Cc particle world ae cs4 download

Copy the scale value of a particle along the x or y axis. Use these properties to stretch a particle horizontally or vertically. Copy the position of a particle along the x or y axis in the frame, in pixels. A value of zero specifies a position at the left of the frame for X or at the top of the frame for Y. Gradient Velocity. Copies the velocity adjustment based on areas of a layer map on both the x and y planes of motion. X Speed, Y Speed. Copy the horizontal speed x-axis velocity or vertical speed y-axis velocity of a particle in pixels per second.

Gradient Force. Copies the force adjustment based on areas of a layer map on both the x and y planes of motion. The pixel brightness values in the color channel define the resistance to particle force at each pixel, so the color channel acts like a layer map of hills and valleys that decrease or increase particle force.

In the layer map, areas of equal brightness result in no adjustment, similar to flat land. For best results, use a soft-edged layer map image. This ensures that the middle of the range remains centered at zero.

Copies the transparency of a particle, where zero is invisible, and 1 is solid. Adjust this value to fade particles in or out. Copies the particle mass, which interacts with all properties that adjust force, such as Gravity, Static Friction, Kinetic Friction, Torque, and Angular Velocity.

It takes greater force to move particles with a larger mass. Copies the elapsed length of time a particle exists, in seconds. At the end of its lifespan, the particle is removed from the layer. The default lifespan is effectively immortal. Copies the value that corresponds to an ASCII text character, making it replace the current particle.

You can specify which text characters appear by painting or drawing shades of gray on the layer map that correspond to the ASCII characters you want. A value of zero produces no character. For US English characters, use values in the range 32— The range of possible values can accommodate Japanese characters. The Character property is more useful as a secret message effect in which you scramble text characters.

Copies the point size of characters. Increase this value to make characters larger. Copies the Time Offset value used by the Layer Map.

Applies only if you used the Layer Map control to specify a multiframe layer such as a movie as a particle source. Copies the scale of a particle. Positive values expand the particle, and negative values shrink the particle.

Particles expand or shrink by a percentage per second. When the overall range of layer map brightness values is too wide or narrow, use Min and Max to stretch, compress, or shift the range of values produced by the layer map.

The following examples describe when you may want to adjust Min and Max:. You want to set the smallest font size for your text to 10 points and the largest size to 96 points. Set the Min value to 10 and the Max value to You set the initial color of a particle and then use a layer map to change particle colors.

You set the initial velocity of a particle and then use a layer map to affect the X Speed value. However, you find that the difference between the fastest and slowest particles is too great. By raising the Min value and lowering the Max value for the layer map channel that is mapped to the X Speed value, you narrow the resulting range of particle speeds. In this case, the entire output range needs to be shifted down; lower both the Min and Max values.

You have a layer map that modifies particles in the opposite direction from the one you want. Swap the Min and Max values, which has the same result as inverting the layer map. The alpha channel of the layer map is used as the selection map for the Persistent and Ephemeral Property Mappers.

Replaces the value of a particle property by the value of the corresponding layer map pixel. For example, to replace the value of a particle property with the brightness value of the corresponding pixel on the layer map, use Set.

This operator is the most predictable and is the default. Uses the sum of the value of a particle property and the value of the corresponding layer map pixel. Uses the absolute value of the difference of the value of a particle property and the brightness value of the corresponding pixel on the layer map.

Because it takes the absolute value of the difference, the resulting value is always positive. This operator is useful when you want to limit values to only positive values.

Starts with the value of a particle property and subtracts the value of the brightness value of the corresponding pixel on the layer map. Multiplies the value of a particle property by the brightness value of the corresponding pixel on the layer map and uses the result. Compares the brightness value of the layer map to the value of the particle property and uses the lower value. To limit a particle property so that it is less than or equal to a value, use the Min operator and set both the Min and Max controls to that value.

If you use a white solid as a layer map, you need only set the Max control to that value. Compares the brightness value of the layer map to the value of the particle property and uses the higher value. To amplify existing values of properties, try applying the Add operator with positive values or the Multiply operator with values above 1. To attenuate tone down property value changes, try applying the Multiply operator using values in the range 0.

Particle Playground can use a control layer to control a particle property, such as opacity. For general information about creating and using control layers, see Compound effects and control layers. Regardless of the color depth of the image that you use as a control layer, Particle Playground always uses its red, green, and blue channels as if each were an 8-bpc grayscale image.

If you create a control layer using colors, the Property Mapper property groups in Particle Playground can extract the brightness values from each RGB color channel separately. Areas where the alpha channel has a value greater than 0 semitransparent and opaque areas of a control layer affect the particle value to a degree proportional to the value of the alpha channel.

