Adobe After Effects CC - Animated Infographic Video & Data Visualisation. | Daniel Scott | Skillshare

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Adobe After Effects CC - Animated Infographic Video & Data Visualisation.

teacher avatar Daniel Scott, Adobe Certified Trainer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

49 Lessons (6h 21m)
    • 1. Introduction

      1:53
    • 2. Exercise files

      1:20
    • 3. Inspiration for your animated infographics

      2:45
    • 4. Setting up your software & video for data visualisation projects

      7:52
    • 5. Adding audio music to a infographic in After Effects

      8:41
    • 6. Add a solid background or image backgrounds

      2:09
    • 7. Adding text Adobe Typekit in After Effects

      3:36
    • 8. Where to get free Icons for your Infographics

      3:21
    • 9. Animating an infographic icon in Adobe After Effects

      6:36
    • 10. How to ease animation in After Effects to make them look slick

      3:53
    • 11. If you get lost in AFX and can’t find your animation any more

      0:57
    • 12. Adding free sounds little pop noise

      2:59
    • 13. Creating a circle pop or circle burst in After Effects

      7:13
    • 14. Animation TIP Motion Blur

      2:21
    • 15. Animation TIP Over shoot

      9:42
    • 16. Animation TIP Vignette

      2:14
    • 17. Animation TIP Anticipation Up before down Graph editor

      6:56
    • 18. Animating TIP Off set two objects moving just after each other in After Effects

      3:15
    • 19. Animation TIP Vector Redraw

      3:59
    • 20. Animating TIP Puppet tool

      6:09
    • 21. Grouping in After Effects is called precomping

      10:03
    • 22. Camera 1 Node

      9:35
    • 23. Speeding up After Effects Playback & preview

      6:45
    • 24. Animate the lines of an icon in After Effects

      14:17
    • 25. Colours

      3:26
    • 26. Video Backgrounds

      6:55
    • 27. Bar Graph Method 1 Manually in AFX

      6:04
    • 28. Bar Graph Method 2 Illustrator graphing tool

      11:56
    • 29. Bar Graph Method 3 Excel graphing tool

      7:52
    • 30. Line Graphs

      15:41
    • 31. Pie Charts

      12:56
    • 32. Number counter ticker thing

      5:02
    • 33. Process Relationship Infographics

      32:16
    • 34. Camera 2 Node

      9:53
    • 35. Masking Version 1 Mask the centre of the donut properly

      2:38
    • 36. Masking Version 2 Pie chart to mask an image

      3:27
    • 37. Masking Version 3 Opacity percentage slider

      8:28
    • 38. Masking Version 4 Filling up a pint glass with a mask

      7:58
    • 39. Real Life action infographics 1 Line follows video content

      6:59
    • 40. Real Life action infographics 2 Camera tracking

      12:12
    • 41. Real Life action infographics 3 Manual madness

      9:31
    • 42. Exporting for TV Websites Youtube and most other social media

      9:16
    • 43. Exporting for Microsoft Powerpoint

      8:03
    • 44. Animated GIF

      13:25
    • 45. Class Project

      1:33
    • 46. What next

      1:26
    • 47. 2021 After Effects New Features

      45:44
    • 48. 2022 After Effects New Features

      4:48
    • 49. Cheat sheet

      4:41
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About This Class

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Overview

Hi there, my name is  Dan. I’m a Adobe Certified Instructor and I LOVE animating infographics & bringing potentially boring data to life using After Effects.

This course is for beginners. You don’t need any previous knowledge in AFX or any motion graphic experience. We’ll start with the super basics, taking simple icons breathing life into to them with After Effects.

There are projects for you to complete, so you can practice your skills and use these for your portfolio. There is a cheat sheet and I’ve got exercise files so you can play along. I will also save my files as I go through each video so that you can compare yours to mine - handy if something goes wrong.

Know that I will be around to help - if you get lost you can drop a post on the video 'Questions and Answers' below each video and I'll be sure to get back to you.

What are you waiting for? Lets get making!

______________


Looking for more inspiration? Head here to discover more classes on After Effects.

Meet Your Teacher

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Daniel Scott

Adobe Certified Trainer

Top Teacher

I'm a Digital Designer & teacher at BYOL international. Sharing is who I am, and teaching is where I am at my best, because I've been on both sides of that equation, and getting to deliver useful training is my meaningful way to be a part of the creative community.

I've spent a long time watching others learn, and teach, to refine how I work with you to be efficient, useful and, most importantly, memorable. I want you to carry what I've shown you into a bright future.

I have a wife (a lovely Irish girl) and kids. I have lived and worked in many places (as Kiwis tend to do) - but most of my 14+ years of creating and teaching has had one overriding theme: bringing others along for the ride as we all try to change the world with our stories, our labours of love and our art.See full profile

