Как изменить waveform after effects

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Third-party effects in this category included with After
Effects:

• CC Glue Gun effect

• CC Light Burst 2.5 effect

• CC Light Rays effect

• CC Light Sweep effect

• CC Threads effect

4-Color Gradient effect

The 4-Color Gradient effect produces a four-color gradient.
The gradient is defined by four effect points, the positions and
colors of which can be animated using the Positions & Colors
controls. The gradient is composed of four solid-color circles blended
together, each with an effect point as its center.

This effect works with 8-bpc and 16-bpc color.

Blend

Higher values create more gradual transitions between colors.

Jitter

The amount of jitter (noise) in the gradient.
The jitter, which reduces banding, affects only those areas where
banding could occur.

Opacity

The opacity of the gradient, as a fraction of the Opacity
value for the layer.

Blending Mode

The blending mode to use in combining the gradient with the layer.

Advanced Lightning effect

The Advanced Lightning effect creates simulations of electrical discharges. Unlike the Lightning effect, Advanced Lightning doesn’t self-animate. Animate the Conductivity State or other properties to animate the lightning.

The Advanced Lighting effect includes the Alpha Obstacle feature, with which you can make the lightning go around designated objects.

Chris Zwar provides a detailed description on his website of how he used the Advanced Lightning effect to simulate blood vessel capillaries.

Eran Stern provides a video introduction to the Advanced Lightning effect on the Motionworks website.

This effect works with 8-bpc color.

Lightning Type

Origin

Specifies the point of origin for the lightning.

Direction, Outer Radius

This control changes depending on the Lightning Type:

Not In Use

The Direction or Outer Radius control is not available if
Lightning Type is Vertical.

Outer Radius

Specifies the distance that the lightning travels from its
origin. This control is enabled if Omni or Anywhere is selected
as the lightning type. Use it to terminate the lightning at a defined
distance from the origin.

Direction

Specifies the direction that the lightning travels. This
control is enabled if any of the following lightning types are selected:
Direction, Strike, Breaking, Bouncy, and Two-Way Strike.

Conductivity State

Changes the path of the lightning.

Core Settings

These controls adjust various characteristics of the core
of the lightning.

Glow Settings

Alpha Obstacle

Turbulence

Specifies the amount of turbulence in the lightning path.
Higher values result in a more complex strike containing more branches
and forks, and lower values produce simpler strikes with fewer branches.

Forking

Specifies what percentage of a branch is forked. Turbulence
and Alpha Obstacle settings influence forking.

Decay

Specifies the amount of continuous decay or dissipation of
the lightning strength and influences where the opacity of the forks
begins to fade.

Decay Main Core

Decays the main core along with its forks.

Composite On Original

Composites the lightning with the original layer using the
Add blending mode. When deselected, only the lightning is visible.

Complexity

Specifies the complexity of the turbulence in the lightning.

Min. Forkdistance

Specifies the minimum pixel distance between new forks. Lower
values create more forks in the lightning. Higher values result
in fewer forks.

Termination Threshold

Main Core Collision Only

Calculates collisions only on the main core. The forks aren’t
affected. This control is relevant only if you select Alpha Obstacle.

Fractal Type

Specifies the type of fractal turbulence used to create the lightning.

Core Drain

Specifies the percentage by which the core strength is drained
when creating a new fork. Increasing this value reduces the opacity
of the core where new forks appear. Because forks draw their strength
from the main core, decreasing this value reduces the opacity of
the forks as well.

Fork Strength

Specifies the opacity of the new fork. This amount is measured
as a percentage of the Core Drain value.

Fork Variation

Specifies the amount of variation in the opacity of the fork
and determines how much the fork opacity deviates from the amount
set for Fork Strength.

Audio Spectrum effect

Apply the Audio Spectrum effect to a video layer to display the audio spectrum of a layer that contains audio (and optionally video). The effect displays the magnitude of audio levels at frequencies in the range that you define using Start Frequency and End Frequency. This effect can display the audio spectrum in several different ways, including along a mask path.

Jerzy Drozda, Jr. provides a demonstration of the Audio Spectrum effect on the Motionworks website.

Audio Spectrum uses the audio source footage without time-remapping, effects,
stretch, or levels. To display the spectrum with such effects, precompose
the audio layer before applying the Audio Spectrum effect.

To prevent other masks on the layer from clipping
the output of the Audio Spectrum effect, set their mask modes to
None. (See Mask
modes.)

This effect works with 8-bpc, 16-bpc, and 32-bpc color.

Audio Layer

The audio layer you want to use as input.

Start Point, End Point

Specifies the position at which the spectrum starts or ends
if Path is set to None.

Path

The mask path along which to display the audio spectrum.

Use Polar Path

The path starts from a single point and appears as a radial
graph.

Start Frequency, End Frequency

The lowest and highest frequencies, in hertz, to display.

Frequency Bands

The number of frequency bands into which to divide displayed
frequencies.

Maximum Height

Maximum height, in pixels, of a displayed frequency.

Audio Duration

Duration of audio, in milliseconds, used to calculate the spectrum.

Audio Offset

Time offset in milliseconds used to retrieve the audio.

Thickness

Thickness of the bands.

Softness

How feathered or blurry the bands appear.

