Glowing Edges in After Effects

Hello,
I am trying to make a shape appear as if it is glowing. I do not know what effect to use to create glowing edges... The glow emitted by the shape must be able to span very far distances (the glow should take up most of the screen).
Any idea?
Thanks,
Jack Reynolds
Running Adobe After Effects on Windows 8.1

You will have to pay for Trapcode and most other 3rd party plug-ins
You can create a glowing edge by duplicating the layer, blurring one of the duplicates and changing the blend mode to Add.
You can use Layer Styles
There a zillion ways.

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Effect Stylize only contains Glowing Edges in illustrator cc

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Thanks Jacob. I found the answer last night. I wonder why they needed to separate the two types of effect menu's. Could they have just merged the two menu's so when you're new and tired you don't go to the wrong menu (like me). I will have to see if the two groups are different in any way later tonight after work.

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Yes, it's MPEG compression, and no, there is no "flip a switch" magic cure. Probably what happens is:
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Mylenium

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Hi there mato31,
Hopefully this will help — if that screenshot is your comp window at 50%, then I would hazard a guess that the resolution quality of your comp window was set down to half or quarter quality (this would be my first guess in this instance, worth a try?). If you look across the bottom of the comp window next to the RGB channels icon, the drop-down menu for the comp window resolution is there. Does yours say perhaps Quarter or Third? Just a guess... Usually one would work at Full, but I usually leave it set to Auto so when a comp is viewed at 50%, it automatically changes the quality to 50% which leaves smooth edges (a comp viewed at 50% zoom factor, with full resolution, looks jagged also).
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Steve
Steve Holmes
Creative Director
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A post from the Premiere Pro Section of the forum if any AE users can help me out:
Hey all, I'm new to using the Adobe family, and CS3. I have slapped together a short entry animation of some text in AE. I just used one of the preset animations (can't even remember which one...), and applied a glow on an adjustment layer.
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Ta,
Dan
After Effects CS3
Premiere Pro CS3
XP Pro

Mmh, sounds odd. I'm a lamer when it comes to Premiere and Dynamic Link, but this sounds like it is not initializing it due either concurrent resource usage (Glow is a hardware accelerated AE effect) or a timecode mismatch that screws realtime ability. This would not apply to reversed footage as it forces automatically in software mode. I would, just to test, turn off OpenGL in AE's prefs and possibly even move the OpenGL plugin outside of the AE directory (it's in Support Files/Plug-ins/Extensions). Maybe that can prevent the issues when Premiere initialises the slave instance of AE...
Mylenium

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How To Create a Silhouette Lighting Effect in Adobe After Effects - YouTube

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Thanks again,
digi

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Try deleting your preferences. If that doesn't do it, Reboot, Use the Adobe Cleaner Tool, then re-install AE. If that doesn't work let us know. It's probably your preferences.

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Forgive me if this question is in the wrong place, I am new to this forum.
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Thanks for the quick reply. I seem to remember that about png's from a first year class
Well my footage comes from a cg application and there are too many frames to manage in photoshop (unless there is a macro or batch script).
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Sent from my iPhone

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Cheers

Just to update this incase somebody else finds it useful, decided I would have to spend some time testing the best route before actually starting the project.
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I ran into this issue last night when I made a matte with a rotobrush. Everything looks perfect when I scrub through and even go frame by frame, but when I export it I get this issue where there seems to be "extra" matte that is cutting off something in the scene by putting the background on top of it (this is what the intentional matte is supposed to do, but not in the frames where it keeps showing up).
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some thoughts/questions
I would...
use the original footage, no need to deinterlace first, interpret footage correctly, precomp if required. maybe at twice frame rate to compensate for the inter field movement...
though I agree transcoding to pro res makes it easier, the right set up can cope with native footage.
I would put a bright colour solid guide layer underneath to check where holes in the matte could be being disguised by the background colour.
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always render out to an RGB codec as AE is rgb based, then compress in AME...
ALways work at full res, full size.
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I have ioFX cards which really help the smoothness of roto...

