Create the Introduction to Mad Men with After Effects | Adam Perlis | Skillshare

Create the Introduction to Mad Men with After Effects

Adam Perlis, Creative Director

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3 Lessons (1h 50m)
    • 1. Mad Men Opening Credits

      0:36
    • 2. Lecture 1

      Screen Shot 2014-12-09 at 11.14.45 AM.png
      47:17
    • 3. Lecture 2

      62:00

About This Class

This class is for beginners in Motion Graphics who want to learn the first steps in creating their own projects in After Effects.


Have you ever wondered how they create those amazing TV or Movie introductions? Or even some of your favorite commercials. They likely used Adobe After Effects to help create them.

We  will cover the very basics of Adobe After Effects. We will run through a project that I have created especially for this class. Topics will include:

Introduction (5 min) Navigating around AE. (10 min) How Layers Work in AE. (5 min) What are keyframes and how to use them to animate. (10 min) How to use a camera. (10 min) How to parent objects and why it’s useful. (5 min) What a Composition is and how a Pre-Compositions can be utilized. (5 min) Rendering (10 min) Questions?

This course will provide you with a foundation to build upon and help you explore the program and all it's capabilities. You will walk away with a firm grasp on how to dive into your first project and even start your own portfolio.

Transcripts

1. Mad Men Opening Credits: 2. Lecture 1: - Hey, - guys, - How's it going? - Adam? - Perlis here and today we're gonna be talking about my class making Don Draper proud. - On our first section, - we're going to talk a little bit about the basics and after effects. - And then in part two, - we're going to get into how they made the introduction to the show Mad Men. - So let's get right into it. - Alright, - guys. - So I think that we're going to start off with our first section, - and we're gonna talk a little bit about, - uh, - you know, - what are the basics of after effects? - Just pulling up my syllabus here wanted to do really a brief introduction and kind of walk - you through some of the tools that are available to you and Ah, - in addition, - um, - we'll start navigating around a and then, - you know, - we'll get through some of the finer details, - so let's ah, - jump right into after effects. - I'm in after effects. - CS three, - um, - you guys can be in whatever version. - Like I recommend something siesta and above. - Really, - the only reason I'm still in CS three is because I have some plug ins that I did not want - to pay extra to upgrade. - Um, - So, - uh, - I'm not going to use any of those today, - so you guys won't have any problems with that, - But let's get right into it. - So I just want to kind of start by, - um, - giving you an idea of what everything kind of does. - And this is a really high level overview. - So let's start by clicking here in our project panel. - This area is where all your assets are going to go. - Um, - you know anything from movie files, - Teoh. - Any solids you create Teoh audio. - Pretty much Everything lives right in here. - This is your library? - Essentially, - Um, - and within here kind of keeps everything organized. - So let's actually start. - We're gonna start the basis of pretty much every project that I ever have done on. - What I do is I go ahead down here and it says, - create new folder, - and I'll click that and then I'll just type in assets. - So, - um, - that's usually my first folder. - That's where I'm gonna dragon, - you know, - any assets that I have? - Any images? - Maybe from photo shop or illustrator? - Maybe any m o. - V files that I'm using, - um, - the next 11 I'm going to create this called cops. - And that's what you know, - Any composition that I create within after effects. - We're gonna talk a little bit more about that later. - Um, - and then we're gonna create another one. - Uh, - let's call this final. - So those were kind of the three that I always create, - and I'm just gonna go ahead and changed the label. - These the reason I have another folder there called Final, - um is that's the project we're gonna be working on later. - So I'm just going to change this. - Uh, - let's make it a little more distinguished color. - Uh, - change these ones to just go over here and right click. - And, - um, - what do we change it? - Science. - Okay, - so now we can distinguish between them, - Which, - which final is the correct one? - This one? - As you can see, - I've already set up. - There's a bunch of stuff in here, - and, - um, - you know, - now you're seeing how this kind of works. - So, - actually, - let's just go ahead and actually grab some files, - the place in there. - So I've got this, - um, - set up from the project files I've put on my site here on the skill share introductory site - . - So if you just scroll down past the mad men introduction, - you'll see Please download the following project files along with. - So just go ahead and download those for now. - And I've got them here all set up and, - uh, - under the footage folder. - Um, - I've got a bunch of assets here. - I'm just gonna go ahead and take these three and go back towards after effects. - Let's pull up my finder, - take them. - I can actually click and drag them over into assets. - It's gonna ask me, - Don falling. - I do. - I want import. - This is a composition, - and my answer is Okay, - so now you can see that they're in there. - So that's kind of the project, - you know, - um, - within this same panel, - I like to have my effects controls, - which we'll get to in a second. - Once we, - you know, - start adding effects. - Those were going to come into play, - You'll see. - Um, - okay, - um, - let's add a new composition. - How I like to do it. - I always hit command, - and, - um but you can also go to composition new composition. - So we'll go ahead and do that, - and we can call this camp one. - That's fine. - There's all sorts of presets here. - Um, - I have it set at custom 1920 my 10 80 square pixel. - Basically, - that's like something you put on the Web. - Most Web is actually only 7 20 p, - but I like to create everything at the highest resolution possible. - So in this case, - 1920 by 10 80 is the same as 10 80 p square pixels air used for the web If you were doing - it, - um, - if you're using ah broadcast, - you'd probably switch Teoh d one d v ntsc 10.9. - But for our purposes were doing this in the Web. - That's what we want our frame rate. - We could, - you know, - change to really whatever it could be 30 frames per second, - 24 frames per second. - I like to keep it at 30 for my animations. - A lot of other people like 24. - It's really just a matter of preference. - Um, - and then down here, - you have your duration. - Your start time could I've never, - ever touched full resolution. - You want to keep and duration. - In this case, - it's 10 seconds, - but we could change this to whatever we want. - Let's just make it 10 for now. - Just hit, - okay? - And you see that our comp one just got added here. - So what I'm gonna do right away for organization purposes, - just drop that into my comp. - So So we can see that it's there. - And what it did was it actually automatically opened me up down here. - And this is my timeline. - Basically, - this is showing me my time in seconds, - 0 to 10 and eventually, - we're gonna add some layers down here. - We'll talk a little bit more about what the timeline is all about. - Um, - Now, - let's Ah, - let's take a look over here. - This is what after effects is all about the effects. - You have a 1,000,000 different effects here, - from distortion effects to, - um, - simulation effects, - all sorts of cool stuff. - We're going to get into a few few of them in this course. - Not too many. - Um, - but this will should provide you with a good foundation of how to start to dive into those - characters right next to it. - This is to be able to affect your type Eso Anything you use the text tool for up here, - you'll be able to manipulate with this tool. - Much like, - um, - you know, - a photo shop or an illustrator? - Um, - time controls is hiding. - It shouldn't be. - I'm just going to increase that, - are removed that down a little bit. - Um, - this will become important when we start to preview animations. - We'll talk about that shortly. - Um, - and let's talk about some of these tools up here. - These air critical ones, - we pretty much will go to all the time. - Um, - the rectangle tool. - You can either create a shape like a square if you hold shift, - grid, - square or rectangle, - you know, - transformed to any size you want. - Um, - okay, - then we have the pen tool. - Um, - also, - you can create shapes with this, - whatever