Transcripts
1. Introduction: Hello and welcome to the skills shortfalls after effects for animation. This class is intended for the illustrators and designers out there looking to cross over into taking their flat artwork on bringing it to life. Through animation, We'll be taking a to D flat, better style. Using simple shape plays an illustrator. We're going to be bringing it into after effects on, then, looking at some simple animation. In order to bring it to life, we'll be creating a 10 to 15 seconds short piece. Feel free to use my project foes and follow along that way. But I'd also love it if you came up with ring designs on animations. So please, I hope you enjoy on and have fun.
2. Touring the interface : Hi there. And welcome to the first video for the skill shows cars. Aftereffects for animation Getting started with after effects. We're going to begin with the tour around the interface now. Some of you that familiar with first shop or illustrator will recognize some things. They will also be some elements from video. It's SingTel's that you may recognize as well. So this in the center here is your composition window. Things basically serves. Assure our board to view how your composition is looking as you build it and also to preview your animation. Over here on the left, we have a project panel. This is where everything stored that we import any assets we need. As you can see, we could create folders. This is completely up to you. How you do this. I'll take you through in a different video. How I personally organize things. Um, let's move over here to the information panel. You can see it displays the RGB and Alfa volleys depending on where your customers placed in the composition window, and you also have X and Y information on a different have. We have audio and you can adjust the overall volume of the whole project here on down hits the preview panel, where we can play back our work most. These buttons will be recognizable from any kind of video editing software have skipped. The first frame, skips a loss frame. You can go back and forward each frame. You can meet the audio if we have any audio in there, and we have different looping options here so we can loop it round and round Fordham back. Or just play once. Um, now we have a playback button here, but this is something I rarely use on. I'll show you now why you'll see up here in the information panel, says FPs. And it's trying to guess what frame right, it's it's playing back out and it will stay here, not real time. And that shows that not getting a true indication off how the animation will play out. And as you can see, it's stuttering. Um, now you see, as we play back this far down in the timeline will change from blue to green, and that means it's starting to process each frame. And once it's done that, we can then play it back in real time. If we want to process the whole composition before we play back. Then we have to use the round preview button here and that will, as you can see, prepare each frame for playback. And when that's finished, we can see here it's saying real time, so we're getting a true indication of how our animation will export. Now let's go through some of the other playback options. The frame right here, this wet, ineffectual composition, but only the playbook. We can select the frame rate. We want to view it up. I generally leave it also, which will play back the frame right off the composition. Skip can be fairly used for if you're a bit time dependent, or perhaps you're seeing is rendered heavy. That just means we can skip a few frames. It's quite useful if we just get a sense of timing rather than having to view each frame resolution again is a great time saving tool. Um, if we skip it down to quarter on the play back will be a lower resolution. But the round preview is a lot faster from current time, when checks will play from whether time indicator is placed on the timeline it's used for. If you're working on composition, that's quite long and perhaps the only one to preview a certain section of it full screen does what it says. It plays your animation out in full screen. Down here is the effects and presets panel thesis where all of our effects that come with after effects or any of their party plug ins that we may have installed it is kept. We can use the search tool. Here he was, have some animation presets that come with after effects. Um, I'll take a browse, some quite useful. We also have access to our effects of the effect tap at the top here. Now this your carrots panel for changing the appearance of the text. I'm sure miss, you're familiar with this. Uh, you've also got your paragraph tools and your line panel. It's great for getting things a little bit more accurate and center in your legs to the middle of the composition. Eso this all time line down here. Now we have a layer stack just like we do in voter shop on the order of layers affects the appearance off the composition. Each layer has a time span It also has a appearance and transformed properties that are changeable over time. And this is how we create animation. We have a time indicator here which is displayed in seconds and also frames. And it is also telling us that we're working a 25 frames per second and you can see as we scrub through the time changes here. I'll go into later what some of these tools will do. We consuming. We want to get down to each individual frame. We can also set markers on our time line by clicking and dragging for them right here. Three double click we can name them. It's very useful for planning your animation ahead. Also, annotations if you're passing on a project to someone else, um, one last thing which isn't actually, doctor at the moment we go up to a window tab up here on Go Teoh affect controls. Effect controls will come up on your left here dot with a project panel. If we select one of our layers which I know has an effect on it, you'll see brightness contrast Come up here. So this is basically your your control panel for any effects that you might have on your layers. One last thing is the tobel up here. Some of these tools Can you recognize some? You probably won't. You got your selection tool. We can click and drag elements in the composition. Got your hands where we can click and drag. Perhaps if you've got elements that situated outside of the work area, you can drag around. Fine days. Um, rotation tool thedc camel toe on Pam behind tools will get into in a later video. I think you've got things like you can draw shapes or the pent off doing Freehand shapes. You got textile. The brush claims down a razor and wrote a brush tour a more for visual effects, compositing and retouching side of ultra faces functionality. So as we're looking at two D animation, we probably won't be getting into that in this class. Now the puppet tool allows you to place puppet pins on your layers on basically create joints so you could in swing them around. An animate. Each point can be quite useful for character animation. Um, and lastly, down here are some of your viewing options. I think the main wants to point out the moment you've got magnification here. You've got resolution, as we did in the preview panel, but this is four stills, so as you can see, it starts to get low res as we go down. If he's let also, then that's a great way of your computer processing. What it can handle. A reasonable wrench time total transparency, grij to see if we take away a background. Now you can see a transparency great here, whereas if we turned off, it just changes to block here. We've got the camera viewing options, which will go through in the later class when we start to add cameras and, um, working three day. So I think that's it for a basic tour around the interface. Let's move on to you, creating a composition.
3. Importing assets: Okay, so we're going to be important. Are illustrated fall for this cast. I have created a record player, which we're going to import into after effects and practice animating on to see simple shape players shape players translate really well into after effects. You also get to customize your own vinyl. So I've gone for one of my favorite disc attacks. Shake Your Groove thing by peaches and herb eso. I'm just going to take you through how to set up your illustrator file for animation. So the main thing to remember is to lay up all your separate assets that you think you may want to enemy Say, actually can see him. I've got money toe actual final, a speak age. I don't know if buttons on my play button on the base I like to label Malaysia's after effects will import the layers with their name, so it makes things a lot easier to find. I generally create my outboard to be the same size as my composition. So this is 1920 10 80 which, for actually the only other thing to remember really, is to make sure that your document color settings are sets. Watch you be. You can set this by going to file document color mode. RGB aftereffects will actually import a seemed like a document, but the colors will be off on just something to know about. Seeing my cape is the after effects will not import any other image file would see in my case setting. So if you try to import J. Peg that is assigned to see in my case, it will refuse to import it. But it won't necessarily tell you why. So the tip is just a double. Check the color settings. You can easily reassign the color in photo shop, and I think that's if the illustrator file. Everything looks good to go. So let's get back to after effects and we're going to import our record player. So if we highlight the Assets folder because that's where we want it to come in, we can import, either by going to file import file. You also see here the keyboard shortcut is command I, which is a short cut entities a lot. See that now let's go to a record player, A I and the important thing to look at here is the import as settings footage will import anything, whether it's a layered fall or flat image as a flat asset. Eso you won't be out to delve into those layers that we set up in Illustrator, so it's important in the sense to import it as a composition. I tend to do retain their size. Um, as it sets are transformed bounding box around each object Ralston around the size of the art board. Um, okay, forget to open. So you see here it's important or record player on this symbol here with kind of colors within the film Negative, that means its composition. Um, so it's imported all of our layers ready into a competition for us. So if we double click on that, open it up for us, we can see we have all our layers here, as we labeled them within illustrators. That's made it very useful to label them at the illustrates stage rather than at the aftereffects stage. You also said it's created a folder. Now if we if we open it up, we have all our lows here as separate illustrator falls Before we move on. I think it's worth mentioning how after effects interprets any changes that we want to make to our illustration Now I'm using after Effects CC. So I believe this function is now being kind of made a standard. It's not something you have to turn on, but in older versions of after effects, they used to be something called Life Update. Uh, I believe this was placed around here. It was kind of two boxes, one with across the Basically, The live update feature allows any changes to be made within illustrator to be updated instantly within after effects. We have to do to save your illustrates fall. So just demonstrate this quickly for you now. Okay, so now we've made some changes. I'm going to save the illustrates fall. Ah, no guns, gay, back to after effects. And you can see our record player has been updated with the changes in the information panel. It would tell you that it's just changed a piece of footage. One thing to remember that a live update only where you worked on on layers that already exist. If you create something on a new layer, you'll have to import the illustrator fall again. And that's because we've only imported the layers that were there on our previous save. Okay, I'm just going to change that back, okay. What? We're here. I'm just going to take you through some of the land mates that we see on this timeline. Here we have our visibility and hide option, just like inferred shopping, Illustrator. Also the buttons and also the lock option. So we cannot select that layer. Next we have this cog, I come here. This is continuously rest arise. It's very useful when working with vectors basically allows us to increase the scale of our vetters without losing it. And equality I will demonstrate. Hit If I scale up of I know you can see we're starting to get some lost equality here for is if we check this will continuously restaurants it so we can scale up to whatever we want . Um can throw in some issues with some effects on Also, when working with three D lows. I don't want to confuse you too much of the stage with that option, but if something