When you use the Persistent and Ephemeral Property Mapper property groups, the range set for the Min and Max controls also affects the value applied to a particle. Particle Playground can extract brightness values separately from the red, green, and blue channels in an image. If you want to create different layer maps for each channel, use a program that can edit individual color channels, such as Adobe Photoshop, and then paint or paste each layer map into its own channel.

If you already have three separate images, you can combine them into a single RGB file by using the Set Channels effect. Set Channels can load each image into its own channel in a combined file, making it suitable for use as an RGB layer map. If an effect contains more than 10, particles, it can greatly slow rendering. Then Particle Playground generates new particles only at the start of a sequence. Also, note that After Effects takes the alpha channel of an image map into account.

If you want transparent areas of your map to affect the particles, precompose the map layer with a black solid behind it. To specify field rendering with a Particle Playground effect, select Enable Field Rendering in the Particle Playground options dialog box.

Then Particle Playground calculates the simulation at double the frame rate of the current composition, which is what field rendering requires. The Shatter effect explodes images. Use the controls for the effect to set explosion points and adjust the strength and radius.

You can choose from a variety of shapes for the shattered pieces or create custom shapes and extrude the pieces to give them bulk and depth.

You can even use a gradient layer to precisely control the timing and order of an explosion. For example, you can import a logo and use Shatter to blow a logo-shaped hole in a layer.

Brian Maffitt provides more than two hours of video explanation and tutorials for the Shatter effect in a series of videos from Total Training. The interface has changed since these videos were created, but the information is still valuable. To reverse the temporal direction of the Shatter effect that is, have the pieces come together instead of fly apart , apply the effect, precompose the layer, and then time-reverse the precomposition layer.

Andrew Kramer provides a video tutorial on his Video Copilot website that demonstrates the use of the Shatter effect to make a planet explode. The View control specifies exactly how a scene appears in the Composition panel by using the following views:. Displays the pieces with textures and lighting—as they will look at final output. Use this view when rendering the animation. Wireframe Front View. Displays the layer from a full-screen, straight-on camera angle with no perspective.

Use this view to adjust effect points and other parameters that are hard to see from an angle. In addition, the outlines of the shatter map are visible so you can precisely position, rotate, and scale the shatter pattern. Displays the correct perspective of the scene, so you can quickly set up the camera the way you like it and fine-tune the Extrusion Depth.

Displays the wireframe front-view representation of the layer, plus a blue representation of each force sphere. Displays the wireframe view, plus a blue representation of the force spheres. This view includes camera controls, so you can position everything precisely in 3D space. The Render control renders the whole scene the default , the unshattered layer, or the shattered pieces independently.

For example, if you want to apply the Glow effect only to shattered pieces and not to the portions of the layer that remain intact, create the explosion and duplicate the layer. Next, for the back layer, choose Layer from the Render menu, and for the front layer, choose Pieces. Then apply the Glow effect to the front layer. Custom Shatter Map. White Tiles Fixed. Prevents pure white tiles in a custom shatter map from being exploded.

You can use this control to force certain parts of a layer to remain intact. Specifies the scale of the tile pattern. This control works only in conjunction with the preset shatter maps, which all seamlessly tile. Increasing this value increases the number of pieces on the screen by scaling down the size of the shatter map. Consequently, the layer breaks into more and smaller pieces. Animating this control is not recommended, as it can cause sudden jumps in the number and size of shatter pieces.

Rotates the orientation of a preset shatter map, relative to the layer. As with Repetitions, animating this control results in sudden jumps in the animation and is not recommended. Precisely positions a preset shatter map on the layer. This option is useful if you want to line up portions of an image with specific shattered pieces. Animating this control results in sudden jumps in the animation and is not recommended. Extrusion Depth. Adds a third dimension to the exploded pieces. The higher the value, the thicker the pieces.

As you set this control higher, the pieces may pass through each other. While this is generally not a problem in full-speed animations, it may become visible when the pieces grow thick and move slower. Specifies the current center point in z space, or how far in front of or behind the layer the blast point is. Adjust Depth to determine how much of the blast radius is applied to the layer.

The blast radius defines a sphere, and the layer is basically a plane; therefore, only a circular slice of the sphere intersects the plane. The farther away the layer is from the center of the blast, the smaller the circular slice. When pieces explode, they fly away from the force center. Depth determines which way the pieces fly: Positive values cause the pieces to explode forward, toward the camera assuming the default camera settings of 0, 0, 0 ; negative values cause pieces to blow backward, away from the camera.

