bt4-rampitup

Creating Motion Graphics 3rd Edition

This tutorial starts by comparing various techniques for creating softvignettes for a layer, showing off the merits of a deceptively use-ful plug-in called Alpha Ramp. This effect is part of the Image Lounge

package and is included free on the DVD courtesy Red Giant Software.

Well then walk through a step-by-step tutorial demonstrating how

you might put Alpha Ramp to use to create a more interesting com-

posite. Well also use an adjustment layer with blur and blend modes

to add contrast, and animate on a title using the new Text engine.

Trail HeadFirst, make sure you install the free effects included on the DVD that

came with this book particularly IL Alpha Ramp and Boris BCC Tritone,

which will all be used in this project.

If you have a problem playing the above movie from this PDF file,

open the Bonus Tutorials>BT4-Ramp It Up folder and play the finished

1

Ramp It Up

BONUSTUTORIAL

4Theres more than oneway to prepare avignette

Chapter 7:slip editing

Chapter 8:time stretching

Chapter 10:blending modes

Chapter 11:masking, including feathering

Chapter 12:track mattes

Chapter 14:3D layers and orientation; views

Chapter 16:spot lights

Chapter 21:applying effects

Chapter 22:adjustment layers

Chapter 25:creating and animating text

Effects Used:Fill, Ramp, Roughen Edges,Boris BCC Tritone, IL Alpha Ramp

Conceptscovered in:

DIFFICULTY LEVELEASY-MODERATE

Click on the image above to play the final movie.

STYLEGUIDED TOUR +STEP-BY-STEP


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movie BT4-RampItUp.mov so you can see what the end result will

look like.Then open the BT4-RampItUp.aep project.

The first five example comps compare the various methods you might

employ to create a vignette for a layer. Lets explore them one by one.

Vignette ShootoutCreating a nice vignette (which a dictionary might describe as a picture

shading off gradually at the edges ) involves making a matte with a

gradient that ramps from white to black so that the object fades

smoothly to transparency.Simple to describe, but how precisely to do?

Theres more than one solution, and theyre not all created equal.

The example comps weve created cover five different techniques

for you to compare. Consider the issues of render times (RAM Preview

them to get a feel for how fast or slow they process although this is

less of an issue with faster computers), whether you

have one or two layers to manage, whether you

have to save a file to the hard disk, and of course,the

final look for example, if youd like the image to be

opaque in the center, the gradient needs to have a

solid white center. In each comp, click on the Alpha

swatch at the bottom of the Comp window to check

out what the matte actually looks like.

Option #1: Adobe Ramp Effect[Ex.01] uses the Standard edition effect Render>

Ramp applied to a Solid layer (layer 1).The resulting

gradient is then used as a luma matte for the movie

below (layer 2); note that the mattes Video switch

must be turned off. The Ramp effect is set to Radial,

and transitions from white in the center to black on

the outside. Open the Effect Controls window (F3)

and move the Start of Ramp and End of Ramp points

around to edit the center and the end point of the

radial gradient; you can even animate these points.

This is similar to the radial gradient produced by

the gradient tool in Photoshop, using the preset

Foreground (if white) to Background (if black). The

problem with this type of gradient is that there is no

solid area of white, so very little of the image being

matted becomes fully opaque in the center.

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Option #1: Using the Ramp effect allows a gradient to be animated, but has a weak center, falling off tooquickly. Footage courtesy Artbeats/Business World.


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3

Option #2: Using a wide mask feather is also ani-matable. To get the size of the hot spot right, eitherresize the mask shape or use Mask Expansion(below) to move the feathered area more to theinside or outside of the shape.

A gradient created in Photoshop was saved as agrayscale image and used as a Luma Matte in After Effects.

Option #2: Mask & Feather

[Ex.02] uses a mask shape (Chapter 11) to define the

opaque area; a large mask feather ramps the layer

smoothly to transparency. Select the layer to see the

masks shape and handles outlined in yellow in the

Comp window. By editing the shape of the mask and

the amount of feather, you can control the vignette.

However, its often difficult to achieve a very large feath-

er with a fully opaque center, since adjusting the feath-

er value affects the area inside the mask shape to a

large extent. Once youve decided on the feather

amount, you can use Mask Expansion to move the

feathered area more to the outside of the mask shape;

a negative value for Mask Expansion moves it more to

the inside.

