Liquefy a continuously rasterized layer

Similar Questions

• Liquefy - application to another layer, but in reverse.

  Hello friends wonderful forum.

  I'm working on a project where I create the effect of a video that loop seamlessly. I want to achieve the effect without the use of any 3rd party extension. In the video, I'm an actor sitting in a Chair who holds a position, some actions, and then returns to the first position. Loop, I took a picture of each end of the video, and it creates a new composition. The composition is 3 seconds long. The end frame is sitting on top of the starting image. The end frame is then transformed using the effect to liquefy to match begging framework as much as possible. This morphing is retouching. So, essentially, in 3 seconds, the video returns subtly actor in the right position. The opacity is also set down the timeline ahead to complete the illusion. My question is, I can apply the morphing effect down eventually, but in the opposite direction? It will help get the two layers together to cover the illusion. I copied and pasted the effect of liquid on the bottom layer, but it does not actually show the diamonds of the keyframe. I can usually recover the diamonds and reverse their position, but I can't seem to liquefy a reason any.

  So, how can I apply an effect to liquefy reversed to your different layer? How to display the keyframes for the effect to liquefy?

  Thank you!

  You can not. Nothing prevents you from the time inversion layer, however, which you could then apply the effect and after first dialing you can reverse the return. It will still be difficult, but can help.

  Mylenium

• Transform problems of effect when used with the depth of the 3D layer

  Here is my set upwards.

  I have PreComp with graphics any illustrator with active continuously rasterized layer.

  This graph has a reflection in it. I was thinking by applying the effect processing, offset setting to-100 and by setting the anchor point.

  Regarding the graphics move from left to right (X, Y) there is no problem and anchor point is in its place.

  As soon as I do the 3D layer and start changing the values of depth thinking begins to jump around.

  My guess is - it happens that point because of anchorage is a constant value and because the thinking is based on its value it does not follow the base of the graphics. Purhasps it is a snippet of code to be used to bind the value of the anchor Point to the Zoom value? Adjustment of the values of anchor with keyframes turned out to be too difficult.

  In other words, I like to keep thinking at a constant distance from the base of the graphic part and once the relocation of graphics on or in the reflection does not follow.

  I précomposé this graphics and it imported into the new Compostion and applied movement XY and Z using the camera and Null layers. It was the same effect and reflection did not stick to the base of the graphic.

  I need to keep the collapse processing enabled on all consecutive Comps/PreComps to ensure that the vector art makes to high quality.

  What would be a good way to make a reflection of a 3D/preComp layer in the model where the movement controlled with layers of continuously active camera and Null, with the Transformations of rasterized/reduce?

  I'm with Mylenium on it. Your concept is inappropriate and you do it is much too difficult. Just put the anchor at the bottom of your reflection, then resize it to 100 in y [100, -100] can do the two 3D layers and implemented a matte degraded on the reflection layer.

• 3D with precomps camera problem

  Hi guys,.

  just going through this tutorial:

  http://AE.tutsplus.com/tutorials/motion-graphics/design-rhythmic-motion-typography-in-AFTE effects-r.

  and having problems with the animation of a 3D camera.  Animating text is the entire installation in a precomp, and then in the main computer have added a camera, he related to a null value and set the precomp to the 3d layer.  Thing, is when I move the null (and thus the camera), the precomp itself does not move as it should if I disable the continuously rasterized layer button.  And if I do this the text looks bad quality like its not getting the sharpness of the dithering continues.  How can I have rasterized permanently and be able to move the camera?

  It works fine in the tutorial and followed step by step, but does not work in mine

  Am sure this is a rookie mistake.  Any ideas?

  Thank you

  The pre made up of 3D layers? A screenshot of your chart would help.

• Animate using rotation and the puppet tool. Continuously rasterize mess it upward.

  In After Effects CC... Trying to animate a vector arms using rotation and the puppet tool. The animation looks good until I hit the button to rasterize continuously on this layer. He then gets distorted and cut out. I need to be continuously rasterized, so it's not pixelated.  Any suggestions on how to solve this would be great.

