Transcripts
1. Introduction: In my journey to becoming
a proof video editor, I've realized that those
who have lent form in the past in a beat to save ten, or some aspects
of the tutorials. For instance, there
could be several ways to perform a task
in your software, in this case After Effects, but maybe did not have the
time or the patience to put you through these different
ways today inner portion, I'm probably THE only one way that we just
showed that there's some things you might never get to know unless you practice, in this case, edit videos, almost indicator
editing experience. I've never to put together this course and also include
those things are found difficult to my LEAs to make sure you never have
to go through them again. The word dummies yet
doesn't mean you are worn. If you enter for this course. It only means that it
should be dealt with in the simplest and
easiest possible way, even if it means
repeating steps. Yes. Now this also means that anyone and everyone who is interested can partake
in this course. And I've also puts into consideration the mode
of communication. So both young and old
land and on land can get the best possible output
from this course so that we do not have any excuse to kick starting your journey
to becoming a victim. I'm David can come in general ID and I'll be your tutor
for this course. Now I just have very few to communicate and
wasted time doing that as much as I am creating
a course for everyone. I also want to build a
community and therefore, I'll be my realist safe and try and be as honest as I can. Now encourage you to do the same thing
before you decide to open After Effects if you
have not already considered, very nice actually to
ask you these questions. Are you passionate
about video editing? Do you love video
editing or simply put, DUF interests in video editing
of film-making in general? Or do you simply want
to learn it for money? I hope I didn't scare me
with those questions. Just wanted you to ask yourself, come up with an honest
answer for each of them. Whichever way here is
where I first have you considered your system
specifications. The adult packages have
different specifications are minimum requirements
for each of them. For example, we add the
minimum requirements for Adobe After Effects
CC 2020 to listen, if it isn't passion
that drives you the way I chancy
stop on the way, especially as we make
progress and as you begin to build
layers upon layers, we should understand what I mean at the end of this course. Secondly, there's a
system of a good backup. Our time in my backup,
so battery life, we'll get unnecessarily
frustrated. If this is an issue, you have good battery, is your system. It takes up just about the only thing that
might try to end you. But once you have the
passion and interests, I promise you, nothing can. Lastly, womb us to assume that everyone
watching this course, nobody alanine for I'm a
sinner that After Effects isn't optimized for
video editing suites. That's the work of Premiere Pro. If you're watching this, it definitely it will be
becoming the motion designer, motion graphics artist,
a visual effects artist, not a video editor. Passive. But then if we decided
that to transition into Premier Pro
pharmacy or transition is going to so easy because of your knowledge of After Effects. So what do you see? Red light. Green light. Do you want to stop now
and you want to carry on? I said green light.
And if you agree with me, Let's get started.
2. Opening Project: Okay. Welcome to the tutorial proper. I believe you've
got everything I communicated in the
previous video, in the introduction video. So once you open After Effects, this is what it looks like. Rob, I'm a new project, open project homeland than your previous projects appears. Right? I'll blow them out so
you don't see them. Then if we're opening
it for the first time, you can click on Lane. And I'm they series of
tutorials you can watch here based on what it is you want to learn
is exactly right. So don't jump if you have to carry on from the
beginning, please do so. I see this one is 17 minutes
long, 2026. It's long. So we start from the basics and puts you through everything. So this also works
to underestimated. So if you walk on a previous
project before, OK, I said you can come in and open it prefixes in showing you especially see download After Effects project file online. So you can just click on open
projects that aim to open your file explorer or you'll find that as if
they're using a Mac. Then I'm starting
for the first time, you just click on new projects, then takes you to your
After Effects interface. Alright, that's for starting a project or open a
previous project.
3. Interface and Panels: You folks, so this
is your interface is After Effects interface. Don't be faced by
what you are seeing. It's not as complicated
as it looks. Alright, so you can
see projects here, you can see Effect, Controls, can see composition,
footage, layer, alright? So the selective with the teams, you can sell it
accord panels, okay? And, um, this is info audio, effects and presets and so on through this adaptation is
present in after effects. These are not all
the panels are at, but because I've been
working on them before, there are some that I've
probably taste and me to appear. So let's say you
need more panels and each panel perform
different functions. So this is a project panel. What this does is everything
you're working on. Whether it be videos, audios, pictures, images, Illustrator
files, Photoshop files. They appear in your
project panel. So this is like your explorer or your finder for
after effects. This is where your
document in quotes, peer effects controls panel. Now what is Penelope
is is whenever you apply an effect to any layer, to any image of video, whatever it is, you're able to, all the parameters are the values of whatever
effect that is you apply. This is a composition panel. Composition panel is
like your screen, whatever it is or deny your
time lenses which shows. Then this is footage you come to that later then
this is your timeline. This is where you do all
the editable layers upon layers as I introduced
in the first video. Okay, Now this is info. I just imported any clip inside. So that's why it's in here. This is audio amongst
our Can you see them? Whether I want to introduce
everything to you so you can see how to
alter your layout, your workspace to
suit the taste. For example, you do not
need Effect Controls panel. All you do is select on
this tree lines, right? And you say close
panel, undocked panel, closer that pan is in group
panel, group settings. If you do need a
panel while you do the select that and click on
Close Panel has disappeared. So the only planet now
you have is project. All right? Same
thing applies here. Now let me is Content Aware
Fill, Content-Aware Fill is, I'm presenting the
updated version as the most recent versions
of After Effects. So you might not
see this shadowing content IFE for now what I can do users select
them and close panel. Then if for example, as you have closed
effects controls panel and you need to see it again. All you do is go to Window, check for effects controls
than it is on selected. You can see now the audio
is selected and you can see the audio panel
character selected. You can see Character panel. Projects yet selected. You can see project panel, but referred control
span a deselected so you can just select it
and it shows up back. Alright. I closed content-aware tool, then bring it back in
content area to where is it? Okay, this is it is
on Select and now I can just select
it and it appears back because that's how
you close the panel and bring it back depending on
what you want to use it for. M20 size a panel, let's say you need more
information or you don't need them close
this close panel, and then you don't need
to see your projects. Maybe what everything
into your timeline. You'll competition and
you don't need them. I'll explain what these terms mean as soon as you carry on. What everything
into your project and you don't need to see them. Dres, you can see once
you select the project, this is like a group
at once to select it. This blue highlights, alright, you can see on that group, now this is another group
with blue highlight. This also is another good
decision on that group. No blue highlights. Then if you come to
your terminate into another group on soon
with blue eyelids, alright, so for example, I was saying you don't
want to see your projects. You put effort into
your timeline, but you want to see more
of your composition. So what you can do over on it until your cost or
changes to this day, you can drag it, select it and drag it to
whatever size you want. In this case, I
don't want to say my projects panel so I can just drag it to Eddie's
might predict Spanish, so you have more space to
view what you're working on. The same thing applies there. Maybe are working
on your timeline and it's beginning
to get to very long. And then there's some
pool. In the first video. You can just select it and
drag it down, drag it. So that's how you increase the size of the panels to
the size of the panel. Want and I want us to
make a man not considered necessary is M for example, this is your timeline
and you want, so maybe you've had a lot of layers and layers on top of it. Then you want to see every single layer
you're working with. Who are you can do is
select that group, is editable blue now and
press your back tick key. Now, if I want to do a Select Same thing
again, I reduce it. I want to expand it
to fill up my screen. A Selima back tick key assumption
as you can do is calm, not the tree length. Now the panel itself, you can just double-click
on it, alright, and expand. The same thing applies
for every other paths. So I can just come
here and click on composition and expands. The interesting thing about these is that you don't have to select the panel before
you can expand it. Once I take my cost or to
whatever panel I want, and I press the backspace key, it expands the panel. Alright, so the
same thing applies, spans the panels
for your project. You don't want to, I mean, you want to see every detail,
you want to see everything. What can we command? Click on it and
inexpensive pan it, right? Because we want less than about. This is after effects come
to the tone default view. This is a default view. This is you view, this is Lin. Okay? As I said, you want,
you want to lend things as introduced
in the first video. The second video that this
is a small screen standard, then you can switch
between orderly as the, what this means is
when you're animating, you're doing animation,
it does it in such a way. They prioritizes some layers
over the other layers. Proteasome they otherwise
your other layers. For example, again, Essential Graphics and I
prioritize is essential graphics or what Yoda panels are then colloid brings
out your effects, controls your Lumetri Scopes. Now, most of this is my seem like you don't understand,
but as we carry on, you get to understand them
than motion tracking. Yeah. It's prioritizes
your tracker then I think I saw yeah. Texts, then you can
work with your texts. So that's the one thing that is beautiful about After
Effects when you can, you can switch between Windows
based on your priorities. But then something you
can also do is if I go to windows as your
workspace and I can select whichever one I want. And then you can also
customize workspace. You can customize
your workspace. For example. Let me close some of these guys. Close some of these guys. Now, I have done it such
that it's only preview dies. Yeah, so what I want to do now is click on Window,
go to Workspace. Then I can save
as new workspace, then save it as whatever
I want to save it as. Alright, so now I have my
new workspace, I want to go, yeah, I can see my new
workspace now as tutorial. Alright, so that's
how you customize your workspace and you do
it to fit your own tastes. So that's that
about the interface and panel of After Effects.
