Animating a Paper Cut-Out Illustration | Shaun Walsh | Skillshare

Animating a Paper Cut-Out Illustration

Shaun Walsh, Illustrator & Animator

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11 Lessons (1h 13m)
    • 1. Introduction

      1:19
    • 2. Cutting Out Artwork

      7:26
    • 3. Organizing the Scene

      14:30
    • 4. Importing Into After Effects

      2:34
    • 5. 3-D Layers

      7:15
    • 6. Animating the Waves

      11:32
    • 7. Animating the Boat

      11:26
    • 8. Animating the Background

      8:32
    • 9. Final Details

      7:35
    • 10. Exporting the Animation

      0:47
    • 11. Thanks!

      0:27

About This Class

In this Skillshare class, you’ll take a paper cut out illustration that I have provided and turn it into an animation. We will be learning how to take artwork that has been scanned into the computer or photographed, and prep it for animation. I will be walking you through how to cut-out the artwork in Photoshop, organize the illustration scene, import the file into After Effects, organize 3-D layers in Z space, animate the scene, and how to export the animation.

Some basic knowledge of After Effects and Photoshop will be helpful, but I will guide you through every step of the process. We will be using Photoshop, After Effects, and Media Encoder. 

Please feel free to contact me with any questions at...

Email: [email protected]
Instagram: @shaun_walsh_art
Website: shaunwalshart.com



Transcripts

1. Introduction: No guys. What's up? My name? Sean Walsh. I'm an artist, illustrator and designer. And today I'm gonna be showing you how to animate a paper cut out illustration using photo shop and aftereffects. In order to do this, we're gonna be cutting out the artwork of photo shop organizing our illustration seen importing a file into after effects, setting up three D layers and see space animating the scene on Finally exporting our animation class project will be to create your own paper called out illustration using any medium that you prefer. You will then scanner, photograph your artwork and complete the same steps. Learning this lesson we finished your animations. Please make sure to upload them to the class Project gallery as I love to take a look at them. This'll classes designed for anyone that has an interesting illustration and animation. Some experience a photo shop and aftereffects is helpful, but I will be there to help guide you through every step of the process. Please feel free to comment or email me with any questions or feedback as I'd be happy to help. I look forward to seeing your class projects and sharing some of my tips and tricks with you along the way. Alright, guys, let's do this. I'll see you in class 2. Cutting Out Artwork: Alright, guys. So open up the four files that I've provided. They'll be J pegs, as you have been a lot by a Photoshopped. Files open here because I've already gone ahead and cut out the artwork. But there's before files, boat waves, cloud sun and tree and sky. So we're going to start off with the vote And what we're gonna be doing this? We're gonna be cutting out the artwork using the pen tool, and we're gonna be separating them each object onto its own layer. You'll see when we go to animate why we did this. So we're gonna start with, go into the pen tool, which is over here on your toolbar. You could press P for a short cut and we're gonna zoom in a little bit If you have never used to pento before. It's it's pretty easy to use, but I'll give you a few tips and tricks on how to make it a little easier. So when you click on click on a point, you can you can hold shift and you can make a straight line like this. Now you can also click, and as you click, you drag and it creates a curve like this so you could make some pretty cool shapes out of it. So what we want to do is Aske Llosa's We can around our objects without leaving any white space and without cutting too much into our object, you might have toe shave off a little bit to not get the white paper from behind. But you want to get close as you can. So we're gonna start at this point right here, we're gonna click, and then we're gonna go to the other side. Now, another thing is to you don't want to sit here and click a bunch of little times like this cause it's in the end. It's not gonna look very smooth you want you want to try to do as many as least clicks as possible. So we're gonna edit on do or command Z to get back. So we're gonna start here and we're going to go to this end point right here. We're gonna have toe drag it a little bit just to get a little bit of that curve. You can even zoom in a little farther. I'm missing a little bit. Someone actually go back and redo that. So we're gonna try this again. Okay, that looks pretty good. Now, since I dragged this anchor point out so far, when I go to click on this point, it's gonna make this really curve shape. Stop that. All you have to do is hold option and click on the last anchor point that you created, and that handle will go away. Now you can click straight up. You could make a straight line. You can do. You have a lot more control now. So what, We're gonna click on this point? We're gonna drag end to get this curve. And the more you practice of the pen tool, the better you'll get with it. So just take your time and try to mess around with it. If you're not comfortable now, we're going to go to this side and drag up a little bit on. We're just going to complete this shape. You want to close the path by clicking on the last point that you created for the very first point that you created? All right, so now that that's selected, we're gonna want to go to our paths over here. If this isn't on your screen. All you have to do is get a window and go down the paths. You can kind of see the little shape that's there. That's this sheep that we just created by tracing. So we're gonna hold command and you're gonna click anywhere on this thumb now and it's gonna select the object. So now you can go back to your layers and you can hold command, See, Or you could go up to edit and copy Command sees this were cut, and then we're gonna command V to pace. Now, what that just did has created this object. I don't do its own layer. We're gonna double click on. We're gonna label it as flag, Okay, We're going to go, and then we're gonna just hide that way. We're gonna go back to our main layer. I remember I have all these extra layers because I've already gone ahead and done this, so just ignore them. Okay, so we're gonna go back to her mean layer on. We're just gonna trace the next object, so I never just take your time. Nice and slow. Well, in a little faster. Cause off. I've done this bunch time, so I'm a little more used to it. But if you're not used to it, just take your time. It's no rush. I just want to get a very clean cut. So it's after the shape is created. You go back to your paths. Whole command. Click. We're gonna copy. Going back to your layers hit copy, man. See? And command be We're gonna label this one rooftop. Okay? Um, now I've already cut out everything. So go ahead, take your time. Paul's the video if you have to And just cut out all the artwork on all of the different files that I've given you. The waves to cloud some in the tree and on for the sky layer This one's a little different we're gonna do is we're gonna use the We're gonna go to the first layer going to go to the rectangular marquee tool. We're basically just gonna make a rectangle as close as we can to the tape without getting into the tape. We just want to make a perfect rectangle there's gonna click and drag as close as you can. Doesn't have to be exact. And we're just gonna hold command. Uh, command. See? And then command V to paste. And that's gonna be our Skylar. So you can label out one sky. Now, I had this already because I've already done that. Something's gonna delete that once This is