Mastering Graph Editing In After Effects | Joash Berkeley | Skillshare

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Mastering Graph Editing In After Effects

teacher avatar Joash Berkeley, Creative Director

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

15 Lessons (1h 18m)
    • 1. Introduction

    • 2. Intro to Animation: Principles of Keyframing 1

    • 3. Intro to Animation: Principles of Keyframing 2

    • 4. Project Description: Dynamic Obstacle Course

    • 5. Optional Setting: Default Spatial Interpolation

    • 6. Planning My Animation (My Thought Process)

    • 7. Floor One: Speed Graph & Momentum 1

    • 8. Floor One: Speed Graph & Momentum 2

    • 9. Floor Two: Speed Graph & Weight Dynamics

    • 10. Floor Three: Speed Graph & Weight Dynamics

    • 11. Spinners: Value Graph

    • 12. Floor Four: Value Graph & Bouncing Ball 1

    • 13. Floor Four: Value Graph & Bouncing Ball 2

    • 14. Rendering

    • 15. Wrapping Up

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About This Class


* Illustration by Alyssa Maria Gonzales *

Ever felt intimidated by the graph editing process? This class will equip students with a strong understanding of graph-based animation within After Effects in order to make more controlled decisions in bringing their designs and illustrations to life.

Meet Your Teacher

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Joash Berkeley

Creative Director


Creative Director at Eido

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1. Introduction: Hey, guys, My name is Josh Brookly. I'm emotion graphic designer on illustrator from Turned Out in Tobago. In this class, I'll be teaching advanced techniques in graph editing animation. This glasses for anyone looking to create more advanced on emission by starting on the basics and looking at how we can improve them. Using the graph editor, we learn how to use his speed graph on value graphing off defects to make intentional and thoughtful decisions in our animation process. In this class will create an animated obstacle course that demonstrates our understanding of dynamics. This will be a comprehensive class way. I'll be walking through my process of an emission from start to finish. I'll be sharing my thought process, highlighting some common mistakes on ways in which we can avoid them. This class is for anyone looking to sharpen up their motion graphic skills. Forget an introductory jumpstart into advanced animation techniques. In the end, you have a strong understanding of two D motion graphics techniques. I will equipped you to tell amazing stories. I'm excited to see what you guys come up with, so let's get started 2. Intro to Animation: Principles of Keyframing 1: all right. So before we dive into key framing and, you know, diving into the graph editor and all that, I want to give a little intro. The animation and a lot of us have varying levels of knowledge and animation on maybe, maybe already know all of this, but I just want to cover some of the basics so that we're all on the same level on wall following along together and kind of sharing on each other's knowledge. But maybe hearing a different perspective on it might enlighten your perspective on what you already know in any mission. So I'm gonna talk about any mission, you know, very broad perspective first, and then kind of narrow it down as it relates to off the effects. How I kind of define animation is, uh, typically with, like, a dual. Um, answered, it kind of goes hand in hand with the combination off story and technique. This meaning that what you any meat is both ah, conceptual thing as well as a technical thing. When you when you think about the wood animation, the first thing that comes to your mind is like a Pixar movie, or like, um, you know, like a DreamWorks movie or one of your favorite childhood movies on That's animated and usually three D. But you know, when you think about animation, usually we don't think about it in perspective of motion graphics. But that's actually a good a good point. We think about stories when we think about animation, right? Andi, As an animator, you need to think both in the perspective off concept as well as a technique, because you want what you do to have a Nintendo behind. Why you any me? And so that's that's like the dual definition of it. Um, where it's a story off visuals on the very technical part of it is like when there's, ah value change between two points on day after Texas is doing that through key frame animation. My friend Jason Bill, he explained key framing all the word how it originated. In a very cool perspective, he was actually telling me that it came from traditional animation. Ondo, let me pull up something loophole open example of corrector pulls sheet. Andi, Let's look, uh, maybe let's look at this one. So we have this hippo pose model. She how he explained it was that he frame animation was the promises. This is traditional animation, of course, as you can see, a key frame, animation was is sorry the process off, like creating these key positions or pauses for your character. Rain. Andi. This would be, Let's let's say this is pause one or key frame one. This would be key frame to this would be key. Shame three and so on. Right? Andi, you would spend time creating these key frames and then later going back to fill in the progressive change between these poses. And that's what after effects essentially is doing for us were key framing these values. These these different poses, in a sense, on generating the frames in between. For us now, the reason why I like to define animation with this in perspective is that we can see with these key frames or these key poses that I will Hippo, for example, is, is dancing right? Um, on by looking at these key frames, we can we can grasp a story. You know what? We can grasp that something is going on based on these key frames, and I think it's really important to think about where that that key framing process originated because you kind of you started to make more thoughtful decisions when thinking about animation in a broad perspective, think about it in that jewel perspective, that technical nature off using key frames to tell a story. And then I'm gonna explain all of this. I'm probably going a little too fast. I'm gonna have little pop ups Azzam speaking to kind of keep everyone on the same page. Yeah, that's that's an emission in a very broad perspective, as a solid relates to off the effects. 3. Intro to Animation: Principles of Keyframing 2: any mission like I said is is where there is, Ah, value change between two points. And I'm just going to set up a composition right now. I'm gonna call this test one pretty much gonna leave everything. I'm gonna make sure why? With is set to 1920 pixels on my height is set to 10. 