After Effects: Futuristic Graphics (Part 4) | Duncan Rogoff | Skillshare

After Effects: Futuristic Graphics (Part 4)

Duncan Rogoff, Video Editing & Motion Graphics

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11 Lessons (22m)
    • 1. HUD INTRO PART 4

      1:43
    • 2. OVERVIEW

      1:02
    • 3. ANIMATING THE INITIAL RING

      1:16
    • 4. REPEATING THE PROCESS

      2:58
    • 5. ANIMATING THE RADIO WAVES

      1:45
    • 6. ANIMATING THE TRIANGLES

      0:36
    • 7. ANIMATING THE TEXT

      3:08
    • 8. ARRANGING IN 3D SPACE

      2:56
    • 9. ANIMATING THE 3D LAYERS

      2:46
    • 10. WORKING WITH THE CAMERA

      2:48
    • 11. OUTRO

      0:49

About This Class

In this awesome, 5 PART COURSE we'll cover a wide variety of techniques for creating and animating some really cool graphics inside of After Effects. 

You'll learn how to create and design your graphics using only After Effects' built-in tools, how to animate your graphics using basic keyframes and simple expressions, and lastly how to get a solid green screen color key, motion track live-action footage, and composite your animated graphics over top for a final look.

In PART 4, you will learn how to animate the circular graphic using basic keyframes and simple expressions. You'll also learn how to manipulate layers in 3d space and work with the camera to create depth.

Look ahead for PART 5 where we'll put everything together.  I'll teach you how to get a clean green screen key, motion track footage, and composite all graphic elements onto your live-action footage to create the final piece.

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Other Courses in this series:

Futuristic Graphics (Part 1): Building the Rectangular Graphic

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Futuristic Graphics (Part 2): Building the Circular Graphic

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Futuristic Graphics (Part 3): Animating the Rectangular Graphic

