Local Coverage...
figure 21 |
figure 22 |
figure 23 |
I used an EPS file from Freehand for the large “Coverage” word that moves slowly from right to left (fig. 21). I created a light blue Photoshop rectangle with edges that dissolved out at the sides (fig. 22) and used the word “Coverage” as the Trackmatte for the blue Photoshop rectangle. An Overlay Transfer Mode helps blend the word into the background and also reacts nicely to the highlights (fig. 23).
The “Local Coverage You Can Count On” is a pict file that was scrolled continuously across the screen using the Offset filter. This filter allows you to give the appearance that a text line is on an endless scroll even though it only runs the length of the comp.
To wipe the text lines on as the arc swept down (as well as wiping the “Coverage” off), I pre-composed the text layer so that it was the same size as the maroon background comp which contained the mask to wipe it away as the arc rode down. The Mask keyframes were copied from the Arc layer (fig. 25) and pasted in at the same point on both the large “Coverage” and “Local Coverage You Can Count On” layers. This automatically created an identical mask on both layers without having to manually set keyframes.
Local Coverage title:
A new comp was made for the Local Coverage title. The Reflections of Light background was used once again as a texture inside the “Local Coverage” title. The Levels were pumped up (fig. 26) to give it a more metallic feel and then used in a Trackmatte to fill the inside of the words. This was then placed over a red Photoshop capsule (fig. 27).
Another new comp was created (the same size as the previous comp) for the “You Can Count On” line. Each word would be introduced by dissolving it in from 0 percent to 100 as a vertical blur animated from 18 pixels to 0. When the parameters for the first word “You” was complete, it was duplicated (command-d) in the Time Layout Window and replaced by selecting it and Option-dragging the word “Can” from the Project Window into the Time Layout Window (TLW). This replaces the file in the Timeline but retains all the geometry, effects and keyframes of the original layer. It was then moved into position next to the “You.”
Each word was created this way, then staggered uniformly in the Time Layout Window.
The “Local Coverage” comp was brought into the project where after a run-through of Transfer Controls... A Hard Light was settled upon.
The Cylinder Effect:
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A 3rd party plug-in, Boris Cylinder (www.borisfx.com) was used to spin the logo around an imaginary cylinder. I spun the capsule to introduce the logo, keeping it in position for a second with a Hold keyframe. To move the logo off, the Spin, Tumble and Rotate were animated along with the Wrap Percentage (making the cylinder circumference smaller). I added a Vertical Blur which increased over time to help give the illusion of speed.
Only the front face of the logo was visible (you’re given the option of displaying either the front, back or both front & back), so the capsule disappeared as it spun past the 180 degree point.
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Once I was satisfied with the cylinder move, the layer was duplicated and replaced with the “You Can Count On” comp using the Option key-to-replace method, retaining all the parameters of the original layer (fig. 28). Unfortunately, the words were positioned directly over the “Coverage” capsule, so I had to open up the “You Can Count On” comp (Option double-click the layer from the TLW to open it up) and move the words down so that they were placed below the capsule. As I moved the words in this comp, they also updated in my final project. I wanted these words to spin off in the opposite direction so I placed a minus (-) sign in front of the Spin parameter keyframe number of the “You Can Count On” effect menu.
Figure 28 |
The Local Coverage Sequence |
Back to Part Four: Want to see the whole series so far?
Coming soon ... Part six: "Open The Beauty Shots".
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