@Hedgehog2k In Particular gibt es das Feature wo du die Farben basierend der Lifetime der Partikel einstellen kannst. Dieses musst du bei Main- und Aux-Partikel individuell anpassen damit es aufeinanderpasst. Ev. musst du halt mit den Kurven oder Levels nachkorrigieren oder gleich mit Colorama mit Graustuffen als Input -> ist wahrscheinlich am einfachsten
@frutay Danke für deine Antwort! Was ich bis jetzt noch nicht hinkriege ist, dass die Farben so aussehen wie ich gerne möchte. Das Licht hellt die Farben auf und ohne Licht siehts natürlich auch nicht gut aus. Wie hast du das mit dem Licht gemacht? Ausserdem sieht meine Spitze nicht so schön glatt aus wie bei dir aus (hoffe man versteht was ich meine^^). Danke nochmals für deine Hilfe! Als Anfänger hat man es echt schwer, da ist man für jede hilfe dankbar!
@Hedgehog2k Hast du Trapcode Particular in einer anderen Composition? Falls ja, müsstest du im 32bit-Modus arbeiten damit du in der Komposition wo du die Farben korrigierst noch Farbinformationen hast. Ansonsten helfen dir Einstellungen bezüglich Intensität des Lichts und Distanz zum Objekt und/oder Optionen beim shading (habe leider im Moment Particular nicht installiert aber shadow intensity oder sowas sollte es geben).
@Hedgehog2k Für eine glatte Spitze musst du als erstes mit dem Field (nicht das sperical, das andere) arbeiten (auch im Nachkommastellenbereich). Sobald du dann das gesuchte Verhalten erreicht hast kannst du die Partikelzahl erhöhen und die globale Opacity verringern (etwa 3%-5%) und einen Verlauf nach 0% in der Opacity und AUX-Partikelgrösse. Erst dann hast du eine glatte Spitze. Hoffe das hilft etwas, ich war damals ziemlich lange am suchen.
@Hobofight101 The original work was from Esteban Diácono on Trapcode, Frutay's is a variation and I'm sorry but it is not even remotely close to anything from VCP; No one has been able to fully figure out how Estaban generated the particles. Go to Trapcode.com and look in the gallery. This is part of learning - the question though is what have YOU created?
Great work! Using a PC? I get a Particle overflow on my Mac when I try to go over 8000/sec (total for both emitters) (Sucks... I may not be able to do this)
You are doing millions of particles on both emitters?
Are you using a basic sphere for the particle or the sphere with glow?
I am having trouble using many particles for the aux emitter (buffer overflows) and also using streaklets for the aux emitter does not seem very "smoky". Can you please explain these settings a bit more?
@Dog, frutay is right, I was trying just bout everything, even using spread spectrum analytics - in the end - I just had to really listen and watch my equalizer - its right there in front of our eyes. LOL 4 million/sec, my poor computer will have post traumatic syndrome if I try that many ;)
Frut, btw, thank you, many of these same questions have been posted on every AE site - your the first to actually offer settings and help us understand what you did to achieve your particle structure.
I have a hard time separating violin/piano in soundkeys, do you have any tips on this? "You just need to find a good region inside the equalizer for each instrument where you can separate it from the others." seems hard for me to do, they seem to overlap in soundkeys.
@dogjustletmesignup It depends on the track your using because most of the tracks have to much intersection in bass and treeble (don't know if I wrote that correctly, I'm Swiss). With the track of Olafur Arnalds it works really well.
frutay, I am also trying to duplicate this effect and your work is greatly appreciated. I just have a question about generating that texture of chalky smoke: is it done by just having a large amount of particles of points? Or is there some texture applied? I am guessing the former.
@dogjustletmesignup There are up to 2 millions of particles per frame and emitter. I don't think that you can get a similar result by using a texture as a particle. The key is in my opinion an really large amount of particles with an small size and an almost transparent opacity. If you'll get in trouble with the performance I'd recommend a slider control linked to the particles/sec to control the amount as your tweaking the Turbulence and Spherical Field.
Would you like to share with us the settings for the Particular layer? I love your remake of Esteban's video; it's certainly better than mine xD. Bravo.
Ok why not, but you might still get different results because of camera position and zoom (the turbulence field is somehow connected to the cam's position). Here the settings i've ajusted: Particles/Sec: 3000 Emitter Type: Sphere Velocity: 5 Velocity Distribution: 5 Velocity from Motion: 10 Particle Life: 0.9 Type: Cloudlet Cloudlet Feather: 0 Size: 9 Opacity: 4 Opacity over Life: Decrease it Set Color over Live: Up to you Shading: On Nominal Distance: 350 Ambient: 15 Diffuse: 150
@frutay Great frutay... As soon as I'll get back home I'll test your settings and make a new video, hope this time a lot better than the ones resulting from previous attempts. Can I ask how you came up with this really similar effect? Were you playing around with TP or found tutorial online? I know I've been trying to get this effect for a while now. xD
Would you like to share with us the settings for the Particular layer? I love your remake of Esteban's video; it's certainly better than mine xD. Bravo.