Inside Color, Outside Color

Inside and outside colors of the bands.

Blend Overlapping Colors

Specifies that overlapping spectrums are blended.

Hue Interpolation

If the value is greater than 0, the frequencies displayed rotate
through the hue color space.

Dynamic Hue Phase

If selected, and the Hue Interpolation is greater than 0,
the Start color shifts to the maximum frequency in the range of
displayed frequencies. This setting allows the hue to follow the
fundamental frequency of the spectrum displayed as it changes.

Color Symmetry

If selected, and the Hue Interpolation is greater than 0,
the start and end colors are the same. This setting allows color
continuity on closed paths.

Display Options

Specifies whether to display frequency as Digital, Analog Lines,
or Analog Dots.

Side Options

Specifies whether to display the spectrum above the path
(Side A), below the path (Side B), or both (Side A & B).

Duration Averaging

Specifies that audio frequencies are averaged to reduce randomness.

Composite On Original

If selected, displays the original layer with the effect.

Audio Waveform effect

Apply the Audio Waveform effect to a video layer to
display the audio waveform of a layer that contains audio (and optionally
video). You can display the audio waveform in several different
ways, including along an open or closed mask path.

note: Audio Waveform
uses the audio source footage without time-remapping, effects, stretch,
or levels. To display the spectrum with such effects, precompose
the audio layer before applying the Audio Waveform effect.

To prevent masks on the layer from clipping the
output of the Audio Waveform effect, set their mask modes to None.
(See Mask
modes.)

This effect works with 8-bpc, 16-bpc, and 32-bpc color.

Audio Layer

The audio layer you want to display as a waveform.

Start Point, End Point

The position at which the waveform starts and ends, if Path
is set to None.

Path

If set to None, the audio waveform is displayed along the
path of the layer.

Displayed Samples

Number of samples to display in the waveform.

Maximum Height

Maximum height, in pixels, of a displayed frequency.

Audio Duration

Duration of audio, in milliseconds, used to calculate the waveform.

Audio Offset

Time offset, in milliseconds, used to retrieve the audio.

Thickness

The thickness of the waveform.

Softness

How feathered or blurry the waveform appears.

Inside Color, Outside Color

The inside and outside colors of the waveform.

Waveform Options

Mono combines the left and right channels of the audio layer.
Nonstereo audio layers play as Mono.

Display Options

Digital displays each sample as a single vertical line connecting
the minimum and maximum source sample. This option simulates the
display used on digital equipment. Analog Lines displays each sample
as a line connecting the previous and next sample from either the
minimum or maximum audio source sample. This option simulates the
retracing seen in the display of an analog oscilloscope. Analog
Dots displays each sample as a dot representing either the minimum
or maximum audio source sample.

Composite On Original

Composites the audio waveform with the original layer using
the Add blending mode. When deselected, only the audio waveform
is visible.

Beam effect

The Beam effect simulates the movement of a beam, such as a laser beam. You can make the beam shoot, or you can create a wandlike beam with a stationary start or end point. The beam looks best when motion blur is enabled and the shutter angle is set to 360.

John Dickinson provides a video tutorial and example project on the Motionworks website that demonstrate the use of the Beam effect.

This effect works with 8-bpc, 16-bpc, and 32-bpc color.

The Length control specifies the length of the beam based on
a percentage of the Time specified. For example, a setting of 100%
means that the visible beam length is at its maximum when the Time
control is 50%. Time specifies the time of the beam’s travel from
start to end as a percentage. The 3D Perspective control uses 3D
perspective based on start and end thickness if Time is animated.

Cell Pattern effect

The Cell Pattern effect generates cellular patterns based on cellular noise. Use it to create static or moving background textures and patterns. The patterns can be used in turn as textured mattes, as transition maps, or as a source for displacement maps.

John Dickinson provides an example project on the Motionworks website that demonstrates the use of the Cell Pattern effect in a seamlessly looping background animation.

Richard Harrington provides additional information and examples for using the Cell Pattern effect on his website.

This effect works with 8-bpc color.

Cell Pattern

Invert

Inverts the cell pattern. Black areas become white, and white
areas become black.

Contrast/Sharpness

Overflow

How the effect remaps values that fall outside the grayscale
range of 0-255. Overflow isn’t available if sharpness-based cell
patterns are chosen.

Clip

Values above 255 are mapped to 255. Values below 0 are mapped
to 0. Contrast amount controls how much of the image falls outside
the range 0-255; higher contrast amounts result in a mostly black
or white image, with less gray. Therefore, less subtle cellular
detail appears at higher contrast settings.

Soft Clamp

Remaps grayscale values to fall inside the 0–255 range.
Contrast appears reduced; cells are mostly gray with few areas of
pure black or white.

Wrap Back

Values above 255 or below 0 are reflected back into the 0-255 range.
For example, a value of 258 (255+3) is reflected to 252 (255-3),
and a value of ‑3 is reflected to 3. With this setting, Contrast
values above 100 increase complexity and detail.

Disperse

Size

The size of the cells. The default size is 60.

Offset

Determines the portion of the fractal shape used to create
the pattern.

Tiling Options

Choose Enable Tiling to create a pattern built of repeating
tiles. Cells Horizontal and Cells Vertical determine how many cells
wide and how many cells high each tile is.

