Master working with Textures in After Effects | Motion Design A. | Skillshare

Master working with Textures in After Effects

Motion Design A.

Master working with Textures in After Effects

Motion Design A.

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13 Lessons (1h 38m)
    • 1. 00 intro

      0:29
    • 2. 01 what is a good texture 2

      8:13
    • 3. 02 AE tools textures overview

      7:42
    • 4. 03 AE tools track mattes

      6:13
    • 5. 04 AE tools transfer modes

      9:55
    • 6. 05 AE tools parenting

      2:10
    • 7. 06 AE class example 01 concept

      2:30
    • 8. 07 AE example 02 creating the base

      9:52
    • 9. 08 AE class example 03 working in the type

      10:43
    • 10. 09 AE class example 04 animation

      7:49
    • 11. 10 AE class example 04 animation

      17:53
    • 12. 11 AE class example 04 animation

      12:27
    • 13. 12 conclusion

      1:56
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About This Class

Textures are my favorite to work with in After Effects.  In this course I'll be teaching you what good textures are, how to find them and make them and how to use them in After Effects.  I'll be teaching you my tricks and secrets in how I design and animate with textures.  I'll be walking you through an example project which I will also be providing my project files for you to learn as you go.

I want you to succeed. If you have any questions reach out to me in the Q&A section of the course. I’d be happy to answer any questions you may have. 

Let me help you master working with textures in after effects by clicking the red button on the left to enroll now. 

Meet Your Teacher

Motion Design Academy (MDA) aims to deliver high quality courses in the Adobe Creative Suite software.

We also offer courses detailing the production techniques necessary to begin and grow into an experienced top notch designer and animator.