Thanks Frut, most people dont rely to comments (except a lot of mean stuff) so its appreciated. VERY cool method; i was driving myself nuts trying to split it using spread spectrum in Audition (can't be done). I will have to look at the equalizer output more closely to see which bar is emitting the violin and bounce some z particles to see how they form.. Thanks much ;))
Exactly, it would be very difficult without trapcode soundkeys. Actually, do not keyframe the opacity but instead the particles/sec for the violin-emitter as soon as it plays in and out. I remembered it wrong ;)
Nice, I don't want to recreate whats been done; but I need to figure out how you used to two soundkey layers; how did you split piano and violin? So far I have not been able to find that answer anywhere. Anyway good work.
Thank you! You just need to find a good region inside the equalizer for each instrument where you can separate it from the others. Once you've got the keyframes, there might be some lower values for the violin-layer althougt it isn't playing. So I simply keyframed the opacity for the violin-emitter over time. But an If-else-construction will propably work as well.
First great work
second i really want to know how you did it plz sir make the tutorial for it so person like me can also do this kind of work
or
if possible plz give me the file so i can understand the settings .
rajputtana1 4 weeks ago
Sehr schönes Video! Wie hast du es geschafft, dass die Farben erst kräftig anfangen und dann nach hinten verlaufen?
Hedgehog2k 4 months ago
@Hedgehog2k In Particular gibt es das Feature wo du die Farben basierend der Lifetime der Partikel einstellen kannst. Dieses musst du bei Main- und Aux-Partikel individuell anpassen damit es aufeinanderpasst. Ev. musst du halt mit den Kurven oder Levels nachkorrigieren oder gleich mit Colorama mit Graustuffen als Input -> ist wahrscheinlich am einfachsten
frutay 4 months ago
@frutay Danke für deine Antwort! Was ich bis jetzt noch nicht hinkriege ist, dass die Farben so aussehen wie ich gerne möchte. Das Licht hellt die Farben auf und ohne Licht siehts natürlich auch nicht gut aus. Wie hast du das mit dem Licht gemacht? Ausserdem sieht meine Spitze nicht so schön glatt aus wie bei dir aus (hoffe man versteht was ich meine^^). Danke nochmals für deine Hilfe! Als Anfänger hat man es echt schwer, da ist man für jede hilfe dankbar!
Hedgehog2k 4 months ago in playlist Liked
@Hedgehog2k Hast du Trapcode Particular in einer anderen Composition? Falls ja, müsstest du im 32bit-Modus arbeiten damit du in der Komposition wo du die Farben korrigierst noch Farbinformationen hast. Ansonsten helfen dir Einstellungen bezüglich Intensität des Lichts und Distanz zum Objekt und/oder Optionen beim shading (habe leider im Moment Particular nicht installiert aber shadow intensity oder sowas sollte es geben).
frutay 4 months ago
@Hedgehog2k Für eine glatte Spitze musst du als erstes mit dem Field (nicht das sperical, das andere) arbeiten (auch im Nachkommastellenbereich). Sobald du dann das gesuchte Verhalten erreicht hast kannst du die Partikelzahl erhöhen und die globale Opacity verringern (etwa 3%-5%) und einen Verlauf nach 0% in der Opacity und AUX-Partikelgrösse. Erst dann hast du eine glatte Spitze. Hoffe das hilft etwas, ich war damals ziemlich lange am suchen.
frutay 4 months ago
@frutay wow danke für die ausführliche Antwort! :) Werde ich ausprobieren und testen. Grüsse hedgehog2k
Hedgehog2k 4 months ago in playlist Liked
@Hobofight101 The original work was from Esteban Diácono on Trapcode, Frutay's is a variation and I'm sorry but it is not even remotely close to anything from VCP; No one has been able to fully figure out how Estaban generated the particles. Go to Trapcode.com and look in the gallery. This is part of learning - the question though is what have YOU created?
KeelerMediaGroup 5 months ago
@Hobofight101 LOL WHY YOU SWEAR MAN?
oumoumad 9 months ago
stunning. I am trying your setting right now! (at 1:00 am :P)
zevobh 11 months ago
Great work! Using a PC? I get a Particle overflow on my Mac when I try to go over 8000/sec (total for both emitters) (Sucks... I may not be able to do this)
You are doing millions of particles on both emitters?