the new one that we're using. So Okay. Now go ahead and cut out all of your artwork on all of your files. Andi, I'll tell you what to do next. Okay, guys. So after all of your art work is cut out, I'm gonna go ahead and delete these two layers, because already have them on here. You're gonna want to label everything so you could hide the main liar. So each each each piece should be on its own separate layer. So what I did is I labeled this is flagged rooftop flagpole. I thin on both for the waves. I label them as just late wave and dark. We've for the cloud, sun and tree. I labeled them Sorry. A son clout one while to flout three tree and bush on the sky. Live with that won us the sky. You really want to get into a good habit of organizing your layers and just naming everything that you can because when you get into animation and you have, you know, 50 plus layers. It just gets to become a mess, even even 20 layers. It could become really confusing if everything's not labeled in a way that makes sense to you. You don't have to label these how I did, however, whatever makes sense to you, but it might just be easier. Just label them how I did so you can follow along a lot easier. Just organization is just key Teoh making a workflow a lot faster and just much easier on you in the end. 3. Organizing the Scene: All right, So now what we're gonna be doing is we're gonna be taking all of these pieces that we just cut out. We're gonna be arranging them onto a different document that looks like this. This is gonna be our illustration seen that we're gonna then bring into after effects. And we're going to enemy. So in order to do that, we're gonna go to the boat file and we're going to First thing we're gonna do is we're gonna do a little We're gonna bump up the colors a little bit because the colors look a little dole. What? I actually hand painted these. So we're going to go up to auto contrast. And sometimes I like to test us to see what it looks like. Sometimes it really, like messes up with work, but for this one and actually works pretty well. So I'm going to do that to all the layers. Oh, from one interest auto contrasts. Okay, Next thing we're gonna do is we're gonna make our canvas size a little bit taller so we could see it. We're doing Let's try 2100 wrong ones, I for the height. Let's try 1600 because we're gonna need to put this rooftop on top of here, and it's reduction in a little more room to work with. So I'm gonna move everything down a little bit. I'm going to start by taking the eye on. We're gonna place it right around here. The Finn is going to go on the back part of the boat right here, and we're gonna rotate it. Hit command T to get your selection up, and then you can hold, shift and click and turn it 90 degrees. And it's going to go right about here, and we want the end of it. Teoh kind of be behind the boat. We're gonna put the slayer behind the boat because it's gonna be animating. It's gonna be moving a little bit, so we don't want that piece to stick out. So we're gonna put it there. We're gonna drag it down below the boat layer so we could move these over a little bit, so it's not cut off the page. Then we're gonna take the rooftop. We're gonna hit command T. We're going to rotate that as well. I'm gonna put that right on here. And I think we're gonna make it a little bit smaller. Something, something around there. And you know what? We're gonna make the fin a little bit smaller, too. Just a little. All right. And then we're gonna take the flagpole. We're going to rotate that. It's gonna go right here. We're gonna also make it a little smaller. Move it up a little. I'm just using the arrow keys to move. If you hold shift, you can move in bigger increments. You can also just drag. Um, all right. And then the flag, the flag is gonna go right here, and it's probably gonna get a little smaller as well. Something like that doesn't mean I need to be to Perfect, cause everything's gonna be animating. Okay, so that it looks pretty good. Now we're gonna go to the waves, and first thing I'm gonna do is I'm gonna try the auto contrast again on the light wave that works pretty well. Um, the dark wave that made it way too late. I want some contrast in the two. So I think I'm just gonna keep these how they are. There's a bunch of other adjustments that you can mess with in here but for this one I've already gone through. And it seemed like these the auto contrast seemed to work pretty well. So that's so I'm gonna stick with, keep it simple, and then we're going to make a new document of 1920. But 10. 80. That's gonna be the size that we animate up. Okay, We're gonna start off by bringing in the waves here, so we're gonna bring in the one light. We've the way to do that. As you can. Right Click here, go to duplicate layer on this little screen will pop up. You can call it late leave, and then you can select the file that you want to put it on. So we're gonna do on untitled one, and we're because the waves and we're gonna make this wave a little smaller here. Hope, sir, Probably something around something around that size. And then what we're gonna do to is because we're gonna want these waves to be moving across the scene. We're gonna want to make this documents lives a lot wider for now while we work. So we can kind of set up the scene. So we're gonna change. We're gonna go to campus eyes and they were gonna change is two pixels we're gonna make the width of Probably, Let's try 3000 a lot bigger. We can get rid of the Slayer by double clicking and just deleting it. So it's gonna go right about there this week and then we're going. What we're gonna do is we're gonna We're gonna copy this. So we're gonna hit command J. We're gonna drag it over, hold shift dragging over. Good. We're gonna command Jr and drag it over again. Something like that. You want to match it up as close as you come. And then what we're gonna do is we're gonna shift and click all these layers, and we're going to great click and go down to merge layers. So becomes one layer, and we're going to get rid of these little creases here. So the way to do that as you Congar to the patch tool over here, and you just highlight the area that you want to patch up and then you can kind of drag it over. It's the right of the left on the wave. And that should do the trick. Do the same thing for over here. Okay. Looks pretty good. Can you consider this more? I guess if you want, it doesn't matter. Because the camps is gonna come back into the 1920. So we'll we'll look at it when we do that. Then we're gonna go back to the waves, and we're gonna do the same thing for the dark. We've so we're going to right click duplicate layer. Good on untitled one. We're gonna make this. We're gonna make sure this dark wave is behind here. We can also rename this while we're at it late. We've or, you know, let's do wave one. It's gonna be one in front. And then the dark wave gonna be behind. Gonna scale that down a little bit. Command t scale down something around that says good on. We can hide this layer so we could see what we're doing. We're gonna do the same thing. You can also hold all unjust drag over hold, shift and drag over. I hope you like that. And then again going to shift. Click all of these. Right Click, Go down, emerge layers on. Go back to the patch. Tool shortcut for the patch tool is J okay. And then we're going to patch this part, okay? And also kind of center this. All right, so it's looking pretty good. We could maybe. Well, maybe we'll move this down a little bit. We could make some adjustments after we get the rest of seen together, but we're gonna do wave to for this, then we're going to just copy Wave one were gonna hold all drag it back, and we're gonna have toe move this below wave to because we want it behind. We're gonna label this way. Three, we're gonna move this down. We can also make this one a little smaller