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Transcripts

1. HUD INTRO PART 4: Hey, everybody, Dunkin Rogoff Fear with a really great aftereffect Siris for you. In this five part course, I'm gonna teach you everything you need to know. To make futuristic screens and heads up, display graphics entirely inside of after effects. Without any plug ins, you learn how to design layout and simply animate two different styles of graphic. And then how to get a clean green screen key in motion. Track your footage in order to composite your elements. The live action footage for finished piece This series is great for all skill levels and whether or not you have a need to make this particular style of graphic, the tools and techniques you'll learn are applicable for a wide array of projects. In part, one of this series will teach you how to design a graphic based on rectangular elements using after effects built in tools and layout features in Part two. Well, design and create a second graphic comprised of circular elements and taken in depth look at stroke facts. Part three will animate a rectangular graphic in its entirety, learning how to create a polished animation, all using simple key frames and some easy expressions. Part four will cover. Animating are circular graphic manipulating our layers and three D space and working with the camera to create depth in Part five. We'll put it all together. We'll show you how to get a clean green screen color key and then teach you some tricks in order to get a solid motion track of your live action footage. Well, then composite everything together to create our final piece. I'm really excited about this course, and I hope you are too part for. We'll talk about expression. Text three D space, even camera. So let's hop on into after effects. Start creating our first element, see in class. 2. OVERVIEW: Okay, so here we are, inside of after effects. And what's great is we've already got a graphic built, so we're gonna go ahead and we're gonna animate this. Now, what I like about this one is actually, most of the hard work has already been done. We're gonna do some simple animations on this graph without using any key frames. And then I'm gonna go ahead and show you how to transition this element on using Z space and how to manipulate the camera and given a cool depth of field look. So let's go ahead and get started animating our first elements. It was really great about this. Since everything is built in the circular fashion, we're pretty much going to do the same thing for all of our layers. Here, it's gonna actually end up with a really cool look. So since we built our outside layer with this audio spectrum here, we can see that if we scrub through it or press play that are bars on the outside intimate . If you don't have to do anything there, we can also see that Are radio waves in the center of the screen here animated as well without doing anything. So let's go ahead. Don't animate the other layers or rings 3. ANIMATING THE INITIAL RING: So this is our most outer ring, and I'm just gonna go ahead and solo this here so we can see which layers were working with . So this is the outer ring. Well, just come in the next layer here. Well, press are on the keyboard to bring up rotation. We're gonna animate this in a circle without using any key frames were going to use a very simple expression. So gonna press Ault and then click on the stopwatch and type in time. Times 50. Now, what this does is we play through it. It takes the frame value of our time and multiplies it by 50. And so, without doing any key frames were able to animate this around a circle. Now, if you want our animation to go faster, we can change this value up to something like 150. You can see we move faster on the circle, or if you want to go in the opposite direction, we can just add a negative symbol before value in the sea. They will animate in the opposite direction. So now we're just gonna go through when was set this back to 50. We'll do the same exact thing toe all our other layers 4. REPEATING THE PROCESS: So we have this ring here. Press are on the keyboard to bring up rotation type time, times negative. 75. These values are pretty arbitrary. It's really up to you to get the look you want. But you can see now we have are two elements animating in opposite directions. So come into our next layer. Turn that on with press are type time times 100. Now we've got three layers animated. We're just gonna continue this process on the keyboard type Time. Times 25. This will be a slower animation in the center here. Sold the next layer to bring that up. Press are on the keyboard type time, times negative 20. That's a little slow for me. So why don't we just double that you can afford? Or if we want to get more of a random variation instead of using the time expression can use a wiggle expression. We could type in wiggle parentheses. 0.5, comma 90. We'll see that now. This layer that we've animated well wiggle a random value between zero and 90 degrees once every two seconds. That's what that 0.5 is. And again, if we want that to happen faster. We can crank up this 0.5, which represents the frequency to something like one, which means once every second wiggle between zero and 90 degrees. I think that's a little fast, but maybe we could do 0.75 We can crank this value up to something like 110. So now we get more variation. That's just add a little random motion to We'll bring up our next drink. Will press are on the keyboard again to bring up rotation. This one will type time. Times negative. 30. We'll get this move in the other direction. Bring up our last during here. Press are on the keyboard Time Times, Times 90. We'll get some good movement gone now You can see without setting any key frames. We've got some great motion in our graphic. Next thing we need to do is bring up our radio waves as well as the triangle There represents the border 5. ANIMATING THE RADIO WAVES: Now what we're gonna do here. So, gonna parent or radio waves layer to our triangle, But selecting the pick whip and dragging it to our triangle air. Or you can come into this parent this parent text, and select our radar triangle. Breasts are on the keyboard and again, time times negative. 