Defines the size of the blast sphere. The radius is the distance from the center of a circle or sphere to the edge. By adjusting this value, you can fine-tune exactly which pieces explode. Changing this value can vary the speed and completeness of the explosion. Animating it from small to large generates an expanding, shockwave explosion. To begin the shattering at a time other than layer time zero, animate the Radius property, not the Strength property.

Pieces inside the force sphere defined by the Radius property are pulled outside the frame by gravity even if Strength is set to 0. Use Hold keyframes on the Radius property with the value 0 until the time when you want the shattering to start. Specifies the speed at which the exploded pieces travel—how hard they are blown away from or sucked back into the blast point. A positive value blows the pieces away from the blast point; a negative value sucks the pieces into the blast point.

The greater the positive value, the faster and farther they fly away from the center point. The greater the negative value, the faster the pieces launch themselves toward the center of the force sphere.

Once the pieces are launched, the force sphere no longer affects them; the Physics settings take over. A negative Strength value does not suck the pieces into a black hole; instead, the pieces fly through each other and back out the other side of the sphere. If gravity is set to anything other than 0, the pieces are pulled in the direction of gravity after they break up.

A shatter piece is made up of vertices points or dots that define the corners of the shape , edges lines that connect the dots , and planes walls of the shape. Shatter determines when a shape has come in contact with a force sphere based on when a vertex comes in contact with the sphere. Gradient controls specify the gradient layer used to control the timing of an explosion and the pieces that the blast affects.

Shatter Threshold. Specifies which pieces in the force sphere shatter according to the corresponding luminance of the specified gradient layer. Because there are shades of gray including black and white , each percentage point represents approximately 2. Animating Shatter Threshold influences the timing of the explosion.

Gradient Layer. Specifies the layer to use to determine when specific areas of the target layer shatter. White areas shatter first; black areas shatter last.

Shatter determines which pixels correspond to which pieces by subdividing the layer into pieces, each with a center point or balance point. If you superimpose the shatter map over the gradient layer, the gradient layer pixels that are precisely under each balance point control the explosion.

Some shapes have a balance point that falls outside the actual area of the shape—for example, the letters C and U. When designing a gradient layer in such a situation, avoid using grayscale versions of letters.

Instead, use larger shapes that cover the balance point of each character. Invert Gradient. Rotation Speed. Specifies the speed at which pieces rotate around the axis set by the Tumble Axis control, allowing you to simulate different rotation speeds for different materials.

In nature, similarly shaped pieces spin at different speeds based on their mass and air friction. For example, a brick spins faster than Styrofoam. Specifies the axis that the pieces spin around. Free spins the pieces in any direction. None eliminates all rotation. X, Y, and Z spin the pieces only around the selected axis. Any application of z-axis rotation appears only when a second force hits the layer.

The pieces do not rotate from the first blast if only z-axis rotation is selected. Affects the initial velocities and spins generated by the force sphere. When this control is set to 0, pieces fly directly away from the center point of a blast assuming a positive force.

Since real explosions are rarely orderly, Randomness allows you to vary things a little bit. Specifies how fast pieces decelerate after being blown apart. The higher the Viscosity value, the more resistance the pieces encounter as they move and spin.

If Viscosity is set high enough, the pieces quickly come to a stop. To replicate an explosion in water or sludge, set Viscosity to a high value. In air, set it to a medium value, and for an explosion in space, set it low, or to 0. Mass Variance. Specifies the theoretical weight of the pieces as they explode.

For example, a large piece is heavier than a small piece and therefore does not fly as far or as fast when it encounters the blast. Determines what happens to the pieces after they break up and blow apart. The higher the gravity setting, the faster the pieces are sucked in the direction set by Gravity Direction and Gravity Inclination.

Gravity Direction. Defines the direction in x,y space that the pieces travel when affected by gravity. The direction is relative to the layer. If Gravity Inclination is set to or 90, Gravity Direction has no effect. Gravity Inclination. Determines the direction in z space that the pieces travel once they explode.

A value of 90 explodes the pieces forward, relative to the layer. A value of explodes them backward, relative to the layer. Controls the opacity of the corresponding Mode setting. You can use the Opacity control in conjunction with texture maps to create the look of semitransparent materials.

Determine the appearance of the front, sides, and back of the pieces. Color applies the selected color to the applicable side of the piece. Layer takes the layer chosen in the corresponding Layer menu and maps it to the applicable side of the piece. Tinted Layer blends the chosen layer with the selected color; the effect is similar to viewing the layer through a colored filter. With Opacity at 1, the applicable side is given the selected color.

With Opacity at 0, the applicable side is transparent. With Opacity at 1, the chosen layer is mapped to the applicable side. With Opacity at 1, the tinted chosen layer is mapped to the applicable side.

