Something Else By The Kinks Rar

People have been invoking feedback as a panacea for all ills in galaxy formation theory for so long that it has become familiar. Once something becomes familiar, everybody knows it. Since everybody knows that feedback has to play some role, it starts to seem like it was always expected. This is easily confused with being natural.

Ray Daviess burgeoning song writing talent came to the notice of theproducers of the BBC television series "At the 11th Hour". The series wasdescribed at the time as "an experimental series which combined comedy, poetryand pop". The show screened from December 1967 to March 1968, and Ray wrote songsfor 9 of the 10 shows in the series. This was Rays first experience in"writing to order." Ray commented at the time he often drew inspiration fromnewspaper headlines, and enjoyed the pressure of working to a deadline. DidYou See His Name, was performed on the show itself by singer Jeanie Lambbacked with an orchestral arrangement. The version featured here is theKinks version recorded in the Spring of 1968. The Kinks probably thought itwas too good a song to waste, and it would benefit from a Kinks-style reworking.This song was certainly was as good as anything else the Kinks officiallyreleased during the period.

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So I could just, you know, I could just come down here, grab this mass path key frame, and I could paste it to this position, X, Y property. I could do that. Um, I actually like to do it on a nail just because with a novel, I have a visual cue. I can actually see it move. And if I needed to, I could parent this Knoll to something else and offset it and adjust it. So it's a little bit easier. So what I'm gonna do is I'm gonna use a simple, simple, simple expression to tie this position X, Y property to the actual position of this null. So what I'm going to do is I'm going to put a key frame on position X, Y, and then I'm going to hit you. And the only reason I put the key frame there is so that I could easily sort of reveal this property here.

But 200 by 200 is a good place to start. Now, here's something very important to realize about what we're about to make when, when particular uses a custom particle, the anchor point of that particle is going to be the center of this comp. And so the reason that's important is if I drew, you know, really quickly and crappily, if I drew a leaf, right, like this, that the anchor point of my leaf is going to be where the leaf connects to the vine will be right there, but that's not where the particles anchor point is. So if I, if I want this leaf to be able to rotate, if I want it to be attached correctly, excuse me correctly, I need to make sure that it actually, that its anchor point lines up with the center of the cop like this. Okay. So that's very, very important to know.

So let me, let me do a better job of making a leaf here. Right. And I'm not gonna worry about the anchor point just yet. I'm going to turn my stroke off and I'll turn my fill to white and let's just draw like a simple kind of nice little, you know, semi stylized leaf. All right. It's, you know, just sort of a, roughly pear shaped thing like this. Uh, and then we can just adjust it a little bit and, you know, try and try and make it a little bit smoother. Um, one thing I like to do is, you know, if I notice any, let me go to full rest here so we can see this a little better. If I notice any kinks, like right here, there's kind of a kink in my shape. What I can do is hold option. Make sure you have the pen tool turned on and then hold option and click those points.

And it'll redo the Bezier days for you. And you can make them really, really smooth. And you can do that with all of them if you want to. Um, and, and it'll just sort of help you smooth everything out and make it really, really curvy. All right? Like this, one's got a little kink in it. Doesn't do something like this. Wonderful. Okay. And now this, this top one here, I'm going to rotate the Bezzy around a little bit. Cause I don't want it to be super pointy the way it was. And then this little guy down here is bothering me too. So let's kind of smooth him out. All right. So we've got, you know, we've got our basic leaf here and now what we need to do is animate it as if it's sort of growing right. And whatever animation we do. That's, what's, that's, what's actually gonna happen when the particle is born.

It's like, it's not, it's not perfectly, that's better. Okay. So here's our leaf animation. It's amazing how much time I can spend on something like this. All right. So let's go with that. So that's our leaf Growcom. So now we come back into this comp let's drag, the leaf grow comp here. And uh, oh, and this is one really important thing I had mentioned. I made sure actually I didn't make sure it's just that I'd already done this before. Uh, this comp it's actually a lot longer than you think it needs to be. It's it's five seconds long and actually I'm going to extend it. I'm gonna make it 10 seconds long. And the reason I'm doing that is because whatever animation happens here, this is what your particles going to do. So in this case, it's going to just animate on and stop. But later on in the tutorial, I'm going to show you how you could keep that leaf moving a little bit, like there's wind blowing.

Yeah. Like that. That's perfect. Okay. And what I did, um, because I didn't just want a flat looking vine, like this is, I duplicated the vine and one copy. I said, vine shadow. And I made this find a slightly darker color. So this is like a shadow color. And then I'm going to hit this little checkbox here. And if you don't see this column, the little T you can hit F four, or you can hit this button down here. And it will toggle between the columns that after effects is showing you. But this column here, if you click this, this layer now will only show up if something underneath it has an alpha channel. And so what that means is if I move this layer down and over, you can see if we zoom in, it might be a little easier to see. You can see that that shadow layer is only showing up where this layer underneath it exists.

So now it's a hold key frame. So then let's figure out where we want the particles to stop. We want them to stop probably a couple frames after the vine stops growing. So let's now set it to zero and there we go. Now the particles won't grow anymore. These particles that, uh, exist and here let's, let's go in and check our vine and make sure nothing weird is going on. Now, you see this flicker that's happening here. And this is I'm guessing just the bug with, um, with 3d stroke. And, uh, what I found is that sometimes it flickers, but then if you know, if I like switch resolutions or something, it'll pop back. So, um, so you might, you might find that if you're using 3d stroke, it's an older plugin that hasn't been updated in a while. So now we've got these leaves and they're growing, right?

So you change the random seed and it just sort of tries a new recipe for the particles. And you can just kind of keep playing with it until you get a color combination. You like, oh, that one's great. And then, then you're done. So on top of the color variation and all that stuff, we're also not getting, they're all pointing the same way, which, which doesn't work. Um, so of course you can randomize the rotation. So in the particle settings, you have a rotation group, um, you can orient to motion, um, which it's gonna, it's just gonna help, um, sort of point them along the, um, along the direction, the emitters moving. Um, it's not really doing much here, but what you, what you definitely want to mess with is the random rotation. And this is just gonna sort of randomly rotate the leaves all in various directions, right? And so now you're going to get something that's much more natural.

There you go. And so now you've got your vine with leaves growing on it. And these leaves are really kind of funny looking. They look like little pairs, um, and what's cool is that, you know, you've colorized these, and, and if I came in here and I, and I decided to add like a little, you know, like a little vein down the middle of the leaf or something, if I wanted to add a little bit more detail to it, um, and make this like gray or something, and then let me turn the fill off to, yeah, there we go. All right. And let me parent this to the leaf. There we go. So now you get this little vein down the middle too. You'll see that it's still going to colorize your Leafs, but you're going to get that nice little, that nice little vein down the middle of it.

And now you can create something that looks really, really complicated. Like it has a lot of pieces to it. Um, and if you're just careful with how you arrange these and, and it helps also if you, um, if you move the anchor point, if I can find the anchor point, or there it is, if you move the anchor point of the layer to the tip of that vine. So now you can rotate the vine around like this. Um, and maybe I'll flip this one and you can just take a bunch of these and, you know, manipulate them, uh, make some smaller, make some bigger offset the timing of them, and you can get a pretty cool looking vine growth animation with not that much effort. I almost forgot. There was one more thing I wanted to show you guys a small little detail. Um, but one of the reasons that I set this thing up this way, um, and I mentioned it in the tutorial and then never showed it to you. 2b1af7f3a8