3D Block Transitions with Ambient Shadows and Logo/Title Reveal
Linear Flow Slice Logo
Towers Particles Logo Animation
Universal Photo Slideshow
Slideshow Logo Animation
Slideshow Logo Reveal
Search Logo Animation
Slideshow Logo Animation
Smooth Universal Slideshow
Apple Motion 5 Template: Space Display Loop
After Effects CS4 Template: Clean Slideshow
After Effects CS4 Template: Clean and simple Photo presentation
After Effects CS4 Template: Deep Photo Presentation
After Effects CS4 Template: We Are Promo
After Effects CS4 Template: Contrast FX
Slide Logo Animation
Particle Live Logo Reveal
Post Particles Logo Reveal
Apple Motion 5 Template: Nice Lines Loop
Apple Motion 5 Template: Sliding Tech
Apple Motion 5 Template: Clean Lines Intro
After Effects CS4 Template: Quick Promo
Apple Motion 5 Template: Lines Lower Third
Apple Motion 5 Template: Tech Panels
Fashion Linear Slide
10 Colorful Shape Transition
Fly Particles Logo Reveal
Magic Logo Opener Detective
Go Particles Logo Reveal
Apple Motion 5 Template: Retro Display Loop
Apple Motion 5 Template: Retro Intro
After Effects CS4 Template: Clean Show
Apple Motion 5 Template: Bright Logo
After Effects CS5 Template: Serious Love
After Effects CS5 Template: Photo Glyde
Clean Logo Reveal Kingdom
Idea Particles Logo Reveal
Magic Logo Opener Winner
50 Transitions Pack 11
My Ko-fi button
After Effects Basics – Card Wipe Effect Pt 1
This first tutorial shows you how you can create your own custom card wipe using images you have imported or created yourself and then how to make the effect transition at the grid spacing you have chosen. Cool!
After Effects Basics – Card Wipe Effect Pt 2
This second tutorial starts to look at backgrounds and also using different methods to make the transition happen – including using a gradient.
After Effects Basics – Card Wipe Effect Pt 3
Camera animation and Lighting in your scene are very important and there are built in options in the Card Wipe Effect to use either its own lights and camera or even composition lights and camera if you prefer.
After Effects Basics – Card Wipe Effect Pt 4
In this final tutorial on the Card Wipe effect I look at the jitter options and then go through how I created the intro to these tutorials and an exit that I no longer used … This shows you how to use the effect in a practical way.
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Hexagon Wipe After Effects
|Textured Wipe (Influence on Incoming Water)||Textured Wipe (Influence on Outgoing)|
The BCC Textured Wipe creates is a non-geometric wipe using the Influence layer and the Texture settings. By default, the Influence is generated from the luminance of the outgoing clip when you apply the wipe as a transition and by the Filtered clip when you apply the wipe as a filter. For more information on using the Influence controls, see “Working with the Influence and Influence Map Parameters” below.
Presets and Common Controls
BCC filters come with a library of factory installed presets plus the ability to create your own custom presets and preview them with the BCC FX Browser™.
BCC filters also include common controls that configure global effect preferences and other host-specific effect settings.
For more information about working with presets and other common controls, Click Here.
Background allows you to choose a layer to composite below the source image. This option is only relevant when you have applied this transition as “an effect” as opposed to as a “single-track transition”. When applied as a true transition (in hosts which support transitions) the background layer is automatically set to the incoming transition layer so this menu will be hidden in such situations.
The Animation menu controls whether the filter auto-animates or is animated manually. Choose from the following options.
- Manual is the most flexible setting. Use Manual if you are applying the filter as a composite instead of a transition, or do not have enough control with the other settings. When Manual is chosen, you create the wipe by manually animating parameters such as Wipe Amount, Radius and Direction, depending on the wipe. When Manual is chosen, Percent Done has no affect.
- Auto animates the incoming clip from offscreen at the start of the transition, to fully onscreen at the end of the transition. Choosing Auto has the same affect as choosing Pct. Done with a 0 value keyframe at the start of the effect and a 100 value keyframe at the end. When Auto is chosen, Percent Done has no affect.
- Note: In some instances Auto may result in the incoming clip reaching fully onscreen before the effect finishes. In this instance, choose Pct. Done and animate the Percent Done parameter instead of using Auto.
- Pct. Done animates the incoming clip from transparent (at a value of 0) to opaque (at a value of 100). When Pct. Done is chosen, the Percent Done parameter allows you to adjust the animation.