4. Importing Clips: You folk song buck
my default window. So next thing we're going to do, as you have seen from the
title is our two inputs, clips into After Effects. Before you can do anything. Yeah, you'll have
to import clips except you're
working with texts, shapes, and ODA teams you can build from scratch
inside After Effects. So does allow us to import
clips and after effects. And the first and
easiest ways control I. Alright, so you can always
click on Control eye it opens, you explore, you find that, then you can click
on whatever it is. In this case, I'm
inputting an image, the Press open, anything
comes into your software. Now you can see it in
your project panel. I said from the
previous video that your project panel is where all your clips or your project, whatever it is I used to
work in the shows up in, okay, so that's
one way to inputs. I use Control Z to undo. Okay, so another way to
input it by going to File. Then click on Import File. Then you select your
file and click on open. Okay, That's another
way to import it. There are quite a number of options that appear
when you select inputs. But we'll see if we can go to
them later, but don't know. Alright. Now conscious that again, the toddler to import is
by your project panel. Once you double-click on
this point documents, then again, I can click
on inputs and press open. There's another way you can
do it on Windows by those go into your file
explorer, right? I just drag it into
After Effects. The same tin is going to
happen, it's going to input it. But those are the four ways
that I mentioned for now. This is at four ways you can
import clips or whatever it is you want to work on or
width into After Effects.
5. Creating Composition: You folks haven't imported our picture into after effects. The next one I'm going
to do now is out to create a composition. Yet. So before you can
start editing in, After Effects, composition
must be created first. Because the composition, I
will seize all your layers. Your competition determines
the final look of your work, the composition on
determining the length of your work and the
sides of footages, you can input enough torque. So the first way to create a
competition, as you can see, is by selecting on
this new composition. This is new composition
from footage. So once I select this, brings out this option. Alright, so the first scenario, the composition name, can set whatever name
you want it to be. Let me use my name for example. Then you can see the next
thing is you have basic, you have advanced,
you have 2D render. But for now we'll stick with B6, who at once, as we carry on. Now on that basics,
we have presets. Now your preset contains
already specified parameters for you to work with or call it
preserved settings. Now this is the fastest
way to start a project. I mean by just choosing
one over the presets. But as time goes on,
you discovered and need to get more flexible
your settings. These are the presets present. Most times I make use of
HDTV tendency to 9097. You understand what I
mean as we carry on? So yeah. Is your width
and your height. I don't know if you've had
a split tissue before. Again, I'm assuming
we're all newbies. And if the opening this
for the first time, we should see your
lock as Patricia is to see it selected. You ask Patricia is
simply the ratio of the width to height
of your composition. This in fact, is about the most important setting
for your composition. It shows our white
and now you want the composition to
look like, alright. You can see is in px, px stands for pixels. Let's take a break from
the software for now. I'm making a video for YouTube. You probably used in 1920
times 1080 resolution. That is a 16 to
nine aspect ratio. And even McLuhan,
particularly for IGTV, you probably use a
NAT times 1920 years, and that's in night
to 16 aspect ratio. Notice that for resolution, we usually call do with Feste. Back to our favorites. Now watch this. You're 1920
times 1080 resolution. You can see a
showing 16 tonight. Alright? By the time I change it, now, there is a noun duct. This is just clicked before the selected before
is that once you, once you select it and you are altering the
parameter lists, I change it to 1
thousand postal place and Alicia changes
to 1 thousand. Alright, it is changing with respect to these decimal points, your senior decimal
number, your senior. Now explain what
decimal number means. Also, add some trim it back 1920 and give him 192010
to one. Close enough. Okay. 1928. And now you can see
that as I'm Doug Dietz icon, select each one individually, so it's a different
trend is one-to-one thousand. It doesn't affect it. This one doesn't affect this
one that continues to under 500 and it maintains the
same thing and do it. So initially we are
1920 times Tennessee. Okay. I don't know if you
can see these as I'm changing the parameters, as I am changing the
values, it's also changing. Now this is 16 to nine. And I said we can also
have for IGTV or Facebook. And after tenancy 1920, you just go back to in
this form, 16 to 19, 96%, just like
you're flipping it, highlighted where you
owed your phones. If there's any fun to shoot, seem to endure communists. Who the next one is a
pixel aspect ratio. Let's take a break
from After Effects. The pixel aspect ratio with a mathematical way
of showing how the width of the pixel
compared to the eighth pixel. First of all, is the tiniest
books presenting footage. You notice that
sometimes when you zoom in maximally on an image, you start to notice
some square boxes. This is what a pixel is. Now, pixel aspect
ratio is the ratio of the width to height
of this tiny boxes. The most commonly used
pixel aspect ratio is the square pixels. Back to After Effects. As I said, your square pixels is the most common
pixel aspect ratio. These are all die.
Once we have those, show you a picture of
what they look like. Each of them. Okay, So
the next thing now, not always stymied
your frame rate. Now, this is also
very important. Whatever it is you're doing, this is very important. Now listen and I want you
to please pay attention. Alright, the frame rate is the number of
frames in 1 second. If it could also
be referred to as a motion picture that
has pictures in motion. So what this means is that
with a frame rate of 24, now, it's usually shutting
to be FPS frames per second. Favorite of 24 FPS
damage there 24 pictures in every 1 second of video, or at the 20 for moving different pictures in
every 1 second of video. If limit of Teddy, it means the same thing yet, touching moving pictures in every 1 second of
video, alright. You can see that when
we were in 29.97, you can see it shows us drop
frame or non dropped him. I'm going to talk
about is then the next thing we'll talk
about those solution. This is just your
playback resolution. When you're working on your plane to what do
you want it to show? How you want to show in full or half or third of the
original solution. For example, now, the
original resolution is tenant in 1920s. So if you're playing it and
they cut out the resolution, this is what it's going to play as you will notice
the job in quality. So your start time code
now is the time code your timeline indicates as the beginning of the duration
of your composition. We understand this
better as we journey. So we're using
this jacket that's 30 frames per second or two
app-based deaths in now, then your division simply put the duration
of the timeline. Alright, so this first set, now this is L1, is your frame. Remember we're working with
data frames per second. So if I change this to Betsy, you see that Jane is two. Now. Next one, as you
might have assumed, the first one is your frame, the next one is just seconds. Alright? Next one
is your minutes and excellent You are now
there isn't this gene to 1 second when I change it
to DataFrames is because it accounts for the next frame as one secondary ones I
changed to Teddy famous, remember working with
data frames per second. Cheat on DataFrames. Changes to 1 second
automatically. Okay, so now you've
had dropped beats. The seconds to ten seconds. You can tell I'm working
with ten seconds. Then if I change
the next one minute to continue to
one-minute cervical, want me ten seconds. I don't think I've ever done now long projects and After
Effects, what am I doing? What am I doing it for? Next, tinnitus or
background color. Now this is simply, you can see now this
is your background. Once you change the color, I don't think there's
any need to do this, but I usually leave
may not default. That is black. So yeah, that's about all. I want to change it
to 1920 and tenancy. Alright, so we don't have
yet does work with this. Another thing I should mention
is say on this parameter, what I want to go to
the next department, I can just click on Tab and Texas next one you can
click on Tab again, takes it to look, click on Tab, notice to jump from
one side to the other. So that's about
all we ever reach. Eight pixel aspect ratio of frame rates and
then you name, your name is accredit
very important. Now advice for
everything you're doing. Make sure you name
it the right way. You don't get confused when you need to look for something. Or for example, you need to send your project file to
someone else to work with. So it can be easily identified
when a person is working. So I haven't done everything,
you just click on, Okay, this is our composition. Now I think I
should also mention here that since we
have started to work, now I need to save our project. You can be working
on doing the work. And at the end you don't save on something happens to
your system in our set, that can be the easiest way to save is by using Control S. You can save to whatever place
you want in your Explorer or you'll find that and
you can change it to After Effects or whatever it
is you want to change it to. Then click on save,
your work as saved. Now you can see it
here after effects, this is my file location. Conceited after
effects has saved, does that about these
onto the next one.