because things in the distance usually gets smaller. So, toe make that depth a little stronger. Something like that. Okay. And then we're going to take wave to We're gonna hold all do the same thing. Bring that blow away three, and call that way, for we're gonna lower way four down a little bit. Can also make it a little smaller looking like that. Okay, that looks pretty good. Now we're gonna take we're gonna go back to image. We're gonna go to canvas size. Good of pixels on. We're gonna go back to 1920. So that looks pretty good. Might want to do some adjustments. Just a little bit. It's not gonna matter too much, because these are all gonna be moving, so we'll just keep it at that for no. Okay. And then we're gonna let's bring in the background backgrounds pretty easy. We're gonna right click on the sky, go to duplicate layer entitled one. Okay, Sky, we're going to rotate right There. Should be good. We're gonna also duplicate the sky so you can have it hang off a little bit because sky's gonna be slightly moving in the background as well. This guy's gonna go behind everything, and then we're going to all click and drag, and we're gonna actually rotate this around again. Can hide these to see what we're doing. We're going to right click merged layers, and then we're going to do the same trick with the patch to We're gonna circle some of this . Drag it over, see what happens. Looks pretty good. I'm going to get rid. See? See how you could see some repeated brushstrokes. I don't really like that. It looks like we copied it, which we did. So you can kind of cheated a little bit and hide your mistakes almost, even though they're not really mistakes. But you know what I mean. Okay, that looks pretty good. Put the waves back on. All right, We're getting there now. We're going to go to the cloud son in the tree. And these the tree and the bullshit. Pretty, pretty simple. They fit in pretty well. I've already gone ahead and done this, so they fit pretty well on the scene. So we're gonna go duplicate layer on Title one, and this is gonna need to be in front of everything, cause it's gonna be in the foreground. You know, im gonna make this a little bit bigger. You don't want to scale things up too high or too much, but a little bits not gonna hurt it. I just want that that nice shape here, okay. Noticing something way for I'm gonna wanna bring down just a just a little bit. Something like that. Maybe three. Maybe a few more. Okay. Go back to the clouds on a tree. We're gonna bring the bush in right click duplicate layer, gonna rotate this 90 degrees. And this is also going to go in the foreground. So we're gonna bring that up and this, I think, and get a little smaller. Something like that. I looked around there. Looks good, Okay. And then we're gonna go back to cloud some tree, and we're gonna bring all the clouds, and I'm just going to bring them all in at once. Right click duplicate layers on total one. We're gonna skill we're gonna hit command team, going to scale mold down at the same time. No good. So club three, we're just gonna keep cloud three in the back here because they don't keep it in order. Cloud two will be in the middle somewhere and cloud one well to movies around a little bit . I hope the like that. Maybe. Okay. And we're gonna go back. We're gonna bring the son in going to scale this down a little bit. All right? That's looking pretty good. Can be the clouds. Might be a little big, maybe. Oops. Try to cloud, maybe bring the clouds down just a little bit. Something like that. OK, then we're going to go to the boat layer and for the boat. We're just gonna We have all the layers selected already. So it's going to right click. And I just wanted to arrange his first, so it's easier to bring in. We don't have to arrange it in the art scene. It's a lot easier learning a duplicate layers and on title one, All right, so I think I want the boat in the second layer of ways we're here. So I want below the behind the second wave layer. So we're gonna bring this bring these down. So it's right below wave, too. And we're gonna need to make this a lot smaller. Bring it off a little bit. Um, okay, I think that's pretty good. Everything's already labeled because we did that in the first lesson. So I think I think everything is pretty good with this. There's any adjustments you'd like to make go feel free on. Yeah, I think that's it. OK. And now we're gonna get ready to animate the our import the scene into after effects, and then we're going to get to the fun of animating this all 4. Importing Into After Effects: Alright, guys. So there is one important step, actually, two important steps that I forgot to do. Um, this scene's gonna have a dark sky at the beginning and then the sun As the waves pop up, the sun's going to come up and the sky's gonna turn to this yellow. So what we're gonna need to do is make a darker sky. So we're gonna hit command J on the sky layer. We're gonna go to image adjustments. And I think I did this one with you and saturation. So we're gonna go to that. And what we're gonna do is we're gonna de saturate the image, So it's great like that and they were just going to darken it, but still have some of that texture of the paint strokes. But you don't want a full black. You want to have some of them paints tricks left. I think that's a nice touch. Do like negative 70. That looks good. We're gonna click. OK, so weaken, rename this dark sky on late sky and then you're gonna go up to file save as you're going to save this file wherever you'd like, and name it However you like Okay. And now we're gonna import into after effects. They're going to go ahead. Open up. Aftereffects. Oops. I'm sorry. Already had this done. So I'm gonna go to file new project. Don't save on. We're going to go to new composition. We're gonna do 1920 by 10. 80 at 24 frames per second. And for duration. This is only gonna be about a 10 to 12 2nd animation. So you want to have a little more time on their mind? Has about 20 right now, so that should be good. And you're gonna click OK over in the project side over here. We're gonna right click. We're gonna go to import file and go to animation, seen or whatever you named your file us and then right here is really important where it says import as it says footage. You wanna click and go to composition, retain layer size because that's gonna keep all of your layers and order and the correct size that we need and the name. And so we're gonna go to open, make sure it says competition routine layer sizes. Click OK. And you'll see your pre Come over here. You can kind of see some of your artwork up in the top of corner. So we're going to click on that pre comp animation seen or whatever you named your photoshopped file. We're gonna click and drag on too here. And it should snap right in the place. If you If you go right here, you can go to fit that should you'll see the whole composition. And there you go. So if you double click on this pre comp right here, all of your layers should be in order and labeled on We're good to give. Now we're ready for the phone part. 5. 