“When you learn, teach. When you get, give.” - Maya Angelou

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Transcripts

1. 00 intro: welcome to motion school. I'm of only and I'll be your instructor. I have over 10 years of experience working with major clients, and in this course I'll teach you how to work with textures. And after we'll go through the tools and concepts and then I'll be showing you how to make something like this. I'll be walking through how to make this. I'll also be talking about the principles, emotions, tips and tricks and things that might just come up while working. 2. 01 what is a good texture 2: Okay, so we're gonna start off this classroom like the beginning, right? So in the beginning is what is a toucher. And basically a texture is just the surface, right? So it could be the service of a task. Every surface of a wall. It could be, you know, anything really, that just has any type of surface. So what constitutes a good tuck? Scher. If I Google image textures, this is what shows up. And all these textures, in my opinion, are good textures. You can use any of these, um, and aftereffects, and they'll work pretty well. But basically, you know, for for me, like textures are surfaces of walls. Would metal windows really? It's anything, right? It's not. When you're thinking about a texture, you're not thinking about the scenery or taking a good composition. It's not a photograph. It's just one element that you'll use graphically. You know, whether it's an a mat for ah text or for a shaper as a background. So you're not really looking at something as a composition. You're looking at it as an element. So this is why all of the users are so good because they're not. You look at this and you see concrete. You don't see the wall. You look at this, you see, Would you don't see the deck? You know, you look at this. You see you the pieces, the fabric of the grass with, you know, the blades of, But you don't actually identify as long, Right? And so these are all the things that really make even those you know, that this is some sort of fair. But you don't think like, Oh, that's like a dog or a wolf or something, right? You just look at it and you just know it as its texture. And that's what makes a really good texture. You need to keep in mind that it's not the final image. It's just an asset. It's just a building block. So how do you find these textures, right? Well, I'm on the web right now, and I found several really create textures that could be used. Um, do you want to be aware of copyright issues on DSO? You'll definitely need to alter them. And by using them as a graphical element, you're automatically altering them, so you should be good. Um, the next way you can find them in stock photos. But that's if you're willing to pay for these stock photos. And in my opinion, the best way to make textures is just to make them right. So you can just take your iPhone or your camera and go outside and just take photos. Take photos of something like this. Go up to a wall and take a photo of the texture of the wall. Or take a photo of the texture of like the ground, the texture of just everything that you see. And you know, the higher the reds, the better It is right, because you obviously it's better to scale in than to scale out and have it be really pecs pixelated. So I highly recommend just taking your camera and just walking around your city and just taking photos of textures that really just interest you. And that's really the best way to like Bill, your texture library. Another way is you can just go into Photoshopped. Photo shop has all these brushes you can paint out. You know you're textures, and a good example of that would be something like this, although that looks more like a tile. But you can really go in and paint all these different textures and create them in photo shop. It's one of the great things about Photoshopped. Uhm, and another way you could do is you can use your scanner right. If you have a skater, you can paint a painting on on with watercolors and then scan the men out of really high rez and then and just keep doing that, even scan in different pieces of paper. If you like the texture of the and just scan Ammen. And that's one of my favorite things about Working with Structures is that it's so like, tactful and the thing about aftereffects and photo shop and all these computer programs it's so digital and being able to like, create your own textures and go around your city or your country and take all these different you know, photographs and be ableto have them is just such an art institute. Pure art form that kind of gets lost when you're in the world of digital after effects. So I feel like the combination of using textures and really sort of going in and going in deep in finding your textures is is kind of one of the best parts of working with textures . And then from this, you keep just building it. You know, you go and you find all these different types of textures and you go and you build your library out of it. And as a me like going through this search, I already see like a bunch of textures that I personally would definitely use in a project . Like I use something like this and this This, like a lot of these things, any of these things can really be used if you think about something like this. This is something you can build even in, like illustrator or Photoshop. Same with this. These look like things you can skin in so you can see how you can build these, um, even this, like it's all just you can just go and go ahead and build it by taking a photo. Are using your scanner and just really being like the true artists and going out and finding and discovering these textures? And that in itself is it's its own like art for because it's not. You're not thinking about the composition of the texture you're really thinking about. It has its own surface as its own flat surface. So those air so those were like the rules of kind of making the texture is just keeping it as flat as possible. And and there's certain websites that have that have textures, some of them selling some of them for free. And definitely the Web is a great resource for finding lots of textures as well. I mean, you could see how easy it is for me to find just several different textures. So, you know, I've been talking a lot. I've been showing you guys Google images like this is another thing you can build in, like illustrator photo shop, or even like cinema and like And you can even build them in after effects to and render them out at a high rez and then reuse them again. So those were like, you know, the basics of building a good toucher, and it's really sort of the core of this class is that the better textures you find the higher rez they are, the better off you'll be in your projects. So that's really like the start of it is, you know, and as faras like an assignment even before going into the next class. Like I highly recommend. I am including my own textures that I use for to build the example. But I do recommend that you take a day and just walk around the city and have fun and take photos or find pieces of paper and skin them in, crumple them up, skin them in like a highly recommend just building these textures and going through that process and also just surfing the Web and grabbing things that just looked really interesting. Like this. All these things could be uses top textures and the better type of textures you have, the better off will be, um, as a designer. Okay, so I've been talking a lot about like stills, but you can also do this with video. You can just go ahead and you know, if your if there's a pool, you can take a video of the reflections of a pool. If, um, if you see like gravel, you can take video textures of the gravel. You take video textures of your wall. You can move the camera up and down to create this sort of movement to your textures, which is definitely a great thing to do and video textures and and high res photo toucher. Zehr um, a great way to build your texture library. And that's really one of the things like I when when I'm working, I have a library that has just a whole bunch of textures in it that I've used from projects and that I've also just collected just from driving around and walking around Los Angeles and just taking photos of things. Okay, so that's pretty much like what a texture is, what a good texture is, how to find the texture, how to make them. And now we're gonna talk about how to actually use these textures inside of aftereffects. 3. 