6. Tool Panel: You folks, before we go into
the After Effects tools, I briefly want to put you two other ways to
create a composition. The short code for creating a composition is by
simply using the Control N. Remember this
options in our previous video. So once you click on Control N, that's going to bring
out this option. Then the next way, which is not the last
bottlenecks or Canada you can do is we are going
to composition and clip, clicking on New composition. Alright, let me show you It's also the same thing as using
Control N or Control N. Of course it's shortcut. Then this little
icon at this site, you can see when
over need a secret, a new composition, once
you click on it also, to create any competition. So competition created
already and it's opened. Yeah. Okay. I didn't mention
something when we're talking about our
panelists and interface. Remember I said this
is a group and this is the one that group where you
see the blue highlights. Alright, so I'm
talking about parity. You can decide to, once you just click on this and drag
it, it's going to move, click on it and dragging,
just going to move my time we start working and they
use them to competition. You will know why this
is also important. This is our composition. And yeah, so simply dragging
our Simply do that again. Select your clip, the clip, the picture we inputted. Then we'll drag it
into the composition. Or another way to simply create a composition by using the footage or by
using the picture, whatever it is you
drag to select it and drag it into this icon. Once you drag it into
the icon equation under competition with the name of that clip, right? Do that again. Let's
tickets and drag it on that icon and create another competition with the name of that clip. Yeah, based on clip again, we can also add clique. Then you see new
composition from selection. And it does the same thing since we already
have inputs here. You can use inputs to you. Let me undo that level
Secretary, David. So now straight to After
Effects, choose r i. So this is your tool panel. Everything you can find
the age of two panels. These are the different
tools that are available in After Effects. Okay, so let's start
with the first one. The first one is
your selection tool, or the selection
tool is used for, is for selecting basically
I simply to select layer. This is our timeline. Now this is the layer
we're working on to select it as easy selection
to select it, or if you want,
select it on your, on your composition, I can
just select a competition. So what it used to do is
to drag and move radicals, drag and move to wherever
you want your LEA to be on. That's if you're working
in multiple layers, then change the numerator. Talk about resolution
that tries look-alike. It's not clear. Once I change the
resolution to food, she's becoming clear now. Okay, so that's what your
selection tool is used for. Can you use Control Z to
undo the chin back to fool? So next tool now is
your tool you'll want to use to drag the
composition panel. Alright, you just
to move to drag and move those old and drag and pan. Panning is the
better word to use, especially if you're
zoomed in them, change it back to
my selection tool. The shortcut is V. Okay, so let me zoom
in on my composition. Let me leave that 5200. Okay, so you want to
see or that size now, if you use a selection tool
among my selection tool, now, once you select it
may look like my look like rather it's
dragging its spanning, but no, it's not punished either shifting the
position of your layer, but that's not what we
are trying to achieve. So what do you do with
that? Let me zoom in again. What do you use your own
tool for his pan to pan. So once you pan, you're moving
from point to point and your competition not like
you're moving the layer itself. Okay, so that's what a
selection tool is useful. Now the next tool, the next two now,
we just zoomed too. So once I post the Zoom
tool, the shortcut is there. I can now select
wherever I want to zoom, select it and he zooms in or out on wherever I want it
to zoom in and out. And this is where the answer
comes into play again. So you can just do
work if you want to. Pay attention to specific
details on your composition. That's what this is for. I change my selection
tool bag is in V, and that fits this
one to comp again. Alright, so what I did, the ideas come and first, you can just come and purse
fit up to 200 per cent. Or you can just select
it and press F, F we take it to fit up to 200 per cent and you pass, okay, I press this, press F and press Enter at this shortcodes when you want to
zoom in or zoom out. In a timeline, you press the
greater than to zoom in, or the greater than symbol
on your keyboard to zoom in and less than symbol on
your keyboard to zoom out. Most keyboards also have
that as full stop and coma. So your full stop to zoom in, to zoom out on a timeline. As you remember again,
those click on it, press F and it fits
your timeline. If it's your competition rather, the beautiful thing
about this is that. When you are working,
you can just decide to assign some shortcuts to some functions
so you don't need to queen long and
it will save you. A lot of times managers go
right at the beginning, but you discover it
saves you a lot of time. So the next tool, or these tools are not elected. They're unable to
select them because they're only for 2D layers. And we can get into td for now. But by time we acclaimed us, put it on this is
to turn a 2D layer. You can see that the
highlighted now so you can work with them
using a 3D layers, but we're not doing
that for now. Okay. Next to laughter, that
is the rotation tool. The shortcut is w. Okay? So once you
click on the View, so that's given us
click on the view, rotation tool is selected and
this is simply to rotate. Rotate your layers not
totally to competition. So you can, depending
on the point you select candidate to rotate,
rotate your layer. Okay, so that's about it. Rotation tool. The
next tool is this, your Pan Behind
anchor point tool. You can call it your pan behind tool or
anchor point tool. What it is, what it
is used to do is simply to alter the anchor
points of your layer. So what are your
anchor point is, is what you want After
Effects to passive as the, as the center of your layer. Okay? So this is where your
anchor point is. Any layer you import, first of all, would take the
center as the anchor points. Okay, so now after
effects passive, the center of this layer where your anchor point is as the center you want
it to account. So if I move my anchor point, remember I said this point in the middle or at
is your anchor point. So if I move my anchor
point to this edge, okay, what's the best way I can explain what your anchor point is is by using the
rotation tool. So I click on W again to rotate. Now it's going to take
along the axis, right? Along that point. Let me change our coupon
back to the center, bothering you rotate it, it's
rotating along the center. Alright, let me move it
somewhere else again. Say I move it to this point. Now I'm going to
rotate it again. You see how it's rotating. Reference to this
point as the center. So that's basically what
your anchor points to, is next to now is your
rectangular shape tool. So I can go to lose
basically used to create shapes onto create
a ship on this, for example, this was selected. Selected. And if I want to create a shape, I'll have to deselect it
or else you do passive. What I want to do as
walking on that layer. And in that case, it
will create a mask, which is not what
I wanted to do. I want to create a shape. So after deselect it and when you're selected on the
layer to deselect it, you either use Control or
Command and select it. Select on the layer and
select outside of the layer. Again, you select
it to deselect it, you use control or
command selects, or once you selected select
outside of the layer, the same thing applies
in your composition. Okay, let me change my selection to lemons,
my selection tool. Now, this layer is
selected, okay, to deselect the Select outside
of competition, right? So, yeah, so it's deselected and I want
to create a shape. This is my ship tools. All I need to do,
just click on it and drag it to
whatever point I want. Ok. Now, this is fill and stroke. So the field is going to
represent the color of your shape inside.
I'm Joe, it down. The field is going
to represent the color of your
shipping side where the stroke is going to send
this choke or at the edges. So yeah, it's two
pixels as well. You can see that the
moment I increase, it just chokes
becomes your stroke becomes bigger and it's white. I have no idea that.