side, - like, - but what's also cool is that these, - uh, - also function as masts. - So what I mean by that is let's say we were to go to layer new and solid, - and we added this red solid to the to the stage, - and we took my pen tool, - and we drew, - you know, - some sort of pod shape, - and look, - it masked it. - So basically it took on Lee the portions that I wanted it to take. - You can also easily do this with square tool, - right? - So you see what it does. - And you can also do this with the lips tal, - which would come in super handy. - And now each one of these mass also comes with some really nice properties. - So once you add the masses stage and let's say you just world this down here, - you're going to see masks and transforming in to transform in a second. - Here's my layer red solid. - You twirl down mass, - you have a bunch of options here, - for instance, - let's feather the opacity. - And now you got one of those really nicely Grady int spheres that you see all to often in - motion graphics. - So that should give you an idea of you know, - what we're capable of capable of doing here before we dive into more things here in the - layers panel. - Let's just talk a few about for you. - A few more of these things. - Let's say, - you know, - we wanted to add some texts, - weaken, - just click on the stage and type in text. - So there's Ah, - there's my name under scale it now that make it look a little bit pretty. - All right, - so we've got. - You know my name there in the circle. - There's a few other tools here. - There's the pan behind to which we're gonna get to in a moment. - Um, - the brush tool is not used very often. - To be honest, - the clone stamp tool was also not used very often. - And neither is the eraser tool. - And then the pin tool is honestly something that I could teach an entire class on. - Um, - and it's really for creating animations that, - uh, - you know, - require walk cycles. - Um, - you know, - all sorts of, - uh, - typical things like things you might see on, - like jib jab dot com. - Those kind of things were used done using something like the pin tool, - but not soon. - So important for today. - This is just the basics that would be a much more advanced feature. - So let's get into it. - I want to demonstrate a few important topics here. - We just went through navigating around a eat. - Let's talk about how layers work. - So as you can see here, - I have two layers on the stage. - There is a text layer that says Adam Perlis, - and then there's a red solid that is just basically a circle with a mask, - Um, - or really a solid with a mask of a circle on top of it. - And then the black background is really it's just transparent. - I know it doesn't seem like it here, - but if you actually go here and it says toggle transparency, - Greg and you click that you're going to see that it's actually truly transparent. - If you were to overlay this on top of another piece of video in another program, - um, - you know, - that's how a lot of those graphics you see, - like lower third graphics that pop up during sports, - Um, - or even in ah, - in pro mo's for different shows. - That's how they create them, - usually in after effects. - And then they they render it out with an Alfa Channel so that it can overlay on top. - Um, - great. - So let's see, - let's talk about how layers work. - So right now, - Adam Perlis is on top of the red solid right when we see that that here in after effects, - just like in photo shop in all other adobe products, - the first layer is or layer order rather matters. - So I'll say it again. - Layer order matters right so right here. - The first layer number one is Adam Perlis. - The second layer is red solid one because Adam Prose is on top of red solid one. - It will always be the first thing a user sees. - Now watch what happens when I switch to Layer order of Adam Perlis in red solid Adam - Perot's disappears so again, - layer order matters. - I hope that makes sense will move on to some more advanced stuff now. - So next let's talk about, - um, - what key frames are and how to use them to animate, - which is pretty much the crux of after effects. - Now what we're gonna do is that squirrel one of these down. - Let's take a look at the red solid, - right, - and you see that there's mass, - which you know is that circle that we created before and there's transform. - Now let's twirl down to transform and take a look at what we got here. - So there's a lot of really great properties here. - We have position. - We have the anchor point, - which we're going to talk about in a moment. - Um, - basically these air X Y coordinates. - So a little math for you simscale All right, - so we can change the scale again. - Position rotation, - which I'll explain why that's rotating like it is in a moment but rotation and then opacity - . - Now these little stopwatches next to each one of these properties, - we'll set a key frame on the time on. - So for those of you unfamiliar with what a key frame is, - essentially, - it's marking a point in time. - And it's certainly a definitive position or value of, - um, - you know where something is? - And then our timeline helps us show basically where time is. - So if we set to key frames from point A and point B and we want something to travel from - point A to point B, - over time, - we would set to key frames. - So let me show you in practice what that means. - Let's let's have this red solid go from left to right. - So we're gonna set a key frame at zero. - But this is the final position. - We wanted to end up in a direction to take that key frame. - You see this yellow marker that it created on the timeline? - We're gonna move it somewhere in between zero and one. - Then we're gonna take our ex Cordant. - We're gonna drag it over. - If you hold shift a little bit faster, - you can also just a quick hopes. - And also just click and drag this over. - So now let's see what happens when we hit play. - We can eat space bar or we can go to RAM Preview. - I'm gonna hit RAM preview. - So we see it goes pretty to him. - Fast over there now. - What if we wanted to kind of make it? - He's in a little bit. - Well, - we can go to this end key frame. - We're gonna right quick. - It brings up these nice options. - Something called Key Frame Assistant. - We're gonna choose easy skin. - Now let's see what happens now. - It's starting to look a little nicer. - It's easier than in a little bit. - See how it slides? - Cool. - So now you've seen how to create your first set of key frames, - and this is the basis of pretty much all motion graphics animation. - Now, - this goes for every single property you can keep for him pretty much anything. - So let's have it slide in like that. - And then we want the scale to start here. - So I said a key frame there then initially I wanted to grow in size and then I wanted to - quickly pop down to zero. - So if I click in there, - understand? - Zero, - we'll see. - Basically, - what I did was I just moved in all the way down to zero just like that. - Let's see how this starts look pretty cool. - Alright? - Starting to see some some interesting effects going on here with very simple shapes. - Um So let's, - uh let's animate our, - um are our text in So basically, - we don't want our text to appear until at least we see this this pop up so are come to the - middle. - So let's have it start to fade in right about here. - We're gonna change in, - Ah, - rapacity key frame, - actually drive it over a tiny bit and then we're gonna take our rapacity dragged down to - zero, - because when it arrives to here, - we wanted to fade on. - So you see, - And then once it basically, - um the circle those down to zero we want the A pass ity Teoh Also erase the name at a pro. - So we're gonna set a key frame at this exact same position by clicking this little button - here on the left. - So that's that one right there. - And then at this point, - we're gonna want it to go to zero again. - So I dragged that over 20 Let's watch what happens. - Pretty cool. - So let's just go back and we're going. - Teoh. - I kind of erased most of our key frames here, - and we're gonna talk a little bit about the anchor point. - So right now you can see this little guy right here, - and that is our anchor point. - Right now. - It's kind of off center. - It's not perfectly in the and there's a nice tool right here called the Pan Behind Tool - that lets us move this anchor point around. - Now let's move the anchor point all the way to the bottom, - and I can show you what this really means. - The anchor point is, - is the point at which everything animates from in, - you know, - on any any sort of image within after effects. - So now that I've moved it down to the bottom, - we can see that if I have changed