Fast Blur Plugin After Effects

[Janise Knollman]

Iam quite inexperienced with after effects and created a project using a template. I have gone in to make a few changes and it seems that the fast blur effect is now obsolete. Can someone tell me how I can fix this in this template? Any help greatly appreciated.

It was actually replaced with the Fast Box Blur, which is the GPU-accelerated version of the now obsolete effect. Gaussian Blur is the Premiere version with different math, so if you're looking for the classic Ae-style Fast Blur but faster, go Fast Box Blur.

i also had the same problem, I solved it by making a new adjustment layer and then adding the FAST BOX BLUR and SIMPLE CHOCKER on that adjustment layer, it worked for me perfectly. ENJOY!

Each of the blurs has slightly different math, and will have a different look than the old Fast Blur, especially at large values. I found that the old Fast Blur is still accessible, though hidden, if you want to use it. If you convert an older AE project that already has Fast Blur in it, it will still work in AE 2020, with the name "Fast Blur (Legacy)." From there, you can create an effect preset to apply it more easily. I'd recommend getting accustomed to using Fast Box Blur.

Take your After Effects work to the next level with these free plugins, scripts, and presets. We gathered a gigantic list of the best After Effects freebies that can enhance your visuals and optimize your workflow. Each is complete with download links and video tutorials!

FX Console is a free plugin that helps you speed up your workflow in After Effects. It effectively works like a pop-up search bar that allows you to apply effects quickly, presets, screenshots, and more.

Displacer Pro is a juiced-up displacement effect far superior to the default displacement effects included in After Effects. It has displacement options for scale, rotation, chromatic aberration, anti-aliasing, etc.

Dojo Glitch from Creative Dojo helps give you complete control over realistic glitches and artifacts on your footage. You can easily control settings like glitch intensity, RGB separation, flicker, lens distortion, and more.

AEJuice GIF is a plugin that allows you to export GIFs from After Effects in one click. This free plugin dramatically speeds up exporting your own GIF animations, which was previously a tedious process.

Squash & Stretch is a free tool from mamoworld that allows you to apply handcrafted squash and stretch behaviors to your animations. This can help you quickly create some dynamic and fun animations in no time!

Duik Bassel is a comprehensive 2D animation and rigging toolset. Covering everything from animation controllers to bones, to managing keyframes and automation. This plugin is definitely geared towards animation professionals.

Label Maker is a free plugin that scans the colors of your layers in After Effects and then automatically matches their layer label color. This can help make your layers easier to identify in a composition.

Easy Bounce Free makes creating bounce animations . . . easy! Just roughly keyframe out the bounce animation you want, and then the Easy Bounce script will calculate all of the physics and timing for you.

Sure Target 2 is a plugin that makes animating the After Effects camera incredibly easy. You just set your 3D layers as targets, then keyframe when you want the camera to jump from one target to another.

VC Reflect is a free plugin that makes it easy to create reflections on your layers in After Effects. It includes a ton of options for customizing the look of your reflections, such as reflection angle, falloff, skew, and blur.

Bendy Nulls is a handy script that will apply a global CC Bend It effect to a selected layer. This makes it perfect for easy bend animations in After Effects and removes a lot of the pain points of the default CC Bent It effect.

Thinks like after effects and such to my knowledge use interpolated motion blur, where one frame is compared to the following frame and then the blur is calculated based on the difference in the frames. From my experimentation rendered blur will produce superior results on fast moving objects, but you really have to crank up the samples, which means long render times. However, I think post blur produces more realistic results.

In one way, the name is actually self-explanatory. Motion blur is a slight blurring of motion that the human eye can pick up. This is usually when we see something moving fast, either in the foreground or background.

However, when it comes to recorded footage, especially digital footage, images are captured so sharply that there is no blur. This can make the footage seem jarring and feel unnatural, especially during action scenes or whenever there is fast motion on the screen.

If you want to apply motion blur to computer generated motion, the best way to to do it is to use pixel motion blur. This synthesizes the effect of motion blur on the computer animation using motion vectors

You can perform different types of blur, including radial blurs, channel blurs, direction blurs, and different combinations of these techniques. This means that you can have complete control over the type of motion blur you want to apply to your footage.