If you apply Shatter to a layer containing an alpha channel that you want to use for transparency, use the same texture or at least another layer with an identical alpha channel for the front, sides, and back of the pieces to make all sides transparent.

Specify the layer to be mapped onto the corresponding side of the piece. Front Layer maps the chosen layer to the front of the piece. Back Layer maps the chosen layer backward to the layer. If Layer is chosen for both Front Mode and Back Mode, and the same layer is specified for each, each shattered piece has the same pixel information on both sides.

Side Layer maps an extrusion of the chosen layer to the extruded sides of the piece, as if the chosen layer is also mapped to the front and back, and the layer has been sliced through. If you choose a layer with an effect applied, the effect does not show up in the texture unless you precompose the layer. However, if you select None, the layer to which you have applied Shatter, along with any effects that occur before Shatter, is used as the texture map, with no precomposing required.

Corner pinning is an alternative camera control system. If this option is deselected, the focal length you specify is used to find a camera position and orientation that place the corners of the layer at the corner pins, if possible. If not, the layer is replaced by its outline, drawn between the pins. If this option is selected, the focal length required to match the corner points is used, if possible. If not, the correct value is interpolated from nearby frames. But if you know the focal length that you are trying to match, this option is the easiest way to get correct results.

The Shatter effect calculates the luminance threshold of each channel to create a custom shatter map. These eight colors become possible combinations of the channels set either all the way on or all the way off 0.

The shatter layer splits along the edges of these different colored sections. When you set the threshold, you can see how the image will be broken into pieces. Alternatively, you can create custom shatter maps by drawing an image using only the eight colors listed above, with no intermediate shades or anti-aliasing.

Use the Colorama effect to posterize the colors of an image to these eight colors. Turn off Interpolate Palette in the Colorama effect controls.

See Colorama effect. The alpha channel determines whether a shattered piece exists. A white alpha channel value results in a shattered piece, and a black alpha channel value results in no piece. Using an alpha channel, you can make a tile map with holes in it or generate simple 3D models like extruded text. The custom shatter map determines the shapes of the pieces a layer shatters into, but not when the pieces shatter.

The timing is determined by the Force controls and can be further controlled by a gradient layer. The Toolfarm website provides a tutorial that shows how to create a custom shatter map for some real-world bricks. Use this effect to create a grayscale displacement map for use with other effects such as Caustics or Colorama.

This effect creates waves based on a simulation of the physics of liquids. Waves emanate from an effect point, interact with each other, and realistically reflect off their environment. Use Wave World to create a top-down view of a logo, with waves reflecting off the logo and the sides of the layer. To understand how this effect works, consider the following information about the physics of waves: A wave consists of a peak and a trough.

The amplitude of a wave is the height, or distance, between the peak and trough. The wavelength is the distance from one peak to the next. Frequency is the number of waves per second passing a fixed point. View controls specify the method used to preview the Wave World effect. Choose one of the following views:.

Displays the highest points as bright pixels and the lowest points as dark pixels. Use this view when creating a displacement map. Wireframe Preview. Provides a visual depiction of how the wave is being created. The grayscale output represents a height map: White represents the highest possible wave, and black represents the lowest.

The two rectangular outlines represent these two extremes: The cyan rectangle represents pure white, and the violet rectangle represents pure black. The green grid represents the ground layer; it is flat by default but can be distorted by using a grayscale image. The white grid represents the surface of the water. Wireframe controls fine-tune the appearance of the wireframe model. Horizontal Rotation. Rotates the wireframe preview around the horizontal axis right and left.

As you adjust this control, the distortion of the wireframe model keeps the entire wireframe model in full view. Vertical Rotation. Vertical Scale. Heat Distortion. MotionPulse BlackBox. Action Essentials 2: 2K. VC Account. Remember Me. Forgot Password? About Video Copilot Account. Crossfire Particle FX! Create Procedural Destruction.

Particle Explosion. Posted on Aug 26, That means that you can drop a camera into the scene and navigate it through a field of particles for a very cool look. However, particles are not affected by virtual lights — they are in a sort of strange category between 3D objects and a 2D effect.

In addition to using moving particles, you could also keyframe the birthrate and resistance variables to freeze the particles in place — there are tons of different effects that can be achieved. Experiment and have fun! If you have missing homework assignments and would like to make one up, you can create a five to ten second composition using Particle World and a virtual camera — render it using the usual settings and send it to me by next Monday, April You are commenting using your WordPress.

You are commenting using your Google account. You are commenting using your Twitter account. You are commenting using your Facebook account. Notify me of new comments via email. Notify me of new posts via email. Search for:. Particles in Space As I mentioned earlier, the cool thing about Particle World is that the particles exist in 3D space even though the solid the effect is applied to is 2D.

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