That's why it's white. So I can change it. And changing it is
also changing a tan, a movie so you can see it. So this is your field, right? So this is what you feel is
your stroke the same thing? It changes every time. Okay, so that's what
your Shape Tool is. Now, your shape to them. Delete these by once you select on this and audit for about
two to three seconds, it brings out this
other options. So you can create a
rounded rectangle tool, can create an ellipse tool. You can create a polygon
to I can create a style to suit the same thing and just select whatever
points and then drag it. This is looking at, so let me reduce the
number of pixels to 0, so you just select
it and click on. Okay, another way
to account this is what you want to increase. Something feels like
you're adding to each, just like your x and y as
is on the positive x-axis, you are increasing when it's going towards negative excess is your VDS and you can just
select it with your Android, you sell it and move
towards the right. So once you move
towards the right, it's increasing or going
back towards your left is reducing for everything
that looks like this. Okay, For everything
that looks like this. Also the same thing applies
to your composition settings. Now the circle for this
composition settings is conjugate. That's what I just
pressed, Control K. If you go to your composition, you see the composition settings command key or control key, okay, So the same
thing applies there. Let me unlock this so I
can do it individually. Once you want to
increase the width, for example, you just select it and move it to your right. You want to reduce the
selected a movie to your left, okay, so those cancel so it doesn't affect my composition. So I hope you got that now. So add a lot of chalk with Now reducing it now because
I don't want to see that. Okay, So this is to
create an ellipse tool, then delete this now
and create something else selected for
about two seconds, then create a stamp tool. And the same thing
of course are at. So delete. Now I want to show
you something. Remember I said, say you
own your selection tool. I want to move to your shape
tool shortcut, I said is q. Okay, so once you press Q is going to go
to your stat tool. So press Q again, it's going to go to
your tangled tool. Press Q again, go
under Rectangle Tool, Ellipse tool, the polygon tool, then you start to
see why this is happening is because it's
following this order formula. Start hold your Tango. Tango to your ellipse tool. The polygon tool is
following this order. So the moment you
keep pressing Q, it assumes you want to
change your shape so that, that's about the Ellipse tool next to now is your Pen tool. The Pen tool is simply
used to create shapes. Also, also used
to create shapes. You can see, when I select it, I can see this star that's showing at the
bottom of my costs are. So that's shape. Same thing happens with your rectangle tool to
create a shape. Okay, I remember for every
ship you want to create, your layer needs
to be deselected. I mean, to be deselected
because if it's selected, it's going to also assume
it wants to create a mask. In this case, because
my layer selected, I've created this mask but doesn't know what
I want to select it and delete the mask.
Delete your own mask. Now, as we move further, we are going to understand
what Musk is. Alright, so this time around
I want to create a shape. And what I'll do is just
create random shapes. Those are your points
from 1 to another. And make sure you join
it to the beginning. Or how to create a
complete shipped to the beginning where you
started. Let me do that again. I'm create something different. So lambdas randomly do that. So this is another shape. So your pen tool is to
create random shapes. When I'm talking about
shapes, we'll get to mask. Let's move ahead of myself. The next two now is a text tool. The text tool is simply
for creating texts. To text tool works hand-in-hand
with the character and the paragraph panels are simply
click on my composition. And you see this line that has created because I
clicked on so I can type in whatever text I want. Now I don't know
if you can see it. This is not showing because my text color is this
at the moment, okay? This is not shooting way because my text color is
dissident movement. So to change that, I can simply delete this. And Qin met that our ClinVar, that is to join my text color to Columbia viewed
as black there. When I start typing, you're going to see it better. Okay? So that's that you
can see it better now. So my text tool works hand-in-hand with the character and the paragraph
panel is, right. This is a character panel
and a Paragraph panel. So your character panel, once you have created the texts and you want
to make changes to eat, you have to highlight
the old texts. Lh, like any other
software application is Control E. Okay, so I've selected all my tech. So now After Effects knows I want to work on every part of the text so I can just call me remember to increase
you move to the right, decrease you select and move
to the left as I'm going to increase the pixels that
the size of my text. Now you can see it
as increased, okay? I want to increase
the amount of change. Fonts can just come here and type whatever
font I want to type. Let's say bowed, so
the font changes. Next tool I really mentioned is you get used to eat
is based on preference, based on preferences or
actually you get used to it as you keep working
in After Effects. So there's something else. This is your field. Your field color, just like your shapes when you
have fill and stroke, are actually your texts
also as the same thing. So this is your field color and this is just
chocolate color. So I cannot select my stroke and change it to whatever
color I want to change it to. Let me leave it
as say blue sake, I can see it on my screen. I've changed it to blue
just so you can see two. Let me change this
one to whites. Ok, so the outline is
going to make it distinct. Alright, so this is the blue, you can see is this joke. Why do white inside
is the defeat of your texts limb change
it to something into it. So since the weight is now
more prominent than the blue, what I will do is
this is my stroke. I can use it to set
the stroke width. I can just do an increase it. And the stroke width increases. You have blue eyes, Chuck,
you have read as the field. So that's what this is used for. So again, these are
not that option you can use once
you select this, prioritizes your
field virus took, once you select to Cavafy, but as usual, stroke overfill. Alright, so let me leave
it as filler stroke and I'm not sure I
need to turn this off. You can see this lead
to cancellation here. So once you select your stroke. You can just press cancel. I need to move this
joke once you select your free press Cancel and
if you move the field, but you place it with
the stroke so you can sue both at the
same time, right? So yeah, so that's where
we have totality now. What tests? I think I will leave
you in many options for character with you and them so you can get to explore as you keep practicing. So back to my paragraph now, this is your left align text. Left alignment is the
right alignments. Alright? So this is a center alignment
to center the text. Now what this is, is take a look at this. Let me now I'm done
with typing my text. Okay, what I can do is press Command Enter or Control Enter or Control Shift Z or Control Z to undo and
Contrast Shift Z. To do. So, I wanted to
show you something. Everything is selected. I can either press Control, Enter, or at all. Once I'm done typing other's press Escape and it takes me away
from my text editor, sit down to work on it again. Then that way I can just click, click on eats and it takes
me into my text editor. Remember your text
to is to select it, evasion, your selection tool. If you select it, it's
not going to take you to your text editor onto
you double-click on it. Then to add Zoom, you
want to edit your text, then takes you to
your text tool. Okay, so for every property
you want to work on, you have to use the right tools. There's no bargaining that you have to use the right tools, okay, so I press Escape
or Control Enter again. Now you can see, let me zoom in. That's using your
greater than sign. You can see this
little two dots here. This is looking like for
coordinate point to something. So that's your center alignment. When I use it to
your left align, this is where you add
various aligning it to dispatch the left parts of your texts and
attending to my talent aligning into this
right part of my text. So that's what the
airline tool is used for. Now, once you isn't
my rotation tool. Once I rotate it, it's going to rotate
along that axis, right along that point. Conscious it. Now if I aligned into the center of rotation towards I rotate it, it's going to rotate
along that point, right? So that's just like your
uncle points of the texts. Now, imagine you want to change your anchor point to
the center itself, a key, this is where you do. You press your
anchor point tool, and that's why, okay, then we take that point
and move it to the center. That shortcuts to do this. And I'm not quite sure, comes after it failed, but add to customize
it some communities. But I think because
of the uniqueness of the system I'm
using uncommitted. So that's customize it. And to move your
anchor points to the center of any layer at all. For a window, the
shortcut is Control Alt. Control, Alt, Control Alt own. We move the anchor point to
the center of the layer. For Mac. Now that I'm using
my own shortcut is Command Option on
are actually does move my anchor point to the
center of my layer now, okay, let me fit this to comp. Now my anchor point is at
the center of my layer. Alright, to move it to the
center of my composition. Listen, You're okay, I'm going to show you,
rather than to kids, I would actually
change it back to my selection tool because
I prefer to do that now, man coupon that
center of my layer. Now to move my layer to the
center of my composition, the shortcut is on Windows, it's Control Room, one, Mac, it's Control command. So it has moved my layer to the center of my
composition, right? So the team is what I wanted
to say that I am is it takes the anchor point of the layer as the reference to position it to the center of
your composition. For example, let's say my anchor point is
that this edge, right? So if I press Control Home now, it's going to take it to the center of my composition relative to the
center of my layer. This is assuming this is the
center of my layer, right? So if I use the shortcut
Control or Command Option Home, now it moves back to
the center of my layer. Alright, so now we want to
use Control or Command on it, moves it back with the
center of my composition based on the reference points at the center of
my layer, right? It's the other way to do this. I'm quickly show you that. I do not have the
panel open here, but you remember from the previous lesson you
want to open the panel, you go to Windows
and select Align. Align tool is showing
this on that too. I walk through the text tool. Quite alright. So let me move. Yeah, I'm using my Selection tool and that's why I can move, let me move my text here. This is your different kind
of ways you can align. This is a left, right
or left alignment, is aligned horizontally
or vertically. Aligned horizontally. It's going to bring
it to this point. Okay. That's based on the position
you were initially. If I press it is going to
bring me to that point, then this is right
aligned and this is your top line two is going
to take it to the top. Then this is your
vertical aligned, right? So it's going to take it to the middle of your composition. So most times when you want to move it to the center of
your composition again, you need to do is press
your resume into a line, then your vertical aligned, and it's going to move
it to the center of the conclusion no matter what. Layer it is our candidate. Alright, so this was not
opened before I had to open. Show you that. Okay. That's that on text to a lot of other things you
can do with text to you can animate the text, you can add, meet
with ship tools and lots of other things. But to pay attention
to the details later, I don't want to introduce
you to the tools panel. Now, the next two now
use your pen tool. This is a paint to
your brush tool. And the shortcut is
Command V or Control B. So what's your paint
tool is used for is basically to paint a