my scale that it's actually animating from that point. - And now watch what happens when I change that. - If I moved that to pretty much dead center. - Watch how the circle now animates animates from the center. - So that's essentially how are our two works when you see some of those cool looking - animations, - those key frame animations that sometimes, - uh um, - you know, - pop up on the Web, - for instance, - let's watch what we can do here with these. - Uh, - I like to use squares. - I think that's pretty cool to animate from the corners. - If I hit s, - I could pull up scale properties, - and, - uh and it looks like I actually kind of screwed up there. - What? - Why did it do that? - So let's take a look. - Um, - we've got our square tried Teoh change the animation or the anchor point. - Rather, - and it appears that it's trying to animate from a very specific point right here in the - middle. - So this is what I do is sometimes shapes using the shape tool creates some funky things. - So instead of creating a square using the shape tool to animate, - um, - we're going to do something else. - We are going to create another solid by doing command. - Why? - We're gonna hit. - Okay, - Another red one gonna take the mask tool, - which is essentially the same as the shape tool this time because were selected on the - layer, - it's gonna create a mask going to draw square. - Then we're going to take on a pan behind tool. - We're gonna grab our our anchor point. - We're gonna put it on the bottom left corner. - We're gonna hit s now. - When we scale, - you can see that it's scaling from zero to whatever we want from the bottom left court. - So very cool, - tool. - Very useful. - We will be using it. - Um, - I'm sure at some point in this tutorial, - if not, - you will definitely use it at some point while use after effects. - So let's move on to the next section. - Okay, - great. - How to use a camera. - So this is perfect. - We've got right now our red solid says Adam Perlis And what we're gonna do is we want to - actually kind of duplicate it. - So I just hit, - selected them both in a copy paste. - And for this one, - though, - we're gonna bring up our text school. - We're gonna change it, - Teoh. - Well, - let's just say hello. - Center it right. - So we've got to and what we're also gonna do, - we're gonna add in effect to this because I want to just show you or distinguish between - two colors here. - So I'm just gonna type in Phil into the effects. - I couldn't find my fail here, - and I'm gonna click and drag that onto my red solid. - And now it's it turns out that Phyllis is automatically read so we can actually click on - this color and change it to anything we want. - So let's just make it a blue And now, - holding your polling shift and clicking on both of them, - I can kind of drag this over. - And then I'm also gonna clicking, - shift and and click these two as well and dragged these over. - Now they're next to each other. - Now what we're gonna do is introduce a camera into the scene. - So if you go to layer new camera, - we've got this set up and basically cameras and after effects work the same exact ways riel - camera does. - You have all these settings that you can choose from. - It could be like a riel film camera. - That's 35 millimeters, - you know, - 50 millimeter lens. - That's great for close ups. - Um, - you know, - 20 millimeter Wes Anderson style kind of lens. - Um, - you can affect all these things, - including depth of field, - just like you would in real life. - In this case, - we're gonna use a 20 millimeter camera. - Um, - but it's certainly not a standard camera that I use. - I usually go with the 35. - Um, - but for our purposes, - let's just use the 20 for now. - And I'll explain later in our tutorial of the madmen introduction, - why we I chose to use 20 instead of a 35. - So not the cameras have seen nothing to really changed. - Um, - the reason is that none of our layers air actually three D. - So what we're gonna do first, - we're going to actually pre compose these later so that they're just kind of one solid. - So what I mean is we're going to create a new composition called a pre composition that - will kind of house both of these, - and it's essentially grouping them and how to do that as you go up to layer. - And he either hit pre composed or you could do this shortcut, - which I like to do holding shifts, - command on a Mac and then pressing seat, - and it's going to say pre composed, - and we're gonna call this one Brelis. - I never select. - Leave, - watch reaching camp. - I always select, - move all attributes into new composition, - and then we're gonna do the same thing for have a So now you can see that there's these two - little composition icons there. - And if we look in cops, - they automatically got added here too. - So our main composition camp one, - is our big one. - That's housing everything. - But we can also nest other compositions inside of another composition. - So here we literally just took Adam. - Perlis kind of dragged it on there, - so All right, - let's get back to the camera. - So, - like I had mentioned, - we're gonna need to do something to make these essentially three dimensional. - So to do that, - there's a nice little tick box here. - You can see the three D cube right next to each of these layers. - So we're gonna click that. - Look that now. - You just saw this nice little, - um, - you know, - transform position. - Property kind of pop up has its own little three D icon here. - So you have your why you have your ex And then this blue on here is labeled here, - Z. - So let's kind of take a look at what that's doing. - So if we pulled up our transform properties, - we can see that we just got added a nice little Z property here, - so under position, - it's no longer just X and why. - But now it's also Z back and forward. - And what we're gonna do is we're gonna take hello, - and we want that Z position to be in front a little bit. - And then we're gonna go to Adam Perlis, - and we're going to change or transform so that the Z position is actually behind a little - bit. - Now you're probably asking. - Okay, - well, - how does this involve a camera? - So let's get into that. - So we have a camera here, - and there's also all sorts of properties here that we can go through, - including a number of different camera options, - that we can talk a little bit, - flit about a little bit about later. - Um, - but let's get into this camera so you can control the camera here. - You could move the X position or the why for the easy. - Um, - but there's also a nice, - handy dandy tool here called the camera tool and there's, - ah, - a few different options for the camera tool. - And there's one called orbit, - which is kind of orbiting around. - And then if you hit, - see the letter C on the keyboard, - it'll change. - And this is kind of go side to side. - Really, - I'm moved. - And then this one, - if you'd see again If you click and hold the mouse and you zoom forward, - zoom back. - Um, - so nice little tool. - Um, - one thing about the camera and I'm not really quite sure why does it doesn't do this in - every version of after effects, - but it certainly does it in mind. - I can't ever seem to figure out why, - but it does something kind of automatically when you add it to the stage. - And basically what it does is it tries to orient towards whatever object you put on there, - but we don't want it to do that. - We wanted to act independently of the objects. - So what you need to do to fix it right is essentially need to, - right. - Click this and you need to go up to transform, - and you need to go down auto orients. - I need to make sure that orient towards point of interest is not ticked off. - You want it to be auto on orientation should be off. - So before when we tried to move the X Y, - it was kind of going in all sorts of different directions. - It was actually trying toe, - you know, - really navigate around this these particular images. - But now we're treating the camera like we are holding it. - So if we were holding the camera right and we were to move this camera to the left, - then everything in theory should move to the right. - So imagine as I drag X over to the left, - you can imagine things if you were to view it through a camera, - that they would move slightly to the right and then same thing in the other direction. - We're also seeing a really nice effect here, - right? - So you see that Hello, - which in Z Z spaces technically closer to us Rent and Adam prose is further away tends to - move a little bit faster because it's closer to the camera. - So we're seeing a really nice looking parallax effect here, - and we can even further that with a number of different things. - But we'll talk