02 AE tools textures overview: Okay, so we're in after effects. I'm going to create a new composition. You can go to you compress here if you're an older version. Press composition, new composition. I'm gonna call it. Leave the size camp one, and I'm gonna make this 12 80 by 7 20 23.976 and duration, five seconds. Background color black. It's gonna be at square pixels press. OK, All right. So we have this. I have my Alfa Channel on, which is right here. It just means that it's a transparent composition and this is our black background. So if we render this out with an alpha channel, it will have this transparent background. We'll talk about that later. Um, but what I do want to talk about are the tools that are most used when using textures right on those tools are gonna be the transfer mode, track mats and parenting. Then we're gonna talk about each of these in depth of it. Okay, so, first off, I'm going to go ahead. I'm gonna import, um, all the footage that we're gonna be using for this class, and you can just drag the men or you can go to file and import and create a new full. They're called assets that I'm just gonna move all my textures and and footage in here. I'm gonna show you as each one of these, right? This this is a piece of paper that's been scanned in and has a transparent background. You can see what that is. This is footage. Ah, that a shot. And then it's just, um some basketball players. Same thing with these. These are all just different shots of them. So there's a but people footage 1234 of those are all different ones. This is the, um, Siris of Photoshopped Brushes. And I When I brought this in, I brought it in this footage. You want to make sure to bring this in as a composition, So I'm gonna bring this in a gun, Try it in. You can see right here. It's asking, what kind of import do you want? And you can choose between footage, composition and composition retain layer sizes. I'm actually gonna pick composition Retain later said, basically, if you bring something at a footage, it's going to condense it all, and it's just gonna flatten it like what we see here is just one flat image rate. We're bringing it as a composition. It's going to bring it in as how the Photoshopped file was set up and how I set it up in a photo shop is that I have all these different layers. And if you know Photoshop, which I hope most of you do know you can create different layers and and, um, so if I have one brush on one layer, I put another brush stroke on another layer. Um, that's how I had it set up in Photoshop and when I imported it into after effects, if you bring it in as a composition, it'll bring them in a separate layers. And then the thing about composition retained layer sizes is basically, this is like if you bring it as a composition, all of those are going to be set at the dimensions of the composition, and that means that all of them, like the anchor point, will be at the same point, and all the scale positions are gonna be at the same point of the document size. But if you bring it in as a composition, retain layer size. That means that it's gonna be scaled and and set to each individual point. And I once you unless I bring it in, You understand? So I have all these brushes and, um, and double click, and they're all black, so you can't really see because I have this background. Okay, so this is sort of all the brushes, right? Someone attuned. Take this off and we show each one This is the 1st 1 And now if I click on this, you can see that because I brought in as retain layer size. It's the controls are all set to this particular brush. If I brought it in just a za composition, these controls would be set to this whole document size. So that's just the difference between those two. And it's really, like, helpful to bring him in, especially when you're using textures, because each each of these textures air individual assets. I just I just built them in photo shop on different layers so I could bring them in separately. And these air, you know, just from photo shop, he was kind of have these paintbrushes that you can use, and you can see how each controls are different and this is just my background. Somebody delete that. Okay, so I'm gonna bring this into our assets along with the layers. And you can see that when I brought it in earlier as just a composition, it just brought a known as a PSD file. But you can see when you bring in as a composition, well, it makes a composition, and then it brings you all these PSD files and each one Is it separate layer? So I'm gonna go ahead and delete this because I don't really need that. Go ahead and continue with all the different textures we have. So these are grunge texture, and it's pretty much just like a scratchy surface. Um And then this is our paper or large paper toucher, and it's very large. You can see the dimensions of it are much larger than the actual composition, which is great. It's kind of and then this is, um, a video texture. So if I go ahead and in the transparency off here, you see, it's just ah, a bunch of paint strokes that kind of wipe on. And this you can, you know, this is one of the advantages of having video textures is just that. They move and on bacon. Really bring Cem taxable hand felt field to your digital work. Okay, so I'm gonna go ahead and close this out and closing and go back to our call. 4. 03 AE tools track mattes: Okay, so I'm gonna go ahead and I'm gonna bring in our B ball footage. One, what is it? So the next thing I'm gonna do is I'm gonna go ahead number to grab a brush, one of those brush layers, and you can see have later. 12345 This is the background. We don't really won't be working with the background, but we'll be working with these brushes, right? So if I bring this brush underneath the footage, you won't see it. But this is what it looked. If I bring it on top, this is what it looks like. It's really big. I'm gonna go ahead on this scale, this sound, and now you can see exactly what it looks like. So this is sort of how I want it to be set up, and then I'm just gonna move this underneath now. You can't see it because this is on top, right? And now we're gonna talk about track mats. So with a track meant, we've got two types of track mats, the alphabet and the Luna Matt. And then we've also got the Alfa inverted Matt and the looming inverted Matt. Well, the Alfa inverted is just the opposite, right? It's just the opposite of it. So whatever has shown will be the opposite and same with the Louima inverted. So we're gonna first talk about the alphabet and then we'll talk about the limit. Now I'm gonna solo this layer, and that means that Onley in this layer is visible and I'm going to turn back our transparency. So even though this composition has a black background, it has this checkered right, which means that it's really clear there's nothing behind. This is just defaulted the black and thes This photo, this brush is also just a clear Alphen. That right? There's nothing behind it. It's just this cut out. And that's why with this, we can create weaken, turn this back on. So with this, I'm gonna put this on top, and this is good, and you can see that you know that it's transparent because you can see the footage behind that. You can see this layer underneath it. So what I'm gonna do is I'm gonna go ahead and I'm gonna make this an AL from that. And you can see that what the often that did is that whatever this images will show the image underneath it. And if I go ahead and if I click Alfa inverted Matt, it's the exact opposite of that. Whatever this images, the opposite will be happening, right? And if I put take this transparency off, will you see a black background? And so you can kind of see that That's basically how the Alfa Networks and it only works with images that have enough on channel. So I'm gonna go ahead and I'm gonna delete this. The next thing I'm sure you guys is the other one, the Lewin, that I'm gonna show this with the video texture. Okay, so with this video texture, I put this on top. Okay, so one thing I realized I brought in the wrong painted texture. I brought in the one that has an Alpha channel, so I'm gonna go ahead and bring the one that has That's just black and white. Okay, so this is the limit channel, and you can see that it's just black and white, right? There's no Alfa Channel. What? I turn this on and off like that. There's no Alfa Channel. I'm gonna go ahead and delete this one is called Okay, so you can see the so you can see that, um that there's no Alfa Channel. We can't see the footage that turn on underneath it. Even when I talk about this thing on, we don't see the checkered right. So we know that this is just a white and black image. Now, if I go ahead and I put lemma what's seen as the white and was not seen as the black and you can even see that it made the black part completely transparent. All right? And so that's basically what aluminum that is. It's the white. Whatever is white will be, ah, 100% transparent and whatever is black. Whatever is white will be 100% seen, and whatever is black will be 100% transparent. And then, if you have something gray, it'll be, um, 50%. It'll be in between that grayscale range. And if you know Photoshopped, then you kind of understand the concept of this right, because you use use a lot of mats and in ah Photoshopped when you're painting when you're masking and your painting things out, you know that the black is not gonna be seen in the white will be seen. And if you don't know Photoshopped Now you know that this is sort of how it goes with a Lumet's and then the same thing with the little inverted Matt Just the opposite of it. Right? So those are the different mats that you can use, so you can. So basically the two different mats you can use is the Alfa Matt, which is basically the image and behind it is transparent. Or you can use a loon, Matt, which is basically a black and white image knowing that white will be what scene and black will be what's transparent. And then you can also invert both of those. So that's basically our overview of track mats. Okay, so we have our overview of track mats and and I'm gonna go ahead and make this just it limit 5. 