Option #3: Photoshop Gradient

[Ex.03] uses a still image of a radial gradient created

with Photoshops Gradient Tool and customized in the

Gradient Editor, which gives you nice control over the

radius of the solid white center and the falloff rate from

white to black.Once the gradient is created, its saved to

disk, imported, and applied as a luma matte for the

movie.You can then use Edit>Edit Original to hot key to

Photoshop to make changes (see Chapter 6). By creat-

ing the gradient at a large size (say, about three times

larger than your comp), you can scale and squish and

rotate it as often as you like to create ellipses and other

Option #3: A custom gradientimage in Photoshop used as aluma matte. This method isflexible, but requires going toPhotoshop to create it, andimporting an additional file into After Effects.


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shapes that better fit the image you are trying to matte. This gradient

approach renders quickly, but making changes is awkward, and you

have two layers to keep track of. (If youre wondering exactly how we

used Photoshops Gradient Editor to create this image, the steps are

covered at the end of this tutorial.)

Option #4: Alpha Ramp Effect

[Ex.04] Our next example uses the IL Alpha Ramp effect (on your DVD)

from Red Giant Softwares Image Lounge package. Its usually applied

directly to the movie, where it creates a gradient in the alpha channel

which affects its transparency. (You can also apply it to a solid and cre-

ate a gradient thats used as a stencil luma for multiple layers below.)

The gradient shape you can produce with this effect can be varied

from linear to radial, and you can control the size of the hot spot in the

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Option #4: The IL Alpha Ramp (previously offered by Pinnacle Systems, now distributed by Red GiantSoftware) creates pleasing animatable gradients that are applied to the movies alpha channel.


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center and falloff using separate sliders. Since its an effect, you have

only one layer to deal with, and dont have to save anything to disk.

To see the ramp it creates, select the layer and open the Effect

Controls window (F3). Change the View Mode from Normal to Ramp.

The Ramp Edge Point is actually placed at the bottom of the opaque

(white) area,not the center as you might expect.With this effect selected,

drag the Ramp Edge Point around in the Comp window this sets the

outer edge of the ramps transition zone; we placed it on the womans

chin.The Ramp Curvature slider changes the ramp from linear to radial,

deciding how large the hotspot is; Ramp Width sets the width of the

feathered edge. Ramp Angle is more useful for changing the direction

of a linear ramp,but you can use it to animate a radial ramp as well. The

parameter Alpha Inversion has been changed to 100%,so that it ramps

from white in the center out to black the default is 0% which creates

transparency in the center. All in all, this is a very flexible way to apply

a soft transparent falloff for a layer, with reasonable render times and

a nice look. (Check out the Free Plug-ins>Red Giant Software Image

Lounge folder on the DVD for full instructions on using this effect.)

Alpha Ramp StylesTo see the different styles possible with Alpha Ramp, open [Ex.05] and

solo each layer. The effect was applied to white solids, and the back-

ground color is black. Explore the settings and experiment until you

get a feel for how the parameters interact with each other. Remember

that youre not creating a white-to-black gradient, the effect is creating

transparency the black you see is the background color (change it to

another color if you dont believe us).

Each one of these ramps has been saved as an Animation Preset.

These are the series of ILAlphaRamp_xxx (where xxxdescribes dif-

ferent variations) in the DVDs Goodies>CMG Presets folder. If you

installed these in your main Presets folder before opening After Effects,

all the presets that use Alpha Ramp will appear under the Animation

Presets popup along the top of its Effect Controls window. Bear in

mind, however, that these presets were saved when the effect was

applied to 320240 solids, so theyre useful for working with our tuto-rial size only. If you think youll find these presets useful in your own

project, you might want to apply our presets to solids at the size you

normally work at (for instance,NTSC or PAL) and tweak the Ramp Width

and/or Ramp Edge Point accordingly. Re-save these settings as your

own presets (Animation>Save Animation Preset).