And because the tool is produced by Boris FX you know that you are getting the very best visual effects in the industry. So if you want to really take your motion blur to the next level and get your footage looking as good as possible, the BCC Motion Blur plug-in from Boris FX is the way to go.

Fortunately, After Effects makes it easy to add motion blur to any footage, and you can control the detail and type of effects with very little effort. Now you just need the perfect images to go with the effect!

If you want to be at the top of your MoGraph game you're going to need to know how to work with 3D renders in After Effects. Cineware is great for this some of the time, but it can't do everything for you just yet. You're still going to need to know how to handle 3D renders the old-school way. In this lesson Joey is going to break down all the need-to-know info about using 3D renders in After Effects, like working with Multi-Layer EXR files, using utility passes like Object Buffers and Motion Vector Passes, getting After Effects 3D layers to sync PERFECTLY with your 3D renders, and adding Motion Bur with the ReelSmart Motion Blur Pro Vectors effect.

Joey Korenman (00:17): Joey here at School of Motion and welcome to day 29 of 30 Days of After Effects. Today's video is going to be about compositing animation from after effects with 3d animation, from cinema 40. This is a very common thing you have to do as a motion graphics artists. And we're going to talk about how to really lock those two programs together and get your 2d animation from after effects to sync up 3d animation from cinema 4d, we're going to use pre-rendered elements, but we're also going to use CINAware to pull in information. I'm going to show you a lot of compositing tricks. It's going to be awesome. Don't forget to sign up for a free student account so you can grab the project files from this lesson, as well as from any other lesson on school emotion. Now let's hop into after effects and get started.

Joey Korenman (01:00): So in this video, we are going to cover how to sync up your after effects animation with 3d renders using cinema 4d. And we're going to sort of go over a lot of other compositing things, including using multi-layered EXR files and a lot of really geeky cool stuff. So let's talk about, first of all, what are, what are starting elements are here? So I'm gonna hop into cinema 4d and show you my project. Now I'm not going to get too deep into this, cause this is not a cinema 4d tutorial. I'm using cinema 4d, AR 15. And if you have cinema 4d light, and that's the only version that you have, the free one that comes with after effects, that's okay. You can do this entire tutorial, the exact same way. I'm not using any special features. Really all that's going on is you've got an iPhone model and it spins around and kind of lands in that's it all right.

Joey Korenman (01:52): And, um, what I want to be able to do is composite, whatever I want onto that screen in after effects. And so let me, let me just do a quick render here and show you what this looks like. Um, you know, I've lit this in a specific way, uh, actually just using, um, one of the presets that comes with cinema 4d called the array light. And then I used a couple of, um, of just planes with a white texture on it. And I used that, so that it actually gives me a nice reflection on the phone. And I also rendered with global illumination, which is why it's taking forever to render for you guys. Uh, but here it goes. So this nice diagonal highlight that's going across the phone that you sort of see on a lot of cell phone commercials, that is actually just a reflection.

Joey Korenman (02:44): Um, and I want to make sure that I'm able to keep that when I, um, you know, when I composite something in the screen, so I'm gonna show you how to do that. So the first thing you need to do is you need to make sure that you prepare this cinema four D file a certain way. Okay. And what I mean is, um, you need to make sure that if you want to stick something on this screen, you need to have a reference object in the scene that you can then import into after effects. So if I open up this phone, now this is the Knoll. That's holding all the pieces of the phone and here's the front of the phone. And here's the screen of the phone. And even the screen has multiple pieces is a pretty detailed model. Um, and this cap one object here.

Joey Korenman (03:24): If I, uh, here, let me, let me go forward here and jump into my isometric views here. You can see that that object has its anchor point, right in right smack dab in the center of the phone and right on the surface of the phone. So if I was somehow able to get a Knoll that mimicked exactly what that screen is doing and get that into after effects, then all I'd have to do is parent my animation to that novel. And so that's exactly how you can composite stuff in after effects in cinema 40. The only thing you need to make sure is that on your object that you want to bring into cinema 4d, you need to have this tag, okay. Now I'm not going to go too deep into tags, but you basically right. Click your object or control click. You go to cinema 4d tags, and you put an external compositing tag on it.

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