04 AE tools transfer modes: and the next thing we're going to talk about is we're going to talk about transfer modes. So this is best illustrated with these paper textures, right? Someone to grab this texture down. I haven't put it behind it. And you can see that this is one layer. I'm gonna solo it and that you can see that our paper textures one layer and our footage is one layer. And what transfer modes do This is sort of where the transfer Moses. And if I press this, you see that there's a ton of different transfer bows. What transfer modes do is they basically blend the image together. So say I do something like a multiply. You can see that it bled. Now it doesn't feel like this is one image. This is one image. It feels like this image is a part of that piece of paper, right? And that's what basically would like is the heart of the time. Using textures is really getting a handle of these transfer modes because each one of these does something different, right? If I just do normal, it's just gonna look like that. If I do a dissolve, it'll kind of dissolve it in, and each one of these has just a lot of different parameters. And I highly recommend going through and experimenting and really like surprising yourself and seeing what you can create with these different mats with these different Trent transfer modes. Sorry, we're headed for this at half resolution and multiplies definitely one of the ones that I use the most you can. But if you look and you see the color, Bert Berns looks pretty good with this, and it's really just like, um, each each example, each party, each pet texture is different, so you don't know how they're really gonna register. You really want to just going and just see, like what looks great on what? And like certain things like odd and lighten their really great for like, um, really black images like screen if you have something that's pretty much black and I'll show you in in a second, but it works really great with with black images. If it's something that you're kind of putting onto, something white usually multiplies a good one, and you can see that these air, they just don't really register as well. But they work really well with something over black, and you can see how they're They're kinda line together because these were created over this sort of white background and these were great over, like a really dark background. But again, it really it could be different each time and overlay hard light. They're kind of like in between soft, light, hard light. You can kind of see how these air working Harlow Harlow is a pretty good one over, like images, Some of linear light live in light, and you can kind of see that they seem really similar. But, um, but they're really not like each one of these that can be so different. And even me just going through this is not only just to show you, but it's also for me to see how the texture is registered, how the footage is registering with the texture I normally go through, like all of this. Just so I know, like how this texture works, how the footage and the toucher work together. And for me, it's like, really fun to see like, oh, like what you can get with it. Given this stuff, even if it's you just don't know, really what is gonna look good. So I just like to go through all of them just to give myself an idea how it looks. And I don't want to, like, miss a good texture, because I didn't or a good transfer mode, because I didn't go through all these parameters like, it's really important, given luminosity is it's kind of pretty nice as well. And then these I really use them because they're more like just a stencil, the kind of and for this I kind of just I really kind of use these. You can kind of see what they're doing. Okay, so I'm gonna go back and I'm gonna multiply this and you can see how to multiply and color burn were the two that really stood out to me. But again, this is all according to your eye, what registers to you best. So the next time wouldn't do is I'm gonna go ahead and I'm gonna grab her grunge structure because that was a black texture. I'm actually gonna throw it right on top of this, and I'm gonna scale it up because it's a little small. And I mean, ideally, you don't want to scale up your tuck. Shire's maybe if I rotate it. But I think if you skillet within like one, 1 50 in between, that should be okay now with the with the grunge texture. See if I do like a multiply, you won't see anything right? But if I do like an ad, you'll see what it does. It kind of creates this additional layer right on a screen is really something that you might not be able to see it on this. But if I put this that like, uh, multiply, But through this off, you can see that what it's doing, its very subtly affecting it. But that subtle, that subtle effect in really add so much because right now this would just look like you know, of gray a grayscale image, but adding that one texture, it just adds his next dimension to it, you know, and then to make it seem even more apparent because, you know, if you're affecting textures, essentially what these are there just photographs or images, right? And so the best way to affect them is to use levels or curves, so with levels basically you're doing is you can push it up like this and it makes it. I think it makes it brighter. And if you go like this and you push this down, it makes it darker, right? So if I go back to screening it, you can see that you can barely see it. But if I make it a little bit, crush up the levels you can see now that really see this texture and how it's communicating with the footage and the texture behind it. And it's creating one complete image, right? So this is sort of one way Teoh. Adjust the photo and another way you can adjust. The photo is by using curbs. Spell it right and what you can do with the curves is, but I can show this on a normal mode, but with this, you can see if you push it up, it gets brighter. You could move this down. It gets darker, you could move, this opera gets lighter and you can create these curves to kind of adjust the photo as well . And if I go here and I put this to screen, you'll see that it's kind of out of that texture, and it's added this layer. This element that just works so well with the, you know, all the information that's brought together and that sort of the power of these different transfer modes. If I go ahead and if I again like with dark textures, if you multiply it, you know it will just be really dark, right? But one of the great things is it. If you use any of these parameters, like even a color dodge, it'll do something to it. It will really make it look like all these things could you can really, really experiment with it. Thank you. Screen it. You know, it adds this other dimension. And the more textures you add, the more depth you can give it right. And you can even add this same texture. If I duplicated by pressing Apple D and you can see that it's made it even more pregnant, right? But what if I change the to color dodge? It added that additional dimension. Or if I go ahead and I add, like making a softly, you can see that it's like the more textures you apply to it, the more sort of grand and great it's giving it. All right, so this is what it looked like without these two. Just by duplicating it and changing the transfer mood, you can already see how much it's alternate. And that's sort of the power of these transfer modes. And playing with the curves in the levels to kind of create this, you know, design this artistic piece and what's so fun about it is when it's your own textures, it almost feels like, you know, it's sort of like this collage feel these textures that you no, really well, because you went out and you shot them where you scan them and you painted him, so it kind of adds this sort of dimension to your work. 6. 