isn't going quite the way you expected to when using three d cameras, then maybe just check to see if this is turned on. And if you need it turned on. It can be better to upscale your files in illustrator rather than an after effect. These options here, I'm going to get into it in a later class when we saw animating. Okay, lastly, we're going to import audio phone. I'm going to be using the songs on my final. So if we go Teoh Command I, which is for import, I have placed my or do you fell in my assets photo? Just like with enough to effect. I like to keep everything I'll be using within my project all in one place. Um so anything I need to update or change, I know where I'll be now if we go about four million record player composition, which is empty at the moment, we drag this in. If you want to put assets on your timeline, you just simply click and drug. If you want to play back the audio, the play button will not play audio, so we have to use around preview button instead. Now, if you'd like to view the way form of an audio fell can either 12 down this arrow here and you see audio comes up because there's no other information apart from audio, Um, we have audio levels, which is the volume. We can adjust this by clicking and dragging him. We said spot to Syria and we've got the way form. Um, you can see as we zemun we can get a clearer look at the way from him. If you're working quickly, this is a little bit laborious who bring up the way form so you can If you press l twice quickly on your keyboard, we'll bring up another little tip is that many people think you cannot scrub music in aftereffect. Um, tell you when you're working with voiceovers, this could get really annoying. But a little tip of picked up is if you hold down command waken scrub three, we're going to be important. One more assets. So if we select our textures folder, go to command, I again I have a texture ready here to go. And this is just finishing touch effect that were applied to animation right at the end. That's it for this Vidiri. We're going to be moving on to starting to stack up our layers within our composition, um, on eventually moving on to animation
4. Setting up a composition: Hello, everyone. And welcome back to video to in this video, I'm going to be taking through how to start your project from scratch. We're going to be creating composition. So if you got here to file new new project, we don't need to save that. So here we have a completely blank aftereffects project fall. Um, we're going, Teoh begin by saving it straight away. So if we go up here to file, save us and I'm going to call the skill shit Final One. Okay, so that's saved now. So let's create office composition. Um, there's a voice create competition, this icon down here in our project problem. We can also go up here to composition new composition. And as you can see here, there's also a short cart. Come on, and let's start with the composition name. Let's call this record player one. No, after effects comes with a list of presets. I tend to always use hate D TV. 10 80 25. This is four HD resolution, so it's 1920 by 10 80 which is a 16 9 aspect ratio. I tend to always working for hedge de because it's much easier to downscale your work than upscale. You only need to really go lodge in this. It's safe to K off. Okay, if you're working with footage from a camera creating animations from scratch you, this is probably the highest resolution. No need. Pixel aspect ratio is normally always square pixels. It doesn't really matter what for he might use for Internet use a vimeo or YouTube. I tend to use 25 frames per second out of habit because it's a frame aren't used in European Broad Coast. It also means that any math you might need for working out timings is pretty easy. Um, resolution and said it full of the time code. We're going to make a 15 2nd piece, so just enter 15 seconds. Background color. I normally always he's black, but if you'd like to pick your own color, you have a palate. Er, okay, let's create our first composition. Now, you see, our composition has appeared in the project panel. So this or any item in the project under at the moment I like to keep things fairly organized. So I like to create folders before even start working. Um, so I know where everything will be um it doesn't involve some huge cleanup job at the end. It's very useful if you need to pass over work to someone else and, you know, things can get quite crazy. Sometimes you can end up with absolutely huge projects. Although you do have a search panel up here. So if you trying to find a missing us it or if you're trying to find mass, it you'd like to replace with something else Um, that's very useful. But sometimes you can't always remember what your sets of called. So I like to create folders to keep everything nice and clean and organized completely personal preference, how you do this. And I see different people's ways working on time that I'm going to share with you how I do it. So, um, I tend to number mine, so I know exactly what order my folders will come in. So I'm going to call this 01 and I'm going to call it renders now, In my renders folders, I place all of my main compositions anything that I need to export. It tends to be my kind of final compositions. So, as I think for this project, this will be our final composition. Um, I'm against place that renders. Okay, Next I'm going to name this pre comes. I'm going to be taking you through pre comes a bit later, but essentially, they are compositions nested within something else. So your master composition that you would like to its sport might contain several pre camps or it might not contain any at all. Sometimes you won't need this folder, but I like to have it there. Just in case Number three is my assets photo. Depending on the size of the project, I may have other folders nested within this, such as textures. No, Rex just textures. Andi, perhaps Oreo. So that is my kind of standard folder structure that I use for any job for even begin. It can get a lot more complicated. Perhaps you might have three D object falls that you need to create other folders for, um, but for the purpose of this project, I think that will be all we need. Like I said, it's personal preference. Some tea on, and I think that's it for this class. Let's move on on. Look into importing. Some assets were going to important illustrator for and an audio file
5. Layer Types: Hey, welcome back. Um, let's begin to build up all composition. Um, in doing this, I'm going to be taking you through the different types of layers we can have within after effects on display more than might be useful and wattage wonders. Okay, So if we go to our main competition record player, we going striking are composition that the illustrator fall made for us. Let's drug it in him. Housing this'd inside of our main composition will make it into a pre composition are going to pre compositions in more detail later. Essentially, it works a bit like a group, so you can apply master animation to this group. And you can also delve into this composition by double clicking and apply separate animations to reach four layers, and that will be visible in in the main competition that are pre campus housing. Um, as it's pretty common going to move out to a photo, and I'm also going to just put a label PC off to it. That's just so we can easily see the different screen Pre comes on our main render compositions. Okay, so we have a pre come on all tune in the if we turn on the transparency grid, we could see our record player is floating in space with nothing behind it but an Alfa Channel at the moment. Eso let's add a background. We can do this by going to layer new solid. I want to choose a noise. Orange color. Make sure you click. Make compass eyes. If you're making a background layer, this will make it the size of the company. Okay, now let's move this down in the layers stuck to the bottom. Personally, I think that's a little bit bright. So I'm going to go up to layer solid settings, and I'm going to readjust my color and you can see as you click around in the palate. It'll just update the composition life. Okay, that was gets me. Okay, let's add in some text as a kind of outre caption. 12. Sure animation here now, just so we can see what we're doing. I'm going to hide our record player for now, so it's just click the I there select or textile on click anywhere in the composition panel . Um, I'm going to write college or reports looking time. The aftereffects is remembered. My previous character settings from last time. But feel free to put your own stamp on your animation on change anything you like. I was finding quite nice to color Pick my text from my palate that I've kind of already set up in the designing stage. So I'm just going to show you can do that here. If you just select your picker, we can slip this blue or I've gone for this red here. That's how I don't recall play again. I'm just going tol line that to the center of the competition. We're going to see a line tool here. We're going to be animating the text later on. But for now, I'm just going to show you what are no object is so Owen Alcon actors controller for another layer or even a camera Now the reason you would use a know instead of just perhaps using the transform properties for each individual layer. You can assign more than one layer to this now so it can act like the controller for several layers. Instead of animating the properties individually, I find them useful, for example, when creating pushes towards camera keeping that movement centralized words. If you animate those things individually, with central to each of those objects trough in the center of screen. So I'm going to show you how to parent a layer to annul. We're going to be animating its properties in the next class, but I'll just show you how it works now. So we've got this parent section here and we have a single to Pickwick. If you click and drug, you have this line here and within the timeline, we can pick whip to whatever layer we won't know. It doesn't have to be a no. You can pick whipped to another layer, move that lay around on the child layer will follow it. Let's just use the north in l. So the no is actually this red box in the center here. So if you click on drug, you'll see that the text layer follows it. Now, obviously, if you're using knows on lots of them, you have lots of little red boxes all over your composition. So you can just fight that, um, And if you need to change its properties, you either on hide it or you can 12 this down and go to the transform properties here and you can move it around by clicking and dragging on the values. Okay. Lastly, I'm going to be showing you an adjustment layer. Um, just works in a very similar way to photo shop. There are several effects you could apply to adjustment layers, and you can also use moss on them to Moscow. Certain areas. Let's create an adjustment layer. You could also add new layer types by right clicking in the timeline and go to new. If we get to adjustment layer here and this example I'm going to use your adjustment, lay to split our background in half s so we have a slight change in color, across background at a bit of interest. So let's rename this. If you look on the layer and press return, you see this area here is highlighted. Now let's call this highlight background. Let's just move audio to the bottom so it's out with the way. It doesn't matter where your audios place in the NY stock. Okay, so we're going to select a logo to effect. We're going to go to color correction. As you'll see. That's quite a few options here, but with going to pick a nice easy one to start with and go to brightness and contrast. I'm going to set our brightness value up by 10. Now you can see there was a changing color there on. We're going to add a mask that I'm going to make free home with a pencil. So it was split off screen and half now a quick tip for bringing up the hand tools so we could drag around off composition is to press on hold Spaceport. So we moved down here. Select Alpental are with the layers selected. Let's click somewhere down here, Hand to again Move up pretty much Dagny across in triangle shape You can see now we've highlighted about half of all background. Now you can see it's not quite on the corner there. So I'm going to zoom in Kony the use of magnification option here or I use command plus a minus on your keyboard to zoom in and out. So I'm going to select our point. You see, the yellow box was get slightly bigger and we're going to move it roughly to the corner, Just going to check the other one. That's slightly off. Okay, so if we see now, again. You can see now we have to slight variance of orange in the background. Okay. Say there are a few more later types to go through, such as cameras, lights on DSHEA players getting into these is a little bit more advanced, so I'm going to be covering those in some future lessons.