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Transcripts

1. Introduction: Hi, my name is Dan. And I love animating Infographics... and bringing potentially boring data to life using After Effects. I've made this course for complete beginners. There is no need to have any previous knowledge... of After Effects or Motion Graphic Design. We'll start at the super basics. We'll bring in a couple of icons. We'll add Easing. We'll add some Motion Blur. We'll add some very cool Overshoot. We'll also look at Anticipation. And then, my favorite is to Offset them. We'll work through real life projects. Connecting Excel into After Effects... to transform your boring Spreadsheet data... into approachable, visible awesomeness. We'll experiment with writing in Canvas. We'll do some fun things with masking. All the way through to exporting... for YouTube, PowerPoint, and all sorts of social media. Including making some animated GIFs. I've got projects for you to complete. So you can practice your skills... and have some things ready for your portfolio at the end. There's also exercise files, so you can play along. There's also a cheat sheet, both video and a PDF version. Do you know what the best part of this whole entire course is? It's learning how to track handsome individuals from New Zealand. Very, very accurate data. It's true, I say 'awesome' a lot. 2. Exercise files: All right, first things first, is to download the exercise files. There'll be a link just here, go and download those. Also know that there's something called the completed files. All they are is, at the end of every video... I'll save my After Effects file to where I'm at. And you can download it. There'll be a link on every video screen for that. And it's just, if you get a little lost... you can check mine and see how yours is different. The other thing is that there is a cheat sheet at the end of this... end of this video. And there's also a PDF you can print off... and stick next to your computer, and use as well. There is also a project at the end. So we're going to work through together. I'm going to set you some tasks... and you can use that stuff in your portfolio... along with anything else you make in this course. You're totally allowed to use it. And the last thing is reviews. It's a bit early for me to be asking you for reviews for this site... but as soon as you get to a point in this course... when you're like, "That's a pretty good course"... I'd love you to leave a review. It's the kind of stuff that's... what drives my business and pays my income... as other people come into the courses. So, reviews are really helpful. Likes, shares, those types of things. All right, let's get into building... our Motion Graphics and Visualized Data. 3. Inspiration for your animated infographics: Hey there, in this video we're going to look at Inspiration. So when you're starting your project... you're going to need places to go and get ideas for your projects. Now this site here, informationisbeautiful.net remember the .net, the .com is a weird site. You're going to go and check it now, I bet you. But informationisbeautiful.net is... this is more of the Data Visualization site. There's some really beautiful stuff going on here. Kind of pushing the boundaries... of how to communicate really complex data. If you're dealing more with the generic kind of Infographic Bar charts... you're just looking for ideas of animation... then something like this, so this is videohive.net videohive.net sell these. So these here, you can buy. This one here is $19, and you can get this... as an After Effects file, and start updating it. The only trouble with some of these templates... is that they're pretty complex. If you're brand new, these are not useful at all... because you're going to get a file... that's going to be too hard to work with. Once you get into the kind of Intermediate level stage... these become really useful because you can open them up... make the changes necessary... and save yourself a lot of time. So you hover above them, some of them are pretty cheesy... but some of them are pretty cool as well. So you can just work your way through them... and just get an idea of how you might do it. One of the competitors for videohive is pond5. Same sort of thing, hover above them, you'll see... Infographics, interesting kind of text treatments. Lots in here just to give you kind of ideas flying. One of the last places I'll show you is Art Of the Title. Well, not Infographics. It's really cool for just beautiful uses of mainly Type... and live action footage. I get great ideas from here for... even just simple Motion Graphics... just the way Type is being treated and animated. So I like to go, choose just the Home page. If you go down to 'All Features'... and then you end up looking at these. These are the Top 10 from 2016. And you just go through. I've got a couple of them primed and ready to go in here... somewhere, like this one here. Just interesting how you're going to deal with the Type... this kind of big thing moving in the background. All stuff that can be done in After Effects. I'm not saying they're exactly right, but... What are the other ones that I liked? Make sure I stop in here. This is great, this real big slabby use of Color and Type. Anyway, I'm rambling. So, those are some good places to go and get... some ideas before you get started on your next project. All right, let's get into the videos. 4. Setting up your software & video for data visualisation projects: So we're going to begin our first project. So I am going to hit Play on this project... and we're going to listen to it... and watch it all the way through. This is what we're going to be making for the first part of this course. Icon animations, all sorts of amazing Infographic type things. Let's give it a watch, and at the end we'll hit Stop... and we'll go off and create our new document, and get started. 'The Value of Sleep for Creatives'. Now there is an ongoing debate in our household... about the value of sleep. My wife, a solid 8-hour night lady... is forever reminding me to get more sleep. I on the other hand, I'm certain, all I need to perform at my best... is just 5-6 hours. So as long as I'm in bed by 1 a.m. I'm good to go by 06.30. Now my problem is that I love to work in the quiet of the night. When the whole world is asleep, when nobody can get me. For me there's something about that slight hint of exhaustion... feel by with a bit of caffeine that makes me... excited and creative at that time of the night. So what is it about sleep deprivation... or insomnia that appears to aid my creativity? Okay, simple enough, but some cool techniques... we're going to learn in here. So let's now jump in, and make our first document. So we've opened up After Effects. Now it's time to create our first file. They call them Projects. And inside of these Projects, we have something called a Composition... or referred to as Comps. The project really doesn't do anything. Click 'New Project', and you get this kind of blank window. So think of a Project as just like an empty place holder. Comps that you put inside of it... think of them as pages in a document. You can have a document... but without any pages, it's not really helpful. So a Project is not very much without any Comps. So we're going to create our first Comp. You think you'll go to 'File', 'New', bragh, no. Under 'Composition', 'New Composition'. There's two ways of creating a Comp. You go 'Composition', 'New Composition'... like we are here, you give your Comp a name. This is going to be 'My First Comp'. In here, there's a lot of settings... but pretty much all you need to do is, go down to these presets... and pick 'HDTV 1080 25'. That's going to be HD resolution, at 25 frames per second. That does most of the work most of the time. Occasionally if you need to go to TV, and you're in the US... you got to use '29.97'. It doesn't really matter, especially if you're going out... to say social media, YouTube, Vimeo, your website... it doesn't matter, these two here, there are negligible differences. It goes up to '24', but nobody picks that, just pick this one here. 'HDTV 1080' 1080 is the pixel height of your video. And the width is 920. When somebody says 1080p, they mean the height of the video. 720p is standard definition. And that is the pixel height of the video we're making, 4K. Down here, you could be working on 4K if you've got the footage for it. The only problem with 4K is that the file sizes are quite big. YouTube accepts it, you might do it, no problems with that... but it gets pretty hard on your system when we start animating things. I've got a pretty good MacBook Pro, it's only a few months old... and I got all the optional extras, and working in 4K just kills it. So I don't work in 4K because it's just too hard now. And people watching it... I don't know who's going to see... my Web Animation Infographics on a 4K monitor. 'Square Pixels' perfect, 'Frame Rate', don't change. This, 'Resolution', stick it up to 'Full'. All that means is that... this can change occasionally... in case you're going to export a video... and it's going to export a 'Quarter' quality. So I change the Resolution way down, let the Quality be at 'Full'. The 'Duration', it's up to you. I think the default, I can't remember, 10 secs, I think. And this is, how many Frames? So, 10 secs is this second one here, that's the one you need to remember. So, how long is this going to be? It's hard at the beginning... especially if you're not working on live action. Live action is going to have a Start and an End... so you know how long it is. But if you're working in your own kind of time... you're like, "How long should this thing be?"... take a guess. It's easy to shorten it up than to extend it. We're going to start with 10 seconds. Background color here, I wouldn't change it here because... it doesn't really matter what you change the color to... when you export, it's going to be black. Weird, huh? So if I go like this, and say... "Actually I'm going to use one of these colors over here"... you think the background color is going to be, yes, red... but when it renders it goes out black. It's just kind of a place holder color. You actually have to draw a big red box in the background... for that to actually export. So now we can start working. The other way to create a Comp... and this happens a lot, especially if you've got footage you're working to. In my case, we're working to a pre-existing mp3... with some dialogue on it... but we're going to be animating our infographics too. So it's a set piece, it's a certain amount of seconds long. We could open the mp3, work out how long it is, and try match the Comp. There's an easier way, so I'm going to bin this thing here. And what I'm going to do, in my project window here... this is where all my files go for my project... anything that we import... videos, sound effects, shades from Illustrator... anything goes in here. So we're going to 'File', 'Import', go to 'File'. If you haven't already, download the exercise files. Mine is here, on my Desktop. We looked at how to download those in the previous video. Go check that out. So in here, I'm going to go into it. Our first project is going to be... there's one called 'Icon Pop', open it up. And we're working through this... 'Value of Sleep mp3'. So I'm going to bring that in, we're going to use that. And because that has a certain time... it's 29 seconds, and 7 frames long. So what we can do is, just right click it... and say 'Make Comp from Selection'. The cool thing about it is that... it's matched my 1080p, you can kind of see, it's at the top here. The right Frame Rate, but it's matched the link with it, perfect... because there's no need for it to be any longer. So the big things when you are getting started-- if you are good at After Effects, you can skip through the next video... but let's go look at little things here. That's the mp3 we brought through... and now magically, this is the Comp, it's using the same name as this. So what we're going to do is, let's rename it to say... we're going to add Comp to the end, we'll do this while we're learning... just so that we know that's a Composition. The reason we know it's a Composition is mainly because of this icon here. See this little film reel with some bits on it... that is the Comp, and these are the important things. These are the things we'll export at the end. They're the pages in my document. Remember, project is this overall empty space. These are the things that you need, you need at least one. You can have multiple pages, lots of different animations... lots of separate animated Infographics, or Data Visualizations in here... but we're just going to have one for the moment. Your Comp appears down here in the Timeline. There it is, 'Value of Sleep' Comp. And it's automatically put my mp3 on the Timeline. So there's my little Playhead, I can drag that back and forth, my CTI. If I hit Space bar on my keyboard... It's me talking to myself. So that's the mp3 playing. It's going to be along the bottom there, just doing its thing. We're going to lock it, see this little locking icon here. And you'll notice that these little tags in here. I added these when I was first putting together these project photos. I did these with something called Markers... we'll look at them later on... but it's just going to help us know... when these Infographics are meant to appear. Now one thing we'll do just before we move on... go up to 'Window', go to 'Workspace', and click on 'Default'. And then, go back into there, 'Workspace'... and then go to 'Reset Default', just to get everything looking the same as me. If you do find, during the class you end up dragging that over there... and that becomes there, and it's all mixed up... just go back to 'Window', 'Workspace'. It's still on 'Default', but we're going to 'Reset Default'. Go back. It's a good way to get yourself unlost. All right, let's go to the next video. 5. Adding audio music to a infographic in After Effects: Hi there, in this video we're going to bring in some audio. We're going to put it into some folder. We're going to bring in some music... and look at where to get some of that for free. And then we're going to balance it so that my voice isn't so low... and the music is down a bit... so you can hear underneath me, let's hit it. The Value of Sleep for Creatives. It's made me sound a little more like I know what I'm doing. Anyway let's get on with the chorus... so I know what I'm dealing with, most of the time. Okay, let's deal with audio properly in this video. So we're dealing with a voice over, that's me. Obviously, if you're doing your own voice over... it makes it easy, if you've got a half decent mike... it's pretty easy to do... but probably you're going to be like most people... and hate the sound of your own voice, me included... but it was cheaper to do my own voice over... than paying somebody else for this exercise... so you got stuck with me. If you're doing a higher talent... what I do is I go out to a site like Fiverr. Fiverr is a site, you're meant to pay $5 or Euros. And it's what people will do for $5. This guy will do a voice over here for US $5. That's the Euro translation, or the currency exchange. And if you click play, you can listen to Todd. Hello Todd. Great! So he'll do that, for $5, a certain amount of words. It seems cheap, but bank on it being about $25-$50 depending. Because he might say he'll do the first 50 words for $5... or the first 10 words, whatever his rates are. And you might have to go further than that. And if you want it done, like he'll say it's $5... but I'll do it when I get around to it... maybe a week, or if you want it done straight away... you might have to pay another $10. It kind of adds up. And by adding up, 25 bucks is pretty cheap for a voice over. So just have a go through, and decide, do I need a Caribbean voice over... or do I need this guy, or that guy? He has a great, like normal voice. If you need somebody who's Irish... if you need somebody who's Australian... or English, just type it in up here. I just typed in 'voice over' to get these guys. It's amazing what you can get done, quite quickly, and cheaply. So we've got our voice over, back to After Effects. So when you are working with audio... especially a voice over, often you need to time things to it. You can see, I've added little markers down here. We'll look at these markers a little bit later on. I've added them here, so at this early stage... we can add our Infographics at different timing points. But if you need to edit audio... what you really need to do is, something on Audition, it's down here. So I've recorded into Audition, and did any edits... so I cut out all the ums and ahs, and made it sound half decent. In Audition, if you need, you remove background noises. The air conditioning noise, something like that... that's the job for Audition. And I'll do a course about that real soon. And we've got our mp3s, it's come through. One of the things you might want to do is... see I can twirl down this little arrow here, and go to Waveform. Waveform is really handy, you can start to see where the breaks... in the language are, you can see the pause there for a little bit. So you can start timing things, like... I'm probably starting to say something about here. I'm going to hit space bar. You can see I've got the beginning of the conversation there. I often have this open when I'm trying to... time Infographics to an audio file like this. So I'm going to twirl it up at the moment. Now one of the big things is... you wouldn’t have seen, I had that open already but... when I hit Play for this, it's quite quiet. You won't really notice it when you're working on your projects. You need to check, whenever you bring in audio... to check whether it's at the right level. You don't want to send your Infographics somewhere... and people be listening to it... and it either blow their ear drums out... or just be really, really low, and they raise the volume... and in the next video, it blows their ear drums out. So you want to get consistent, there's a world of consistency sound. And it's between -6 and -12. Minus is weird, huh? Just about it works from 0 being the highest... and we work down from that. How to check? It's quite easy. Go to 'Window', down to 'Audio'. Or in my case, there's that little gap there. And this little guy is what we're going to be watching for. And see the gap between -6 and about -12. If I hit space bar, watch it. See it bouncing down here. It's bouncing too low. You want that little line to be bouncing anywhere... between here and here, is a good kind of general range. And you kind of see red, but... yellow, just okay, but in here is the sweet zone. All you need to do is, have it selected. And what I might have to do is... if you've got it locked, like the last video... unlock it, select it, and just yank it up a little bit. And then see how it goes. Hit space bar. Not bad, I'm going to get it a little bit higher. It's bouncing in that right kind of sweet zone, you can see there. It's a little perfect. But that's going to be great for me. Next thing is, let's bring in the rest of the audio. We can go to 'File', 'Import', 'File'. It's a long way, there's a shortcut. 'Command I' on a Mac, or 'Control I' on a PC. We use that loads. To be honest, I never use it. I just double click in this big gray area here in my Project window. So just double click, that's the shortcut to it. I find it quite quick anyway. So these two files, go to your exercise files. And under 'Icon Pop', '01 Icon Pop', bring in 'Blip.mp3'. And double click it again, let's bring in a second file. It's just under the root, 'Infographic Exercise Files'. It's called 'Background Music'. We're going to use these on... all the different exercises that we do. It's on its own folder, and all these files here... they're next to all free... because somebody like Wistia have given them out to us. So Wistia is W-I-S-T-I-A. Go check out them, they've got some free background music... that I saw they were there... and I appropriated it for some of my projects. The other ones in here, I found Shutterstock. It's a stock music site. And I've paid for them. Actually these ones are the preview versions... so what you'll notice is that, you'll play it for a little while... and it all plays happy music, but then, part of the way through... it says "Shutterstock music'. Kind of ruins the mp3 for you, so that you go off, and pay for it. You're not allowed to use these commercially... any of the Shutterstock ones. But you can kind of see here... this one here is the Wistia Learning Gallery. They allow you to use it for commercial purposes. I'm going to use Interlaken Crossroad. At this stage follow me, you can pick a different one, of course. But I've done this project obviously... and tried to find something appropriate. So what I'm going to do is I'm going to add it to my Comp. You can do it a couple of ways, you can drag it down here. The only problem is, if you drag it down here... see that little Playhead there, the blue thing... if you drag it there... it kind of starts way out here. So it doesn't start till I get... So you've either got to drag it down here... just make sure it's at the beginning... or just drag it into the center bit here... and it just goes in right at the beginning. So couple of things I would like to do. I would like to create a folder in here, put in my audio in. Often, if I'm doing Infographic... there will be a files folder, an audio folder, a video folder... and I leave the Comps just out of there... so I'm going to create this one here, this one's going to be audio. I'm going to stick you, you, and you in there. And we'll make 'Files'. Files is just like any static images, and any other weird stuff I get. And you notice when you create a new one... let's put it inside the file, so we can fix that. This one's going to be any video. This project's not going to actually hit somebody... but let's get something good going early on. So, that's my files. One of the other things is, if I hit Play now... you can see, they're all kind of battling it out. The voice over here, Value of Sleep, is at the same level as the music... but they kind of fight it out when I start talking... so I'm going to lower the volume of this music. So with it selected here, I'm going to do... the opposite of what I did with the voice over... and lower it down. How low? Just keep dropping it down. That feels good. So just keep lowering it down until you feel like... That works for me. So, low as you go, it's really just the balance with that... whatever has to be the highest, which is going to be our dialogue. So I'm going to lock these two here... so we don't mess around with them... and we're going to move on to the next video. 6. Add a solid background or image backgrounds: In this video we're going to bring in a background image, and lock it. It's going to be easy, let's go do it. It's a weird feature of After Effects, we talked about it before. If I make a new Comp, and I pick a color... doesn't really matter, when I export it, it goes black. It's just, there is a background color. So, we're going to turn ours back to black. I'm going to click on it, go back to black. So that's most of the Comp start life like. And if I want to put in a colored background... we put in just a big rectangle. Now, we could draw it, but it's easy just to go to... 'Layer', 'New', and there's one called 'Solid'. Click on 'Solid'. I'm going to call this my 'Background Color'. And it's going to match the height and width of my video. Great! Everything's perfect, pick a color, any color. Any color that you like. Click OK, now when I export it... it's going to be green in the background. What I want to do is, not move it around so I'm going to lock it. Awesome! That's how to put a background color in. So I'm going to bin that color. Sorry, we just made it... but we're going to bring in an image. So I'm going to double click anywhere in this gray area. And I'm going to go to 'Infographic Exercise Files'. I'm going to go to 'Icon Pop', the first one. Let's go to the one called 'Background'. We'll bring it in, put it into my Files. Then I'm going to drag him onto here, and he's too big. You can, like a lot of programs you can kind of zoom out. I'm using the wheel of my mouse... but you can use 'Command + or -' if you're on a Mac... or 'Control + and -' on a PC. What you'll find though is... you can grab the edges, and it's fine, but... weirdly, that's true of lots of Adobe products, but down here... there's one in here called Transform and Scale. You can just drag it down. I don't know why, but it is easier... to use these controls down the bottom here... especially when you get multiple layers. So I'm going to twirl that back up. It's up to you. So I'm going to lock that layer, boom, background image. I'll just drop the lightness of this in Photoshop. We'll do it later on in an exercise using one of the effects. Easy, so we got our background in. Next video please. 7. Adding text Adobe Typekit in After Effects: Hi there, in this tutorial we're going to look at Type. And then we'll look at bringing in new fonts from Typekit... which is free as part of your Creative Cloud license. Let's go and do that now in After Effects. So let's put in our text, grab the 'Type' tool, the capital 'T'. You can click and drag to get a box with boundaries. So it gets to the edge of the body text... if you got a lot of text to go in. I'm going to actually-- See down here, this layer here, I'm going to click on it. Hit 'delete' on my keyboard. If I just click once, and you get a Type box that goes on forever. Mine is Aligned Center at the moment. So I'm going to go... over here, we've got Character, and there's Paragraph. If you can't see either of these... they're under 'Window', and there's 'Character', and there's 'Paragraph'. You need both of them working with Type. I'm on 'Paragraph'. And I'm going to make mine 'Left Aligned'... and I'm going to put in some 'Type'. 'The Value of Sleep for Creatives'. I'm going to put a 'return' in just to break this up a little bit. I'm going to 'select' it all, do some typey things. Mine's on 'Arial' at the moment, I'm going to make mine 'all caps'. And I'm going to go pick a 'font'. Under 'Character' here, we got all the fonts that are on your machine. So you can pick one of those obviously. But if you've got a Creative Cloud subscription... you can go off to Typekit... and get a whole bunch of new fonts. They're really good, and they're free. They're part of your paid subscription. So let's go check that out now. This is Typekit, it might ask you to log in. That's me, Hi Daniel. What we can do is, go through, and just pick a font. There's lots of them, go through the 'Fonts' drop down. And you'll get lots of examples of stuff. Go through and just pick the one you want. Over here, are some helpful bits. Let's say I want stuff that's good for Headings. And it will sort it out from there. Let's say I want to turn that off. I want ones that are Serif fonts... which means they got that little feet. I'll fold the edges. So you can go and hunt these down... and switch on to hand fonts, it's hard to go and find. There's lots of other things you can go and do in here as well. One of the things you might consider is the width. Sometimes it's nice to be working with a skinny font... because... especially if you got lots of copy to go into Infographic... it's just easier, with lots of numbers to go into your graphs. It's easier to fit in skinny type. You'll fit a lot more digits in. Now the one I'm going to use for this class is Roboto. I'm going to bring in both Roboto and Roboto Slab. Click on one of them... and then click this button over here, where it says 'Sync'. I've already synced mine, and that's it. Just click on 'Sync', I'll do it for Roboto and Roboto Slab. And they just appear in After Effects, you don't have to do anything. Right, back over there. So with it selected, I'm going to go... you my friend, are going to be a Roboto. I'll use the Slab version for this. And there's some different widths... but that's fine for me. I'll change my mind, don't like the Slab. And, still Bold, there's even a black version So back to this arrow here, 'Section' tool... to move stuff around. I'm going to still use my Left Aligned... it could be centered, but we'll leave it there. What I might do is-- There'll be times in this course where you're like... "Can you just move on?" And this is one of those times... when I start messing around with fonts... for no reason other than my own pleasure. So that is going to be it for Type and Typekit... because it's not that hard. Let's go and start bringing in... the icons that we'll use in our Infographic. 8. Where to get free Icons for your Infographics: Okay, so you need to find some icons, and you don't want to pay for them. There's a couple of cool sites. iconfinder.com is a great one. They have a mixture of paid and unpaid. So let's say we need a picture of a woman. An icon of a woman. Now by default yours will be set to 'Any', 'Any', 'No License Filtering'. And you'll start with these ones here, you can see, they're not expensive. So 1 USD for some of them. And what we want do though is, I want vector ones... because I want them to be scalable. In After Effects, you don't want 'Any', most of them are all Vector. Then I want to go for 'Free', because I want it cheap. And I want to go down to 'Licensing'. I want the ones that say 'For Commercial Use'... but I don't need to put a link anywhere. You can go to this one here. 