80 pixels. That's standard HD. I'm gonna have my frame rate at 24 frames per second. Resolution. Full start time code zero on duration for five seconds on my background color is gonna be black. Um, on I'm gonna create a circle. So up here, there's this shape tool where you can create, like, primitive shapes. I'm gonna click on hold on drag by holding ah, command and shift or control and shift on the keyboard. Depending on whether using a Mac or a PC on by hitting V, I can no, you know, use my move tool to kind of move this circle around a little short cut. Our uncle point by default, originates in the center of the composition. A little shortcut is to do I think it's all to control on home on a PC on. It's gonna be option command on home on a Mac that's going to just snap it to the middle. Um, some of us we don't have, like, a number pied on all keyboards, so maybe you can just hit why and then, you know, drag over your uncle point to the center. All right, so we got this basic shape. I'm gonna just rename my ship to have this ball one. I'm gonna take that stroke off by clicking on the title stroke. Andi gonna hit this little button and hit, OK? All right. Um, so after effects is creating the process for us. We have this timeline off 24 frames per second. You can see this little time called here telling us what frame were on on at one second. Um, if you use page up page down on your keyboard, you can kind of shift through each cream, and you can see that right before one second. We have 23 frames, right? So we have a 24 per second timeline on we have a ball. Right? Um, in after effects animation, I like to think off. I like Teoh. Start off with two very basic principles, and these are. These are just things that I've personally applied to my learning on. And it's not like the global, you know, some of the global law, funny mission or something. But I try to think about this composition as being, ah, digital grid or digital converse on. The reason being is that we've set in always settings. I'm going to just do command key to get up all settings. We've set this this dimension, this converse as being a with of 1920 pixels by 10 80 pixels. So essentially, this is like a digital converse off pixels, right? Were any meeting things, um, within within this school on the range off this being 00 on this being 1920 by 10. 80. So if I if I look at the transform properties of this layer, we're going to see that the position property is showing us these coordinates. This is an X, and this is and why. So it's telling us that the anchor point of all layer is plotted on all or digital Converse as being 3 96 on the X axis and 3 96 on the Y axis. And if I move this with my move tool, which is V. I'm going to see those values changing as I progress to the bottom right corner of the composition. And again, if it's up here, it's gonna be 00 on down here is gonna be 9 20 my 10. 80. So that's why I like to consider this as being a digital grid or digital converse off some sort because and I know we're getting into math right now, but it's technically that it's it's a grid that has pixels that we can plot. Um, a point e I'm going to try to do that by key framing. Using the stopwatch at zero. Andi at 12 frames. I'm going to just move it randomly. We're here to point B on. This is gonna be animation because we've created two points where value is changing on all digital converse right on by default. And I'm gonna delete these key frames by default off the effects establishes key frames. Lee nearly right. What that means is that any change over time is gonna lean yearly progress. So that point from point A to point B is gonna be a leaner progression. These little dots representing here are frames in between the value change with regards to position Andi, that's showing us that each frame is equally distributed across the line. So if I wanted to play this back, I'm going to carry my pick to the end point. Um, I'm gonna hit n on the keyboard to kind of isolate that work area. I'm going to hit speeds bar to play that back. So what we see here is again Ah, linear progression between point A and point B M by default. That's what oft effects does these air lean your key frames these diamond shape little little markers, right? Um, no. The thing is, nothing truly moves linearly, though. When you when you when you any meat you want to think about, like realistic references or things, uh, things that are depicted in, like because we're telling stories visually, Um, with an understanding of how things move in real life on before I get ahead of myself, let me let me explain. These transform properties a little bit more, um, off the effects is built on a combination of shortcuts called traps. On one side, the salt really quickly traps, so traps stands for transparency rotation anchor points position on skill. Now, if if I toggle this backup on I hit any of these keys on my keyboard, I'm going to get that car responding. Shortcut. So if I had our I'm gonna get rotation, I'm going to get transparency. If I had tea, which is opacity is gonna be anchor point. Obviously, I'm not doing it into order as I spell. It s is scale and peace position, right, So you can get these properties on pretty much any layer as it's a transformed property. And that's all. That's kind of the basic ah, combination of shortcuts for transformation animation. Um, I'm gonna delete this text layer, but yeah. Anyway, back to lean your key. Free me. So this position key frame is telling our bowl to progress from Point E, which is 3 95 18 to point B 13 42 5 16 rain, um, and that that change is leaner. It's it's moving in a equally or constant motion. Right. Um, if you if you think about again, what we're doing is is telling a story and by telling a story where visually recreating scenarios that experiences that we have in real life, right? So if you think about when you when you've dropped your phone, right, this split second that your phone slips out of your hand is the point in which the phone is it's gonna be at its slowest motion on the split second, right before impact the floor is gonna be It's fastest point, right? So the phone doesn't fall in a linear fashion and actually progress, and I won't say progressively, but it it exponentially increases in speed, right? So very quickly, I'm gonna I'm gonna show you how to how to do that. And I'm not gonna any meat this moving, moving sideways, I'm going to do it from a linear fashion upward. I'm gonna do it from himself to bottom. So I'm gonna keep frame up here on at one second. I'm gonna I dropped my phone, maybe to the edge of the congress. Right. Well, the edge of the composition. Sorry. Um, so this is not what your phone looks like, And I'm sure we all we all painfully remember what that's like. So it's not It's not a linear fashion, right? So you can actually cushion these key frames so that they're more of, Ah, softer a soft emotion between each point. Right on. By doing that, you can select one of these markers and go to keep from assistant and Eazy e's I. I wouldn't go into ease, ease in and ease ease, all just for the sake of keeping things concise. Let's cushion our phone right. And in this scenario on play this back my hitting speeds bar. What kind of getting that? What kind of getting the idea that it's slowly starting to fall and then it's it's getting foster. But around here, we're starting to see again that lean yer at leaner movement taking place on its because this cushioning is only happening for maybe about about this region on from here own is going back to that that lean your motion, right? But what we wanted to do is is not go back to lean your emotion. We wanted t be very slow on exponentially increased to its fastest point, right. This process that we're talking about here, where we're editing the progressive change between values, is what the graph editor affords us to do. And this is this is not the correct definition, but what what after effects