  In simple terms the effect of pupet pin uses space Composition and an alpha chanel of the first image to distort the pixels on the screen. So if you move or change the position or scale of the pixels after the first image to the assistance of any transformation or the effect, you now moved the original source of the pixels and puppets pin breaks. That's how the effect is designed and it's the only way it works.

  There is only a single correct workflow. Set up a model that is large enough to include all of the image that you want to animate when played back on the scale of 100% or a distance from the unit corresponding to the value of the camera zoom, if you size your layer of pine puppets if used in a comp. 3D IOW exceeds 100 percent in the final model, your computer is not big enough , or in a 3D model, if you want to move the camera at 1/4 the distance of the Zoom value of the camera to the layer of puppet pin your model of puppet PIN must be 4 times bigger.

  Animate the effect of pin puppet

  Bring the composition of spindle of puppets in yoiur main composition and apply other effects, transformations or any other manipulation, you need to perform to achieve your desired results.

  Puppet PIN is designed for this workflow and when used properly it is a very practical tool.

• Small arrow on the left of a layer UN-fit

  What is the average of arrow not small cut to the left of an adjustment layer? It keeps popping up and I can't control what happens. I don't know about the mowing of adjustment layers (levels, color and others), but a continuous white layer attached to the sub layer.

  What can I do with the clipped layer, how can I make it happen or to go away? The layer of 'funny' acts, not like I expect.

  See the attached picture for an example of what I'm talking about. The adjustment layer is cut off, but also the white layer is as well.

  

  Thank you!

  Position of the mouse cursor on the line between the two layers in the layers palette hold ALT | Opt button the cursor should change click on the left button of the mouse to turn clipping on. off

• Filter in real-time / layer style plugin

  Is it possible at all to write a plugin to filter which is applied in real time, that the user draws on a layer?

  I think of something similar to the layer styles (for example, drop shadow) which are applied immediately while the user draws on a canvas. As far as I can see, there is no API to add new styles of filter, but there is perhaps a work around for similar behavior by using filters?

  I want to create a filter/style simple mirror reflecting the right side of a layer on the left side as the user draws on a layer, because it would be very useful for the design of symmetric structures.

  Or could be achieved using multiple layers? For example, 2 layer on top of layer 1, where half right of layer 2 is completely transparent and half left of layer 2 contains a mirror of layer 1 version? But then how could it be continually updated Layer 2 while the user draws on layer 1?

  Any help is appreciated!

  You can do within your plugin, as does fluidity.

  But, as explained in the SDK, you can not write a plugin that lives of the updates on the document or add layer styles.

  Regarding symmetrical painting - which is already available in Photoshop Extended using 3D texture mapping.

• Vector graphics, pixelation and puppet pins

  See the pictures below, look at the feet!

  Whenever I use the continuously rasterized option I still have problems. Maybe it's my workflow, but I you will often find that the layers appear to jump around, be broken almost as digital break on a TV or get cracks and lines at random. My problem at the moment is random lines.

  I have three compositions, a main and two pre comps. The first precomp contains 1 vector layer with rasterized switch game. The model of pre holding this model was then the rasterized spend together as a switch fx as Im using tools on the first duIK precomped layer. This layer/second precomp has a puppet PIN if it makes a difference to anyone. In this second precomp, I can see weird lines on my form, which are identical to the form, almost as if the 1st precomp is showing through for some reason any as an outline transparent 1pt?

  I can move the shape, and this strange contour remains in the same place but slices through my form that I pass, so in theory I can move my form across the composition and I have no problem... but it does not really solve the problem. My biggest final comp containing two comps above also has the same problem as the 2nd computer... but it's structure, I need so I had to test it.

  Currently my diapers are all 2d, but I can make them 3d later and meet more jumpy rasterising weird questions... When I change the rasterized or fx switches lines will go, but I need the rasterized option (although now I can not even tell if it's effective, but I also need the fx which holds my original puppet corner for duIK right tools)

  What I am doing wrong? Help, please!

