>> - I'd do the actual keyframeable animation in a pre comp. It could be >>> as simple as white blobs on a transparent background. You might be fin= e >>> with animating masks on a solid, or using several small solids. But st= art >>> with a simple base composition that has just the bits you need to contr= ol. >>> Then add noise and grunge in another composition - you can always use >>> fractal noise, turbulent displace, roughen edges to create a grungy >>> version. Remember - greyscale is fine. add colour at the end, that's = how >>> the real stuff is done. >>> >>> So: >>> >>> 1) Base pre comp with the main elements >>> 2) Grunge version >>> 3) Add mosaic effect and posterise time >>> 4) Bender / bend it / polar coordinates >>> 5) Colourama >>> >>> Have fun, >>> >>> >>> -Chris >>> >>> On 14/05/2014, at 6:03 PM, D wrote: >>> >>> Hi, >>> >>> I think I vaguely remember this coming up once before on here. I need t= o >>> create and animate a Doppler radar weather type graphic. Similar to th= is: >>> >>> http://www.crh.noaa.gov/images/arx/top10/fayette0525.png >>> >>> I need to be able to control its centre point and also the position of >>> colours. The centre of the 'storm' would move between predetermined poi= nts >>> over time. >>> >>> Feels like a job for Particular but I'm unsure of the most efficient >>> way of going about it. I have 27 different positions for the 'storm' to >>> move between in a minute so ideally the only manual key frames I'll be >>> pulling will be positional. >>> >>> Suggestions for start points appreciated. >>> >>> Thanks. >>> >>> >>> >> > > > -- > _____________________________ > VFX & Motion Graphic Artist > teddygage dot com > --=20 _____________________________ VFX & Motion Graphic Artist teddygage dot com --20cf303f6b72352f5104f95db80d Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable
My advice if you do go the particular route - use a layer = as particle map (Emitter type: Layer) to determine particle size (Layer Emi= tter -> Layer RGB Usage -> Lightness =3D Size), this controls where p= articles will appear - instead of trying to wrangle particles and emitters = to your bidding with velocity controls.=C2=A0


On Wed, May 1= 4, 2014 at 11:07 AM, Teddy Gage <teddygage@gmail.com> wrot= e:
Honestly my first approach would not be particular, but a seri= es of stacked shape layers, each with animated fractal noise scaled really = small on both alpha and color channels - this way you get individual contro= l of colors, independent animation for each color (not tied to colorama map= ) and then parent it all to a null for overall animation. Mettle Freeform p= ro could come in very handy for shaping the overall forms in real time as w= ell.=C2=A0

Particular could definitely work, but you may find yourself = with some very particular challenges when doing something like this.
<= div>
Pun definitely intended.
-TG


On Wed, May 14, 2014 at 9:02 AM, D <= dow.hanson@gmail.com> wrote:
I=E2=80=99ve followed the same general direction as you su= ggest Chris but used Particular to generate the basic movement with a Mosai= c preset on top. The preset was a great start point as it uses Fractal nois= e, Mosaic, Median and Tri-Tone which is perfect as I have a palette of 3 co= lours. I then added posterise time onto an adjustment layer for the whole c= omp.=C2=A0

Much easier to create than I had imagined.=C2=A0
<= br>
Cheers.

<= br>
On 14 May 2014 11:48, Chris Zwar <chris@ch= riszwar.com> wrote:
Well the= se sorts of questions are always fun=E2=80=A6 here's thinking out loud:=

- I'd be thinking about how these types of images are generated. = =C2=A0I'd work greyscale and then use colourama at the end. =C2=A0You c= ould eyedropper the reference still to get the same colours.

=
- The images are quite low res, and I'm guessing quite low FPS. =C2=A0S= o I'd use the mosaic effect to make it blocky, and posterise time (eith= er the plugin or as a time remapping expression) to reduce the frame rate o= f the animation

- There's a subtle bend in the graphics. =C2=A0Ther= e are a few options for this in the distort effects, including CC bender, C= C bend it and the old stock favourite Polar Co-Ordinates.

- I'd do the actual keyframeable animation in a pre comp. =C2=A0It= could be as simple as white blobs on a transparent background. =C2=A0You m= ight be fine with animating masks on a solid, or using several small solids= . =C2=A0But start with a simple base composition that has just the bits you= need to control. =C2=A0Then add noise and grunge in another composition - = you can always use fractal noise, turbulent displace, roughen edges to crea= te a grungy version. =C2=A0Remember - greyscale is fine. =C2=A0add colour a= t the end, that's how the real stuff is done.

So:

1) Base pre comp with the = main elements
2) Grunge version
3) Add mosaic effect an= d posterise time
4) Bender / bend it / polar coordinates
5) Colourama

Have fun,


-Chris

On 14/05/2014, a= t 6:03 PM, D <= dow.hanson@gmail.com> wrote:

Hi,

I think I vaguely remember = this coming up once before on here. I need to create and animate a Doppler = radar weather type=C2=A0=C2=A0graphic. Similar to this:

= http://www.crh.noaa.gov/images/arx/top10/fayette0525.png

I need to be able to control its centre point and = also the=C2=A0position of colours. The centre of the 'storm' would = move between=C2=A0predetermined=C2=A0points over time.=C2=A0

=
Feels like a job for Particular but I'm unsure = of the most efficient way of going about it. I have 27 different positions = for the 'storm' to move between in a minute so ideally the only man= ual key frames I'll be pulling will be positional.=C2=A0

Suggestions for start points=C2=A0appreciated.

Thanks.=C2=A0





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



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