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Animation Preset:ILAlphaRamp_linear_diag.ffx

Animation Preset:ILAlphaRamp_linear_horiz.ffx

Animation Preset:ILAlphaRamp_linear_vert.ffx

Animation Preset:ILAlphaRamp_radial.ffx

Option #5: 3D Spotlight Matte

[Ex.06] Our final option exploits a not-so-obvious use of 3D

layers and lights. In this approach,we use a white light with

its type set to Spot to illuminate a white comp-sized solid

that has its 3D Layer switch enabled (required for it to react

to the light).This solid in turn is used as a luma matte for the

image layer we want to vignette which can remain a 2D

layer.This technique yields a surprising amount of control.

In [Ex.06], select Light 1, and type type AA (two As in

quick succession) to reveal the lights parameters.

Experiment with the light and its parameters as you

explore the following points:

You can aim the lights Point of Interest at the feature thatyou want to be center of your vignette. In this example, we

placed the Point of

Interest on the bridge

of the womans nose.

The size of thevignette can be con-

trolled with the lights

Cone Angle para-

meter. Dragging the

light further away in

Z space from the solid layer will also increase the size of the vignette.

The width of the feather of the vignette can be controlled with thelights Cone Feather parameter.

You can change the shape of the vignette by dragging the back ofthe light (its Position) relative to its Point of Interest.The further apart

they are, the more elongated the vignette becomes. You may find it

easier to steer the light by opening a second Comp window using

View>New View, and switching this one to Top view (views are dis-

cussed in more detail in Chapter 14).

Of course, there are a couple of gotchas with this technique as well:

3D lights take longer to render; this is the slowest of the five options. Depending on your lights settings and how it is aimed, the center ofthe vignette may not be completely opaque by default; you may need

to increase the lights Intensity. In [Ex.06], turn on the Video switch for

White Solid 1, and drag the cursor around it while watching the Info

palette; you want the center of the vignette to read 255/255.

6 Creating Motion Graphics 3rd Edition

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Option #5: A spot light cast ontoa white solid with its 3D Layerswitch enabled, which in turn isused as a luma matte, creates avery flexible vignette. Aim thelight for precise control over the position and shape of thevignette; edit the lights Coneparameters to control its sizeand feather.


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Ramp It UpWe compiled this step-by-step tutorial to show how you might put the

IL Alpha Ramp effect to use; well also throw in a few other tips and

tricks along the way. If you havent already, play the final movie from

page 1, or play BT4-RampItUp.mov from the Bonus Tutorials>BT4-

Ramp It Up folder, so you can see the final result.

Step 1: With the BT4-RampItUp.aep project still

open, use Window>Close All to clean up your work-

space. Type Command+N on Mac (Control+N on

Windows) to make a New Composition and name it

Ramp It Up. Enter a size of 320240, set the framerate to 29.97 fps, 05:00 duration, and Full Resolution.

Step 2: Select the file HD_snare drum in the

Project windows Sources>Movies folder, and type

Command+/ (Control+/) to add it to your comp,cen-

tered in the Comp window. RAM Preview the comp.

Step 3: Our goal is to replace the static blue-purple

background in this movie with something more

animated, but without doing any tedious frame-by-

frame rotoscoping. To make the edges of the movie

transparent (or at least semi-transparent), select the

movie and apply Effect>Pinnacle Image Lounge>IL

Alpha Ramp (which we explored earlier).

Step 4: This effect defaults to making the center of

the movie transparent, so the first step is to set the

Alpha Inversion slider in the Effect Controls window

to 100%, which makes the center opaque. Change

the View Mode to Ramp so you can see the matte

clearly, and adjust the three parameters below it

until youve created a radial gradient centered

roughly where the snare drum is, with a white cen-

ter and a nice soft falloff to black.To accomplish this,

youll have to move the Ramp Edge Point towards

the bottom of the Comp window to do this, make

sure the name of the effect is selected in the Effect

Controls window, and drag the effect point (the +

symbol) around in the Comp window. Settings that

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Step 4: Set the IL Alpha Ramp effect to focus theopaque area on the snare drum.

Step 2: The original movie (courtesy of Herd ofMavericks). We want to replace the blue background.


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worked for us were Ramp Edge Point = 200, 240, Ramp Width = 160,

and Ramp Curvature = 75%.

Return the View Mode to Normal when youre happy with your ramp.

The comps background color should be visible in the corners where

the movie ramps to transparency; this tells you that placing a movie in

the background will show up in these areas.

Step 5: From the Sources>Movies folder in

the Project window,select GI_Syn_DigitalJoy

and drag this layer to the left side of the

Timeline window, below HD_snare drum.

