Even shots that involve a 3D camera move or a particular lens are possible. Particular resides on a 2D layer, but the effect is 3D-aware, so if you add a camera to the composition, the particles will behave as if seen through that camera. Separating these gives you far more control when adjusting the look than trying to do it all in one pass you might find that the client likes the look of the snow except in one area of the shot (say, the foreground). In many scenes, the key to pulling off good-looking precipitation will be in creating at least three separate plains: foreground, mid-ground, and background.
The Visibility category contains controls affecting the depth of your particles. The most important settings to adjust are in the Emitter and Physics categories the former is where you establish the amount, velocity, and direction of your particles (along with the size of the emitter, if you use a light), and the latter contains controls for the environment itself: gravity, air resistance, wind, turbulence, and spin. You are not even limited to some relative size for the light as an emitter here the emitter size has been raised on the X and Z axes to distribute particles across a wide area (with an optional Gaussian distribution).
#After effects particle playground snow free
You are free to move the light in whatever position or direction you like in 3D space. If you use a light as an emitter for Trapcode's Particular, you must begin its name with Emitter so the effect knows to use it. You have several choices of particle emitters one great option is to use a spotlight as an emitter, so that all of the light layer's Transform controls are available to establish the position and direction of the particles ( Figure 13.21).įigure 13.21. You could use a standard particle shape included with the effect, or you can create your own customized particles, such as irregular snowflake shapes. Particular has all the controls you need to create a great element of falling rain or snow.
#After effects particle playground snow software
When you receive rain or snow elements from another artist working with 3D software (or even if you do them yourself), you may have to go through several rounds just to get the basic speed and density, wind, and turbulence even in the general range where the client wants them because it's so much harder to gain control of the match in 3D. It's nothing against dedicated 3D programs to note that a faster result, one that is better integrated with source footage, can be achieved in After Effects because of how directly you as a compositor can influence various factors in the scene. Not only does it outdo Particle Playground in features and ease of use, but also, if set up correctly, it obviates the need for creating precipitation in a dedicated 3D program. If you're called upon to create rainfall or snowfall from scratch, I highly recommend taking a look at the Particular plug-in from Trapcode (a demo is included on the book's CD-ROM). I have yet to work with anyone who had the patience to coax realistic effects out of this plug-in. The Particle Playground effect, which ships with the program and hasn't changed much since around version 3.0, is slow, crude, and cumbersome. One area where After Effects' built-in features fall short is particle generation. I'll assume that you're trying to complete shots only in After Effects, but I'll focus on techniques that are equally valid even if your particle and water animations are coming from elsewhere. Realistically, though, it's rare to do elaborate water effects without relying on some pretty elaborate practical or computer-generated source. You've already examined the effect of water in its gaseous form (as fog, mist, or steam) what about water in its liquid and solid states? Although it's not possible to re-create The Perfect Storm or The Day After Tomorrow without elaborate 3D and practical effects, compositing plays a pivotal role in re-creating rain and snow and in enhancing practical and computer-generated scenes.
0 kommentar(er)