about depth of field in a section. - But you can see that as you move up and write or forward and back that the images that are - closer to you will get larger, - faster and images images that are further away. - We'll get larger, - a little bit slower, - so the same thing as we go up and down. - So this is a really nice fact that is used a lot and after effects. - Great. - So now let's just talk about a few of the camera properties that we can mess around with so - really nice feet trigger depth of field. - So you always wonder how they create those beautiful looking shots. - In Filmore, - the person's face is crystal clear in the background, - super blurry. - Well, - this is how they do it, - and it works the same way as it does in real life in after effects. - So I turned up the field on, - and we're going to change our aperture to be cranked up, - and we're gonna change our focus distance and let's see what happens when we bring it way - down. - Ah, - now we're starting to get somewhere, - so let's see if we can get how low in very clear focus and Adam Perlis a little bit blurry - s. - Oh, - there we go. - We've got something kind of cool there. - You know, - um, - I think that if let's see what happens if we eso If we bring the aperture back down, - it's gonna be all super and focus. - We crank it up. - That's kind of what we want to be. - Um, - And here Hello? - It's pretty crystal clear. - And Adam Perlis is pretty blurry in the background. - So just one, - you know, - really cool trick here that, - um, - you know, - you can mess around with. - There is a way to kind of shift that focus distance where Adam Perlis will be super clear - and hello will be, - you know, - a little bit blurry. - But, - um, - no time today to mess around with that. - You can kind of that's around without a little bit more and and, - uh, - and figure it out for yourself. - But those were kind of the tools that are available to you. - Great. - So we've talked about cameras. - Um, - let's talk a little bit about parenting objects. - So you see right now that these objects kind of move independently as I change Hello. - Hello Moves. - But nothing happens to you, - Adam Perlis. - Now, - what if I wanted them to kind of move together? - Um, - what I could do is I could parent once the other so that any time Adam Perlis moves hello. - Moves or vice versa. - So let's parent, - Adam, - Perlis two. - Hello. - How I do that as I take this pic with whipped tool and just grab Hello. - And now you can see that Hello is under the parents, - right of Adam Prose. - So if I move hello to the left, - Adam Provos moves with it now, - it won't become apparent to you in these particular tutorials. - Why, - that's so important. - But you will use this feature a lot in after effects as you grow. - It's not something that I use super often, - but does come in very handy when I need to do some complicated things so we won't get into - it too much. - But now you understand how it works. - So we're gonna unfair int that when you go back to our syllabus. - So we've kind of covered what compositions are and then what a pre composition is and how - it could be utilized. - I showed you guys hear how we created a pre composition, - which is essentially group to a bunch of layers into one composition. - Hello and Adam Perlis. - So we don't really need to cover that. - Um, - but let's jump right into rendering. - So that will be the final part of part one of this class. - So, - um, - now that we've got this animation and let's, - you know, - um, - let's make this a little fancier. - Um, - I'm going, - Teoh just have this kind of slide in. - And, - uh, - let's have that slide in right there. - And, - uh, - let's also have our Adam Perlis slide in a swell. - We're gonna have offset that slightly. - And, - um, - Prosser gone. - Teoh have these easy in a bunch. - So remember, - I showed you how we highlight the key frame. - Right? - Quick it go to keep from assistant. - Easy's in. - But I'm gonna do one more thing. - A nice little trick. - If you click on this key frame and you click this graph editor, - it brings up this time graph, - which is very confusing. - It took me a long time figure out kind of how it works. - But essentially what it's saying is, - from from 0.0 or really time zero, - we want you to go really, - really fast. - And then when you get down to, - you know, - probably about seven, - um, - 10th of a second once you get a really slow so to make it go even slower as it approaches - that we're gonna click and drag this little guy and I can zoom in here, - Um, - so you can see a little bit better what I'm talking about. - So it goes really fast and then starts to slow down on this curve. - So I just click this little handle here, - hold shift and kind of drag it to the max that it can go and what that does. - Now you'll see. - I just rendering it real quick is that it's gonna really come into a nice easing pace when - it reaches its final destination. - So what's what's actually it ran preview? - That'll be easier. - And I'm gonna extend that out a little bit. - Comes in a little bit slower. - Let's go back in here. - And, - um, - what's the Addis looks? - So now it's coming in really nicely. - I'm going to do the same exact thing for the other key frame. - So here we go. - We go back into the graph editor, - we click this little handily Hold ship. - We drag toe all the way to the left. - It creates this really nice smooth bees in a move that over just ever so slightly. - And then now that those animations air coming and really smoothly, - there's one other thing I want to dive into. - Um, - hello. - And I think if I hold option and double click it yeah, - in CS foreign C is fine. - I think you can just double click it. - But in CS three, - you have the whole option ended up and double click it to get back into this composition. - And then right now we have some key frames on Hello that I just want toe kind of get rid of - to keep it at 100%. - And we're gonna do the same thing in Adam Perlis another some key frames on there. - And if you hit you, - it'll pull up. - Any key for him that is in that is depended that layer. - So just that's a great shortcut that I use pretty much all the time. - So you just hit you will show you any key frame that's there. - Um, - let's go back to Camp one. - Let's see what we got now and just ran preview should have these things nicely, - easing in without with name and hello. - And, - uh, - coming to a nice Ah, - slow stop. - Perfect. - So let's check it out. - Nice looking. - Really good. - Great. - So now let's go into the render queue. - So we've got our animation would need to render this out. - There's a few ways of doing this. - Um, - one way that I like to do just go to composition, - composition, - make movie or hitting apple em. - And what that does is it drops it into the render queue and so you can see it here. - Here's camp one. - It kind of has some preset settings here. - We're going to click on Camp One, - and, - um, - you can pretty much choose any folder you want it to go into. - Um, - I'm just gonna go into documents. - My injured aftereffects folder. - I have a folder called Cuts that I created and we're gonna do top one test. - You can call it whatever you want. - It's save. - Then in the output module, - it says lossless losses essentially is essentially the highest possible quality. - There's no comm pressure compression on the movie that's gonna be created. - I would recommend this in the in pretty much every case, - except in the case that you want to either render out an image sequence or render out - something with a Alfa Channel. - And so, - if you do want something within Al Pacino like I had mentioned before, - which can overlay on top of other video, - um, - you would just click on this. - It would bring down this drop down, - and there's something called Lossless with Alfa, - and you would just click that now you can also dive into this. - So if you quick on losses without foot brings up these options here, - um, - there's only some cases you'll need this. - If you have audio in your composition, - you may want to tick audio output, - but most of my audio is done in something like Final Cut. - Um, - there's other things like custom. - If you cook custom, - you could switch this to a PNG sequence. - Thes could be handy, - uh, - in a number of different formats for various reasons. - But you just you can see that you have all these options here. - I would not do any compression within after effects. - I would wait and do it in quick time. - Instead So we're gonna changes back to lossless. - That's what he wanted to be. - Best settings. - Pretty much. - I never changed this. - Um, - there's really no need to go in here, - Um, - at all. - I would just