'For Commercial Use', but you have to add a link somewhere... to explain where you got it from. I'm going to go through the full cheap way. And you can see, there's quite a few here I can pick from. So when you are picking some of these, say you decide that... this is the one for you... and when you are downloading it, download the SVG version. The PNG is a pixel version, so, not Vector... and when you scale it up, it won't be great. It will pixelate, whereas this one won't. So, download this version. Because it's a SVG, you might have to open it up. Depending on the version of SVG... you might have to open up in Illustrator... and copy it, and do a re-save. And save it as an Illustrator file to use it in After Effects. We'll do that in the next video... showing how to make icons in Illustrator... to use in After Effects, we'll do that. So that's Iconfinder, I use this, it's quite a big resource. I love it. The other great place is actually from Adobe itself. And it's their Creative Cloud app. On a Mac, it's up here, this Creative Cloud. Cloudy looking icon. And you've got these options along the top. On a PC, I'm pretty sure it's down the bottom right. You'll find the same icon. And you'll be at 'Home', go to 'Assets', to 'Market'. And in here, at the top is the search icon. We're going to put in 'woman'. The cool thing about this is all of this is for commercial use. You don't have to add links. Just the quality and quantity aren't as much. But this can be super useful and helpful. What's really cool about it is-- have a look at here first... and then jump out to maybe Iconfinder, that's what I do at least. Say you decide-- let's bring in another one. Say you decide to use this one. See this little button here? We can bring it into my library. The cool thing about it is, that's it... if you jump into After Effects now... you can see, it's downloading in the background there... into my Infographics animation. And there's that lovely lady, ready to go. We'll use this a lot during the class, this 'Assets', 'Market'. It's really good for icons, it doesn't have many images in there... so it's mainly for icons. All right, let's get on to the next video. One thing before we go, actually, say in Iconfinder... the cool thing about here, is that often it's part of a bigger group. So you might pick this one, but you'll also need a man, or a Ninja. So Iconfinder has some really good groups, and things to go. If you get into kind of super icon downloading mode... you can see here, there's a per month cost. You can get, like 25 a month. Or unlimited for $29. All right, now let's get on to animating them. 9. Animating an infographic icon in Adobe After Effects: Hi there, in this video we're going to do this... where it fades in, and then, goes for a little bit. And then, this guy appears. We'll play with the Scale. We're just going to do some basic animation... it's quick, it's easy, let's make it happen in After Effects. So I'm in my 'Value of Sleep' Comp. Double click it there. I've got my two audio files locked. And I'm going to lock the background layer. And what we'll do is we'll get this text to fade in... then we'll get our Icons to pop out. So, make sure your Play Head is right at the beginning. And what we're going to do is twirl down this arrow here... I'm going to twirl down 'Transform'. And what we're going to do is play with the Opacity. At the beginning of my Time Line, I'm going to click this stopwatch. And what happens with that is... it sets a Key Frame here at whatever setting this is. So I've set the Key Frame at 100% Opacity. I can adjust it by clicking, holding, and dragging across... or you can just click it once, and type it in. So I want it to be at 0 here... and after a bit of time, how far? Generally what I do is I just hold down the space bar... or click the space bar once. And then turn it off again when I feel it's been long enough. That feels long enough, it's been about one second. And all I'm going to do is click, hold, and drag that up. You'll see that, as I drag it up, it's created a second Key Frame. So first Key Frame is at 0... next Key Frame is at 100, so now, hopefully-- And what we'll do is, after some time, I want it to then fade out. Now one of the problems that happens with... everybody that's new in my classes... is that they'll now go and turn this down to 0... to fade out. But they don't add any pause... because what happens now, watch this, it goes up... and then just instantly starts coming back down again. Think of it as a ramp, starts at 0, gets to 100%... and then starts coming down straight away. What I'd like to do is have a little bit of a flat area... where it stays at a 100 for a while before it fades out. So I'm going to undo to get rid of that Key Frame. To do that is about 2 seconds and 21 frames. What I'm going to do is, see this little diamond here, click on him. That forces in a Key Frame without you having to adjust first. So it means that, that is 100... now that is a 100, now if we move along a little bit further... I'm going to set it down to 0. So, ramp goes up. 0 to 100, stays at 100 for a while, and the ramp comes down back to 0. "The Value of Sleep for Creatives". So next bit of animation is going to be when this house appears. You can kind of-- that's where I say it. You can't hear the audio very well through my microphone... but that's when the house kind of appears... so what we're going to do is, twirl up this, get it nice and clean. I'm going to drag in my house, where's the house? He's down the bottom here of my Libraries panel. I'm going to put him over here somewhere. I'm going to zoom out, just keep him in the top corner. This one here, 'Fit', we'll make sure... the Comp is perfectly centered in the center there. With these icons, you can re-size him by grabbing the corners. Now, a little bit weird in After Effects... if you know some of the Adobe products... you want to make sure the height and width doesn't change. And you want to drag these corners here... because without holding anything down, they scale weirdly. So what you do is you start dragging... so it's going weirdly, then hold Shift. And I'm holding down my mouse key, and my Shift key. And you can adjust the sizes. We're not going to, because after I made them... all pretty good in Illustrator in the last course... they're at the right size, so I'm going to leave those. So what we're going to do now is... at the moment it starts right at the beginning... I'd like it to start just before I said the word 'House'. I want to click, hold, and drag this colored part. Drag it, drag it, you see the beginning comes along, so now... you can see, it kind of starts a little bit later on. Household. So we'll get the timing right in a second, but yes, it's about right. So, what I'd like to do is... I'd like to put my Play Head at the beginning of this layer here. Now I can kind of zoom in and make sure it's perfect... but our first little shortcut is going to be holding down the Shift key... while you're dragging your Play Head, near the current time indicator. So hold down the Shift key. And what happens is it will jump to significant parts in your Time Line. You can see, it jumps to the beginning of this. It also jumps to those markers, can you see? Jumps to the beginning, so just a really good thing... to hold down, holding Shift whenever you're dragging your Time Line. So first thing I want to do is... I want to twirl this down and I want to find this Scale. So I'm going to set the stopwatch going on Scale. So we've got a Key Frame... and this guy's at 100, I'm going to turn it down to 0. I'm just going to drag it. Too far. Now we'll just type in '0'. So it's at 0, then a bit further along. I'm going to drag it up to 100. So now, starts there. And very slowly, it appears. So what I'm going to do is zoom in a little bit on my Time Line. To zoom in, just type the '+' button on your keyboard. Just '+', nothing else, '-' zooms out. What I want to do is maybe just bring this inserts, happening a bit faster. It's about right. We'll play around with Easings, and a few other things... but it's kind of there. So, I'm going to twirl this in, so it's nice and tidy. And now we can start bringing in all the rest of them. You can see, the wife, okay. And I'm going to bring in... kind of my wife. And I'm going to drag it along, and start this. A bit further along, so it starts here. Holding Shift to get it to the front. I'm going to twirl this down, 'Transform'... turn this guy along, set it to '0'. Move it along a little bit. And then drag it up to 100. You can drag it past 100, it's times of 100. I can keep going through... and doing this for all the different Icon appearances... but what's going to happen is, I'm going to do it for all of these... and then the next thing I want to do is Easing... so I'm going to have to go and do that to all of them separately. Then I'm going to have to add some sounds... I'll have to do all of them separately. So what I intend to do is, I'm going to delete the Girl... and just going to work on the Home. Get it perfect, get it popping and bouncing, a little star burst. And then we'll duplicate it, and just switch it out, the Icon. That's a lot easier than trying to do it... repetitively for all the separate Icons. So let's work on Home, and then later on... we'll go and switch them out for all the different Icons. All right, let's get on to the next video... where we get rid of this... kind of lame, Powepointy zooming thing when I add a little bit of life to it. And that is called Easing. 10. How to ease animation in After Effects to make them look slick: Hi there, in this video we're going to look at Easing. Basically it's going to turn boring animation... into something a little bit more lifelike, and interesting. So the bottom one is going to be boring... the top one is going to be nice, with Easing. Boring, nice. Boring, nice. See? Easing just adds a little bit of life... to pretty much any animation in After Effects. Let's go and do that now. So to work on Easing, we're going to click on our 'Icon1 House'. And what we're going to do is twirl this down... so we can see the Keyframes that we're working on. Now, this can be quite complicated, as in, we've got... we can see, Anchor Point, and Position... it's quite messy, especially when you start twirling down a few of these. Gets all kind of ugly looking. To make it a little nicer, is have this layer selected... have it completely twirled up... and click the 'U' key on your keyboard. All that does is that it brings down... only the attributes that have Keyframes applied to them. So the stuff you're probably going to work with. So it's hiding Anchor Point and Position, they're still there. You can close it up, open them back up. But just type 'U'. Keeps everything nice and clean while you're working. I'm going to get my Play Head close, hit the '+' key to zoom in. Now at the moment, it's doing this kind of like... it's not very nice, I'm going to turn off the sound. See these here, I turn these off... just so that I can't hear the music. The problem is, if we export it... it will have no music and voice over, so make sure you turn them back on. Yes, they're a bit Powerpointy. Just kind of like appears a bit lame. So what I want to do is apply Easing. Now what a lot of people do, is they'll select this Keyframe... and this Keyframe, so I'm holding down 'Shift'... and click both of them, they go blue. Right click any one of them. Actually you can click 'F9' if you're on a PC. And that applies 'Easy Ease'. If you're like me, on a Mac... and F9 opens up a bunch of other things... like iTunes, or something... you can't use that shortcut. But if you right click any of them... go to 'Keyframe Assistant', and there's 'Easy Ease'. That there changes them from diamonds to these little hourglasses. And it gives it a little bit of Easing. Watch this. It's better, a little hard to see... but it gives it a little bit... of resistance at the beginning and the end. Gives it a little bit of life. And that's going to be a huge part of this class. We're going to look at Easing, plus a bunch of other tricks... to give our Icons a bit of anthropomorphism. So what we're going to is-- So Easy Ease is great, I never use it... because I like to crank it up even higher. So to do that you can manually type it in. So I'm going to right click it, and we're going to go to this one. Instead of 'Assistant', go to 'Keyframe Velocity'. So what Easy Ease does is it changes it from 0 to 33.3%. And that's kind of like, gives it a little bit of influence... but I like to crank it right up to 75. 75 for both of these. Both the in and out points. Works fine, click OK. So it's kind of like an Easy Ease, but it's like an extreme version. Now click back, and watch. I like it lots more anyway. Just got a better flow to it. If it's going a little fast, like mine is, I'm just going to... click on one of these icons and separate them out. That's got a nicer feeling to it. That my friends is considered Ease. We're actually using Velocity... but you can use those terms in this case interchangeably. Now we could do it to the Fade In. So I'm going to zoom out, go back, I'm going to minus out a little bit. See my whole animation. Remember, this Text fades in. So to see, click on the Text Layer. How do I see just the Keyframes we made for this, remember the Fade In. That's right, clicking 'U' on the keyboard. So here's my Keyframes. Now I could do Easing for this... but for Opacity, I can't see the difference. You might decide that you play around with it... and you're like you can see the difference in Easing and Opacity... and that's totally fine. Doesn't really matter what Velocity you play around with it... there's not a whole lot of difference... when you're playing with Transparency or Opacity. So I'm just going to leave those... and get on to the next video. 11. If you get lost in AFX and can’t find your animation any more: Okay, I'm going to show you this one now... because you probably, if you haven't got lost already... you're going to get lost at some stage, especially if you're new. And the main culprit is this. So I'm looking my Comp here, 'Value of Sleep'. And then I click on this, and I'm a double clicker. And I double click it by accident. And I end up in here, and I'm like, "Where has everything gone?" It might be blank, you might have... clicked on something else, like the background... If I unlock that, and double click it... You've gone inside of it, and you're like... "I'm sure there was some text here," but it's all gone. All that's happened is you've gone inside the layer. Here's my Comp back here, with all my lovely stuff on it. But you can dive inside any of these objects by double clicking on it. Problem is, the Time Line doesn't change. So all you need to do is close it down, or just jump back over here... where it says 'Composition'. Nothing's been lost. You'll find, that will happen to everybody eventually. All right, next video. 12. Adding free sounds little pop noise: Hi there, in this video we're going to add... little noises behind our animations... to make them feel more real, like this guy. Creatives. Now there is an ongoing debate in our household-- There he is. See that little blop noise? Let's go figure out where we can find them, and how to implement them. So let's first of all find our sound. So if you need sounds for interface kind of things... like we're going to do for this pop... you need some clicks, some bumps, some groans... just like little noises. Often the term to look for is Interface Noises. And there's no real one place. I use freesound.org quite a bit... because their licensing allows me to use them for free. But double check the licenses before you go and use them. And the weird thing is looking for them. Like, say you want a noise, and you can hear it in your head... I'm not sure if I'm explaining that right... but you know what that noise is... but how do you describe it in words? So you might go 'zap'. Like in, this bit of noise. Boom, wow... Or bloop, is the one I want. That's the one I wanted. Not advisable. You can download them easy, by clicking on them, and downloading. I've got one ready for us in this animation. So let's jump into After Effects. What I did was, in your audio files that we brought in earlier... I've made this 'Blop'. And actually just recorded it myself, I made a noise. I made a noise on my microphone like this. Or... Any sorts of those noises, I use quite a bit for my animations... because I get the exact noise that I want. And I can use them commercially because I made them. You're allowed to use my Blop whenever you like. You have my full rights. So what I'd like to do is just time it right. So my house appears, and I'm going to bring in this Blop. Nice. Now what I might have to do as well... is turn my audio back on just to get the timing right. 'The Value of Sleep', turn that sound on. Now, trying to time it all together. Probably needs to come along a little bit. It's not bad. Everyone's is going to be slightly different... because you're working on your own file. Maybe a little bit further on. Then it comes down to-- It's a little bit of art, trying to get everything timed nicely. That feels okay. It's maybe going a bit slow, my little Pop as well. Anyway, we've looked at where to get sounds from. We've made our own, and we've applied it. These are one of the things that get often overlooked... when you're watching somebody else's Infographic... and you're like, "Ah, that's cool." And you don't notice all the little noises in the background... that kind of add the life to the little animations. So just keep an ear out for those sorts of noises... and see if you can find similar ones. End of it, you get to add it to your own work. All right, let's get on to the next video. 13. Creating a circle pop or circle burst in After Effects: Hello world, in this video we're going to... look at doing a little Star Burst. Watch this, icon up here, watch the little Star Burst. It's this little effect we see... that little star bursty ray thing that appears... at the same time as the Icon. We're going to make that in this video. So the first thing we need to do is draw a shape. Now you can't just go and draw a rectangle, and use this. We need a rectangle... but we need the center of the world in the middle of the rectangle... and it's a lot easier to do that if we just double click up here. I'm going to use the rounded rectangle tool... just looks kind of cool, with that being a little bit blobby. And just double click the Icon. It throws in a rectangle right in the center of that space. It's far too big, we can re-size it, it's no problem. There's a few different ways of re-sizing things. If I grab the edge, I'm actually scaling it. I want to actually change its physical size. And we do it by, down here on my Shape Layer... under 'Rectangle1'... in here there is 'Rectangle Path'. That's its core, 'Size', 'Position', and 'Rounded Edges'. So what I'd like to do is, I'd like it to be a size of about... I want it to start at a width of about 30, and a height of 0. And what you'll notice is... it gets down to 0 if you don't unlink this. So I want the width to be 30, and the height to be 0... to make sure that chain link is broken, otherwise they're connected. And what you'll see is-- I'm going to zoom in a bit. You can see it's 30 pixels wide, and 0 high. That's how it's going to start. What I'm going to do is bring my Play Head back to the beginning here. So what I want to do is animate this, so I'm going to turn on my Keyframe. So at Frame 1, the size is going to be 30x0. And then after about a second... it's going to be 0... so it's going to be very thin, but very tall. How tall? I'm going to make it about 60. It really depends on what you want to do... and watch, can you see the difference between the two? Kind of goes bloop. I'm going to go back to 'Fit'. I find this is good because I can see it in proportion to everything else. Especially because now I want to move it. So we're going to set a Keyframe for Position. Make sure your Play Head is here at 0. Move along to this one. Remember to hold 'Shift' on your keyboard... and it will lock onto the exact same position as this Keyframe... so that line up. And where do I want it to go? X and Y, Y is the second one. And I want to drag it to kind of to the negative... which means they go up, weird, huh? So it's going to start down there... and then move up there afterwards, sort of 2 Keyframes. I'm going to preview it. If you're like me, while you're previewing... it's a little hard when... there's all this sort of music playing... and everything animating behind it. So what we're going to do is... on our 'Shape Layer' here, just twirl it down so we can't see it. And what I'd like to do is... just turn off the Eyeball on these other layers... and the sounds off this layers, we'll turn that back on in a second. Just so that we can see this guy in isolation. So we've got this little guy, he's doing his little thing. The animation is not very nice. So we're going to use the 'U' key... that will show us the Keyframes for this. I'm going to select all these guys... and I'm going to right click one of them... and go to 'Keyframe Velocity' and change to my famous 75%. Click 'OK'. One thing you'll notice is that, I tried to do them all at one go... but I only did one set. I hadn't done these guys... because Size changes X and Y. So there's two options in here... but Position only has-- we're only adjusting Y. So, it can't do both of them at the same time. So you just have to do these separately. Sometimes you can change them all in one big go, by selecting them all. Sometimes though, you do them separately. Hopefully it will look nicer now. The edge around the blob, nice. The next thing I need to do is kind of repeat it round in a circle. So I'm going to put my Play Head half way between these two... just so I can see it. And what we need to do is add what's called a Repeater. You do it, I'm going to have to twirl it up, twirl it back up... to see everything in here. Make sure you've got 'Layer1' selected. 'Shape Layer1'. Click this word 'Add'. And add this one called 'Repeater'. Repeater is an effect, what we can do here, let's have a little look. Goes three of them, here you go. Have it back in the middle here. What we want to do is open up Repeater... and we want to change a few things. One is, how many copies? I'm going to have 13. It doesn't really matter how many you have. You can experiment with what looks good. And you can see now, it's got 13 of them. By default what it does, is that it repeats its position. 100 pixels to the right. So what we want to do is, go to 'Transform Repeater'. And where it says 'Position'... we want to say, actually we don't want to repeat it. Do that 0, so there's 13 of them all stacked on top of each other now. What I want to do though is... I want to play around with the rotation. Now, divide 360° by 13 little copies, I have no idea. So what you do is, you go 360 divided by how many copies you have. You can do Math in any of these little fields. If you're terrible with Math like me... let the machine do it, 27.7 Awesome, huh. Now if yours isn't looking good like mine... and it's going to maybe spiraling off... this happens in my class quite a bit... is that you'll not change positions... and it does this, it's kind of cool... otherwise it's kind of weird, so just make sure Position is set to 0. And, there we go. That's our little Star Burst. Now we're going to turn on our Layers... and move it, so it's in the right spot. So what we'll do is... collapse that one, turn the Eyeballs all on. Turn the sound on for the Blop, the music in the background. And what we'll do is we'll reposition this Shape Layer. Problem is, it's quite hard to do. Where is he? There he is. Quite hard to get your fingers on him. So it's a lot easier to actually twirl this down... and I'm going to twirl that right up, and use this one that says Transform. I'm going to play around with the Position. And I often use Position... to drag things around rather than using the cursor... like we do in lots of other Adobe programs... just because it's so hard to do when it's so small... or the Opacity is down at 0. So what I want to do is play my Play head until... our little pop up guy appears, there he is there. This little Star Burst needs to start along... at about the same sort of time. Now it's kind of close. What we also want to do is play around with the Position... so you go... over there. And you go down a bit, and you go there. Now we're going to play it, and... How good is that? It's kind of cool. So if yours is doing something weird, and you're like... "I still can't do it"... you then have to go back to this tutorial... and do it exactly step by step. What you'll find is, say here, in the Shape Layers... there's lots of it, there's 'Transform', 'Position' here. There's also 'Transform', 'Position', and the 'Repeater'. There's also, in the rectangle here, there's 'Position'. So you just got to make sure you follow me exactly to make this one work. The cool thing about it though is, once you've done it once... and you want to use it for another job... just go and copy and paste this Shape Layer... to any new Comp, or any new Project you're working on. Or even better, just steal my one. My one definitely works. I'll save that now... and it will be part of what's called the completed files. You'll see a link to it on the screen somewhere. All right, that's our little Circle Pop. 14. Animation TIP Motion Blur: In this video we're going to look at Motion Blur. Motion Blur makes everything look more awesome when it's moving. See the top one, Motion Blur, bottom one, boring, no Motion Blur. Let's go and learn how to do that in After Effects. To add Motion Blur, I'm just going to get my Play Head... so it's kind of around the Icon exploding part of my Time Line. I'm going to zoom in a little bit. Move along, I want to get him close enough, there we go. And I'm going to play it. At the moment it's quite vectory. We want to add some Motion Blur. And you're going to remember the first part, which is... see this little icon here, this little worm looking thing... that's the Motion Blur column. Within that column, I'm going to turn on this layer here. So we'll work on the house first. What we might do is turn the Eyeball off on this Circle Burst. You'll notice that it's not Shape Layer 1 anymore. I renamed it Circle Burst... in between videos, just because... To rename, you right click it, and say 'Rename'. So, Icon1, and what I'm going to do, you turn it on... and nothing changes. What you need to do is turn on the Master Switch, which is this one. So what you can do is, you have the Master Switch turned on... and then you can decide... each layer that you would like to have Motion Blur... which ones you don't. Just remember to turn them both on. Let's have a preview. I guess it's a little hard to see, but when I slow it down, can you see... it's blurring when it's moving fast. Like it would do in your video with a regular camera. Adds a bit of life to it, so I turn it off, sharp. That, blurry. That's one of the big difference between... using something like this to do your animation... and Adobe Animate. Adobe Animate doesn't allow you to do Blur very well. This Motion Blur is a really nice way to add life to Icons. That's good for that one, let's turn it off... and turn the Eyeball on for the Star Burst. And do the same thing, turn the Blur on. Give it a preview, let's give it a look. Just looks good while it's moving fast, being blurry. So let's do them both on, Combination, Motion Blur. Awesome. So pretty much, any time I animate anything... I might try to turn the Master Switch on... and then turn on the specific Layers. And that my friends is Motion Blur. The first of our animation tips. Let's go and look at some more. 15. Animation TIP Over shoot: In this tutorial we're going to look at Overshooting the mark. You can see this one gets bigger... but then needs to get a little smaller, and bigger again, a little bounciness. We need to do it to this, to learn... then we're going to jump to our 'Value of Sleep'. And we're going to do it to our Icon there as well. All right, let's go and learn how to Overshoot. Let's get something to Overshoot. First of all, we're going to not work on this project, okay? We're going to actually work on a separate little job. And we can do it in its own little Comp. You know we have one Composition, that little Icon here. And it's our Comp that we see down the bottom here. You can have more that one Comp, more than one page in a document. So 'New Composition'. 'Composition', 'New Composition'. Give it a name, this one's going to be called Overshoot. It's going to be great, and we're going to make it... 5 seconds long. Background color is going to be black. Click 'OK'. I show you this because I want you to know... you can have more than one Comp in a project. So here's my handy dandy main Comp. But I'm going to work on this other project in here. It's like a separate little group. That's where we're going to do our project. So what I'd like to do is, let's jump into Illustrator. In Illustrator, let's go to 'Open'... and in your Project Exercise Files... there's one called Icon Pop. And let's grab 'Animation Overshoot', not Offset. What are we doing in here? We're just practicing... because I want this thing, I want to drag it into My Library. If you can't see your Libraries, go to 'Window', ' Libraries'. Drag it in, it's that part. There's that part I want to use in my Animation. You can draw all of these in After Effects. It's just that the tools aren't very good to do it. So everybody draws in Illustrator, not everyone, but most people. Now I don't want this big box, I just want the color from it. So with it selected... hit the '+' button, 'Fill Color'. Thank you very much. Let's rebuild you now in After Effects. So that credit card is kind of like a separate little exercise. So what we're going to do is we're going to show you... how to build another Comp inside your project. Think of a Comp as a little group. You can see it down here, Google group of Layers. But you can have more than one Comp. So I'm going to go 'Composition', 'New Composition'. I'm going to call this one Overshoot. Make it about 5 seconds long, works for me. Background color, I'm not worried about. And what we're going to do is... put in a background color. Remember, it has to be 'Layer', 'New', 'Solid'. Color wise, you might have to scroll up... in your Libraries to be able to see the colors at the top. Click the little 'Eyedropper' tool, click the 'Blue'. Click 'OK'. We've got a Layer there, I'm going to right click it. Give it a name, call it 'Background'. We'll lock it, so we don't wreck it. We'll zoom out a little bit, actually I'm going to go to 'Fit'. So we can see everything. I'm going to build... little Compositions, the credit card thing goes there. The actual green credit card thing goes there. What we'll do is we'll do a little Scale Overshoot. But you can do a Slide-in Overshoot, anything you like. Now there's two ways of doing it. We'll do it manually first, it's not that hard. But there's an automatic way afterwards. The only trouble is the automatic way doesn't work every time. So let's do it the manual way first, then we'll look at automatic. So here we'll Twirl down, we'll find 'Transform'. We'll do 'Scale', turn the stopwatch on. Make sure the Play Head's at the beginning. And we're going to set the Scale down to 0. And then, after some time... about that time. Mines at 14 frames. I'm going to Scale it up to just past where we need it to be. So 120, maybe. Maybe a little bit less, we may have to play around with it. It really depends on your Artwork. Then I want it to go back, kind of bounce back. Not to 100% but maybe 90. That password should be-- You can kind of see what we're doing here. We're going Overshoot. Back, but we're Overshooting back pass... where we need it to be, which is 100%. And then now, I'm going to go up to 105. And then, one last one, which is going to be 100. Now we got to play around with the timings... I'm going to have to add Easing, because at the moment-- You get a kind of a sense of what we're going to do, right? It's not that hard to do. We're going to select them all, and go to 'Keyframe Velocity'. 75. 75. The only trouble with that is that it's quite intense. So what I might do is, undo, and I say-- Remember, I never used Easy Ease. It's going to work in this case. It's quite a bit with Overshoot. Now timing wise, I'm selecting all these guys. I'm just kind of creeping this in. Time to get my kind of... idea of how the timing's going to work. You're going to have to play around with it yourself. What you can do though, say it's all happening too slowly. You can select all the Keyframes... instead of trying to move them all along... you can select all the Keyframes... grab the last one, well, not yet... holding 'Option' key on a Mac, or 'Alt' key on a PC... and grab the last Keyframe, and just drag it to the left. You can see they're kind of compressed. And it makes it heaps easier to reset the timing... rather than trying to move them individually. So now, goes in... Hold the last one. Now it's going to go... I'm not sure why I add the sound effects. Anyway, that is a manual way of doing Overshoot. Same principle for moving it forward. Go past where you want it to be, back a little bit, a little bit... Eventually it rests in the middle. We'll hit 'Save'. And this Artwork here, I'm going to right click it, give it a name. I'm going to call this one Manual Overshoot. I'm going to do an automatic one with an Expression. So, what I'd like to do is just turn the Eyeball off on it. And bring in Artwork1 again. I could drag it in from here, or it's already over here, in my files. Artwork1, here we go. It's not in the exact same position, I know, I'm not worried. So to automatically do it... Keyframe at the beginning, Play head at the beginning. I'm still going to have to set the basic Keyframes for this to work. So we're going to Twirl this down, and we're going to go to 'Transform'. We're going to go to 'Scale'. I'm going to start it at 0, and then after some time, like this... we're going to-- mine's at 16 frames. Scale it up to 100%. So we have to do that, but that's all we have to do. No Easing, no extra bumps. Now we need to add what's called an Expression. Expression is what After Effects calls Coding. We're not going to get into too many Expressions in this course. Just the handy ones. And to set Expressions... first of all we need to grab the code... I've already got it, it's in your exercise files. I didn't write it, I borrowed it from someone. And when I said borrowed it, I stole it. But it's okay, they said it's okay to steal. They put it up on the internet for people to share. So in your Exercises Files, there's one in here called Expressions. And there's one in here called Expression - Overshoot, open it up. Select all of the stuff that's in here, copy it. I've left all the credit for the people that did make it. And it's an edit of an edit of somebody else's edit. And I've got it pretty sweet now. So what you do is, over here, see the little stopwatch here? To get an Expression applied to the Scale here... you hold down the 'Alt' key on a PC, or the 'Option' key on a Mac. Click it once, it then goes red. And that isn't the Expression in here, so I want to delete what's in there. And paste that random stuff that we found. And just click out anywhere else. There's this big Expression applied to this Scale. Go back, [be embed]. Okay, not that great, but if you tidy these up a little bit... it start to look pretty sweet, right? Now we're good. So that saves us having to try and time the Bounce in and out. We don't have to play around with how far these are apart. We don't have to play around with Easing, it's really handy. The only trouble is that it doesn't work every time. It works if you have two Keyframes... but if you have to have a few different Keyframes... say this credit card kind of moves up, then left and right... and you want it to bounce... it's not going to work. It only works if there are only two Keyframes. So we're going to close this one down now... and apply this to our original animations. It's just a little test case. So we're in this Overshoot Comp. I'm going to close it down, back to my main Comp. And what we're going to is... we're going to apply it to this little Bounce. It was looking cool without Easing, but we're going to go and replace it. Now the one thing we need to do is... first of all let's look at the Icons for Scaling. Remember, with the Layer selected, to view... it's going to show me my Icons. It's not going to work because we've applied Easing to it. So we need to remove this Easing... because it messes with our Script or our Expression. To get rid of them, the easiest way is to... hold down 'Command' key on a Mac, and click them. Or 'Control' key on a PC. Just gets it back to diamonds. Now we're going to insert our Expression. Remember, we hold down a key and click the stopwatch. And that key is called, that's right... Alt on a PC, Option on a Mac. Give it a click. In here, I'm going to replace this, delete it. Paste in our lovely Expression. And then drag our Time Line back. And prepare ourselves for... A little bit slow. Can you see, it's going really slow. So we're just going to bring these two together. Select just one of them, bring them together. Nice. You can decide on how far apart these are. Awesome. Now in this case it's probably not appropriate... to do it to the Star Burst... because we don't want that to bounce back. We like it to kind of just continue on and then stop. That my friends is Overshoot. But before we go, this has been annoying me. These need to be in there, you need to be in there. When you drag them out from the Libraries-- Libraries is messy, just kind of dumps them into your Project window. Now it's tidy, and I'm happy. 'Save'. And let's move on to the next video. 