DUIK itself is very complex and uses expressions heavily. I'm not sure how this "scale down" script is working, but it looks like that it just take the scale and position of a layer, ignoring the values which are generated by an expression or the expression itself. In other words: to make this work, you'll need to scale down the rig and the layers, not just the layers.   Once created, scaling down a rig is very hard with DUIK, as fas as I know.   A better approach might be this: Create a comp of the size and fps you need, put your oversized comp into it and scale it until it fits. Don't activate CR. Since you are scaling down, there shouldn't appear any quality loss. Timing should be constant, because you just skip every second frame.   You can use the same approch and just scale the comp with your DUIK rig.   *Martin ...その他を表示

I think we need more details about what you are planning to do to give you a more precise help.   If you are working with puppet pins, you can use the pins in order to deform your layer. But you can also attach a layer to the pin and use the layer in order to control the pin (and to deform the layer). This approch is often more handy when it comes to animation. Doing this is as easy as just "pigwhip" the pin to the position of the control layer.   If the control layer itself is parented, you cannot just use it's position, because now the position of the control layer doesn't represent its global coordinates, but the coordinates in relation to the parent. Just see this yourself: Create two layers, and open the position property. Now parent one layer to another and see the value changed for the child-layer. In order to make this work, you need the layers global position. toWorld() does this.   The correct code must be:   l = thisComp.layer("Null 1") l.toWorld(l.anchorPoint)   Where "Null 1" is my control layer, parented to another layer ("Null 2").   Provide more details, so we can find a solution which covers your case.   *Martin ...その他を表示

The layer is not invisible, but deformed heavily due to the puppet tool - I guess. Deactivate the expression and check the puppet pin coordinates. Reactivate the expression and see the values again. I bet they are now completly off.   The easierst solve is to offset the parent layer until the values fit again. However, this means the parent layer might be "somewhere", even completly out of view.   A more useful approch includes .toWorld() expression - I'm not sure if this is acually already working, but :   l = parentlayer l.toWorld(l.anchorPoint)   should get you started.   *Martin ...その他を表示

You can check if there is an OS level shadow copy (Windows does that, but I'm not sure if the optin is enables by default) of an version before the overwrite.   *Martin ...その他を表示

Render the 1100th frame as image (Tiff or PNG). Put your final Comp into a new comp and cut it at 1099. Insert the frame you just rendered at 1100 and enlarge the layer until it reaches 1200. This should speed up the last 100 frames.   *Martin ...その他を表示

AE doesn't know the concept of isometric, but you can mimic in creating a 3D camera, zooming all way in and moving it far away to eleminate perspective.   Have a look at youtube and search of isometric and after effects. There are tutorials which descripte the process in more detail.   *Martin ...その他を表示

You are ALT+click the stopwatch to activate expression mode, aren't you?   *Martin ...その他を表示

Check if the layers have opacity of 0 or scale of 0. If they are parented, check if the parent has a scale of 0.   *Martin ...その他を表示

That's just the flowchart. Close it, if you don't need it. If it hangs there, restart AE.   On complex compositions with a lot of precomps, this flowchart comes in handy to navigate through. Shortcut is tabulator key.   *Martin ...その他を表示

That's the result of a untidy workflow.   First, you should make sure that both layers are centered in your comp. Just parent one layer to the other and center the non-parent layer. I would also crop the comp to its least necassary size. Finally you center the anchor of the precomp.   There is a script available called "move anchor point" and I HIGHLY recommend it for a clean workflow.   *Martin ...その他を表示

Looks like the rectangle is created as path, and not as rectangle object. Maybe resetting the preferences will help here.   *Martin ...その他を表示

Yes, it's tracking and masking and a bit color matching and opacity animation. The key is not the technique, but how well you apply it.   *Martin ...その他を表示

You have to create a rectangle with round edges in the first place, not a normal rectangle.    *Martin ...その他を表示

AE have to calculate the reverb effect, therefore it takes a while until the preview can start.   *Martin ...その他を表示

The timeline panel is named as the composition it shows - have a look for this in the window menu.   Adobe won't solve this bug in the next 1000 years, so you better always copy your old workspace to the new version. See this post: https://community.adobe.com/t5/after-effects/updated-to-ae2019-16-1-and-lost-my-workspace/m-p/10450671?page=1#M84879   *Martin ...その他を表示