3-D Layers: All right, so now we're going to go into organizing our layers in three D space s So what we're gonna want to do is we're gonna turn on three D layers for all of this. I'm gonna show you how to do that in a second. But the concept behind the Sol is we want objects like such as this tree in this bush. We want them to be farther in front of us and space, and we want the sky and the clouds and the sun to be pushed farther back. And each of the waves are gonna be like, this way the front way is going to be a little bit in front of the second wave in a little bit in front of the third and so on. And we want to play with ease because when they're moving in space and we had a little bit of camera movement, it's gonna create a little sense of depth. It's gonna make the scene a lot more interesting and somewhat realistic in a way. First thing actually I'm gonna do is I like to kind of use this color label to label some of my layers so I don't get confused. So I'm gonna label all of the wave layers. If you hold command, you can click on different layers. I'm gonna label all the waves. Um, let's go with pink and then all of the boat layers. I'm gonna because that's gonna be a main part of this. The motion here. I'm gonna make them yellow. So they stand out, Um, the tree. You know what? I'm gonna move the bush up to the top. So it's with the tree here and make them. Let's make them green. These can carnival stay. You know, I'm gonna change these waves to something else that stands out more like red. Same with ease. Okay, that's good. Everything separated now, so I don't get confused. I like to do that. It makes makes it a lot easier for me. You don't have to. It's just something that I fund helps. All right, So we're gonna hold shift and click all the layers and see this little boxer here. These air, the three D layers. You could see the little information of pops of Sastri delay. So you're gonna click. If you have a mole selected, you can just click on one and will turn everything to three layers. So now three D liars, the way they work is if if we didn't check these, we we could only move objects to the right or to the left or up and down. But what we want to dio is we want to be able to move some of the objects forward in space like this or back in space. That's called Z space. So three D layers creates disease space option. There's, ah lot that goes into it. I'm not gonna get too deep into it, maybe in another class. But I'm gonna show you guys how to separate this scene and how my thinking behind all this . So one thing that I can that we can do is we can go over here toe where it says one view, and you can go to two views horizontal, so this second view will come up. So if you if you click over here, you'll see the little blue triangles that highlight the corner. See, now you're selected on this one. You can go to where it says top and there's different views. There's front. There's left active camera, which is the front one right now. Make this fit back right bottom and you get the point. So we're gonna go to actually custom view one. Khanna shows our canvas on an angle here and we're gonna We're gonna start pulling items forward in space, so we're gonna definitely want the tree in this bush. You can go up and you can click in your layers. Here, you can just click on them. Might be easy to click in your layers, and we're gonna move them forward and see space. And it helps to have this active camera open so you can actually see what the scene is gonna look like. Because if I five pool is forward, CIA have the little blue handle here and the Z the little Z buttons coming up. So if you click and hold or click and drag you could pull forward, you could push it back. If you pull to forward, it's gonna disappear from our scene, and that's not what we want. I didn't do that and we're just gonna pull forward a little bit something, something around there, okay. And then we're going to go to the skies, the dark and the light sky. We're gonna push them pretty far back in space because we want that farther back. You could see how everything started to separate here. Then we're going to grab the sun and the clouds. We're gonna push them back. If you push him too far back, you'll start to see the They go through the sky right there, which is not what you want. You want to push him back, media as far as you can or like right in front of it. And then maybe maybe we can make this a little more interesting and move like this. Cloud up for, like, forward a little bit. Oops. Move this one forward a little a move. This one forward a little. That's one a little more. Remove the sun up a little So everything's kind of in a different spot in space, and then we're going to go to the waves. The waves were gonna want Wave one. We're gonna want to bring that for we don't bring a to forward goes to the bush. Dan comes off the scene just a little bit. Something like that, maybe. And bring wave to a little forward as well. Not in front of wave one. You can see in this view and in this view, when it goes too far, you're you're messing up your artwork there. So something, something around there. Wave four. We're gonna push back spacesuits against against that a little more, and then wave three gonna push that a little back. Might have pushed back a little too far. And we're gonna We're gonna grab all of the boat layers here. We're gonna pull that forward a little, but we don't want to pull forward. So it goes through the waves here. We want to keep it in between. So maybe somewhere in there looks good and you can another way to do this too is you can go to wear custom view one that we went. And I like to do this sometimes to and you go to the top view and what this shows. It's a little harder to see. I thought I'd shave the angled view cause it's a little easier to visualize, but this is basically your layers in space. So if you click on tree at highlights where it is in ze space, thes two layers were here. The tree in the Bush are the farthest things forward, which is what we saw already. And then the sun and the cloud they're back here, the skies all the way back in space. So what I like to do so maybe sometimes is actually maybe make these a little more equal because these air all kind of the same layers or just maybe, something like that. But now that we did that, we're gonna have to move the boat back at space, conceal the boats poking out of the wave here. So we're gonna push the boat back a little bit in the space on. Okay, I think that's pretty good for now. Um, what we're going to do next is we're going to start animating objects now that everything is a three D layer and and separated and Z space, we can start adding some movement to our scene, and we'll go from there 6. Animating the Waves: Okay, so now that all of our layers air set up in three D space, we're going to start any meeting. We're going to start on this section by doing the waves first. So we're going to go to first of all, we're gonna go to, like, 1/3 resolution. So it renders a lot faster when we start a meeting, and then we can go back to one view on you could change this to fit, and we can go ahead and hide the boat and the clouds and the sun because we're not gonna be needing them in this section. So go ahead and click on all your layers and hit the eyeball toe layer or hide them. You're clouds and sun, and you can go ahead and hide those. Okay, so now the waves, they're gonna pop up one at a time, like the front way first and so on. It's gonna go back, and they're going to be moving to the right slightly and rotating. And in theory, we want the front wave to be moving faster and rotating mawr than the wave in the back. Because that's gonna give the illusion of depth. So we're gonna start with Wave one here we're going to go to actually, we're gonna click on all of the waves. You can hold command and click on each wave, and you're gonna hit P on your keyboard for the position property. And then you're gonna go ahead and click each position by holding command and you're gonna right click and go to separate dimensions, and that's going to separate the position properties in X, Y and Z s. So first thing is, we're gonna take Wave one on, we're gonna click a Y position, key frame, and then we're gonna go 10 frames forward so you can hold shift command and you're right arrow to go 10 frame increments. Or you can just remove the play head. If you want on, you can kind of look at the number of here till gets to 10. I just think it's a little easier with that shortcut. So shift command and right era and then make another key frame. You're gonna go back to your first key frame and you're gonna lower the wave down off