calls. That is interpolation. So interpellation is how you fluctuate that progression between points and point me and that's that's my understanding of it. With interpolation, I can show you key frame into police in here. So if you look a temporal into police units, telling you affects our property changes over time, right? So it's affecting how that value changes over time. I remember our definition of an emission is, ah, value change over time, right? That process off Interpol eating things between values is what the graph editor allows us to do. And that's the whole point off why we use graph editing in our animation process. So I'm gonna quickly just do that that that edit in the graph editor I'm gonna explain what I'm doing in the next class. So don't don't follow along to critically with what I'm doing, right. So I'm gonna select my key frames and dive into the the graph Editor Onda. I'm just gonna do something here. I'm gonna explain all this, but let's let's look at Let's look at how this affects, um, what's going on? All right, so if I play this back was seeing that that looks a little more realistic, right? That looks a little more believable where all phone is falling from one hand. And I mean, this is obviously a way to exaggerated ease here, but it's definitely giving a better sense off gravity a better sense of motion and wait, um on. This is what the graph editing process allows us to do on. That's the whole point of this class. I'm gonna teach you guys practical ways off creating these scenarios or creating these realistic interpolation between values, using the two graphs that aftereffects us both the value graph as well as the speed graph. 4. Project Description: Dynamic Obstacle Course: for your class project. You have two options. Download the obstacle course I've made on follow along with me as we animate the components together, or feel free to create your own challenging obstacle course and use the principles I'm explaining to animate your own components. Portia rendered video to this class so I can give feedback or maybe share pieces of it so that I can give feedback unspecific parts after you create a gift and foot a shop and then uploaded to portfolio or your dribble account. 5. Optional Setting: Default Spatial Interpolation: one off defects by default does is continuous best here on what that is. Basically, if I create another movement after this and you probably you're probably experiencing that if you haven't default everything to senior. If I change the position from here, it's going to create a sharp point, meaning there's no busier on no curvature being created between these two points, right by default after effects. Those something like this, And it's because of the fact is trying to help you make that motion feel smoother. But if you want full control over everything, I highly suggest, you know, changing that default. Special inspiration to Viniar, right? And that's gonna give us a lot more control when my editing this speaker off, especially. So just do I really quickly if you having. And let's just dive back right in. So the course 6. Planning My Animation (My Thought Process): I'm gonna walk through what's going on here in this obstacle course, or what we plan to do in this course. Appear I have a cannon on a condom bowl that's represented by this wide ball in all their structures called heavy. Boring on. We have these spinners. It's been a one on spinner to that are kind of going to act as little propellers that are being struck by the ball that's moving on this path or condom bowl is basically gonna be shot out of the common at a very rapid speed, and then it's gonna make its way around this first loop on. And then as it comes to the second loop, that momentum is gonna die down a little bit more. And because of this is a heavy ball, it's probably gonna slide off of this. Not necessarily bone, but maybe flick off of this. This little blockage here and maybe give ah, a light thought once it impacts this blockage right here on that gravity, that weight is gonna cause a lot of friction. As it's moving along. This inclines, it's probably going to slowly move down this incline. Andi and speed is probably gonna change here. Once it gets on this horizontal clean, it's going to make its way over here on full. Maybe a light thought, I think. Yeah, definitely. Definitely. There will be a thought not necessarily off bounds, but there's definitely gonna be a thought. Maybe from that height on, slowly make its way over here and then, just, you know, result here. But here I have this wheat ID spinner that basically, when that white ball or the cannonball hits, this tip is gonna create, like, a domino effect where it hits the rubber ball that we have here, and that's gonna bounce and make its way into our dorm. And so it's gotta walk through the animation before would attempt to keep from anything because we need to think about the properties that that a heavy object would have, as opposed to any last stick object. That's much lighter, right? So again, it comes back to any meeting with intent on really thinking about what we're gonna do before we do it. Usually in the design and animation process, you want to have a story border on automatic. Um, that's gonna help guide you while you're on the meeting. but we don't have an automatic right now. We're just talking about it, and I'm going to show you my process. I'm gonna ask myself the questions I usually asked while on my knee meeting things so you can kind of see my four process. So let's start thinking about your first point on. Let me pull this back up. Remember all example of the key frame pull sheet rain. How I like to make the animation process simple is to always refer back to this principle, thinking about those key moments of that thing I money meeting on, then going back later on on polishing up how the interpellation takes place between those key pools is right. So let's think about that while we're doing this. I'm not gonna any meat okie from anything yet, but let's let's think about it. It's gonna be behind our kind and first at zero. And then I would think, Oh, next key polls would probably be around here. Then maybe maybe we'll hear another one here. Andi, there's another one here. Hear, Hear here. And you kind of get the sense off off where those key positions they're gonna be while I'm planning out this animation, so it's pretty heavy. Maybe when it gets here is is not gonna hit this wall. Um, but it probably would just create, like, a knock on just fall right here. Um and of course, give a light top on that spinner. It's gonna end here on our rubber balls, gonna probably bounce, bounds, bounce, bounce, bounce and then roll into their hearts and is gonna undoing at those positions back. I've designed this to teach you specific lessons that I think a very essential for understanding motion and understanding why we used the graph it or not just knowing, like, you know, particular shapes for grass, but how they're practically used in these kind of scenarios. And so this first floor we have, we have technically four floors. This first floor, then this second floor. This is technically 1/3 floor on. This is gonna be fourth and last four. This first floor mainly is gonna teach us about mo mentum. And that is how, based on the weight of our object, how force is gonna dissolve gradually over