layer and paint a layer. Let me show you, let
me show you other than talky lemon deleted texts layer. Alright, so the brush
tool is selected now, but once you select, you discover it's showing us your selection
tool and say Here, use the paint, brush and
find a new layer panel. And with these tools, double-click the layer to
open it in the layer panel. Okay, So remember this is
your composition, alright, so this is your composition
open on your timeline. So to use our brush tool, now, you can use it in
your composition. You have to use it on
that layer itself. So you have to open up that layer and what is
called the layer panel. So to open up any
layer and layer panel, right, all you do is
double-click on that layer. It's allows you to edit
the layer itself, okay? So to edit the layer itself, all you need to do is select it. Now this is showing
you it because in my paint panel I have read as the options are
going to change it to white. Let's say I want to erase the text IF and
change it to white. So now I can increase
the size of my brush. It's look into tiny. I can increase the size
of my brush to see you. So I selected the
milliliters Sixty-five. Now you see how
big it has become. So once I start going this way, it's going to change. It's going to erase everything. So that's where
your brush tool is, just like painting,
painting of something. So every part of
Delhi and now has created it because I
using the brush tool, it has created it as an effect. Wants to go back to
your composition. You can see the same
thing has happened, but you wouldn't notice
anything passing on the layer in your timeline. Okay. But as created it as an effect because you
push tool is unaffected, your pin tool is an effect. To turn this off. Now, you see that we
see something new. I don't know if you paid
attention before this is fx. So once you want to turn it off, Candace, select it
to turn it off. Turn it back on. If you want to delete it,
maybe you made a mistake, you don't want
that again, select the effect and press
the Delete key. Okay, so now we're back to eat and we don't have
our FX selected again, that's what a brush
tool is used for. The 17. Which other tools? This is your clone stamp tool. This is r2. This is a user to the same
thing up on this one. To work on it, you
have to select your layer and do
the same thing. Now, I'm going to increase my brush size to
six to five again, and this time I'm not
painting, you're erasing. I remember there's basically
nothing behind it. So once I raise in it, it's empty and it's
showing this way, showing us Blackboard,
There's no black. And now once you want
to see the two color, you select this
transparency grid, okay, so it shows that
there's nothing behind it. Now this is the pixels
that I was talking about in pixel aspect ratio, talking about your
competition and trying to introduce
you to competition. But something has happened yet. It has seen it as an
effect, your paint effects. So you want to want
to do is turn it off. If you don't want to
use it to turn it over, to turn back on. The same team. Does delete that. So you guys haven't dealt
with the eraser tool. Let's go with x cubed, the clone stamp tool here, and that's Command B is
also command before, is that once you are moving
between the brush tool, the clone stamp tool
and the eraser tool. You just keep doing Command B. Now we are on the
clone stamp tool. And what this is
used for simple. It's also used to edit
the layer itself or not, the layer in your composition. Alright, so to edit
the layer itself, even do it later shows as effects on your layer
because this is what I mean. Okay, I said again, you
need to do is double-click on your layer to open it up. Okay, so we'll clone stamp
tool is basically to clone. You select a part of
the layer you want to clone and then
you transfer it to another pads on that layer does not the best
picture to use, it's not the best clip trees,
but we'll work with this. So once you want to select
a particular layer, in particular parts
of the layer, that means my unto them
contribute my clone stamp tool. You press Alt. Okay, Then you owed maybe you
just sort of copy, kind of tell the software what parts of that clip
you want to copy, right? So I've had odds down
and I've copied apart. So we now come to wherever
you want to transfer it to a, you just select the path. Okay, so now you have cloned a from this part to this part. I said this is not
the best example is not the best kind
of picture to use because she's a text layer and just send type and
other texts here. I hope you understand
what I mean. Emc, EMI do this now. My clone stamp tool. Let me clone this
little circle here. What I would use ODE. Alt. Copy it. Now let me clone it to this paths. I've cloned it here. Alright, so that's
what it means. That's what the Clone
Stamp tool does. Okay. I hope you understand. I wish I had a better
example so you understand, I didn't have the
full picture ready, so maneuver to work with
that, but let's move on. The next tool is otoscope
chewed as you go to Brush tool. So what would the scope is? We're going to dive
into that better later. But let me show you what it is. Let me delete. The clone stamp tool is your paint is your
effect controls panel ear pain to those deleted and has
deleted the effects. Okay. So I said you can
either deselect it or select an
effect and delete it, or you can just go to your
effect controls panel and delete it. And the same effects switched off and on is also present
in effect controls panel. So let me delete it here. So to scope tonight, otoscope tool is
not going to be, this is going to be Command V, Command B. Alright, so this is the otoscope to n
shortcut is Alt W. So what it does is to take
a path out of your layer, Malek to Moscow to crop
it part of your layer. For this one I have something
we can use them in part. It isn't come to I. So I have this picture
of this beautiful lady. Drag it into a new composition, so that's all good competition. Yeah. So what are the
scope to lease is to mask or basically to COP. Again. To work on this layer, we have to double-click on
Layer using otoscopy tool also should not be sharing. Yeah, This is Lee and I will select a layer
and we're insulative. So simply press auto,
select otoscope tool. Now, this green
dots you are seeing here is just like
your brush tool. This time around
you're not painting. Okay. So let me conscious it. It's a different thing
that showed up there now. But then let me show you
my otoscope to let me increase the size of my brush. So I'll go to brushes. Otoscope to MOOCs. Night scene does increased. Let me change it to 65. Can see it has increased again. I'm Nicholas, something
bigger if you wanted to, and I see it as increased again, but this time it's
following the pattern. But that's not the best
way to get it done. Okay? So the best way to
get it done is hold Command or Control and drag. You'll select your trackpad,
that's your mouse, and drag it up to increase it or select it and
drag it down to reduce it. So once I increasingly, you're increasing the
range at which it can Bosch, atresia can paint. It can select once you with
digital, I didn't do it. Okay, So this amount, I increase it now once I start selecting my paints
As become bigger. So let me show you what
otoscope to Lizzie's tool. You can select whatever
parts you want. And it tells the software that this is the only part
you want to crop out. Okay, so now it has assumed that's because
I've already selected you want to crop out from
our head to assure that all these paths
that is highlighted. So that's what
otoscope to lease. Then if I want to
select other paths, I can do the same
thing does dragging down the selected other paths. So the otoscope tool
is the most effective when there's the high
contrast between your foreground and
your background. What you want to select. What's
your deselecting, right? So you can see now because
our skin is black, right? Then the background is white. It selects its perfectly, okay, because that's
high contrast already. So let's say I want to
select the All over. W can just do the same thing, then leave After
Effects to carry on, and then deal with whatever
it needs to do is you can see now that it's because of the
dark side on the wall here. It's also including the part. So again, I'm going to put
you through the process here. I'll zoom in on those
and only roughly Select, go to our body and
select and select it to, to do quick of work here. And then again, I'm
just mentioned. This is someone's
mentioned again that I'm using
After Effects 2022. Okay. I think from 2020 upwards com comes with an upgraded
version of waterborne. So that's why you have
VTA and division. It is auto boss to
most After Effects, especially I think 2019
I was in 2019 before 2019 downward comes
with water brush one. So what about these
more advanced? And it has beta ai to
track whatever IT, especially when you're dealing. Moving footage, alright, so
you can select the same thing and courthouse and moving
footage from the background. That's the beautiful
thing about this. Okay, So I said You
selected the layer. Now, I have to do this again, but this time around it's not covering the bag on and you want to deselect it selected. So it's Alexa path, you
want to deselect it. What you do is you hold
Alt or Option down. Remember it was green before, but once you hold Alt down, changes to it so you can select the parts that you
don't want to deselect it. That's clear. So I don't want this part again, I hold Alt or Option down and I select that
path to deselect it. Now, I want this part,
okay, That's not gone. I'm just quickly do it to that. So now I want this part. What I do is I select it. And I have a path selected. Then the same thing, yeah, selected and I have
this path selected. So that's what your
toolbox tool is used for. This will serve
as the foundation for what we're going to do. Get to do it to scoping
lecture proper. Okay, so that's that
about YouTubers too. So now let's go back
to my backseat key. Let's go back to our
ordering a competition. So last two little puppet tool. I think I'm still going to use this beautiful ladies picture. Where does the
late effects later defects are not
supposed to be empty. Now what this is is the
best way to explain it. Ads. This is your puppet, Puppet Position Pin Tool. So what it does is
just like you **** it, it adds lap joints
to your picture that you can use to manipulate
what the picture looks like. Okay, let me explain well, using the otoscope tool
and your puppet tool. So I'm going to select it
and quickly get this done. So don't waste time
automobile been doing this. Now, this is your layer. Once I go back now and go
back to my composition, this is what it
looks like, okay? So now this is empty
background, as I've showed you. I showed you earlier
this empty background and this is what it
looks like here. So I'm just bringing
the white background. So now I'm going to
drop the solid on that. So don't worry about this
when we, when we advance, when we keep going, I'm going
to put this tins am doing. Lemon tree will show you how
to do that without talking. So my Puppet Tool now
is going to create points on my layer. In this case, it's
this beautiful lady. I'm black, so I
love black ladies. Okay, so now if we waited
about 78 points on this lady, what I said it does is it
sort of creates joints. Joints are and where you create your puppet tool such
that when you move. So let me create
another point here. It doesn't affect it too much, such that when you
move that point, you can see what
it's looking like. So you can use
this boot paid to, to create beautiful effects. Can you see what I was
looking so good before? And then looking at mess it up. This way. Pupae tool is looking like
it doesn't have any use. It's looking like it's
damages since boats, you can use it to actually
do beautiful things. I use it to animate to the
characters in After Effects, the ones I turn it off while
he was looked like before. So it's looking like
now. So that was a puppet tool is used for, okay. So that's about all when
it comes to your tools. Okay. So again, as I said, if there are any questions, please make sure to
ask in the community and I'll make sure to
respond as soon as I can. I hope we all understood this, but if there's any part you
don't understand, definitely, you can go to the videos again to make sure
you don't miss out on any part of that will
be all onto the next one.