- Note: If an option other than Manual is chosen, the filter automatically adjusts the animation parameters. If this does not produce the desired look at the ends of the effect, set Animation to Manual and manually adjust the effect instead.
When the Invert Wipe Checkbox is selected, the alpha channel created by the wipe inverts.
When the Animation menu is set to Manual, Wipe Amount lets you create the wipe manually. When the Animation is set to Pct. Done or Auto, this parameter has no affect.
Softness softens the edges of the wipe by increasing transparency in pixels that are close to the edges. You can use Softness to create artistic blended wipes in which the image gradually becomes transparent.
Working with the Influence and Influence Map Parameters
The Influence and InfluenceMap parameters allow a channel in the incoming or outgoing clip to influence the wipe. The influence layer pushes the wipe border in or out based on the value of each pixel.
- Note: Using a moving video texture such as water as both an Influence layer and a border can produce a pleasing stylized effect. A custom gradient still image is also a useful source for the Influence.
- Note: Using the Influence controls slows the filter.
The following examples show a Linear Wipe with Influence used on different images.
|Influence=Off||Influence=Incoming Fish||Influence=Outgoing Water|
The Influence menu allows you to turn the Influence On or Off. When Off is chosen, the other parameters have no affect. Choosing View lets you see the influence map after it is processed by controls in the Influence Map group.
Influence Intensity adjusts the intensity of the influence. Increasing values create more intensity.
The Inf. Layer menu lets you choose the layer that is used for the influence. If you do not assign a layer to this menu, the other parameters have no affect.
The Channel menu allows you to choose the channel that is used for the influence.
- Alpha, Luma Red, Green, and Blue create influence based on the value of the corresponding channel. Higher values create more influence.
- Choose Luma Inverted or Alpha Inverted to create influence based on the inverse of the value of the corresponding channel. In this case, lower values create more influence.
- If Luma Difference, Luma Lightest, or Luma Darkest is chosen, the filtered layer (the outgoing clip when the effect is a transition) is combined with the chosen Influence Layer to create the channel.
Inf. Threshold works in conjunction with the Inf. Softness parameter to set the value in the Influence Layer above which pixels are considered fully on. Pixels whose channel values are above the Influence Threshold level are fully on; those with channel values below the level are off. For example, if the Channel menu is set to Red and Inf. Threshold is set to 100, then all pixels whose red channel value is higher than 100 create influence.
Inf. Softness softens the edges of the influence by softening pixels whose values are near the Inf. Threshold value. Set Inf. Softness to 0 for a harsh, high-contrast influence, or increase it to soften the edges of the filtered region.
Blur applies a blur to the edges of the Influence channel before creating the wipe.
Choke applies a choke to the wipe. Positive Choke values tighten the matte, while negative values expand the matte.
If the Bidirectional Influences checkbox is deselected, a positive influence value always reveals more image, and a negative value hides more. If this checkbox is selected, the influence can go in both directions.
Gradient On enables modulating the wipe shape by an additional linear gradient. This provides a less symmetrical wipe with the progression advancing earlier in some parts of the image than others along the line of the gradient.
Gradient Amount controls the intensity of the gradient effect. Small values produce little change to the wipe shape whereas larger values generate an increasingly strong bias along the gradient direction.
Gradient Angle controls the direction of the linear gradient ramp. By default it is aligned from left to right but can be rotated to in any direction.
The Output menu controls the output of the wipe. You can also use this menu to preview the matte, or preview the source channel used by the filter to create the effect. Not all of its options are relevant in all situations. Choose from the following options. The following examples show the BCC Radial Wipe.
- Mult. Alpha multiplies the alpha channel created by the filter with the source alpha channel. Only areas that are opaque in both alpha channels are opaque in the output. This results in an image whose opacity at each point is at most its input opacity. For an opaque input image, this is the same as Replace Alpha.
- View Matte displays a grayscale preview of the alpha channel created by the filter, as shown at right. Opaque regions are white, and transparent regions are black.
- Replace Alpha replaces the source alpha with the matte created by the filter. For an opaque input image, this is the same as Multiply Alpha
- Screen Alpha screens the alpha channel created by the filter with the source alpha channel. Areas that are opaque in either alpha channel are opaque in the output.
- Diff. Alpha subtracts the alpha channel created by the filter from the source alpha as shown at right.
- Zoom scales the input image to the size of the alpha channel created by the wipe. The image is positioned at the center of this alpha channel at its correct aspect. Zoom’s scaling is based on the computed alpha channel and is not sub-pixel animated. In some instances, adjusting parameters such as Influence and Texture can cause Zoom settings to appear jumpy.