50. We got this animating a circle. You can see our radio waves haven't actually moved because these are actually based on still there on the layer. We actually want a parent to our triangle. Undo. A couple times is the shape layer, which is acting as our mask for our radios. So here I want parent this to our triangle. We don't need this layer. I will just take that expression time, times negative 50. And now is that play that mass is gonna reveal different parts of our radio ways. So it looks like it's moving in a circle that's a little slow. Let's make that go faster. Like 150. This tracks a little bit faster. Both of mont Really fast. We can go up to 2 50 again. These numbers are all the taste. Maybe slow that down a little to fifties. Looking a little fast. 200 teams. Probably good. I'm going to do the same thing for our triangles. 6. ANIMATING THE TRIANGLES: And actually, I want these to move together. So I'm gonna parent triangle to triangle one type on the keyboard. I'm going to use the wiggle expression here again. Wiggle one comma. 200. So once every second in a wiggle, a random value between zero and 200 that's not looking too bad. The last element we need is to bring up the border for our text in our text element here this 88%. 7. ANIMATING THE TEXT: So what I'm gonna dio isn't going to duplicate this layer by pressing command de on the keyboard or going up to edit duplicate. And I was going to rename this one 88 and this one percent because I want a percent symbol to stay. We're again going to use a simple expression to animate the numerical value of our 88. So select this percent. I'm going to delete the 88 from out before it selecting, impressing, delete, going unsold everything and resold the 88% so you can see what we're working with. Take our percent press Pete on the keyboard to bring a position. I'm just gonna slide that over until it lines up their percentage. I'm going to select the 88. I'm gonna do the opposite. Just delete the percent from that because we're not gonna need it And take the 88 like, actually just grab it. And if I hold shift on the keyboard, I can drag it back over Onley in the X direction without messing with the Y axis. So now we have our 88. What I'm gonna do now, I'm gonna parent this to a slider so I'm gonna come to our effects and presets window and type in slider control will drag that onto our 88% now for 12 down these arrows and go into text. I could fault click on our source tax and parent that to our slider control. So now you see that because of cider, read zero our text or easier if I type in 10 in our slider, our textile retail. And so now what I can do is I can set an expression on our slider. I could all click on the slider and Aiken type wiggle one comma 100. Actually, let's go 99. So it never gets that there did it. Now, if Ayan quick this, you'll see, we'll get this whole mess in numbers. That's because it's wiggling a random number, but it's including all these decimals, so we're just gonna need to go ahead and round this out in our slider control expression. So all I have to do is come to the beginning here and type math dot round open parentheses . E go to the very end of our expression and close the parentheses. Just click off that now you can see, we have nice whole numbers to work with. If we scrub through the keyboard or press play, you can see this changing. If you want to slow that down, you change the wiggle. Two smaller number 8.5. So if we pressed you on the keyboard to hide our parameters and unsold of these items, you can see now if we press play, we have our numbers animating. We have all our elements animating with very little work. So now we have to do is bring these elements on in three D space and animate our camera a little bit to get the finish look. 8. ARRANGING IN 3D SPACE: Okay, so we have everything animating. And the next thing I want to do is I want to bring in a camera and begin to manipulate our objects in three D space press to you on the keyboard, hide all our parameters. I'm gonna bring in a new camera by going upto layer new camera. And we can set that something like 24 millimeters and we'll just go ahead and press OK, And now we're just gonna offset are elements a little bit and Z space. We don't need to move them too far, because in this instance, a little goes a long way. But we want to keep our graphic mostly intact, so just begin to move things forward a little bit towards our camera. We don't need to move our audio spectrum or most outer ring will keep that as the base, but starting from one layer in will begin to move things forward in small increments of, say, about 10. So press p and keyboard during a position and type in minus 10 to bring that element forward will select. The next one will go minus 25. We'll just go on down the line repeating this process in small increments to keep everything together. This could be any number you want again. We're just suggesting this to taste. Now you can see here I've parented are radio waves and their mask to this main triangle here so that everything will move at once. We'll go ahead and we'll bring this forward about 100 because you want to keep that on top . And since now are trying goes kind of outside the borders. We want to take this press s on the keyboard to bring upscale and, well, scale that down again so that it remains inside the borders of our main out early. And you could see that some are layers are going outside our main circle so you can just come back down to the bottom. We could grab our outer ring here, and we can even take our audio spectrum, my soul rename that we're at it. We compare that to our outer ring as well. You just press s on the keyboard to bring upscale. You can scale these up a little bit so that all our graphics stay within their board or text. Border doesn't really need to move it all, but we compare it that to our text and bring that forward all the way to the front. Something like minus 125. We can take this triangle and we can move that something like minus 90 or maybe even minus 105 so that it stays in front of our radio ways. Now you can't see anything here. But if we go into our two views into our top view, you can see that are layers have now staggered a little bit in Z space. 