Tutorial 14 - A Loop is a Loop is a Loop, part 2

Tutorial 14
A Loop is a Loop is a Loop, part 2
by Richard Harrington
The next method in our looping background series requires very little effort. You
must be comfortable with blending modes, however, to achieve results. For these
techniques, we are going to take three or more gradients made in Photoshop and
blend them together using After Effects. These gradients can be grayscale photos,
filtered layers, or pre-existing files.
In Photoshop
For this example, we will prepare four gradient images. To expedite things, we are
going to use four gradients provided by the Plug-In Site. These four images are
part of the free package Harry’s Gradients that is available for download
(www.thepluginsite.com). Several gradients are available from Pixélan and
AutoFX as well or simply create your own from photos or filters.
To speed our render times in After Effects, we are going to take advantage of Photoshop’s excellent scaling abilities. By enlarging the gradients in Photoshop, we
only need to scale down in After Effects. In this case, we are going to use Photoshop’s Nearest Neighbor method to resize our images.
Step 1.
Open the Image BEAMS.jpg from the tutorial folder.
Step 2.
Launch the resize dialog box (Image>Image Size). Specify percent in
the Pixel Dimensions Fields, so the image is resized to 300% of
original size. Be sure Constrain Proportions is checked and that the
resampling method is Nearest Neighbor.
Step 3.
Run the median filter at a 5-pixel setting to reduce noise
(Filter>Noise>Median).
Step 4.
Save the image as a PICT or TARGA file to avoid any compression. Be
sure to specify the maximum bit size.
Now repeat for the remaining images: CLOUDS.jpg, Singrad10.jpg, and
WATER.jpg. You can re-run the median filter by pressing Cmd+F (Ctrl+F). You
might need to run the filter twice to remove any JPEG artifacts.
Photoshop for Nonlinear Editors by Richard Harrington, CMP Books ©2003 (www.cmpbooks.com).
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2 Tutorial 14: A Loop is a Loop is a Loop, part 2
In After Effects
We now must animate these layers to create movement. We will employ transfer
modes, scaling, pre-compositions, overlapping, and color mapping. The technique
that is demonstrated can be used to create simple or complex flowing grayscale
images. It is easy to combine multiple images or map colors to these to achieve a
finished background.
Step 1.
Create a new project.
Step 2.
Import the four graphics you just created.
Step 3.
Drag all four graphics on the
new composition icon, located
at the bottom of the comp
window. You are presented
with a dialog window asking
you for specifics on the new
comp. I chose to make the
composition 18:00 long.
Step 4.
Select the composition from
the project window and modify its settings by pressing
Cmd+K (Ctrl+K). From the preset menu, I chose NTSC DV, 720×480
and gave the comp a better name.
Step 5.
Turn off the visibility icon for the top three layers.
Step 6.
Select the bottom layer and press S for scale. Then hold down the Shift
key and press R for Rotation and A for Anchor Point. By using Anchor
Point, instead of position, we get better results (especially when rotation
is involved).
Step 7.
Turn on the stopwatch icons for all three properties. Choose random
values for the start and end keyframes. All you are trying to accomplish
is movement (just be sure that the image always fills the entire screen).
Step 8.
Activate RAM preview to see your results.
Step 9.
Activate Layer #3 and repeat the animation
technique. Try to achieve a different motion
path (thus creating interference).
Step 10. Adjust the blending mode and/or opacity of
Layer #3 to achieve a soft look. In the example
project, I used Linear Dodge mode set to 90%
Opacity.
Step 11. Duplicate Layer #4 and move it to the middle. You should have a sandwich effect on the bottom of your composition.
Step 12. On the new Layer #3 (the duplicate layer), press S for scale. Then hold
down the Shift key and press R for Rotation and A for Anchor Point.
Turn off the stopwatch for the Scale property. Set the layer’s scale to
125%.
Photoshop for Nonlinear Editors by Richard Harrington, CMP Books ©2003 (www.cmpbooks.com).
In After Effects
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Step 13. On Layer #3, select all the Anchor Point and rotation keyframes.
Click on the word anchor point, then Shift+click on the word Rotation.
Step 14. Reverse the keyframes on Layer #3 by using the reverse keyframe
assistant (Animation>Keyframe Assistant>Time-Reverse Keyframes).
Step 15. Adjust the blending mode and/or opacity of Layer #3 to achieve a
soft look. In the example project, I used Overlay mode.
Step 16. Activate Layer #2 and repeat the animation technique. Try to
achieve a different motion path. In the example, I performed a simple vertical push of the image.
Step 17. Adjust the blending mode and/or opacity of
Layer #2 to achieve a soft look. In the example
project, I used Screen mode.
Step 18. Activate Layer #1 and repeat the animation
technique. Try to achieve a different motion
path. In the example, I scaled the layer to 65%
and rotated it three times.
Step 19. Adjust the blending mode and/or opacity of
Layer #1 to achieve a soft look. In the example
project, I used Vivid Light mode.
Step 20. Now it’s time to create the loop. Highlight all
five of the layers and create a Pre-Composition
by choosing Layer>Pre-compose or pressing
Shift+Cmd+C (Shift+Ctrl+C).
Step 21. Access your composition settings by pressing
(Shift+Ctrl+K) and shorten the comp to 15:00.
Shift+Cmd+K
Step 22. Go to the 8:00 mark by pressing Cmd+G (Ctrl+G) and entering 8:00.
Step 23. We are now going to split the layer in half, thus creating our loop point.
Select the layer and press Shift+Cmd+D (Shift+Ctrl+D).
Step 24. We now must overlap the layers. With Layer #1
active, jump to the end of the composition by
pressing the End key. Press the right bracket
key (]) to move the layer’s out point.
Step 25. Select Layer #2 and press the Home key. Press the left bracket key ([) to
move the layer’s in point.
Step 26. Activate Layer #1 and press I to jump to the layer’s in point.
Step 27. Press T for opacity and activate the stopwatch.
Step 28. Set a keyframe for 0% opacity.
Step 29. Jump forward three seconds by pressing Cmd+G (Ctrl+G) and then typing + 2:29.
Step 30. Set a key frame for 100% opacity.
Step 31. Flip the quality switches to Best Quality.
Photoshop for Nonlinear Editors by Richard Harrington, CMP Books ©2003 (www.cmpbooks.com).
4 Tutorial 14: A Loop is a Loop is a Loop, part 2
Step 32. Add an Adjustment Layer at the top of your stack (Layer>New>Adjustment Layer).
Step 33. Apply a colorization effect, such as Colorama (Effect>Image Control>Colorama), Tint (Effect>Image Control>Tint) or Hue/Saturation
with the colorize option selected (Effect>Adjust>Hue/Saturation). In the
example, I chose Colorama with the Output Cycle set to the Solarize
Red Preset.
Step 34. You might also experiment with other effects on the adjustment layer,
such as Glows, Blurs, or Trapcode’s Shine.
Step 35. Flip all your quality switches to Best Quality and render at the proper
settings for your NLE.
We’ve got one more technique left! Be sure to
check out part 3 for one more approach to
looping backgrounds.
Photoshop for Nonlinear Editors by Richard Harrington, CMP Books ©2003 (www.cmpbooks.com).