- When Zoom Independent is chosen, the effect is the same as Zoom, but each axis of the source scales independently.
- When Borders Only is chosen, the wipe renders only the borders.
- Borders w Source renders the borders over the source image. As shown in the example at right, the wipe’s alpha channel is ignored.
Working with the Border Parameter Group
The parameters in the Border group adjust the first border you create. To create only a single border, use the parameters in this group. You can create up to three independent borders.
The Borders On checkbox is an easy way to enables all the borders contained in this and the Border parameter group. If this checkbox is deselected, no borders are rendered, even if the Borders On checkbox from the previous Borders parameter group is enabled.
Master Thickness scales the thickness of all borders.
Master Opacity sets the opacity for all the borders, expressed as a percentage.
Master Offset offsets the position of all borders relative to the wipe progress.
Working with the Additional Borders Parameter Group
Each Transition Wipe effect can include up to three independent borders. The Additional Borders parameter group contains controls for two additional borders. To create only two borders, you can use only the controls in this group. To make three borders, create the first border using the parameters in the Border Parameter Group and use this group for the additional and master border controls. Borders are composited in order; if all three borders are used, Border 3 is composited over Border 2, which is composited over Border 1.
The Border On checkbox enables the first border. If this checkbox is disabled, no border is created and the remaining parameters have no affect.
Border 1 Thickness sets the thickness of the first border, in pixels.
Border 1 Opacity controls the opacity of the border, expressed as a percentage.
The Border 1 Color controls set the color of the border.
The Border 1 Layer menu generates the border from another timeline layer instead of the chosen Color. If you do not assign a layer to this menu, the specified Color is used.
|Border Layer menu set to Outgoing|
- Note: You can create interesting composites by using moving video as your border.
Border 1 Softness adjusts the softness of the border and is scaled to the width of the border. When Softness is 100, the border is fully opaque at its center.
Border1 Balance controls the balance of softness between the inside and outside edge of the border. Positive values increase the softness at the outside edge, and decrease softness at the inside edge.
|Border Balance= -99||Border Balance=0||Border Balance=100|
Border 1 Offset moves the border relative to the edge of the wipe. Negative values move the border to the left; positive values move the border to the right. You can use the Border Offset parameter to make a border appear as a drop shadow.
|Border Offset= -5||Border Offset=0||Border Offset=10|
|Stretched and Rotated Radial Wipe with Three Borders|
The Border 2 On and Border 3 On checkboxes enable the second and third borders. These are ignored if the Master Borders On checkbox is deselected.
The remaining Border 2 and Border 3 individual border controls are identical to the corresponding Border 1 parameters (Border parameter group).
Working with the Texture Parameters
The Texture controls are similar to the Influence controls. They allow the wipe to be influenced by a Fractal Noise Map, a White Noise map, or both. The Texture controls differ from the pattern controls in that they operate on a pixel-by-pixel basis. The Texture controls can create holes in the wipe, while the Pattern controls do not create holes.
- Note: Using the Texture controls slows the filter.
The Texture menu controls which type(s) of texture map influences the wipe.
- When Off is chosen, no texture is used.
- Fractal Noise uses a simplified version of the algorithm used by the Noise Map filter to generate the texture.
- White Noise uses the algorithm used by the Pixel Noise filters combined with a high quality blur. The blur amount is set by the Noise Softness parameter.
- Fractal and White Noise combines both types of texture.
Multi Stretch Wipe
Texture Intensity scales the intensity of both the Fractal and White Noise. Negative values reverse the effect, causing pixels that would become more transparent to become more opaque and vice versa.
Fractal Intensity adjusts the intensity of the Fractal Noise texture if Fractal Noise or Fractal and White Noise are chosen in the Texture menu.
Fractal Scale scales the size of the details in the Fractal Noise texture if Fractal Noise, White Noise or Fractal and White Noise are chosen in the Texture menu.
The choices in the Fractal Type menu set the general appearance of the Fractal Noise texture. Choose Smooth, Bubbly or Stringy.
Fractal Flow Rate set the speed of the motion of the Fractal Noise texture pattern.
Fractal Flow Direction sets the direction of the motion of the Fractal Noise texture pattern.
Fractal Morph Start controls the look of the Fractal Noise texture at the first frame of the effect.
Fractal Morph Rate determines the rate at which the Fractal Noise texture surges and rotates inward as the filter auto-animates.