7. Transform Properties: Hey guys, welcome to this
next one difference. You don't take so much time. And then I hope so far you've
been able to follow up. It's as easy as we
want it to be for you. Okay, Remember the goal
is to make sure everyone and anyone who's
interested in this, interested, very important,
is able to follow it. Next we're going to be
doing, as you have seen, is layer or transform
properties. Now, this is the deal. Every layer in After Effects
as default properties, just like your phone, say, you have your charging port, your symmetry speaker, or my connection to
every layer NFL effect. As a default properties,
properties are applied. Lambdas go default composition. Now to read the properties
of the layer, alright? So you just click on
this, go to Transform. Then you see these decided
default properties of every layer. Every layer can either
be 2D or 3D, okay? But then the only
difference between 2D and 3D layers is
that for 2D layer, you have just your
x and your y acids. You can see this is
your x-axis and y-axis. I already taught you how to. By clicking and
dragging to the right, increasing clicking and
dragging to the left, you're using like a tangled
I already did that. Okay, so now the only
difference is that for 2D layers you have
just an x and y as before, the 2D layers, it includes
the zed, zed plane. Okay? Yeah, that's the
only difference. That's the only difference. So for every layer
that true or to delay at the AV these
properties by default. Now when you add defects or
do some other basic things, now you can include
multiple parties to this effect, but by default, these are the properties of
every layer you anchor point, position, scale,
rotation, new PCT. What are you talking
about? Anchor point using the anchor
point to the left. Now talk about, talked
about position. Yet I'm talking about your scale and rotation and opacity. I'm going to drag it
from the composition. Now you can see
how your position changes as I'm dragging
it on the competition, as I'm dragging the layer, that's what your position is. Now your position is relative
to the anchor point. The position is relative
to the anchor point. Now listen, you
anchor point is at the center of your composition. Now you can see
this is 1965496542. So you can take the anchor point is at the center of competition. How do you know that? If I use Control K to go to
my composition settings, which is 1920 pixels, you actually stereotypic
says, alright. If we divide 1920 by
touchscreens given nice, then tenancy by just
going to give you 540. Okay, so let me show you what it is now the assumption that
you can do in a composition. Where is it? Let's select these
and click on rulers. Or simply do. I simply do Control R is
going to bring our regulars. Now, this is the beginning of your composition and this is, you can see it is though. Okay? Then moving on to this side
by working with 1920s, okay? So your width, so this
point is going to be 1920, then your symptom pattern
from 0 to Tennessee. Let me, let me zoom in on my composition so
you can see this, this is 1050, then this is 1100. And you can see this is
definitely Tennessee. Alright, I'll be sure about
that even if you can see. So now talking
about anchor point, I told you is at
the center, okay? So if you trace it to this, now let me drag my ruler
and move it to the center. The center discovered
that this is nice, 60. And if you select here
and drag it again, this is definitely 540. If I got the exact point that your anchor point is at the
center and your position, position is referenced here
is relative to the center, relative to the anchor points. Okay, so let me move doulas. So you can see this beta now
isn't my anchor point tool. If I watch these as
I'm dragging it, as I'm dragging
the anchor points, watch your transform properties. So if I select my anchor
points and I'm moving it, It's moving the position and anchor point and
moving together. Now, if I move it to this edge, is lambdas, change it to 0. Okay? Then I'll change
the position to the zoo. Okay? So now this is assuming this
is the center of the layer. Now your position is relative
to eat though is okay. Okay, let me, let me
not change it now. I don't know if you
saw what happened. Let me zoom in so
you can see, well, now this is your
anchor point sheet. It's at the beginning of
the composition itself. Is though. Okay, now, it's saying
being amygdala again, since we have assumed that the anchor point is at the
beginning of the competition. Now, the position of delay
I'd save new relative to the anchor point is this
where it's starting. And this is where it
starts and this is about from here we can
see the ice is 14.5. Where is it? About this 20, okay. So though, just about
calculating it. So we have four. Therefore spaces in-between now after intensity difference, so that's about
five for each one. So this is a museum in more
well phi for each 1510, then it's not entirely on 15th of the month
five definitely. That wasn't necessarily
want to show you them. 12.5 is in the same thing, okay? So for every position of every layer is always
relative to the anchor point, such that if we decide to
change the anchor point, the position of
the anchor point, the position of the layer
is going to be affected. Okay, so that's about, I hope you understand
that as we go on and get more
familiar with it. Our next property I've
mentioned that cut points and position at the same time. So you get to understand both
of them work hand-in-hand. Same thing with skin. So everything, your
position, your skill, your attention works in reference to your anchor points among components in the center. How do we see we aligned
into the center? The shortcut is Control
or Command option, right? So that's that now it's
centralized through next week. Properties scale,
talking about scaling. We talked about that. I'm
quite sure about that. Okay, so simple ways to scale. You can just select a new layer. You see these
boxes, edges, okay? So now I can select
it and drag it. Drag it or any point, just select it and
drag it as candidates, how much you want, okay, but now you can see
that I am scaling. It's getting distorted, like
it's not scaling evenly. I don't know if it's
making sense already. Remember, we talked about this
when we look at Patricia, Azure increasingly won, the
order is increasing, okay? But when you are lucky, you can increase them independently. So that's what this is about. Now if you look at your scale, we have your x and
you have your y. Already said is your x as
is your wireless. Alright? So we have two x and
you have your Y, and you can see it's
logged dissemination. This means lock aspect ratio. You can see it's locked. So when I'm increasing x,
I'm Kristen, why you add? I can see x is also
increasing at the same rate. Alright? So, same thing, if I increase x, y is also increasing now
because this is locked. Now if you unlock it and I won't look it is by
selecting it and that. So I select deselect. So that's all. Now
it's unlocked. So I can increase
x independently and I increase y independently. Now what this does is it
totally distorts your image, but that's why this was
also distorting my image. But if you want to
increase it this way, the best thing you can
do is hold shift down, then select, select face, then o shifted down, so it increases
at the same rate. So you can also look at your
scale, the x and y-axis. Now it's increasing
at the same rate, the metal movement
from shifts is getting distorted again
knife as Lexi shift, it goes back to the
same proportion. So now for every walk you do, no matter what, it's easier. As always, make sure you're
increasing at the same rate and simple partial second-order
lock my scale proportion. So I say it increases
at a similar, It's not an exciting
job rotation. You're talking about scale. Yeah, let me explain
using your anchor points. So if my anchor point
is EA, for example, at am I scale it up, it's increasingly reference
to that anchor point here. Remember, initially,
when we scale it up, it's treating this
point at the center. So it's scaling save, taking that point as reference. Alright, so now if I change it to this point now
and then increase it, dragging and pressing shift is taking that point as
the center light. So as I already said, your position, scale and rotation works reference
to the anchor point. Alright, so next
integer tissue notation is basically rotating. We'll talk about
through the shortcut is w. Now you can just select
it, rotated, right? So you can see that
rotation exchange. Now if you don't want
to work with that, back to my selection tool, can increase it again and then reduce it wasn't
negative as well. Actually, there's one thing
that I should explain about these degrees from 0 to 60. Alright, so once you get to 260, the next thing is it's
going to have Zoom yeah, rotating more than once, right? So that's why we have
the x and 0 times. So it's going to increase, it changes to two
and so on Earth. But that's what the rotation is, that if you don't want to
use a rotation through that, w can also use that to
rotate as you want. Now, why we use these twos
is because you don't exactly know the Amato to show you one. So instead of having to move from year to year and adjusting, you can just use
your eye to look at it and, you know, amateur, you want it to be easier to
use the rotation tool, right? So that's, that's about to show next and
the capacity here, because it basically
is our opaque you want your layer to look like. So it goes from 0
to a 100%, okay? So if you want it at 0, it's going to look less opaque than increasing shows totally. So that's what your
tool is just for. That's basically all when
it comes to 2D layer, relatively delay at do
you turn your layer to layer by simply
clicking this? You can see this is
like three-dimension. From the box it says
so tidily I love this layer to manipulate
it in three dimensions. So once you select this, it's going to turn to
a 2D layer deselect. You can see the change
already included the that axis and
this axis here. And for your ski does the
same thing for rotation. Now it gives me more options for your rotation here
you have x, y, and z, then x, y, and z. In this orientation.