05 AE tools parenting: okay. And the last thing we're gonna talk about is we're gonna talk about parenting, so I'm gonna delete these textures. Just bring it to our base texture. I'm gonna keep the multiply on. So basically, with with, um, with parenting if basically, if I just scale my footage you can see that you can see the footage because it's a rectangle, and then you can see that it actually fits outside of it once I scale it up. But what if I want to animate this and I want this to scale in or something? Well, the way you do that is you parented. And basically what parenting is is that it's this you pick this and you say I want this to be the parent of this. So the minute I picked that you can see like there's this layer one paint loom on, which is the name of this layer, right? And what that means is that this layer is a child of this layer. So this is the parent layer. What that means is that you can still scale this independently, But when you skill this Matt, it's us. These scale together, it means that this automatically follows any sort of scaling position rotation. It will be following the parent like the child who follows the parents. But if I don't have this parents it to none and I scaled us or I move it, you can see it moves independently. You can see that it scales independently. So it was good to know these two things because in certain cases you wanted to move independently and other cases. You wanted to be parented to that texture. And that's one thing that's really important to know as you're animating and even as you're building these things, Okay, so that kind of wraps up all the tools that we're gonna be using the main tools that we're gonna be using that I really want to talk about that. It's really important to kind of understand these before we go into our example Project 7. 06 AE class example 01 concept: Okay, so we're gonna start our class example. And now the first thing we're gonna do is we're gonna go ahead and we're gonna create in new. We're just gonna concept out what we want to make. And I'm in Photoshop. I always do it in on my sketchbook, but because we're class purposes, I'm just going to do it here in photo shop. So I made it 1920 by 10 80. And I'm just going to sketch out what we just the concept, right? So this is based on all those textures that we saw earlier, and it's about basketball, and it's all these textures, right? And the basketball. It's not like, you know, an N b a game. It's a street cream. So it's sort of like gritty. And that's why there's all these textures and these paintings and they're playing this game and we want to kind of include the footage in it. So when when do is I'm gonna go ahead and I'm just gonna sketch out just a rough, you know, idea of what we're doing. And basically, what this is is we're gonna be having the scores of each quarter and then the final result and and the and it's between, You know, we're just gonna have different text sort of reading on this is gonna be like the text. And then we're gonna have our grab our our scoreboard here, and we're actually gonna make it like horizontal because we want it to be kind of more of a design element. It's gonna be kind of going through this way, and then we're gonna have it also here. And then we're gonna have our painted texture, like, you know, reveal the footage. Right? So this is footage and you could see, like I'm not really drawing anything out. It's literally, like, just And he I'm not trying to draw. I'm just trying toe get an idea of how I want my text to be. And maybe even the text might, you know, be even bigger. And it might cover some of the footage. Right? So this is sort of like the general placement, like, I want my scorecard here. I want some texts and here and I want my footage in here. Now that I have, like an idea of how I want to go, I'm gonna go ahead and save it or not even save it. But I might just save it just in case, and then I'm gonna go into after books. 8. 07 AE example 02 creating the base: Okay, So in back in our class project, um, the comp. I'm gonna go ahead and I'm gonna close your assets, and I'm gonna delete the layers on, and I'm gonna use the same calm. Yes. You need to see it again. 12 87 20 23 976 square pixels. Five seconds. So now we're in our calm, and the first thing I'm gonna start with is I'm actually going to start with the background . And with this, I'm gonna use this large paper toucher, and I'm going to scale it down a little bit because I know it's really, really big, and I want to make sure that I can, you know, utilize as much of the toucher as I can in a skillet down, and the next thing of induced, I'm gonna bring in our footage and I'm gonna multiply it and then among go ahead and I'm gonna put a levels onto it. I'm gonna crush it down a little bit. Okay. Then I'm gonna go into our brushes, grab brush for put it on top and then and also I'm gonna want a skeleton. Like so. And I also want to skill are No, not skeleton. Just a little bit. And I also want this to be up top so we can see and sometimes, like, you know, the brush it It's not working with what I want, so I'll just go ahead and I'll swap it out in a quick way. To do that is if you press they are five because we have layer for it on. If you press command all question mark, it swaps it out automatically. And this one I'm looking at, that's not gonna work either. So when a press command all question mark and pick a different layer and this one, I think will so go ahead and I'll crop it. And if you double click, sometimes that comes up, we're gonna crop it. And I think that will work pretty well. So I'm gonna get putting Alfa Matt, and then you can kind of see that this is our beginning of our texture. And if you play it, next thing I want to do is I want a parent this because I want to make sure that these move together, and then I'm just gonna close the zone, turn the audio off, even though it's not on, but just like to make sure it's off. The next thing I'm gonna do is basically I'm gonna go ahead and I'm gonna pre complice. And the reason why I'm pre comping is basically with creep. Basically, what pre comping does is that it groups these together, so it treats it as one layer. It's gonna go ahead and repress shift and copy both of those. And then I'm gonna press shift command, see, and just call it footage one. And then with that, you can see that it's just treated as a layer because there's no transfer mode on it. I'm gonna go back and put our multiply on it. It was nice about this. Is that we can add yet another texture to this. We can have that loom amat onto it. So I'm gonna put this on, and I'm gonna put a limit onto it. And now what happens is we haven't animated texture with footage. All right, so I'm kind of looking at this, and from a design standpoint, I feel like maybe I can put a levels onto this paper and make it a little less white and a little bit more dark and, like, as we did before, we plant kind of, like, played around a lot with the colors. What I'm gonna do a color burn on this and see how that works. All right. And then the next thing I'm gonna do is I'm gonna go ahead and I'm gonna Okay, I'm gonna go ahead. I'm going pre Countess and call this footage one. Okay. And then again, it's treated this whole thing as a group, and I'm gonna go ahead and I'm gonna go back and put the color burn on. And what? The reason why I have pre compass again is because I want to treat it as a layer. So if I go ahead and I duplicate this, I didn't go ahead and I can put a different transfer mode on it, just to give it a little bit more to experiment. Really, It's not really because I I actually don't really know why I wanted to do it, but I thought that maybe it would be fun to play around with the design of it and see there was anything we could get from this. Right? I'm going in. And one of the things that you can also do because I liked as a multiply and I liked it was a color burn is you can kind of split the difference of it. So I'm gonna go put this at, like, 35% and you can see that by putting this it makes it just a little bit darker. But we still got these nice burns. Then if you present her, you can see how it's working. And I like the way that looks. So I'm gonna go ahead and I'm gonna keep that the way it is. Um, I am going to go back to my paper texture and dark in it even a bit more Go back and I'm gonna get our grunge texture. And like what we did before, I'm just gonna put it on top. Let's kill it up. I'm go hand screen it, Then I'm gonna go, and I'm gonna put a levels on it to make this sort of brighter that we can really see how it's affecting it. And it's really just playing around with these parameters. You know, like you. It's not like you kind of are experimenting your being That's a big part of the artistic process is always just experimenting and seeing what works and what doesn't and changing as it goes. It's a very kind of liquid kind of process. It's not really something that's like you put this at 25% and this at 33% and it'll all work. It just it doesn't really work that way. It's just something that, like you, find, you find it as you go right. And so, like, initially, I was really into how it looked as a screen, and I might bring that back. But I'm just playing right now with the different modes and with the you can even see like this. It looks crazy right now. But if you know I pushed this all the way or there's just a lot, it's just about responding to like what you see been trying, you know, trying things out, trying things that might not work, trying things that will work and then going back to maybe something that you thought worked pretty well initially. So I like the way that this looks. It's just it's so apparent, so I'm just gonna bring down the opacity of it even more. I just like the subtle nous of it. And that's part of this thing with adding all these structures on is that sometimes I I go overboard and I had to money. And then I take him away. Is the process of finding what works. I want to duplicate this again, and I'm gonna bring back our screen because I did like that. You can see that What that's added, we were just kind of adding things as as we go and even this, like large paper toucher. I'm not even duplicate this. Put it on top and because, like I said, with lighter colors, it's better to multiply with darker clothes. Um, I usually start with the screen just to see how it's working. And I might even take the levels off because it was so dark. You can see the difference of it. So I might put this back and pushed even brighter, see how that turn it on and off. It's really not making a difference. I'm gonna turn this offer now 9. 