the composition so it pops up. So it could something like that. Now we're gonna be using the graph editor here, there's ah really good tutorial on skill share by Jake Bartlett in a meeting with ease. And he really goes in depth and explaining the value, Graf Spee Graf and everything you need to know inside of this. So if you haven't taken this class yet, I highly suggest it because I'm not gonna go too deep into it in this lesson. So you're gonna highlight these two key frames and you're gonna hit F NF Neid to make them easy East key frames. And then you're gonna go to this little icon right here, this graph editor, And if you click this button right here, it's gonna fit the graph to review. So it's a little easier to work with. And you're gonna click on this point. And what this is showing is the The wave is coming up. It's starting slow. It's getting fast. So right here in the middle of it, and at five frames, it's gonna be at the highest velocity, and then it's going to slow down. But we want to make this curve a little like nicer so you can click on the point and then dragged these anchor points. And now this is saying that's gonna come in fast, and it's gonna slowly slow in tow into place. Let's see. So that looks pretty good right there. So we're just we're gonna go without for now because we can always come back and adjust these things later. And we're going to give us an exposition to go to the first frame, hit the exposition key frame, and then we're gonna make this animation about 10 seconds so you can drag this play head into 10 seconds, or you can go to 10 seconds and hit and on your keyboard. And we're going to go to, like, 12 seconds, though, for the ways to move over in case we decide to make this animation a little longer. So we're gonna go ahead and move the wave over quite a bit. You want these waves to be moving faster? You can delete this. Why key frame here? We don't need it on. Yeah, that looks like a pretty decent speed. Maybe maybe even a little bit faster. Something like that. And then you're gonna highlight these key friends and you're gonna hold command this time when you click on the key frame and you're going to see them change these circles and news , their continuous busy A key frames and what that means is it's gonna travel at a constant velocity the whole time. So we're gonna keep that and then we're going to go to rotation. So you're gonna hit wave one. You're gonna go to Irritation R on your keyboard, and you're gonna go to the Z rotations that make a key frame. And then if you go back to wave and hit you, you can just see the properties that you're working with here. And actually we're gonna drag the rotation key frame to win the wave lands on this 10th frame right here and then we're gonna go. We're actually gonna make this negative 1.5 for the first key frame because these waves are gonna be rocking a little bit, and then we're gonna go forward 20 frames. So shift command right arrow two times, and then you're gonna make this 1.5 separate states a little and then do the same thing go for 20 frames and you can just select, copy and paste these key friends, and you can keep doing that. So the key frames go past a 12th marker. Oops. Okay. And then you're gonna have just select all these and f N f 90 Easy's on. Let's see what this looks like. That looks pretty good. So let's go to the second way. We're gonna do the same steps and go to wave to You're gonna go. Actually, this time we're gonna go forward three frames to start it. So 123 You can hold command and right arrow, and you go over by increments of one. You're gonna click a Y position and then go for 10 frames. Quick y position. Can you frame Go back to the 1st 1 lower it off the screen, select both of these f N F nine Eazy e's and then go to the graph editor on. One thing offer out to say is when you're in the graph, better if you right click. Just make sure you're on edit speed graph not value graph. There's there's a little bit of difference in that, but we're gonna use the speed graph here. You're gonna pull this handle over something like that. That looks pretty good. Okay, now we're gonna go. Give it some exposition. Quick key frame on the first frame. Go out to this. 12 seconds. Quick. Another key frame and drag this over a little bit. And we want this one to move a little bit slower. That looks pretty good. Could actually maybe even a little bit faster. Just a little bit. Get rid of that. Why key frame and then select these and whole command. There you go. Looks good. Now. Could go to wave to and hit rotation. Gonna go to the Z rotation, Go back to the 10th frame because we want the rotations all to be rotating at the same time so they don't interact with each other, So it does irritation. And we're gonna make this one positive one this time because we wanted to rotate the opposite. So this one's a negative value for the 1st 1 We want this one to be positive, and they're going to slowly rotate a little less and less since they go farther back in space. So go forward 20 frames and then make this negative one and go ahead and copy and peace These key frames, just like we did the first time and then select these all on F N F nine. Uh, oops. Okay. And then we're gonna go to wait to Sorry. We have to hit. What are you to see here? All your positions you're working with. And let's see what this looks like. Pretty good. You could see the first wave still moving a little faster because it's going forward. It's going a little bit in front of it each time, so that that's good. Now wait three. We're gonna do the same steps. We're just gonna rotate it less and move it slower to go to your Y position. And this time, we're gonna go forward. Six frames of three frames from the last one. So 123456 Why position go forward. 10 click another key frame. Go back to the 1st 1 You're gonna lower it off the composition. You're gonna easy. Easy. These f n f nine, go to your speed graph. Give it some ease. Okay. See what that looks like? A pretty good. I'm gonna go to the expedition, go out to 12 seconds again. And if you hold shift when you move this sometimes that locks on other key frame. So I hope Hold shift here. And it locks on to that circle one from before. Oops. So, like, these whole command, Okay. Oh, and I forgot to move it over. Move this one over slightly, and then we're going to give it a rotation. Go on the 10th frame, We're going to start the rotation. Hit you so you could see your key frames you're working with. And then we're going to make this one's. The last one was positive one. So we're gonna make this, like, Negative 10.5, and then we're gonna go forward, 0.5 and repeat the steps. Copy and paste them all books. F N f nine these key frames. Okay, that's looking really good. Now, let's do the last one. Last one is going to move even slower, so we're going to go forward nine frames to start it the Y position, and then go forward. 10. Go back to the first warm lowered off the screen. Easy. Easy's go to your speed graph. Going to go back to the exposition. Go out 12 seconds. This one's gonna move just slightly. Get rid of these. Why? Key frames select and selectees key frames. Whole command, continuous busy. A key frames. Here we go. This last one, actually, I'm gonna move it for just a little bit more. So look, like they're moving at the same speed. And then we're gonna go to rotation on the 10th frame. We're going to start and then hit you to go back. And then we're gonna make this one positive 10.25 and then go forward. 