Are you using a basic sphere for the particle or the sphere with glow?
Are both emitters visible or just the Aux?
SteamRolln 1 year ago
@SteamRolln It's most likely using only the aux system... the main particle emitter is set to 0 pixels.
megapartneringvideos 6 months ago
Is it available for download?
ParallelW0rld 1 year ago
I am having trouble using many particles for the aux emitter (buffer overflows) and also using streaklets for the aux emitter does not seem very "smoky". Can you please explain these settings a bit more?
dogjustletmesignup 1 year ago
@Dog, frutay is right, I was trying just bout everything, even using spread spectrum analytics - in the end - I just had to really listen and watch my equalizer - its right there in front of our eyes. LOL 4 million/sec, my poor computer will have post traumatic syndrome if I try that many ;)
Frut, btw, thank you, many of these same questions have been posted on every AE site - your the first to actually offer settings and help us understand what you did to achieve your particle structure.
vertikallimitz 1 year ago
@vertikallimitz Muhaha, and it's even 24 times harder than 4 million/sec; it's 4 million/frame :) Your welcome!
frutay 1 year ago
I don't have a good understanding of sound equalizers, would it be too much to ask for a screenshot of your soundkeys setup?
dogjustletmesignup 1 year ago
dude, awseome :) if i get my laptop back from repair, im tottaly remaking it :) beautiful video :)))
slightlyobsessed14 1 year ago
I have a hard time separating violin/piano in soundkeys, do you have any tips on this? "You just need to find a good region inside the equalizer for each instrument where you can separate it from the others." seems hard for me to do, they seem to overlap in soundkeys.
dogjustletmesignup 1 year ago
@dogjustletmesignup It depends on the track your using because most of the tracks have to much intersection in bass and treeble (don't know if I wrote that correctly, I'm Swiss). With the track of Olafur Arnalds it works really well.
frutay 1 year ago
frutay, I am also trying to duplicate this effect and your work is greatly appreciated. I just have a question about generating that texture of chalky smoke: is it done by just having a large amount of particles of points? Or is there some texture applied? I am guessing the former.
dogjustletmesignup 1 year ago
@dogjustletmesignup There are up to 2 millions of particles per frame and emitter. I don't think that you can get a similar result by using a texture as a particle. The key is in my opinion an really large amount of particles with an small size and an almost transparent opacity. If you'll get in trouble with the performance I'd recommend a slider control linked to the particles/sec to control the amount as your tweaking the Turbulence and Spherical Field.
frutay 1 year ago
Would you like to share with us the settings for the Particular layer? I love your remake of Esteban's video; it's certainly better than mine xD. Bravo.
Eduardcaliman4d 1 year ago
frutay 1 year ago
frutay 1 year ago
frutay 1 year ago
@frutay Great frutay... As soon as I'll get back home I'll test your settings and make a new video, hope this time a lot better than the ones resulting from previous attempts. Can I ask how you came up with this really similar effect? Were you playing around with TP or found tutorial online? I know I've been trying to get this effect for a while now. xD
Eduardcaliman4d 1 year ago
@Eduardcaliman4d It took almost two days to tweak the settings till i came up with this. It's a lot of trial and error. Haven't found a tutorial yet.
frutay 1 year ago
Would you like to share with us the settings for the Particular layer? I love your remake of Esteban's video; it's certainly better than mine xD. Bravo.
Eduardcaliman4d 1 year ago
Thanks Frut, most people dont rely to comments (except a lot of mean stuff) so its appreciated. VERY cool method; i was driving myself nuts trying to split it using spread spectrum in Audition (can't be done). I will have to look at the equalizer output more closely to see which bar is emitting the violin and bounce some z particles to see how they form.. Thanks much ;))
vertikallimitz 1 year ago
Exactly, it would be very difficult without trapcode soundkeys. Actually, do not keyframe the opacity but instead the particles/sec for the violin-emitter as soon as it plays in and out. I remembered it wrong ;)
frutay 1 year ago
Nice, I don't want to recreate whats been done; but I need to figure out how you used to two soundkey layers; how did you split piano and violin? So far I have not been able to find that answer anywhere. Anyway good work.
vertikallimitz 1 year ago
Thank you! You just need to find a good region inside the equalizer for each instrument where you can separate it from the others. Once you've got the keyframes, there might be some lower values for the violin-layer althougt it isn't playing. So I simply keyframed the opacity for the violin-emitter over time. But an If-else-construction will propably work as well.
frutay 1 year ago
I wünschti DU hättschs entdeckt! Geniale Job, du heschs eifach druf! Gruzzle (du weisch scho vo wäm :))
TheNadiLain 1 year ago
Nice job ! Please tell us more about the process and the wonderful music.
filzilla 1 year ago