The higher the Repulsion value, the more likely bubbles are to interact with each other when they collide. Pop Velocity. Controls how popping bubbles affect each other. When a bubble pops, it affects other bubbles around it by leaving a hole that other bubbles can fill, pushing other bubbles away, or popping other bubbles.
The higher the value, the more popping bubbles affect one another. Specifies the rate at which bubbles decelerate after being released from the producer point, and controls the speed of the flow of the bubbles. A high Viscosity value creates resistance as the bubbles get farther away from the producer point, causing them to slow down.
If Viscosity is set high enough, the bubbles stop. The thicker the substance, the higher the Viscosity. For example, if you want to create the effect of bubbles traveling through oil, set Viscosity fairly high, so that the bubbles meet resistance as they travel. To create the effect of bubbles floating in air, set Viscosity fairly low. Causes bubbles to clump together and makes them less vulnerable to other Physics controls like Wind Direction.
The higher the Stickiness, the more likely the bubbles are to form clusters and cling. Use Stickiness and Viscosity to create a bubble cluster. Zooms in or out around the center of the bubble universe. To create large bubbles, increase the Zoom value instead of the Size value because large bubble sizes can be unstable. Universe Size. Sets the boundaries of the bubble universe. When bubbles completely leave the universe, they pop and are gone forever. By default, the universe is the size of the layer.
Values greater than 1 create a universe that stretches beyond the borders of the layer. Use higher values to make bubbles flow in from outside the frame, or make it possible to zoom out and bring them back into the picture.
Using a value lower than 1 clips the bubbles before they reach the edge of the layer. For example, when you want to confine bubbles to a specific area, such as inside a mask shape, set Universe Size a little larger than the mask size to remove all the extra bubbles and speed up the rendering process.
The Rendering controls specify the appearance of the bubbles, including their texture and reflection:. Specifies the relative transparency of bubbles as they intersect. Transparent blends the bubbles smoothly together, allowing you to see the bubbles through each other.
Solid Old On Top makes a younger bubble appear to be underneath an older bubble and eliminates transparency. Use this setting to simulate bubbles flowing toward you. Solid New On Top makes younger bubbles appear to be on top of older bubbles and also eliminates transparency.
Use this setting to make bubbles appear as if they are flowing downhill. Bubble Texture. Specifies the bubble texture. Use a preset texture, or create your own. To see the texture, make sure that View is set to Rendered. To create your own texture, select User Defined, and from the Bubble Texture Layer menu, choose the layer you want to use as the bubble. The preset bubble textures are prerendered 64x64 images.
If you zoom in above 64x64, the bubble appears blurry. To avoid this blurriness, use a higher-resolution custom bubble. Bubble Texture Layer. Specifies the layer you want to use as the bubble image. To use this control, choose User Defined from the Bubble Texture menu. If you want the layer to appear only as a bubble, turn off the video switch for the layer in the Timeline panel.
You can use any file type that After Effects supports. If you plan on zooming in or using a large bubble size, make sure that the resolution of the layer is high enough to avoid blurring.
You can make blood cells, starfish, insects, space aliens, or flying monkeys. Bubble Orientation. Determines the direction that the bubble rotates.
Fixed releases the bubble from the producer right side up and keeps it that way. Use this control if the bubble has built-in highlights and shading, as all of the preset bubbles do.
Physical Orientation buffets and spins bubbles around by the forces on them, creating a chaotic scene. Bubble Velocity faces the bubble in the direction of its motion. This setting is the most useful for flocking-style animations. Environment Map. Specifies the layer that is reflected in the bubbles. If you want to use this layer only for the reflection, turn off the video switch for a layer. Reflection Strength. Controls how much of the selected Environment Map is reflected in the bubbles.
The higher the value, the more the reflection obscures the original bubble texture. Reflection Convergence. Controls how much your Environment Map is distorted as it is mapped onto the bubbles. A value of 0 projects the map flat on top of all of the bubbles in the scene. As the value increases, the reflection distorts to account for the spherical shape of each bubble. Specifies the layer used to control the direction and speed of the bubbles.
Use a still image layer; if you select a movie as the flow map layer, only the first frame is used. A flow map is a height map based on luminance: White is high, and black is low. White is not infinitely high; if a bubble travels fast enough, it can travel past a white obstacle. Make sure that the map is a little blurry; sharp edges can create unpredictable results.