9. ANIMATING THE 3D LAYERS: So now we have our layers arranged in three D space who want to make sure we animate all of these on. So go to frame 20. We'll select all our layers with position parameter just holding down command on the keyboard as a quick down this list. We'll just set a key frame, breastfeed to bring a position, and I'll set a key frame. Now come back to the beginning of our composition and I'll drag all of these backwards negative directions, e space. And if I click and drag all holding shift, these will move a little bit faster. We'll just drag us back until everything is just past the camera. We'll grab all our key frames here. Eazy e's them by pressing F nine are going to keep frame assistant Easy's. And now, if I press play to slow the resolution here, so plays a little faster. You can see are elements move into space now to sell this effect a little bit more. I've turned on motion blur here for all of our oh mints that we have Animated motion boars is represented by these couple circles here, and not only do you have to turn it on for each individual there, but you also have to turn around here for the entire composition. So now what? We want Dio, because you just want to offset these animations in time a little bit so that they're not all happening at once. So we want to start with our most out of ring, and that's fine to select the rest of the layers, and I'll move them ahead. Two key friends by pressing also and the right era to jump a key frame in time. So present once and twice. Top those forward now de select next layer, but it's holding down shift and selected or key frames, and I moved everything else again to key frames ahead. And once again, I'm just gonna repeat this process down the line by de selecting the bottom wear and shifting everything ahead to keep friends. So now if we play these back, they build on one at a time and create a more staggered and more interesting animation. The very last thing we want to Dio is going to give our camera that slight rotation, and I found that the easiest way to deal with the camera it's apparent it to annul object. This way we don't have to deal with the cameras. Point of interest 10. WORKING WITH THE CAMERA: so they created in all or just come upto layer new. No object. We'll just rename this camp Control and I'll make sure that's a three d layer. Then I'll take our camera and apparent that to our control. After I'll come back to the beginning of our camp here, a press are on the keyboard to bring up our rotation. I'll set a key frame on the Y rotation. I'll set this to 45 degrees. I'll hop ahead here all the way to the end of our composition, and I'll set this Tu minus 45 degrees. So we've got a 90 degree rotation. I can just hide this here so we don't see it in the view port. Now, if I press play, you see that are layers are a little more staggered and have that little bit of separation in Z space to create a more interesting look. And if you want to get a little more distance to sell us effect even more, you just have to arrange the final resting position of all your layers so that they're separated a little further apart. The very last thing we want to dio is you just want to add a little depth of field to our camera is that elements in the foreground, like our text layer, are in focus and everything behind it begins to fade out. Its oil down this era come into our camera options. Here we'll turn our depth of field now. Nothing will happen. That's because our apertures to so it is gonna crank that up something like 800. So you can see now that some of the elements in the center here and focus on everything else is out of focus. Now, if you come back into our top view, you can see that if I begin to move our focus distance, you can see where our cameras focused. So if I come to somewhere in the middle of the composition, we're pretty much a graphic is flat on. I can adjust our focus distance so that our front layers the text layers are in focus, represented by this white line and everything else behind. It begins to fade at, so now if I come back into our straight view, you can see that are Texas and focus and we get back to this outer ring and that's a little bit blurry. If we want that affect more pronounced, we just have to increase our aperture something like 1000. I can see that effects even more pronounce. So now, if I play through, you can see the elements passed through the focus of the camera. They start out of focus, come into focus and then go back out of focus until our front text layer went was great, as you can even key frame the focus distance. If you want to do a rack, focus on your own. 11. OUTRO: That's it. We've built out of circular graphic, animated it, using very few key friends. We use the time and wiggle expressions on our circular layers, and then we animated everything in Z space using the basic position function. Lastly, we parents at our cameras to a no object to give the camera a little bit of rotation, turned on some depth of field and adjusted our focus distance to get the layers we want in focus and focus on the fifth and final part of our tutorial will take all these graphics we've built composite them into our final footage. Show you how to get a clean green screen color key motion Track your footage composite your graphics on top for realistic futuristic heads up display with thanks so much for joining me See in the next class Yeah, we out