16. Animation TIP Vignette: Hi there, in this video we're going to apply a Vignette. A Vignette looks like this, around the outside. Turn it off, boring Vignette. Awesome. Let's go and do that now. It's not really an animation trick. Just looks cool when you're dealing with Motion Graphics and Infographics. So Vignette, it's easy to apply. The first thing we need to do is... create what's called an 'Adjustment Layer'. Adjustment Layer is an invisible layer that we can apply effects to. And we're going to apply a Vignette to this one. So, to find it, we're going to go to our 'Effects & Presets'. And in here, we're going to type in something called 'Lumetri'. If you start spelling it, you'll get there. Lumetri Color is the thing we want. And click, hold, and drag it. It's probably best to drag it to the actual layer itself... so you know you got it on the right spot. And one of the options in here, under 'Vignette', is the 'Amount'. We're going to drag it to the left... and you'll notice in the background there... I'm at -1.7... and we've got a kind of a Vignette. Whether you like this or not, I love it. I love it, gives it that kind of film quality look. So to turn it on and off, you see, where it says 'fx', turn it on and off. You can have a white one. If you drag it to the right hand side, it's going to be a little slow. Not sure when-- it's like the heavenly glow. Never used that one. -1.7. That looks good to me. That is how you apply a Vignette. If you're sitting there thinking... "Why did we make it dark around the outside?".. you're probably not a Vignette person, I'm a Vignette person. Watch any of my videos. Everywhere, I overcook it, and overdo it. One day I'll get it out of my system. Before we go, let's rename this Adjustment Layer. I'm going to call this one 'Viginitte'. I can never spell Vignette. Is that close? I don't know. That's close enough. Now the only problem with the Vignette... it needs to be at the top, the whole time. But as you keep adding things... you'll potentially add stuff above it. And what happens is, say that I get this underneath the Icon... you'll see, the Icon is not affected by the Vignette. This Adjustment Layer affects everything underneath it... but not anything above it. So just be careful of that. All right, let's get our next tip. 17. Animation TIP Anticipation Up before down Graph editor: In this tutorial we're going to look at Anticipation. When things go up before they go down, or left before they go right... or they get big before they get smaller. We're going to learn it, and we're going to... learn how to use this Graph Editor down the bottom here. All right, let's go and do it with this Type. To make it work, what we need to do-- At the moment we've got beginnings and starts playing. Fades in, and it's running a little bit slow. So I was going to save this for a tutorial later on... but my machine is having a bad day. It's trying to record the screen for you... and do this HD animation at the same time. So what I'm going to have to do is, see where it says 'Full'... Yours might be set to 'Auto', so it's in brackets. What we're going to do is set it to 'Quarter', so... just means the resolution and preview is going to be a bit... you can see, it's gone a little pixelated there. So that versus 'Full'. Doesn't actually change your output. Just means previewing within After Effects is a little nicer. I'm going to zoom out so I can see the edges. Now, what I want to do is, remember, down here, you see this Type. Remember, 'U' shows me the Keyframes. Now I've got this first Keyframe where it fades in, I'm going to keep that. These last two Keyframes I don't want. I'm going to get it to Transition out for the jump. It's going to stay for a while. Now what I want to do is I want to put in a Position. So we're going to open up Position. Now, a cool little shortcut is I can just type 'P' on my keyboard. And what it means is, instead of having to open all of this up... and find Position, I just tap 'P' on my keyboard. So it's the first letter. S is for Scale, R is for Rotation. It just saves you time jumping around... trying to twirl these down and figure them all out. Plus it's a lot tidier. The only one thing a bit weird is you don't use 'O' for Opacity... Use 'T' for Transparency. O does something really weird. If you do hit 'O', it ends up way out here. It just means, the Play Head has ended up past the screen... in no man's land, you've got to kind of drag it back. Don't click O, you will though. So where were we, about there, about 3 seconds in. I want it to get it to jump down, so remember, 'P' for Position. And I want to set a Keyframe, and a little bit later-- It's hard to know beforehand... how far to keep these apart to make this look real. You have to really play with them afterwards. It's because it really depends on the size of the object you're moving... and how much you move it, and how fast you move it. So what we want to do is, we've got our first Keyframe there. Our second Keyframe, I want it to go up a little bit. Not that way, I want it to get up a little bit. Get it to go up high enough. I find, if you do it too low, it becomes really hard to work with. How high is that? Too high. There is a limit to the height. So it's going to go up a bit... and then after a little chunk it's going to go completely down. So I'm going to move it down to the bottom here, so it starts up. Starts down. You saw, I used Position instead of dragging out. It's just easier, I often use the Position Slider. Now by default, looks pretty grabby. So what we want to do is... we want to add some Easing. Now if I right click all of these guys... and we're going to use Easy Ease in this case. What happens... It's not great. So we're going to have to get to using something called the Graph Editor. Up until now, and pretty much after this... you get away with just using Velocity... and picking Influence, or using Easy Ease... but now we're going to have to use the Graph Editor. And if you find it a little bit tough, it kind of is for new people... and if I was truly honest with you, I find that little bit tough as well. So, to switch to the Graph Editor... it's this little icon here. I've got these icons selected first. So I selected these Keyframes, click on Graph Editor. And that's what's happening. That's why it's looking a little bit weird. Just that kind of weird little jump doesn't quite work. It's because this flow is not very nice. At the moment though... the X and Y co-ordinates are stitched together... and you can't adjust these little handles. So what we have to do is we need to break them apart. This little X and Y. You'll notice, when you break it apart, it actually changes. It's one of the quirks for it. Now what we want to do to make this thing look nice... is we want-- So this is the two Keyframes. See my Play Head, that's when it's normal. That's when it's up high, and that's when it's down low. So what we want to do is, it looks really good... if this is a nice smooth kind of line at the top here. And these ones here, I'm going to kind of adjust. You get to play around with them... but this one here is going to come up a little bit. This nice bend often looks good. Let's give it a go. It's got the right kind of rhythm, it's just maybe not fast enough. So we're going to jump back from the Graph Editor. You'll notice that it split them. When we did that in the Graph Editor we say... separate the X and Y. So now we got two of them. We don't really need X or Y. Which is the other one? I can never remember. I’m going to leave them both here because-- So what we're going to do is play around with the timings. So I might just grab this, tighten this one up. This one, tighten it up. Just so that it happens a bit faster. Maybe not quite enough. It's working, it's definitely looking-- I'm going to turn the mute on these two, they're driving me bananas. So it's getting there, right? Switch back to the Graph Editor to make sure we haven's wrecked in here. Switch back, and start playing around with this. You can kind of start to see. I might go a little higher, so I might get to here. And I'm going to work out if it's X or Y. It's Y, the whole time. So we don't need X, you can just bin X. Just start to clean it up, now I'm going to go zoop. I kind of wrecked it even more, so it's getting higher. Then it's faster, and there's speed in there... so you end up playing a lot with this to see if you can make it work. Now before you leave, I have to make it look nice. It's getting there. Let's have a look at the Graph Editor... just to make sure, before we go we haven't wrecked it. There, I think, that feels good. When I said before it needs to be this perfect curve... actually it will look nice with a little double bend here. So bending kind of out and up. So it kind of starts slow... goes faster in the middle, gets slow again, and goes faster at the end. I'd like to save that to last... a little bit for the end, to make sure you're still watching. Let's spread it out a little bit. It's been ages kind of making this look great. I'm happy with that. Now to make it look even nicer is to turn the Motion Blur on. Make sure it's on for the actual project, as well as the layer. Let's give it a little go. Looks nicer when it's moving, can you see? I don't know why I add my own sound effects... but I do that throughout this course. It took a little while but there's a lot of finesse... when it comes to getting things to feel... the right kind of feeling, the right kind of white when it's moving. It's called Anticipation. And it makes inanimate objects look a little more real. Let's get on to the next animation tip. 18. Animating TIP Off set two objects moving just after each other in After Effects: Hi there, in this video we're going to look at Offsetting our Animation... so that two separate guys can follow each other in. And they kind of look like they have a cool little relationship. Super easy to do. Let's go and do that now in After Effects. So to make the Offset happen... what we're going to do is we're going to make a new Comp. But it's going to keep a separate form of animation here. It doesn't make much sense, this part. We've got one kind of animation technique going, our little Overshoot. Let's go 'Composition', 'New Composition'. This one's going to be called... 'Offset'. And I'm going to make sure the back end color is black. Duration's only 5 seconds, that's fine. Let's click 'OK'. Let's bring in our Icon... so I'm going to double click in the area down here. I'm going to skip using Libraries at the moment. I've got them here, they're called Offset1 and Offset2. So then I bring in Offset1 first. It's this little clock in Offset2. I'm going to put them so they're overlapping a little bit. Using my arrow keys just to bunch them around because... it is difficult dragging them with the arrow. So I want them to be there, any means necessary. I'm going to drag it down a little bit, actually it's going to be over there. So, bit of overlapping going. And if the overlap is wrong... and you got the other one on top of the other guy... what you can do is just make sure, here... Offset1 is at the bottom, you can drag them around. Now he's on top, now he's at the bottom. We need to put in our two Keyframes on Position. What we're going to do is do some awesomeness... where we do two at a time... because they are two separate objects, we want them moving separately. We're going to hit 'P' on our keyboard. We're going to set Keyframes for them. And we’re going to pull them off screen. I'm going to zoom out a little bit so I can see off screen. Then we might drag this. Just to make it a little bit easier. And after about-- the timing's hard to do at this stage. Drag him on. So they kind of move on. Not very exciting. And we're not going to do the Easing, we could. Because I'm going to use the Expression that we had before. There it is there. I'm going to copy it. I can't apply the Expression to both of these at the same time. So I need to hold down the 'Alt' key. Click on the stopwatch for Position. Paste it in there. Do the same for this guy, paste it in there. Now there's this cool little thing going... where it bounces around. I'm going to play around with these guys. Bring him in a little bit, a bit faster. I don't know why I'm that far out. And we're going to do the Overshoot... by just playing around with the timing here. So that this one starts first... and this one comes along just afterwards. They kind of look like they're... kind of buddies, doing stuff together. Just a little offset, it can be really good, just subtle stuff. We're doing a big obvious Offset here... but it can be great where say you got a character... and they kind of jump into the screen, they're here. Could be separate on a separate layer... and they just got like a little bubble. Or any sort of loose clothing or anything. Just Offset it, and stuff starts looking quite cool. Other things to remember. Turn Motion Blur on, everything looks nice with Motion Blur. And that is Offset. On to the next video. 19. Animation TIP Vector Redraw: In this tutorial we're going to look at what happens... when we scale something up nice and big. It rushes towards the screen, and it gets all pixelated. I'm going to show you how to make it like this. All vector and clean. And basically we just turn that button on. But, let's do it in our little tutorial. It seriously is, just doing that button. So we're going to do this with a little example file. So we're going to a 'New Composition'. We're going to call this one 'Vector Redraw'. And we'll leave it all like this, 5 seconds... we're going to change the background color too... I'm going to click on it, change it to white. Just to save time, we should put a solid in... because what's going to happen if we change the background color to white... when we export, it's going to go black. So we're just cheating now. So 'Vector Redraw', and what I'm going to do... is I'm going to double click. Remember that's the shortcut to import. We're going to bring in the Bring Your Own Laptop logo. There it is there, I'll put it in my Files folder. These Offset guys, get in there. And in here, Bring Your Own Laptop, bring it in. So that's cool, and I want to Scale it up. So what I'll do is... up here, I'm going to hit 'S' for Scale. So the time they're going... and when it gets bigger, maybe about half a second... I'd like to Scale it right up, just going to go... Kind of like it's flying towards the camera. I don't know why I do these sound effects, I don't have to really. But the problem is, can you see? A, it's ugly because we haven't added Easing yet... but you see, when it gets really close to the screen... it has pixelated, looks really crappy. It's Vector, so it should be fine. All you need to do when this happens is... this little check box here... see this little sparkle... you can see there, it says 'Continuously Rasterize'. It's going to redraw it every time, on every frame. Why wouldn't that be on by default? It's quite system demanding. So if you've got lots of Vector shapes, all flying around... and there's no need to redraw them every single time... it doesn't, unless you force it to, by clicking this little gap in here. And it goes nicely. Couple of things we're going to do to finish this off. You can skip now. We're just going to sex it up a little bit I guess... and practice our use of the Graph Editor. And what I'm going to do is... maybe just apply Easing to both sides of this. I like to apply Ease even if I'm going to use the Graph Editor... because what happens is, once you jump in to the Graph Editor... got them both selected... it kind of gives you some handles to work with. If you don't, and I undo, it's just a flat line. And you got to click on these points, and then go in here, and say... I'd like to create an Easy Ease in this one. Create an Easy Ease in this, and that's fine. Do it either side, I don't mind. Now the cool thing about this is that... because we're only doing one thing... these guys are tied together... we don't have to split them. Remember, in an earlier tutorial... we had to split the X and Y, which is down there... but it's grayed out at the moment... because these guys don't need splitting. And all we want to do is play around with these handles. And whenever it comes to like-- So what we've done up until now... we've kind of made it slow at the start, the beginning, and fast in the middle. What I'd like to do in this case is, I want it to be slow at the beginning. And go slow, and as it goes along, it's going to get faster and faster. So, let's have a look at this now. I'll bring my Play Head here. So it just kind of starts, and then gets faster as it comes towards you. Is it brilliant? I'm not liking it at the moment. I'll play around with it. Now it's getting better. Go back to the Graph Editor. It's kind of doing what I want. Now he's messing about. Yes, it's cool. Turn the Motion Blur on, it's up there, turn it down here. So when it starts really moving... it starts doing the whole blurring motion... but it's actually a nice blur, rather than just pixelating. And there's a lot of time when it's down here... it's actually redrawing nicely as well. So that is Vector Redrawing. Making sure that your graphics, any graphics in Illustrator... don't become blurry when they get scaled. 20. Animating TIP Puppet tool: Hi there, in this tutorial we're going to... make things all floppy and real like this... using the Puppet Tool. Let's go in there. So we're going to do this in a separate Comp. So up here, 'New Composition'. We're going to call this one... 'Puppet Tool'. Everything's going to be the same. I'm going to use some off gray, don't know why. And we're going to bring in some files. I'm going to show you different ways of bringing them in. Here's my exercise files here, Puppet1 and Puppet2. We've been bringing them in, in a kind of official way. You can actually just drag them on to the page there. You can see, they've come through, I'm going to put them in my files. If you're on a PC, works the same way. You just need to have the window open in front of it, just drag it in. Off you go. So what I've got is Puppet1. We're going to put them right in this space. Puppet1's at the bottom, we're going to lock it... because it's the cogs, we're not actually going to turn those. You can easily turn those into animated cogs. What we're going to do is... our example, where we get this to fly and be a bit bendy. We'll zoom out a little bit, so we can see everything. So, first of all we're going to add our little bit of animation. So, on this we're going to hit 'P' for Position. And we're going to start the stopwatch, and we'll start them over here. And after about... that much, 10 frames. He's going to be, maybe a little bit longer. 14 frames. I'm going to drag him in, holding 'Shift'... so it goes perfectly straight. It's up to you. So you can start dragging first, and then hold 'Shift'. So we got the first bits. And what we might do is... we might add some Easing now. We've added Easing to the beginning and end. The whole way through this. So what we're going to do in this case... is we're actually going to add Easing to this last one... because I want it to start fast... and slow down here at the end. So I'm going to add 'Velocity'. And I'm going to get it to slow down to '75'... because that's my favorite. So now, it's going to zoom along... then kind of slow down, and stop there. If it doesn't... if I click it again, go to 'Keyframe Velocity'... and we're going to change the speed here to '0'. And now it should do it. Great! Awesome! So, what we're going to do is get that little tail and the bend. So it's going to zoom along, come around, stop... and we want it kind of bending out. To do it we need to add some Puppet Points. And it's hard to do when it's off screen... so we're going to move it, so it's kind of half way there. Grab the Puppet Tool, which is this guy there. Click on that, and we need three in this case. We need one there, one in the middle, and one at the end. You can have as many as you want... depending on much control you want over it. The less pins, the easier it is, and more natural it looks. Now these are actually adding Keyframes at the same time. So if I click on the Puppet Tool, and hit you... Here are my secret shortcuts showing me all the Keyframes... if I move this all the way. Here's all the Keyframes that have been made. I kind of made them at the wrong stage. I want them to be all the way over here at the beginning. It's just easier to do... obviously on its own screen, than it's off screen. So, first up, I want to grab this guy, stroke up my Puppet tool. I'm going to drag this one, and kind of drag-- Oops, undo. I've got them all selected down here, so I'm going to click off. I'm going to grab this guy. And I grab this guy. And then, if you slide along, it's kind of what's happening. It's kind of zooming across, so let's hit 'space bar'. So now what we need to do is... when it gets close to this end part here... we need to just move the Keyframes around. So I'm going to grab this one, straighten it back up. To be honest, I probably should have left one more Keyframe... in the head there to stop it bending, but, hey ho... We're getting there. You can see, it's not doing the flippity flop that I want. So I'm going to line it back up here. And actually what I wanted to do is go a little bit past where I wanted it. So it's going to go like that. And after a couple of more frames, it's going to kind of flop back. Here we go, floppity flop. Not too far. And another couple of frames... we're going to get it go just a bit back further. We're getting close to its kind of final rest. And we go there. Now, the timing is all going to be a bit mixed up when you first do it. So we're going to have to play around with it. So let's not get too excited. Let's click off. And space. It's not our best... but you get the idea, right? That's what we're going to do. So what do I need it to do? We're going to have to play around with the timing of these. So I'm going to select them all, hold down 'Alt'. And just drag them out, because it feels like it needs more. What does it need less? I'm holding 'Alt', and it kind of compresses them while I'm dragging them. And that might be it, so... Cool. There... It's getting there, maybe just these three out. Now I'm just playing around with timing. This is what will happen to all your projects. You'll spend ages with this kind of last part... where you're just 'finesse'ing it. There's no exact rules... because it depends on the shape of the object. How fast it's moving, and what you kind of want it to feel like. I think, probably I need to bring this whole thing across... because it's taking too long to slide across. Maybe too far. It's a little bit painful to watch, I know. Maybe this one I need. Needs to be longer. Just having it a bit too fast. Yes, I'm liking it. Now I'm just wiggling around, and playing. I guess I can edit it, and make it perfect on the first time... and you'd be doing, and going, "Mine doesn't look that good." I'm doing it for you, my people. There's a lot of playing around with this type of stuff. Especially with Puppet tool, because you want to-- We're kind of faking real life. And there's a lot of wiggling around. It's quite cool if you get like... say it's a glass of water, and it's flopping in... you can get that water to flop back and forth... as you'd imagine it would. If you've got a person, say this little icon here... it's kind of pop in, sliding in, over here. It could kind of bend as it comes in. And that is going to be it for the Puppet Tool. Let's get on to the next tutorial. 21. Grouping in After Effects is called precomping: Hi there, in this video we're going to... look at something called Precomping. It's not part of the animation tips... but we need to do it about now... before we can carry on with the rest of them. We're going to do it because we're going to... start bringing in all of our Icons. Can you see that all start appearing now? They all do the little animations. But what we don't want to do is have a big messy Time Line. We just want every Icon to be on there by itself... including the little noises... and the Pops, and the Circle Burst, all together. Let's go and learn what a Precomp is. To create a Precomp... we're going to select the three layers that we want to be part of it. Why are we going to do it? It's just because we're going to duplicate this. It's about 10 different Icons we're going to use. And our Time Line's going to turn to mud when we have 10 times 3. That's 30, I can do basic Math. But it's going to be near impossible to work with in the future. So what we want to do is just group them together. So they're locked into a nice little unit that we can use. So select all three of them. So at the top one, hold 'Shift'... select the last of them, so these three. There's 'Bloop', 'Icon1-House', and 'Circle Burst'. Right click one of them and go to 'Pre-compose'. We need to give it a name, we're going to call this one 'Icon 1'. Then click 'OK'. Nothing really changes. You can still see, it's all still there on the Time Line. If I drag back and forth... it still does its little thing. But what's happening now is that... they're all just tied into this one little layer. And all that a Precomp is... Remember, earlier on, we did this one called Overshoot? We created a New Composition... and went in here, and started dragging it, and building it manually. All that's happened, if I go back to 'Value of Sleep'... is that Dreamweaver has done that function for us automatically... and built that Comp out of those layers we had selected. There’s no physical difference between the Comp that we may call Overshoot... and this new one called Icon 1. That's the Precomp. But really just a Comp, if that makes sense. To edit it, I can go inside of it, double click. Go inside, and I'm seeing my Comp... just by itself, on its own little Time Line. So I can work on it, nice and separately. They're three little layers. Then I can go back to my main Comp. And it's nicely tied together here. I can double click it down here as well, to get into it. And I can switch between it using these little tabs. These are the three Comps that I've got. So it's inevitable you'll end up with more than one Comp. Especially if you're opening up somebody else's work... or working with a Template. This gets even better if we want to say, adjust this thing. And we'll switch it out for the different Icons. Let's look at doing it. First of all, I want to adjust... because for some reason my Star Burst starts far too early now... but it's because we're playing around with that Expression... and the timing's are all off now. So what I want to do is, go inside of it, double click it. And I'm going to zoom in a little bit. And down here... I want the Star Burst just to start earlier. So, Star Burst... to start earlier. Actually I need these two to move further away... because I'm stuck at the front here. Still not enough time. So it starts, there, it looks better. So now I can go back to 'Value of Sleep', check this out. Mine's running a bit slow at the moment. You can turn your resolution down to Quarter. So it's not stressing your machine out so much. There we go, and I'm just going to get my timing right. So we can see the value of Precomps. All these Compositions made for us. Now, it gets even better when we use these Comps. But switch out the Icon. So what we need to do is, don't copy it down here. You need to copy it in your Project window. Down here it's just going to make two versions of the same Icon. And if we change one, it will change both of them. But if you duplicate it up here... The easiest way to duplicate it... is to select it up here in your Project window... go 'Command C', 'Command V' on a Mac... or 'Command C', 'Command V' on a PC. It even names it, 'Icon 2' for me. So I've got two versions. They look the same but they're actually disconnected... so I'm going to double click 'Icon 2'... and on the inside of here, there's Icon 1, Icon 2. And what I need to do is I need to update this Icon here. So it's this thing here, 'Icon 1-House', I'd like to switch it out. I could manually... just delete it, and drag it in... but I'd lose all of that lovely Easing that we've done... and the Expression that we've applied. To make this a little bit more automatic... I'm going to open up my Files panel. I'm going to bring in some of the Icons. So the next one is Icon 2- Girl. I can just drag it to my Files here. Doesn't go in the right place. Get in there. And there's Icon 2-Girl, I already had one, from earlier on. But that's how you drag them out... and get them as part of your Project file. Then what you can do is... you can have this guy selected down here. This is the one we were on, remember, we were on Icon 2. Hold down the 'Alt' key on a PC, or the 'Option' key on a Mac. And just click, hold, and drag our 'Girl'... on top of this guy, and it switches out. Too easy. Let's go back to 'Value of Sleep', our main Comp. You'll see, we've still only got Icon 1 over here... so let's grab Icon 2, there it is there. Drag out Icon 2. There it is, in the top corner there. Where am I going to put it? There'll be a little room issues with all these icons. So we're going to have to position it... using the Black Arrow... and we're also going to play around with the timing... because it appears right at the start. So just drag him along to after, first... and where does it go? So, my wife is there. She'll be able to kind of appear around this. We'll play with the timing. That's not bad. So you can see, once you've done it once... and done all your Easing, and got things going... you can repeat this process... by duplicating your Comp... and just switching out the image inside. It means that, if you've got something... that needs to be done every month. Say some sort of emailer, publication, presentation thing... things that get rolled out every week or month... you can use the same animations but with different graphics. We'll do one more together, and then we'll speed up the process. So you, copy and paste. Double click to open it. Find this. Select it. Here's my files. Actually I don't even remember what we're doing next. Let's zoom out. Okay, Megaphone. Then 'Sleep'. So back into my 'Icon 3'. Where's Megaphone? There you are. Instead of dragging it across, and adding it to the project... it doesn't really matter. There you are, get into my special folder. I have to drag you across. Back to my Comp. Click 'Icon 3', on there, somewhere. Here you go, get the timing right. Come here, come here... To Megaphone, about there. So I'm going to kind of both do this now. I'm going to duplicate all of these, and replace all of these in one go. But we're going to do it in fast mode... because you don't want to watch me do every single one. All right, engage Fast mode. Okay, come back in. Now, even though it got spread up... you probably noticed that it was not the smoothest of my operations. I don't know why, Brain Fog. But you should be able to get into a little bit of rhythm with that. One of the things I want to show you is... first of all, I forgot to make a sleepy Icon... so just ignore that, goes from Monster, all the way down to Coffee. You can make your own sleepy Icon in there. And one of the things I want to show you... you probably left this up, see this little bar here? It's a little bit hard to get between these two panels here. You can kind of make it bigger and smaller. I did that because I didn't want to show you my super shortcut until now. So what I want to do is, I want to show you the super shortcut. Because we're not with quite a big panel... you can see down here, my Time Line's quite complicated. So what I want to do is, two things. So this Vignette, it's down the bottom, get him all the way to the top. It happens all the time. And let's say I want to make this a lot bigger. What I can do is, wherever your mouse is hovering above... you can hit the apostrophe key. Often it's tied together with the tilde '~' key. On my keyboards in front of me, I got two of them. It's underneath the Esc key. Often though, it can be over next to your L or P key... depending on the type of keyboards you've got. It's a little squiggly line with the apostrophe... you might have to hit a few other buttons. And wherever your mouse is above, watch... it makes that whole Panel really big. So if you've got your Panel really small... you just want to tap it over it, goes really big. It's wherever your mouse is hovering. So this, makes that screen bigger. If you want to go into your Library... hover above it, tap it, big giant Library. Your Effects & Presets, hover above it. Giant effects in Presets, you're getting the picture. It can be handy in this Project window wherein you've got lots of files. So wherever your mouse is... tap it on and off, to jump back and forth. There we have mine up like that... and hit 'Save'... because that is it for Precomping and Grouping. Let's hit 'Save', and get on to small animation tips. 22. Camera 1 Node: Hi there, in this tutorial we're going to look at cameras... where things start moving around, and zooming in... we can make it look cool... I don't know. Cameras, let's go and look at how to do those. The first thing we want to do is to add a camera. We do that under 'Layer', 'New', 'Camera'. By default it's probably set to a 2-Node camera. Switch it to a 1-Node camera, it's just simpler. And make sure that the Field is turned off. Give it a name, well, just leave it as Camera1. Let's click 'OK'. Now depending on where your camera ends up... you might want to drag it to the top, it doesn't really matter. Just really common to drag your cameras to the top. Kind of battled it out for this Vignette. Now, you would have got an error message on yours, saying... "Hey, you created a camera that none of the layers can be seen yet." Mine's been disabled. All that means is that... the camera can't see any layers in my Comp until I turn these on. Watch this, I'm just dragging across these all. I'm going to say, I want all these on. The background layer needs to be unlocked, and turned on. I want to turn all these on, maybe not the Vignette. I don't want that seen by the camera. It can just stay around the edges there. What that means is... let's look at our before, and after. So my camera here, I'm going to twirl it down. Now we're looking at this '1 view', you can see it down here. And