time, based on movement based on distance, these on gravity and weight on all those properties right. So, thinking about it initially, I can tell that it's going to start off a really fast speed here. Then it's probably going to swing around really smoothly here. But here, I'm expecting it to be a lot slower. A lot more friction is gonna be introduced around here on day. It's gonna probably lag in the air a little bit on full slide off of this impact. This So this second floor is gonna teach us of all wait. And how bouncing kind of takes, please. Bees on the weight of an object. It's also gonna teach us a little bit again, relating back to momentum. How that speed changes gonna teak police again within a little a little bit more about we dynamics here, Andi, this section is gonna teach us more about elasticity. And I'm thinking about objects that are much lighter and how it how it responds to ricochet in motion. Right on with regards to which grass will be using this floor, including this floor on this for basically anything with a cannonball. I'm gonna I'm gonna show you. Hold on. You made everything with speed graph on the rubber ball on these spinners I'm gonna teach you hotel enemy with the value graph. I think you have a strong understanding off the pros and cons of ball. The speed on volley graph and that's gonna enable you and equipped you to make more thoughtful decisions of a witch graph is better. For which situation? One thing I should also note I have this moon that is set to lean nearly any meat from the 0.2 15 seconds. So what we want to do is have this entire thing entire obstacle course completed. Before that time, when I did it, I averaged about maybe 11 seconds. I didn't really quick pass and I got it to six. But don't think too much about that, Restrain. It's gonna just feel very natural as we're working together. I'd encourage you guys to take breaks. Don't try to get everything done in one go. You can if you won. But I highly recommend, you know, sometimes going for a walk or maybe getting some fresh air and just coming back and, you know, tweaking things. Uh, after, like a rough pass or something 7. Floor One: Speed Graph & Momentum 1: All right. So let's start any meeting. I'm going to select my heavy ball and make sure it's behind my Contin mosque. All these Moscow are shied right now, so you can't see them just so that we can focus on animating the things that we need to animate on. I'm gonna talk on my position, Property down. I'm gonna key frame. I'm gonna think about that. First, he pose that first Peoples is actually gonna be here. My 2nd 1 I'm thinking, um, is gonna be here, but let me show you how I'm gonna approach this loop. What I'm gonna do instead of putting my pose here, this path and let me isolate this this path created by the position property we can actually alter this part, this motion path manually. By using all pencil, you can hit ji on your keyboard on create points on this path on actually affect that motion part right. So you're gonna see that when you create those points on that path is also going to distribute key friends because those are now considered key points. Those are key frames that we created on that path. And so that's a really neat way to create very precise ammunition. Or in this case, that loop. I'm gonna show you how to create that. I'm gonna do leave these two key frames. So that is just a straight motion Jean Point A and point B what I'm gonna do, actually, instead of having it stop here, I'm gonna drag it all the way behind the will. It was passing it, and then I'm going to create one point here. Another point here, another point in the middle. Right? So we have these three key frames on. What I'm gonna do is switch the last one with the 1st 1 and then I'm gonna carry up the middle. No, our pencil allows us to make handles on to listen to, like, a busy point. So that's why I'm going to create that just by clicking and dragging Andi gonna see like these? These little inaccuracies are gonna take, Please, but you can always adjust them, which you move toe. If you hold shift before you click on the handle. You can break that link so that you can control one specific point. So that's what I'm gonna do here just to keep all nine street and I'm gonna drag this box. I can see that motion path so I can make better decisions about where it is and make sure it's touching there. Just making these fine tweaks be somewhere I wanted to go. It doesn't have to be perfect. I'm not gonna be looking at, you know, your motion paths or anything. I'm looking more at the moment, Um, and all things move. So if you just notice once you click on a point is gonna just snap it to a point instead of busy so you can just reset your anchors like that if you wanted to know how to do that. All right. So, yeah, I think we owe gonna fix this too sweet. Yeah. Let me isolate this. Andi, I'm gonna play that back. All right? So what's happening here? These key frames are way too close together, and it's because we we created those points, and then it basically stretched out the distance. If that makes sense that we stretched out the amount of frames that were within those things. So is happening so quickly on you can see that here being represented here. So what I'm gonna do, select all of these on a PC. If you hold old and click on the last one, you can stretch it out or on a Mac. I think it's option. You can just stretch out that spacing equally between each other, and it's gonna create more frames and shift on our own. Let's play that back. All right? So even with our lean, your key frames would definitely getting a good sense of motion. I see a little bit of, well, the knockers in the no emotion Pothier. And I'm just gonna fix that really quickly. Oh, yeah, we're definitely getting a good sense of emotion. I think this is a good place to start before tweaking speaking things in the graph editor, right? 8. Floor One: Speed Graph & Momentum 2: so I'm gonna click on all graph editor Andi, if you click on the name of any property it's going to select. All the key frames are distributed in that that line. Andi, these buttons here, let me explain really quickly what these are. I'm gonna talk about more, more long lines of these on own going to all of this. But these help you isolate the selected key frame so that you can pay attention to editing that part of the graph. This one is gonna fit your selection to view. This one's gonna put all the graphs and that property within your scope. So I'm gonna click on this one so I can see everything on you can zoom in and all using this to kind of get a precise you of what's going on. So right now we're looking at this speed grab, Andi. The speed graph is read by a value change over over time. Right on. But this is telling us between points A and B, which is gonna be zero frames on eight frames. The speed is leaner. 