For example, to make bubbles flow through a canyon, create a flow map with a white canyon rim, a black canyon, and blurry gray walls. Use wind to blow the bubbles in the direction you want them to flow, and the walls of the canyon contain them. You can also use a gentle gradient on the floor of the canyon to control the flow direction. Also, try blurring the flow map a little to make sure that it does not have excessively abrupt edges.
Flow Map Steepness. Controls the difference between white and black as they are used to determine steepness. If the bubbles are ricocheting randomly off the flow map, decrease this value.
Flow Map Fits. Specifies whether the flow map is relative to the layer or to the universe. The flow map resizes itself to fit whichever you specify. This control is useful when you want to enlarge the universe but the flow map is designed for a particular layer, or when you want the bubbles to start outside the frame and be affected by the flow map as they arrive in the frame.
Simulation Quality. Increases the precision, and therefore the realism, of the simulation. However, the higher the value, the longer the composition takes to render.
Normal generally produces good results and takes the least amount of time to render. High returns better results but takes longer to render. Intense increases the rendering time but produces more predictable bubble behavior. It often solves problems of erratic behavior that can occur with small bubbles, high bubble speeds, and steep slopes.
The Particle Playground effect lets you animate a large number of similar objects independently, such as a swarm of bees or a snow storm. Use the Cannon to create a stream of particles from a specific point on the layer, or use the Grid to generate a plane of particles. The Layer Exploder and Particle Exploder can create new particles from existing layers or particles.
You can use any combination of particle generators on the same layer. David Van Brink provides a video walkthrough and downloadable example project on the omino website that show several things that you can do with the Particle Playground effect, including how to use the Kinetic Friction ephemeral property mapper.
Brian Peterson provides a tutorial on the Videomaker website that shows how to use the Particle Playground effect to create a flock of birds. Start by creating a stream or plane of particles, or by exploding an existing layer into particles. Once you have a layer of particles, you can control their properties, such as speed, size, and color. You can replace the default dot particles with images from an existing layer to create, for example, an entire snowstorm from a single snowflake layer.
You can also use text characters as particles. For example, you can shoot words across the screen, or you can create a sea of text in which a few letters change color, revealing a message.
Use Layer Map controls to specify a layer in place of each default dot particle. Use Gravity, Repel, and Wall controls to influence overall particle behavior.
Use Property Mapper controls to influence particle properties. Use Options to set options, including options for substituting text characters in place of dots. Because of the complexity of Particle Playground, you may experience long computation, preview, and render times.
The Particle Playground effect renders with anti-aliasing when the layer to which it is applied is set to Best quality. It also applies motion blur to moving particles when both the Motion Blur layer switch and the Enable Motion Blur composition switch are on.
Instead, it uses the layer in its original state. To keep changes for a layer when you use it as a particle source, precompose the layer and use the precomposition layer as the control layer. See Compound effects and control layers. Particle Playground can generate three kinds of particles: dots, a layer, or text characters. You can specify only one kind of particle per particle generator.
The Grid creates particles in an organized grid format with straight rows and columns. The exploders create particles randomly, like firecracker sparks. The particle generators set the attributes of particles at the moment they are created. For example, if you want particles to stick to grid intersections, you might use the Static Friction option in the Persistent Property Mapper to hold particles in place.
Otherwise, as soon as particles are created, they begin moving away from their original grid positions. The Cannon is on by default; to use a different method to create particles, first turn off the Cannon by setting Particles Per Second to zero.
The Cannon creates particles in a continuous stream. Barrel Radius. Sets the size of the barrel radius for the Cannon. Negative values create a circular barrel, and positive values create a square barrel. For a narrow source, such as a ray gun, specify a low value. For a wide source, such as a school of fish, specify a high value.
Particles Per Second. Specifies how often particles are created. A value of 0 creates no particles. A high value increases the density of the particle stream. Direction Random Spread. For a highly focused stream, such as a ray gun, specify a low value.
For a stream that widens quickly, specify a high value. Velocity Random Spread. Specifies the amount of random velocity of particles. A higher value results in more variation in the velocity of particles.
For example, if you set Velocity to 20 and Velocity Random Spread to 10, particles leave the Cannon at velocities ranging from 15 to 25 pixels per second. Sets the color of dots or text characters. This control has no effect if you use a layer as the particle source. Particle Radius. Sets the radius of dots, in pixels, or the size of text characters in points.
The Grid creates a continuous plane of particles from a set of grid intersections. By default, the Force control of Gravity is on, so Grid particles fall toward the bottom of the frame. With the Grid, a new particle appears on every frame at each grid intersection. To make more particles appear in each frame, increase the values for Particles Across and Particles Down.