Evolution

Evolution Options

Evolution Options provide controls that render the effect
for one short cycle and then loop it for the duration of your clip.
Use these controls to pre-render cell pattern elements into loops,
and thus speed up rendering time.

Cycle Evolution

Creates a loop that forces the Evolution state to return
to its starting point.

Cycle

Random Seed

Checkerboard effect

The Checkerboard effect creates a checkerboard pattern
of rectangles, half of which are transparent.

This effect works with 8-bpc color.

Anchor

The point of origin of the checkerboard pattern. Moving this
point offsets the pattern.

Size From

How the dimensions of the rectangles are determined:

Corner Point

The dimensions of each rectangle are the dimensions of the rectangle
with opposite corners defined by the Anchor and Corner points.

Width Slider

The height and width of a rectangle are equal to the Width
value, meaning that the rectangles are squares.

Width & Height Sliders

The height of a rectangle is equal to the Height value. The
width of a rectangle is equal to the Width value.

Feather

Thickness of the edge feather within the checkerboard pattern.

Color

The color of the nontransparent rectangles.

Opacity

The opacity of the colored rectangles.

Blending Mode

The blending mode to use to composite the checkerboard pattern
on top of the original layer. These blending modes work identically
to the ones in the Timeline panel, except for the default None mode,
which renders the checkerboard pattern only.

Circle effect

The Circle effect creates a customizable solid disk
or ring.

This effect works with 8-bpc color.

Edge

None creates a solid disk. The other options all create rings.
Each option corresponds to a different set of properties that determine
the shape and edge treatment of the ring:

Edge Radius

The difference between the Edge Radius property and the Radius property
is the thickness of the ring.

Thickness

The Thickness property sets the thickness of the ring.

Thickness * Radius

The product of the Thickness property and the Radius property
is the thickness of the ring.

Thickness & Feather * Radius

The product of the Thickness property and the Radius property
is the thickness of the ring. The product of the Feather property and
the Radius property is the feather of the ring.

Feather

The thickness of the feather.

Invert Circle

Inverts the matte.

Blending Mode

The blending mode used to combine the shape and the original
layer. These blending modes behave like the blending modes in the Timeline
panel, except for None, which displays only the shape, without the original
layer.

Ellipse effect

The Ellipse effect draws an ellipse.

This effect works with 8-bpc, 16-bpc, and 32-bpc color.

Eyedropper Fill effect

The Eyedropper Fill effect (formerly the Color Picker
effect) applies a sampled color to the source layer. This effect
is useful for quickly picking a solid color from a sample point
on the original layer or picking a color value from one layer and using
blending modes to apply this color to a second layer.

This effect works with 8-bpc color.

Sample Point

The center of the sampled area.

Sample Radius

The radius of the sampled area.

Average Pixel Color

Which color values are sampled:

Skip
Empty

Samples the average RGB color values, excluding the color
values of transparent pixels.

All

Samples the average of all RGB color values, including color
values of transparent pixels.

All Premultiplied

Samples the average of all RGB color values, premultiplied with
the alpha channel.

Including Alpha

Samples the average of all RGB color and alpha channel values.
This setting results in the sampled color also containing the average transparency
of the sampled pixels.

Maintain Original Alpha

Maintains the alpha channel of the original layer. If you
choose Including Alpha in the Average Pixel Color menu, the original
alpha is stenciled over the sampled color.

Blend With Original

The transparency of the effect. The result of the effect
is blended with the original image, with the effect result composited
on top. The higher you set this value, the less the effect affects
the layer. For example, if you set this value to 100%, the effect
has no visible result on the layer; if you set this value to 0%,
the original image doesn’t show through.

Fill effect

The Fill effect fills specified masks with a specified color. If you want to add both a stroke and a fill to a closed path, the order in which you apply the stroke and fill determines the visible width of the stroke: If the fill is applied before the stroke, the full stroke brush size is visible; if the stroke is applied before the fill, the fill appears on top of the stroke, obscuring the half of the stroke that falls inside the path.

This effect works in 32-bit color.

Fractal effect

The Fractal effect renders the Mandelbrot or Julia set,
creating colorful textures. When you first apply the effect, the
picture you see is the classic sample of the Mandelbrot set; the
set is the area that is colored black. Any pixel outside the set is
colorized, depending on how close it is to the set.

This effect works with 8-bpc and 16-bpc color.

Set Choice

Specifies the set used. Mandelbrot is the typical Mandelbrot
set. Mandelbrot Inverse is the Mandelbrot set mathematically inverted.
Julia always changes depending on the center point from the Mandelbrot
set and can produce the set of all possible Julia sets. Julia Inverse
is the inverse of the Julia set. To see a Julia set, you may want
to set the magnification to a negative value, because these sets
tend to fill up the complex plane outside the normal boundary. Mandelbrot
Over Julia is the same as Mandelbrot, except that it changes when
the Julia center point changes. Mandelbrot Inverse over Julia is the
same as Mandelbrot Inverse, except that it changes when the Julia
center point changes.

