![]() ![]() ![]() Pearson Education, Inc., 221 River Street, Hoboken, New Jersey 07030, (Pearson) presents this site to provide information about Peachpit products and services that can be purchased through this site. There's no need to decide the color of the element for a given shot, and shots retain source colors, the precipitation having a similar influence on each shot in a sequence. The best thing about this approach is that it works independently of the background appearance. The precipitation is visible by its effect on the scene, lightening dark areas, darkening light ones, and adding diffusion throughout. Levels is applied with a slightly lowered (90%) Output White value, and a very high (80%) Output Black value. ![]() In the image in Figure 24, blurriness is set very high (200), so that the area behind each individual raindrop or snowflake becomes a wash of color. Therefore, on The Day After Tomorrow our crew found success with using the rain or snow element as a track matte for an adjustment layer containing a Fast Blur and a Levels effect. Moreover, these individual bits of precipitation behave like tiny lenses that diffract light, defocusing and lowering the contrast of whatever is behind them, but also picking up the ambient light themselves. Raindrops and snowflakes are translucent, their appearance heavily influenced by the environment. When the time comes to integrate falling rain or snow with a background plate, you can do better than a simple A-over-B comp in fact, the key is to show the effect of these elements on the scene, rather than showing the elements themselves. The compositing technique is similar to what is done with shadows: Position the plane and choose a blending mode, such as Add or Vivid Light, or apply it as a Luma Matte to an adjustment layer containing Levels. Then the trick is to set Position and Amplitude for a natural look. ![]() For one thing, View must be changed to Height Map just to preview the effect, and Grid Resolution must be raised (it's set for a feeble 1990s-era computer), along with optional Pre-roll settings. With patient adjustments, you can use Wave World, an effect included when you register your copy of After Effects. The question is how to get the sample of the play of light reflected off of the waves. Light from water has a compelling shape and movement, and if you've set up the scene so that the viewer knows there's a swimming pool or a lake nearby, it may even be expected. The presence of water (outside of the shot area) is implied by the presence of its reflected light in the scene. The tricky part is setting up the shoot properly everything that isn't sand must be negative space, so you'll need a miniature stage (which can be all cardboard) in a solid color (Rosco blue, say, or flat black), lighting, and a matched camera perspective. Depending on how heavy the sand is, you might even get some of the spray at the base (as a cloud of dust). You can adjust and color-correct sand coming out of a funnel or trough to look a lot like a waterfall. 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.Ī waterfall remains a challenging element to re-create in software, so here's an old school, practical way to shoot this element as a miniature instead: Use sand. If you're called upon to create rainfall or snowfall from scratch, consider the Particular plug-in from. 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. For this discussion, 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 created elsewhere. Realistically, though, it's rare to create elaborate water effects without relying on some even more elaborate practical or computer-generated source. We'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. Adobe After Effects 7.0 Studio Techniques ![]()
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