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TRIANGLE WAVE

Presets

Four Triangle Wave presets mean waving goodbye to long effect setup times. Simply keyframe the Mix duration (see below) and tune to taste! Find these presets via the blue Open Dashboard... button or the Choose a Preset... button below it.

As with all other Universe tools, you can modify or create a Triangle Wave look and then save it under its own name by pressing the Save Preset... button.

Getting Started in a Timeline

1. Drag the transition over your edit in the timeline, placing it at the end or beginning. Alternatively, you can place it between two successive clips.
2. Modify the Duration of the transition either by entering a length in the field or dragging directly in the timeline.
3. You can choose the Alignment (Center at Cut, Start at Cut, End at Cut, or Custom Start) either by positioning the transition in the timeline or by choosing from the Alignment drop-down in some host applications.

Getting Started in a Compositor

1. Apply the transition to the layer from which you want to transition.
2. Choose the footage layer you would like to transition to in the Transition B drop-down menu. (Note for Motion users: Drag the footage layer up to the Transition B box.)
3. Animate your transition using the Mix slider from 0% to 100 percent. Set a keyframe for 0% where the transition should start, then set another at 100% for the end.

Modify the Transition

• The Animation drop-down menu offers multiple interpolation styles for your transition's animation. Click here for more information about these animation presets.
• The Tiles control allows you to set how many sections the transitioning layers are broken into. In the example below, the difference between 3 (left) and 9 (right) is obvious, but also observe how value changes can alter what is visible in the scene. Note: The more sections you have, the longer the render time might be.
  
  
• The Dolly slider lets you move the camera closer in or farther away along the z axis from the transitioning layers. Bringing the control to 0 will move the layer directly to the camera. Increasing the slider value will move the camera away from the layer. Compare the clip at this page's top, which uses Dolly: 0, to the following image with a setting of 1.0. Non-zero settings will likely yield a "bounce," with the affected clip zooming out, then in over the transition's duration.
  
• The Direction drop-down menu changes which direction the animation effect moves: South East (shown in the clip at this page's top), North West, North East, or South West.
• Motion Blur
  • Add realistic motion blur by choosing a setting from the drop-down menu: Off (shown left, below), Low, Medium, or High (right).
    
  • The Motion Blur Shutter angle default is set to 180 degrees. Raising it will spread the motion blur iterations, with a high number of blur levels. Lower values can help minimize banding artifacts.
• The Edge Smoothing drop-down menu provides levels of edge anti-aliasing, giving edges a less jagged look. Options for the smoothing strength are None, Low, Medium, or High. Selecting High may increase playback and render time.
• Lights adds lighting to your transitions.
  • Turn on the Lights from the drop-down by selecting Local or Global.
  • Choose the Light Type:
    • Ambient activates the Ambient color picker and affects the overall composition.
    • Directional allows you to use the Light Diffuse color and Light Position X/Y/Z controls. Below, we show keyframing a Spotlight position to correlate with the North East animation direction.
      
    • Positional activates the Light Specular color and Light Factor Constant/Linear/Quadratic controls.
    • Spotlight gives you the most control, activating the Light Direction X/Y/Z sliders as well as the Light Cutoff and Light Exponent controls.
  • The Light Intensity slider controls the brightness. Note that this control can benefit from a light touch. Below, we show the difference (with a Positional light) between values of 80 (left) and 120 (right).
    
    
  • Light Ambient/Diffuse/Specular color pickers allow you to control color tones that appear within the light.
  • Light Cutoff dictates the spotlight's range. Note that negative values result in no light being generated.
    
    
  • Light Exponent controls the illumination falloff from the light's center. Higher values increase falloff, thus shrinking the illuminated area. Light Cutoff and Light Exponent often need to be manipulated in tandem. In the following example, we show a Light Cutoff of 50 degrees with a Light Exponent of 2 (left), 5 (center), and 10 (right).
    
  • Light Factor Constant/Linear/Quardratic are all falloff fade types and determine how your spotlight illumination diminishes from center to edge. To learn more about these falloff patterns, see our Animation Tween Examples page. This example shows how Light Exponent: 4 and Light Factor Constant: 3.5 combine to make the effect layer almost a dusky texture, allowing the brighter B layer to pop through the cracks.
    
    
• Camera allows you to enable the Local camera, then Zoom, Rotate and Translate its position in 3D space. The Camera Ortho checkbox allows you to see the transition in an orthographically projected view that has no depth, which means you can view the layer more accurately without the distortion of parallax. Playing with these camera parameters can create some intriguing, more three-dimensional effects. To illustrate, consider this example showing a Camera X Rotate value of 60.