Mandelbrot, Julia

Specify the settings for the specified set. X (Real) and
Y (Imaginary) specify the pixels at the center of the image for
either the Mandelbrot or Julia set. Magnification specifies the
magnification of the effect. Escape Limit specifies how many times
the calculation looks for a color for a given pixel before it assigns
the color black. It also sets the maximum number of line segments
the Selection tool can use when tracing the path of a point. Higher
numbers require longer render times.

Color

Specifies the color of the effect:

Overlay

Displays a ghosted version of the opposite set. For example,
when viewing the Julia set, use this control to display a ghosted
version of the Mandelbrot set. When you select Overlay, a white
cross hair with a black drop shadow appears so you can see the exact
point at the center of the opposite set. This control is useful
because the Julia set depends on the center point of the Mandelbrot
set.

Transparency

Specifies whether black pixels are transparent. If you choose Solid
Color from the Palette menu, this control specifies whether everything inside
or outside the set is transparent.

Palette

Specifies the palette to use when drawing the set. Lightness
Gradient creates a gradient that ranges from black to white, passing
through the hue specified by the Hue control. Then it applies the
same gradient eight more times, each time using the hue 45° away
on the color wheel. The Cycle Steps control specifies the number
of colors in the gradient. Hue Wheel uses all the color from the
Hue color wheel, with maximum brightness and saturation. Black And
White uses alternating bands of black and white. Solid Color turns
everything transparent except the inside of the set, which uses
the color specified by the Hue control. Select Transparent to get
the opposite result.

Hue

Specifies the hue for solid colors and the starting hue
for color gradients. This control works well for creating smooth
color changes or for cycling through the palette. Cycle Steps specifies
the number of bands of different color that appear before the cycle
starts over. Cycle Offset specifies where, other than the beginning,
a cycle starts.

Edge Highlight

Highlights the edges between color bands. This control requires
low-quality mode. If you want to use high-quality edge highlighting,
use the Find Edges effect instead.

High Quality Settings

Specify the oversampling settings for the effect:

Oversample Method

Specifies the method used to oversample the effect: Edge Detect-Fast-May
Miss Pixels performs a simple edge detection and oversamples only
those pixels. This option is the fastest, especially in areas with
a lot of solid color, such as black, and it generally produces results
indistinguishable from Brute Force. Brute Force-Slow-Every Pixel
oversamples every pixel in the image. It is slow but precise.

Oversample Factor

Specifies the amount of oversampling to perform. For example,
a value of 4 specifies that each pixel is sampled 16 times (4×4=16)
and that the average color is used. Higher values produce better
quality output but require longer render times.

When the Fractal effect is selected in the
Effect Controls panel, you can use After Effects tools in the following
way. (If you don’t want the Fractal tools active, deselect the effect
before using tools.)

• Use the Selection tool and click while holding the Alt (Windows) or Option (Mac OS) key. If the path leads out of the bounded rectangle (-2, -2, 2, 2), it has gone into infinity; in such a case, the starting-point color is based on how many line segments it takes to reach infinity. If the path ends within the rectangle, it’s colored black.
• Use the Zoom tool to zoom in or out on a particular point, or hold down Ctrl (Windows) or Command (Mac OS), click and hold the Magnifying tool over the center of the image, and navigate from the center. For example, to zoom straight in, stay in the center; to move up, drag up a little and then quickly move back to the center.
• Use the Hand tool to pan the image. Press Ctrl (Windows) or Command (Mac OS) to pan the opposite fractal. For example, when viewing the Julia set, press Ctrl (Windows) or Command (Mac OS) to pan the Mandelbrot set and see how the Julia set depends on the center point of the Mandelbrot set.
• Use the arrow keys to pan the center point by 1 pixel. Press Shift as you press an arrow key to adjust the point by 10 pixels. Press Ctrl (Windows) or Command (Mac OS) as you press an arrow key to adjust the center point of the opposite set.

Gradient Ramp effect | CC

The Gradient Ramp effect creates a color gradient. You can create linear or radial ramps, and vary the position and colors of the ramp over time. Use the Start Of Ramp and End Of Ramp properties to specify the start and end positions. Use the Ramp Scatter control to disperse the ramp colors and eliminate banding.

This effect works with 8-bpc, 16-bpc, and 32-bpc color.

Ramps often don’t broadcast well; severe banding occurs because
the broadcast chrominance signal doesn’t contain sufficient resolution
to reproduce the ramp smoothly. The Ramp Scatter control dithers
the ramp colors, eliminating the banding apparent to the human eye.

Grid effect

Use the Grid effect to create a customizable grid. Render this grid in a solid color or as a mask in the alpha channel of the source layer. This effect is good for generating design elements and mattes within which other effects can be applied.

John Dickinson provides a video tutorial on his Motionworks website that demonstrates the use of the Grid effect.

This effect works with 8-bpc color.

Use Grid with the Advanced Lightning effect to
create lightning forks that follow a grid pattern.

Anchor

The point of origin of the grid pattern. Moving this point
offsets the pattern.

Size From

How the dimensions of the rectangles are determined:

Corner Point

The dimensions of each rectangle are the dimensions of the rectangle
with opposite corners defined by the Anchor and Corner points.

Width Slider

The height and width of a rectangle are equal to the Width
value, meaning that the rectangles are squares.

Width & Height Sliders

The height of a rectangle is equal to the Height value. The
width of a rectangle is equal to the Width value.