08 AE class example 03 working in the type: Okay, So the next thing we talked about was we talked about, we wanted to put some type on this, right? It's going to go ahead, and I'm gonna pick a fault. I'm gonna pick accidents do Tusk, don't make it. And I'm gonna make the text like a deep red. That's okay. And with this, I'm gonna write something like roots, because it's just it's just a random texts. Not There's not really much meaning to it. Just kind of. I thought that it would look good with this particular setting. All right, so I was gonna leave it out of multiply. And then one thing that you can do with this Texas, you can add like a Ruffin adjust to it. What that does is it kind of gives it, like, also an additional kind of painted feel, and you can see within here, like, um, it basically gives it sort of this nice little hand drawn look. And if I, um, put the scale more down it Ah, it kind of gives it this'll extensively. Kind of feel. Um, Now, the thing I can do is who move this around this evolution, it'll give it some animation to it will talk about that later. Um and then the border. It gives it this definitely this kind of feel to it, upping the scale in the border. You can play around a lot with this on the edge, sharpness. All these things you can create some really great, um, textures to all this to the text. And if you don't like how it's going through the trees, you could just duplicate this toucher, bring it back up and create enough of that. That was an Alfa inverted Matt. Not enough on that. And you can see once you create the Alfama, the texture only shows up because you know it automatically turns off the eye of the text. You just turn that back on. You can see that this is in front, but I'm seeing it and I like how it's behind. I don't want this to be the forefront of it. Someone who go ahead and take that off. What other thing? You could see that what rough and edges did is it kinda ruffins the edges of the whole thing? And it doesn't really let the roots part of it, the edges of it. So I'm gonna go ahead and just move this around. Yeah, I think that's fine. Okay, So I want to go ahead, and I wanna duplicate this. Have the same, which allows me to have the same settings. And I'm just gonna shift drug with down. You could even see. Like it cut It hasn't. This sort of, like, spray painting kind of Look, you know, and it's really, like, has a nice effect. I'm gonna put the score on this one. So I'm gonna say that this was like, you know, 21 2 25 in the first quarter, and I'm gonna go ahead. I'm gonna scale this down drastically. And you can see that the more we scale this down, the more this feels faded. And I kind of like that fated look, but I think it's a little too much. Was gonna turn the border a little bit on display with the scale a little bit and then bring this down even more. It's not that I I just want this toe feel like it's a very small part. Now you can see how that is, right? And then I'm gonna go ahead. I'm gonna duplicate this. I'm gonna actually move this up, duplicated, bring its own. Then, you know, in this game it was like, 44 Teoh 45. And thing is, it's not even legible. And that's totally fun, because, um, these were just designed design elements just to heaven. It's really like no other function of this other than that. I don't even know if this was a real game or just making it all up. So it isn't It doesn't even matter. Um, this one's gonna be 65 to 65 in the third quarter. And those for those of you who are like diehard basketball fans, um, these quarters are actually kind of close, I think, to the scores and basketball. So this one I'm gonna make, like, 88 to 90 five. Okay, so these are are, like, you know it. We got this, like, kind of great spray painting kind of fuel we have our quarters in. And so I'm gonna save this, and then I'm also going to add some more stuff into this. I'm gonna add some more textures. Right. So what is this? I want to see what this is. I'm gonna put this on top and just multiply it. No, I don't think it works. Um, I'm going to go ahead and bring some of those brushes back. It's a brush one I'm gonna bring in, and it's really large. I just kind of want toe. Um, build Cem more like texture. You kind of feel, um, and kind of experiment with it, trying different things. And I don't know if this texture is gonna work, cause I bring it in and I don't think it's working. But what I can do is I could, you know, just replace it by pressing command all question mark and seeing like this one looks good at all. If I can use it, then I think no. And then some of these all none of these might work. Um, this is just trying it out. Seeing Yeah, that might not work with that, but I'm just trying to see if there's anything else I can add, you know? So I'm gonna go back and bring our paint, Louima, and and I'm actually going to see if I could just play with which I never really used. But sometimes I do and see how that works, right? So it kind of looks That looks pretty interesting, actually. And, um, he's going to scale it just a little bit more moving around. Maybe. And then I'm gonna do something called the time remap and basically, with video textures a lot. I like to time remap, um, my textures so that they can come. I can control the speed of them. And that's basically what time remapping is. So if you right click, if you go into time, the new enable time remapping you press you you can see that your key frames, right? So this is the beginning and the end, So just going to grab the end key frame if it'll let me and then just push it all the way up So it comes up really fast the reason why we're good. So, Smalls, Because I like to kind of just see how you know if, as like an artist and a painter like you, when you're drawing something and you need to step away, it helps a lot to see it really small. And then sometimes it helps to see it really big. So so look at it from different perspectives to see how it's working with the composition. And I as I'm doing this in, like, No, I don't I don't think this is gonna work. So I'm gonna take that off and I'm gonna go back to our composition. 10. 09 AE class example 04 animation: so I kind of think I like the way that all this is working. And, um and I'm gonna go ahead and animate this and how I'm gonna animate this is you can do this too, is you can either make everything a three d layer, have a camera, animate the camera and moving around. Or you could do it different ways since does their all to dealers. I'm gonna go ahead and animate thes using Knowles. So basically, what annul is, it's just an invisible layer that has anchor points that has all the positions and everything. And, um, you can control everything by making it, making all these a child of this No. Which is what I'm gonna do. And basically, what that means is that it allows you to group all these so that they move together as a unit. And as we talked about before, in sort of our overview of textures and everything is that the parent, the child was follows the parent, right. So gonna grab all these tools, including the toucher, everything and attach it to this? No. So what this allows me to do is it allows me to skillet moving in position moving around, you know, up and down, left and right. And, um and that's and it's all gonna be moving as a unit. So we go ahead, press enter. So as this is painting itself on, I wanted I wanted to kind of, um, be constantly in motion. So I'm gonna go ahead. I'm gonna press the beginning and the end, and I'm gonna move this so that it goes here. But actually, now that I see it, I'm like looking at this and I realized that my texture is actually vertical, and I'm actually gonna rotate