6. Layer Modes: Okay, let's look into landmines. I have to get down here to tackle switches, and most we can. We can switch between options, so I'm going to use the texture that we bought in earlier to highlight the layer modes. Now I'm sure many of you with experience in first shopping illustrates that will be familiar with these assay work in a very similar way. We've just drugged in our texture, which is kind of a roughly rendered painted war. Is she can see It's a lot larger than our compositions, which is good. It means we shouldn't lose any resolution a few goods in the mode here. If we click here on normal, you'll bring up the different appearance options for the layer. I usually have a play around with the appearance options and just goes with what is working best from that particular project. Now, if you think there's something has to right field, but perhaps it's feeling like a little bit too much can always know down the apostasy and make it a bit more subtle if you feel this kind of graining us that's going on here is a little bit big. If we get while scale. We can just make that a little bit more subtle. Okay? And that's quite nice. I'm just going to quickly show you track mats. These work in a similar way to must in photo shop on also clipping mosques in Illustrator. So we're going to use our Texas sample. So if we bring that back up, let's make this big and bold so you can see what's going on a bit better. Um, so we have ah texture underneath. I'll text here. So if you go to track Mats Alfa Matt, it's going to take the Alfa information from our text. Okay, So if we go back to normal and punches back up 200% So if you get to attract my option here now, Alfa Matt will take the Alfa information from our text on use it almost like a stencil. Eso if we select up so you can see the tech slows actually switched itself off because we're just using the hour for information to say what we want to be visible on our texture . There we go back here. If we go to Alfa inverted, it will do the opposite. And at almost like a punch. Be careful when animating night you so you're animating scale of your text, and you want your texture to follow it. You'll have to parents. It's either to the text or to the no object if you're using one, otherwise the texture will not move with your text on it will slip. So if you want to anchor to the text, you need to use your pick with Andi selectable texting You could see now it's borrowing the transform properties from your text. Hand following it can just a quick look, a looming that property. So we're going to use a record playoff this as it's got a variety of luminosity in it. So if we take her wallpaper texture, let's pump it up to 100 again. Set it to normal. We go to Luna Mats. You'll see. You'll see the lighter areas. It burns through more the darker areas. It's a little bit more opaque, so essentially takes the black more information from the record player and interprets this into a pass ity for the texture underneath. On, just like without formats, you can also use loom inverted mats. Okay, I think that's everything. Covering layer appearances. Let's move on to some of the animation
7. Animation basics: Okay, so you just is a quick recap. We've taken a tour around after effects. Um, we've brought in our illustration and we've also brought in a texture on an audio file. We've gone through how to lay things up on our timeline to curry or composition, um, different layer types, how they work together. And we've also looked up using differently and modes to get a certain look. Okay, so let's move on to animating right. We're going to begin with animating or record players sliding into shots. It's quite simple for now, but I just want you guys to get the basics of animating transformed Properties. I'll be moving onto far more complex animation in future classes. You can apply these principles to anything you want, really have a play around and create some really cool stuff. Okay, so let's get started. The record player. I'm going to bring up the transform properties by 12 miss down here, their keyboard shortcuts for bringing up transform properties. Um, if s for scale t for busty off rotation on DPI for position, and we're going to be unweighted the position property. So let's move our time indicator in by one second. So that's 25 frames soon and slightly. So just the letter of the position property. There is a stopwatch icon. Now, if we click this, we're able to animate that property and you'll see here on the timeline. We've created a key frame, this yellow diamond symbol. Key frames are essentially set points in the animation, where you determine how you want your subject to transform or move in traditional animation . You'll then fill in the gaps between these key friends with in betweens. Um, in after effects, it does it for us. Okay, so this going to be where our record players going to rest. So we're going to actually go back to the beginning to frame zero. I'm again struck a record player out of the work area. Okay, so we can either select or record player and click on drug. I was just a little tip here. If you click and then hold down shift, it will look either the X or Y property so you can only move your object at 90 degree angles. Eso It's really useful for creating precise movements. Okay, so you'll see down here. We have created another key frame So we now have two key frames. All of these frames in between, you can see has been interpreted by after effects to guess the movement to get from our first key frame toe our second key frame. Okay, so let's preview what we've created so far. No, that's your first bit of animation. It's not all too exciting at the moment. So let's out a bit of character toe how this comes in. Okay, so I'm going to show you how to ease your key frames. Now, easing basically means that, um when coming out of one key frame, the movement will start off slowly, ease up into a higher speed and then drop back down again to a low speed, eventually ease to a complete stop. Anyway, there's the best way to illustrate that for you. So I'm just going to ease in these key frames. Now I'm going to slit talkie friends by clicking and dragging like so, if you want to select all key frames from that property, you highlight the word position. It would select all of the key phones, that property. Okay, So if we right click on one of the key frames, you see Hit key frame Assistant. We have some options here just to show you how it works of the first. I'm just going to slit Eazy e's How easy is Will convert. Both are key frame, so it eases on the way in on on the way out. Now, to show you how this works exactly, We're going to go to the graph editor up here now. This graph here represents movement off pixels per second. You can see when we reach this point here we are moving at 2000 pixels per second. They can see this line here eases from zero pixels per second, right up to just something like £2135 me on slows right back down to zero. So just preview that show you the difference. We can also manipulate, scuffed, were just see easing manually. So if we select our two points, you can see a handle comes off here. Now if we just click and drag like that, let's just see how that's looking. So this is almost looking like this some resistance, and then it suddenly breaks free. They'll be fine in some instances, but I don't think it's working for us right now. Um, if we want to reset these, we can select our points. And if we click down here, too easy is it will take it back to the Defoe Easy setting just to create a bit of interest here. I think it would be really nice to at a slight bounce back, so we kind of go past or be points and then back again. So let's do that now and see how it looks. So we're going to go back a few frames on because I'd like it's coming fairly fast and then come to arrest quite slowly. I think we should go back, say, around from 12. I'm just going to set these key frames back to normal, and it will go back to that diamond shape rather than the hourglass. So I think I want this coming fairly quickly on then slow down and really easy into that finishing endpoint. So I think if we go to frame perhaps 12 on, I'm just going to show you down here that we can also affect our value and it would change the position so I'm just guns good. Slightly past all finishing point, which you can see the point mishit Now conceive from our motion path guide that we've run into a common problem with Benzia cubs. Um, if we scrub past this second key frame, we can see that it moves to the right before moving back to our final resting point. I could see this because of this long handle coming off our second key frame here on, we can manipulate these to create interesting motion pulse. It can be very useful in some instances. Um but for this we want to keep this absolute straight line. So the way we rectify this problem is, if we right click on opposition path, go to key frame interpellation on. If you see here, we got spatial interpolation and want to change this two linear on this will remove any curves from all motion path. Okay, so you've got the basic outline of the movement. Now it's a bit of bounds about that. So my nice you can see as we come out the balance, it's the same speed all the way to the end, and it stops a little bit abruptly. So what I'm going to do, I'm going to select this end key frame here. Right click key from assistant. Easy. Easy in. This will only ease going into the key for him. No else of it. Andi z's out is the other way around. Okay, Slightly better if we go to a graph it so we can make that even better. So that zoom in slightly slitter and key frame. So it's a little bit more of a subtle ease. Its previous Okay, not bad. May be able to make that even slower. Okay, so I think the way it comes on could be slightly quicker. So just going to select these two key frames here, which is from our first a point to just possibly point, um concedes actually created two points, one of how it comes in on one of how it leaves so actually changes in speed in one frame. So let's select both of those. Andi off first point on, I'm just going to go to ease ease in. I'm just going to drag this dance of the bottom, just make it slightly smoother. Okay, so perhaps it's not perfect, but it's a vast improvement on our linear, boring key frames. So at this stage. I'm going to show you one more example of animation. We're just going to animate the capacity of the text will be getting into more complex ways of animating texts in a later video. But for now, I'm just going to show you how to do a simple fade up. So we're going to hide a record player. I'm bringing our text now. I made this nice and chunky earlier, but I think we should take it back on making smaller get okay, Say, if we bring up our pastor, LoPresti or you can go to the Transform Properties here. So let's say this will fade in over a second. So let's create cue from here, okay? About Syria on we can click and drag down Syria, or we can simply taught in nice lay fade. I'm just going to show you another trick. I'm going to blur the Texas. It comes in, so it replicates the kind of shift focus effects. So if we go to affect blown sharpened, um, anything use goes in black or fast blur fast. Blair is simply that it it renders faster. So I think that will be fine for this case. Eso Let's set a key frame on or effect here under blurriness. That's zero. We moved Teoh friends here on the timeline on We set this to say 20 and you see now it's blurring him from the program. Okay, now. So I showed you in a previous video how to a sign something to a no object and uses controller using the parent Pickwick it. So I'm going to show you again how we can animate the no, and it will fetch this layer here. So let's put a slight creep on our text Now I think we do this. Say, over five seconds, we can move this key frame that we've created and move it by just clicking and dragging is so let's go back to the beginning and we're just going to put in 90% on as we've got our lock indicators here. It will change that property for both the height and width values free. Unlock it. It would just change one of those a, uh oops, I forgot. My texture is still assigned to my null, so we're going to get back to where the key frames is 100% at scale and I'm just going Teoh clicking here and go to none. So you can see here are text now grows and it it gives the illusion it's kind of pushing towards the camera. Okay, so at the moment we've turned a record player off on return it back on. You can see we have both parts of our animation on the same time, and that's not what we want, especially what had in mind is to move article play out. And as we're moving it out of shots, I'll text for full. Um, we're kind of creating perhaps something someone would uses an outro sting. So, like a logo at the end of the film, of course you can use what you've learned. Stay in in other examples. Eso what we're going to do if we turn off a text again for now. Let's just move this out at five seconds, said the other key frame that has the same property as our last one. We're just going to click here, you see it says adult remove key frame at current time. Um, just show you these left in my hours will swap between key frames. Okay, so I would say Let's move on one second off to that point on, we're going to drag article, play out of shots. Um, now I'm just going to select from current times. You can just see the move. Phelps. We don't have to see the moving now again. Pretty boring. So let's select our second to last key frame, right kick easy. Easy outs on that. See what difference that makes? Yeah, they better. I think we should make it more of a bush. So let's go into our graph it again. Select this key frame drug, this handle, which represents how it moved off on that, said it to be quite extreme. Let's turn all takes back on, and we're going to slit the text on the now because they know is controlling scale of our text. He's going to click the low within the time scale. Andi Drug it toe where we want it to be. I want to think around the maybe a few frames, buck. So I don't really like how the Texas forming over the top of the record player here. So I'm just going Teoh select um, in this area here, Dragsholm underneath a record player. Okay, beginning to take shape. What will add a bit of interest is if we animate our turntable. Are we showing you in the next video? How animates him within a pre composition will affect the overall parent composition as well, and then we'll be nearly there with having our first piece of animation.