that, most of the times is where you want to be. In this case we're going to go to '2 Views - Horizontal'... to have a separate view, to actually see my camera, there he is there. It's my little camera pointing at my plain. So looking down on the top, and that's this. We're looking down at the razor edge of it, right there. Now this view's not handy for me at the moment. I find the best view is... let's click on the side, you can see... these blue dots in the corner, means I got this side selected. And it means that I can say 'Top'... I'm going to go to this 'Custom View 1'. It gives you a kind of a good look at it. I'm going to zoom in a little bit. So that's what's happening, right? Now this camera over here... and he is pointing and shooting at this. You can see even my text off-screen. Watch this, my Play Head, watch him. Actually, there he is. He appears there, and disappears down. So this is what ends up getting exported... but this is a handy view just to see what's going on. So what I want to do is I want to show you... if I have these off, look what happens. Get rid of all of these, get rid of that. You can see, the camera can't see them unless this is on. So all on, save for the Vignette. And what we're going to do is... we're going to play it till it gets to about maybe-- I want that to appear on the regular screen. And then just before this second one appears... my wife... I'm going to get the camera to move. So let's get our Keyframe at about 706. Yours is going to be slightly different. And what we're going to do is... we're going to twirl down the camera, we're going to open up Transform. We're going to set the stopwatch going for Position. So we want it to stick there and then just before this one opens... or maybe just when you start seeing the circle... I would like to change the position. The first one, is I'm going to zoom in. So, grabbing this last... X, Y, and Z is the last one, Z is in and out. X and Y is left and right. I'm going to zoom in quite a bit. And then, dragging these-- it's heaps easier to drag these two and then to use-- There's some camera tools up here, but when you're new, hear me. I use it lots but I prefer doing it this way. Everyone has their own style. So what's going to happen now is... Cool, so it's kind of in the middle there. And I come back a little bit... and maybe just holding 'Shift' to snap it to it. Maybe just down a little bit, so it's right in the center. Couple of things I'm going to need to do. My computer's struggling a little bit, so I'm down at 'Quarter'. So at Low Res resolution, I'm going to turn off the sound... because that slows things down as well. And, What did I just turn off? Didn't even right click. I'm going to turn these off. Here we go, so hopefully now it will render a bit quickly. Nice. It's going along, it's doing its thing. And then zooms in. The camera is a little bit on the crappy side in terms of-- We want to kind of grab these two guys and add some Easing. So I right click them, just like we did everything else. '75', '75'. Let's have a little look. It's got a nicer kind of motion to it. Goes on. So what we're going to do now is... put in two little Keyframes every time we want to move it. So I'm going to scrub along. And I can only just see it... but you can see in this View here. The other thing is-- you can see, this guy zooming in. It's when we do the Z position over time... so it's my little camera, I'm moving him. So when I get to just before this appears, I may be just a bit there. I'm going to set a Keyframe. So I'm going to set on manual Keyframe. Say between this one and this one, don't change. And then, a little bit longer... I'm going to, maybe a little bit earlier... I'm going to start messing with this. I'm not going to play with the Z any more. I'm going to play with just the X and the Y. And get all these guys to line up in the middle now... every time when your Icon appears. It's remembered the... It's remembered the Easing from the last time I did it... which is quite cool. Here you go. Next one. We're just going to do that as this thing builds. And keep doing it for the next one. It's a couple of things, we've done the Easing... the other one is Motion Blur. Motion Blur is on for the whole document... because we did it in an earlier tutorial... but at the moment, only thing being accepted is this... we've only turned it on for the Text Layer... because remember, it slid down off the screen, we turned it on. I'm going to turn it on for the rest of these, why? Because let's have a little look. I find that before-- Great. So when it starts moving-- So it's moving, right? There's no Motion Blur. I'm going to keep it here. I'm going to turn it to full resolution so I can show you properly. So it's in super crystal clear... but it's kind of moving quite fast. So what I want to do is actually turn the Motion Blur on... on all these layers. Watch it, I'm going to let it go. You see, it's blurring now. So it just means that when it's moving... it's getting all zoomy and blurry. So we'll do it to the Icons... and we even do it to the image in the background. Get down the bottom here, the image background. Turn it off for that one as well, watch. So it's kind of ?? so when it's moving quite fast... it's hard to preview because my machine's running a little bit slow. Give it a second. Fans are on. Hopefully if you're down with the same problem... it's not particularly complex animation. It's because I'm trying to do it all with... while doing screen capture recording. Here we go, kind of get it right, so it's moving and blurring. You get the point. So what I'm going to do now is just work my way around the document. Keeping an eye on this, and moving this around. So maybe we'll speed this up, and I'll see you at the end. Let's jump back in quickly here, and you'll notice that I kind of-- so if I want to get this in the dead center... I might have to see it better than red. So if you don't want to do that... what you might have to do... is either move the Icon down, or... down here, for the background layer... we're going to have to open up the Scale. So we're going to open 'Transform'... I'm going to go to 'Scale', and we're just going to make it a bit bigger. So that there's not as much edge to see. It does have some ramifications when I zoomed all the way out... I'm copying a bit off. You can see, in the edges here, but it means, when I zoom in... there's a bit more kind of like flaff around the outside, or Bleed. Bleed's probably a better word. So back to going fast. So we're back, and probably for this last one, I'm just going to kind of... get it here, instead of doing just over... I'm actually going to zoom back out to what it was in the beginning. What was it in the beginning? I'm going to hover above this. And what's this Z? It's -2666. So I'm going back to here, just afterwards... instead of just moving it, I'm going to type it out to this. And actually I want all of the settings there. So I'm going to actually just go and steal the Keyframe. It's a cool trick. If I want to be exactly where that is now... where it's Full view, and I can see everything, just actually copy it. And go over here. I'm going to delete this one, and just hit 'Paste'. You can paste Keyframes like that. Cool. So, the last one. Nice. I'm just going to scrub through, it kind of moves around... and picks up all the different Icons. You can see the path of the camera there. That moves around. And then zooms all the way on the last one, my finale. All right, that is how to use a 1-Node camera. We've used it quite extensively, we've moved around quite a bit. You might just have a couple of other things... we just move it around a little bit. All right, let's get on to the next tutorial. 23. Speeding up After Effects Playback & preview: In this tutorial we're going to look at... Playback in After Effects for previewing. I'm going to hit 'space bar'. And you might find that with all the stuff we've done so far... it's done the Playback pretty slowly. You can see, it's trying to keep up, and trying to redraw... but it just can't keep up anymore. So, the easy things to do is... in the previous tutorial I changed to this. I have a habit of doing it. Don't do this. This changes the output of the actual Comp when you export. In some instances, most of the time it doesn't. So, we were set to 'Auto'. And what we're going to do is open up the Preview window. 'Window', 'Preview', if you can't find it... And what we want to do is change the resolution of the preview. Not the exported Comp. Down to 'Quarter', and what you'll find is. I hit 'space bar'. And it does a really good job of really kind of like... not of Resolution, so it's not pretty. So you might find our Resolution that works for Half... or Third or Quarter. But it plays back nice and fast. Yes, it's working good. So that's the big one to get you going. The other thing you can do is you'll Disk Cache. So under 'After Effects', 'Preferences'... 'Media and Disk Cache' on a Mac. If you're on PC, it's under 'Edit'... and it's down the bottom here, under 'Preferences'. I'm looking for the same one called 'Media and Disk Cache'. And in here, what ends up happening is... when you're previewing... what happens is After Effects stores that Preview somewhere... and it stores it in the Disk Cache. My Settings here are set to 93GB. So I'm telling After Effects... take 93GB of my hard drive... to store all of your Previews. Now, if you're working on a computer that has very limited storage... what you'll find is... After Effects is filling up your hard drive... with this kind of temporary files. And what you can do is 'Empty Disk Cache'. Mine's only got 2.2GB in here... because I cleaned it up about five minutes ago. I'm going to click 'OK'... and go to the one that says 'Clean Database & Cache' as well. Now hopefully you'll notice a difference in playback. Especially if your hard drive is nearly full. It will clear off loads of room. And what you might say is, actually, you kind of have 93GB... and what have you got left? If you've got 10MB left on your hard drive, get it to 5. The only problem is the Preview's are not going to be very long. It's going to have to redraw every time you hit space bar. So what causes the really bad playback? You noticed, at the beginning of this course it was running super smooth. But what's happened now is, probably the biggest thing for us... is we've added a camera, and we've made all these objects 3D. There's a lot of calculations that have to go into it now. The other thing is Motion Blur. I've added to all the Layers that takes lots of memory to get going. If you've enabled any of this Vector redrawing... that can take a lot of memory... if you're using live action video. We're just using static stuff here. It all takes a toll on the poor old machine. Another easy one is to close down any other programs. We've been using Illustrator quite a bit through this course. So close that down, and just open it up when you need to. So go through and close down anything non-essential. The other things you can do is, over here, in our Preview panel... this one here, probably the next best one here is, 'Skip'. At the moment, it's trying to render every frame for you. So I'm going to stick it up to... not 'Quarter' maybe, but 'Half'. So it's going to render, watch. It's not quite keeping up. It's a bit too slow. So what we can say is, skip every second frame, please. And what it's going to do is, it's going to be a little bit jumpier. But it's going to do it's best to kind of render every second one. So it's going to be a little bit jumpy, tiny bit. I find it's hard to notice. Let's skip out '5' so we can exaggerate this a bit. I may be able to go to 5, but what I want to show you... Can you see, it's keeping up a lot better. It's actually keeping up fine now. So it's just rendering every fifth frame instead of every frame. It's not going to affect the output. So I'm going to turn mine back to '0'. It's going to look fine. The problem is, if you change it here... every time you come back in here, it's going to be this crappy resolution. And you might be like, "Oh, what's wrong?" And you start playing around with the Vector Redraw... and it's actually just turned the resolution down here to 'Half'. So remember what you've done. Okay, two more items to cover. One is what you can do... if you got a laptop, and it's just not running very well... is, if you just want to upgrade your machine... often, the easiest, and cheapest, and best thing you can do is RAM. If you got a machine, and it's got 4GB of RAM... After Effects is pretty much not going to work. But check, often laptops can be upgraded, especially PCs. And you can install more RAM. It's really cheap, it's easy to do. Lots of centers will do it, I've done it myself. And I'm not much of a computer nerd when it comes to hardware. You can check how much you've got by going up to 'Preferences'. Remember, on a PC, it's under 'Edit', 'Preferences'. Then go into 'Media & Disk Cache'. Actually no, you want to go the other way. It's under 'Memory'. In here, I have 16GB of RAM on my MacBook Pro. And I'm allowing After Effects to use 11 of it. If yours, say it's got installed RAM of 8... you are at the bare minimum. If you've got 4, life's going to be tough for doing animation. And if you've got a bigger computer, and got 32 or 64... or any sort of chunky number, I envy you. 16 is the biggest I could get in this Macbook Pro that I just bought. Let's click 'OK'. The last thing we're going to look at is doing our little Preview. Say, we're going to preview it. This is more of just general previewing. I'm going to turn it down from 'Half' down to 'Quarter'... so it actually previews. So when it starts playing... Actually I'm just playing with that Transition there. I want to go back, play it. Go back, play it. So instead of doing it, what you can do is... this little bar along the top, it's called the Work Area. The beginning of it, and the end of it. You can't see them, we're going to zoom all the way up... by hitting the colon key on your keyboard. It's next to L. Tap it once, you go all the way in. Tap it again, and it comes all the way out. It's zoomed all the way out. So I can see the beginning and the end. What I'm going to do is, I'm going to say... Say I want to look at this Transition here. I'm going to bring this to there. And as long as my Play Head starts anywhere inside of here... watch what happens when I hit space bar... I got nothing on the keyboard now. This loops in there. So that's really handy, instead of having to go back to the beginning... loop it all the way through... or be dragging the Play Head back and forth. This little Work Area can be useful. It can be a bit of a pain now as well. If you want to get rid of it, just double click in the middle. Work Area expands out. And we're back to normal. All right, that is how to try and speed... poor old After Effects up if it's struggling. 24. Animate the lines of an icon in After Effects: Hi there, in this tutorial we're going to look at... actually animating the Icon itself. Like, you can see here, we're animating the lines. Up until now we've just been animating... the Icon's Position and Scale. So let's go and learn how to do that now in this video. The first thing we're going to do is we're going to create a new Project. So 'File', 'New', 'Project'. Close any ones you have open. And we'll end up here. So second thing we need to do is create a 'Composition', 'New'. I'm going to make sure it's 'HDTV 1080p'. '25 frames per second'. How long is it going to be? I'm going to make mine... instead of trying to type it all in and fill out all the columns... I'm just going to make mine about '5 seconds'. '500' And if I 'Tab' out, it's made it 5 seconds. Background color, we're going to leave it as black. And add our 'Fill', a 'Solid', like we should. So we got this, I'm going to 'Save' it. And this one here, I'm going to put on my 'Desktop'. I'm going to create a folder, and this is going to be my 'AFX Files'. I'm going to give this one a name, this one's going to be... 'Animated Lines'. Let's add a 'Solid' to the background. 'Layer', 'New', 'Solid', we've done this. Pick a color, I can see these guys over here, I'm picking this one. I'm going to lock it, actually going to rename it. 'Background'. And let's lock it so I don't move it. Next up we need to draw some stuff here in After Effects. So we're going to draw in After Effects to get started... because it's easy enough to do basic things like that clock. But you could bring it in from Illustrator. I'll show you how to do that a little later. There's a couple of extra steps... but I'm going to hold down the Rectangle tool. Grab the Ellipse tool. I'm going to click on the 'Fill'. Where it says the word 'Fill', I'm going to say 'No Fill'. And where it says 'Stroke', I'm going to click on the 'Color'. And I'm going to pick a Stroke Color, maybe just off-white... or I'll fill this kind of off-white, that I'm using over here. It's actually gray, it's not off-white. Now, I'm going to start dragging. And while I'm dragging, hold 'Shift', it's going to be a perfect circle. So mine's going to be about that size. I'm going to go back to Selection tool, grab it, and kind of stick it there. We're going to draw the hands of the Clock. Now, to make this a little easier for us... if I start drawing with the Pen tool now... while I had that Layer selected, what ends up happening is... this Ellipse... which is the Circle around the outside... and this Line now become part of the same Shape Layer. That can work out for you... but it's a little complicated to get started with. So, to get around that, just have nothing selected. Click in this dark area down the bottom. Then grab the Pen tool. And I'm going to click up here. Hold 'Shift', click once again, straight line. And you can see, it's the second Layer. Now, in this case, the Stroke Width... we're going to leave it at '5'. Yes, '5 pixels'. Up to you. And we're going to draw the next part. The hands for the hours, so I'm going to click off. And I'm going to click once. Hold down 'Shift', I'm going to 3 o'clock. I'm not sure why. And I'm just going to rename these to make life easier. The Face. This one here is going to be the 'Minute'. This one here is going to be the Hours. The Hours. So, we've got our clock. What we got to do is get it to animate. So first thing we need to do is something called Trim Paths. Trim Paths help us animate lines. So we'll do it to the Face first. Twirl this down, and you add it... by clicking this little 'Add' button here. There's one in here called Trim Paths. We used Repeater earlier on in the tutorial... now it's Trim Paths time. So we have our Play Head at the beginning. Open up Trim Paths, and you got the Start and the End. So I wanted to start, actually completely finished. To do that... we're going to turn the stopwatch on. To make my Keyframe to start, I'm going to crank it up to 100%. Can you see, if I drag it to 100. So I'm going to go all the way, so it's completely finished, a 100%. Then after some time, I'm going for half a second. '13 frames'. And I'm going to go down to '0'. So I've got two Keyframes. One when it's 100, and one when it's down to 0. I'm going to hit 'space bar'. And we've got a Line. I'm going to select them both, and add some Velocity to them. '75', '75'. I'm going to add Motion Blur to them to make them look a bit prettier. And that's all we’re going to do. So we're going to go through and do that for all of the different paths. It's not super hard, you can skip on now... because it's pretty much repeat. So the minute's hand here, I'm going to get it to appear at the same time. Maybe kind of partially, so it's kind of started here. And you can see, it's kind of wispy bit, that's because of the Motion Blur. If I turn that off, Hard Line. Wispy bit. So it's going to start here, hold 'Shift' to get to the front of it. I'm going to twirl it down, and say 'Add', 'Trim Paths'. Open up Trim Paths. Start, make sure it's at 100%... after some time... so just a bit further along than this. And I'm going to turn this to '0'. I have no idea about this timing. I'm just going to wing it, and then adjust it as I go. Twirl it down, you are going to start still further over. Hold you down, add 'Trim Paths'. Open this up. Set the Keyframes going, go to 100. And then, after some time... maybe not as long, because it's a bit of a shorter line. I'm going to go down to '0'. Kick back, relax, is this going to look awesome, or... I'd say, or. I'm going to right click it. Go to 'Keyframe Velocity'. And change these to something a little bit more exciting. These lines are taking far too long to come on... so I'm going to time them together. Twirl on this one, click on this select you, just to see those guys a bit tidier. And grab these two. 'Keyframe Velocity'. '75' and '75'. Let's see what it looks like now. Too fast now. Cut one. And I might stagger them out a little bit more. Now I'm just messing about. They go away, it takes way too long. The only problem with this one is that it comes from the other side. If you're finding that, it's because I drew it from this way in. So it will be where we started drawing a line. So I can fix that by going in to here. And we're going to be still using Start and End. I'm going to turn that off. Go back to the beginning. I'm going to turn that back to where it was, at 0. No, it was at 100 to start with, no, it was at 0. Cool, so we're going to use the End. We're going to work from the other side, so turn this on. We're going to start it at 0. And go along for some time... and then crank this up. So you can see it getting on the other way. All right, you, you, done, done. You can spend ages messing around with these lines... to figure out what it's going to look like. Awesome, we're going to hit 'Save'. So that's drawing from inside of After Effects. Say we've already got some Icons drawn. So what we're going to do is... we're going to-- let's name this Comp. We'll name it, I'm going to call this one 'Clock'. We're going to make a 'New Composition'. It's going to be all the same as the last one. And what I'm going to do is go back, rename it actually. This one's going to be the 'Lock'. I'm going to go back to the Clock, then I grab the background. Unlock it. Copy it, go to the Lock, paste it. Lock it. Right click it. We'll call it 'Background', I'm not going to even bother. So what I want to do is I want to bring in... something that's made in Illustrator. The problem with that is-- I'll double click, let's bring in-- Go to '02 Icon Grow', and bring in 'Trim Paths 1'. I'm going to bring it in, and I dump it in here. It's something I drew in Illustrator. Nothing super fancy. But the problem is, Trim Path's not going to work... because it's actually just one object... it's not actually lots of separate little parts. But it's easy in a fixed. You can go up to 'Layer'... and go to this one that says-- you have this Layer selected... so here's my Trim Paths, and say "Create Shapes from Vector Layer'. And it goes and redraws it. Weird thing is, it kind of leaves the original there... and turns the Eyeball off, here it is. I don't need it, so I'm going to bin it. And this is the one I'm going to use. We don't need this either anymore, we could delete it. We're just going to leave it there though. There's no reason to delete it. And we're going to go down here. And we're going to go down to 'Add', 'Trim Paths'. It got all these different groups... but here's the Trim Path, it's controlling them all. And it's the same, Start and Finish, so I'm going to... Keyframe at the beginning. Start it at 100%... and then after some time, I'm going to get it to come down to 0. Add some Easing... and some Motion Blur. And we'll be there. And you can play around with the timing, how long this thing takes. Awesome, so that's how to get these kind of Logos to grow. Now this one was a particularly easy one... because it was actually just lines out of Illustrator. Not all Icons will animate the same. Especially when this fills in it, so let's look at doing that now. First thing is to go up to 'Composition', 'New Composition'. And we're going to call this one 'Girl'. And we're going to paste in the background. Lock it again. We're going to try and bring it in... so I'm going to double click the background and hit 'Import'. And I'm going to try and bring in this other thing. I've downloaded it from the Adobe Market, right? And it's comes down as this SVG. At the moment, After Effects won't deal with SVGs. They're awesome Vector files... but After Effects can't use them at the moment... but Illustrator can. So what I'm going to do is jump into my Exercise Files. Open up '02 Icon Grow. And open this up in Illustrator. So in Illustrator, all I need to do is go to 'File', 'Save As'. And instead of SVG, save it as an 'ai' file. Click 'Save', click 'OK'. And I can close it down now. Now, in After Effects, I'll double click in here. And here she is, I can bring it in, fine. Same problem as before though... it's kind of this object I can't add Trim Paths to. So I need to go to 'Layer', and go to 'Create Shapes from Layer'. Nothing really changes, except remember, this thing I don't need. And that's the bit. The Shape Layer here, I'm going to add 'Trim Layer'. And it's going to be a little bit different. It's a little hard to control, Trim Paths. So don't get too caught up... if you want it perfect, it's going to be... a little hard to do when you haven't built it... and it's got lots of fills instead of lines. This is meant to be Trim Paths, the edges. So we're going to start it off at '0'. And after some time, it's going to be down. Where is it going to track? Actually we've got to set the Keyframes first. So, at '0'... after some time, back down to '100'. Got that backwards, but anyway, we got it right. So it's kind of an easy cheap way, Trim Paths... to actually build a little animated Logo nice and easy. One of the last little things. I'll jump back to the Clock, remember, this animation? Is that when they actually appear in, the lines draw on. It looks good if they're kind of falling a little bit. So let's do that little trick. And at the same time we're going to learn what a Null Object is... because at the moment, these are on three lines... so I can animate them all separately... and just try and get them to come down together... by lining up the Keyframes, and that would work. But a nice a little trick is... I'm going to create this thing called a Null Object. And it's an empty layer. All that means is, I'm going to say, you guys follow this Null Object. And then I'll move the Null Object down a little bit. And because these guys are all tagged to it, and not following it... they will move down as well. The Null Object is something we're going to use... quite a few times in this course... especially when we get into Camera Tracking. So we're going to use a nice, easy version here. To create a Null Object, we're going up to 'Layer'... we're going to 'New', 'Null Object'. And what we're going to say is, we're going to touch all these guys... so you guys are Parenting to this. We do it by saying-- Okay, they got no Parents at the moment. You guys are Parenting to the Null Object. So we're going to follow him around. If you can't see this one here, where it says Parenting... you probably-- this Toggle switches the Modes. So switch to this one here... where we can see the Parenting. All we need to do is move the Null Object. Cautious, if I move the Null Object, if I go to 'P' for Position... I just move it around, see if it comes with me. But I'll turn that off, and I say... the Clock face is not going to follow... everything but him. They come along, so watch, see, just the inside guys come along. So I'm going to 'undo' that. And let's get them all to Parent. So, back here at the beginning, I'm going to turn on my Position. And then after some time, as it's coming down... maybe like that... we're just going to get it to... actually at the beginning here, we'll get it to start up a bit higher. Not super high, not like a full descent, like we did earlier on. Just a nice little subtle one. So, first Keyframe, he's up a little higher, and then... kind of half way through this... I'm going to get it to move down into the center. About there. And let's turn the Easing on. And let's try to impress you with it looking marginally better. So look. Too fast. But you get the idea. It just adds an extra dimension... when you are doing these drawing lines. All right, that's it for animating lines for an Infographic. Let's move on to the next video. 25. Colours: Hey, there, in this video we're going to look at color. Color is obviously important in any creative project. Just using little tips to help you out,. Go to color.adobe.com, sign-in with your Adobe password and go to Explore, by default, it's at My Themes, but I find you get the best stuff from Most Popular. It's just here to give you some colors that you might choose to work from. I find I end up leaning on the same colors, so I like to jump in here and pick some new, fresh stuff. What we're going to do is we're going to use the CSO4, for some of our data visualization later on in the course. Say you like it, I'm going to click this option that says Save. Where am I going to put it? I'm going to give it another name. I'm going to call it Data Vis, and I'm going to publish this theme to Explore. It means that you'll be able to search for this and actually just download it. If you put in BYOL data, I bet you'll be able to find it. I'm going to put it into one of my libraries, it's going to be this infographic, one click Save. If i jump into After Effects now. Give it a second. If I click that icon and there it is, there. I've got those color swatches. What I like to do is actually jump back into adobe.color. What I like to do is make a light and a dark version and you can do that by clicking Edit Copy. All you need to do is, see these little sliders here, there's this one here I'm going to slide it darker. There's this one here, I'm going to make a little bit darker. This one a little darker. I just find you can get some cool results. We've got five colors we don't need anymore, but just this slightly darker version, as there's some wiggle room when we're using flat vector graphics. I've done that, I'm going to click Save. It's going say replace it, I say no, I'm going to save a copy of this. It's going to be the same except I'm going to call it the dark version. Save it to the same library, click Save, jump into After Effects. You can see there it is over here. I've got a light and a dark version. Light's on the bottom, dark's on the top, very similar colors, but I find it useful. Let's do something simple here, I'm going to put that little slash in the background. First of all, I'm going to delete this background layer. I realize our red's are very similar to the last red. Actually all the colors are very similar. It's the mood then at the moment. What I want to do is I'm going to go to Layer, New. I'm going to go to Solid. I've got my eye dropper and I'm going to pick; we'll start with the light version, which is the bottom one here. Click Okay. I'll put it at the background, I'm going to look it. There's my background. Now I'm going to zoom out even further, grab the rectangle tool, pick the fill color, correct the eyedropper, I'm going to pick the darker version. You can see this is just a slight change. Click Okay and I'm going to draw a nice big rectangle. Here I'm going to go down to the Shape Layer here. I have to rotate, rotate it around. What are we doing? I don't know, just style points. I'm going to drag this down to the bottom here. Now I'm going to preview it. Let's go to Fit. Let's have a little look. Just this little slash here. Google does it lots. I liked it, so I stole that idea and I use it quite a bit from my work. Steal is not the word; appropriate. I like it. That's how to go and get colors from Adobe Color and maybe to create a second set of swatches, some slightly darker ones to start using. Trust me, it's going to be helpful when we start doing bar graphs and line graphs we'll get lot of data to show. Let's get on to the next video. 26. Video Backgrounds: In this video, we're going to look at adding Video Backgrounds... but also, watch, he faded out a little bit. And the Icon's along the top. Even better, this video is not long enough... so we're going to extend it at the end so it covers... the whole video by freezing the last frame. All right, let's go and do that now in After Effects. So what I'm doing is I'm starting with an old project. This is kind of the end, we go out with this Icon. Remember, this is kind of moving around... and zooming in a bit, with these Icons popping up. So I'm going to get back there, I'm doing a 'File', 'Save As'... just so I don't wreck it. I'll call this one-- I'm going to put it in my Desktop... under 'AFX Files', I'm going to call this one 'Video Background'. Hit 'Save'. And what I want to do is... I don't want to do this camera work where it moves around. So I'm going to click on the camera, delete it. And because the camera's gone, I don't need these 3D shapes now. If you're just working without-- I'll turn the Motion Blur off as well. Turn it off for the Project. Just to make sure I made things running nice and smoothly. And now hopefully... maybe in my Preview, I'm going to turn the Resolution to 'Third'. Hopefully now, when I preview... the camera's not moving around, I can see the whole thing again. I'm going to go even lower. Also, I'm going to go from '2-Views' to '1-View'. Now, if you are just starting this video... you don't want to start with any of that... you can just start afresh, that's fine. What I'd like to do is put a video in the background. Doesn't sound that hard, we're just going to import a video. Now if you don't have access to Adobe Stock... you can just go into the 'Exercise Files'. And under '01 Icon Pop'... there's this one, 'Sleeping man turns slightly towards...'