Make sure it starts at 00:00. (This movie is dis-

sected in Bonus Tutorial 6, if youre curious

how it was created).

Step 6: Drag the time marker along the time-

line; the GI_Syn_DigitalJoy movie should be

visible in the corners, adding movement and

interest. The only problem is that the yellow-

green color scheme doesnt suit the blue-pur-

ple background in our snare drum movie.

Select the GI_Syn_DigitalJoy layer, and apply

Effect>BCC3 Color & Blurs>BCC Tritone. The

default is to tint the movie blue, which helps,

but we can match the movie even better by

using colors from the snare drum movie.

Step 5: Place GI_Syn_DigitalJoy (courtesy Getty Images)behind the snare drum. It starts to show through aroundthe edges, particularly in the top left area but the colordoesnt quite match

Step 4: Adjust Alpha Ramps parameters to get a radial gradient centered roughly where the snare drums headis (left). This will start to fade off the edges of the movie (right).


Step 7: Select the HD_snare drum

layer, and temporarily turn off its

Alpha Ramp effect so that you can

see the full movie again. (You can

either turn it off from the Effect

Controls window, or uncheck the f switch in the Timeline window.)

Notice the blue-purple midtones,

and the warm pink tone to the high-

lights. In the BCC Tritone effect,select

a similar color palette: blue-purple

color for the Midtone Color, and a

pink color for the White Color. The

eyedropper tool comes in handy for

borrowing colors from other layers.

Turn back on the Alpha Ramp effect

when youre done, and tweak the

colors further if you need to.

If you want to use the same colors we used, and have already

installed our presets, click on the Animation Presets popup along the

top of the Effect Controls window and select BCCTritone_purples.

Otherwise, set to taste; dont worry if they look a little flat right now.

Step 8: RAM Preview the animation up to this point.The circles in the

background move at a relaxed pace, while the drumming is quite

upbeat. Since the GI_Syn_DigitalJoy movie is 10:00 long, and our

comp is only 05:00 long, we can double the speed of the background

movie to pick up its pace.

Context+click (Control+click on Mac, right-click on WIndows) on the

column headers in the Timeline window to get the context-sensitive

menu, then select Columns>Stretch to add the Stretch column. The

GI_Syn_DigitalJoy movie is currently at 100% Stretch. Click on this

value and enter 50% for the Stretch Factor, for a new duration of 05:00,

and click OK. (You can also select Layer>Time Stretch and enter 50% in

the dialog.) Preview again to see how the new speed works.

Step 9: To give the whole composite a more saturated and filmic

look, well add a little blur and composite the blurred result in Overlay

mode. With the time marker at 00:00, select Layer>New>Adjustment

Layer, and apply Effect>Blur & Sharpen>Fast Blur to the adjustment

layer. Set Blurriness to about 2, and enable Repeat Edge Pixels. During

9

Step 7: Applying BCC Tritone toGI_Syn_DigitalJoy and selectingcolors from HD_snare drumimproves the color blending. Wevesaved our colors as the AnimationPreset BCCTritone_purples.

Step 9: Apply Fast Blur to theAdjustment Layer; Repeat EdgePixels removes any dark fringing.

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rendering, an adjustment layer internally makes a copy of the com-

posite underneath it, applies any effects assigned to it, and then com-

posites the result back on top of the underlying layers.

Step 10: Hit F4 to toggle from Switches to Modes, and set the Modes

popup to Overlay for the Adjustment Layer. This composites the

blurred version of the layer stack on top of the original layers using a

blending mode. Turn on and off the eyeball for the top layer so you

can see exactly what effect its having, and try a few other blending

modes as well. Overlay is one of our favorites when we need to boost

contrast and saturation, but you may need to reduce the Opacity

somewhat. We used 75% Opacity for this example.

Step 11: Now lets turn our attention to the Ramp It Up title. Type

Command+T (Control+T) to select the Type tool. If the Character

palette does not open, select it using Window>Character. Click on the


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Step 10 complete: The layer stack in the Timeline window after creating the Adjustment Layer.

Step 10: Before the Adjustment Layer, the colors matched but were a bit flat (left). To give the whole scene anoverexposed filmic glow, we applied Fast Blur to an Adjustment Layer, and set it to Overlay mode (right).