By default, the Cannon is on and the Grid is off. If you are using the Grid and want to stop the Cannon from generating particles, turn off the Cannon by setting its Particles Per Second value to 0. Specifies the x,y coordinates of the grid center. When a grid particle is created, it is centered over its grid intersection, regardless of whether it is a dot, a layer, or a text character. If you want text characters to appear at the grid position with normal spacing, use a text alignment other than the Use Grid option.
Width, Height. Particles Across, Particles Down. Specify the number of particles to distribute horizontally and vertically across the grid area. Particles are generated only when the value is 1 or more.
Sets the radius of dots in pixels or the size of text characters in points. The Layer Exploder explodes a layer into new particles, and the Particle Exploder explodes a particle into more new particles.
In addition to explosion effects, the exploders are also handy for simulating fireworks or for rapidly increasing the number of particles. A layer is exploded once for each frame.
By default, this creates a continuous shower of particles for the duration of the composition. If the source of the layer is a nested composition, you can set different Opacity values or In and Out points for the layers within the nested composition to make the exploding layer transparent at different points in time.
The Layer Exploder does not create particles where the source of the layer is transparent. To change the position of the exploding layer, precompose the layer with its new position use the Move All Attributes Into The New Composition option , and then use the precomposed layer as the exploding layer. When you explode particles, the new particles inherit the position, velocity, opacity, scale, and rotation of the original particles.
After layers or particles explode, Gravity, Repel, Wall, and Property Mapper controls influence the movement of particles. For example, change Opacity to make the resulting particles fade out, or change the Red, Green, and Blue color channels to make resulting particles change color as they appear to cool. Explode Layer. Layer Exploder only Specifies the layer you want to explode.
To make the video disappear the moment the particles appear, either turn off the video for the layer or trim the Out point of the layer.
Radius Of New Particles. Specifies the radius of the particles resulting from the explosion. This value must be smaller than the radius of the original layer or particle. Velocity Dispersion. Specifies, in pixels per second, the maximum speed of the range within which Particle Playground varies the velocity of the resulting particles.
High values create a more dispersed or cloudlike explosion. Low values keep the new particles closer together and can make the exploded particles resemble a halo or shockwave.
To replace the dots with a layer in the composition, use the Layer Map. For example, if you use a movie of a single bird flapping its wings as a particle source layer, After Effects replaces all dots with an instance of the bird movie, creating a flock of birds. A particle source layer can be a still image, a solid, or a nested After Effects composition.
A multiframe layer is any layer with a source that varies over time, such as a movie or a composition. When you map new particles to a multiframe layer, use the Time Offset Type control to specify how you want to use the frames of the layer. For example, use Absolute to map an unchanging image onto a particle, or use Relative to map an animating sequence of frames onto a particle.
You can randomize both Absolute and Relative across particles. When you choose a layer for Layer Map, Particle Playground ignores any changes that you made to that layer within that composition.
To keep transformations, effects, masks, rasterization options, expressions, or keyframe changes for a layer when you use it as a particle source, precompose the layer. Time Offset Type. Specifies how you want to use the frames of a multiframe layer. For example, if you are using a layer of a bird flapping its wings and you choose Relative for Time Offset Type with a Time Offset of 0, the flapping wings for all the instances of the bird are synchronized.
While this may be realistic for a marching band, it is not realistic for a flock of birds. To make each bird start flapping its wings from a different frame in the layer, use Relative Random. Starts playing the layer at a frame based on the Time Offset you specify, relative to the current time of the effect layer; then advances in step with the current time of the Particle Playground layer. If you specify a Time Offset of 0, all particles show the frame that corresponds to the current time of the effect layer.
If you choose a Time Offset of 0. Regardless of the Time Offset you specify, the first particle always displays the frame of the source layer that corresponds to the current time of the effect layer. Displays a frame from the layer based on the Time Offset you specify, regardless of the current time.
Choose Absolute when you want a particle to show the same frame of a multiframe source layer for its entire lifespan, instead of cycling through different frames as the effect layer advances in time. For example, if you choose Absolute and specify a Time Offset of 0, every particle shows the first frame of the source layer for its entire lifespan. If you want to show a frame other than the first frame, move the layer earlier in time until the frame you want to show corresponds to the In point of the Particle Playground layer.