8. Animating pre-compositions: Okay, so now we're going to be delving into animating within pre compositions. Um, as you remember before are imported. Illustrator file automatically creates competition, and we have nested that here inside of our main composition. Okay, say, to enter the pre composition, you can either enter it from here. We can double click on the layer itself, and it will open up. Um, now, we clearly labeled a vinyl, you know, illustrates fault, and it's brought into after effects with its labels doing place as That's nice and handy. I want to make sure the anchor point is exactly in the center. So our final rotates around the central point. Um, So what we're going to do is we're going to zoom right in on this great cross. Her hair is all anchor point. Now that looks pretty good to me. If you're quite disciplined that using your alignment tools within illustrator, this should come up just fine. So I'm going Teoh animate the rotation just to see how it looks. Eso Let's jump to the beginning on set a rotation. Que friend. I've put up the rotation by pressing on free goods frame 15. That's a total guess will animate this, say, one rotation per second. So let's go with 15 rotations. Now you can see on the rotation property your first value. Here is complete rotations on your second value is Degrees said about Syria. Now, as we scrub three, that's looking pretty bag on sentence me, which is nice if it's no on center. Um, I strongly suggest trying to get it exactly in the middle within Illustrator. But if you want to do it like I within after effects, you click the pan behind tour. Which is this till here, next to your camera? Um, now the pound behind is used quite differently if you're if it's related camera, but it can be used to also remove this anchor point here, because if we go to transform properties a move or anchor point by value, it actually moves the position as well. So the power behind to all you do is click on your sense point here, unmade it around and you'll see. Now it's Wales. It's going to be crazy. Um, so let's undo that. Go much the center. Okay, that's looking good. Now my guess is with records, they ease in to their speech. I don't think they start off its force. Be straight away. I think it takes a while for the motives. Get going. So let's go to the this first key frame and select Eazy E's out. And you can see now if we gets work off. It's, uh so we've now got gradually ease from zero pixels a second to your final speed starts to pick up speed and then yeah, okay, so that's all we're going to do for now, in terms of animating are different elements of our record player. I I'm going to show you one more thing. Um, for now and that's motion blur now. Motion blood needs to be turned on within pre camps on the outer composition. So motion blur. Is this kind of three circles fading out here? So we need to slept on the layer and then enable if the whole composition, So then you can start to see blur, especially on the text here. Where are finals? Were tastings? Let's look at it with motion blur, it's bit smoother. You don't always want it. It can make things a bit too soft or find. But I think in this case the detail of the text was actually distracting. Um, so I think it looks quite good with it on here. Okay, that's looking for into May that stop that, Um, there are a good way to see exactly where we are. I mean, it's quite simple in this project, when things start getting a bit more complicated, this could be quite useful. You can use the composition of mini flow chart here to see where exactly the composition you're looking at currently is house. And what it's relationship is with other compositions. So you can see here we are within record player PC, and that is connected to record player one. And you see by this arrow it's inside of that composition. So if we click record Player one, it would go back into that on Let's preview the whole animation, see how it's looking. Okay, So as you can see, that highlights how our animation within our pre camp is there, visible in our main composition. But it also takes on the transform properties off the pre come that we have made inside of our main composition. That might sound quite confusing, but as you go along and make more sense they can see here as we were just talking about motion, blur, um, our motion blur is evident. You see, the text is blowing as it's spinning, But whether isn't motion blur, it's as it comes in. And that's because we've turned on motion blood inside of our pre composition, but not within our main composition. So if we wanted that on this push in on the push out as well we just had on on earlier and for the whole composition, my instinct is saying that this is a bit too much, so I'm probably going to turn it off for this. But it's just to show you a mixture of having the motion. Blatter Northern turned off on how it went together. I think that's it's a little bit blurry for me, so I'm going to send off okay, we have one more video coming up that covers automation on. I'm just going to show you their how we animate mask properties
9. Animating masks: I'm just going to show you how you can animate masks were just going to see this to create a little It's creative interest in our background. You should remember a few false is back. We created this adjustment layer here highlight and we place the mask over it to create its diagonal line. Now I'm going to be copy and pasting this mask onto my solid as the adjustment layer on the solid or exactly the same size. It should paste in exactly the same position if we 12 this down here for getting mosques can highlight this mosque born and we're going to be pasting it onto water or in solid. I can see here for turn off my texture layer. This has turned black And if you turn on the transparency grid, you can see it has now created an Alfa. So what we want to dio Obviously we don't really want half about ground. So I'm going to duplicate the solid here by going to edit duplicate or command D And on this duplicates version of the late, we're going to create the opposite shape. I'm going to grab this point if the whole shape has selected. Just click away first and then select the point you need. I'm going struck it to the bottom here. Okay, so I'm just going to add a key. Frame him. It's moved to frame zero. I'm just going Teoh drug. These points down to the bottom here, and you can see this now creates a slide effect as our mosque pushes up and say So we're going to see exactly the same thing for our top left shape. Let's just make sure this is on frame one, so you can see it kind of slides it together. Okay, so this is feeling a little slow for me. So I'm going to go down to frame, say, 14 and just drag those over. And I'm also going to select both key frames, both sets of key frames, right, click and go to Easy's. We're not going to play around with this someone too much. Just do a simple ease like, say, it's a nice wipe. I'm just going to mention the other mass properties here, just in case you'd like to use them, have the most for the tour, which is much like the further selection tour in food Shop um, if you just up these pixels here, you see it. Bless the edges we set up back down to Syria. Now, the capacity you can see it's fading back out to offer there. Return this when you see a big a bit more clearly. Um, so that's a capacity there. I'm not sure if you can see this, but I've noticed there is one pixel wide line in between our two orange solids on, and it would be nice to get rid of that. So what I'm going to do, I'm going to use this mosque expansion tour here. Set this 12 plus one. I don't basically expand the pixels. Well, the way around where the Alfa begins out by one. I'm going to set this one on one as well. Just say this little bit of an overlap. Um I just said that's not Alfa Shine three. Okay, that was good. Okay, So if we want Teoh, I'm just going to rename this BG for background. No, Uh right. This one BG upper left just so we know what we do. Um, So I'm just going to duplicate this by come on. D you see? Creates a BG lower right to and duke it, this one as well. I'm just going Teoh thick and drug these blood about Let's just let's do it at two frames. So with offset in time by two frames, Um, now what I'm going to do is and then to slept both by holding down command and selecting another one. I'm going to get Teoh color correction, brightness contrast again. We're just going to up it by 10. I can see here. This isn't exactly symmetrical. That's because I have made these most freehand. So perhaps on one of them is got further to move in. The other one, eso it's not creating something is that I don't think it really matters for this example, because it's so quick that if you wanted it to be exact, then our pre composed one of these slides on do plate and then flip it. I'll just show you how to do that now. So you want to set both of these upper background layers If you go to layer, there's a pre composed option down here. Um, this basically assigns any of the layers you have selected into a new composition, and you see when we open it up, we have two options here. One is grayed out because this top option here is only available if you our pre composing one layer on its own any attributes they have assigned to this layers, Any effects or anything like that will stay within this composition. Whereas if you have this one selected, move all to the new composition. It will transfer everything to the pre composition. So let's screw this background transition. I will see here it's now converted. These two lays into one pre composition, so just double I can show you. So that's now got to solids with exactly the same time values the effect on the masks within this pre competition. So it's use are many flow chart to go back to composition. If we turn off our existing lower rights, want to duplicate this layer? Come on D for edit Dubica on a little trick here is right. Click with the low selected go to transform Flip horizontal We want to one more time Transform flip vertical. So you see now this is exactly symmetrical. Okay, let's delete this So this looks great. I'm just going to offset on a record player coming in just by a few frames. Just so. It's a little bit after that transition. Okay, we're going to be moving on to shape players on how to animate them, as well as transforming illustrator layers into shape plays.
10. Introduction to exporting: I'm going to be showing you how to export for YouTube and very me. I, um, and most other kind of online video platforms. So I'm going for what? I think most of you guys will want out of this class. Okay, so let's just run preview just to check. Everything's how we like it. Yeah, that's looking good. Uh, anything is. He can see the animation stops around 10 seconds on. I don't actually think it needs to be 15 seconds longer, so I'm going to set all time indicator at 10 seconds. Um, and then you can see this yellow work area and as they call it, um, in skater here. And that's going to set our outpoint. So you just click and drag that to 10 seconds. Um, you can also hit end on the keyboard. This area here that's highlighted is what will export. So what we need to do now is go to composition at surrender key. Um, so you see, our timeline has flick Teoh Rennick. You option here, and as you can see under render, it isn't checked. As it says, we need an output. Moderate basically doesn't know where to render it to yet. So we need to set that up. We go to render settings. He's a generally okay as they are, everything's normally set the best full resolution. Um, you want to check that? The frame rate is what you set it as that can sometimes catch you out on. You. Want to check? Emotion blows on if you want it on. Generally the standard settings. Okay. Essay, I'll say Just goto. Okay, there. Output module is a bit more important. It comes up with lossless compression a standard. But that's not what we want to use today. If you like to know more about Codex on compression settings, there's quite a lot to go through and many different options on gets quite technical. So I suggest if you're interested too look it up further for yourselves. No, I would normally export on empty for now. Um, but some reason creative cloud fashion of after effects has removed this Kodak. I'm not sure why as many platforms use it. There is a way to download and install this Kodak, which if you're interested, I can show you how to do that. But basically, we're going to be using alternative today but I don't want to be doing anything you can't do in your version. So we're going to stick with using a quick time. Um, okay, So if we go to the former options here under video Codec, we want to slipped haste to 64 Um, I'd leave the quality of 100 on. What you want here is to limit the data rate. Now. One house going to come out very pixelated at the resolution were working too. So I would set it for a good hated equality to something like 10,000. Um, I'd say working in 1920 10. 80. I wouldn't go lower, Ethan. 6000 7000. Um, so that's great. Okay, If we want to down scale our composition, we can do so here. With the resource button, you can select it to, say, hastily, TV 7 20 um, which brings it down to 12. 80 by 7 20 which is around 67% of our original size. We can also knock it all the way down to power. We can also knock it down to power, or NTSC, which are old analog television formats. Just be careful of the ratios here because it can stretch your image. So let's keep it a forehead. HD, um, crop. We don't want to crop anything, So let's leave that audio output. This is normally on auto. So if you don't have any audio in the composition, this area will be grayed out. Um, I would always keep this it for at 48 kilohertz, 16 bit and steri. I try, um, you output. This is just by sea where it saves the maybe faulty. So I'm going to create any photo call it renders. I'm just going to put skill share in front of this, so I know what exactly it is on safe on. If you hit the render button on your right here. It we export our film a progress bar here. Andan estimated remaining time, which is quite useful. Okay, so that's done. Now say, if we just view on movie, find it in the renders photo. - There it is. Okay. Um, that's looking good. I'd love to see what you come up with. Feel free to use my project files or come up with your own record player designs. Change it to exchange of music. Anything you want. Um, so, yeah, Please share your videos on. I'd love see what you come up with.