2481 pixels per second. Right on that. If you If you move your cursor over that line, you're gonna realize that that value is not changing over time. But after eight frames, there's an immediate change in speed, and now it's at on average, I'm gonna approximate Everything is 700 pixels per second. Then it moves down to 640. Then it steps up to 1100 or 1200 pixels per second. So though it looks visually, it looks pretty good. It's a good starting point. Um, what we want to do is creed a smooth and seamless motion through this loop on. What I'm gonna do is by clicking on these, I'm gonna drag it down on fine like a middle ground. I'm gonna just drag this point upward so that it's fast and then gradually becoming slower as it's getting to this point. Gravity's gonna play a big role when it probably reaches. About about here is going to slow down. Maybe when it gets up here, right? So I'm not too concerned about it slowing down just yet. So what I'm gonna do is I'm gonna use these handles which controls influence on That's the amount of elasticity that's being provided between each each uncle, right? I'm gonna drag this over to create a curve, right? I'm just gonna click on this again so that it can isolated everything, in my view, on what this is doing is moving out of fast point on, then slowly changing speeds, right? I want this speech change to feel very natural. So I'm gonna drive this point up and push this over. So there's a smooth transition between those value changes, and I can move these points up on down and push and pull these thes handles to get that that result that I want. This is a very slight body change, but we don't want that speed to dip underneath like too far. So what I'm gonna do is push this over to this direction. Andi gonna push this upward. Bless. Let's before before I make all those decisions, let's make sure we're doing what we wanted to do, Right? Um, it's fast. Getting slower on its lowest point is where it's completely suspended in the air. Andi, let's tweet this. Let's bring this down a little bit more because I wanted to be on the slowest point to be about about their right push this over smoothing that out on. I'm sure you're getting the idea that this animation process, this editing here is all about tiny tweaks and making revisions on going back and forth with it. So don't don't be discouraged by the process. Really. Just dive right in on. Enjoy. It's gonna look really great once you finished. So it's low and then is gonna gain speed. I think it will be a lot faster. So let me kind of connect those points of their. And if you want to isolate a specific region and the graph, you like them, just click on this one. I'm not gonna typing up your selection for you. Um and then I wanted to get a little fosters. I'm gonna push this influence over here. Dr this up. Bring this down a little bit. So there's a smooth motion between you know, you can have tiny kings in between them. Um, it doesn't have to be perfect if it's moving really quickly, But I'm just showing you got editing process on what it takes. So, yeah, I know that we have a smooth, glowing graph. Let's look at our results. I'm gonna play it back that looks really good. That looks like is definitely a sense off Weeden on mo mentum. That's taking please right here. No group. I'm going to show you. I'm gonna compare both a lean year. I'm gonna show you what it would look like if we didn't do that editing process. I'm gonna duplicate this, Andi. I'm going to select all my key frames. Uncontrolled click discovered everything back to me. Um, I'm gonna create on all object appearing this. You don't have to follow exactly what I'm doing. I'm just showing an example on. I'm gonna isolate these drug going all down. If I play this back. It's not very noticeable, but there's a definite smoothness toe all the top one rank, and that is achieved by applying that knowledge off. Mo mentum andan Wait between these key poses. Now, if you had Jan Ki that's gonna snap to any corresponding key from that's next on, you're going to see that these the only there's no difference between the key frames between between our smooth and version and our leaner version. What's taking place on what's making it feel more realistic is again that interpellation between these points right So let's jump back in. All right, So we got all 1st 1 down. Um, yeah, that's looking pretty good. I'm gonna deal with these spinners after a belt with the heavy ball. So let's move on. No, we're approaching always 2nd 2nd loop here, Andi Visa. No understanding of momentum Speed that it initially started off with is gonna die down a little bit once it gets to this point. So let's let's trying to create that. I'm gonna go to one second on 12 frames. I'm gonna think about how I'm gonna create that loop again. Is gonna go to my key points on Bond. I'm gonna put the ball here. I'm gonna do something very similar to what I did before. I'm gonna put a point here. I'm gonna be Schooley do this and smooth that emotion right there. So you can see what I'm doing is pretty similar to what I did in the previous one. Let's go back. I see. Well, that looks looks pretty. OK, that's sweet. This a little more. All right on again. We're gonna have to species are gets a little bit more breathing room, but let's please go back and see what what's going on? All right. It's pretty good. It's not some too bad. Um, and I have to get a sense of emotion, but we want to create a little more interrelation between that weight, pulling it down as it's as it's moving upward here. Right, So gonna go into that graph editor. Let's take a look at this. I'm gonna look at the entire graph. Actually, um, yeah, there's a speech change here. It's not notice. It's not noticeable here. But I'm just gonna smooth in this old by tweaking this. It's not very noticeable, but I wanted to feel very smooth on bond here. It's gonna get slower, much slower here, um, and then come to a dying fall rain. So I'm gonna drop this speed down on it's gonna become Foster. Actually, it's gonna fall, so it's gonna go lower. Let me push my influence. If you realize that snapping is taking place is because I have my snap on. But you can take that off to get more precise, you know, looser motion. Um, I'm gonna drop this lower because I want us to be very slow. Maybe about three year. All right, So you see that elasticity is taking place where it is pushing on pulling, um, based on on the influence that we've created with these Honnold during Onda here is gonna probably its lowest point on thin. This is gonna means well in there. This is gonna increase in speed as it's falling down on this point, which is represented by this, this little market here is gonna be all fastest point. So let's push this upward kind of zoom out again on push this influence over. All right? I think I think that's going to give us what we want. Let's isolate there and then played back. All right? I like that. I think I wanted to be a little heavier. I'm gonna drop this. Actually, I'm gonna speech this out. More on that influence is gonna affect your graphs. You see, the closer gets it pushes upward the food, you pull it out, it's gonna bevel Donald. Right? So think about that while you're making those changes. If you push it back, you can just drop this on, make them aligned again. Yeah, Let's play that back. Oh, yeah, that looks much better. Cool. Nice. So all right, we've reached here and let's look at everything just to see how far we've come. That's looking pretty good on again. Few freeze a pause. Go back in that graph. You know, smoothing out these points in these transitions between speeds. You wanna have, like, a very soon move flowing there. You know, don't worry about these tiny kings, doesn't it? Doesn't have to be, like, ironed out perfectly. Um, because this is moving too fast for anyone to really notice that that speed change right there. So go in, make some revisions. Take a break if you want, But I think we're off to a really good start unless let's move on to this second floor now . 