Border

Feather

The softness of the grid.

Invert Grid

Inverts the transparent and opaque areas of the grid.

Color

The color of the grid.

Opacity

The opacity of the grid.

Blending Mode

The blending mode to use to composite the grid on top of
the original layer. These blending modes work identically to the
ones in the Timeline panel, except for the default None mode, which
renders the grid only.

Lens Flare effect

The Lens Flare effect simulates the refraction caused
by shining a bright light into the camera lens. Specify a location
for the center of the flare by clicking anywhere inside the image
thumbnail or by dragging its cross hair.

This effect works with 8-bpc color.

Paint Bucket effect

The Paint Bucket effect (formerly Basic Fill effect)
is a nondestructive paint effect that fills an area with a solid
color. It works much like the Paint Bucket tool in Adobe Photoshop.
Use the Paint Bucket effect for colorizing cartoon-type outlined
drawings or replacing areas of color in an image.

This effect works with 8-bpc color.

Fill Point

The effect fills an area that contains the Fill Point. The
area is determined by analyzing pixels that neighbor the Fill Point
and expanding the fill area by adding matching pixels. How far the
fill color spreads depends upon the Tolerance setting, as well as
the option you choose from the Fill Selector menu.

Fill Selector

Which values to operate on:

Color &
Alpha

Specifies that the effect fills the RGB and alpha channels
of the fill area with the new color.

Straight Color

Specifies that the effect fills only the RGB channels of
the fill area with the new color.

Transparency

Specifies that the effect fills only the transparent areas
near the fill point. You must set a fill point in a transparent
area for this option to work.

Opacity

Specifies that the effect fills only the opaque areas near
the fill point. You must set a fill point in an opaque area for
this option to work.

Alpha Channel

Specifies that the effect fills either the opaque or transparent areas
in the whole image, depending upon the alpha channel value at the
point you set the fill point.

Tolerance

How far the color values of a pixel can be from the Fill
Point color values and still match. Higher values expand the range
of pixels that the effect fills.

View Threshold

Shows what pixels match—that is, which pixels are within
the Tolerance value of the color values of the Fill Point pixel.
This option is especially useful in tracking leaks. If a small gap
exists, the color can flow over and fill areas not intended to be
filled.

Stroke

How the effect treats the edges of the filled area:

Antialias

Anti-aliases the edges of the filled area.

Feather

Creates a feathered edge for the filled area. Feather Softness
values create a more gradually disappearing edge.

Spread

Expands the area of the fill color. The Spread Radius value
indicates the number of pixels the fill color extends beyond the
edge of the fill area.

Choke

Contracts the area of the fill color. The Spread Radius
value indicates the number of pixels the fill color shrinks from
the edge of the fill area.

Stroke

Confines the fill to only the border of the selected area.
The Stroke Width value indicates the width of the stroke, in pixels.

Opacity

Opacity of the filled area.

Blending Mode

The blending mode to use to composite the result of the effect on top of the original layer. All of these blending modes operate like the blending modes in the Timeline panel, except for Fill Only. Use Fill Only to show only the fill.

If you apply multiple instances of Paint Bucket to a layer, be sure not to set more than one to use the Fill Only blending mode. If you set more than one instance to use this blending mode, only the first application of the effect is shown.

Radio Waves effect

The Radio Waves effect creates radiating waves from a stationary or animated effect control point. You can use this effect to generate pond ripples, sound waves, or intricate geometric patterns. Use the Reflection control to make the shapes bounce off the sides of the layer. You can also use Radio Waves to create realistic wave displacement maps that work well with the Caustics effect.

Satya demonstrates animation of the mask that the radio wave shape is based on. He also demonstrates that you can get smooth, organic contours (rather than discrete waves) by using a very high value for Frequency, together with carefully chosen Fade-in Time and Fade-out Time settings.

This effect works with 8-bpc color.

Producer Point

The point from which the waves appear.

Parameters Are Set At

Specifies whether parameters can be animated for individual
waves. Birth specifies that each wave maintains the same parameter settings
over time. Each Frame specifies that the waves change as the parameters change.
For example, if you create a star wave with an animated rotation property,
select Birth to offset each star from the previous one to create
a twisting tunnel, or select Each Frame to make all the stars rotate
in unison as the rotation property changes.

Render Quality

Controls the quality of the output. Radio Waves creates smooth, anti-aliased
shapes by rendering high-resolution versions of the shapes and then scaling
them down by oversampling. For example, to create a 100×100-pixel image,
it may generate a 400×400-pixel image and then scale it down using
4x oversampling. Oversampling provides high-quality results but
results in long render times. This option works only with Best quality
mode.

Wave Type

What to base the wave shape on.

Polygon

What kind of polygon to use for the wave shape. These controls
are available if Polygon is chosen for Wave Type.

Sides

Three sides create a triangle, four create a square, and
so on. Size values above 64 result in a smooth circle. You can also
approximate a circle by setting Sides to 3, Curve Size to 1, and
Curvyness to about 0.62.

Curve Size

Specifies how much of each side is curved at each point.

Curvyness

Specifies how extreme the curve is at each point of the wave.

Star

Specifies that the polygon is shaped like a star. To change
the number of points on the star, change the number of sides.