11. Introduction to shape layers: in this video against me, looking at creating shape close on some of the different options for animating them. Okay, so let's get started. I think for the purpose of just showing you different shape pays for the now I'm going to create a different composition that won't be involved in our final animation. So let's just call the shapeless. Okay, so we go up here, this is ah, shape, Plato. You see, we have a number of different types of shapes you should be familiar with. Let's just start with a rectangle for no. Okay, so up here on the top are we have different Phil and strike options. If you click the actual word feel options. Come up here in the books and we have our colorful options. So we have none solid, many ingredient and radio graded. Um, I'm going to leave it. Only ingredient for now. Just to show you how to minute play that radiant. Hey, we have a parent's minds. Um, and we have our capacity, so we just click. OK, for now. You see, here we have this. We have this handle coming from the anchor point on that Selk Reagins. So you can see if we can manipulate that. And if we tracked the other end, you can have it going from white back. Now if we click the actual color box here, next to the world, feel come up with our color picker. Now, as I have a radiant set, it's come up with a Grady. An answer. Um, if we change it back by clicking, I'll feel to solid color and then get that's the color. We then could just pick one solid color. Now strike. If we take care, we have exactly same options. Um, and we also have the pixel. It's there. You can changed, I say, Um, and it was to change the color. Let's it up to five. No. Okay, okay. So let's get into the depths of some of the shape layer properties. We have a contents tab here. Under here will be a list of all your shapes. You can have multiple shapes within one. Now it's possible to have multiple shapes within one layer on. Do you can and you can set how they interact with each other. I'm just going to add on a lips just to show you know how that works so you can see the Ellipse has come up in our contents on we can see it's a separate shape from the rectangle because the streak overlaps like So now. First, I'm going to show you how the shape transformed properties differ from the general transform properties. Say, if we se up the scale on the overall transformed properties, it affects both shapes. If we set that back to 100 now, if we get to the right tackle, for example will toil down the rectangle pulse and that we're open up, transformed properties that we have full that shape. So if we change these values, you can see that this is only affecting the rectangle and not the Ellipse. I just open this up here to show you we can also affect these transform properties within transform rectangle option here along these different ways of effecting the transform properties useful if you have quite a complex to build of shapes within one layer and you want them to do different things or you want to minute play each one individually, so let's move on to the strike options. Now you can see we have some of the same properties that we had in our strike option at the top of the screen. But we also have some others now, Lying cap is the appearance of the cap when the shape path isn't joined up. Um, I'm just going to assume in to show you this, but I enjoy is the appearance of the corners. Now, that is quite an interesting option. You can create, um, interesting effects for this, so I'm just going to kick plus skip. You see, it's created adoption line. Um, we can up this dash, create large ones. We can also offset them on. You can animate this property to create a kind of chasing lines effect, I say. Now we can take the plus sign again. That would create something called Cap um, anus effects, Obviously. How small or large the gap. It's in between the hashes. We can use a stash assumption for creating quite an interesting effect from a round shapes . So we said if we set stash back to 10 um, tonight and quite small, but with large gaps in between, we can then up all strike with to lengthen these dashes. I find it quite useful. Now if I show you on the lips. So show you, um why I find this quite useful. So I just added a dash in a gap here. And if I point this out, spank up, get a little bigger, perhaps put this down to five, and I'm just going to turn the visibility of all rectangle off. Um, and I'm also gains Turn off the film on. What we can do is we can, unlike the strict with so go down to to good rain 20 said a key frame Okay about the beginning Said this to zero No, no, I got you se frame 25 60 again and then going to transform your lips down here. We're setting the scale down 20 friends there now in use this method a lot for creating a point of interest. Or maybe an expressive of animation. Something pops on screen or goes bang or anything out up. Just a little tip that I thought I'd share with you. Okay, so let's move on. Let's get rid of all this, Okay? So let's go through this ally. All the options that we have for a minute plate in our shape. Those they see here? It says that So we click the cell, right, Come up with a variety of options. Ah, now you have a group option here. This is keeping things tidy. You can add. You can add more different shape types to your layer. Um, you can also set a fuel strike ingredients. You can either do that per shape or for the overall layer. Um, I'm going to skip down to merge parts and take through some of thes options in the bottom section. So let's start with most parts. Now you see, you see immediately it's merged or lips and rectangle every 12 this down. We have a few different options. Subtract so it just slices the rectangle from the Ellipse. And that's because the rectangle is underneath your lips in the last AC. Um, so you're subtracting the rectangle away from the lips. If we swap those over, you can see it works in the opposite way of intersect on exclusion sections on This works in a very similar way to the power. Find metal in illustrator. So some of you may recognize some of these options. Um, you also see it's added another streak on a hill. Um, just to illustrate how this works for for the whole layer off than each individual shape. I'm just going Teoh change the feel of the ellipse and you can see it hasn't actually changed it. And that's because we have our feeling straight kit. And this sets the overall strike and feel for whatever parts we've chosen too much. Um, careless. Okay, lets Mabel um, we get to offset parts now. Offset Part simply adds also tracks pixels from the outside of each player. Um, we could move it up in the last tax. I only effects one of our shapes or if we place it at the bottom, you'll fit all those shapes above. Okay, that's offset paths. That's move onto Parker bloat on this. You've just got one value to change here. A program blow basically pinches or he stretches out the corners or I was quite useful for creating cartoons. Still expression animations. I should probably mention you are able to animate all of these options here. I just just have a play around and used to still watch for each property. Yeah, let's move along, Teoh, where you work, where you work Visa now they're Piecyk. But what it's actually done is created to extra copies as well as the original on their just placed under me. We know this because the and we know this because the position Cropsey set 100 so offsetting each copy by 100 so she can see we can change this. It will change the concert toe above. You can see a bit. That's of what's going on here, he said. The scale, Why don't hit So the rotation change the opacity? Um, on you can create some Really, I can create some really weird and wonderful abstract animation using repeats to, um, my best advice is to have a play and see what you can come up with. You can see it. Okay, that's the earpiece of Now let's move on. Room coolers, as you can imagine, creates around corners. We had the option within the rectangle cast, but when you're creating a shape there from a free hand path, you won't have the option. So the ability to add it here gives you that facility trim. House s quite obvious. It obviously cuts down your pulse sequentially. It's useful when animating straight lines forming on screen, Um, and she'll say, offset it like safe. Okay, that's true impulse. That's gay to twist similares fucker like it just creates new twist that can it is always worth exploring these shape layer options, if you're if you're trying to create something specific, is often durable by manipulating quite a simple shape. Wiggle cults. Now this, as you can see, makes us straight line bumpy. If I just up a scary considered it better now, this creates a jagged edge. We can change these points to smooth, and that will create a wiggly line, might say. And now the we call perception has a kind of built in animation to it. Um, we can change speed here. The correlation. You see it, Chris with warping effect, and what you can do is you can set this low and set the detail up very high, and we can set these wiggles per second to say something like seven, maybe more, and that's about this smaller. Another's creates a boy. Lafayette boiling is a term used in traditional animation when basically the slight difference enduring crazy movement in the lines. Um, this is a good way to get that kind of organic, hand drawn feel within after effects, we will transform again. It has built in animation. You could see it, says Wiggles per second, hand every 12 down, transform and, say, set the position of on hundreds but by taxis and say, has a little dance around screen. There is another way to wiggle the position of an object, whether it's a shape layer or anything else using scripts. That's a bit more advanced for our lessons today. But if you want to find out more, just look it up. And there's lots of great to tourists out there to explain a bit more. Lastly, we have exact, um, soon it's popcorn bloat on Twist Just creates is exactly fact. Okay, so that's the shape Layer properties, just to mention that we can frigia latelys. We can create our own shapes if we want Teoh using the pencil up it. Now this creates a pulse. I'm going to be exploring Paul's animations a bit more. In another video
12. Converting AI files to shape layers: Okay, We're going to be animating some more elements are record player. I'm going to use this as an example to show you how Teoh transform illustrator layers into shape players. Yes, I ever get to a record player pre home. Uh, just don't click on that. Okay? So let's go through what we have here now with already animated off. I know. I'm just quit it. If you press you on the keyboard, it will bring up all the animation properties from that layer. It will be good after this final spins for this needle to come from over here to learn onto the vinyl. Um, and then perhaps we can offset the music so it starts playing once the NATO was, though. So how we do that now, what we could do is to move this ankle poi to run this point here to pivot around. So that means from left to right. But what I don't want here is for this outside room to move with it because I imagine that would be as she anchored to the record player base. So I just want this light of Lee area on, so to swing round. Not this bit. So what I'm going to do now is convert. Our illustrator shape goes into ultra affection. Those What we do is we right, click and go to create shapes from vets. Layer I was crazy to duplicate layer on Hidden the original Um, I imagine that's just for backup. In case you do something you don't want to do and want to revert back to the original eso. Let's 12 this down. Open up Now it's converted All of the shapes that we drew with the administrator into shapes and then, after clicks, every $12 contents we can see it's grouped it into all the shapes here. I think what we want to do is to group together everything that we want to move and then leave outside of that group, things that we want to remain still. So let's make sure always to let the right property so secret Bonus highlight is in the Constitution window. So if you just hold out shift, you couldn't slept more than one group recurrence the arm on this point here, and I think that will do so. What we want to do is go to come on G and that will group it together. I'm just going to rename this every 12 down here. We have a transform option for the arm. Um, I want Teoh. I don't want to reposition the anchor point here, so I'm just going to go to the power behind you see in brackets. They're says Anchor Point Tool as well, because it adds this both, Um, let's just grab alive point and set it to around. Let's just check that anchor point by maybe irritation that let's say Case may set it back down to zero. So if we se go to two seconds in, we set a que fame in the rotation on Let's say it takes about second. I mean, that's putting him on. Let's just pretty view that see what's going on? Okay, that's fine. But, um, it's a little bit stiff, so I'm going. Teoh Eazy E's thes key frames select them both by clicking the drugging key frame system. Eazy E's Seven. A look that's been better now with a record player arms, they actually lift up before you drop it down onto the vinyl. It doesn't just obviously scrape across the vinyl door, really, so I think we'll add a nice little touch It It's just a Seki five scale that's moving se three frames and that's just set it very slightly larger 103. And then we get Let's sit it here. It's just made. That's the middle. Then I think I think we can drop it back, tell just we settle this key frames. Jesus. Well, see how that looks. She's going. Teoh, lift this up before it starts rotating. Just so they overlap slightly. It's just like him. So is it like a lift? Drag drop action? Um, I'm also going to copy and paste that key frame. Uh, that was NK that without drop is a little bit suddenly, I think. Okay, I think Thats a kay. Come out. Um, let's close up on needle and that's big on something else. Let's un right. Speed gauge next. So we won't kick good to create shapes from bachelor again and it goes to the top of stock . You couldn't just make that wherever this is necessary. No, again, I only really want this slider to move up and down. I don't on the whole thing to move, so I'm going to find read the posts I think I'm going to create these together. Um, just the speed in cases on site here just to tidy things up. So, Margie, it's cool indicators. It's a Everything I need is a within group 9 10 and 11. So let's group secular Cool. It's lighter. Okay, So if you remember from a previous video, we eased in our final getting up to full speed. So perhaps it will be nice within this 1st 2nd hairs. Is picking up speed for our slider to move up. Um, to indicate that we set in the speed first time. So what we're going to do is turn on the transform side options. Can you find position? Let's remove 20 on Just shifted down. Uhm, I'm going Teoh Easiest these Andi, I'm just gonna goes the girl fish so that semen and I'm just going Teoh he's a little bit more heat. It's preview. I like the movement. I just think it happens a little bit quickly, so I'm going to set it right down on the bottom, and then I'm going to drug out these key frame so it happens over a longer time. That's quite nice. Let's assume that the record plays already turned on on. Leave that off now. Now let's get to the play button. Crazy action. But to there again, let's move this down head. Now the players. And, of course, I've got other buttons in the script as well. Um, now I would like to animate this so it looks like it's being pressed in. So I think this out of shape here in stays it ISS on. Then these two Group one agreed seven, which is the play indicator and is in a boat grouped together. So a longer Teoh here set the scale means that key frames of the beginning on just giving about 12 frames. It's just set this at 94% and then back out again at 100%. Its key for a nice I think it's a little bit much. I'm just going to set its 97 cents, and I also don't think I don't think the button would ease back into its original position . I think it would sat back, so I'm just going to change this by holding down command, clicking on the key frame, but to a linear key free. And that's just up closer. Okay. I think that's okay. Um, on. Of course, you can always use the's at options here. And they will minutely the illustrates shape, just like they would do lays that we've created within after effects on That's it. Hopefully, that gives you a good idea of how to convert the layers that we've brought him from illustrator into into after effects shapers that we're able to animate. So we were able to animate the individual parts, so, yeah, I haven't played around so we can come up with. Okay. Next, we're going to be looking into path animation.