If you specify a Time Offset of 0. Starts playing the layer from a frame chosen at random, within the range between the current time of the effect layer and the Random Time Max you specify. For example, if you choose Relative Random and specify a Random Time Max of 1, each particle starts playing from a layer frame chosen at random from between the current time and 1 second after the current time.
If, for another example, you specify a negative Random Time Max value of - 1, the Random Time Max is before the current time, so that the range within which new particles start playing advances as the current time advances. However, the range is always between the current time and one second earlier than the current time. Takes a frame at random from the layer, by using a time in the range from 0 to the Random Time Max you specify. Choose Absolute Random when you want each particle to represent a different single frame of a multiframe layer.
For example, if you choose Absolute Random and specify a Random Time Max of 1, each particle shows a layer frame from a random time between 0 seconds and 1 second into the duration of the layer. You can use text characters as particles. For example, you can type a message that the Cannon shoots across the frame. You can also change the attributes of any three sets of characters. For example, you can make some of the characters larger or brighter than others.
For Order, click to specify the sequence in which characters exit the Cannon. The sequence is relative to the character order typed in the box. Therefore, select Right to Left.
For Loop Text, select to continuously generate the characters you typed. Deselect to generate only one instance of the characters. If you want to stop replacing default particles with text, delete all text from the box in the Edit Cannon Text dialog box. For Alignment, click Left, Center, or Right to position text in the box at the Position specified in the Grid control, or click Use Grid to position each letter in the text on consecutive grid intersections. For Loop Text, select to repeat the characters you typed until all the grid intersections contain one character.
Grid intersections are specified by the Particle Across and Particle Down controls. Deselect to generate only one instance of the text. This option is available only if you select Use Grid alignment. If you want to stop replacing default particles with text, delete all text from the box in the Edit Grid Text dialog box. You can differently affect only certain subsets of text particles by specifying Selection Text values. To open the Particle Playground options dialog box, click Options at the top of the Particle Playground entry in the Effect Controls panel.
This is the same place where you can specify the text used by the Grid or Cannon emitters. Then enter text in one or more of the Selection Text fields, and click OK.
After doing this, you can then choose one of the Selection Text sets from the Character menu under one of the Affects property groups.
To have full control over particle movement and appearance, you must balance these controls. For example, if you want to use the Cannon to shoot sparks that fade over time, it may seem that you need only animate the Color control of the Cannon. To control the color for the lifespan of particles, create a layer map and use one of the Property Mappers to alter the color channels of the particles. At particle creation, particle velocity is set by the Cannon and the exploders; Grid particles have no initial speed.
After particle creation, use the Force control in the Gravity and Repel control groups. You can also influence the speed of individual particles by using a layer map to set values for the Speed, Kinetic Friction, Force, and Mass properties in the Property Mappers. At particle creation, the Cannon includes particle direction; the Layer Exploder and Particle Exploder send new particles in all directions; and Grid particles have no initial direction.
After particle creation, direction can be influenced by the Direction control in the Gravity control group or by specifying a Boundary mask in the Wall control group. You can also influence the direction of individual particles by using a layer map to set values for the Gradient Force, X Speed, and Y Speed properties in the Property Mappers.
Use a Wall mask to contain particles to a different area or to remove all barriers. You can also restrict particles to an area by using a layer map to set values for the Gradient Force property in the Property Mappers.
At particle creation, the Cannon, Grid, Layer Exploder, and Particle Exploder set particle size unless you replace the default dots with a layer map. The Cannon and Grid set the initial color, while the Layer Exploder and Particle Exploder take color from the exploded dot, layer, or character. The Options dialog box affects the initial appearance of text.
At particle creation, the Cannon and Grid set no rotation; the Particle Exploder takes rotation from the exploded dot, layer, or character. Use Auto-Orient Rotation to make particles rotate automatically along their respective trajectories. For example, a particle can point up as it climbs an arc, and point down as it descends. It is easier to observe only when you replace the dot particle with text characters or a layer.
After particle creation, use a layer map to set values for the Angle, Angular Velocity, and Torque property in the Property Mappers.
Use Gravity controls to pull existing particles in a direction you specify. Particles accelerate in the direction of gravity. Apply in a vertical direction to create falling particles, such as rain or snow, or rising particles, such as champagne bubbles.
Apply in a horizontal direction to simulate wind. Specifies the force of gravity. Positive values increase the force, pulling particles more strongly. Negative values reduce the force. Force Random Spread. Specifies a range of randomness for the Force.
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