Now that Shatter is included in the filter set of After Effects 5.5, many users are asking how to use this effect. In this tutorial, Ben Unguren demonstrates a very simple technique to help get you started with Shatter.
A key to making Shatter work the way you want is to use a gradient layer, or a separate layer that tells the Shattter effect how to behave (this will make more sense later on). You can make your gradient layer in Photoshop, Illustrator, or another graphic program, then import the file into After Effects. You can also make the layer in After Effects itself, which it what we will do:
Open After Effects
Make a new Composition (Composition New Composition...)
Name your new comp ramp, choose the Medium, 320x240 preset, and set your duration to about 10 seconds:
In your new ramp composition, create a new Solid (Layer New Solid...)
Name your Solid ramp and click Make Comp Size. Click OK.
Apply the Ramp filter to your Solid (Effect Render Ramp)
For now, leave all the effects settings as they are. Your gradient is complete:
MAKE YOUR LAYER TO BE SHATTERED
The Shatter effect, well, shatters a layer. Therefore, we are going to make something for it to shatter. For this tutorial (as the above movie shows) we are going to shatter text. We will make this in After Effects again, though again you can make this layer in another graphics program like Photoshop or Illustrator.
Make another new Composition (Composition New Composition...)
Name it text, choose the Medium 320x240 preset again, and click OK.
In your text composition, create a new Solid. (Layer New Solid...)
Name your Solid text and click Make Comp Size, just as before. Click OK
To your text Solid, apply the Basic Text effect (Effect Text Basic Text)
In the window that appears, type in a nice message and click OK:
Adjust the Basic Text Settings as desired (try to fill as much of the screen as possible for this exercise):
In part three of his series on Adobe After Effects Content Aware Fill, filmmaker and After Effects artist Cody Pyper takes his deepest dive yet! Following requests from viewers in the series so far, Cody takes a closer look at how Adobe Photoshop can help you remove unwanted objects from your video footage in After Effects.
Join filmmaker and After Effects artist Cody Pyper for a deep dive into how to get the absolute best results using the Content-Aware Fill tool in After Effects. Locked-down shots with simple backgrounds are one thing, but Cody shows the details of how to get fantastic results with complicated backgrounds and a moving camera using reference frames.
You're going to be blown away by how you can power up your After Effects workflow with reverse stabilizing your footage! By separating your tracking from your compositing, you can focus on each step, and in addition, overcome the render order complexities when match moving elements and effects on a moving shot.
There’s a new artificial intelligence-powered feature in Adobe After Effects called Content-Aware Fill that allows you to remove anything from your shots fairly easily! It's powerful, but if you’ve tried it you know that it doesn’t always work perfectly. So what do you do when it doesn’t work as well as you'd hoped? Filmmaker Cody Pyper is here to show what to try next!
Join panelists Andrew Kramer of Video Copilot, Jayse Hansen, and Mary Poplin of Boris FX, along with moderator, Victoria Nece of Adobe, as they discuss the world of visual effects from an artist’s perspective.
How do you add SCARS, TATTOOS or DIGITAL MAKEUP to a person's face? Learn how to use Mocha Pro's planar tracker and the Mesh Warp tool to insert a flat image/video on a (non flat) human face! Join VFX guru Tobias G from Surfaced Studio for a closer look!
The first challenge to understanding the nature of brightness in compositing starts with remembering that we're not actually seeing color at all, but rather something of an illusion that appears to us as color! Join longtime VFX artist, editor, software developer, and business owner Simon Ubsdell for Part 5 of the best look behind the technology of compositing that you've ever seen, as he takes a look at the math behind brightness, and how to apply that to the compositing toolsets in your favorite editing, compositing, and color grading applications.
A Motion Graphics Template, referred to as a MOGRT, is an animated sequence that is self-contained and can be used in Adobe Premiere Pro, Adobe Premiere Rush and Adobe After Effects, combining graphics, text, audio and video files, as well as vector or still images (including logos), to create a still or animation that can then be customized by the MOGRT user. The result is a dynamic creative tool that provides design freedom and is consistent to its users across apps and devices. Reuse, share, and even sell them!
When most people hear the words "alpha channels", they think "transparency", but that's not exactly accurate. The truth is more complex, and a quite bit more interesting! Join longtime VFX artist, editor, software developer, and business owner Simon Ubsdell for Part 4 of the best look behind the technology of compositing that you've ever seen, packed with practical advice for applying the secrets of alpha channels that's simply not possible before understanding these underlying principles. No matter which applications you're using for editing, compositing, or visual effects, this one is a must-see!