13. Path animation: Okay, so I'm going to show you how to minute play a path Onda animate it to transform from one shape to the other. Um, this I'm going to take a final, if you remember Deep case from the original. So if we said we don't want to use this, that's absolutely fine. Now you can see from creating our shape. We've lost some four texts on. That's because what I didn't do with the administrator is create outlines from the text. So it's still life. Eso either create outlines or just add it in again within after effects. However, I'm going to be using our original vinyl layer to merge with this path animation that we're going to be making, um so much, I think I need to worry about what? Okay, so 12 down or contents? Here, you can see we have lots different grapes. I don't think for this invented need my groups, but what I will do, I think is so I'm just going to hide all these groups now. So now we have just a basic final shape just going to make this up just so we can see what we do now. I think what I want to do. I'm just going to focus on the on the four Shafer now. So that's just turned those two or two. I told this down. We can see we have a puff. Even though we drew a perfect circle within Illustrator, it hasn't interacted that as that shape has just come up with a pulse there. Um, my case of what we're going to do. Yes, we're going Teoh block that this vinyl onto the deck As if, um as if it's melting on. I think so. So is going to blow upon and then form around into this perfect circle. So what we want Teoh, this will be RM results. So we're going to set Keith frame as that is there. Then let's go back to frame zero on. Okay, Yes. Let's move forward here on if we click on path we can select are different points of it. Let's make a little points in the middle here and all these handles in I say now that comes in. Um, from just a little dot that it's not that much different from if we automated the the scale party. So I'm just going to get a part way Not much to go to do is copy and paste this one in the center here on I think I want to fit out this section. I'm just get skip over this bit while I spent some time trying to get this looking how I wanted Teoh its key for this species in Yes, I'm just going to close up that creep that I'm just going to group these together. Just keep friends scale, bring it on. And again, let's give it a little bit about so 110 its key frame, Eazy e's and then Eazy E's in tow. A loss key friend that's just set that slightly. Okay. And then well, im going to d worthies. I'm just going to turn the grease back on on. Then group these together been good to me that both kind of base of the vinyl and then going to just faiths up it sits in the apostasy. Um, just again, I'm just give false forward. While I programmed a position of these key frames I can Then, in grades 10 this final leg back on the original illustrates fall. Dubas there just gets draw on the lips mosque around the center there, and it could be quite rough because it could be heart rough because we won't release a text that so I'm just going to play that on. After all, Center circle has been to assess any boy my recognize him slipped me. Okay, so let's just forced them back. It's certainly not the most interesting thing we could do with this, but hopefully demonstrated the different way. Seed shape plays, health animation and how to convert from illustrate its after effects. Next, we'll be looking at really less and at in a camera, Taurasi.
14. Introduction to working in 3D space: So in this unit, I'm going to be taking threesome. Basic elements of three D within after effects. Are we going to be making some of our lives three day great in the camera and offset into objects in said space to create some depth? Okay, so let's push or innovation so far and see where we can incorporate some three day. Okay, just Teoh explain to you the fundamentals of three D within after effects. Um, I'm going to take this text layer here on, make it three day and also get to make in the null three day. Um, I'm good to remove the scale animation just for Nell. Um, what we're going to do in set, um, it's the shaving is to show you that we can, um, animate the position Cropsey along the said access to pull it from the back to the front of the screen. So let's do that now. That said, Kiefer hit No, set it to the edge. And if we get much where it comes in, that said it's something like 3000. Okay, Okay. So that looks like it's now growing from the distance coming to a stop. What? We want to do when it just nine seconds. We want Teoh. Do get this key frame one, set another key frame and then move it out So it goes past the camera. I think what we want to do here is maybe do a slight creep. So when you go back to this key frame and said it of minus 200 instead, then we have 100 pixel creep forward. As for go, it's like you see, we had up. We have that same issue that we had with our motion path. Basically between these two key friends were shrinking back and then pumping out again. That's what we want to a select a lucky friends. Right click. It's key frame in separation and go to linear Good. You see, that grows slowly now also, what we want to do is too easy too. So we're going to be Griffis. So I'm going to ease in this key frame head and then I'm good tease out is Keith right now The moment it isn't that two different from animating the scale property on a two d layer. So I'm just going to show you how three d layers work a bit more have we take over ical player. And if we select all the key phrase by clicking on the position property and push it back and we can see now the poor little record sex, even though it's beneath a record player in the layers stuck, it is now appearing on top in the conversation window. This is because the record player is pushed back further into said space and in the composition window we can see this better if we go to view here good to TV's and I can see this hit. This is our little records. Now the bottom end of the screen is closest to the camera closest to the viewer. On the top half with is further away so you can see of selected our text. And that's kind of almost halfway, Um, is if we get through a record player, that's pressure at the back, like so they could see that original motion love from animated position property. Okay, so now we're going to other camera. I'm going to leave these two views up for now, so you can see a bit more clearly how death works in after effects. So if you. Right Click in the time I get to new camera. Now, this is the after effects default settings. You got presets here, 50 millimeters 35. Anything you like to use, you've got perhaps a field here. Now I'm going to leave yourself now, But its really useful for critical orifice. You can say you're fakes distance. So if things are too close to the camera, then they'll start to blow out with their too far away. They also start to blow out on deacon set the and these will represent kind of real camera settings. Say so. If you have any knowledge of that, you should be able to achieve the same kind of fit within after face that the field is quite Have your wrench times. I'm going to turn that often. L because I don't think we need it on Just goto. Okay, Now, if I see about slightly here, you can see now are slated to come out this cell camera. You've got a triangle shape on a line going up through the middle. I'm just going to illustrate, um what these mean is actually so this long through the middle with the with the cross had . That's all points of interest. If I click this cross hair drug, we can change the point of interest, and you can see how that changes on the right hand side Hit what angle the cameras viewing our three D objects up. We'll get to reset now, different from this till we have orientation, which is a key moves the whole camera rather than just where was actually is looking. We also have down here the camera options, as you can see now as PRESUME. This relates to this line here at the top. So if we manipulate up, you can see it's no actually moving the position of the camera. It's just changing Zoom. It's kind of personal preference or depending on what you're doing. Exactly whether you use the zoom all the position to change that way have depth of field here that we can switch on. Even though we chose to turn on, we can switch that one if we think we need it. I'm just gonna tell it on now to show you the different options. If you're focused distance and you can see this line extending onto the triangle, I'm just going to set the up to here just to show you helped out to feel works. I found this right up. So now, because our record player is further back than or text are disappearing really blurry, and then this comes in is blurry. And then when it gets really close, camera spluttering out completely. So that's the depth of field. We've also got some finer detail corruptions here. I'm you could be really needs touch these for kind of this plot style animation that we're working with him. But everything's worth investigating further. So play around. Okay, so we're going to try and animate the position of this camera, um, as if it's creeping in on our subject. So just for the purpose of show me how cameras work, I'm just going to swing this camera around, um, show you some differences when animating the position properties of camera versus any other kind of layer. So you guys transform this guy's position and set a key frame just anywhere for now and then less this jerk Now, as you can see where now that's an angle with all, um, record player. And that's because is there any on us because our point of interest is staying in the same place. It's still right in the center of screen, but cameras moved over to the right. Now that would be absolutely fine if you wanted to swing around an object. Um, well, I think for what we're doing here, it's not really suitable on I'm no sure you're Method, I think is fairly common way of getting around this and just kind of gives you up. It will control other things. Um, so let's he said that on Get rid of all K friends. No, my guns go, Teoh, right Click new. No objects. We're going to tell the snow into a three D. Let we're then going to pick with this camera to the no. On this. No. Now there's no Well, then control on camera. As you see, as I'm dragging the no around its then moving the camera. It is also making the point interest with it. Say this is kind of how Dollywood work. So let's call this camera controller. Okay, let's just reset this transform property and I'm just going to go back to one beause we conceive things better. Um, on Let's just set this position to creeps. Four things, actually, let's do it. So it creeps. So that set this at 800. And then we're going to We're just going to go right to the end of our animation. And since that zero, it is nice. Great back, I think. Oh, the unimportant we have here is that because we said about the record player, it's now not moving completely off screen. So I'm just going Teoh, change this service. So hopefully so hopefully that will give you a star in understanding three d within after effects. I'm now going to be able to show you how how to almost cheat away into making two d vectors looked like three d.