9. Floor Two: Speed Graph & Weight Dynamics: let's talk through it. So this is falling down on is gonna hit here, but because it's so heavy, it's not gonna Bones here is gonna slide, um, slide often than here, So let's think about that other point. But all the key frame that within Campbell is probably gonna be here. It's gonna slide off. Yeah, I think I think that's a good point. Um, And again, you can use these handles that create a little, you know, Tiny Arc. And then let's go into this speed graph and make it do what we wanted to do. So bounces are usually represented by pinches on the speed graph on to create a pinch here . I'm just gonna drag this upward on. There we go. We have a pinch on the reason being is think about this. If it's falling down, the Fossas point is gonna be right before it hits it on right after it hits it, because it's kind of ricocheting off the impact, right? And then the slowest point is gonna be probably when it suspended in the ear. So maybe about their But then it's gonna speed up again on hit this point. I'm gonna increase that. Bring that a little closer. I think there's gonna be a little fud, but let's let's put this back versus see what that looks like. I'm gonna make this a little tighter, because I think I think that drift is Ah, a little too much. I'm gonna bring this be done a little bit, All right? I think that's better. Um, so let's create that little bones so that bones is gonna be represented very similarly told Pinch. Right. I'm gonna create a little bit of speeds between these two. Um, not much. Probably like two or three frames on. I'm gonna create that light thud. Like going up a little bit coming by down. Maybe we'll be able here on without changing anything. I'm gonna play that back. All right. I'm gonna bring this a little closer again. You can. You can make these. These are These are just basically representations of these key frames here, right? So you can pretty much select everything and drive them on the fly. Like if you were editing in your timeline. Right. So I'm gonna select these two on with this bounding box. I'm gonna tighten this peace between them. It's like these and kind of Titan that bones a little more. All right. Yeah, I think that's pretty good. I couldn't move one with that. Maybe come back to it a little later on. What's gonna take police here is gonna slowly Probably gonna give it a lot of time. It's gonna slow. We come down here we are, imaginary floors. We're gonna imagine the floor that's behind this little It's a little balcony. It's going to slowly make its we at this point, maybe that's a little too slow. Let's play that back. And I think I will thought also could do it a lot more work. Um, so, um, I just, you know, fast forward and do some quick revisions on you can edit those points by clicking on them. Um, I just, you know, editing those specific points because it's a motion path against. I'm gonna make my bones. Oh, for the out. Bring that in a little more. Let's look at that. All right. Yeah, I think that's something. I'm definitely gonna go back and tweak again, but is looking pretty good for a rough path. Let's let's keep going. So what's what's taking place here? this is gonna moved on on. Probably get a little fosters. I'm gonna push this over here and drive this zone. I think that the speed is gonna change significantly between its sliding here and on it moving on this incline. So it doesn't have to be a smooth transition between these two. Let's let's credo or the key key position. It's gonna come here. Andi is gonna bring that point back in using our Vertex to uneven toggle between those those tool by just hitting g over again. Um, let's look at that. All right, we too fast. So let's speaks off that key frame. That's yeah, I think even more a lot more friction is gonna take police there. Yeah, that looks pretty good. Um, all right. And let's think about how we're gonna get from this point at this point so that speed is going to increase as it's going down this incline. So let's let's fix that first by going in here on pushing up on this point on pushing the influence over must play that Yeah, looks looks much better. Nice. And there's a little thought here that's because of that sharp change in speed I think that works really well. Um, giving it a little more of ah, realistic change on the plane. Onda, let's move on. Let's move on to this point here. That's gonna be a really slow motion. I think gravity is gonna pull that common goal. Ah, lot down and create a friction. I don't think it's gonna speed up necessarily. It's probably gonna slow down. I think it's faucets. Point is gonna be right here because of that inclined. But then it's gonna die down a little more when it when it gets to this point. So probably gonna give that a lot more time? Let's just bring this down right before it falls off the edge on and I'm single curvature taking police. Yes. Let me fixed. I'm gonna play that back. All right? It looks okay. Um, I think we can come on, meet this old shorter, a little slower. Sorry. Not shorter. Yeah, I think that works going. Just do a little extra actually on. I'm gonna go in here and make this this lowest point between those two points. Um just pushed that influence over. I think that that's a pretty subtle, but it's going to do a lot for our Oh, motion. Yeah, I think that's good. 10. Floor Three: Speed Graph & Weight Dynamics: All right, on, then. Let's think about this. Thought this thought. I think it's gonna take that weight again into consideration. Ah, lot more than a day here Because of this impact. I think that force was more distributed on the fall, so I don't think it's gonna create that seem Thought. I think it's gonna be a much heavier, um, much heavier thought in here. So let's think about how first how this is gonna fall. I think it's probably gonna take a couple frames. Not too much. Let's play that back in a tie. Selene, It's up there. All right. Way too slow. Yeah, way too slow. Person that in on. Pull this up. Pull this down. I'm gonna play this back on. And I think that looks pretty good with the screen. That said, I'm just going to do maybe two frames or from that impact, Um, a slight, slight elevation right here on may be one free after I'm gonna bring about, see what that looks like. I think I think pushing us out a little too much this fall was gonna act very similarly to this floor where that gravity is gonna pull. Pull the ball down, create a lot of friction on. It's gonna take a while for it to get to that. So I'm probably gonna go way down to maybe eating 1/2 frames and then bring this to the edge of the full. Let's play that back, just as is we have this dip going on and all curve, and that's what's creating that kind of warp. What motion? So that something you can know if you want to use that that effect for future projects in kind of create a warp using that kind of shape. But we're not creating a warp. So I'm gonna bring this down. I'm going to zoom in here. I'm just gonna have these two. They don't need to connect too much, but I'm going to just have a general changing speed right there. Andi gonna bring this upward and again. I'm just using these two buttons to kind of, um jump between