  Photo 1 and 2, bot moved to the visible contours on feet, photo 3 has been moved far enough away from the original position of precomps shows so no lines. These come out on a record.

  

  Really, you cannot use the function of rasterize continuously with the puppet tool at the same time. This is explained in the puppet tool page in help. (And, if I remember correctly, it can suggest workaround).

  In anyway, if you do a precomp which includes the work and use the puppet pin on the precomp WITHOUT using the continuously rasterize button above, it should work fine. So, if you need it is larger, make more great before apply you the pins of the puppet.

• Illustrator files may not render with multiprocessing on

  I have a comp that uses an AI CS5 file with transparency. If I have rendered using a single processor, it makes very good... about 25 minutes!

  If I turn multiprocessing on the make takes about 3 minutes, but the AI layer is a white box!

  What gives?

  HAVE the file is a simple text layer, no effect.

  I tried 2 procs, 4 procs, 6 procs, etc... I tried 1 GB by proc, 1.5 GB / proc etc...

  Mac Pro 2.26 octo, Snow Leopard 10.6.6 16 GB of ram

  Have you defined for the continuously rasterize Illustrator layer? There is a known issue with layers if they are not continuously rasterized based Illustrator files. You can work around the problem either turn off multiprocessing made simultaneous multiple images or defining to continuously rasterize layer.

• Extend the L2 VLAN multi-site WAN

  Hello

  I have several sites connected over a MPLS network provider, everything works as expected, have full connectivity L3 in all these sites.

  I now need to establish layer 2 connectivity (VLAN) on the 21 sites. Ideally, I would intend to attach additional routers behind routers of THIS (don't have no access to these suppliers or PEs, but provider may re - configure BGP on the CE peer with our device) and use a port on these routers as port Lan Layer 2, but do not know which technology to use

  1. L2TPv3 comes to mind, but can L2TPv3 works in a multipoint configuration? Can I have a site as a hub and others like rays and talk through the hub? Traditional using L2TPV3 config, how do I use multiple Xconnects for the same VLAN on the same interface?
  2. Worse, I can run on (also our new routers VPLS PEs) MPLS VPLS, but seems like overkill.

  What you guys say is the most simple/more elegant solution for this puzzle?

  L2TPv3 does not support multitouch.  It can perform point to point.

  VPLS does support multitouch, but you need much more expensive kit to do.

  I have just a brainwave!  You only use the IP protocol for this network of layer 2?  If so, use LISP.  It works on the same lower end kit of Cisco.  I would like to convert your entire network to him.

  In particular, you must activate the LISP mobility.

  General information of LISP:

  http://Lisp.Cisco.com/

  An example of an extension of the continuous complex layer 2 using LISP with full redundancy.  You don't want something this complex, but it shows what you want to do, and the massive power that LISP has.

  http://www.Cisco.com/c/en/us/TD/docs/solutions/Enterprise/Data_Center/DCI/5-0/LISPmobility/DCI_LISP_Host_Mobility/LISPmobile_4.html

• question of fluidity for cc 2015.1 PS

  After the update (ps 2015.1), the Liquify Filter creates artifacts (it seems to me a multiplier effect) in the box "liquefied" in the final layer those you confirm the changes in windows 'filter '.

  Hi stefanofigini,

  It is a recurring problem with Photoshop CC2015.1 update.

  Refer to this article: https://helpx.adobe.com/photoshop/kb/liquify-lightens-result.html

• How to have a mask that can "isolate" the animated content

  Hello

  I know that the principles of masking a layer that covered. However I have problems with the following text:

  I have three layers...

  Layer 1 - LOW) a red line upwards, pulling a blue box and disappears behind it

  Layer 2 - WAY) a static blue box

  Layer 3 - TOP) slipped continuing to layer (1) line now appears inside the blue box and continues to attract upward only now the line has changed by black magic.

  I thought I could apply a mask on the layer (3) - the inner black line which would be hidden in the form of the box, the goal was to crop the animation black line so that it remains within the limits of the area. However, like im, moving the line inside the mask box insists on moving with the animation rather than remain static.