20 and negative, 200.25 and copy and paste them. And then we're gonna highlight these old Eazy e's Oops. And let's see what? See what this looks like. There we go. I think that's looking pretty good for the water. We can always go back later on and Justin things. But for now, I think that's pretty good. Just take your time, and it might take you a little more toe like adjust the speeding up of everything and yours might be a little different based on how you set it up. So just take your time to make sure you're happy with how it looks. And the next step is we're going to start animating the boat coming in 7. Animating the Boat: Okay, so now that the waves air animating wearing, we're going to go ahead and meet the boat. So click on all your boat layers and click the little eyeball to the left so you can see what you're working with. And now we're gonna have to work with a Ah, it's called a parent chain. So if we take the boat layer and we start to move that you're gonna notice that all the other parts aren't moving with it because they're on their own separate layers. So the way to get these objects to stay where they are is to parent them to one another. So we're going to go to the I layer. Let's go to the I layer first, and you're going to click this little swirl here or this parent pick quit. And if you don't see this, you can right click up here and where it says columns, there should be a parent and link. Just make sure that's checked, so go to your eye layer and then you just grab this little pick whip and you just drag it because we wanted to stick to the boats. They're going to drag to your boat layer, and then you'll see the layer that it's parented too. Right here. So you're going to go ahead and do the fin. We're gonna parent the fin to the boat. This rooftop, we're gonna also parent to the boat. And then what we want to do here is we want to actually parent the flagpole to the rooftop and then the flag to the flagpole. So good here, flagpole layer and parent that to the rooftop and then go to your Flagler and parent that to the flagpole. So now if we go to move this boat, it all moves together. That's what we want. Hide the Slayer. Okay, so we're gonna do a simple rotation here. I mean, a simple position value for the boat. She's gonna make it move across the street, the screen at one continuous velocity. So go back. Move your boat layer back to behind this tree right here. Hit P for position on. Make a key frame. We're gonna go to 12 seconds again. We're going to just move this boat along. We're not gonna go all the way across the screen, So probably some around here is good and then select these key frames whole command and click. So you get your continuous busier. I don't see this feat of that. Okay, that's looking actually pretty good. It's not too fast, Not too slow on. Then we're going to go and give the same rotation else to go to your boat layer hit rotation, click the rotation and then go back to boat and hit you so you can see the key frames you're working with. And we're going to start this side like, let's do 3.5 and then we're going to go 30 frames at a time, this time for the rotation. So shift command, right arrow, you click the right arrow three times. So 123 and then we're gonna do negative 3.5 and then go forward. 30 frames and you're just gonna copy and paste. He's like we did with the waves. Selectees all in an f n f nine. Easy, easy. Um, I want to see what this looking like. That's actually looking pretty good. You might not get it right. First strike, depending on how years is set up. Even though you're using my artwork, it's still the way. The where you placed objects and stuff is gonna be a little bit different. So just take your time. I've done this a bunch of times, so it's I kind of knew the values that I was working with. So even then you still have to adjust. Think sometimes. So just just take your time until you You like what you have there, so it looks pretty good. So now we're gonna go in and we're gonna actually like start to rotate, but they'll thin a little bit and we're gonna make this flagpole move a little, and we're going to give everything a little rotation and movement. So it's not so static, we'll bring it to life more. So let's start with the fin now the fin. If if we go toe rotation on this Z rotation, you're gonna notice that it's rotating late in the middle here and we don't want that. We want the rotation to start over here at the end of the fin, so it's it's more behind the boat, so I'm gonna edit on do and then if you hit y on your keyboard or you go up here to your pan behind tool, you can click the anchor point and move it. So I'm gonna move it, like right around here. So now when I do the rotation, it moves like that, and that's what we want. So same concept. We're going to just rotate this little by little. So, um, let's let's just go the first frame, make key frame and we're gonna go to I don't know negative. Let's do negative four. See what that looks like. Go forward like 2030 frames. Let's try 20 and do positive 4 20 frames. Copy and paste. Let's just let's just see what this looks like before we finish. I think we can move it. We can actually rotate a little more and spread it out more. So let's delete all of those. Go back to the first frame and let's do student negative 5.5. We're gonna go make a key frame and go forward. Strike 40 frames and then do 5.5 positive 40 frames. 1234 Copy and paste. Ease on. Let's see what that looks like. Easy Easy's actually, let's let's make thes 30. I'm sorry. See? You just got adjusting sometimes. Still, it looks right. So Let's do 30. Could just delete these. 123 Let's see what that looks like. Looking a lot better. I think we'll go without for now. So now we're going to go to the rooftop. We're gonna rotate the rooftop a little, so let's go to the rooftop. We're gonna also move this anchor point down to the bottom so it rotates. Um, like this, and actually, we can move this rooftop. I want to move it down a little bit behind. Actually, this should be behind the boat. So click click all these layers the flag, flagpole, rooftop, and actually move that behind your boat layer if you don't want it to be poking out in front of it. And for that, we're gonna do the same thing. Probably every, like, let's actually let's see if it shows little that's we could actually move it down a little bit behind like that. There you go. All right. So go to the first frame, and then we're going to give this irritation off. It's do negative six. I'm gonna go forward. 30 frames. 123 We're gonna do positive. Six. 123 Copy and paste. It's a lot of repeating for this animation, but I was trying to keep it a simple as I could, so you can go ahead and offset thes however you want. Whatever you think looks best on an F in F nine. These key frames, let's say just a little bit of moving. That's pretty good. Now for the flag, um, the flag. We're gonna actually do something different. We're gonna go to the wave warp effect. So you're going to go to your effects and presets. If you don't see this, you just go to window and and go down to effects and presets. So you're gonna type in wave and it's this wave work, and when you're on the layer, you could just double click and apply it to that layer. Now it's going to really be moving a lot here, which we don't We don't want it that much. So we're gonna put this down toe, Let's say two, maybe see what that looks like. Just a little bit of movement there wave with. Maybe we could go down a little like 30. You can change the direction you can kind of play with us. Actually, I liked how it was, um, wave speed. We could change that. Maybe like point seven a little slower. And it sometimes it takes a lot to render this. So be patient. That looks pretty good. So I think that's Oh, and then we're gonna do Also, we're gonna make this since we have an eye on this thing, we're gonna make this I blank a few times, so it's pretty simple to do that. You're good. You're I layer, it may be like right here is it comes out, we'll do a little blink. So go to your scale and you're gonna uncheck this right here, this little paper clip looking icon. So you can just if you don't. If you have this on, then when you mess with the scale it it affects the X, y