This is the rotation. Okay, So should we
play with this a little bit now you
can see these also. You always see these in them. Based on the year of After
Effects I using anyways. So yeah, I can rotate or I can move my position on z-space. Now you can see this
is your, is your y. This is your y here, this is your x and this is Z. Z is either moving
forward in this space, are moving by coordinate
z space, right? If I do this, move it
forward, the message space. Then move it back, quote
them as it swings are based on your system
specification and this might not want to talk
with you a little bit. So that's what your
space is useful for ways that extra
two-dimension. Yeah, That's occurs when
working with anchor points. Now let me change
it to for position. Does the same thing
for your scale, does the same thing
for what it is. It's based on backorder
is experience now unread. Okay, So, um, foreign tissue and this is what x is
or why this or that. So depending on
what it is you're doing, you can play with it. Sometimes you don't exactly
have an idea of what it is. You want an a you want it to look so you
can play with it. But I tell you my strategy, be able to tell, I want
you to look at it. This is what it looks like. It's looking beautiful loyalty. Then for your negative going towards the
negative rotation. So it's going to keep
rotating that remember, everything goes from 0 to
t, six degrees exhortation. That's for your x, just so
you know what it looks like. But based on preferences, I'm not particularly
doing anything now, so you can play with
it based on what you want to use it for. The basic, I would
do the same thing, your intuition and
your rotation, right? So say your y rotation, moving this way is what's
going to look like, then you're white
or antigens on XYZ, if I move this root is
always going to look like, but the basic idea
is the same thing. So that's data about
your routine dimensions, working in two dimensions
in After Effects. Don't worry about it. Just further complicated things, not that difficult of
layers. You can have. A clip, for example,
is a picture. So you can have
orderly as you can have when you want
to check your layer. So it doesn't add, click on
this piece and go to New. And you can see these are all the kind of layers you can have. Texts, solid lights, camera dislikes on camera works
with TV dimension there. So if you don't have a
three-dimensional layer or if you don't activate it three-dimension space
with the switch or you wouldn't be able to
make user relies on camera. This is your null object is a Shape Layer Adjustment Layer, Content Aware Fill layer. This will get more
complicated matter Photoshop, of course then
there's Cinema 4D. This is like a 3D
software that has been integrated and half-life
looks like kind of layers. You can have everything really
solidly in, for example, now when you want to
import this solid layer, the shortcut is Control
Y or Control Y, then you have this option. You can set the dimensions you want symptom that looks
like Composition Settings, this at Lockheed
or open utopian, you need pixels and aspect
ratio talked about that. Then it wants to make
it your Comp Size. Candace, select
these antifreeze in your comp and you can
select the color to. That's why I said
someday I don't, I don't usually bought that. And I am my composition
settings about this because I'm bringing a solid layer and change the color and work with that
as the background. So suddenly I also
asked the same thing. I'm copying the producer
on this negativity layer. Click on 3D is going to change. So 2D layers now, now this transform
properties have shortcodes. Anchor point, position,
scale, rotation and opacity. Alright, so for
your anchor point, the shortcut is a
one-stop place, is going to bring up
the anchor points. For your position, shortcut
is P, for your rotation. Shortcut is alpha scale, shortcut is S. And for your obesity the
shortcut is T. So say you own position and you want to open your obesity simultaneously shuttle do open together. You just hold, Shift and press
T to open them together. Now you want to add rotation
property hold Shift and press R. We want to
add your anchor points, or what's nice is your
scale or Shift and press buttons shows
together, right? So that's how you
deal with opening to transform properties at once. It took me awhile to notice. Right? So before if I want to do that, I would just press
P or I have to go, go through this point. But then from learning
languages capillary, you could do that because that's how you
deal with opening. The same thing applies. A P4 rotation for position, scale, rotation T for opacity. Okay, that's that about this. Now you Leah as
different options here. Now this stuff you
see a skeleton. What it's used for is
to hide the layer. Once you select it, you can see that it feels
like something is all-black, the or something is out. Then also select it's
going to go inside. The college shy hides layer in ten minutes,
which is to add the layer. Now, the reason
this is showing is because I use these
two activities. Alright, so once I selected,
my layer disappears. So you can see
what Genova on it, actually as far as the
size which is set. So as select my side switch then I did all my layers kits. Now I eat is majorly when I'm working with a lot of
layers and it's looking at my timeline is becoming
too cumbersome jam pack. Once I'm done with the paths, I can just add the layer
and we're good to go. All right, so this is
your locking layer. When you want to lock the
layer, you just select this. And what this does
is you can move the layer on your
timeline again. Alright? You can move the layer now, then bring this up and lock it. So maybe I've done something, I don't want to make a mistake. Sam, selection and
there's no selection. So I've logged into
my composition and I can move it anymore. But that's why you're locked
layer is used for, okay. Next one is this. This point is when
you select it, It's going to solo that layer. When you mean Zulu, that will be the only
thing you can see. The black background,
remember is just like base is normally empty. So that's what you're
solo Leah is used for. Then this one is to add a layer of ice which
wants to select it. The layout is going to
dissipate this different from deleting these
different form I didn't eat. Remember when I select this and appreciate you can see it
on your timeline again. Tomorrow. You are going
to sit on your timeline, but you'll see the
composition, okay, So once I selected, it's
showing now my competition. That's where the ice, which
is used for ads video, even for competitions is, aids, aids it from your competition, but you can see its timeline, but this one does what it
adds layer in your timeline. Okay, that's, that. Then this is your motion blow. These are just mentally, there's another kind of
layer. You can query it. Another way to do this, instead of right-clicking coming year is by going to composition. By going to Layer, then New, then you can select it
mothership shortcuts. So maybe that's why I didn't remember that. Adjustment layer. The shortcut is
Control or twice. Once you do that, you
create an adjustment layer. Now, any layer that appears with this icon is an
adjustment layer. So basically you can turn any layer to an
adjustment layer. If I select this, it's going to treat it
like an adjustment layer. Damaged anosmia is Leah you can use that won't show
on your composition, but you can use it to correct some things
that are composition. Okay? For example, you want to add the color grid to your footage. What's normally won't show. Like it's basically empty, but you can use it to effect a change to
your competition. So that's what
analysts may liaise. Now I've turned
this solid layer, this layer adjustment layer, because I selected that
does mainly as well. So once you click
on it and see I just mentally effects
applied to this layer, applied to the composite
of layers below it. Okay? If I apply an
effect on this layer, it's going to affect
all the select this. Again, if I apply an
effect on this layer is going to affect all
the layers below it. Okay, So if my red
solid layers on top of it definitely
won't be affected. But I don't know
if that's clear, but should be clear enough. And that kind of
layer you can create this lesson out is
your known objects. Null object. It's as simple as this. This is what it looks
like now basic ion, all of that is just to animate
our track points are at. So to make this easier, sometimes you can animate
your null objects, then attach several ear
so your null objects. If that makes sense, you can
animate your null objects, a plan, an animation, it's tracking your knowledge, then attach or
deadly as you want to follow your null objects. We will now load
that is used for basically your
knowledge like empty. So it doesn't have anything, doesn't perform a noodle on
the competition in itself. But for other layers, can perform quite a number
of rules or add to that. Null object is a
book about or does, as we carry on, don't be
too fast. Let me jump. Disciplines talk about
transform for but as potassium mentioned
that understand or I, so that's that about this one. I will begin. Sure.