*** Adobe Creative Suite 4 Now Shipping! After Effects CS4 New Features ***

Adobe have officially announced the upcoming Creative Suite 4 group of products, including
After Effects CS4,
CS4 Production Premium bundle, and
CS4 Master Collection.
After Effects CS4 Top New Features
b Live Adobe Photoshop 3D layers import
Import Adobe® Photoshop® 3D layers into Adobe After Effects® CS4, move them, animate cameras around them, adjust lighting, and composite them with other elements.
b Searchable timelines and projects and easier nested comp navigation
Locate any element in a comp or project with the new QuickSearch. Quickly navigate between nested comps with the new Mini-Flowchart.
b Compositions exported as layered projects
Export compositions as layered, XFL format projects that can be opened and edited in Adobe Flash® CS4 Professional software. Many After Effects assets such as text and Adobe Illustrator® artwork are preserved as vectors.
b Integrated workflow for mobile device authoring
Select devices in Adobe Device Central and automatically set up an After Effects project that targets those devices, with settings that match the targeted devices and the Render Queue setup to output to the proper codecs and resolutions.
b Numerous interface and workflow tweaks
Work more efficiently with dozens of user-requested changes, including the new Auto Resolution setting that only renders visible pixels when zooming in and out of a comp view, streamlined memory and multicore processing preferences, and more.
b Dynamic Link between Adobe Premiere Pro, After Effects, and Soundbooth
Using Adobe Creative Suite® 4 Production Premium software, now link Adobe Premiere® Pro sequences to an After Effects composition and After Effects comps to Adobe Soundbooth® with Adobe Dynamic Link.
b Independent keyframing of x, y, z values, plus 3D compositing improvements
Composite in 3D space more easily: Keyframe x, y, and z position values separately, and use the new unified camera, which makes the After Effects camera tool work more like those in 3D modeling applications.
b Cartoon effect
Instantly give live footage the look of cell animation. Stylize video by reducing the color palette of a clip and by emphasizing edges.
b Mocha for Adobe After Effects from Imagineer Systems
Use this powerful 2.5D planar tracking application from Imagineer Systems to track the motion of elements even in challenging shots where elements move offscreen or where there is motion blur or excessive grain.
b XMP metadata for asset intelligence
Now retain asset metadata while you work in After Effects. Add new project-, comp-, and layer-level metadata to streamline project tracking, and automate asset auditing and many other tasks.
Also note that
Adobe OnLocation, included in the CS4 Master Collection, Production Premium bundle, and with Premiere Pro, now runs natively in Mac OS X as well as Windows.
Adobe is offering some discounted upgrade incentive pricing for a limited time and/or pre-ordering. Some initial U.S. prices are as follows:
i Product___________________CS3 to CS4 Upgrade_______CS4 Full Purchase
After Effects CS3____________$299__________________$999
Production Premium CS3_______$599__________________$1699
Master Collection CS3_________$899__________________$2499
Please visit
www.adobe.com for accurate pricing, eligibility for upgrades and pre-orders in your region.
Click here to be notified when CS4 products are available for purchase and trial.

There's a list of the big new features in the
"New features in After Effects CS4" section of After Effects CS4 Help on the Web, and you can read about every little change to the UI in the
"User interface changes from After Effects CS3 to After Effects CS4" section.
But I thought that all of you who have posted requests to this wishlist might like to get specific responses to some of the items on this list.
First of all, though, I'd like to point out an innovative set of features that I think addresses a request that many of you have made... just not exactly as you asked for it. All of us have wanted a better way to see into and navigate among nested compositions (precompositions). The Composition Mini-Flowchart and Composition Navigator make moving around in a complex project much, much faster and easier. Telling you to see the
"Opening and navigating nested compositions" section isn't going to do this feature set justice. You'll only appreciate how slick this is when you get your hands on it.
Oh, and we reversed the behavior of double-clicking versus Option-double-clicking a precomposition layer: Now double-clicking opens the source composition in the Composition panel, not the precomposition layer in the Layer panel.
Now, on to the specific responses...
David Wigforss:
> I completely agree that the graph editor needs work....
> Position values need to be seperated into 3 distinct values that can
> be adjusted independant of each other.
Done.
See
"Separate dimensions of Position to animate components individually".
Mark Weiss:
> would like to see XDCam EX import capabilities.
Done.
See
"Supported import formats".
AndyClarke:
> all effects in 32 bit or float
Not quite all. But more are, including all of the 3D Channel effects, which is a category that really needed the upgrade.
See
"Effects and animation presets".
AndyClarke
> prob a really simple little thing but a 'centre anchor point' button could be handy?
Move layers so that their anchor points are in the center of the composition or view?
If so, then done. See the first tip on the
"Move layers in space" page.
silversurfer:
> An intra-project search function that displays properties of every layer.
Done.
See
"Search and filter in the Timeline, Project, and Effects & Presets panels".
(Plus, you can now use the shortcut FF to show instances of missing effects. See
"About effects".)
Thomas Craul:
> the possibility to expand all of the effects parameters in the effect controls window at once.
> just like when expanding all layer properties or all subfolders with strg+klick (little arrow).
Done.
See
"Shortcuts: showing properties in the Effect Controls panel".
Pietje Bel:
> I'd like to see some features I can use with my tablet (I got it for photoshop, though
> I use AE even more than I use photoshop).
We've had features for using the pen dynamics with the paint tools for a while. See
"Brushes and the Brushes panel".
That said, we've made some improvements under the hood that should make using a pen better (e.g., modifying the sensitivity during certain click and drag operations).
Darren McNeill:
> Simple, I would like After Effects to have the ability to extrude Text in 3d space.
> Nothing complicated, just be able to create 3d Text.
How about the ability to do this in Photoshop and then import the 3D object layer into After Effects?
See
"Using 3D object layers from Photoshop"
invisiblerabbit:
> Being able to specify how many processors to use in the multiprocessing preference pane.
Done. Plus other improvements in this area.
See
"Memory & Multiprocessing preferences".
invisiblerabbit:
> I'd love a setting either in the preferences or the output module to write project
> information (importantly: the name of the project) into the metadata of the rendered file.
Done. And then some. On steroids.
See
"XMP metadata in After Effects".
Navarro Parker:
> I'd love AE projects to be searchable. Having the ability to search for comp names or source footage
> names within projects from the Finder would be fantastic.
Done, as long as you have the means to search within XML files. The new XML project file format opens up a lot of scripting possibilities, too.
See
"About projects".
David Bogie:
> I humbly ask the Adobe After Effects team to concentrate first on fixing anything
> and everything that is broken or buggy before adding any more complexity to this application.
> Make it more elgant, make it easier to use, make it faster... sure, fine. But invest the
> creative energy and geek resources to making it work flawlessly instead of adding more stuff.
Though we did add "more stuff", we also spent a lot of time polishing the application this time. The number of small tweaks to address pain points was very large.
AndyClarke:
> I just don't like the help browser.
Better?
After Effects CS4 Help on the Web
Laurie Hogan:
> I got a simple one. Can AE have Spell Check.
AE Enhancers provides
a spelling checker script.
Laurie Hogan:
> Also Can there be more integration between AE and Apple FCP.
I give a link to a script from Dale Bradshaw on the
"Supported import formats" page (at the bottom of the page).