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arrow in its upper right corner to open its Options menu and select

Reset Character.

Click on the eyedropper, and choose a shade of blue in the Comp

window.Then place your cursor roughly in the upper left corner of the

drum head and type RAMP IT UP (with a return after RAMP), then hit

Enter (not return) to accept the text. Use the Character palette to

choose a font style and size you like; we selected Trajan Pro Bold, set to

58 px.When done, type V to return to the normal Selection tool.

Step 12: To make the text appear to lie downon top of the snare drum,

were going to take advantage of 3D space to match the perpsective of

the drum head. Hit F4 to toggle the Switches column forward, and

enable the 3D Layer switch for our Text layer RAMP IT UP (look for the

3D cube icon in the Switches column header). With RAMP IT UP still

selected, type R to reveal its Orientation and Rotation properties.

Orientation is good for posing a layer; scrub its X,Y,

and Z values until the text seems to have the same

perspective as the drum head. We used values

around 308, 9, 12. We also nudged its Position to

better center the text inside the head.

Step 13: To help the illusion along, toggle back to

Modes (F4), and select the Multiply blending mode.

This will allow the blue text to merge with the shad-

ow of the drum stick, helping to sell the impression

that the title is actually on the drum skin itself.

To make the type appear to be beat up from the

drumming, you can optionally apply Effect>Stylize>

11

Step 11: The Character settingswe used for our title.

Step 12 and 13: Text is added, and tilted back using 3D Orientation to have the same perspective as the drumhead. The Multiply blending mode adds to the illusion; the Roughen Edges effects gives it a beaten down look.


Roughen Edges. Set the Edge Type to

Rusty, and adjust the Border size to taste.

Step 14: Now all you need to do is to ani-

mate on the title one word at a time.To do

this, were going to use a text animator.

In the Timeline window, twirl open the

layer RAMP IT UP. To the right of the

word Text is the word Animate and an

arrow; click on this arrow and select

Opacity from the list. A number of new

parameters will be revealed, including

Opacity. Set its value to 0%.

Step 15: Expand Range Selector 1, then

twirl open its Advanced section. To pop

on whole words, set the Based On popup

to Words. Then set the Units popup to

Index,which will make it easy to count the

words. Press Command (Control) to slow-

ly scrub the Start value, and note how it

controls how many words are visible in

the Comp window. Set Start to 1, so that

just the word RAMP is visible.

Step 16: Make sure the time marker is at

00:00; if it isnt, press Home. Then click on

the animation stopwatch next to Start to

set your first keyframe. Move the time

marker to 01:00 and set Start to 2, creat-

ing a second keyframe and popping on the second word IT; then

move to 02:00, and set Start to 3, so that all three words are visible.

Step 17: Press 0 on the numeric keypad to RAM Preview. Hey the

words are fading up,rather than popping on! Thats because the default

keyframe interpolation is linear. But we want to pop on entire words at

a time, without interpolating.

Click on the word Start to select all of its keyframes. Then press

Command+Option (Control+Alt) and click on any one of those key-

frames to toggle them to Hold Keyframes (the icons will change see

figure on next page).This will hold each keyframe value until the next

keyframe is reached, without interpolating. RAM Preview to verify.

12

Ramp It Up // BT4

Steps 14 17: To make each wordpop on, we clicked on the Animatepopout menout and added a textAnimator for Opacity; we then setOpacity to 0%. Under the RangeSelectors Advanced options,we set Based On to Words andUnits to Index to make it easier tocount the words to be animated.Hold keyframes then pop on thewords individually.


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Step 18: Lets finish off our animation by adding some music. We used

KS_EvilBirds.mov from the Sources>Audio folder,but feel free to use

your own percussive track. Add it to your comp, and play around with

timing this audio track better to the drumming video:

Hit Option+Home (Alt+Home) to make it start initially at 00:00.

Type LL (two Ls in quick succession) to reveal the audios Waveformin the Timeline window.

Hit End, and then type Option+] (Alt+]) to trim the out point here.

Step 19: Now, lets time the music to the animation. As the drummer

was playing to a different piece of music than ours when the video

was shot, were going to have to fake the timing by lining up at least

one prominent hit, and hoping the others are close enough:

Scrub the time marker along the timeline until you see the drum stickhit the snare theres a prominent hit at 02:00, for example.