Star Depth

Specifies the angles of a star by controlling the distance
between inner points and the center of the star.

Mask

Specifies the mask used to create a wave. This control is
available if you choose Mask from the Wave Type pop-up menu.

Image Contour controls

You can base the wave shape on the contours
of an image by choosing Image Contours for Wave Type.

Source Layer

The layer to use as input for the creation of the image contours. Select
an animated layer to emit moving shapes. A well-defined outline,
high-contrast grayscale layer, or alpha channel works well as a
source. The Radio Waves effect detects edges and converts sources
into outlines.

Source Center

Specifies the center point of the shape, relative to the
source layer. For example, if you isolate a shape that is positioned
in the left half of the frame, the shape radiates to the left by
default; you can move the source center anywhere on the layer.

Value Channel

The color attributes of the source layer used to define the
image contours.

Invert Input

Inverts the chosen value channel option.

Value Threshold

Specifies the threshold for the chosen value channel. It
determines the percentage value at which everything below it or
above it is mapped to either white or black. This control can make
a big difference in the shape of the wave.

Pre-Blur

Smooths out the value channel before the value threshold
is sampled. If you have a high-contrast image, such as white on
black, and you want the wave to follow the edges very closely, set
this option to 0.

Tolerance

Defines how tightly the wave conforms to the layer. A high
setting results in sharp corners; a low value can make the wave
shape more sensitive to noise.

Contour

Specifies the shape in the source layer that you want to
use as the emitted wave. Contour numbers the shapes by their order
in the frame from top to bottom, left to right. The shape in the
upper-left corner is number 1.

Wave Motion controls

Wave Motion controls specify how the wave emits
from the center point.

Frequency

Specifies the number of waves per second flowing out of the producer
point.

Expansion

Specifies the speed at which the wave travels from the producer point
once it is born. This option doesn’t affect the number of waves
per second.

Orientation

Specifies the rotation of the shape at birth around its center
point. To animate the rotation, use the Spin control.

Direction

Specifies the initial direction of a wave if Velocity is
greater than 0. By default, particles are emitted from the producer
point in an expanding radial pattern.

Velocity

Specifies the speed at which the wave moves in the specified
direction.

Spin

Controls the continued rotation of a shape after it is born.

Lifespan (sec)

Reflection

Specifies whether the waves bounce off the edges of the layer
and back into the scene. This option is effective for generating
displacement maps for use as water ripples.

Stroke controls

Stroke controls specify the appearance of the
stroke of a wave.

Profile

Controls the appearance of the stroke that defines the shape.
The outline of the shape is animated in the wave that emanates from
the effect point. The quality of the stroke is defined as a 3D wave
type.

Color

Specifies the color of the stroke.

Opacity

Specifies the maximum possible opacity of the stroke. The
actual opacity of the stroke takes into account this setting in
conjunction with the Fade-in Time and Fade-out Time controls.

Fade-in Time

Specifies the amount of time it takes the wave to fade into
view. Fade-in Time is measured in seconds and begins with 0 opacity
at birth. For example, if the Lifespan is 3 seconds and Fade-in
Time is 1 second, the stroke is completely transparent at birth
and fades smoothly to full opacity at 1 second.

Fade-out Time

Specifies the amount of time it takes the wave to fade out
of view. Fade-out Time is measured backward in time from the end
of the Lifespan. If the Lifespan is 3 seconds and Fade-out Time
is 1 second, the wave begins to fade out at 2 seconds. If the sum
of Fade-in Time and Fade-out Time is greater than the Lifespan value,
the intersection point of the two fades is calculated so that the
wave doesn’t reach full transparency. If either Fade-in Time or
Fade-out Time is longer than the Lifespan, that amount is truncated
to equal the Lifespan.

Start Width

Specifies the width of the shape at its birth. End Width
specifies the width of the shape at the end of its lifespan.

Stroke effect

The Stroke effect creates a stroke or border around
the path defined by one or more masks. You can also specify stroke
color, opacity, and spacing, as well as brush characteristics. Specify
whether the stroke appears on top of the image, on a transparent
image, or if it reveals the original alpha channel. To use a path created
in Illustrator, copy the path and paste it into a layer in After
Effects.

This effect works with 8-bpc color.

Andrew Kramer provides a video tutorial on his Video Copilot website that demonstrates
the use the Stroke effect to reveal an image as if it is being written by
hand on a wall.

Steve Holmes provides a tutorial on the Layers Magazine website that shows
how to create and prepare vines, swirls, and flourishes in Illustrator
and then import, reveal, and animate them in After Effects using
the Stroke effect.

Brush Hardness

Specifies the edge quality of the stroke, between hard and
soft.

Spacing

Specifies the spacing between stroke segments.

Paint Style

Specifies whether the stroke is applied to the original layer
or to a transparent layer.

Vegas effect

The Vegas effect generates running lights and other path-based pulse animations around an object. You can outline just about anything, surround it with lights or longer pulses, and then animate it to create the appearance of lights chasing around the object.

This effect works with 8-bpc color.

John Dickinson provides an example on his Motionworks website of an EKG (electrocardiogram) simulation created using the Vegas effect.

Stroke

What to base the stroke on: Image Contours or Mask/Path.

Image Contours

If Image Contours is chosen from the Stroke menu, you specify what
layer to take the image contours from and how to interpret the input
layer.