Setting the Downsample menu to 2 speeds rendering by creating a smaller (downsampled) Noise map. This can make the filter appear rougher, which is useful for some effects.
Noise Intensity controls the intensity of the noise texture.
Noise Softness controls the softness applied to the noise texture.
Noise Seed determines the value input to the random number used by the filter to create the noise. Adjust this value when you like the overall appearance of the noise but want to change the random configuration.
Noise Morph Rate controls the rate at which the noise texture evolves over time. This allows you to auto-animate the noise texture. You can also animate this parameter between a static and evolving noise texture by animating this parameter
If the Bidirectional Textures checkbox is deselected, a positive texture value always reveals more image, and a negative value hides more. If this checkbox is selected, the texture can go in both directions.
Working with the Post Process Parameter Group
Gamma controls the value of the middle tones while leaving the white and black of the image unaltered. The Gamma adjustment is made to the derived alpha. Increasing gamma spreads the alpha so that the matte created by the wipe is more opaque. The affect of Gamma is much more noticeable at high softness values.
Alpha Offset controls an offset that is added to the output alpha. You can create a transition by animating from -255 to 255. At a value of -255, the entire image keys out. At a value of 255, the entire image is opaque.
Post Blur blurs the alpha channel after the matte is created. Use Post Blur to soften the edge in the matte for sources with high contrast edges.
Choke applies a choke to the matte. Positive values tighten the matte around the foreground image, while negative values pull the matte away from the edges of the foreground image.
- Note: Post Blur and Choke are particularly useful if you used the texture, pattern, or influence controls to make a wipe with a nice shape but too many sharp details.
- Warning: Borders are computed before Blur and Choke are applied, so using both borders and blur or choke on the same effect may create unexpected results.
Working with the Composite Parameter Group
The controls in this group let you composite an underlying clip with the source image, and allow brightness, contrast, and apply modes to be used in the blended region.
- Note: Composite controls only affect images without an alpha channel if you use some Softness value (for example, make the Wipe Edge soft). If the image has an alpha channel, these settings affect partly transparent pixels even without Softness.
- Note: The most common use of the Composite settings is to boost the brightness and contrast of the blended region when creating a soft wipe. You can also achieve unusual composites by using an Apply mode.
The Background menu allows you to choose a layer to composite below the source image.
The Blend menu lets you choose an apply mode to use in the blended region. For more information about the available Apply Modes, Click Here.
Blend Brightness adjusts the brightness used in the blended region.
Blend Contrast sets the amount of contrast used in the blended region.
Mix w Original blends the source and filtered images. Use this parameter to animate the effect from the unfiltered to the filtered image without adjusting other settings, or to reduce the effect of the filter by mixing it with the source image.
Animation Tuning Group
These parameters control the overall timing of the transition. On hosts which permit on-screen heads up display widgets (such as AE, Premiere, and Avid) you should never need to modify these sliders directly since they can be configured in a more convenient and intuitive manner by manipulating the widgets directly in your comp/preview pane. On hosts without heads up display widgets you can use these sliders directly to fine tune your animation timing, taking advantage of the View Ease Curve option to help visualize the animation rates.
Ease In: Control how quickly or slowly the effect amount increases at the beginning of the transition.
Ease Out: Control how quickly or slowly the effect amount decreases at the end of the transition.
View Ease Curve: (Only visible/enabled in hosts that don’t support heads up display widgets for manipulating these controls directly on screen.) Enable this control to display a preview graph of the the animation curves rendered into in the composite window.
After effects wipe
Cool Transitions: Gradient Wipe
Our favorite transition is the incredible Gradient Wipe. After Effects can use any gradient layer as a "transition map." Create or modify a gradient in Photoshop first. You can combine gradient layers , blend modes, and filters to create an interesting map.
Import the gradient map into After Effects.
Add the gradient to your timeline but leave its visibility off. Make sure the gradient layer is the length of your composition.
Apply the Gradient Wipe (Effect>Transition>Gradient Wipe) to the intended layer.
Define the Gradient Layer source.
Turn up the Transition's softness for a smoother transition.
Start the transition 100 percent complete, and then set a second keyframe to 0 percent where you want the transition to end. When you play back the comp, you'll notice that the light areas on the gradient make certain corresponding pixels on the image layer vanish first; black areas cause other pixels to vanish last; gray pixels cause corresponding image pixels to vanish in the middle of the transition.