this 90 degrees and then move it ever so slightly. Push it up and movie decide. Do you can see what this is doing is it's sort of giving it a nice little kind of drift move. Another thing we can do is, um, Easy's so that they don't feel so harsh just so that it's like a very subtle, smooth movement. So one of the things ah, reason why, um I rotated. This is because I wanted it. Teoh have like, ah, more real estate with this texture on the screen, and he wanted to cut off like how it's doing there, But I'm actually gonna put the rotation back and I'm gonna bring this scale back. And this is why it's so good to have, like, really large textures, because you can, you know, this is only a 50% and I have all this information I can work with and move move my texture around and I can move this camera around even more rights to say I want to like. And one thing you can also see is that I kind of cut this off so I'm gonna bring this back . One thing I'm seeing is that these grunge textures air moving and you can see as it's moving that it gets cut off. So these I actually don't want it to move with apparent. I just wanted to stay there because they're just sort of like a texture on top. I want the 1,000,000 elements to feel like they're moving around and you'll see the difference. Those things never get cut off their always sort of the same on top. Okay, so the reason why I scaled this backup was because I want Teoh keep this, like, drifting here. And then I wanted to do a quick a quick move to the side. Right. So I'm gonna leave this like this, put a key frame, take this key frame off. I'm gonna go, you know, up just a couple cute frames more and really shift this dramatically so you can see this camera move. It's very fast. Didn't mean to make it that fast. I'm gonna bring it back just a little bit, right? And then, um, I'm gonna pushes down a little bit. They actually think that it was this I'm gonna pushes back. So it's off. Then at the end, I'm gonna add a little bit of a drift as well. But this time, maybe I'll make it go down a little bit too. So I was able Teoh, you Kenis these key frames and change the using of them by right clicking. Got a key frame assistant and I put an easy, easy. I put f nine just as a hockey, but, um, and I actually want to ease into this, so I'm gonna press that and sometimes it, you know, if you want toggle between all the different keys, you compress apple and press over it, and then it will tell you back to a linear. And then So that's a good way to toggle between them. And then I'm gonna go back and right click, go to key Frame assistant, and I want to use this in 11. 10 AE class example 04 animation: Okay, so now you can see that. That sort of how we're doing with it. And I'm the next thing I'm gonna do is I'm gonna go ahead and I'm gonna put in my next basketball footage, which is footage, too. Actually, I'm gonna go ahead, and I'm gonna put him footage for the last one, but that in no, multiply it and, um and I'm gonna bring in one of those brushes. What? This one of them Put a brush. One don't talk. Make this an Alfa Matt. Now, the reason why this isn't registering is because we move the camera, right? So if I go and I zoom out the brush No, that's why I just need to scale them. Sometimes I forget that these air, like, really, really big I want to go down here, and then I'm gonna put enough amount on it, Okay? Okay. And so you can see the, um I haven't attaches to the new olia, so they're all kind of on top of each other and really, where I wanted to be. Usually when I want to attach it onto the onto anal, I wait until the right placement, and then I attach it because the null is gonna be moving it around. So this is sort of a good place of where I wanted to be. So I'll go ahead, I'm gonna go make this a parent of this tuck, Scher, And I'm gonna make this, I mean, a child of that texture. And then I'm gonna go ahead and I'm going to make this. Ah, a child of the no. Which is our main position. And now, if you press answer and so what we've got. Okay, so I want to adjust this around a little bit. I kind of want to move this over here, and actually, I'm gonna turn off the the parenting of this because I want to move this texture independently. I would turn its back on. I don't like how it's getting cut off, And I don't like Heather kind of on on top of each other and turn this back off. And I'm also gonna just scale our footage so that and they make it back to being a parent of that 1% sure. So the next thing I'm gonna do is I'm gonna go ahead and I want to kind of fill this space up with some more tax. But before I do that, I'm just going to go ahead and I'm going to enemy our techs and then duplicated and change it around a bit. It's going to go ahead of us save, and then I'm gonna work on the animation of the tux. And with this I'm going Teoh, just, um, bring this on by using by just having it fade on something really simple. So if you go into effects and presets, close this out, going to animation presets, going to text enemy in and, um, you go down and fade up characters So what happened in a little type it on And it's not because it looks like a really like the stencil effect. And I kind of want to do the same. All these right? So I'm just gonna drag click all these and press fate of character. And then if you want to change the animation prayers, you want to make it faster or slower. You want to come on at different times? Um, with the selected you press you, you re select them, press you and then all these parameters were show up. I actually have to push this in, so I'm gonna make this fit. So we conceal. And I'm actually just gonna have these Come on a little bit later, Um and then I want it to come on with each one. Sort of at a different quarter. Sooners, These come on at different times unemployed. So you can see, like, this isn't even like Hunter registering. And so I'm gonna grab these and move them to where they will be registering. And if I zoom out, you can see that that's where those are. If I shift arrow key to the right, I'm just gonna move it so that it will kind of be showing up. - And I'm actually looking at this, and I feel like it's just coming on way too slow. So I'm going to crab all these bring this back because of that got cut off. I was gonna squeeze these in a little bit more. I haven't come on way faster. They're taking way too long to come on on pressing Enter toe. Watch it. You know, while I like the way that this has it coming on like this, I I don't like how just this quarter quarter, quarter quarter over and over again, So I'm going to pushes anymore. Have us go down a little bit, - and I like the way that's looking. I'm gonna put this back to fit, um, and so I'm gonna go ahead, and I'm going to duplicate this because I kind of wanted to be like a texture that I can use over and over again. But I just realized before I duplicated there's one more animated animation part I would really want to incorporate, and that's with the rough edges. You're going to roots. We're going to animate the evolution options, the evolution of it, not the options. If we go ahead, we enemy that put a stop watch there, go all the way to the end and, like, rotated ever so much like moving around like this, you'll see that it gives a nice movement to it. Should everything is moving so fast, it's hard to see, but it should be really subtle. Here we see it. Another thing we can do is we can. It's very subtle, and it's hard to see, but it's there it might be. You might be able to see it on the final render. It's hard to see on this screen cast, but it's definitely animating. Another way to animate this is by you can animate this scale. But I kind of like the way that this feels like spray peo No, on a street wall Kind of telling the story of this game. I'm gonna go ahead and put send it to this. Um And I'm gonna duplicate this again these quarters moving up and just have it right on, uh, type fade on, you know, keep having it fade on, but rotate them now all 90 degrees so that they just feel like they have all this and you can see what that did right. When I tried to rotate it each individually, it all rotated like that. What I could do again is I can create a no later new Noel objects, and I can grab these court and then attach it to null too. And what I can do is rotate this by 90. Basically, what it does is it groups it together, right? So rotated by 90 instead of rotating it that way, it now you, it's rotated as kind of like a group and I can move it around just by kind of using the null. Um, And if you're grabbing it like that, you want to be careful of moving textures? Um, it gets a little complicated, but, you know, that's totally fine. And then the other thing you can also do is you can scale them as a group to and because this is text, you know, it's totally fine. If you're scaling it a lot, we'll move it in the position back. And you can also, you know, I like to use the arrow keys, but sometimes you can