15. Changing perspective with 2D assets: so reflect at the basics of three D and how to add a camera into our composition. Now going to be showing you a few tricks on how to make this flat vet to sell of illustration appeared to be three D As the camera changes perspective, What I'm going to try and recreate here is if the camera moves from this top view, it then tilts down to a side view. I can always use, um, three D software to build. This is a three D shape on. Then you could move the camera around as freely as you please. There always were cheating it and thats simply just by animating the past, so it replicates that change of camera angle. Okay, so I think I'm going to replaced this slide out here. Um, just before a text comes on with this change of camera angle so that the purpose of this I'm just going Teoh duplicate this composition. Eso We have this version still in place and we can building alternate version. Let's call this slide on this one swing. So if we, um, open up the position property, we're going to remove these key frames here, so it doesn't slide out any longer. We'll keep this point in the timeline because I think it's good point for it. Teoh Transition off screen So it goes out of Cameron to seen, just like we did in the last video. Right click new camera. Um, although the default options of fine Andi we're going to also add a no object to act was the controller. Okay, so we want to make a record player Creek opposition three d What we also need to do here, let's go into our free composition and make all of our different elements three days. Well, so if we used the many flow chart to go back and go to the swing composition Okay, so that's now three D with all the elements nested inside lap reconstitution. Also three day Um, so let's open up our rotation properties for the camera controller. So you want the camera to tell on the X axis. So let's add a key frame to the exploitation. Ask it for two to you from 150 on. We're going. Teoh Houthis off to 90. No, I think it would be nice if the camera, um, kind of moves up in the Texas almost floating above our record player. Some also going to animate the position. I'm a little bit after the tote. Um, let's Eazy e's those. So So let them all key fame assistant. Easy's on. I think I also want to make ARPA little records. Takes three d. I'm going to change the angle of this to the exploitation of 90 degrees on that Say, when our camera tills, he'll be facing the correct way towards camera. I just want to move this up. So at the cameras resting point, it will be in the middle. Okay, let's preview what we've done so far. I think the tilt is a little bit faster the moment so I'm just going to check this out slug , and I'm also going to go to a graph Vegeta. I'm just going to ease the position key frames a bit more. Okay, that's one that can force it, tilts and then moves down. Okay, so we've created this camera move now, but money actually going to use this rotation as a reference. So I think what I'm going to do is to copy and paste my Cameron controller and God within our pre comp paste. Um, if we go back to one view an active camera, we can see we got that same camera move now within pre composition. Um, and, like, say, I'm just going to use this reference. I'm going to turn off on on again. Just a flick between views just to see that we're getting it right. If we have not the key frames on camera controller by pressing you on the keyboard, we could see our rotation starts here. So if we get to the base, we want to right click and go to create shapes from Vector Layer has move are based on the bottom. What we're going to do is take the main blue based part on duplicate that spike going to come on. D you see, We have a path here, and what we want to do is move this path so it represents aside, I want to retain the the angle of these curves here. So if I shrink its that's gonna change those and I don't really want to do that. So I'm just going to shift and select all the points that I want to bring down and drug it down eso I've rounded the corners on the record player. Um, I think it would be quite nice to add some perspective by adding a small amount of highlight on these corners here as it rounds off. I'm just going to duplicate this side here. We're going to climb d here's underside to I'm going to rename this highlight, Andi. Okay, so against you, Lisa rectangle here and we're going struck it within this group. Um, now it's moved down here just because of the transform properties of the group. So that's moving back up. I'm not very good to the fill on. We're going to color pick lighter blue from the palate. Okay, Now, what I want to do now is within the highlight group. Go to add merge paths on Let's go to intersect Now that the fields taken on the side color as before that some just color. Pick that again. Um, and there's a highlight for you. Uh, let's just move over slightly. So we've got nice curve here. I think that's perhaps a little bit bright, so I'm just going to pick something a little bit more subtle, okay? And I'm just going Teoh, come on D to duplicate on. Just move it over to the other side. They said we have a base now. I think we only need one side because the camera is only tilted on one access. But what we need to do is we need to animate this path so it draws out as a za camera rotates. So what we need to do, we need to go to our side path. First on, let's create a key frame five seconds and then move along six seconds. I'm against create a key frame because that's the finishing point where we want this to end up. So if you go about five seconds now, we're just going Teoh, select these lower points here. That's just so it doesn't miss shape a curve. Just push it up like that. So you can see now that the side is now dragging its way down Like say, um, we're going Teoh, copy these key frames. Come on, See? And we're just going to find the same path within the highlights and slit the path on command free to pace. And that will just as you can see, also animate the highlights. Okay, so we also need to make this main base appear like it's tilting backwards. We're just going to take a look at how the camera makes it look. So obviously this becomes shorter and also these top corners here, moving words. Okay, so we go into you, replicate that. So if we told on the base options here, let's create a key frame at five seconds. Go along to six seconds and we're just going to slipped. He's talked points here. I moved them down to around that. So we're going to slit two points on the left on a little trick here for keeping things a little bit more symmetrical and accurate. If you hold down shift earned press theory keys, it moves your position and I believe 10 pixel increments. So let's go, Um, 123 on. We're going to grab the other side and go 123 is now. We want to do the same thing for these circles, hisses going to group these together. So I'm going. Teoh animate the scale and position, so let's set one for scale and position. At five seconds. Move over to six. It's unchecked. The constrain proportions link here. Um, just squishes down. We're going to me that time with the base. Thanks. A okay, that's looking a k Now, this lighter ring here, I just want to drag out the bottom of it. So it looks like it's raised up slightly. So I'm just going to make a key frame stop position, Get to am position, double click the whole thing. And I'm just going to shift that paws down on you can see. Looks pretty three d now. OK, so that's the base. Done. Um, this can be a bit painstaking. It depends how complicated your your illustration is. Okay, So for some of our finer details, what I'm going to do is Teoh a little cheat, actually. So I'm going, Teoh, select everything I need. Um, I'm gonna do the speak age the on off dial and play outlines. Let's let those by holding shift. Andi slept in each one and going to lay up pre composed on Let's call this record. They, uh, buttons. A case that's now recomposed in hit. This is the size of the composition, but it would really help if it's is actually same size of this base. I'm just going to copy that and paste it into our pre composition. And then I'm going to go to composition settings, which is or so. Okay, um, we're just going to straighten that down now. If you took in drag and then let go, it will update live in the preview. I probably want to go unchecked the aspect ratio. This try 1000 width so much that send to these a little tense and bring up some sort of indication of the center. If you just press apostrophe or the speech mounts, when your keyboard that will prop it up on, just press it again to make it go away, it doesn't have to be 100 and accurate. Let's just take off this based lay here, which is Susan it as a guide. We don't actually need it within this composition, so I'm going to go to the record player Buttons Creek Opposition effect distort on corn up in throwing it a bit off because I've moved it around within our pre composition. Just make it back so freaky frame all of opposition values on the corner pin. Five seconds and then six seconds. We construct thes to the edges like So. And what is happening is that now, now, I've also animated these buttons. I can see that my bed of my vinyl was moving too far down, so I'm just going to rectify that now. Um, sir, lips go to the position of our circle and just bubbling up slightly. Okay, that's good. Okay, so we need to add a little bit of depth, I think to. - Okay , so that's sliding down. Now, let's move on. I'm just going todo exactly. Same thing with e play outlines. Okay, So if I know, let's do that in the same ways we did the vinyl bet so won't skill position. That's unchecked. Constrain proportions. So let's set the exploitation. Okay, so I'm just going Teoh use it. No, um, to control this vinyl because it's spinning on the said access the transform boxes is a little bit hard to control. Um, so let's Pickwick that on skates, you are exploitation on opposition properties and set key frames. Move along. I don't think it's too bad considering we're doing this boy Ali. Um, so closely we needs to transform the needle as well. So I think I'm going to set the exploitation and position as well for this one. That's maybe down. Okay, so there's certainly room for improvement. But I'm trying, Teoh. No, mate. This to two are lost forever. But I think you get the germ or did it now. Like I said before, this is just a personal method. Okay, so I'm just going to delete this rotation from camera controller. And I'm also going to set the text back to zero degrees. So it's face on and I'm going Teoh Maeve Alps. This a bit more And bring out politics to the center. Um, one last thing. I'm just going Teoh, get back into a pre come. I'm going to highlight all of our lays and click you Andi. Let's select all the key frames for that move out on. Just go to keep Rome system easy. It's just smooth it out slightly and see what that looks like. Okay, Not bad. Um, that's it for three D. It's not really true. Three deep, but I feel this is a more useful method when working with flat factors. So, yeah, I have a play around. It can be painstaking, but let's see what you come up with. I'm in the next video. We're going to move on to animating text
