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
Adam Perlis, Creative Director