. You can bring him in. What we're going to do though, is we're going to export Adobe Stock. And how it's built into After Effects. And we're going to show you some tricks... on how to kind of make it work without animation here. So what I'd like to do, is over here... see this little search bar here, it's quite small. I can type in 'Sleep'. What it's going to do is it's going to go check out Adobe Stock. Now Adobe Stock charges for its videos and images. So go check it out. If you get a subscription with it... you get something like 10 images a month... or 20 images, I can't remember. It's not that bad, I pay for it anyway. And I can't remember off the top of my head what it is. Now by default it's going to give you both video and images. Probably a lot more images. And if you want to use any of these images... watch this, I just kind of drag this in. Give it a second, the lower res is because of the watermark. So you can actually just work with these until the client signs them off. And then, back in my Libraries, if I delete that... there's a cool option in here that says... right click and say, 'License Image'. Because I am a paid subscriber... it's going to actually license it. And it's going to become high res... and the watermark's going to disappear. It's quite a handy little inter-connection. So that's one way of doing it. I don't want this image, and I don't want you, gone. You, gone. So I'm going to use that same thing. I want that to disappear, go away. There he is there. So in Search, I'm going to type in 'Sleep' And what I'm going to do is... this one, where it says Results... I'm going to click on just 'Videos'. I'm going to decide which one... is going to work for this thing. I feel like this one-- Can you see, I'm not holding anything. I'm just moving my mouse back and forth, and it kind of previews it for me. So what I want to say is--- drag it in. Great! It's not slightly big enough. You can download 4K versions if you need to. I'm going to make it just slightly bit bigger. Move him down. That's perfect. Hit 'space bar'. I'm going to right at the beginning, hit 'space bar'. And there's this guy. So you might just leave it here... and that's how to get images in from Adobe Stock. And just put them in the background. Now, in the background means, to be all the way in the background. We're going to do a couple of things. Couple of little tricks, just so that you know. So back there. So I've got my Text to start appearing at the top. It's a little bit hard because of this Adobe Stock watermark. But we have to live with that. So what I'd like to do, is to start up... and after some time I'd like it... to actually blur out in the background... so that it's not taking away from my Icon. It might get blurry the whole time, I'm going to have mine kind of a nice... start focusing, and then blur out... as it gets to getting into these Icons here. So, what I'll do is, about here... after the Text kind of disappears... I'm going to add an Effect. So over here-- I'll close down Preview. 'Effects & Presets'. In here, I'm going to grab the world famous 'Gaussian Blur. Everyone uses it. And I'm going to drag it onto what? It's hard to work it out. So I'm going to drag it into the Layers down here. The sleeping man. And you can Keyframe effects... just as well as you can Keyframe any of the things down here. So this is my Effects Controls. It's very similar, you can see the little stopwatch. It's the stuff down here. So what I'd like to do, at about here... I'd like to turn on the stopwatch. I'm going to move along a little bit. How far? We'll practice. And I'm going to crank up the Blur. How far does this go up? You can just click and drag it. Just kind of keep an eye on it. I want to get my Blur, so it's kind of in the background. Sleeping Dan. That looks good. So that when my Icon start going... I guess you're not going to be distracted by the video. So let's preview it, let's see if it works. Preview. Yes. And watch the background. Here you go. You kind of may get an abstract kind of background thing. That could be the whole time. You wouldn't have to put Keyframes in. Just make it blurry the whole time. One of the next problems when dealing with videos... it might not be long enough. So, like this video here, it gets to a bit... plays along, but then watch what happens. Disappears, and we can see the background again. So a cool little trick you can do with videos... is you can right click them, go to 'Time'. There's one in here that says 'Freeze On Last Frame'. It kind of extends itself all the way along. And look what happens now, it goes past there. And watch him, he's moving. He stops moving, and just... freezes for the rest of the video. So he's animated up here, doing his little roll over thing. But later on, he just freezes and pauses for the rest of that video. Cool. So we learned some new things, we learned Adobe Stock. And we looked at how to Fade it out... and add Keyframes to Effects. And then treat that video all the way along to the end... and hold that last frame. All right, that's going to be it for this one. 27. Bar Graph Method 1 Manually in AFX: Hi there, it is time to visualize data. We're going to start with Bar Graphs. We'll start with this one where we manually do it in After Effects. Then we're going to switch out and do it from Illustrator... using its graphing tool, making it a little more accurate. And then going out to Excel for the Excel people... who want to animate charts directly from Excel in After Effects. All right, let's go and make these beautiful graphs. The first thing we're going to show you is... we're going to manually do the Bar Graph in After Effects. Actually we're going to get it started. Why? Because there's times when we just need to do that. And you might find that that's the nicest way for you. So let's go to 'File'. Let's go to 'Open'. I have kind of done some basic stuff to get us going. So go to the 'Exercise Files', '03 Bar Graphs'. And there's this one called 'Bar Graph - Start', open that up. And I want you to be on this one. There's the finished version, and the start version. So the finished version is what we're going to be working towards. But we want to go to the start version. And I've just kind of laid out the title, and these axis in here. We're not going to go through how to add these. It's just the Pen tool, and the Type tool. But it can take a little while to get going. So I'm going to make sure I can see the whole thing under Fit. So the first thing I'd like to say is... that this way can feel a little bit long. And I don't like it mainly because I find it very hard to calculate... percentages, and do the Math myself. We're going to look in the next one how to use something like... Adobe Illustrator or use Excel itself to generate the graph. All of them take a little bit of work. So have a look at all three, and go, "That's the one I feel like." So what I want to do is put our Play Head at the beginning here. And I've locked all these layers, so we can't mess with them. Let's grab the rectangle tool. In terms of Fill, I'm going to use my Eyedropper... and pick one of the colors that we did in the last tutorial. I'll go for the lighter version. In terms of the Stroke... hit the word 'Stroke', and let's set it to 'None'. Up to you. When you first start setting up your Axis... what I did is, when I drew these lines here... I actually matched them to the Grid. So if you go to 'View', 'Show Grid'... you can actually draw lines... and then get them to line up to this grid in the background. It helps us a little bit when we're drawing out the Bar Graphs. So I've got it on now. I'm just going to make sure 'Snap to Grid's on as well. So I'm going to try my best, because this is going to be my 100%. Now it is a little funny in terms of drawing. That's close enough to me. Grab the Selection Tool. I'm going to drag it down so it's on the right kind of cubes. We have to zoom a little bit just to make sure. Snap to the bottom, snap to the top. Next one, I'm just going to kind of line it up here. So, the first thing we're going to do is. It's going to be quite easy, we're just going to animate it up. Now, the problem is the Scale Position. If I can click on my Layer here... actually 'Rename', 'Shape Layer 1', let's call this one 'Bar 1'. And I'm going to hit 'S' for Scale. And if I start scaling it... it's doing it from its center anchor point... which is in the middle of the screen. We've run into that problem a few times. What we're going to do is actually adjust the center. Grab this one here, the 'Pan Behind' tool... or the 'Anchor' tool. And grab this. Now if you can't see it, sometimes you have to... click off, click back on, and grab this. Now, we want it to be perfectly down the bottom here. So what key do we hold down? It's the 'Command' key on a Mac... or the 'Control' key on a PC. And that should snap to the center, down the bottom here. Now when I start doing Scale... it's going to do it from the center of this. Awesome, so I'm going to turn the Grid off, because it hits my eyes. And what we're going to do is make sure our Play Head's at '1'. Hit the 'Scale'. We're going to break this link. So that we can separate the height and width. And we're going to play around with♪...♪ which one? It's this one here, we're going to set the second to '0'. Come along a little bit. I'm at 7 frames. And I'm going to set it up to 100. So we've got our first little Bar Graph animation. I know that that's correct because I set this axis. This is my highest milligram value. So this is going to match it... and everything else is going to be a percentage of this. That's where I run into trouble myself, and I'm like... "All right, Maths, not good." So I'm going to use some of the other tools to do it... but you might be totally fine in here. So we're not going to carry on too much... and do every single one of them... because it's step and repeat. But what you do is... you copy Bar 1, you got Bar 2. And I'm going to make sure I've got my right tool. Selections tool, I'm going to step along a little bit. So that it starts a little bit off, or after this one here. And then I'm going to grab my Selection-- actually I'm going to use this one here. Use Position, and just slide it along. The wrong way, this way here, to the above filter. And in here... we need to go to our Scale. And we need to calculate what this 'Filter' is... compared to 'Brewed' being 100%... and 'Filter' is-- I've got some data here for us. So Filter is-- If that's our main 100%, we need to calculate that. You can use this data here to go off and finish completing the Bar Graph. Couple of little just tidy up things we do before we go. I'm going to bin Bar 2. Here would be a good time to go through. Select these two guys here. We're on Scale, remember, hold 'Alt' on a Mac... or 'Option' on a PC. Okay, it's the opposite of what I just said. It is Alt on a PC. And grab, remember, our Expression. Come to here, delete him, paste it. And we'll get just a nicer Bar Graph going up. And also you can turn on the Motion Blur. And make sure the Motion Blur is on this layer. And things start looking a little nicer. Nice. So, it's not all lost... because that same technique... of putting the anchor point down the bottom here... I'm getting him to bounce. It's going to be what we need to do still... when we're using either Excel or Illustrator. So let's go and learn those other options in the next video. 28. Bar Graph Method 2 Illustrator graphing tool: Hi there, in this tutorial we're going to... use Illustrator's graphing tool... to build our Excel spreadsheet out, in here. Style it, then switch it out to After Effects. And animate it. I find this is the easiest way to get data... any sort of data into After Effects and animate it. Let's go and learn how to do that now. So the first thing we need to do is... make a new document in Adobe Illustrator. So go to 'File', 'New'. We'll use the little button there. We can use 'Film & Video', and pick 'HDTV'. That's the one we want, '920x1080'. Reason I don't like to use these in the templates... is because you get all of the Bars... in a transparent background, and all these [title safe]. We don't need any of this, and it's a pain to go turn it off. So what I just do, is I fake it... by going to 'New', pick 'Web' because its going to set it to pixels. And then we do the exact same measurements. So we go to '920x1080'. And make sure it's set to 'RGB'. And click 'Create'. You end up in the same position, it's the same size... but it's got a nice white background... without all the guides everywhere. We're going to save this one. We're going to save it to our AFX files. And we'll call this one our 'Coffee Bar Chart'. We're going to use Illustrator's graphing tool. It's kind of down here. Hod it down, there's a bunch of different options you can choose from. Doesn't matter which one. Technically a Bar Graph goes left to right... we're going to use Column Graph. And draw it out to the rough sort of size... you want it to appear in After Effects. Because we've made the size same as After Effects... you can kind of work proportionately. What happens is it opens up this little mini Excel spreadsheet. We can manually type things in here. What I'm going to do is go through from Excel. Grab all these parts, copy it, back into Illustrator. Click in this first field here, and just hit 'Paste'. Then click this little tick. And it's going to go and create all the graphs for us. I love doing it this way. It even puts the measurements along the top here... and calculate all the sizes. Now at the moment this Bar Graph is actually tied to this Excel sheet. Even if you close it down, it's actually kind of still connected to it. So, you've got it here, and say you want to make an update... you have the object selected, 'Object', go to 'Graph', 'Data'. And you can see in here, I can go and make changes, I can make this '100'. 'Update' it, and it updates the graph. I'm going to undo that. Close this down. The problem now is that After Effects needs to smash this into lots of pieces. At the moment it's this editable graph. What we need to do is kind of pick it apart. And to do that-- You might want to save a version of this... so it's nice, and still a graph, and editable... but what we're going to do is have it selected with my Black arrow... go up to 'Object', 'Ungroup'. It's going to warn you, saying it's not going to be... a graph anymore, we can't edit it. You got to click 'Yes'. And now it's going to smash to pieces. It's under 'Object'. If you go to 'Graph' now, and click on 'Data'... it doesn't know what you're talking about. So we need to do that, and it's ungrouped it into little pieces. And while we're here, we are going to Style it. I'm just going to go through and pick some colors. So this stuff here, I'm going to go pick a new Fill color. Unfortunately, if I go into here, I don't have the Swatches. For some reason at the moment... the Library Swatches and the Swatches built into Illustrator... aren't particularly great connecting to each other. So what we're going to do is... it's easier to just go over here... right click it, and say, 'Add to Swatches'. I'm going to add both sets to Swatches. Then, on the top here... give it a second, here they are there. We got one line dark version. I'm going to pick that for the Fill. The text here, I'm going to select both of these... and we're going to adjust the Type before we leave. It's best doing it in here, rather than in After Effects. Selecting on you, grab my Type tool window. 'Type', and go to 'Character'. And in here, I'm going to go through, and you can make adjustments. I'm picking 'Roboto Slab'. Yours is probably going to start off with a different font. Can't remember what it is off the top of my head. So I've made these adjustments, it's going to work for me. Actually I need this to be that off-white color because... I am putting it on to-- One last thing I'm going to do is I'm going to get rid of this. So these guys are all stuck together. Instead of ungrouping them - you can do that - is grab the White arrow... and select it around this stuff. Delete it, back to the Black arrow. So we've got kind of the basics. Now we need to make this ready for After Effects. And the main thing we need to do is, under Layers panel. Every bit we want to update differently needs to be on its own Layer. So I'm on my Layers panel here. If you can't find it, go to 'Window', 'Layers'. And we want one for all the background stuff. 2, 3, 4, 5, 6, so 6 in total. Here we go. And what we're going to do is twirl down 'Layer 1'. Actually I'm going to tear this off, make it nice and big. So I can see the whole thing. And all of these guys are on their own... they're all this one chunk, so I'm going to twirl this down. Inside of here, inside of this group. Here we go. So that's my-- I'm going to turn the Eyeball off, that's the first one. So that's my-- actually this is my last one, this is my first one. So I want you to go up to 'Layer 2'. Renaming these guys, double click it. It's going to be called 'Bar 1'. This is going to be 'Bar 5'. I don't know why I want to start at the top. 'Bar 4'. 'Bar 3'. I'm naming them just to impress you, I never name them. And you are going to go onto this one, and this one. And this one, and this one. So 'Layer 1' now is going to be... I'll call it the 'Axis'. So all of you on one layer, all of you guys on separate layers. The one thing I don't like is... all these guys have a stroke around the outside. Selecting them all, the Stroke at the top here, I'm going to set to '0'. Goodbye Stroke. Awesome. Hitting 'Save'. And that's how you get data ready in Illustrator. Basically you do your Styling in here. And you just separate the bits you want to... animate separately on to different layers. You could just get all of these guys to animate the same. So you only need two Layers, the Axis, and all the charts together... but we can't animate them separately. Let's jump into After Effects, so here in After Effects... I've still got that project we were working on before. when we did our Manual Bars, it doesn't really matter. Grab a new project. So what we're going to do is we're going to 'File', 'Import'. We're going to just skimp up, click the gray area. And we're going to bring in the file we were just working on in Illustrator. It's called 'Coffee Bar Chart', I'm going to click 'Open'. And because we're using Layers-- We've been importing lots of Illustrator files before... and we haven't got this little window. This appears only because we've got Layers set up. If you don't want to separate them into Layers, like we want to do... you can just switch it to 'Footage'. And it would just merge the Layers, that's great. What we want to use is this special feature called 'Composition'. So it's going to make a Comp for us, we don't have to make it. And the cool thing about it is... it's closed out Illustrator files the right size. It's going to be the right dimensions. And also, down here where it says Footage Dimensions... we want to make sure it's set to 'Layer Size'. Otherwise it's pretty hard to animate. Let's click 'OK'. So it's created a Comp, and these are all the Layers that have come through. Remember, Axis Bar 1, 2, 3, 4, 5. Let's open up this Comp that it's made, double click it. It's gray, except the background is black. So what we're going to do is go to 'Layer', 'New', 'Solid'. I'm going to pick a color of white. Just a little bit of off-white. And everything else is perfect. Click 'OK'. I'm going to name it 'Background'. Let's stick it at the back. And lock it. So there's my stuff in from Illustrator. What I'd like to do now is animate it... and we're kind of at that exact same point we were before. Remember, on this guy when we started. So we've drawn the Bar. What we want to do now is start animating it. The first thing we need to do is adjust the Anchor Point. So it needs to be in the center. So we're going to hold down 'Command' on a Mac, or 'Control' on a PC. We'll do it for all these guys while we're here. And we're going to start animating it. So we're up to where we were before, we're going to do some animating. If you feel like skipping ahead, don't. There's one last little thing I want to show you once we've got it animated. I might do the first one together... then we'll zoom through... and then we'll jump to that cool bit where we stagger them all. So 'Bar 1' selected, 'Scale', 'Timeline' at the beginning. I'm going to start the stopwatch. I'm going to break the link between the two, set the first one to '0'. Then after about 7 frames, I'm going to get it up to 100. I am then going to... click 'Option' on my Mac, or click 'Alt' on a PC, this stop watch. And we're going to use that-- here you are. My expression for overshoot. Totally overusing this. And what I'll do is I'll set the Motion Blur for them all. And what I want to do is copy this. Get my Playhead back to the beginning, click on 'Bar 2', hit 'Paste'. And now we've got both of them going. You can see, it's kind of equipped now. 'Paste', 'Paste', 'Paste'. And if I hit 'S', you'll see... the Keyframes will come along, along with the Expression. So do the first one, get it looking how you want, and then they all come along. Now I want to stagger them, so I'm going to close all of these. And I just click 'U' there. 'U' opens and closes. Like a little toggle switch. Now, you can just go through now, and say... actually I want you to be this, and this, and that's fine. But say you want to be perfect, and you got lots to do... so we're going to use this little trick, called Sequence Layers. Select 'Bar 1', hold all of them to 'Bar 5'. Make sure your Playhead's at the beginning. Go to 'Animation', let's go to 'Keyframe Assistant'. There's one called 'Sequence Layers', it's just going to stagger them for us. Now, if you don't click 'Overlap'... they're going to sequence in one after each other. The problem is, see how long they are. They're actually 5 seconds long each, that solid bar. So actually, instead of coming in after each other... well they work, let's click 'OK', but this Timeline, let's zoom out. So this one goes for this... and this one doesn't start till right at the end of my animation. That's not what I want to do. I want to go to 'Animation', 'Keyframe Assistant', 'Sequence Layers'. So you want a bit of an overlap. This could be a little bit confusing. How much of an overlap? Mine needs to be about 4. It's coming up backwards overlap. How far? That was 0, so I want to come back this way. How far do I want to come back this way? I want to come back about 4 seconds, 20 frames. That gets it kind of really close to the end here. So we're kind of almost 5 seconds with overlap back on top of each other. You're going to have to mess around with this, I do it every single time. Let's click 'OK', and we've got a nice stagger going. That's how to move from Illustrator into After Effects. So that's kind of like our option 2. Let's look at option 3 now where we use Excel to build a graph... and we deconstruct it and use it in After Effects. All right, let's go and do that now. 29. Bar Graph Method 3 Excel graphing tool: Hey there, in this tutorial... we're going to take this data over here. We're going to turn it into a Graph. Then we'll do some basic Styling, then fire it into After Effects. And make it look like this. And it looks amazing. You're impressed, huh? Let's go and look at how to do that in After Effects now. So first up, we need to open up... in our 'Exercise Files', under '03 Bar Graph'... open up the one that says 'Caffeine Data Excel'. If we don't have a copy in Excel, we're kind of stuck. Skip on to the next version. But in Excel, whatever version opens up-- I'm on an old version of a Mac Excel. All I need to do is select all the Data... and we're going to go to 'Charts'. You'll find the Charts a little bit different in the newer versions. Not much different. Click on 'Charts'. And kind of somewhere in the middle... on my one, it's at this end here, I'm going to pick on 'Column'. And pick any of these ones. The 3D ones become very hard to animate convincingly... so stick to the 2D ones for me. I'm going to click this 'Clustered Column'. And that my friends, is an Excel spreadsheet. Grab the edges of it, drag it right out. And we're going to do our adjustments in here. Why do we do it this way? I'll do it this way if I'm already given a Graph. Say that I'm handed a Graph, and it's done in Excel... there's no point trying to recreate it in Illustrator... because somebody's put the time and effort into it here. So things that I might change in this... is I'm going to go through and change the fonts that would be used. So I can go through now, go to 'Home', and pick a 'Font'. Now I definitely need to change all of this. Actually I'm going to just click off, click on the edge of it. We can change kind of Global changes. So I'm going to click on here, and pick 'Arial' for all of mine. Why? Because, if I use Calibri... I don't why, my computer... makes a mess of it when it goes into Illustrator. Yours might do the same. So you might have to change your Font, I'm going to pick 'Roboto Black'. And in here, we can go change colors. There's lots you can do in Excel. So if you're confident in Excel... go and make this thing look as good as you want. The one thing you might do is... the colors here, so I'm going to select on these... go to this one that says 'Format'. And in here, I'm going to go to 'Fill'. And what colors? You can pick any color. And if you've got a corporate color you need to click on 'More Colors'. And in here you can go to the 'RGB Sliders'. And type in your RGB or your Hexadecimal code. We're going to use this color, because I like it. Now how do we get it into After Effects to start animating? We need to do a bit of hop in through Illustrator. So lot of what we did in the last tutorial is going to apply here. So we're going to copy it, so select the outside. Just go 'Edit', 'Copy'. And then open up Illustrator. We're going to make a 'New' document. And it's going to hopefully remember my last dimensions. Click 'Create'. Then all I do is hit 'Paste'. And that brings in a Vector version of Excel. That's really cool. I know we're doing Infographic here, and animating them... but this can be really cool if you're just doing print stuff. You want to be able to edit it from Excel... rather than just relying on sometimes the questionable styles from Excel. You can go and edit it now in Illustrator... and stick it into a print document. We're going to animate ours, I'm going to make mine a bit bigger. And what I want to do now, it's a couple of things. There's a little bit different. It's kind of made up of all sorts of weird parts now... so I'm going to select on this guy here... and we need to get these guys on their own layer. I also need to get rid of the stuff in the background. There's some weird drop shadows that I need to get rid of. Let's get these guys on to their own layer first. Let's open the layers panel, 'Window', 'Layers'. This is exactly like we did a second ago. And have them selected... and you'll see in here, they're actually called a Clip Group. So I'm going to right click it, and say... 'Release from this Clipping Mask'. And then I click on one of them. They're actually still part of a compound group. I can tell which one they are, because, watch this... if I select on them, can you see... this little thing highlights, makes it easy to find. Right click them, 'Release from Compound Path'. And there are all of our groups. Here we are. Cool, so what I want to do is get them on their own layers. I have layers already. That's because I was cheating... and playing around with this before, and practicing. So what you need to do is, create Layers, 1-6... for the different Bar Charts. I'm going to come down here... and I need to drag them off, this can be painful... because you'll have to go up here. What you can do is have them all selected, holding 'Shift'. I'm grabbing all of these guys, right click them. Say 'Arrange', 'Bring to Front'. And they end up at the top of this list here... making it a little bit easier. So here's this one. I should name these layers... but like I said before, if I'm honest, I never do it. All these guys are on their own layers. What I might do is turn these guys off, and get rid of this amazing thing. You can animate these together... if you want to bring them through on to those layers. I just want to get rid of them because I don't like them. Turn these layers back 'on', hit 'Save'. I'm going to call this one 'Coffee Chart'... but I'm going to call this one my 'Excel' version. Click 'OK', let's jump into After Effects. So just like we did in the previous tutorial... I'm going to 'Import'. And I'm going to go, this Excel. It's going to say 'Composition', I'm going to say 'Yes'. I'm going to say, Layer Size, 'Yes'. I'm going to click 'OK'. I'm going to open up 'Bar Chart'. So where is it? 'Coffee Bar Chart - Excel'. Here he is. This little white box has come through. It's up to you, you could delete that in Illustrator... but I'm just going to match the background colors. So I'm going to go 'Layer', 'New', 'Solid'. You my friend are going to be... it can't be off-white, because I need to match the white from Excel. Click 'OK'. I'm going to right click it, call it 'Background'. I'll send it to the back, lock it. And now we've got our paths to start animating. So let's do it. 'Layer 1' is actually going to be called-- I'm just going to call it 'Axis'. I say I never rename them... I just want to make it easy for you to follow. So Layer 2, I'm going to grab my Anchor tool. I'm going to hold down my 'Command' key on a Mac... or 'Control' key on a PC. I'll drag the center points through the middle bottom. Make sure they lock in. Now this first one here... I'm going to open up my Scale, 'S' for Scale. Start the stopwatch. And I'm going to break the link. Go down to '0'. Come along, about 7 frames. And go up to 100%. I'm going to select both of these Keyframes. Hold down 'Option' on a Mac, or 'Alt' on a PC. And I'm going to paste in my Overshoot Code. Here we are. Remember, like before, we're going to grab these two Keyframes. I'm going to select this, paste you. Now, what I didn't do is I didn't move my Play Head to the beginning. So if I look at this-- can you see? It didn't work at all anyway. But watch this, if I click 'Copy'... and I click on this one, and go 'Paste'... it pastes wherever my Play Head is. It's going to make sure your Play Head's back at the beginning. Then click on it, go 'Paste' you. Does it have anything? 'Paste' you. All right, select them all, you, you. Collapse them all just to make them look pretty. Select all the Layers. And we're going to go up to... 'Animation', 'Keyframe Assistance', 'Sequence Layers'. I'm overshooting mine by 420. If you're unsure what I'm doing here... because you've just jumped into this video... watch the previous one... where we go through a bit more detail on these things. Nice, I might add a Vignette, I might do the Motion Blur. But for the moment, that is how to animate an Excel document. You still need Illustrator to break it up into its own layers. But it's not too much of a big step. So that's going to be it for our Bar Charts. Let's go and look at Line Charts now. Exciting. 