When will After Effects CS6 get a retina update?

I know there are people saying that After Effects works "fine" with retina, but they must not be as picky as me. After Effects is not at all fully compatible, at all. It's not even usable for me. The content viewer does not support retina resolution and is stretched to roughly twice the size that it should be. It's using Apple's percieved resolution and not actual resolution.
This makes the program completely unusable for me as it doesn't accurately represent what is being rendered.
When where there be a fix for this canvas problem?

I hate to throw water on your fire but AE is accurately displaying what would be seen for it's interpolated screen resolution with a retina display even with custom views, Photoshop, on the other hand, is showing you Actual Pixels so the image seems to be 1/2 the size as it would be displayed on a Retina display. I'd rather they fix Photoshop because it's way too hard to make pixel critical judgements in Photoshop at 100% scale than it is in AE on a Retina display.
I'd rather see how it would look on the display than the actual pixels because the pixel density is so high on a retina display that it's nearly impossible, without a magnifying glass, to see if you have artifacts in the edges. The image size of an element in your Comp on a retina display will be the same size as it is on a non retina display computer with the same apparent resolution. IOW a HD comp at 50% on a 15" Dell laptop will be the same size as a HD comp at 50% on a 15" MacBook Pro R.
This is why some web graphics look soft on a Retina display, They are scaled up approximately 200% when the website is not properly styled for high resolution displays.
The same things goes for movies played on a Retina displaya. You're not seeing actual pixels, you're seeing a denser pixel pattern which does give you a slightly better image. That's all I'm going to say about it.

Find object's edge coordinates in After Effects

Hello,
first of all, I'm sorry if the answer to my question is already posted somewhere … I'm a bit confused I didn't just find one somewhere in the web already—don't know if I perhaps look for the wrong terms or if it's really such a special question I have …
Anyway, my question is: how can I get the coordinates of all four edges from objects (images) in a three dimensional composing in After Effects? And also, is there a way to see the actual coordinates of the camera that I have moved by several parented objects?
In case, this might be of interest, here's a more detailed description of my situation: I have made a little three dimensional composing in After Effects with scaled and rotated images an a moving camera. I want to show the composing within a tablet app and my first plan was to render it and put the movie into the app, but now my programmer and I think it might be better to generate the composing directly within the app. So my programmer needs the said coordinates to rebuild the composing in his code (as far as I know, he uses Xcode and writes the app in Objective-C).
Hope you guys can help me …
Cheers!
Theo
(I use After Effects CC on Mac OS X 10.9.)

Edges/ lines are determined by the coordinates of their end points - basic planar geometry. You can get those by using the toWorld() method and filling in the corner point coordinates relative to the layer anchor point, e.g.:
TopRight2D=[50,-50];
TopRight3D=thisLayer.toWorld(TopRight2D)
Easy as Pi (or pie if you prefer).
Mylenium

Glowing Edges in After Effects

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