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Stabilizer points are more precise and, in my opinion, more useful than the masking. I was surprised at how something so simple could have almost infinite control over the animation. This is really where the control of the artist comes into play. I found myself experimenting with different length animation points to get the effect that I wanted. The essentially makes it move faster or slower as well. The length of the animation points controls the distance that the animation moves during each repeated cycle. However, with something like clouds, it really does give the effect of the clouds moving across the frame. If you get some singular objects caught up in the animation, you can distinctly see the repeating pattern of movement. This works best with larger areas of fairly uniform content, such as clouds, water, or even a large flowing dress.
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As best I can tell, the software moves the pixels with some motion blur effect and then loops that motion. The direction that you drag will be the direction that the movement occurs. They use a click and drag method of placement. The animation points are little arrows that control where the animation occurs, the direction it moves the image in, and the speed at which that movement occurs. Animation PointsĪnimation points are the engine that drives this software. This is solved by the stabilizer points that are described below. For example, if you are trying to make water under a dock move, you might start to see parts of the dock closest to the water blur into the animation a little. Areas on the edge of the masking sometimes get caught up in the animation and start to blur out a little. The masking does have its limitations however. The ability to start with everything masked, saves a lot of time in this circumstances. In most photos, the animated areas will be much smaller than the still areas. One very useful masking feature is the ability to start with the entire image masked and then erase where needed. Plotagraph also lets you feather the masking to avoid any hard edges in the transition area from animated to still. There is an eraser tool to correct any masking of areas that should not have been masked. You can adjust the brush size to get into the more precise areas. It masks off the selected area from rendering any animation. This works just like any basic masking tool you might be familiar with. Generally speaking, these tools all work together to tell Plotagraph what to animate, what to keep still, what direction to animate it, how fast to animate it, and how it will loop. Plotagraph uses a number of tools, some that function in a way you may be familiar with from other editing software, and some completely unique tools.
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I will also add that Plotagraph offered me a limited free trial to test their software but is not compensating me in any way for this review. This is a page that you can send people to in order to see your work. Once you register as a user (there is a free option) you get your own “Galleria” to showcase your work. I was able to take some of my old photos and animate them in ways that I never thought possible. There is some serious processing going on under the hood of this software. I was wrong on both counts.Īfter spending about a month using Plotagraph, I can say that it is not a gimmick. Two, I could probably do the same thing in Photoshop (which I already have). One, I thought this is a gimmick, these examples are the best of the best and probably impossible to replicate on my own. I will admit that when I first heard of this and saw some of the images, I had two thoughts.
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Plotagraph is a family-owned software company that launched their pro paid beta on 4th of July, 2016 and had their official launch in October, 2016 at the Photo Plus Expo in New York. Plotagraph was founded by partners Troy Christopher Plota and Sascha Phoenix. This animation technique was created by Troy Christopher Plota in 2009.
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