Game Development Reference
until the next “real” frame completes the process of fading in. If
you have something with linear motion, such as a race car going
from one side of the screen to the other, this could do the trick. It
takes longer to render than Whole Frames, but also looks better
The other Method deserves its own paragraph. The Pixel
Motion method is nothing short of digital magic. Pixel Motion
attempts to create vectors or paths that connect pixels in one
frame to pixels in the next frame. In effect, it attempts to recre-
ate brand new frames. This is very helpful when you need details
and a cross fade, like that in Frame Mix, won't help. Say, for exam-
ple, you have some footage of a fi ght scene. Pixel Motion can
help you get the most detail out of the slow mo shot. And in most
instances, it works remarkably well. Also, you'll notice that once
Pixel Motion is selected, several other properties of the Timewarp
effect become selectable.
Let's see the digital magic of Pixel Motion in action. For this
example, we'll use a crystal clear video clip from Artbeats.com.
Import the fi le CJ121.mov from the Artbeats folder in the Media
folder of the exercise fi les. Make a new composition with this
footage and apply the Timewarp effect to it. I'm going to leave
the Speed value at the default 50, which will play this clip back at
50% of the speed of the original clip. Figure 19.12 shows two adja-
cent frames of the video in Whole Frames mode, so After Effects
has not changed the original content. When the video footage is
Figure 19.12 Two adjacent frames of video. They seem very similar, but when played back slowly, the difference
between them is obvious.
slowed down, the small difference between these two frames will
seem like a much larger jump.
Just by way of comparison, let's see what these frames look
like when blended using Frame Mix. You can see hard edges and
other visual stutter effects caused by Frame Mix's cross dissolve-