views. Super helpful. I see what that looks like. It's looking pretty good. I think it's going a little too fast. I'm probably gonna pull this stone push this influence over. Yeah, I think this jump as well as a little true high can be even lighter. Yeah, subtleties really mean things. Look, a little memorial. Yeah, I think I'm good with All right. So when we get to this edge, um, very similarly to before we're gonna make this fall off. I don't think it's gonna hit around here. I think it's gonna hit a lot lower. Andi just released light in, so this is gonna be like a little rico. She motion. Um, this impact is gonna create, like, a pinch in our an autograph. So let's think about that while we're on the meeting, he's gonna isolate these. There's a whole pinch right there. Um, but things going, let me create a little occuring here. Yeah, Nothing too much. Just a creed like that. Smooth. For, um, this is gonna definitely be a lot slower first, and then it's gonna make a full. Let me bring this in. Just adjusting these two to get a really nice flow between that fall. I'm just gonna bring this Donald, because this is such a quick change. Anyway, I don't think it's gonna be very noticeable. It is, actually. All right, let me bring that in. Too bad. Um, let's look at the entire thing to get a sense off again. That mo mentum. Yeah, I think that's good again. Go back, Mikola. Revisions will be worth it. 11. Spinners: Value Graph: So I'm gonna play everything back because we've just finished any meeting or heavy ball on . Let's see, let's see what we've done, okay? Just thinking a little bit of time to render. Yeah, I think I think that looks pretty good on again. I can go back and take a lot of things for a very long time. We're looking at these kind of graphic. It can get kind of intimidating, But really, as you see, it's all about thinking about a to B he to being just keep going like that. And that's gonna give you, um, I was gonna give you the result that you want in the entire piece, just really thinking about it in baby steps and not getting overwhelmed by the entire piece . So I hope this was really insightful, but let's move on to I think we forgot to an immediate with spinners, and that's gonna bring us to the value graph. So, thinking about these spinners, let me let me define them a little bit within the scope of the animation. I'm thinking these are kind of loose on dso ones. This cannonball hits it. It's going to just spin really rapidly Andi over time, just died onto a really slow turn and just stop moving. Unlike wise with this one thinking that I'm gonna probably keep him and right here the frame before not ball posses it. Andi, let's do that to a spinner. One. I'm going to hit our for rotation on key Freeman on at the end of the timeline. Or maybe not at the end of the timeline, maybe 12 seconds. I'm gonna key frame this first value, which is which is Revolutions two B minus 17 so that it spins anti clockwise instead because that's a directional bowl is hitting it? Um, so, yeah, this is the key frame. Kind of straightforward. Not all of the life. No little mo mentum. Um, so I'm going to dive in to my value graph. So by right clicking in this graph editor space, you can go to edit value graph on like, before. I'm just gonna click here and isolate everything on what the value graph does is be Scully give you a direct representation off that value change over time. And that's why I kind of like this one a lot more because it's telling me exactly what's going on visually, right? This point here and I'm going to just drag up. This bold line is the zero line. If I go to my very first frame, that's what it's telling me right now. They're they're zero degrees in the rotation value on a frame after this, minus 21.5 degrees. As you can see over time, that value is decreasing and increasing, which I think is just the perfect way to visualize that definition off value change over time. And so what we can do with this now is tell that property at what value? You should be a day, this specific point in time while you're changing. So let me let me demonstrate that So let's say are four seconds. I wanted this value to be maybe two revolutions very like minus two revolutions. I'm gonna create a point here on all of this is gonna be senior. Of course. We haven't haven't enabled over over best years. I'm just gonna drag this up. You're seeing on the side that value is changing. All right, I'm gonna bring it to maybe maybe 21 minus 21. Um, that's really helpful because we couldn't define very clearly that value changed over time , Like the value grab gives you a lot more control over that specific or detailed motion. So I'm going to see, like, these two points on, I'm gonna tuggle this so I can get my curves. I want this to be really fast first and then slowly die down in speed. So what that means is, the value change needs to be really quick here on, then. The value difference over time should be much narrower. So I'm gonna pull this over here. So over time that value changes a lot less. Andi gonna create this curve here so that value change over time is a lot more drastic, right? I'm playing out back. We're gonna get this superfast. But if you look over here, you can see that dying on emission taking, please. Maybe it doesn't have to be perfect at, you know, minus 17 revolutions. I'm gonna just out a little bit of randomness to that lost key frame. Um and yeah, that's that's a value graph. Essentially, And I think I think this is really helpful because think about what you can do with altering the value in very abstract ways over time that can give you alot interesting results on. We're gonna look at one of those interesting results and I'm awaited, Spinner. But let's let's only me this other one on. What we're going to do for this is I'm going to see, like, both key frames. Copy them on, open our rotation properties for spending, too, and just peace of them right there. That's gonna give me the same money mission. Except I want this to be a lot less revolutions, maybe minus 14 instead, because that again, that momentum is gonna be a lot less when it impacts this one. Done. It did with this one on. Then I'm gonna see, like, my key frames and go to the frame right before it hits that spinner way. Should be good. Nice. So we just animated those spinners with the polygraph. That's good. Now toe all Wheat it spinner and see how that value graph can create some interesting results. So right here or ball falls in on hits that's thinner on. I'm gonna bring a my rotation property. Let's think about this. Right. So this waited spinners different because that weight is gonna it's gonna wobble a little bit after that impact. It's not going to spin immediately. Especially because that's gonna hit this ball on that force is gonna probably tap it on, maybe moving backwards a little bit and then spend over on hand on wobble like that. So let's start doing that with clean your key frames. Um, right here, I'm gonna keep free more Andi, Maybe often. Three key frames. I'm gonna routine this to hit over Rome. All maybe two key frames is good, but ah, all right, let me just I'm just gonna do to key frames on that is gonna create, like, a ricochet in motion. Um, which, if we remember and almost speed graph would be like a little pinch. Andi, that's cool. But maybe not thought for, but maybe like, like, right there. All