30. Line Graphs: Hello everyone, we are going to make this. A nice little Line Chart. We’re going to use Illustrator to get the bits going... then we're going to animate it in After Effects. Let's go and learn how to make this. The first thing we need to do, just like our Bar Graph... we're going to create a new document in Illustrator. We're going to make sure it's '920px x 1080px'. We're going to click 'Create'. Now I'm going to grab my 'Graph' tool. And I'm going to hold it down, grab the 'Bar Graph' tool... the 'Column Graph' tool... and then go down to here where it says 'Line Graph'. Click and drag out to that kind of size you're looking for. Go to 'Excel'. In your '04 Line Graph' file, open up 'YouTube Subscribers'. I'm going to grab everything except the word YouTube subscribers. There's all the column headings, grab all these, copy it. Back over to Illustrator. In Illustrator, I'm just going to paste it into here. Click the little tick button. And we've got our Line Graph. This one here, because of the names of the columns here... the text doesn't quite fit, so we're going to address that. You might not have this problem. Now close that down. And the first thing we're going to do is break it apart. So we're going to ungroup it, 'Object', 'Ungroup'. We're going to break this data, we know that already, it's okay. So a couple of things, first of all, I want you guys gone. That's still grouped, so I'll right click, 'Ungroup'. You two guys are still connected, you're still connected. And 'Ungroup', so there's a bit of ungrouping to go in, still ungrouping. If you're getting lost in the ungrouping land, grab the White arrow. It's easier to select everything, then just go, bye. So the text down here, they're all grouped. So we're going to right click them and ungroup it. Now they're all individual bits. I'm going to select them all. I'm going to move him down just to make it a little easier to work with. I'm going to rotate them. You can use 'Window', 'Transform' panel. But I'm just using the shortcuts. I'm moving it down here, because what I want you do is grab you, you. I need to go out there. Grab the last one. He's meant to go in there. Then select them all, let's zoom out a little bit so I can see everything. Select them all, open up Align panel, 'Window', 'Align'. And I'm going to get them to align horizontally, and vertically. And then distribute the centers. That means they're all going to kind of align up together. While I'm here I'm going to make it look a bit prettier. So I'm going to change all the fonts. I'm going to select all of you, and all of you. Go to 'Window', 'Type', 'Character'. In here, pick a font, any font. I'm using the 'Roboto' that we've used all the way through. But he's condensed in this case... just so that everything fits in a little nicer. What I also might do is play around with these lines here. So with the Line selected... I'm going to bring the Stroke to the front. And what color is this Line going to be? Actually let's do the size first. So with it selected, I'm going to open up my 'Stroke' panel. And increase it up to something a bit thicker. And what I'd like to do is change everything to be white... because I'm just sick of doing it on a white background. So I'm going to make a colored background. To do that what we're going to do is select any one of these lines. Then go to 'Select' the same 'Stroke Color'. So everything with the same Stroke color is going to be selected. I'm going to say, be this kind of off-white. And then I'm going to grab all the text, and do the same. Usually I only click on the text. Now those guys are joined. So all I need to do is, select them, 'Ungroup' them. Lot of ungrouping. Now if I click on this... let's bring a Stroke around the outside. So what I need to do is make sure the Fill is in the front. And click that same color. I'm going to leave the black dots because I don't really care. I'm going to go and change those out in After Effects. So we need to do our Layers thing. Where everything's on one layer, what I need to do is get... especially this Line on to its own Layer. You can see there, it's selected. We're going to have three in this case. We're going to have the axis, the line, and the dots. So, this one here... breaking my own rules, I'm actually naming these. This one here is going to be the 'Line'. This top one here is going to be 'Dots'. The Layer order is kind of important, we can change it in After Effects... but I want this at the bottom, Line, and the dots on top. So you, line, need to go to that Line. And the dots, I don't know where the dots are. I'll turn the Line off. Where are you, dots? You are these guys, you go up to the top there. And him, back on. So now we've got them all on their own Layers. The one thing we need to do for a Line Graph is that... we're going to use the Trim Paths method... we used earlier for some of the Infographics... to get the Line to draw, remember that? But at the moment, I'll use the White arrow. You can see, they're actually separate pieces. They're easy to join, select them all. Go to 'Object', down to 'Path', and click 'Join'. Now, they're just one solid object, it's going to make it easier. Let's hit 'Save'. I'm going to put mine on my 'Desktop', in our 'After Effects' files. I'm going to call this one 'Line Chart'. Click 'OK'. Now let's jump over to After Effects. So I've got a 'File', 'New', 'New Project' open. And I'm going to make a 'New Composition'. Actually I'm not, I'm going to bring in my Illustrator file... and let that create it. So I'm going to double click the 'Project Window' to import. And I go to my 'Desktop', find my 'After Effects' files... and there's the Illustrator file, where are you? 'Line Chart'. It's going to bring it as a Comp, make sure it's Layer size. I'm going to double click the 'Comp', zoom out, and there's my Graph. What I'd like to do is put a Background Layer in. So 'Layer', 'New', 'Solid'. Pick a color, I'm going to pick, don't even know, that color, click 'OK'. We're into the bottom, right click it, give it a name. Breaking all my rules. That's 'Background'. Let's lock it so we can't mess with it... and that is going to be actually the beginnings of my Chart. So there's three Layers, these three. The axis, we can lock, we don't want to move that around. Actually, do we want to move them all at the moment? That's looking quite centered on my page, needs space for title. So I'm going to lock the axis, because I don't need to change that. The lines-- we're going to turn the dots off for the moment... because you might not want to animate the dots. The line is pretty easy. The first thing we need to do is... at the moment we want to add Trim Paths... you notice we can't add it at the moment... because it's still an Illustrator Layer. What we need to do is... with it selected, go to 'Layer', go to this one... that says 'Create Shapes from Vector Layer'. It turns this one off... and creates this other line that looks exactly the same... but that's usable as a Shape Layer in After Effects. I'm going to bin this guy here to make it nice and clean. This one here, all we're going to do is twirl it down... and we're going to say 'Add', 'Trim Paths'. We did this in an earlier tutorial, I'm going to twirl this down. Start position is going to be set to 100. So my Playhead's right here at the beginning, it's important. It's a little hard to see, because that's like a preview of your line... even though, if I click off, it's gone. So 100%, you can kind of see it growing there... if I zoom in a little bit better. You can kind of see it growing across that line. So I've got it at 0 at the beginning, I'm going to start my Keyframes. I'm going to move it along some time. I'm going to drag it down to 0. And now, if I click off, we got a line. We're going to add some Easing to it, we'll actually add our Expression. And then we're going to go and add the little bursts... where it comes along, when it hits the different quarters. This is totally up to you, if you want to continue on... but that's basically a Line Chart. Same thing as a Bar Graph, separates it on its own Layers in Illustrator. And the difference now, instead of Scaling up the Bar Graph... we've used Trim Lines to get it to grow. In Illustrator you can create more than one line in one Graph. Just join the lines up... and make them on their own separate layers. You can have lots of little lines doing their thing. So we're going to add our Expression to these two Keyframes. So I'm going to hold down the 'Option' key on my Mac... or 'Alt' key on a PC. Click the stop watch, grab my Expression. Click in here, paste it, click off. That's not what I want, I don't want to use an Expression... because it's going to bounce at the end. So what I want to do is, I'm going to undo that... until I get rid of those, and actually I just put 'Keyframe Velocity'. Now I'm on auto pilot. How good is it? I'm actually going to slow it down a bit... so we got time for the balls to appear. How long? It's up to you how you want to kind of present the data... how much time you've got to present it. Let's go and do a PowerPoint presentation where there's lots of time... or whether it's an animation, like an intro for a website. Just wanted to fire around there. But anyway, we've got our Easing done now. The next thing we're going to do is we're going to get the little markers... where they kind of cross the Q1, Q3, Q4 to kind of... just pop up and do a little cool animation. You might be looking, and going, "Man, this is going to take forever." What happens is, once you've set this up, and you've got your Styles going... what you do in Illustrator is go back to your original Illustrator file... that still has the data sheet added to it... add your new details... do a 'Save As', break it apart... join the lines, and just bring the Line through. And you'll leave the Axis, and you'll leave the Dots. And you'll just play around with these lines here... and just add your Trim Paths. You can even copy and paste this Trim Paths... from this one to the next one... so it does get a little quicker once you've set up your first version. What we're going to do now is... I'm going to put a little bit of extra love into this one... by getting the little things to explode as they go past the line there. So to do it, with this 'Dots' layer... the same thing as we did with the lines, I can't use it as is. I'm going to have to go to 'Create Shapes from Vector Layer'. You can see the little dots there. I'm going to bin the existing Illustrator file... we don't need him anymore. And if we twirl this down, we've got one Layer with the contents... and these are all the different holes. Now the first one is actually this, 'Group 10'. Can you kind of see there? Actually if I click off, see the little dots there. The 'Group 1' is the end there. You can kind of see them turning on and off. So we got where the dots are, I'm going to start with this first one. And I'm going to twirl it down. And what I'm going to do in here is-- Weirdly, at the moment we've got kind of this square thing. I don't want to use it, you could just use a bit of size and scale... to exploit this out, it's in Easing, and make it look kind of cool... but it's a square, and squares are dumb. So what I'm going to do is... actually with Group 9 selected, I'm going to add to it an Ellipse. Kind of goes inside this group. Ellipse, you can do with a star, you can do with anything. So now that we've got this big giant Ellipse... I can get rid of that square, which is this thing called Path here. The square's gone. Cool thing about it, it's bang on where that square was. Now what I want to do is open up Ellipse... and in here, go to 'Size', I'm going to start it off at 0. I get my Playhead back here, right at the beginning. I'm going to set my Keyframes going. For size, I'm going to go along. I'm not sure how long, and now I'm going to get it to go up to a size. You can have-- that's probably too big. You can decide on how big these circles are. So we've got this little growing circle now. Other thing I want to get rid of, there's a Stroke around the outside. So all you need to do is, in here, under Ellipse... there's one in here, Stroke. You can just delete the whole thing. Stroke's gone, now we've got this little board that appears. What I also want to do is give it a Fill color. Use the Eyedropper tool, and pick the off-white that I'm using. And the animation is not particularly exciting. So I'm going to use my trick, where, under Ellipse path... on my two Keyframes here... I'm going to hit the 'Option' key on my Mac... or 'Alt' on a PC, to add my script. This time, I'm actually going to need it. Hit 'Return', and in here... now I've got like a little bouncing ball. Now you can play with your timing between these two... to decide on how well it appears. It looks a bit nicer. So I've got this. Now, you're like, "Holy Moly... I'm going to do that for every single one?" And you say, 'No." Luckily, all you need to do is, under Group 9, grab-- Make sure your Playhead's at the beginning, that's the first thing. Grab 'Ellipse' and 'Fill', holding 'Shift' to grab both of them. Hit 'Copy', I'm using 'Command C', or 'Control C' on a PC. And go to 'Group A'. There's some stuff we don't need, we don't need you. Actually we don't need anything except for this Transform. This Transform actually gives it its X and Y co-ordinates. We want to keep that, because that's going to make... the dots appear in the right position... but I don't need any of this junk, that's the Square... that's the Line around the outside of the Square... and that's the Fill of the Square, I don't need any of that. Click on 'Group A', and use 'Paste'. I'm using 'Command V' on my Mac, or 'Control V' on a PC. And now, the cool thing about it is, watch what happens. So they're both going. Now what we're going to do is, just play with the Timing. To play with the Timing, we're going to figure out where this-- We'll keep the Line in the background. Can you see my line? There he is. And when he gets to about there... I want this other little circle to explode. So I'm going to drop down Ellipse. Grab this guy, just drag him along to somewhere close to that. Now.... So, we're going to just do that over and over again. Do the next one together? Actually no, let's just fast forward it... because it's that same thing, you can rewind if you don't get it. But, get rid of you guys. Big thing, make sure the Playhead's back at the beginning. Click on '7', 'Paste'. Then open up 'Ellipse Path'. Find these two Keyframes, and figure out in your Timeline when it hits Q3. Because we were Easing on this, it's not going to be evenly spaced. Now let's go and speed it up. All right, we're back. So that probably took me-- it was on fast forward... it probably took me two minutes to go through all of that. So, it is long, it's not like, make a Line Chart, and make it beautiful. There's a bit of jumping, and... say these dots, you might decide, actually-- I've done it before, I've put loads of effort into one of these... and there's lots of intricate stuff, and it does look really beautiful... but the problem is, it's turned into a nightmare for me... because I'm like, "Oh Geez, it's week 2"... and I've got to go and put that quarterly sales report together." And I've kind of designed something that they've expected... and they're like, "Why is it taking so long?" And I'm like... "Because I've set up this monster sort of things, so many bits going on." You might just decide, "Actually this is not worth." Because it's going to be so repetitive... let's keep it nice and simple. So, dots might not be cool. Let's have a little look. Awesome. I like that last one, it's kind of cool... kind of zooms along in the middle there... And then this last little one, kind of like gives it that finale. This is my actual YouTube subscribers per month. It's not my total, but it's like how many I get per month. You can see here, I'm just starting to get some big growth. Thanks to Tayla and Jason, good work, boys. That's our little launcher. Let's save it, and let's look at going on to Pie Charts. 31. Pie Charts: Hi there, in this tutorial we're going to make this... where Pie Charts kind of spin around, and pop out a little bit. All right, now let's go and learn how to do this in After Effects. So, Pie Chart making. Now we don't need Illustrator for this one, which is cool. We're going to make a new project, click on 'File', 'New Project'. And in here, I'm going to go to 'New Composition'. 'HDTV 1080 25', all the same, '5 secs' long. Background color, doesn't matter. And I'm going to click 'OK'. I should have actually named it. I'm going to rename this one, this is going to be called 'Pie Chart 1'. We're going to look at some other things later on when we get into Masking. It's all appended with '1'. First thing we want to do is put a background in, 'Layer'. If nothing's opening, double click it. Make sure you go to 'Layer', 'New'... 'Solid'. Pick a background color, Eyedropper tool... I'm going to pick on gray color. I'm going to rename this one 'Background'. I'm going to lock it. Awesome. Now for this one we're dealing with the data from here. It's the device type for my website, bringyourownlaptop.com 80% of people are using it on their computer. And 14 on Mobile phone, and 6% on Tablet. Obviously our data for our Pie Chart needs to all equal up to 100. First thing we're going to do is put in our Base Slice. It's going to be the kind of bottom background main chunk. And that's going to represent in our case, the 80%. So let's go and do that. Now I could grab the Ellipse tool up here... and draw it. The problem is, the Effect we're going to use... requires this Anchor Point to be in the center. And it's a little hard to do with circles. So what we're going to do-- you notice, when I do draw a circle... it actually creates a Shape Layer, and puts an Ellipse inside of it. So, what we're going to do is-- I've just deleted that. I'm going to create manually a Shape Layer. So 'Layer', 'New', 'Shape Layer'. It's actually nothing yet... but if I twirl it down, and I can say, "I'd like to add an Ellipse." It's kind of like exactly what we just did... by drawing it, but at least directly in the center now. The other thing we need to add is... this Ellipse has no Fill, no Stroke... I'm going to add our 'Fill'. You can add a Stroke as well, Gradient Fill, Gradient Stroke. I'm just going to have a Fill at the moment. Twirl it down. What color is it going to be? I'm going to pick my light red here. How big is this going to be? Where it says Ellipse Path, open it up. Do Size, this is totally up to you how big you want this to be. You can't move it on the screen yet, we can do that later on. But at the moment, don't move it, needs to be directly in the center. So this is going to be my Base Size. I'm going to rename this Layer. I'm going to call this one 'Desktop'. And that's the bottom part done. What I'm going to do is twirl it up... select it, copy, paste it. Right click this one, and this is my next set, which is Mobile. The first thing we're going to do is change the color. So open up 'Mobile', go to 'Contents', open up 'Fill'. Grab the 'Eyedropper', pick another color. We'll pick this lighter one, actually. Close it back up. And all that's happening at the moment, is there's one over the top. Leave it in the center, we're going to add an Effect. So 'Effects & Presets', type in 'Clock Wipe'. Click, hold, and drag it on to it. And, kind of just disappears. What we can do is, see this Transition Completion? Make sure your Playhead is back at the beginning here. And watch this, if I drag it down... hey left, and right, that is what we're going to be animating. It's pretty easy to do. The Keyframe's actually started already. So I want to start it at 0... or 100%, so it's completely finished, it's a bit weird, I know. And then after some time-- Now, because I have my Playhead somewhere different... when I first applied this Effect... you might not have this problem. Is if I hit 'U', there's this brand new Keyframe over here. This is just a bye-product, this Effect comes with the Keyframing. Ready to go, so wherever your CTI is... it starts our first Keyframe, so we're going to delete that. At the beginning here, I've got it set to 100. I've got no other Keyframes. How do I get this up? Remember, with it selected, I can click 'U'. And it will pop up any Keyframes that have been made. After some time, not sure how long a time... I'm going to set the Transition. You can do it up here, go up here. I'm going to work out my-- This is my Mobile one, so this needs to be 14%. Easiest way to do it, is do 100 minus your percentage, which is 14... and click 'Enter'. It gives you the right amount, using this Effect. It's not meant to be used for Pie Charts. We're just kind of using and abusing it. But that is our 14%, so it's going to do that. Nice! Before I move on to the next Slice, I'm just going to spice this up. We're using that Expression. We've used it loads in this tutorial already. So it is here. It's in my Exercise Files, under Expression. And I'm going to delete all that, just so it gets a little bounce. And then play around with the Timing, to make it look nice. Now it's time for the next Slice. And all I'm going to do is, select 'Mobile', copy and paste it. So I'm using 'Command C' and 'Command V'. If you're on a PC, it's 'Control C', 'Control V'. I'll rename this one, and this is 'Tablet'. And what I want to do is a couple of things. I want to change the color of it... so I'm going to move this along, so I can see it. So go to 'Contents', 'Fill', pick the 'Eyedropper', I'll pick a new color. Now it's right on top of the Mobile, happening at the exact same time. So the first thing we need to do is change-- We want to kind of pop down here, so you're on the first example. So it's considered the Start Angle. Watch this, if I click, and drag it... I could drag it, and manually line it up... and that would kind of work. I find the easiest way is, go 360 divided by 100... times whatever this one was, which was 14. That's going to give me the exact movement around. I'm terrible with Maths, but somehow those sort of things stick with me. All we want to do now is, it's playing. So this one is at the wrong percentage. So, check Excel, this one's going to be 6%. So what I need to do is, go into... Transition Completion. Now I need to make sure my Keyframe is at the end of this animation. So 'Tablet' selected, click 'U'. Have my Playhead just above it. Holding 'Shift' while I'm dragging to snap to the top. Instead of 86, remember our little trick... 100 minus, I can't even remember now. I think it was 6, gives me 94. So that's going to give me my little Slice here. Let's go have a look. Now the Timing, I'm going to twirl it up. I'm just going to move my Timing so that... may be a little bit more. Maybe just a little bit more, so when it stops bouncing, this one comes out nice. So when it's all finished, I'll probably need to add some Labels. But at the moment, that chunk there is what's left over. So 14 plus 6 leaves me my 80%. So that's Desktop, that's Mobile, that's Tablet. What I want to do is, actually, probably this base is a bit boring at the moment. Doesn't do anything, just kind of there. So what I'd like to do is animate that as well. So what I might do is just move these guys along. Back to here. And I'm going to add the exact same thing. So I'm going to grab 'Clock Wipe', add it to 'Desktop'. I'm going to start it at 0. Great. My Playhead was already at the beginning. Remember, click 'U' to see where the Keyframes are. And there's mine out there, it's already applied them all. So I'm going to get rid of you. How far along? So it starts here, and maybe about that far. And I'm going to get it to go all the way around to 0... before this other one starts all the way around. I'll group it further apart, actually I'm going to add the Easing first. Now, I don't want this one to bounce. Only because I practiced and it looked a bit weird... with the Base bouncing back and forth. Kind of opens back up like Pacman. So what I'm going to do is select both of these. And go 'Keyframe Velocity'. I'm using my old trick. And now... Why do I add sound effects? I bet you, you will too. Awesome! So we've got our basic Pie Chart. The cool thing about it is, wherever usable... we can use these Slices... and just go through and change the percentages, and the Start Angles... for every next month, for whatever. You might have 50 of these things, the migration won't take you too long. But we're going to add a little bit of extra dimension. What I'd like to do is I'd like one of these Slices to pop out. And maybe that's the most important one. We can pop them out at different times, and kind of explain what they are. So I'm going to get this one to pop up. This last Slice for Tablet. And to do it I'm going to get my Playhead down... before it stops bouncing, about there. And I'm just going to play with Size. So I'm going to have 'Tablet' selected, click 'S'. I'm going to start the stopwatch for Scale, it slides. It's going to do the same thing. And further along, I'm going to get it to pop out. So it's going to come along, and then that's going to come out. Now the only trouble is I can't use my Expression in this one. There's just too many things going on. There's two Keyframes, but there's also some Effects going on... and my Expression doesn't work on this one. So we're going to have to do it old school. But luckily we know how to do it old school, right? So I'm going to first add some Easing. Select both of these guys, move your Velocity at '75'. I'm just tabbing across those to make it quicker. So it looks nicer, but I want to go kind of like... this bit here, I want to go, say it's going to be... 125, that's going to be its finished, kind of like jumping out spot. So what I'd like you to do actually is to go past that little bit, to 130. And then come back, below 125. 122, I'm just guessing here. It might look horrible. And then eventually, rest back at 125. You could put more and more in these... to get it to go really slick and smooth. Let's give it a test. It's not bad. Let's zoom in. A bit quite far out. ?? this whole tutorial. Not as nice, but you can play around with the timing of these. The last thing you might do is... we're going to make it like a doughnut shape. And I am embarrassed to show you... the method for turning into that doughnut... it looked like from the beginning. All we're going to do is grab the 'Desktop', copy and paste it. We're going to call this one the 'Center'. You're going to guess what we're going to do. With the center selected, I'm going to get rid of Radial Wipe... because I don't want the Radial wiping in. Now all the center is, it's just a copy of it. I'm just going to change the color of it. And move it to the top. Actually let's stick it to the top now so you can see what I'm doing. It's pretty cheap tricks. Let's go you, pick it back on color. And let's go into 'Ellipse Path', the 'Size'. And how big do you want your doughnut? But it works. Looks like a doughnut, just a little cool pop out thing. Say you got a colored image background, and say this is not going to work... we will address this a little bit later in the course when we look at Masks. But for the moment, most of the time, especially for this stuff... big circle in the center, pops out, looks awesome. What you should do now is go through and just add some Type obviously... the percentages, we'll do a Percentage Counter in the next video... so it kind of creeps up at the right dimensions. But you want to add some Labels and stuff to it. Now, last thing we're going to do before we go is that... to move this thing is a bit weird, and you're like... "Oh great, I'm just going to grab all of these guys... and I'm just going to move it over." That Wipe effect... it's actually a Transition effect, so it does it to the whole Scene. You can fix that by Pre-Composing it, it's pretty easy. So I've got all these selected, right click it. Pre-Compose puts it into its own little Comp. And I'll call mine 'Pie Chart'. Actually what did we call the first thing? We don't want another one called Pie Chart. We're going to call this one 'Doughnut'. And back to my Project Files here. So 'Pie Chart 1', and there's this little doughnut that goes inside of it. Now what happens is, it's just all grouped inside that Comp. Now we can move it around as we need to. And that Wipe effect kind of stays with it. So we can kind of animate it on, slide it on as well, you might go... Slide it on, make it look cool. All right, that's going to be the end of this Pie Chart one. We're going to look at adding some Counting Numbers in the next bit. Also, later in the course, if you're a Pie Charts fan... we're going to do something called Masking Stuff with Pie Chart. So check that one out as well. All right, let's move on. 32. Number counter ticker thing: Hello, welcome to the Number Counting thing... where it goes up from 0, in this case it goes to 53%. All right, let's look at how to make that now. So first up, I've got a project I kind of started for us. You can obviously use your own, go to your Desktop... find your Exercise Files, there's one in... called 'Pie Charts', and it's called 'Number Counter'. Now what I've done for you is I've created just... exactly what we did in the last exercise, instead of having two of them... where we had Tablet and Mobile, I've just done one. The percentage is going to be 83%. And I've just calculated that already. It's just a silly disc in the middle, making it look like a doughnut. Now what we want to do is add the Number Counter. First up, we need the Text. So we're going to grab the 'Type' tool, clicking it right in the middle. And I'm going to type out my numbers. I'm using this font here called Lust. It's a free one, it's from TypeKit, we looked at TypeKit earlier. Now what we want to do is we don't want to have the percentage... in the same text box, so he's 50, actually it's 53%. It's my top one. And I want to have it in a separate box... because the Number Counter can work here... but it can't append the percentage there. So, I'm going to select it down here, copy and paste. And it's made it to 54, it's cool. Double click it, and change it to percentage. Now it's kind of in the way now, just grabbing the tool. Sliding it across, I'm holding 'Shift' while I'm dragging. So now we've got these two little units. So we don't need percentage anymore. It's just this 53 that we're going to be working on. If you are trying to edit other bits... I have locked together all the Layers so you don't wreck it. But if you want to wreck it, unlock them. The first thing we need to do is create something called a Slider. And it's going to control the up and down of this... and allow us to Keyframe it. So what we're going to do is go to... 'Effects & Presets', and type in 'Slider'. And in here, there's one called 'Slider Control'. Click and drag it to either here... or it's easier to drag it to the number down here on the layers. Now, this is what we're going to connect to. So I've applied this effect called Slider... and the Slider just allows you to crank it up and down. It's not connected yet. We need it to connect to one of the attributes inside of here. And actually what's going to be good for us is the Source Text. And the way you connect these two together... it's the same as when we add an Expression. Remember, we hold down the 'Alt' key on a PC, or 'Option' key on a Mac. Click the little stopwatch. And we've started a bit of Expression. Now what we've done previously is deleted it, and replaced it. Now what we're going to do is use this thing called the Pickwhip. And his job is to click, hold, drag... and he's kind of this little weird thing... so I want you to connect too, and let go on Slider. Click 'return' on your keyboard, click anywhere else in the document. And now, if we put our Playhead back at the beginning... this Slider is connected. Cool, huh! So we still to need to animate the Keyframes... with this little stopwatch here. So at the beginning, I'm going to set it to '0'. You can go negative, so set it to '0'. Let's start the stopwatch to put in a Keyframe. It's up to you. We're in this 'Effects Controls'... you will actually find the stuff down here, there's the Effects. This is the Slider control. And if you prefer using it down here... like we have in the rest of the tutorial... you can see the Keyframe there, or use the one up there, it doesn't matter. So how far along we're going to go? What I'm probably going to do is I'm going to get it to start... about there, so I want this first Keyframe to be 0... at about there. It's this bar here we're kind of... getting it to be associated with, and when it's finished... I'd like to lift it up to 53%. Awesome! Problem is, it has fractions, or decimal points by default. It's pretty easy to remove. It is actually counting up fine. What we want to do now is find that Expression... that we worked on. It's under 'Text', 'Source Text', there it is there. Now what we're going to do to fix it up... is we need to put it inside a parentheses... inside a set of brackets, so there's a bracket at the end. Bracket at the beginning, so wrap it up. At the beginning here we use Capital M for Math.round No spaces. Click anywhere else out, and hopefully now... goes up without all the extra decimal points. And that my friends is it. All right, we've got our little percentage going... in our cool little graph. That's it, I will see you in the next tutorial. I'm back for a second. I was just closing the file, and was like... "That might kick them up." See over here, in my Panels, we're in this kind of other mode here. So you can bring in Switches, actually we're in Modes. Now if I click on this, that's back to how we've been for most of the course. Click on this again. It's kind of a weird button to find. You can search up here, high and low, but look at this guy, transforms from-- We're going to look at these more, as we go through Masks... but most of the time we're going to be here with our lovely... Motion Blurs and our 3D. So make sure you set it back after-- The reason it's switched over is because... we were messing around with the Expressions earlier. All right, as you were. 33. Process Relationship Infographics: Hi there, in this video we're going to use Excel... to build this kind of relationship model here... plus look at the hundreds of other ones it does really amazingly... and then look to animate it in After Effects, like this. Look at us. And they pop up. Still going. Wait for the last bit, because it's good, watch. And watch him go. So that's going to be it. Let's go and make that now in After Effects. So the first thing we need to do is... we need to create our Art work in Excel. So we're going to be working with this stuff... in '06 Process & Relationship'. There's one called 'UX Workflow'. Now a really cool feature in Excel-- By the by, I've got a course on Excel if you really want to get into Excel. But it's really simple obviously, what we're doing right now. I've got kind of five things that's going to match my UX Process Dialogue. I've selected it all, and it's very similar on Mac and PC. Things are a little bit different at places. So select all of these, and let's go to 'Insert'. We're looking for this one called 'SmartArt', here it is there. Now there's lots of different options in here. And it's really great, like to have to recreate any of these... in Illustrator, or in After Effects... which would take forever. These things here, they might not be styled to your liking... but we can make that happen, there's really good stuff in here. So, up to you which one you want to work through. You can see, there's lots in this. So where you're going to work through is the 'Relationship' one. And in this particular case, it's going to be-- And when I say Relationship, I mean Process. We're going to use this little arrow one here. Lots of different options, we'll use this one. Cool thing about this-- And if you click this side here, you can enter our Data in. When I said select that stuff at the beginning, it does nothing. So we're going to use it to copy and paste from. Copy you, click on this, click on this guy, '1'. This guy, copy, and you get the idea. Here we go with the third one. The problem is we've only got three... but it's really easy obviously to add one of these '+' buttons here. So you, 'Test'. You can see it's kind of shrinking to fit in here. We'll adjust that in a second as well... as we get all of our bits in here. Quick thing is you can move them up and down, they're in the wrong place. And what we want to do... because we want this quite big in Illustrator... we are going to turn that back in there. And then drag it over here, and make it nice and big. If you're happy with the Styling, you can go ahead and do this now... but just re-size the box, nice and big. I'm going to go through and actually Style it a little bit. What I want to do is play around with the colors. So, with SmartArt, along the top here... you've got these extra features that appear when you got it selected. So make sure you got any part of it selected... you go to 'SmartArt Design'. You can pick some of the other defaults for Relationship. And the colors along the top, I just want this first one. It's kind of like flat with a white Stroke around the outside. 