Game Development Reference
In-Depth Information
To get the layer to distort from its Source Mask shape to its
Destination Mask shape, animate the Percent value. Elasticity
determines how smooth the movement is. The default value
is Stiff and gets more smooth as you go down the list until you
come to Super Fluid. And let me tell you there is a huge hit on
render time every time you go up any degree in smoothness. With
Stiff selected as the Elasticity value, my MacBook Pro renders
this simple example at almost three frames per second. When I
use Super Fluid Elasticity, it takes almost eight seconds to render
one frame. You can imagine how much that would multiply with
other objects animating, a standard amount of layers, anything in
the background, high-defi nition video, and so forth.
Another important aspect of the Reshape effect is correspon-
dence points. A correspondence point is a point on one mask that
corresponds to a point on the other mask. This tells the Reshape
effect where a certain part of a mask will be when it's reshaped. If
the stranger's hat were to morph off to the right and become the
arm of the ghost, it would not be a good distortion in this exam-
ple. So, we would create a correspondence point connecting the
top of the stranger mask to the top of the ghost mask to tell the
Reshape effect where that point should go.
We don't have to create correspondence points for every spot
on the masks. We only need to create them where there are prob-
lems, and in many cases, Reshape will correctly guess how to
morph the layer. You can create as many points as you want, but
each pair of points will slow down render time.
To create correspondence points, Alt(Win)/Opt(Mac) click
somewhere on a mask, then Alt/Opt click the corresponding
point on the other mask. Once you've created a correspondence
point, you can click and drag on it to move it along the mask. The
Correspondence Points area in the Effect Controls panel shows
you how many pairs of correspondence points you have. Note
that you can only see correspondence points when the Reshape
effect is selected in the Effect Controls panel (Fig. 7.72).
The fi nal step is to animate the fading out of the Creepy
Stranger layer and the fading in of the Ghost layer. This produces
a cross dissolve, and if performed correctly, can help us create the
appearance that the stranger is becoming the ghost (Fig. 7.73).
Reshape and
plays a role in
the quality of the
results of the Reshape
effect. First, there is the
Interpolation Method
drop down in the Effect
Controls panel. Use
Linear for masks with fl at
edges, Smooth for masks
with curved edges, and
Discrete for automatic,
high-quality interpolation.
You can also Shift+click
individual points to change
their interpolation as well.
Changing the interpolation
of one point automatically
changes the interpolation
of its corresponding
point. After doing so, the
correspondence points
will change shape in the
Composition panel (square
is linear; circle is smooth),
but there will not be any
indication of this in the
Effect Controls panel.
The Ripple Effect
The Ripple effect creates an (almost) autoanimated ripple-type
distortion. If you had a photo of still water and wanted to make it
look like the surface of the water was rippling because someone
threw an object into it, you have to apply only the Ripple effect,
increase the Radius value, and render. That's it. The Ripple effect
creates its distortions by creating concentric rings of distortion that
emanate from the center called the Center of Ripple in this effect.
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