even use like and it gives it this like, really nice. So our texturally feel and I might move route around later, Um, and then what you want to do with this? You can attach this to the notes so that you can always move these as a group, or you can delete this Nala and attach all of these to the to the No. I'm actually gonna leave this attached like that and attach it to the no. And the reason why I'm doing that is because I might want to I might change my mind and want to move certain things around another thing you want to do is sometimes with your tuck shires that are just there that are just not gonna be moving. I would welcome. And the reason wise. Then you could just grab this and move it freely. So one thing is, I really, like, wanna add some more. As far as, like, a design element, I want to add some just one more sort of text over there. And I think I'm gonna go ahead and duplicate this. So a duplicate this and pushes all up, and now you can see that it's all kind of duplicated. But what's interesting is that no, it's also following, but also it's pretty good. Okay, So what we can do, Because we've kind of kept that? No, we could now move this. No, I think so. And rotate it back right down. Probably. No, it brought it. Uh, bring it up. This is definitely one of these projects that you if you have a double monitor, it's really useful toe have, because you can, You know, there's so many layers to this. Um, and with this, you know, even seeing like the numbers is more interesting than seeing the repeating, Um quarters. You can scale this up a lot with this side, you know, and, um And then if you can changes the, uh the animation so that if you press you and you just select all these, you can push him down so that they become visible in the timeline perceive access to close it. I'm gonna go ahead and fit this back and then watch how it looks. Now I'm looking at it, and right before he misses the basket, I kind of want these scores to come up. So you just grabbed, press you and pushes back up, go back, impress you, and then watch, right? And maybe I want this to be a little bit slower because of their bigger now, so that when they were smaller, it didn't You didn't really notice it as much. But now that they're bigger, who was feel like I want this toe come on a lot slower, so it doesn't feel so fast. 12. 11 AE class example 04 animation: you can definitely see, um, everything. I'm going to save us. I kind of like the timing of that. Somebody press you and let that be, And then I'm going to go back. A couple things I want to tweak is I want to see this guy make his shot. So how do I do that? Well, I'm gonna go back into our footage comp all the way back in to hear the original thing, and I'm gonna pick the time that I want it. I want I want to see him make his shot. So it's like, right, right before we leave. And so that's 1 18 right? So I want to go back into footage, and then I'm gonna write, cloak and put a time dream up on it. So we've been able to a time, remember, I can't see, and you can see that this is the beginning. The end we actually can't see. But that's fine. We can just put a key frame here because you can see that it's moved up in its timeline, and then I'm gonna go back to frame 1 18 and I'm gonna just squeeze this up until we see it him make his shot and I want it to be really clear that he's made a shot. Okay, so I'm gonna go backs accomp one. And now you see, he's made a shot and we'll see how it looks on the other guy does not make a shot, so it's a little odd that I guess he won, but I almost feel like the numbers should be switched. But since they're not eligible in there more of a design element with a group, it's OK. Save often. The moment do is I'm gonna pre complice. You should see this was footage for and I'm gonna go ahead and I'm going to grab a loom at that Louima painting we had Grab it here, put it underneath, and then a little more. I've been putting on top. Sorry, alumina on it from wondering what happens. And I think I know what did happen once I pre comped it are Pre comp is on this side. So quick fix. And it's actually good that you guys were seeing this used press reset. Didn't really fix it either. This is one of the things we're working with moving. Those is you want to be careful where you prick off them, because it definitely fell off. So we're gonna have to because it was placed off. Um, gonna make sure it's just centered in here. Go close. These other pre cops. Okay, Now we can see what we're doing. And now I'm going to go ahead and make this groups make this a little bit great. And now it's working. Go ahead and multiply this. Where do I want a color? Burn it, my color Burnett. And then I'm going to go back into our fax and presets and out of love levels. And then I'm gonna press center. One thing to know is, um we took all the parenting off of this, so we want to put it back on, but apparent this to this texture. You're gonna take this And there were you. If you want, you can just move parent this all too little. But I highly recommend just parenting it to the manual. And now, if we present her, you can see that we need to kind of time, this little amount, right? So we want to just pick the right time of where we wanted to come on. So Where do we want it to come on? Probably after 1 18 And all we have to do is just push this all the way down. You can see how subtle it is. Even if we push this even though more so, we can kinda see it brush on. And how nice of a movement you could just get from doing something like this, you know? And now the only thing I could think about is May. I was, as I was watching. This was almost like I was wanted us to be, like, 90 degree, see what it looks like of it's, like, 90 degrees and move it up. And I kind of like the way that that looks. I'm gonna Actually, it was down a bit to here. Just so it comes up a little bit later. I'm thinking it comes on to it. She definitely becoming only okay . One more thing I want to do is I'm gonna actually duplicate this turn off the road to shin . Um, and not even I just want one word. A design element. I just want this there from the beginning. I was gonna shift drag wisdom, and I do want this to type on. Actually, someone was back because it's always just like changing your mind, going back, playing with different things, seeing what works, what doesn't so actually take the s off of this or I could Skillet. What if I just take the us off and bring it back? And I want to just bring this down just a little bit, cause I kind of like how it just barely crosses over the footage. It was kind of like links everything in together. Yeah, I think this is pretty much looking pretty good to render. We've got our sort of illustration of our basketball game and I'm going to go ahead and render this. I'll see opposition at surrender to We'll use Perez here if you want toe, see the specs of it. Let's go toe. Um, quick time. RBGH defaults toe lossless. But you can go down here. Innovations find pro resins. Great. Age 264 Any of those. But you can render any way you want. And then, um, pick where you want it to go and then under it out 13. 12 conclusion: Okay, so this is our final class render. And we worked a lot with textures to kind of create this, um, basketball graphic. And basically what we did was we worked with footage. We worked with textures we brought. We work with track mats, Alfa mats. We use different transfer modes. We used parenting to animate him, and we attached into a different nose. We worked with text. We used an animated preset, just of it fading on. It gave this sort of spray paint field because we calm put it with an effect called rough edges. And we were able to create this sort of gritty graphic basketball texture animation. These are the techniques that you've learned, and I hope that you bring these concepts in these techniques outside of the course, it into your successful careers. You know, definitely some of the things that I do hope you walk away from this is that you understand how to use textures, track mats. Do you understand the concepts of parenting? And you understand, um, transfer modes and how to build these sort of artistic textured tactical graphics, you know, and in in addition to that and outside of the program. I hope you guys just go out there and with your phones. And if you see a texture that looks interesting was, take the photo and you don't have to be a good photographer. You have to worry about light because we alter it so much and aftereffects that it doesn't really matter about things like that. You don't have to be a good photographer. You just go. You shoot different pictures. If you like to paint, scan your paintings in and use them as textures and be as creative as you want. OK, so if you've learned a lot and would recommend to a friend, Um, please do. And also please take the time to leave a positive review if you can. Thanks for spending your time with me, and I hope to see you my other courses.