Generally, you will need a stack of three layers in your Timeline when applying Gradient Wipe. You'll need the two images (or videos ) you're transitioning between, and the gradient layer. It doesn't matter where the gradient layer sits in the stacking order, because you'll be turning its visibility off, but the other two layers should be stacked in order of what you want to see first and what you want to see second (first above second). Apply the gradient wipe to the first image. Don't apply it to the gradient!
The Shutter Angle slider controls the size (aperture) of the shutter used to simulate motion blur. The size of the shutter determines how long light is allowed to pass through the lens. The angle is set to 180° by default. A shutter angle of 360° means that samples are collected for the entire duration of the frame.
Setting a value of zero means that you want the shutter to collect light only once, which is equivalent to turning motion blur off.
The Shutter Offset slider controls the moment in time when the shutter opens and closes, relative to the duration of the frame. The offset is set to 0 by default. An offset of zero means the shutter is perfectly centered over the moment in time when the frame occurs. The shutter is therefore open an equal amount of time before and after the current frame occurs.
The Shutter Angle and Shutter Offset parameters are only available when motion blur is enabled.
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Type of film transition
In filmmaking, a wipe is a type of film transition where one shot replaces another by travelling from one side of the frame to another or with a special shape. If the wipe proceeds from two opposite edges of the screen toward the center or vice versa, it is known as a barn door wipe (named for its similarity to a pair of doors opening or closing).
The following are some specific styles of wipes:
- An iris slow is a wipe that takes the shape of a growing or shrinking circle. It has been frequently used in animated short films, such as those in the Looney Tunes and Merrie Melodies cartoon series, to signify the end of a story. When used in this manner, the iris wipe may be centered on a certain focal point and may be used as a device for a "parting shot" joke, a fourth wall-breaching wink by a character, or other purposes. Optional graphic (i.e. rips) occasionally overlay it to achieve a certain effect like an iris tearing transition.
- A star wipe is a wipe that takes the shape of a growing or shrinking star, and is used to impart a sense of "extra specialness" or "added value". An example of the "star wipe" can be seen in the Guiding Light opening sequences of the 1980s. This convention was considered overused during that time period and is now generally thought to be somewhat out-of-date. The use was parodied in Aqua Teen Hunger Force Colon Movie Film for Theaters and "The Simpsons".
- A heart wipe is a wipe that takes the shape of a growing or shrinking heart, and is used to impart a sense of "love" or "friendship". The heart wipe is still used in wedding, graduation, and bar mitzvah videos, among others, as it has now passed from stylistic into the realm of standard convention, though many people consider it tacky.
- A matrix wipe is a patterned transition between two images. The matrix wipe can be various patterns such as a grid, stars, etc.
- A clock wipe is a wipe that sweeps a radius around the center point of the frame to reveal the subsequent shot, like the sweeping hands of an analog clock. Because of this similarity, it is often used to indicate that time has passed between the previous shot and the next shot. One of the TV shows that used the effect is Regular Show. The Red Green Show also makes frequent use of this wipe style, featuring an animated roll of duct tape, and accompanied by the loud "yanking tape off a roll" sound effect.
- The most common uses of the wipe effect is the "Invisible Wipe" where a camera follows a person into another room by tracking parallel to the actor. As the wall passes in front of the camera, the editor has the option of using a wipe to be able to choose any other matching take of the same scene. It is also commonly used in quick camera pans in action sequences, to make a cut invisible. Such wipes can be impossible to see in the finished film. A good example of this wipe can be seen in the movie Das Boot when director Wolfgang Petersen uses it to pan between two occupied U-boat pens, even though they had only one U-boat for filming.
- Some extremely effective (and expensive) wipes were used in the otherwise very low-budget Laurel and Hardy short film Thicker than Water. For each of the scene changes in this film, either Laurel or Hardy or both of them would seize a curtain or some other object at the edge of the frame and move it across the screen. The opening frames of the next scene were optically printed onto this object, so that—when the object entirely filled the screen—the movie had "wiped" the last shot of the previous scene and begun the first shot of the next.
The earliest known example of a wipe was George Albert Smith's film Mary Jane's Mishap of 1903.
George Lucas made sweeping use of wipes in his Star Wars films, inspired by a similar use of wipes by Akira Kurosawa.
Since at least the 1980s, the American game show The Price is Right has made extensive use of wipes, usually from contestants to prizes. In the early-to-mid 1980s, an iris slow was used twice during the opening sequence, transitioning from the shot of the host entrance to the camera panning down from the studio lights, and then from that camera shot to one of the host. Around 1987, this was changed to a star wipe, which the show would end up using for years until 2010.