You can use opacity and scale to determan if a layer will theoretically be visible or not (if opacity > 0 and scale !=0 = layer visible). But this is not bullet proof, since a layer can also be not visbile due to countless effects and layer modes.   sampleImage() might be a better approach, but it kind of feels like you'll need to check every pixel in your comp and compare its value with the pixels of the layer. Tricky!   What is your use case?   *Martin ...その他を表示

Kind of that - you can check easily by putting the expression to a text layer > source text property and see what it gives you. With .name or .value appended to the property in your expression, you get the real strings like they are in the dropdown. So you can find your path with trial and error. I'm sure there is a free script for that, too.   *Martin ...その他を表示

Kudo to the moderators! ...その他を表示

Please watch your language.   This forum is free for differnet points for view. The answer of one user don't necessarily reflect the known knowledge about a topic.   Please concentrate to ADD information to a topic, especially if one answer is wrong or doesn't cover the whole topic. Use your energy to correct, but not to offend other users.   Thank you!   *Martin ...その他を表示

I came across this issue for a couple of years, where I had to animate hundreds of individuel triangles. This was a scenario, where pre-comping woulnd't help (or make things even more complex), since all triangles have been connected with expression to place them and animated them with an offset. It's quiete impressiv what you can do with some little offsets in a massive scale.   However, I don't think AE is optimized for such task. You have to precompose your layers. That's the intended AE workflow (in my case back then I didn't needed the layers to the visible in the timeline - they got their 100 lines expressions and could react to an input and that's all what I needed).   Your timeline tells me, that you are editing something. You have a lot of video clips arranged in time without overlapping. That's exactly what Premiere Pro is for.   *Martin ...その他を表示

You shoud be able of importing the PS file with the image in question into AE and fit your animation to the image. If you zoom in in AE, you can get close to 800% to see the subpixel interpolation. Yu can move your animation in tiny amounts and toggle the PS file on and off to see, when it fits best.   Also, you can go the other way around and export your animatin as image sequence. Then you use the last frame as image in PS.   P.S: Sometimes a value of "1,7" don't work, but "1.4" will. This is inconsiquent through all Adobe products, so better try this, too.   *Martin ...その他を表示

We cannot help, since you missed to share your render settings of both AE and AME. Please add them, so we can have a closer look.   *Martin ...その他を表示

There are several approaches.   If the box is a shape layer, you can animate each path anchor. You can apply Puppet Tool, which will deform the box according to the pins motion. And there are actually bend effects in the effects panel, with a similar outcome to the gif.    You might need to combine several effects to get the same result. For example, when the box touches the ground again, it's rather a simple scale animation then a bending. The bounce on the other hand can be done with expressions, instead of keyframe animation.   Best is if you start with puppet tool. This gives you the most freedom to shape your animation.   *Martin ...その他を表示

That's the graph view where you can edit easing of keyframes.   Just press this button again and you are fine:     *Martin ...その他を表示

Did you give scripts access to network and hard disc in AE settings?   *Martin ...その他を表示

AE can only render a video as final result. There are no interactive scrollbars in video. AE is not the right tool for this.   *Martin ...その他を表示

Clear AE and reinstall it.   *Martin ...その他を表示

Did you update from an older version to 17.1.3 or what happend?   Currently AE is at 17.5 which you should consider (I'm still on 17.1.4 and it's working). Update your GPU drivers as well.   *Martin ...その他を表示

Oh dear!   You just bought a GPU which is totally useless for AE. If you just use the computer for AE stuff, sell the 2080 as fast as you can.   The reason why your preview didn't work isn't your 970 isn't "strong" enough. It's more likely a driver issue, OS update issue, AE update issue. If you are not working on a project currently, I would recommend a complete new install of OS and everything, or at least update everything to the latest versions.   On the other hand, reverting back to older versions could also solve your problem.   It's hard to tell, since you don't provide any information about what you did. Updated Adobe apps but not drivers or OS? Updated OS but not Adobe? Which versions are you currently at?   *Martin ...その他を表示