Input Layer

The layer whose image contours are used. High-contrast, grayscale layers,
and alpha channels work well and are easy to work with.

Invert Input

Inverts the input layer before creating the stroke.

If Layer Sizes Differ

Determines how to adjust the layers if the size of the input layer
differs from the size of the layer to which Vegas is applied. Center
centers the input layer in the composition at its original size.
Stretch To Fit scales the input layer to match the layer to which
Vegas is applied.

Channel

The color attribute of the input layer used to define the
contours.

Threshold

The percentage value at which everything below or above is mapped
to either white or black. This property is important in determining
the location of the edges that the effect strokes.

Pre-Blur

Smooths out the input layer before the threshold is sampled.
Set this option to 0 if you have a high-contrast image and want
the stroke to follow the edges very closely.

Tolerance

Defines how tightly the stroke conforms to the input layer.
A high value results in sharp corners, while low values can make
the stroking sensitive to noise.

Render

Specifies whether to apply the effect to a selected contour
or to all contours in the layer.

Selected Contour

Specifies the contour to use when Selected Contour is selected
from the Render menu. Contours are numbered from upper-left to lower-right;
the contour with the highest point is number 1, the second highest point
is number 2, and so on.

Shorter Contours Have

Specifies whether shorter contours have fewer segments. By
default, the effect breaks each contour into the same number of segments.
For example, if you apply the effect to the letter R, the outside
contour may look fine with 32 segments, but the inside contour may
be almost solid. To resolve this issue, select Fewer Segments.

Mask/Path

The mask or path to use for the stroke. You can use either
closed or open masks.

Segments

Specifies the number of segments used to create each stroked contour.
For example, if the effect is applied to the word Vegas and
Segments is set to 10, the outline of each of the letters, plus
the inner contours of e, g, and a, are
broken into 10 segments.

Length

Determines the length of the stroke of a segment in relation
to its maximum possible length. For example, if Segments is set
to 1, the maximum length of a stroke is one complete trip around
the object outline. If Segments is set to 3, the maximum length
of a segment is 1/3 of the total outline, and so on.

Segment Distribution

Determines the spacing of the segments. Bunched puts the
segments together like boxcars in a train: The shorter the segment
length, the shorter the overall length of the train. Even spaces
the segments evenly around the contour.

Rotation

Animates the segments around the contour. For example, to
create the appearance of running lights, start with a large number
of segments set to 50% of their length, and then animate Rotation
to move the lights around the shapes.

Random Phase

Specifies that the stroke starting point is different for
each contour. By default, the effect strokes a contour beginning
at its highest point on the screen. In the event of a tie, it starts
at the leftmost highest point.

Blend Mode

Determines how the stroke is applied to the layer. Transparent creates
the effect on a transparent background. Over places the stroke over
the existing layer. Under places the stroke behind the existing
layer. Stencil uses the stroke as an alpha channel mask, filling
the stroke with the pixels of the original layer.

Color

Specifies the color of the stroke, unless Stencil is chosen
for Blending Mode.

Width

Specifies the width of the stroke in pixels. Fractional values
are supported.

Hardness

Determines how sharp or blurry the edges of the stroke are.
A value of 1 creates a slight blur; a value of 0.0 blurs the line
so that few solid areas of color remain.

Start, End Opacity

Specify the opacity at the beginning or end of the stroke.

Mid-point Opacity

Specifies the opacity of the midpoint of the stroke. This control
works in terms of relative opacity, not absolute opacity. Setting
it to 0 makes the change in opacity smooth from the start point
to the end point, as if there were no midpoint at all.

Mid-point Position

Specifies the location of the midpoint within a segment: Lower
values move the midpoint closer to the beginning; higher values
move the midpoint closer to the end. Use this control to move the
midpoint opacity from the center of the stroke.

Write-on effect

The Write-on effect animates strokes on a layer. For
example, you can simulate the action of hand-writing of cursive
text or signatures.

note: A convenient way to animate Brush Position
is to use Motion Sketch to create Position keyframes on a new solid
layer and then use an expression on the Brush Position property
to link it to the Position property on the new solid layer. (See Sketch a
motion path with Motion Sketch and Add,
edit, and remove expressions.)

This effect works with 8-bpc color.

Other methods of animating paint strokes and text are also available.
For example, you can animate text by using the type tools and text
animators, and you can animate a paint stroke applied with a paint
tool. Paint strokes can have a Write-on Duration setting, which
you can use to create similar results as with the Write-on effect.
You can also animate shape paths for a similar result with the Trim
Paths operation. (See Animating
text, Animate
and edit paint strokes, and Shape
attributes, paint operations, and path operations for shape layers.)

Brush Position

The position of the brush. Animate this property to create
a stroke.

Stroke Length (secs)

The duration, in seconds, of each brush mark. If this value is
0, the brush mark has unlimited duration. Use a single, constant,
nonzero value to create a snakelike movement of the stroke. Animate
this value to make the stroke expand and contract.

Brush Spacing (secs)

The time interval, in seconds, between brush marks. Smaller
values produce smoother paint strokes but take more time to render.