Type Y to select the Pan Behind tool. Normally this tool is used foreither moving the anchor point, or moving a layer inside a mask. But if

you position your cursor over the audio tracks layer bar in the Timeline

window, it will turn into a two-headed arrow otherwise known as the

Slip Edit tool (see figure on next page). When this tool is active, you

can move the layers source while maintaining the same in and out

points in the Timeline window. (Note that if you can see the trimmed

frames at either end of a layer bar, you dont need to use this tool the

cursor will toggle to the slip edit tool when you move it over any

trimmed frames.)

Fast TogglingTo quickly toggle a keyframe toHold, press Command+Option(Control+Alt) and click on it. Totoggle back to Linear, you canjust press Command (Control)when you click.

Step 18: Add your music trackstarting at 00:00, trim it to thelength of the comp, and type LL toreveal its waveform. Those spikesare where sticks are hitting drums.


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Click on the layer bar and drag left to slip the audio track, until aspike in the waveform lines up with the time marker. Unfortunately,

the waveform does not redraw while youre slipping; release the

mouse periodically to check your new position.

RAM Preview (if your computer is slow, turn off Adjustment Layer1 to speed up processing), and keep trying alternate edits until you

find one you like.

Step 20: Finally, lets more closely tie the text

animation to the music and video. Move the

time marker to 02:00, or whichever prominent

drum hit you were using for your timing. Select

RAMP IT UP, and hit the [ (left bracket) key to

slide the text to start at the same time. RAM

Preview and see how you like the result.We hap-

pened to pick timings for the text animation

which we knew would match up with the tempo

of our soundtrack; feel free to drag the key-

frames for Start to line up with prominent drum

hits in your own music edit.

14

To time the soundtrack to youranimation, place the time markereither where you see a drum stickhit the snare head. Then slip editthe soundtrack to match a wave-form spike to this time. Finally,slide the text animation to syn-chronize with your soundtrack.

If you feel you got lost somewhere along the way, our version is

inside the BT4-Ramp It Up Final Version folder inside this project.

Feel free to pick it apart if you could not follow some step. In the mean-

time, we hope you picked up a few useful tricks for blending together

layers of a composition plus learned why the IL Alpha Ramp effect is

one of the more useful tools you can have in your arsenal.


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Photoshop Gradient How-ToTo create a hotspot gradient described in Option #3 back on page 3, make a new gray-

scale file in Photoshop CS, select the Gradient tool (G), click on the Radial Gradient icon

in the Options bar, then click on the wide gradient icon in this bar to open the Gradient

Editor. Select the Black,White preset as a starting point, drag the white swatch to

around the 50% Location, and the black swatch to the 100% Location. Give it a new

name like Hotspot 50

Ramp, click New, then OK.

Make sure the Mode in the

Options bar is set to Normal,

and Opacity to 100%.

Now create the gradient by click-

ing in the exact center of your file

and dragging to just inside the right

or left edge. Make sure that the

image reads full black on all edges.

Make variations with larger or

smaller white centers by changing

the white swatch location in the

Gradient Editor. For instance,

placing the white swatch at 40% or

60% location will give you a smaller

or larger white center, respectively.

Import this grayscale file into

After Effects for use as a luma track

matte, or use it as a luma stencil

(see Chapter 12) to affect the trans-

parency of multiple layers below.

Remember that if you create a

gradient at the exact size needed, youll be limited in how you can use it in After Effects;

if you need to offset the gradient to the right, for instance, or scale it a little larger, you

may have to recreate it again from scratch. For the most flexible matte, create an over-

sized file, say 10001000 pixels, take your best guess at the correct size for the hot spot

in the middle, and make sure the gradient fades completely to black on all four sides.

Now you can move, scale, and squish this image in After Effects, and hopefully repur-

pose it to serve as a gradient matte for multiple layers.

The settings used in the Options bar (top) and GradientEditor (above) in Photoshop CS to create a gradient witha solid white center and a falloff to black.

bt4-rampitup

Documents

end of ramp pointsaround

solid layer layer

il alpha ramp conceptscovered

bonus tutorialsbt4ramp

adobe ramp effectex

moviebelow layer

asolid white center

boris bcc tritone