leave that alone And, - you know, - in terms of you know what you're exporting. - Let's go back to the calm. - Right? - And I'm just hitting minus to zoom out Once I've clicked in here and I just hit minus or - plus, - I consume ins, - you know, - um right here says my work area has ended. - Right. - Um, - this tool here is the work area, - and that's what is going to render out. - So if I only said it to about here, - it's only going to render out three seconds, - but I think some extended all the way to 10. - It's gonna render out 10 seconds, - So always make sure that you know where you want to be. - You can just click and move that. - Okay, - so I'm gonna make it a 10. - We've already got our stuff set up in the render queue, - and now we're just going to get render This should be a pretty quick one, - because we're really not doing too much here. - We don't have a lot of a fax on. - It's pretty much all the native stuff that's within after effects. - Um, - I may have left depth of field on, - which could cause it to take a long time to render. - And to be honest, - not sure why 3. Lecture 2: - Hey, - guys, - has it going. - It's Adam. - And, - uh, - today we're gonna be talking a little bit about part two of my two part series for my class - making Don Draper proud. - And, - uh, - we're going to just start talking a little bit about, - uh, - the amazing introduction that was done for the show. - Mad men. - You guys haven't checked it out? - Um, - you can see it on the class info tab. - And there's a nice little video here, - basically, - just the introduction, - some amazing stuff in there. - What's really impressive about this? - Um, - this title sequence is that this was made probably about 90% in after effects. - Paul, - About 10% was done in three D. - You know, - don falling that his characters silhouetted characters is made in three D. - But everything else was actually created after effects. - And we're gonna learn a little bit about how we can do that. - Uh, - you know, - in emulated today. - So there's also a great article on the website. - Art of the title sequence takes you through Exactly how they made this thing. - Very cool meant I think mentoring forces worked on this, - um, - really beautifully, - elegantly done. - So let's get right into it. - I'm gonna pull up after effects. - So I'm here in after effects. - I've organized this a little bit. - Um, - gonna actually change this. - Uh, - so we conceits. - Um, - uh, - color differentiation here can tell things apart. - Be a little bit more organized. - I have the final version that I created in here. - I have part one, - some of the compass in here that we worked on in the previous section. - And then part two right now is empty nothings in there. - So let's start by setting up our project like I set up every single project. - Just going to click on that, - we're going to click on this little hole there, - icon and create some bins. - First one's going to call the assets. - 2nd 1 we're going to call this audio. - Um, - 3rd 1 we're gonna call, - um, - let's call these cops. - And then 14 were to call final, - and you see that they kind of pop them here. - That's because I didn't have the selected. - It's going to take them shift, - click, - and we're going to you dragged them into this section. - All right, - so here we are. - We're gonna add some of our assets that I pre created for this class. - Um, - so these are some of the things that you could have downloaded. - Um, - right here from my class info page on skill share. - Just madman in true project files. - You should have had those from before. - Um, - and we're gonna pull him up. - What's going to footage? - Assets. - All right, - we got don falling co call ad and down on the couch. - Just click and drag us into after effects. - Gonna ask me if I want this AI file to come in his composition? - I'm gonna say OK, - and we're also gonna drive in the music audio here. - Mad Men, - MP three. - That's the song from the introduction. - Put that into audio and you can see that they are now inside here. - Great. - So let's start by creating composition. - I'm gonna hit command, - and and we're gonna call this Don Couch, - and we want this 1920 by 10. - 80. - We want this 10 80 p essentially the highest resolution possible. - We're gonna want this square pixels because we're gonna put this on the web, - and we're gonna keep this at 30 frames per second. - Uh, - let's just keep it at 10 seconds. - long for now, - and we're gonna hit. - Okay, - great. - So let's start by creating our background. - So what we're gonna do is we're gonna go layer, - we're gonna hit new, - and we're going to go down to solid or shaped player. - No. - Sorry. - Solid. - Uh, - we can also command why. - So that pulls up our salad. - We're gonna call this BG gonna make it 1920 by 10. - 80. - You can also hit make comp size will automatically make it the size of our composition And - really doesn't matter what color you make this, - but I'm just gonna make it white for now. - Um, - And to make our background, - we're gonna use something off ramp. - So we go into our fax panel here on the right side, - and, - um, - we're just typing ramp, - gonna click and drag it onto our layer. - We can also controversially, - just click drag it onto our layer down here, - and right now it's a Muneer rap, - and we want this to kind of have those really nice burnt edges. - Um, - you know, - just like in in the actual video. - I'm just gonna cook on this for a second. - Kind of pull that up. - So you can take a look and compare contrast. - Looks like my Internets actually down right now, - so we can't do that. - But, - um, - why don't we just build it ourselves and we can kind of eyeball it. - So first thing we're gonna do is click on ramp shape and changes from Lanier to radio. - Then what we're gonna dio is we're gonna take this little circle here, - zoom in a little bit, - Uh, - a little too much. - Well, - hard to see, - but there's a little surfing there. - You can just click that and drag that down. - You see, - that moves the position of where the radio, - Um, - radiant starts. - We're gonna move that right in the middle. - And then there's another small one right here. - We're gonna click that and drag that down. - You see, - that pulls it out. - But this kind of doing the opposite effect will want we want to invert these. - So what we're gonna do is we're gonna change color this one. - We're gonna make it kind of Ah, - sort of a light gray. - We went into the color of the end color. - We're going to sort of make this a darker gray. - Yeah, - about their looks good. - And, - um great. - So we've got our background set up, - and now let's pull in our image of dawn. - So we've got don falling and down on the couch. - So I'm going to go into my assets folder, - And, - um, - before I do anything, - I got down catch composition here. - I'm gonna move this into final. - Great. - So sorry. - I've got down Koch here in the Assets folder. - I'm gonna click and drag this remember layer. - Order matters, - right? - If we put this below background, - we're not going to see it. - But if we put it above background, - right should be appearing on the stage. - So don, - you know, - these were some assets. - I've created an illustrator. - I kind of cut the mountain. - And in my recommendation is that you do get really good illustrator and Photoshopped - because that will propel you to the next level in after effects. - But for now, - you know, - it's not an illustrator photo shop class. - So I won't speak about how I created this image. - But let's just say for the sake of argument that I have it and it's ready to go and, - um, - we're going to do is pull down the transform properties, - and we're going to increase its scale slightly because we want this couch to be kind of a - little bit out of the way. - Sort of positioned just like that, - Just like it does in the, - you know, - the final end page when we see the actual madman introduction, - you know, - kind of resolves to this, - um and right, - So we've got don in position, - and now what we're gonna do is introduce our type. - So if we go over here to our type tool and we just click onto the composition weaken, - start typing anything we want, - I'm gonna type in mad, - and then I'm gonna copy and paste this, - then look again in the type of men. - It's kind of road over it. - If I hold shift in, - press the right, - kind of just move it over. - So that's kind of nice to compose. - Now, - let's let's change the font. - It is. - If I actually click and and look, - shift and put both of these John highlight folks, - we're gonna change the phone. - So we go over here to our character, - Tad, - and right now it's you say of Sands. - We're gonna want changes