and Z altogether. So you want unchecked because we're going to do just the why setting here. So just make it key frame and then go forward. Let's try to frame So 12 and then we're gonna go. Sorry, this was at 92. We want to keep it out of 100 go to scale, and then go forward. Two frames go to zero for this y property and then go forward to frames on back to 100. And then you can also easy Easy's Let's see what this looks like. That's that's pretty good, Actually, it's like a good speed, so you could just copy and paste these key frames. You don't want to keep blinking it, so maybe we'll spread it out like maybe down here. Then maybe we'll more at the end. Something like that adds a little bit more playfulness to it and gives it a little more life. It's looking pretty good, I think. I think that's good for now. If you want to, like, rotate like the thin more, you can just just keep playing with it, told something that you like, doesn't have to be exactly like mine. And then the next step is we're gonna change thes sky As the waves come up, the sun's going to come up in the cloud. They're going to come in, and the sky color is going to change toe a bright yellow, so that's gonna be the next step 8. Animating the Background: Okay, so now we're going to animate the sky, the clouds and the sun. So we're going to start off by and meeting the sun. So we're going to go and click the eyeball on the sun layer. We're going to go back to Let's first of all, let's make a position key frame. So we keep it in the position, it's that. And actually, I'm gonna move it down just a little bit. Something like that. We're gonna click a position key friend were to go back to the very beginning, and we're gonna lower this down now. We're going to highlight these layers and click f NF non. See what that looks like. Try it again. Maybe Maybe it's a little slow. Let's move forward a few frames. Try that. That's better. Now we can go to the speed graph here, give it some easy easing. That looks really good. Actually, I like that. All right, so now, as the sun comes up, the sky is gonna change yellow. So, like, right around here will start toe, change it to go down to your light sky and actually put that above the dark sky layer, and then we're gonna drag this over to the play head so it doesn't show up yet. So it's not so The dark sky showing first and actually real quick before I do anything I forgot to I want the skies to actually cover up this whole space. We should have done this in photo shop, but I kind of forgot. So we're going to just kind of cheat it here. We're just gonna drag gonna make it bigger. These were scanning and like, a decent resolution. So we have a little room to do that. Normally, you don't want to drag stuff too big like this, but I think it'll be all right for this. So something around there. Let's try that. Okay, so you see, now it's a lot like smoother looking, and now we're going to go to the light sky layer and you're gonna hit t on your keypad rapacity and right where it starts. We're gonna make the capacity zero, and then we're gonna go forward like 15 frames. Let's try. We're going to make it 100 let's see how that looks. That looks pretty good. I like That's a good, good speed. So let's let's stick with that for Nahla. Now, let's animate the clouds. So click on your clouds layers so you can on high deuce and we're gonna animate this Quell , maybe coming in from the side here, this one will come from the top. And then maybe this cloud will also come behind the waves so we can go ahead and click position on all of these and then go ahead and click each position and then separate the dimensions. And right as the sun comes up, I kind of want to used to come in, like, right at the same time. So right around here is when I want this cloud here to land, so make a position on the X axis and then go back few frames, like, maybe 10. We're gonna move it over and then easy easies. And let's see what that looks like. Yeah, that looks pretty good and all. It doesn't hit the sun. It comes in like, right below it. It's a good speed so you can go ahead and a justice on the speed graph now make it a little smoother. Maybe something like that. A little fast. Could pride pulled us back a little bit. Okay. I like that. Now, this one, we're gonna do a Y position. So it'll probably land right around the same time, maybe a frame or two before the other cloud. So let's make it. Why key frame. Go back a little. Something like that. Let's see. That looks pretty cool. Now. Easy. Easy's go to your speed graph. Just the curve. A little again on. Actually, I think I saw it. Yes, yes. I should probably move this farther down because you can see it here before the composition were before the waves come up. That looks pretty cool. It will move this. It's a little fast. I think that looks that That's what we're looking for, That smooth motion in the place. Okay. And now this one, also, we're gonna maybe put around the same time that it comes in. So we'll do a Y position and then go forward. 15 frames or so You just kind of got I bullet easy. Easy's Let's see what? That this looks like a, Well, maybe a little faster. Actually. When we adjust the speed curve, it'll prior look better. I see. All right. That's that's what we're looking for now. I'm also I also think I want these two kind of, like, move across a little move slowly across the composition to the left. So let's go to the exposition on all these, sir. And you can actually you could hit you on all of these so you can see the ones you're working with. And actually, Sorry. That won't work because we're gonna need the exposition. So just hit p and then go to let's do cloud one first. So as this, we're cloud three. I'm sorry. As this lands, then like maybe the frame after well, at a new key frame. So it doesn't interfere with this one and then go forward all the way to, like, the 12 2nd marker again, a key frame and just slightly move it over. So it's slightly moving, and then we're going to do the continuous busy a again. So selectees. Last two frames, key frames here this warn on this one. Oops. The whole commands there, the circle key frames. And actually, I don't want that to stop, So I think I'm just gonna do this. Let's see what this looks like. Yeah, I kind of like that it kind of comes to a little bit of a stop, but let's let's try to do the other ones and see what happens. So for this, we're also going to do an exposition. It will be easier on these two because they're moving in the white position, the first for the first frames. And then we're gonna click on the 12th frame again, and then just move it over slightly. Maybe this one moves a little faster. Change it up a little bit. Give these a continuous busy and let's see what that looks like. We could actually move this back so it doesn't come to a stop and then start moving, okay? And then this one as well, we're gonna do the same thing. Go to your exposition, go to the 12 2nd on. Well, it over a little. Maybe this one moves really fast. You can delete the Y key frame and then continuous busy, a whole command and click one c. Yeah, they're just slightly moving. I like that. So I think that's good for now. And then what we're gonna do next is we're gonna just add some finishing touches to this. We're gonna add a little camera movement, we might add a little flicker and a little bit of lighting To create some shadows is like to give it that paper cutout effect, and then we're gonna go ahead and export it, and we're gonna wrap this up. 9. Final Details: okay for the last step here, we're gonna add some final details. What we're gonna do is we're going to add a alighting a three d light so we can give some shadow behind some of these objects to sell that paper cut out effect. And then we're also gonna add a little bit of camera movement. So what we're gonna do first is you can go to two views