Paint Time Properties and Brush Time Properties

Specifies whether paint properties and brush properties are
applied to each brush mark or to the entire stroke. Choose None
to apply values at each time to all brush marks in the stroke. Choose
a property name for each brush mark to retain the value for that
property at the time that the brush mark was drawn. For example,
if you choose Color, then each brush mark keeps the color specified
by the Color value at the time that the mark was drawn.

Paint Style

How the paint stroke interacts with the original image:

On Original Image

Paint stroke appears over original image.

On Transparent

Paint stroke appears over transparency; the original image doesn’t
appear.

Reveal Original Image

The original image is revealed by the paint stroke.

Код: Выделить всё

wiggle (10, effect("Slider Control")("Slider"));

В верхнем меню выбираем Layer / New / Text Layer. На панели слоев появляется красный слой для текста. Курсором нажимаем на место где появится текст и пишем. Я использую заготовленный текст.

“How typing on a manual typewriter
can start the flow of your writing”

Справа в меню выбираем строку Effects & Presets и в поиске пишем Typewriter. Находим эффект Typewriter и переносим его на слой с текстом.

Далее заходим в настройки слоя с текстом Text / Animator 1 / Range Selector. Видим, что у строчки Start уже стоят 2 ключа с анимацией от 0 до 100. Собственно эти ключи и анимируют появление текста по буквам. 0 – нет текста, 100 – полное заполнение.

Если разведем ключи дальше друг от друга, то анимация появления букв будет медленнее. Если свести ключи ближе друг к другу, то текст проявится быстро. Таким образом настраивается скорость проявления текста.

В строке Range Selector заходим в настройки Advanced, далее находим строку Based on и меняем в меню с Character на Words. Теперь видим как программа проявляет текст по словам. 
Еще один эффект. Ниже находим строку Smoothness и увеличиваем настройки до 100%. Видим что в конце написанной буквы появляется полупрозрачная следующая буква. Сворачиваем настройки используя клавишу U и давайте добавим звук печатной машинки. Звук доступен для скачивания ниже.

Как скачать?

Шаг 5 Как добавить звук печатной машинки?

Переносим звуковой файл в проект на область слоев. Ставим в вниз. Заходим в настройки / Audio / Waveform. Видим как появился график аудиозаписи. Находим на графике нужный участок звука, подходящий по длине написания текста. Ставим индикатор Timeline на месте, где будем разрезать дорожку. Нажимаем сочетание клавиш Ctrl + Shift + D. Такой командой программа разделяет выделенные слои (если слои не выделены, разделяет все слои.) Также подгоняем ключи анимации текста под длину звука и смотрим результат.

Продлим звуковую дорожку двигая за правый край. Оставим только маленький фрагмент звука и к нему подтягиваем ключи анимации текста. Таким образом анимация и звук стали короче. Вы можете настраивать звуковую дорожку любой длины используя график Waveform.

Как сделать эффект набора текста на клавиатуре со звуком?

Дублируем текст с анимацией появления используя сочетание клавиш Ctrl + D. Загружаем в проект звук набора текста на клавиатуре. Открываем настройки / Audio / Waveform и находим нужный участок со звуком клавиатуры.
Справа в меню открываем строку Character и меняем шрифт на Open Sans или другой прямой шрифт без засечек. Подстраиваем расположение ключей под картинку звука. Отрезаем лишний звук и смотрим результат.

Как сделать ввод текста с мигающим курсором?

Создадим новый векторный слой. В верхнем меню выбираем Layer / New / Shape Layer. Как переименовать слой? Выделяем векторный слой и нажимаем клавишу Enter для того, чтобы переименовать текст. Подпишем слой “Курсор”. Вверху на панели выбираем цвет заливки черный а фигуру рисунка прямоугольник. 

Увеличиваем изображение используя scroll колесико мышки и рисуем фигуру курсора. Размер курсора должен получится по размеру текста. Как сделать центр вращения слоя? Выбираем слой и нажимаем на него правой кнопкой мыши. Выбираем Transform / Center Anchor Point in Layer Content. 
Вернемся в настройки текста и отключим полупрозрачное появление следующей буквы (ставим 0%). Теперь текст стал четким и переносим курсор в начало первого слова.

Как сделать ввод текста с мигающим курсором?

Выбираем слой с курсором. Нажимаем клавишу T и открываем анимацию прозрачности. Ставим ключи 100 – 0 – 100 – 0% через небольшие интервалы.
Также вы можете копировать ключи используя клавиши Ctrl + C и Ctrl + V для вставки.

Далее заходим в анимацию позиции используя клавишу P. Выставляем timeline в начало ролика. Нажимаем на часики и ставим первый ключ анимации. На ключ нажимаем правой кнопкой мыши и в всплывающем меню выбираем Toggle Hold Keyframe. 

Начинаем сдвигать картинку курсора к концу где появляется следующий текст. Для отступа интервала видео используйте синий индикатор на панели Timeline. После того как поставили ключи позиции подтягиваем край композиции ролика, чтобы убрать лишнее время. Оставшееся время без анимации курсора заполним эффектом мигания курсора. Для этого скопируйте предыдущие ключи.

Вот такая анимация набора текста в стиле печатной машинки со звуками получилась.

Спасибо за просмотр!
Больше уроков по рисунку и анимации вы можете найти на странице мастер-классы.