'Colors'. It's actually not so bad, there's not too big ones here in Excel. You can go and change these if you like, by selecting one of them, change colors. And you can 'Recolor Picture in Graphics'. You can spend a bit more time Styling it, I'm happy with this little mock up. One thing I'm not happy with is the Fonts. So I'm going to click off, click on this. And I've got like nothing selected, just clicked on the edge here. And I'm going to go back to Home, and pick a Font. In my case I'm using 'Roboto Slab'. Cool, they all kind of fit in there. And I think that is it, you can do some adjustments. It doesn't really matter if you do it here, or in Illustrator. Do it in whatever you're most comfortable with. If you're an Excel whiz, do it here... if you're not, you can do it in the next step in Illustrator. To get into Illustrator, just click anywhere around the edge, hit 'Copy'. And then open up Illustrator, make a 'New File'. Let's make it our HD size, so 920 x 1080. Everything's going to be great. Make sure it's 'RGB Color', click 'Create'. Hit 'Paste'. And the cool thing about it is, it's kind of Vector. What we'll need to do is-- I'm going to zoom out so I can see the whole page. So it's better to get it positioned in here... before we Reposition in After Effects. So that's kind of it, I might want to make it a bit bigger. So, what I need to do is, right click, and 'Release Clipping Mask'. Some of the other ones we did earlier... was we right clicked it, and went 'Group'. And what we want to do is, now that it's-- Just check that it's all kind of in pieces. Couple of things I want to do, there's like a line around the outside... I want to get rid of all those. It can be hard to select, go away, just the white Stroke, you might like it. So, what I need to do is... move all of these on to their own Layers, like before. 'Layers' Panel, I'm going to have 1, 2, 3, 4, 5. The number we've got, '1' Layer here. This first Layer, always never use it. There's always junk on there we don't need... when you're copying and pasting from Excel. So it's best to like, grab this guy, make sure you've got it all. And remember, twirl him down. And this guy here, I'm going to just drag it to this Layer1, Layer2, sorry. Did I get everything? Turn it on, and off, we didn't. Put it in this. I'm undoing. So I've got everything selected here. Actually I'm just clicking over here, so got everything? Yes. So it's these two I need, you, on to that Layer. Now that looks good. And I'm just going to work my way through these two. I'm selecting them so I can see them in the Paths here. There they are there. And you, and you. ?? Can you see, I've got everything I need, but what is this stuff left over? Who knows, junk, so I'm going to bin that Layer. Now I should go through and rename all these... to match them as one Object to one Research. That would be clever. I am lazy. One thing I will do though is... I've used the Font, I've used Roboto Slab. Now, if you're passing this on to other people to use... or you know it's going to be used amongst a bigger group of people... and you know they're probably not going to have the Font... I tend to select them all, go to Object, no, go to 'Type'. And go to the one that says 'Create Outlines'. At the moment it's editable Type. And people need the Font for that to work. I'm just going to go to 'Create Outlines'. All it does is, that's not an editable Font anymore. You can't spell check it, you can't do anything. So be careful, you might do a 'Save As'. I'm doing it for this, so that you can cheat... and maybe jump the Excel part of this course. And you'll be able to just download the ai file. Because you probably won't have Roboto Slab... these are just few shapes you can start using. So I'm going to 'Save' it. I'm going to put it into my 'Desktop', 'AFX Files'. You my friend can go in there. I'm going to call this 'UX Relationship'. Here we go. They're all on their own Layers, Illustrator file. Now we can jump into After Effects and animate it. So we're in After Effects, and we're just going to animate it. Like you've downloads of things so far... if you've been following through this tutorial. So pick whatever you like. I'm going to do a little method that you saw at the beginning there. And I'll show you some kind of tricks for copying and pasting Keyframes. So, it's worthwhile watching it. But you might have been in this, and just go like... "Damn you, Dan, I'm going to do Scale, or Overshoot, or something like that." So I've got a New Project open. I'm going to bring in my Illustrator file. It's on my 'Desktop', 'AFX Files', 'UX Relationship'. Remember, 'Composition', yours is probably set to 'Footage'. Go to 'Layer Size', click 'OK'. So it's made a Comp for me. How long is that Comp? Whatever the last thing I did, it's matched that. These are all my Illustrator files. So I'm going to double click it to open it. So here they all are, lined up nicely. I'm going to turn my Preview back to 'Full'. So it previews nicely for you. The next thing we want to do is add our Audio. Because we're going to be timing it to a voice over. So there's no point trying to do it without it. So let's bring it in. It's in our 'Exercise Files'... it's in '06 Process & Relationships'. There's an Audio file that I've made for you. You can listen to more of me. I'm going to add it to my Timeline. Now the thing is... is that your Timeline's probably only like, maybe 5 seconds... because it was probably based on the last thing you did. Whenever you're making a new Comp... it just remembers the last thing you've done. Because I was practicing this exercise for you guys before this... I set it to the exact time I need. So, let's say that hasn't happened. We need to make sure the Comp is long enough... to be able to hear all the Audio. And the way to do it is to click on this, and say it's '20:12'. 20 seconds and 12 frames. So what we do is we click on 'UX Relationship'... or to click down here, and go to 'Composition', 'Comp Settings'... and make it the right link there, can you see, '20:12'. So just make sure it's the longest... so you can hear everything, including the last bit. So now we need to animate it. And this is the thing where we're going to learn a few little tricks. So now we need to-- actually let's put in our music as well. I find adding music earlier on is really important... because often you can keep pace with it. You're kind of like timing it to the music... so don't underestimate having music in... it's not just for the end, so pick something. What did I decide on? I can't remember. I can't remember. All right, so that one's going in, checking at the bottom there. So couple of things we need to do. We need to figure out how loud the music is versus the voice over. So first thing, I'm going to mute the background music. Go to my voice over. And I'm going to open up 'Audio', hit 'Play'. So I can only hear this. It's clearly bouncing way too low, I need it to be up a bit higher. Well, clearly. It's clearly because I've looked at it before. So remember, -6 and -12 bouncing in there. It's a little high, but mainly bouncing between these two. That looks about right, so kind of nailed it. You know why, because I've already played around with this one. But you might have to raise yours and lower it to get it between those two. In terms of the music now, I'm going to turn the volume back on. Hit the mute button there, hit 'Play'. You can't really hear it because you're hearing it through my mic. But it's competing, so it's quite loud. I'm going to lower it down. Too low. Too loud. Why am I doing it down there, and not up here? I don't know, kind of weird. It doesn't really matter if you do it there... or, can you see, that we lowered this guy here by 3.3 There he is there. And we raised it by 3.3, and we minused this one here. I don't know why, that's weird. It's good to show you two ways of doing the same thing. Maybe just a little bit lower. Yes, that feels about right. Save it, and before we do animations, what we're going to do is... we're going to mark our Sound thing. We did this, you saw it probably... a file that we imported way back earlier on in the tutorial series. There were markers along, so let's look at doing that for ourselves now. So what I'm going to do is, to make it easier for ourselves... I'm going to open up this 'Layer' here, 'Audio', I'm going to go to 'Waveform'. And go along to-- What I'm looking for is to where 1, 2, 3, because if you listen... you'll probably, when you're doing a tutorial... have a listen to the audio first, so it makes sense. That's me saying "One, we start with an objective"... and then a little further along, it says "Two, start the research." So I'm going to add little markers here, on a Mac, it's 'Control 8'. I'm assuming it's something like Option, or Control, or Alt on a PC. I don't know off the top of my head, so you might have to guess it. You might have to work it out... it is under Markers, where is it? 'Add Markers', there. So go to 'Layer', and go down to 'Add Marker'... and work out what the shortcut is. It's really handy to know the shortcut for this one. We just put it in manually, not the long way. So there's my first Marker, I'm going to double click it. And this going to be '1'. And I click 'Enter', you can see, a little '1' appears there. Kind of handy. Then I came along to... "Two, you do your research." So that little hump there, that's why I have the waveforms down... because you can actually start to see like there's a break 2. So I'm guessing probably that is 3, that's probably 4... maybe that's 3. But it does help you any way. So, shortcut... on a Mac, 'Control 8'. Double click it, you are no. 2. There it is there, 3. 'Control 8', double click it. This is just so I can play with my-- save some time with my animation. 4, and this one here looks like 5. Oh, it's not in, finally... 5 there. And last one, and you... 5. Awesome! Okay, so that's that... Now we need to do the animation, so I'm going to twirl him up. And we'll start with Layer2. Even though it's our first one, we should have named them better in Illustrator. Now I've made my bed, and I'm going to have to live with weird naming. So what I want to do is, first of all is get them all to appear. Remember, they all slide in at the beginning there... just to kind of settle themselves. It's called the Build, when they kind of get together at the beginning. So what I'm going to do is do it to the first one... and then hopefully you can do some shortcuts. Actually what we're going to do is we're going to select them all. And we're going to click 'P'. Because we got them all selected... and we've used our shortcut 'P', we got Position. I'm going to start the stopwatch on one of them. And they all start, we get a Keyframe from all... so we can do some of this. So after about half a second, there's one second there. And what you might have noticed in this tutorial... if you're using them, and start to go from seconds... where I can see seconds to frames. So it's 25 frames in a second... so it goes 15, 20, 1 second. It's just showing like millimeters. If that was centimeters, or feet, or inches instead of feet. So, about half a second, I'm going to put in a manual Keyframe... because that's where I want them to end after half a second. At the beginning here, I want them all off screen. Now, we're going to have to do this all separately. You could just drag them all. ?? All of them come off screen. You guys get off screen. I'm dragging, and after I start dragging... hold down 'Shift', it locks it into its place. It kind of works all right. What I want to do is this though. So I'm at the beginning here, and I'm going to get you. Start dragging, hold 'Shift'. Click on this one, start dragging, where it's going all wiggly, hold 'Shift'. I'm going to kind of power them up so they start off screen. Just gives them a different pace when they come in. So now they all kind of fly in, they're different, slightly offset, see. And we're going to get them to stagger in. So I want them all to kind of just be a little bit after each other. Now you could go through, and just manually stagger these things. That would work totally. I'm going to select them all, and be a bit more professional about things. And right click one of them, go to 'Keyframe Assistant, 'Sequence Layers'. And I'll get them to overlap. Now it needs to be-- we know this thing was 20 and 12. So it will overlap back on itself completely. So we want to be maybe a few frames different. It seems all weird, I know, so it's that, minus the difference. You'll work it out. Have a little play around with it. Here you go, you can see, we're staggering them now... and it's feeling a little bit better. What I might also do is, select them all, do my Easing. And... that's a little nicer. I probably want them to do a little bit-- I'm changing my mind and going back. And you're like, "Geez, get on with the tutorial, Dan." Sorry. So instead of 5, this one is 12. 5, maybe 8, it's a little, just a little stagger there. One thing it's missing is Motion Blur, so I'm going to turn it on for the Comp. And I'm going to turn it on for all the Layers here. How am I liking that? Yes, it's good. Probably the thing annoying me the most is, no Easing. And I want to select you, hold 'Shift'... click all of these guys, and adjust a bit. Taking too long. That's good now. So, Easing as well, select them all. 'Keyframe Velocity'. Now it's too fast. I'll move on, I promise. Okay, so they build in. Next thing I want to do is, when I start talking... I want, when I say... "One, you start setting your own objectives"... I know it's there, so what I want to do is-- We're going to look at something kind of, well, it's definitely new. So we're going to click off them all, no we'll turn them all on. So, actually this has got one first. So, Layer1 is my first, one objective. Now, when we were working before, we added a camera. And when we added a camera, we had to turn this little 3D thing on... otherwise it can't be seen by the camera. And the camera freaks out a little bit. You can kind of use it without a camera as well. So what happens is, if I click the little cube here... the big difference is, watch this, so I'll twirl down this guy. He has a few settings, especially Position. He has just X and Y, he can go that way. And he can go that way. And that's it. But if you turn this on, he gets an extra dimension. He gets this, he has to forward back. Which is really cool because that's what we really want to do. We could use Scale, but Scale just doesn't work, watch this. Let's grab Scale for this guy, Scale him. And I can say, number 3, you're mock up, and bring it nice and forward. Problem is the Layer order. He's like-- the Layer order happens. that guy's always in front of him, and that guy's always behind him. If you want this guy behind him now, that's great... until, you need now this guy to Scale up. You can't animate changing Layers. Because I want this guy to get bigger now... but this guy is always going to be in front of him. So Scale doesn't work. If that was a terrible explanation, just know that Scale doesn't work. But this little forward and back does, because, if I grab him... and I turn this 3D on... and I say, you my friend have a position... you my friend, can go forward... but it's not going in front, it's because this guy-- They all need to be 3D. They want to be playing by the same rules like this guy here. He needs ?? So then he can go forward, and he gets behind them, and back of them. So I'm going to undo until I didn't wreck this thing. I'm going to make sure 3D is on for all of them. So, just the little Layers there. And what we'll do, is this first Layer here... come along. And just before it says 1, I'm going to get it to pop out. So I want Layer 2 selected, hit 'P' for Position. I'm going to-- he's coming along there, I want it to stay there. Because what people tend to do is... they start doing this now, this one, bring it forward. The problem is that... from this Keyframe to this Keyframe, he just slowly creeps forward... and it looks a bit weird. So what I want to do is... put in a blank Keyframe, so between here and here, he does nothing. And then, when it gets to 1... I'm holding 'Shift' to lock to that Marker, which is handy. I'm going to get it to go forward a bit. Forward a bit, forward a lot. You can hold 'Shift' while you drag these things. Just makes them move in bigger chunks. And then you decide where you want it. I'm going to probably put all of mine in here in the middle... quite close to the camera. So it kind of does this. Here you go. That's all we're going to do. You can kind of hear in the background, I think. So we can do a little more of that. We're going to look at copying and pasting Keyframes... that's worth sticking around for. But the main thing of this one is... getting stuff of that Excel, but then using this 3D without a camera. Just so you can get that extra dimension, push things in front of each other. So what are we going to do now? We're going to try and speed things up... because putting a Keyframe every time is going to be a bit hard. So what we want to do is, just before 2 appears... when I start saying, when I want this 2 to appear, I want it to disappear. So, it's not about there. What I can do is I can put in a manual Keyframe. So that this pretty much picks up that one, copies it, sticks it there. So it goes nowhere. And then after a little bit of time, he's going to go back to its home base. Now to try and calculate that is impossible. So all you do is grab that Keyframe, because right there, remember... he was back at home. Then we made him big, moved him around here. But right there, he was where we wanted him. So, with it selected with my Selection tool... click 'Copy'. So just 'Command C' on a Mac, or 'Control C' on a PC. Just the simple Copy. And then move along before we want him back. Make sure you got that Layer selected. And let's go 'Command V', or 'Control V' on a PC. He goes back to where he was, that's a really handy thing to know... that you can copy and paste these Keyframes. So we're going to use that to our advantage even more. So, where I want 2 to appear... so let's click on this guy, make sure he's all 3D. Hit 'P'. And what we'll do is we'll set a Keyframe. Because 2 is where I want it to appear... so I want it to be a little bit back like this. And then, if you're finding it really hard... just maybe move that back there. I'll find the window overlapping, especially when you're new. It's just a bit weird that that's happening at the same time. So, you there, Keyframe, is exactly where I need him to be. But then, when I said it were 2, I like him to be in the middle there. Now, I like him to be in the exact same position. And I can do that, and I can do that. And I can move him across. And to get him in the right spot again though could be tough. Exact same trick as before, you can copy off different Layers. So I know, when my Playhead is right there... that's when this guy was in the right spot. I want that guy to be there, we just click on the Keyframe, copy it. I'm going to move over there, make sure you click on this Layer, and hit Paste. Awesome! This goes there, you go there. Go along, and now it's going to be a bit of stepping and repeating. So I'm going to grab you. And then, before 3 appears... this can go back to its home base, which is that one. Copy and paste him. Pops up. And then, I'm going to twirl this Layer close... just so-- We can just use Layer2 as our reference... to steal that thing in the middle there. We're just going to try and keep it as tidy as we can. Layer4 selected, 'P', about there. I would to like to set a Keyframe. And then, definitely... hit 3. I would like to copy this guy. Make sure you got the right Layer selected. And move along, about there. Put in our manual Keyframe. And this guy, copy him. Move him to up there, 'Paste'. You can get a bit of rhythm going. Copying and pasting stuff, at least everything lines up. You don't have to start... copying and pasting these dimensions down here. I used to do it, it takes forever. So, 4 is this last Layer here. And I want to put a Keyframe in 4 position. Now you can skip, there's not going to be anything extra and nice. I'm just going to finish it off. You can hang around if you want. You, copy, paste, make sure your Layer's selected, paste. Come along before 5 appears. Put in a manual Keyframe, so between here and here it does nothing. Then, I get him to go back to where it started from, go home. You, 'P'. Switches before 5. You can start there, there at 5. I'm going to get him to go to there. Click on the Layer this time, paste. And then it's up to you, I guess, till the end. Guess I can see when it finishes. So we were at the right spot. Put in a Keyframe, go. What I might do here actually is... they're all going to zip off, so I might get this guy to zip off first. Now I'm just messing about. Adding my own sound effects. Gets there. I might get them all to now zap off, so you... Position. I'll get you to-- So what I need is-- I'm going to do all of this in one go. Trying to be all clever, really. 'P', so I can save them all. I'm going to put a Keyframe in for them all. I'm going to select them all first. So I've already got the first one, so I'm going to ignore him. I'm going to put a Keyframe in for them all. And then, I'm going to go, and get them all off screen. With this ??. So they are all there, and now they're all going to be off screen. Kind of like what I did in the beginning, or slightly different. We're going to the same place. And then... I can't offset these. Can I offset these? Can't think of a way anyway, so I'm just going to have them. So who goes first, you go, then you go. Here you go. I talk to myself a lot. You can add your own UX rules at the end there. I've got a UX course as well, of course, I do. I love UX, UX Designer at least. Go check that out as well if you can. I love it. It's kind of cool, I've got a nice little... kind of run off at the end there, like a little fish. Now you should totally leave now... and I'm just going to add the text at the beginning. Just to fancy this up. So when they're all on, I'm going to add some Type. Click once. I'm going to call this one '5 rules of UX Design'. It's one of the courses, or one of the videos in my course. Sales, Dan, sales. ...of a UX Designer. What am I going to do with this Type? First of all we need to select the top. I'll select all of these guys, get rid of them, click 'U'. 'U' opens them all up better, also closes them... just to tidy them all up. And I'm going to get this guy to kind of come in once these guys have loaded. So what I'll do is, I'll start on him a bit later. At the beginning here, I'll just Scale him in, because... can't think of anything better. And after half a second, we'll get him to go to 100. And it goes... It's not very nice. That's all right, make sure that Motion Blur is on for it. And I will use my Expression, let's go find him. Found my Expression, hold down 'Alt', click him, or 'Option' on a Mac. Paste it in, see how we go for our little rebound. A little tighter. It's weird, once you add that Expression... it needs a little bit of tightening up every time. Now when I said there was no other thing, I'm going to do one other thing. It's that, this is too tight now, I need to lower this all down. Now if I move the Position... if I try to move the Position of any of these, I'm adding Keyframes, right? So things are going to do some weird stuff. And you're like, "How do I move them all down in one go?" You could Pre-comp them. Select them all, Pre-comp them, and then just lower the Pre-comp down. Or you can select all of these guys, and click 'A'. One of the options in there, so I twirl it down... is Anchor Point, so 'Transform', 'Anchor Point'. Anchor Point, we don't use very much. We've reset it to get the rotation in the right place. So to make sure things are Scaling from the same throughout the bottom... is if I click 'A' now, it's kind of like a separate position. It's kind of weird. I use this quite a bit. When I get to this point, I'm like, "Man, I don't need all of this moving"... but I've used Position so many times, just use this. Like it's still... still thinks it's there... but you've moved the Anchor point, kind of tricking it, so it's a bit lower. And this one here, click over there. So Anchor point can be a cool little, get all your job free card. You want to just make sure everything lines up. With a slight problem. Anchor point, move it up. Because it's using a 3D camera... it kind of gets skewed, it's a bit different. So when I said this is a great... you know, all this is potentially a work around to save the day... I didn't quite wreck it. Better. Yes, better. So what you do is, don't listen to me about an Anchor point. That's still handy though, actually. We can right click it, and go to 'Pre-comp'. I'm going to call this one my 'Arrows'. And then the whole Pre-comp can come down. get inside of it, double click it. And they're all kind of still where they are. they should still do their thing. Let's go back, close down the Arrow. Now, let's have a little look. You see, it didn't mess around with the 3D camera... because they're all grouped inside of the other camera, still works. All right buddies, that's going to be the end of this very long tutorial. Lots of just watching me work. But I hope you picked up a few things in that one. Especially because Excel's so awesome... and making those, like Relationship models super quick, and super easy. And then you just got to animate them in After Effects... by jumping through Illustrator. Bit of a hassle, I know, but that's the way we get it done. Let's go on to the next video. 34. Camera 2 Node: Hi there, in this video we're going to look at 2-Node cameras... where we get this kind of like pan in, and zoomy, turny thing. We will also look at adding backgrounds... but now that I've finished this tutorial... actually I don't like the video background. We can do away with the playing background as well. All right, let's go and do it. So first up, I've got a file that you can start with. It's under '07 Camera', it's called 'YouTube Line Chart'. Or you can use the Line Graph you made in an earlier tutorial. Here it is here. It's a little bit different. I just added some text for the Top and the YouTube logo. And they're just timed separately. And they're all using that Expression we've been using over and over again. So what we want to do now is, we want to use our Camera. Let's have a little look first at the difference... between a Single-node camera and a 2-Node camera. So, we're going to go 'Layer', 'New', 'Camera'. We'll put in a 1-Node Camera. We'll call this 'Camera 1 - 1Node'. And we'll put in another one. This is the one we're going to use, I'm going to delete this first one. So you might just kick back, relax, and just make this Camera. This one's going to be 'Camera - 2Node'. Then we're going to go over here and pick '2-Nodes'. Click 'OK'. That's the Camera you want. This one we're going to bin in a second... because what I want to do is show you the difference. First of all, I want to be able to see my two different views. At the moment, we got '1 View', switch it to '2 Views - Horizontal'. This is the Top view, it's not very exciting. You go click over here, remember that little blue wedges in the corner... indicates which side you've got selected. So I've got this side clicked, and here from 'Top', choose 'Custom View 1'. You might have got an error saying... "Hey, remember you got to turn things on to be 3D." So you just got to remember to do that afterwards. What do I want to be included in 3D? I want YouTube logo, I want the text... the dots, the lines, everything but the background. We're going to leave that off. So you can see, they can all be seen by the camera now... depending on where your Playhead is. If your Playhead is right at the beginning... you can see, you can't see anything, and you'll be like, "Oh, no." But move it along, you'll see, they can all be seen by this camera. What you can do is, click on the different cameras. And it will kind of highlight which one we're working on. Now I'm going to zoom out a little bit over here... and show you the difference. I'm going to turn off Camera 1. Great naming, Dan. The 2-Node one, I'm going to turn the Eyeball off, so we can't see it. So, the difference between the two, it really comes down to, under Transform. We can change the Position... the Orientation, and the Rotation. Whereas the 2-Node Camera, we Transform that down... we've got this extra one called Point of Interest. So let's look at the difference. Camera 1-Node, I can adjust this. And I can move it around, I can even rotate it. It should look up and down. The only trouble with that, it's created this kind of new parallel movement. It's like we did in an earlier tutorial. I'm going to delete that one now. Goodbye 1-Node, let's look at the 2-Node. So we got this thing called the Point of Interest. It's just like an anchor in the ground. So now, when I turn the Eyeball on, come back to life. Watch this up here, so, the Position now, if I move it... can you see, the Camera moves... but it's still pointing at that Point of Interest. It's like its little home in the ground... and the Camera will keep pointing at that... no matter where you move this. And that's really handy, you can see on the side here... kind of what we're going to do, we're going to animate that movement. And that's really handy. If you have to use a 1-Node... and try and keep rotating it to get that in the middle... it's impossible. The other thing you could do is you could zoom in on this camera. And see this Point of Interest, you can animate that. We're not going to do in this exercise, but watch this, I can-- See this little target in the middle... I can start kind of dragging this around. And looking at-- The camera's not moving, you can see, the base of it is still the same. Just kind of like pairing around. Having a look at different parts. Look at the bottom there, you can Keyframe that... then look over here, this part. So that is it. We're going to delete this camera because I've broken it. And I'm going to go back to 'Layer', 'New', 'Camera'. '2-Node Camera'. And leave the name now. Awesome! So, all these guys are made 3D. We are going to now Keyframe the Position. So open up 'Transform', be right back at the beginning. Click on 'Position'. And what we're going to do is, over here, we can't see anything... let's go to 'Fit'. The reason we still can't see anything is just because we're not-- Oops, undo. Is we can't see the whole animation yet. So let's just move it along a little bit, so we can actually see it. See this Keyframe here? Let's move it along to where we are... because it's just too hard at the beginning, because nothing can be seen. So we're going to put it here. Then we're going to adjust the Position. I'm going to drag mine-- Now, it drags pretty slow. I'm going to click, hold, and drag it. Can you see, my camera is moving this way. If you hold 'Shift' while you're dragging... any of these blue numbers in After Effects... you can see it kind of multiplies it by 10, so we move it a lot faster. I'm holding 'Shift', and dragging it. And what I want to do? I don't know. We're going to go over to this side. That's actually the beginning Keyframes, I want you to be over there. If you hold 'Shift' it will bang up against the edge. So it's going to start over here, and as it slides in... I'm going to actually go all the way to the end. If yours is like mine, this here is the Work Frame area. We looked at this in an earlier tutorial, just double click the center of it. Stretch it all the way out. All the way down to 5 seconds. And we are going to grab this... and drag it the other way. Holding 'Shift', you can see it going past it. Awesome! How awesome? It's not that awesome. Let's give it a go, preview. Now, see this little green bar? This is our previewing, it's kind of not keeping up. It's like previewing, playing... previewing, it's buffering, it's not working. So what I might do is, go back here, and watch this. The green bar still continues out, and just catches up. So, we're going to go to 'Preview'. We're going to go, 'Resolution' to 'Quarter', just to go faster. That previews nice and quick now. Awesome! So that's what we're doing. Just the slow kind of motions... these slow pans, just to get a kind of-- Add a bit of life to our data. So it looks like it's doing something. We haven't done much in this case. And what we'll do is, before we go, we'll add a Vignette. So a little bit of star pointing, now get into some other stuff... we'll do a video background, so don't go away just yet. You can skip this if you're sick of seeing me... put on Vignettes on things. So 'Layer', 'New', 'Adjustment Layer'. That 'Adjustment Layer' at the top... I'm going to rename, call it 'Vignette'. I can never spell Vignette. That's not even close. Anyway, let's go over to 'Effects & Presets'. Over here, we're going to do this one. We're going to do, what was it? Lumetri? Lumetri Color. Drag it on to this. Over here, go to Vignette, just drag it a little bit to the left. And what's happening is, it's just going to add that to it, probably. Probably, it's a little bit much. I totally overcook Vignettes whenever I do them. Go up a little bit higher. Maybe '-0.0' Here you go, something a little bit more subtle, Dan, come on. Gives it that kind of a film eff