to Helvetica I'm just typing in. - How about a cup? - But you can also just drop this down and search all the way through here for it. - I'm a little easier for me to just type knowing what it iss um and all right, - so we're gonna choose Helvetica. - Fans were going to make this bold. - And actually, - I think this probably more like how better? - Canoe. - So try that. - And I see that right now. - For some reason, - by default, - this faux italic would select it's own uncheck that you know, - this madman thing is not right like that. - Um, - but still, - that that funds a little too chunky. - Let's try it. - Regular. - Ah, - that may not be about medium. - Yeah, - that's well closer now, - they don't use exactly Helvetica that it's something close to it. - And we're going thio, - going to space this out a little bit more, - and we're gonna change the colors. - So let's change this mad 23 double click on Caulfield. - Call here the black and, - uh, - men to rent. - I'm pretty sure that sounds stuff something. - It's kind of a deeper red. - We're around there. - That's pretty close, - huh? - You know what? - Let's take a look at my final final project. - See what I did there in her cops? - It's called on Page. - Uh, - see it found I used Ah, - how America New condensed That's what it is. - So let's go back Gonna close and page bring up gone cash with a click on both of these - Select them both Helvetica knew we saw Now that it's ah, - it's re selected It was condensed bold, - I believe. - And, - uh, - it's kind of slide that over so more like it on Let's every position those I think it's - probably about there. - All right, - great. - So we've got our taxes that are dawn set up on the couch there. - Let's do something new. - We're gonna introduce a camera into the scene. - So if we go toe layer when we get a new and we cook on camera, - you know, - like we said in the previous section, - the cameras are treated just like they are in real life. - So we're gonna use a 20 millimeter camera in this case, - Um, - that's what I wanted to use, - you know, - for this example, - you can change a dead anything you want really better affected in slightly different ways. - Now it prompted me and said things they're not to d are things. - We're all two d. - They're not three days. - So we're gonna need to check a few buttons here, - and we're not gonna want to check, - uh, - mad men, - um, - as three. - D because we want this kind of stay in place, - But we do want don to be affected. - So we're going to quit the three layer and Don, - And now we bring up our camera tools, - right? - With reckless press. - See, - to change through them, - we're gonna want to kind of zoom. - So if we click and drag forward, - kind of zooms out, - don in, - right? - And if we click and drag back, - um, - zooms down out, - so but we're gonna want to kind of end up in this final place. - So what we're gonna do is we're gonna twirl down the camera properties were 12 down - transform. - We're gonna We're gonna key frame. - Um, - our position. - Um and that's probably it. - We were just gonna kind of drag that over. - And because we're gonna want this to go from point A to point B. - And this is gonna be point B. - So let's take our camera position and we're gonna change it. - We can hit C, - and you cycle through these and use these if we want. - Or we can, - you know, - manipulate him here. - Uh, - but I'm already seeing a problem that we talked about in our previous section. - You know, - as I tried to, - you know, - kind of move things, - using the properties here. - I find that non is rotating, - and and that's not what I want. - Um, - So what we have to do is you have to go on camera with the right click it. - We have to go to transform Auto Orient. - And I see that warrant towards point of interest is on. - I don't want that on. - I'm gonna turn it off. - So we hit. - Okay, - for now are tools should be working properly if we move to the right or to the left. - There. - Not kind of twirling down around. - Um, - so great. - We're gonna set our first key frame by, - um, - moving his e position really far forward. - Now. - We want to kind of zoom out from dons shoulder, - so we're gonna zoom in pretty far, - and then we're gonna take our why Position. - We're gonna move it down. - I want this to be all black when we end up, - you know, - seeing our first frame. - You know, - I'll explain why in a second, - so for now, - I'm actually going to go down and we're gonna turn these layers off when there's gonna hide - them so we can't see them, - But we're gonna turn them on in a second. - Uh, - so we're pretty close. - Let's zoom in us lightly. - More. - And now, - if we hit space bar, - you see, - we're zooming out from Don shoulder into this final, - you know, - beautiful composition. - So right now that's going a little bit fast. - Um, - I'm gonna want to slow that down a bit, - so I'm gonna drag this out. - Um, - so that's looking a little better. - More like the rial, - you know, - real show intro. - But it's still very fast, - so I'm gonna changes to maybe to, - like, - four. - And see how that looks already looking better instead of this press expressed are gonna do - a ram preview. - Um, - if we actually drag this down slightly, - we can see it's doing from the current time. - Check that off. - I want to just start from the beginning. - You can see that That's Ram for me. - And this is gonna show us real time What you actually look like? - Just give it a second to finish. - Right? - So we've got down there. - Uh, - it's going a little bit slow. - Computers kind of chug in today. - Um, - let's just try Clinton space more again. - We're gonna click ramp review one more time. - Yeah, - we're not seeing it real time, - but, - um, - there we go. - Now that's going. - It's going pretty slow. - But I think if we kind of move this over a little bit and then we're gonna be something - called key frame Easy. - Um, - So what we wanted to do is we wanted to start off kind of fast and then easy and at the end - , - go really slow toe comes to its final resting point. - And to do that, - we're going to click on our final key frame. - We're gonna write, - cook it. - We're gonna go down to key frame assistant, - and then we're gonna go to easy, - easy in, - and then, - you know, - we can see what that kind of looks like. - Hopefully, - you know, - that appears gonna hold faster now. - What we could do to actually speed this up is if we go on into our viewer here and there's - something here. - It says, - Bull, - Do you ever want to speed up your renders? - What? - Your You know, - your previews. - He no doubt to quarter speed and you'll see that the quality does not look is good. - But you contest motion a lot easier. - So that's looking pretty good. - I mean, - that's almost perfect. - I like for it to come in a little bit slower. - And how we can do that is if we clicked on our key framing here and we go here to our graph - editor, - we cook that we're gonna see a curve right now, - this is really just showing its speed. - First it's gonna go really fast, - and then it's gonna go really slow as it comes into the final point. - So there's a little poorly here, - and we're just gonna click and hope shift. - So say straight. - We're going to make a go really fast, - beginning that really slow. - We just drag it over a little bit. - Unq lick the graph editor. - Now let's check it out. - We're gonna ran preview. - That's coming nice and easy at the end. - Great. - So we're getting there looking very good. - Very close to what we want to remember. - Don is going to be falling into the camera and then we're gonna end up in this point. - So let's pull back up our mad men text. - So I just cook the the eye. - They're just turn those back on. - And what we want them to do is you want them to basically fade on. - We want them to move from a top position, - you know, - from basically the top to bottom and then bottom top. - So I'm gonna show you. - What I mean we're gonna do is we're gonna twirl down the properties of mad and we're gonna - 12 down Transform. - We're gonna click position. - And we're also going to click capacity step key frames for both of them. - And basically, - as we you know, - as Don kind of comes to his final resting place right here. - We want those to start coming on, - so I'm going Teoh, - take these. - Move them slightly over. - That's our final position. - We want to take about one second for them to come on, - and then we're going to go ahead and click these little buttons. - Add or remove key frame in a current time we took him again. - So you see that added two new key frames here, - there in the exact same position as they were just right here. - So But what we want is that we want mad to start