right, um, but that weight is gonna swing over. Probably swing way to this side, Then swing back a little less, then swing buck. And then probably one frame is gonna come back at maybe exactly minus 180 degrees. Let's play that back. So it looks pretty crazy now, but I think you're getting an idea of what? What's taking police, right? I'm gonna select my graph editor like these key frames isolated. So we're seeing that value change represented very linearly. But we can smooth Anthes out by using these handles. So you seeing that? That's a lot smoother than before. So let's smoothing on all these key frames because they're gonna swing. So there's gonna be a smoother ah, smooth motion between the two. It's gonna spread these out a little bit. Another thing with the value graph, these these wobbles that you see the top of these if they're tighter, there gonna be a lot more drastic in the change. But creating this species out arc is going to give it a lot less dense motion. If that makes sense, it's usually used for like bouncing balls are gonna have open arc because it's staying in the air for longer time. And then the changes very drastically here, as opposed to when it's in the ear. I'm probably gonna smoothing this a little more. Yeah, I think I like that. It's playing back. Nice. Um, we've just animated all spinners with the volume graph 12. Floor Four: Value Graph & Bouncing Ball 1: Let's now look at how we can only meet this rubber ball. The biggest difference between our common goal in the rubber ball is that the rubber ball has a neat elastic motion to it. Meaning unbalances. It's gonna bounce a lot more over time. Andi, it's gonna log in the air a lot. When it bones is right, I'm gonna show you as the enemy this using the value graph. Mainaky Freeman, Right here. Then let's look at this. So don't follow what I'm doing. I'm gonna show you. Um I'm gonna show you a problem I used to have a lot on. I'm sure a lot of us have seen this problem before. I'm gonna show you how to fix it. So if we try to eat any meat, this using our traditional method using the motion path, I'm going to just create that. Yeah, that's it's not a It's not a good balance, but I'm just showing you what sticking police. If I go to my value graph on I select my key frames. Andi, you get these two these two values, right? Onda affirmed that a lot of people, when they see this, they just quickly turned back to the speed graph and cool. That's OK, but let's let's figure out why this is taking place right now. The thing is, value graph is depicting value change over time, the position value is showing us two values, the position property issuing us both x and y values. And that's why we're getting these two curves, discovers the X value. As you can see position next on this group is the Y value. So when we're editing these, these curves is not gonna give us handles because, well, basically trying to edit to grass at the same time that that on moving or on being represented with the same value change, because why is moving a lot more than X rain? So to make an edit with this wouldn't make sense because they wouldn't reflect the same value change in X And y right, Teoh basically make this photograph workable for us. We're gonna right click on position and separate the dimensions. I was gonna give us control over each value, both x and y all right, So if I have both of them selected, I can now edit the point here for why and kind of me custom changes toe that, um not thinking in relation to the X value when I tried to enemy with a value graph, I didn't know that these two needed to be separated in order to get full control over that . So I'm going to show you a much easier way toe. And he made a bouncing ball using the polygraph. What I'm gonna do, I'm gonna go back to my first key frame and delete everything. 13. Floor Four: Value Graph & Bouncing Ball 2: All right. So what I'm gonna do, actually is on liani me the why, And then I'm gonna only meet the X after. So all bones in ball reading this little ruler here, I'm gonna copy this key frame because that's where it's gonna bounce once it reaches back to the floor. Andi, I'm gonna make this bones less than the halfway point of the previous one. Thank go down frames over you go there. Go back there. Maybe one frame down. So let's look at that. All right. So what we need to do is make sure that when it's in the air, it kind of lives, um, in the air for a little bit. So I'm gonna I'm gonna actually make this go up with a little more before it goes down. So I'm gonna species thes of a couple friends and then make this go and copy this and then go upward. Um, hard instead, So open. Yeah, So it's like that on. What I'm gonna do is cue from the X at this starting point, and then over here, I'm just gonna push it over on. What that's gonna do is gonna generate on arc for us on with these points. What you want to do is make sure they're in the middle off each park. So let me go to this key frame. Just speech this out. Actually, just species key free moan right here. Nice. And all we have to do is go into the Y values where there's an arc. We're gonna oh, handles, Maybe just got Easy's and then species the zone even more. Also here is Well, I was gonna give us nice bones and here could do with a little bit of work. I would log in the year alone more. That's looking good. All right, that's it. We've just created a bouncing bowl by separating the dimensions on any meeting the wife for a signing meeting the X. Now, you can only meet things simultaneously. With these separated, you can get a one interesting results without, too. But just with this seek of what we're trying to achieve here, I'm just going to show you how to do that on Let's make all ball go behind, I thought right there. There you go, guys at 10 seconds for Let's look at everything. I think overall we get a really good sense of that dynamic motion. Andi, I see little things here and there. I can tweak, but I hope this was really helpful on you guys. Got a lot of insight into my process off. Any meeting, things to get the results you want. Don't be intimidated by the amount of key frames. All the amount of movements that need to take police think about things as being key frames on just moving from point A and point B. So you kind of focused on these little baby steps on. You're gonna get the overall result that you want. 14. Rendering: what I have here in my project. File A rendered this. Some position on this basically is size down to 800 pixels to 600 so that once you guys rendered, you can upload it to dribble. If you want, it is going to go up here to composition. Running a Q on an lossless can change a V I too. Quick time format options to MP four video and make sure my quality is set to 100. We don't have any song, but if you have song, feel free to drop it in. But seeing that mine is set to auto because I don't have any sound, it's not gonna render anything with audio. I'm just gonna set my destination to my desktop obstacle course one and his render. 15. Wrapping Up: and that's it. We're finished. Thank you, guys, for all your hard work. I'm excited to see what you've come up with. Don't forget to put your projects with feedback on. Just a reminder. Stick to it. Don't get intimidated by it all. Just watch these videos over and take breaks if you have to. But just don't give up our guys. See you later.