  How to create a static mask that can "isolate" content that drives in and out of the mask

  See you soon

  PS - Im using AE CC 2014 on Mac

  You can approach the problem the wrong way to start with. I'm in the middle of the production of a tutorial, but I will share the project file and a screenshot. See if these techniques will help. (Note: some browsers adds an extension .txt filename. AE) Simply remove the extension and keep the .aep and the file must be open)

  

• Any of the vectors appearing as 'Vector Art sequence' not 'vector '.

  I use After Effects CS6

  I imported recently some Illustrator files into a composition in After effects for a project. I imported the as a composition so I can use the different layers in the document. Files for one of the documents are vector art, but the others came into sequences of samples of Vector art. I don't know the difference between the two. I read on the forums that it has something to do with the option 'force alphabetical order' box. I have made sure it is not verified and have tried all the options to import a compostion, still no luck.

  Is this something that needs to be done to the Illustrator himself file? Or I take a few steps correctly. Also, I would like to understand the difference between Vector Art files and Vector Art sequences. As far as I know is that both can be continuously rasterized, so it doesn't seem a threat to my project.

  Thanks for your time.

  You had activated the 'Séquence' box at some point. Simply use the file--> Repalce images and load the files again with the correct options.

  Mylenium

• More specific anti-aliasing prevents multiple images rendering at the same time after awhile

  Hi all.

  I am experiencing inconsistent memory, behaviour management when rendering my AE project that prevents me from making several images at the same time when some elements of film use accurate antialiasing.

  I have a processor 8-core i7 MacBook Pro with 8 GB of RAM and I am using AE CS5.5. I visited a project with several Illustrator layers imported to keep things nice and crispy. Here is a 3D with one camera, DOF, composition and they are continuously rasterized. On some of the vector assets I have to set the antialiasing for "More precise" in the dialog box interpret footage to address some problems with image quality. Here's what I noticed when rendering:

  1. when anti-aliasing on all assets of Illustrator is set on "Faster" return it without issues composition.

  2. I change the setting of antialiasing on some assets of the Illustrator to "More specific" to improve the quality of the image. Made of several images at the same time is off. Composition makes for a while, but eventually I get an error: "after effects error: unable to allocate enough memory for file antialias (50:5).

  3. to work around the error I load AE to empty the memory cache all 5 images or less via the Secret menu in the preferences. This prevents the error from happening and I can see the RAM being deallocated when from time to time as expected. This allows me to return the quality I need, but it is slower.

  4. in order to expedite things I light made simultaneous multiple images. I use the conservative settings: AE is to use only two hearts with 3 GB of RAM by heart (the maximum allowed). The rendering is accelerated. However, I see that the system "in use" RAM continues to increase at each image made up until the computer runs out, how AE automatically turns off made simultaneous multiple images and begins to display one image at a time. This does not happen whe all vector assets are defined to use fast antialiasing one I can make indefinitely with simultaneous multiple images rendering, but I don't get this way the desired quality. Please note that there is enough RAM for the carrots for multiple images rendering, but it seems as if having made a frame, the system is not free or reuse the memory when assets use specific anti-aliasing and will use another piece until there is no more.

  Also, I'm outputing to a sequence of images.

  Please help me to find a workaround for this problem. Thank you!

  This is probably a software design limitation (or bug) in the underlying code of Illustrator and there is no work around for this. You might dutifully report it here, but it's as good as it gets, and even when you do, you shouldn't be pregnant it be fixed anytime soon. In 12 years of use AE, that kind of thing never worked 100% right...

  Mylenium

• cannot delete because its not editable

  Hello

  I draw a rounded retangle shape, I want to make the right side of the form square, so I choose the Rectangle tool and draw a retangle on the right side, so I can remove the right side of the form. I got the error ' cannot delete because its unchangeable. "

  Now what can I do to archieve that?

  All inclusive page.

  You can not do with a shape layer.

  Rasterized layer first, then your idea will work.

  BTW, how you create this page is not the best solution.