from where basically this position down. - We want it to end up here. - So what I've done is I've moved a damn instead a key frame in that position. - And we also wanted to fade on. - So we want to go from zero 200. - So that's what this is at zero you could see right here. - And then as we move over time, - it starts to increase, - you know, - opacity until it's 100%. - So let's see. - Kind of how Mad books right now that's looking pretty good. - Um, - I'm gonna want to change the key frame so that it eases in as well. - So let's see how that starts to look. - Yeah, - that's already looking great. - Right? - So now we need to be the same thing to men. - So let's pull up, - man. - Really mad kind of opened so we can see exactly where the key frames were set because we - want them to do at the same time. - 12 down on Transformed Properties, - miss like position and opacity that we're gonna move it back school down a little bit so I - can see where these key frames were set. - Hold, - shift and click on this Timeline and dragon, - it will snap to this key frame, - and then we're gonna set two new key frames at that position. - We're gonna change men so that it starts a little bit higher. - I'm just holding, - shifting, - pressing up. - You can also, - um, - just click and drag this anywhere you want. - I like to use the keyboard to you, - you know, - move position. - Usually because it's just a little bit more accurate when you hit, - shifted those in increments and also in straight lines. - Um, - so we moved it up. - We see that it's gonna slide down just like the other one, - and then we're gonna change it. - So passages Europe. - So here we go and see that they're both flying in, - and the one last thing we need to do is just change the key frames. - Who's wrong? - But it if we just right click cookie frame assistant and go too easy is in, - we should now be able to see these coming pretty nicely. - I was going a little bit faster than I'd like. - I'm gonna actually, - um let's try to highlight all of these other key friends and drag him out a little bit - longer with a little bit longer to get there. - Oh, - that's maybe too long. - Let's click. - I like these. - Come over 23 And you know what? - I'm gonna take all of them and highlight That would move them back slightly because I want - John to continue toe move in. - Let's move all of it back. - Just ever so slightly. - Right. - So we're pretty close there. - Um, - To be honest, - mad is a little bit far away. - I'm going, - Teoh, - Just click on the mad layer and I'm going to you move this up slightly. - Let's just see how that starts to look. - That's already looking better. - Great. - All right, - so this is pretty much our final, - you know, - n page. - Um you know, - as you guys saw in the introduction Now, - what we need to do is create, - um, - you know, - don kind of falling off the building. - So, - um well, - you pull up. - Uh, - what I did for the final version. - So you guys can see kind of what I'm talking about. - So if I go undercuts, - um, - I meant final composition and pull us up. - This is basically what I've created and what we're creating today. - So if we have play, - so we're pretty close to that right now. - What we need to do now is create dawn kind of falling off these buildings into the camera - and then, - you know, - just perfectly coming out of his black shoulder into this nicely composed in frame. - Just noticing a few things here, - you know, - have positioned on kind of a little bit. - Or they're down in mine also. - Nice little trick. - I'm gonna show you guys. - So let's twirl these backup and 22 little tricks we're gonna shit click men and mad. - And then we're gonna press the u key. - Just you on the keyboard that shows us are key frames with without anything else, - twirl down and we're gonna highlight all of them. - This is the only way. - Once you've said a key frame, - you can't You can't just move things around, - watch what happens right now with my my play. - Head isn't like four seconds or any other second other than this second, - it's gonna move things in a really funny way. - So let's say that just like moving over there and now everything's gonna move perfectly - from here here, - but because I cent another key frame now, - those things are just kind of flying in a different direction. - We don't want that. - So I'm gonna undo all that stuff. - But what I do want to do is I kind of want to move this whole thing down a little bit. - So what you do is you have the click and highlight all of these. - Move your play head to the exact final position. - You can either do it at the beginning or the end. - It doesn't matter. - But what I would do is keep it at the end. - And we're gonna shift everything down a little bit because I think the final composition is - more more like that. - Great. - So looking pretty good. - Um all right, - so now that we've kind of finished our end page composition, - you know, - don on the couch, - let's Ah, - let's start creating the other part. - So I'm gonna start a new composition, - gonna hit apple, - and and we're gonna call this Don falling. - And, - uh, - everything looks good here in 1920 by 10 80 30 frames per 2nd 10 seconds long. - Going it. - Okay? - It's our new composition. - Um, - now we're gonna pull our background from our previous one. - Wanted to be exactly the same. - So we're just gonna copy that? - We'll see apple v paste it in there, - and Ah, - there we go. - And, - um, - now, - what we want to do is we want to create a scene, - you know, - basically don kind of falling in the middle of this intersection of these buildings with - these billboards on them. - Um, - you know, - just like the original, - um, - video from the title sequence. - There was these ads on these buildings. - Down is kind of falling into them from the top, - as if he's just jumped. - And he's rotating slightly. - And then it was completely to black. - And then we end up, - you know, - pulling out of his, - um, - his shoulder there into this perfectly composed image. - So that's what we want to dio. - So let's start by setting up these buildings. - What we're gonna do is we're going to create a solid So, - um, - if we just hit Apple, - Why, - uh, - we'll try it again, - Apple. - Why? - And we're going to call this thing Building one, - and it can really be any color. - But let's just gonna make it kind of a darker or mid mid grey. - Um, - now, - that's kind of covered our entire comp, - but we want to make it more like a building. - So we're gonna mask this a rectangle tool. - And while the solid is selected and we we like rectangle to we're just gonna draw a - rectangle and it kind of looks like a skyscraper right now and then what we're gonna do is - we're going to you duplicate that and we're just gonna do copy paste and just paste right - in place. - And then we're gonna move it over so that the edge lines up perfectly with the other one. - Now, - I want to really make this look like a building. - So what we're gonna do is we're gonna change our anchor point so that we can rotate are our - side of the building along this. - So we're gonna take that we're gonna go to our pan behind tool. - I click Done that. - Then I congrats this little guy in the middle here and I can move it. - So I'm gonna move it right there to the edge. - And I got a twirl down the transformed properties and now we've got a problem here. - We want to make these buildings kind of three D. - So what we're gonna do You guys remember we're gonna take the three D marker right here, - right here. - The dick. - Both of these are going to take this room where it's world troll it down, - and I'm gonna actually label it right now building side and we call the other one building - front, - and I'm gonna twirl down side and I'm gonna move. - I believe it's my exposition. - No, - that's not the right one. - I think maybe it's not Z. - So we're gonna try, - if you hear why. - So now we're gonna really nice looking on a swinging door effect. - But what we want to do is really bring it to 90 degrees negative 90 degrees. - And, - you know, - right now it looks just like a square, - and we know that there's a side there, - but it's a little hard to see the depth. - So what we're gonna do is introduce two things into the scene. - We're gonna introduce camera and a light. - So we got a layer new camera. - So where we have our camera, - all that looks good. - And the other thing we do is run a layer new light and a light just like a camera. - And after effects is treated like it does in the real world. - If we move it around, - we're going to see that, - Um, - you know, - there's different positioning thing, - things here where you're basically seeing the light act in different ways. - I mean, - if we