here, and then we're going to go to the top layer and click layer new camera at a camera layer. I have mindsets this 50 millimeter preset, and that works pretty well for this click. OK, and then So this is the camera right here. So we're gonna just We're gonna do a simple, like a slight zoom in so we can go ahead like maybe one second around and make a position so hippie on the camera layer and then go back to the first key frame and then just grab the little Z handle here, or you can adjust this. You could just move it backwards, and you just want to go back. So as far as we can, So, without like cutting into some of the artwork like that. So you want to Maybe maybe somewhere around here, Right? Just right before. And then? Yes. So that gives it a nice little zoom in effect. And then we can add some easy east these by f in F nine good or speed graph. And we want this camera toe slowly ease in to its position. So something like that around there Let's let's try that. See what this looks like? Looks pretty good. Yeah, I think that'll work. Okay, so now we're gonna add a lighting effects so you could go back to one view here and put go to fit. Okay. So for lighting, we're going to go upto layer new light, and we're gonna add a point light. So click on this slight type. Go down a point. The intensity could be 100%. Make sure cast shadows is chucked here, and then the darkness. You could probably do 50% for now. Click. OK, So the way this light works that you can kind of you could drag this around and you can It'll affect different areas. So if I drag it over here, it's more lit on the right side. And then if I pull back and see space, if I pull forward, it'll light all the objects that has passed. It'll light only the object behind that, so you want to be able to pull it. I want to pull back on this so it kind of lights up everything. And then it's not actually casting shadows yet, because you have to go to one of your layers and then copy the property. So go to your tree layer and click this little arrow and material options. There's a cast shadows, but and make sure that's turned on. And now go ahead and click the material options for that hit command. See, and then you can go ahead and select all of your layers and command V and copy that affect everything. And now you can see the shadow that's starting to come up. So we want to move this point light. I think I want it over here, so the shadows kind of pointing to the left side. So let's let's go ahead and try something like that. Now that looks sort of what I'm going for, but I want to make this not so dark on the side. So I'm gonna pull this out. Lindsey. Space a little in the shadows Will won't be so far behind. And then you can also go in your point light settings. Here, go down the late options and you can make the darkness. Let's do, like, 30%. It's not his dark looks a little more realistic. And then you can do a little shadow diffusion so the shadows aren't so, Chris. Maybe like 25. Let's drive, and then you always want to check it Full resolution with this look like the lighting takes up a lot of memory on your computer. So I work at, like, third resolution, usually because my computer starts to slow down. You always want to go in and at least check what it's gonna look like at full. That might be a little crisp for what I'm going for. And you'll do like 40. Maybe this will be like 25 ish Will say, Okay, that looks a little better. I don't want it to dark, and then I'm gonna just move this around a little bit. I could probably go back to the third view, their third resolution, something like that. Now it's gonna take a little bit for this toe preview, so I'm just gonna kind of drag it along to see where the shadows are. And that's kind of like that. I like how the boat it Zaveri in front of a lot of things and you see the shadow farther in the background. But the clouds like the shadows kind of right on the left side like that. I kind of like that look. So it's just it's personal preference. Whatever you want to go for, you could move this light over here or wherever you want, but I think that's pretty good. Um, let's see, um, we could add ambient light because that will help fill in this darker side. So if you go upto layer new light and go to ambient, this is gonna break and everything, and then you just want to turn the intensity down. So go down to your light options and maybe like, 20% and it should fill in, see if you if you hide this now, you kind of get there's a lot of dark areas. You could probably go down a little more like 15. It just brings up everything as a whole. So sometimes it helps when the lights casting too dark of a shadow on one side of your composition. But I think that's pretty good. It's gonna be a little Laghi here toe playback, But yeah, I think I think this is a Sfar as we're going to go with this now, this class is getting a little longer than I expected. This is the first time I've ever tried teaching online. So it went a little longer than I thought. We could keep pushing this effect. We could add a little like flicker to the camera. We could add some or lighting. But I think for this this is pretty good. I, like Ellis is turning out. Actually, there's one more thing that if you want, you can go upto layer new adjustment layer. And we can really make this look like stop motion e And, like, really like hand on by going to posterized time over here in your effects and presets. You spelled it wrong, posterized time And what this is going to be able, we're gonna be able to change the frame rate for the whole composition. So if we changes to like 10 it's gonna make this a very like choppy look And actually, to make this load a little faster, you can go here to draft three day. It will get rid of the lighting. We just did, but you'll be able to see how choppy it looks. If you like that, Look where you can go with that where you could just you don't have to do this at all. You could just keep it at 24 frames and will be a lot like smoother. So it's just a personal preference. If you really want that, like handgun effect, then just lower the frame way. You could even go down like, eight frames per second. I think I'm going to keep it at, like, 10. I kind of like that look has a nice choppiness, and I think that's what I'm gonna go with for mine. So the next lesson. I'm just the last lesson. Actually, I'm just going to show you how to export this, and then you'll be able to watch it in full resolution. You can sit here and let your computer loaded Orender as well and put it up full and let this bar kind of load up, but it's gonna take a while, so I don't want to do it in this lesson, but I'm going to show us had export and then we'll be done this class. 10. Exporting the Animation: Okay, so now we're ready to export our animation. So make sure Adobe Media encoder is open and go upto composition to Adobe media encoder. And then just make sure your play head is to the end of your animation. So I had minor, like, 10 seconds, and I've already gone ahead and click this, but you just go ahead, click that and then open. It'll open in adobe media encoder. And make sure this is set to h 0.264 Matt Shores high bit rate. And then you can click on this link and save it wherever you'd like. I'm gonna go Teoh desktop and just name it. However, you'd like click save and then just hit this play button right here. And you're good to go in and it'll save toe wherever you saved it to 11. Thanks!: Alright, guys. Thank you so much for taking my first kill share class. I hope you learned a lot and they're excited to creature and paper. Cut out animations. Make sure to upload your projects to the class Project gallery. Please let me know how I did and feel free to ask any questions. I had a lot of fun teaching this topic. And I look forward to creating many more classes. Thank you so much and have fun creating your projects.