16. Introduction to animating text: Okay, let's go through some of the options on how to unmake my text. There are lots of things you can do with text within after effects. They're awesome presets built in. Um, if you just go to the effects in presets tub under animation presets, uh, there's a text photo here on. There are lots of different example. The good thing about these is that you can adapt them so we can go into our animator options here on adapt some of the animation if we wanted to, um, I'm gonna take you through how Teoh animate from scratch rather than from a preset. But just to let you know that they're there, have a look around at some of them. Okay, So, firstly, when we open up all and I'll text layer, we started with something called source text also stakes. It doesn't animate over it slowly over time. It creates, uh, change from frame to frame quite suddenly. So we set a key frame or source text. We can change the text, and it would create a new key for him here. And you see, it's what's between the two s. That's what source. Texas Path Options now perceptions basically where you can creative mask within the layer and use that as a path on. Then you are able to animate along that part if you wanted to. So I'm just going Teoh, create a circle here using the ellipse toe up here on creating a elliptical mask on our text layer There, if we go to none because we don't actually want to use this mosque. Teoh, hide any of our sex. But what we need to do is go to path options and set up half to mask one. Obviously, if you have multiple mouse within that way, you can pick which everyone you want to use. Eso. You'll see now that Columbia Records has go around in this elliptical shape and we could affect some of thes options here. So you reverse path that makes ago on the outside of the lips rather than the inside, Um, the perpendicular to pass. Return that off. You see that the letters do not rotate based on the curve of the path Foursome, Linemen, you're basically stretches out all the letters around the length of the pulse on first margin on second margin, we can just change where it starts and ends manually. Okay, so that's the path options. You can, of course, animate these elements, which can create some some nice effects. So let's just get rid of that for now, until er mosque. Okay, so what? Pay on the right. We have a tackled animate. So that's open that and see what we have now enabled her character three d basically assigns a three D functionality to each character rather than the whole text group together . Um, so if you wanted to rotate or three d access, then you can do that individually per letter rather than rotating the whole layer. So let's enable that for now, if we go back to animate you see here you can animate any of thes transformed properties. And that's different from animating on the transform layer. Properties no illustrate why in a minute we also have feel color on straight color as well a straight quit and you can animate these thes color adjustments here. Trucking. Oh, use tracking is, um, our first example to show you the animation properties that come up. So here we have animated one. We can use more than one animator, um to create a range of effects you have arranged to let to hear. And that's basically, um, telling after effects which letters we want to include. So we couldn't animate that. So it it goes from left to right or whichever way around you want it to be. We got the trucking amount here, So if we change this value here, it stretches on, condenses the gap in between letters and making actually go backwards with it as well into minus numbers. Okay, so let's under make this sitting back to zero. And let's say even before it comes in, start key for him there and set this to something like 20 and it just stretches out. It's quite a nice effect. Um, so, yeah, that's tracking by animating theme. Actual fete. We're basically applying it to each letter. Instead of this. We can actually use the range selector to select, um, which letters we want to include for that animation. And I'll show you that. Now I'm going to delete this on animated. The position is an example. Okay, so if we set this position to say 100 all the letters moved down 100 pixels. If we 12 down our range selector Now you have to start in the end in the offset. So every offsetting arranged letter, you can see it's pulling each one out per character, but the original position. So now we're 100 person say it's just few that now. Okay, so that's that. Uh, if we 12 down advanced Now you see units we have sent to share reels have index, uh, goes by character. So you see, instead of percentage, we have to start at zero and the end at 16. And that's because they're 16 characters here. Eso as were animating longer officer. It's doing it their character rather percentage. I find index gives you a little bit more control because you can actually adjust this past 16. Um, where is you? Can't go post 100% and it will give you more increments rather than per letter. Um, hopefully that would make more sense when I take you through this in a bit more detail. Eso we got based on here characters, characters, excluding spaces and obviously that would ignore this space. In between Columbia records, words on lines. If we have multiple lines, I'm going to change. That's characters including spaces. You got the mode here, which is the appearance mode off the letters on how they look when they overlap. The amount is basically a percentage off your animation that you want to inflate. Uh, shape shape creates a similar fed to easing. We ramp up, for example. You can see there's now a crossover in in which characters are being animated. Um, he was a hat rammed down, which is the opposite. Have trying. Also, it's created this. It's kind of almost Mexican wave effect. Um, ground on smooth. So I'm going to change this to ramp up, um, this example. So the East high knees low options this is similar to is eating with key frames, and it can add a little character to your text animation, so he's high is easing out. So if we set this to 100% this starts of slowly and then eases up in speed, um is low. It's the opposite. So we should ease into the end of the animation. So it starts of quickly and then eases in. What else is there? Okay, so we got randomized order. We could do that if we want to. And then, if we know happy with this order used. The random seed here, too, makes things up also within your animating. You have selected type. It's selects range as defoe, but you also have weekly and expression. Um, expression is a little bit advanced but haven't played around with Wiggly that works in a similar way. Teoh What we covered earlier in the shape layer to tour. I'm not going to go into the depths of the wheelie or the expression. At the moment. I'd like to have a bounce just for a bit more expression. So I'm going to add another animated property, Um on. We're going to set this pretty much exactly the same self first animator. So that's good Index characters excluding spaces Ramp up and let's he's low 100%. That's great key frames at minus 16. That goes up to 16 Um, and then we're going to set this position value at minus 50 and then we just gained Teoh slightly frames and just offset them slightly from our first animator. I think, actually, I'm going to change the easing of this one that's going to advance because I think we need to ease into it slightly. Think that's, um, that's quite nice for now, Um, that's also add another property. And we can add that here, toe animated one. I'm going to add capacity first. Set that down, see right, and then it will fade on as each letter piers as well. And we can also even set that blur. So that's it. That's 20. And then that's similar to the blur effect we had originally. It's a little bit slow from a so I'm going to just click and drag these key firms a little bit closer. I'm just also going to Adam are So there's almost looking imaginary line that is popping up from, um, it's a technique that I use quite a lot. I quite like it that I'm not sure about the blessed. I'm going to take that off. And I also don't think we need the capacity also going. Teoh set this to be a little bit more extreme just to speed it up slightly. Set this to 200 on this one to minus 100. Okay, I think that's good for now. Um, that's just center it. Okay, I'm just going to meet that animation so it comes in the midst sooner can you say going Teoh sloped rotation on the letters and I'll show you here. We've got X Y and Zeb rotation properties on. That's because we've selected the enable her character, three d. I'm just going to set this that something like 80 degrees. So there's like a swing effect as the letters pop up. Um, that's quite quick to even notice start. So maybe I should pump it up a little bit more just to show you what I'm talking about. It's subtle, but it's there, okay? And I think that's, um, what I'm going to cover for the text animation tutorial. Main thing is just a have a have a play around. I think a good way to learn in small is, too, to look into some of the presets and how that built wouldn't normally recommend using them for your own projects. I think it's always nicer to try and create your own work, but it's certainly useful for learning how they're made
17. Tips for polishing your final export: So now I'm going to show you just some hints and tips. Mind that I used those kind of finishing touches. Okay, so let's start with this texture we have going on here. We don't really want it to be over the Alfa when transition comes in. So I'm just going Teoh pre compose these transitions and cool this transition PC, And I'm just going to duplicate this. I can use it as an Alfa Matt for a texture. Um, you could see now it's using the offer Information from the transition. Um, something else I probably would normally do is add a layer of noise. Just call this noise so we know what's going on. You just go to noise and grain noise, and I usually add something very small, like two or 3%. I'm not just gives it a bit more of a kind of filmic look what we can do. Actually, with this texture going back to it, we can take create a texture boil on. That's when the texture kind of scatters around all over the place. It can be quite distracting, but it's kind of something I thinking me to assess, depend on each projects layer pre composed this on Let's call it texture boil. Andi. Let's leave all the attributes in this current composition. If we go in here, you can see we have original texture. Now I'm going to change the composition. So I surfer go to command K to bring up the composition settings. I'm good to change this to all normal for Hedge decides on What I want to do here is I'm just going to trim this texture down to three frames eyes. I goto old something closed square bracket, which is next to return on your keyboard. Or you could just drag the ends like so, And let's get it down to around three frames on what we want to do. Then it's duplicate this layer Mondy on. Then let's just move it around. Um, it doesn't really that's away. And I'm going to create a full frame boil, I think, um, se you can see it kind of scatters around. Okay, so I'm just going Teoh or pay days. So I'm just going to copy and paste thes, um on. Just set them along the time right. Until we fill up all 10 seconds. There is, um there is a better way of looping compositions, using expressions and using the time remapping effects. But I think getting into expressions in this basic course is a little bit of answer. So let's just do it manually. For now, it's select Immel and copy and Paste. Okay, so let's trim that work area on. Let's go back, Teoh a man composition on It's shrunk it back down because we scale down the texture before and we left the attributes in this main composition. So now let's see how that's looking. It's quite nice. It almost looks like film grain, but it's adding slightly different dynamic. I quite like it. I think the speed suits the beat, so that's good to may. Okay, um, so we've gone through noise. If you wanted to create a vignette, I don't think it was suit this style that I've gone for. I don't think I need it, but I'm just going to show you how to make one. Anyway. Um, it's very similar to how you make one manually and first shop. Using lost and feathering them. Eso you can either go to layer new solid on make black solid. That's clues. Forget and then we go to the Ellipse tour on board. Make an ellipse like, say, a little trick is that if you double click on the Ellipse store, it will automatically do it to the height and width for you, which is, uh, nice little trick there. So let's go to subtract and then creep bring up the mosque options on feather it, um, SK 700 on. Then that's drop this down. Say something like 20% and that's created a thing. Yet we can also do this with adjustment layers again, very similar to photo shop. So let's call this vignette on turns one off, and I'm going to go to effects, color, correction and levels. And I'm just going to crunch this up. Thanks. I at a mosque on subtract and then I'm going to feather it on 700. Look quite good. Maybe it's too too much. Um, we can also expand it out, so ah, highlighted area is larger. What, you don't see? Pull this feather right down. It's a bit more harsh when they light up. Okay, so that's been yet. Um, I'm not going to use them, so I'm going to delete those um another thing we can do is to, um I'm going to suit in the text. For example, Here we can apply fete called Rough Edges, which will give it that kind of handcrafted fields. So let's go to Roughan and you can see is kind of bleeding in us is really nice for creating like a rust effect is what we see got rust here and it's it's a nice way to burn things through. Um, I'm going to do just rough in at the moment, but I'm going to bring stand something like three. And then we can animate the evolution. I actually don't think you could see very much. I'm good, too. Plumpness back up to eight. Okay, so that's rough images. That's quite a nice effect. I'll just get a copy and paste the effect onto the record player so you can see a bit more . You see, it's kind of cutting into the record player. I'm going to see the scale if we put that right down. Okay? Removed up for now, I think that's it for my tips and tricks of this kind of style. So I I now I think we're ready to export our final animation. So that brings us to the end of this skill shirts class. I hope you've enjoyed it. I hope you've picked up some good tips. I think some of the examples quite specific. But hopefully you can take what you've learned and use these techniques to build your own animations. I'd love to see what you come up with, so please are played and share your creations and thank you very much for watching.
Claire Pinegar, Freelance 2D animator