move it here, - you're seeing the light hit this building in different kinds of ways. - We're gonna move it up as if it's almost like a son on top of this scene. - We're gonna put it here. - Now you'll see what I mean in terms of shading in a second. - Let's let's try moving our camera around. - Remember, - if we press see, - it'll bring up our camera options. - This is to move things left and right. - Um, - if we could see again, - we could move it up and down. - And then if we hit, - sit, - see one more time. - This tool allows us to orbit so you can see the depth of this side of a building right here - . - When we do that, - after effects can really accomplish some cool things using some three dimensions. - But for our purposes, - we're going to leave it in the middle. - Um, - for now and then what we want to do is we're gonna want to set up our scene so that we've - got a few buildings we want probably three. - So I'm gonna just select these. - I'm gonna move them over to the left a little bit. - And then I got a copy and paste them and just rename it building, - too. - I just go in here. - I clicked the layer of press enter. - That's to bring up the text tool they're building to. - Then we're gonna take building to select both of them, - move our exposition over. - Probably about same equal distant. - But we want our side to be on the other side, - so I'm gonna just take that and move it over. - Great looking. - Pretty good we got are two buildings set up, - but now let's do 1/3 were just copy and paste. - This can change the name Building three, - building three. - And we're gonna add one more side to building three. - Uh, - gonna bring that over dragged that too, - about the edge. - And here we go. - We're just gonna highlight all those like them, - move them into the middle, - using shift and, - you know, - um left arrow. - And then what we're gonna do is we're gonna twirl all them down and we're going to go to - transform and with them all selected. - If you do this and you change the Z position, - right, - we could move back and forth. - We want this to be just slightly back, - right? - And now we're starting to see kind of like a little cityscape going on. - Um, - So what's next? - We want to get some perspective here because we're gonna have gone kind of falling from the - top of this building top of these buildings and that he's gonna fall down into the camera. - So let's set up Ah, - floor so we can get some perspective here, - So I'm gonna create a solid It's gonna make it red. - You can call it floor. - Not really. - Whatever you want, - but our purses floor. - We're going to make it three d, - and then we're gonna add something called the grid to it. - So I actually typed in great here already, - but I'll type it in again, - into my effects. - Here it is, - Grid gonna drag it on here. - And now it's created this nice looking grid, - and we're gonna use this to kind of give us perspective on the floor. - So we go to our floor and we toilet down. - We got under transform properties, - we change our ex rotation. - You can see that it's starting to look kind of like the floor. - So if we said it to exactly negative 90 degrees, - and then we had B and then we we move this down act kind of like floor would right, - And we get into the right position of, - you know, - perfectly being on that floor. - And now we bring up our camera tool again. - Just pressed. - Sorry, - just press. - See, - um, - you can orbit around this, - and it's really looking like a really three d kind of scene. - Um, - so I'm just going to take my camera, - just move it a little bit down to get a little better perspective, - and, - um, - I'm gonna also change the order of layers of my floor. - I want this to kind of This is just a guy. - Blair. - I'm just gonna drag that down to just above the background. - So we've got our buildings. - We've got our floor. - We've got our camera set up that we need the final piece. - We need Dawn. - So I've got Dawn, - um, - following here. - I believe it's under here. - I'm gonna move this Don Fong main composition into cops. - But then if I go into assets and I pull down this don falling image Bram into the scene now - , - he's kind of, - you know, - backwards Right now, - I just hit our pullup rotation. - I just rotate him and you know about their We want to move don into position, - you know, - in the background of this scene. - So in order to do that right now, - you know, - if we just move our camera don is not gonna move. - So we want to make Don three d as well. - So we're gonna take the three d mark on him. - And one of the things we also forgot to be was remember when we had a camera, - we always have to turn auto Orient off. - So that's right. - Click on it to transform, - but auto orient and go from Orient towards point of interest to off. - Right. - So that should help us a little bit. - Now, - let's position don in this in this scene a little bit better right now. - He's, - like, - way in front. - I mean, - if we took a look with our camera, - we can kind of, - ah, - position this a little bit differently. - We can see that, - Don is, - like, - right in front of those buildings and huge like, - for proportionately. - We're gonna really need to change him. - Um, - I'm just gonna hit, - undo, - undoing do. - Let's change the size of dawn. - My hitting s pulling up scale. - You can also just go down to transform and change scale you So we're gonna make don a lot - smaller, - right? - And, - um, - now we're going Teoh, - uh, - try to position John perfectly. - Or so we know that he's kind of like in line with the front of the buildings right now. - What I'm gonna do is I'm gonna drop Don back until he disappears with that last building. - That means we know that he's like writing from the last feeling we're kind of gonna eyeball - it and split the difference. - And then I'm gonna take Don and we're gonna change is why position we're gonna bring him up - a little bit because he's falling from the top of these buildings, - and then we want to really rotate down. - So he's facing perfectly down to the ground. - So let's take John's ex rotation, - and we're going to make that, - um perfect 90 degrees. - Great. - So we got dawn in the middle there. - We've got our buildings. - We got our floor. - Now, - let's ah, - try moving our camera. - We want really don in the camera to be perfectly aligned. - So what we could do is actually take a look at dawn's position. - Um, - it looks like he's at 9 60 x 2 93 wind to 24 z. - And, - um, - we don't really want the y position. - Um, - we do want the X, - and we do want disease. - So let's just remember those numbers 9 16 to 24 really? - For X and Z. - So if you go to our camera and we change this to 9 60 and we go to our Z, - and, - uh, - I think it was 2 44 now we're really zoomed into the, - um, - the building in the back. - Um, - so I'm gonna actually zoom out a little bit. - You can see Get a little perspective here were really zoomed in. - Um, - we may have lost you there, - so I'm gonna back out a little bit. - We're just gonna do this by hand instead of doing kind of the trick. - I was trying to show you their, - um Well, - I was trying to say is that we can use dons position to gonna measure where our cameras - gonna be. - But instead, - let's just eyeball this if we take our zoom tool and we just didn't see until we get to it - . - This is the one we're looking at. - They're going to click and just push forward. - We're gonna moving ourselves in this scene. - Then we're gonna kind of move ourselves down using the move tool, - and we're gonna push forward a little bit more until we're about even running the center of - all these buildings. - And now what we want to do is we want to look up at dawn. - So if we change, - I believe our ex rotation here. - We're gonna start looking up towards the buildings until we see the sky we see Don right - there in the middle of it. - Um, - that looks to me like, - um camera is a little bit off. - I'm gonna make it perfectly nine degrees looking up. - But I'm going to want Teoh. - Um all right, - so let's get this camera position properly. - So we're going to let's change our camera position a little bit. - So we're kind of perfectly in this. - Seen Looks like this building is a little too close to us, - so I think that that is building three. - So let's, - um, - not Looks like our source. - Name change. - If you just click, - this will change from source Name, - Layer name Morris. - Your layer name. - We're just click on Highlight all of building three. - Couldn't be got our point, - Our tool back where you can just click it here. - We just drag this rz position back a tiny bit. - That's what we're more like it. - So everything is looking pretty good here, - you know