You understood. And as I always say, if
there are any questions, please make sure you ask and I'll try to respond
as soon as I can. Thank you for listening
onto the next one.
8. Keyframe Animation - The Pawn: How is the going guys chose
to bring fallen so far? Please, if you have any
questions or observations, corrections, or how I
can make this better. Don't hesitate to
mention, let's get this. Remember I said in the
introduction to this course that After Effects is not
optimized for video editing. Yes, After Effects as unchanged. And one of them is
keyframing, an animation. Cool After Effects,
a chase game. It has different players, the market as powerful as it is. Now refer to keyframe, an admission as the pond. And mission is simply altering the properties of
layout respect to time. This can only be achieved
to keyframe animation. Simply put keyframing. Now you can animate it the
properties of any Leah and also animate the
properties of an effect. Let's start position
and emission. As LES said, every
layer by default as its own properties and you
can animate each of them. In our previous
lecture, we discussed the type of layers you can have. And I mentioned null objects, solid layer, adjustment
layer and all that. But for beginning
of this lecture, let's stick with what
we inputted, our clip. Okay? I'm going to
change it won't be nativity layer all
fitted to come. How I did that was common to
all F or Command Option F. But now on to reduce the size
so we can animate as you do the size,
something like this. Okay? So I said you can
admit every property, all our default transform
poverty for every layer here. So we have our anchor point, position, scale,
rotation and opacity. So this is how you
animate in After Effects. I say something like
keyframing and then also said, animation is the altering of the position or
the properties, a layer of relatives
with respect to time. So this is what you do. You see these icons that
look like stopwatch, you began your properties. Okay, Now this is what
you use to animate, as you can see, it says temporary stopwords
toggled liability of poverty to change over time. So this is out is, once you click on it, you see it changes from
its color to blue. And has also created
this diamond. Here. If you zoom in on your timeline
that's created them live, we'd see them on the I don't know if you
understand what I did. All I did was just selected the stopwatch
that's created them on the dash changed
to blue indigo, so created the ammonia. Okay, That's all
you need to use. That's all you need to
activate to animate. So first of all, let's start
with our middle position. We just clip that we have. So I'm going to, since I've
selected this Yvonne to come through all my
points that I've created, all my keyframes
that are created. All I need to do the
selected back I need to do is everything can see that
change the default color. We don't have DECA again, and the diamond is over
from this end too. So now I just want to animate
our pollution to you see, does to this example,
this pattern, because it's going to be
quite long because this is one of the basic tunes
variables is continuing to know nafta effects before getting into the
more complex things. So I want to admit our position. Remember our pollution is
incentive to competition. That's why we have
it as a nice 6540. And all I did again was created a keyframe using the
stopwatch selected. It's going to create
a keyframe for you. Now, you watch this
side of the screen. If I go to 1 second, for example, you can
see a data stopped. It was blue initially
because I was only point that add a keyframe. I was on this point and this
point add the keyframe. So that's why it's
now if I go to another part of the competition that doesn't have a keyframe. Here, you can see it has gone. So if I select this place
again, M do that again. If I select this, it's going to create
another keyframe. Here. It's going to create
a keyframe here. I don't know if
you understand it. Now, because I have
a keyframe here, we have that blue
selected WL at it again. So if I go to another
point of the keyframe, you can see it's gone. So you've selected again, it's going to create
another keyframe. Now you see this two hours. If I select this, it's going to go to
the previous keyframe. Selected. It's going to go
to the previous keyframe. Then if I select it forward, it's going to go to
the next keyframe and the same thing
next keyframe. So these are the
basics of animation. Again to make your work easier. Now, if I move on to this point, instead of oven to
come here to select k, since I know ****, animate my position, all
I need to do is. Say the shortcut for activating the transform property
of four position is P, or I need to do is Alt P. And it's going to create
a keyframe on its own, or Option P or Q, then P, k, the keyframe. So that's what those are the shortcuts that
will make your work faster because key-frame, key-frame animation
can be very tedious. I want to lie to you. Can very tedious depending on what
it is you want to do. Now I'll just teaching you
how to create keyframes. Let me delete all of this
now start animating. I remember when I said admission is changing the properties
of a layer respect to time. Now for this clip,
want to change the position of this clip
with respect to time, such that as we're moving
from 1 second to another, as time passes, the position
of this is changing, okay, initially
is at the center. So I am going to go, I zoomed in on my timeline. That's why you can see these. Remember from the
first, second lecture, you talked about
your frame rates. This is also important in
animation who are dealing with frame rate of 30
frames per second. Yeah, this is phi. This is good. I'm zoomed out on my terminal so we have 5101520. If I zoom in on my
timeline becomes wider to a competitor,
go into more detail. Now, 5101520, Now
we have 246 rides. Samson again, if I zoom
in on my terminal again, we have one to two so I can
pass it on to more details. In this case, we could
not exactly C wants to start guessing that
one will be in the middle of 0 onto
this time around, we can see that we own one year or I should
simply by zooming again. Sonata one, catchy, wow, dealing with data
frames per seconds. So between 01, definitely
rough DataFrames, but the center will
give us 15 frames. So let me animate our power. 1 second or telemetry
and pollution. I want to change every second. Okay, So now I am on 1 second. Now, all I need to do is I
just need to move my layer. I mean, yes, move my layer, then it's going to
automatically create a keyframe on its own
based on non-movement, I've moved to the layer that has created a
keyframe on its own. Alright, so now at 1 second, it's going to reach the
point I want you to get to. Okay? So let me just
move you to the edge. Doesn't have to be
perfect. This is, we'll get more complex is literally move to the
edge it's going to create is going to reach the
point I wanted to touch 1 second or two
seconds. This is two seconds. Okay. Say I want it to
Call me up to this point. Yeah. So a 2 second is going to reach this point at three seconds. I want you to move back down to seconds is
going to get here. Yeah, at four seconds, remember to creating keyframes on its own at the foot circle. And I want you to get here. Then five seconds, I want you
to come back to this point. Okay? So that's that. Now, if I'm going to pledge to go back to the beginning
of the timeline, then press play space-bar. This is what it's
going to look like. So what's it doing? We're from the same tie
to the top at 1 second. Then this added onto by three, then four, then five. Okay, so that's what
animation is basically, well, I shouldn't use
this one to create. I want us to work on something. So as I'm working on it, I'm going to be
explaining that way. So in that case,
I'm going to create a new composition control N
here I'm going to call it. This is what I do when I'm
teaching people because I know this can be a
little bit complex. So I'm going to create a
deviation of thirty-seconds. Let's change it to 30 seconds. This is my second in my frame, second minute and
as I mentioned, change it to ten seconds. Okay, So I'm working
with 30 seconds now our timeline is
from 0 to Theta. But first I'm going to do
is to create a solid layer. I said we can do that
by using new solid. We're going to do Control Y. I'm going to change it to white. White background or white, the feel of our solid
layer to white. Then next I'm going
to do is create shapes using the shape
tool or simply put q. Then I'm going to change
the fill to black. I'm going to make this
product available. When we're done, I'll export it, I'll make it available.
Zones are working. This is going to be
our first project three you can follow
as you're working. So I'm going to create my shape isn't black and no stroke, black fill and no stroke. So what I want, my shapes look like the anchor
point to the center, going to manually position
it with my selection tool. Okay, now we have one shape. I've positioned the delay,
I'm going to select the ship. Yeah, I'm going to
select my shape layer. I'm going to duplicate its surviving to create
random shapes. I mean, most people
get it and shortcut, which is Control D. I'm going to send it. I'm going to do this, change the position up. Killing me. Move this
a little bit forward. Then I'm going to
Control D again. Make this, this way.
Then Control D. I'm going to increase the scale. You see what I'm doing? I'm
doing it is not increasing. Thus increasing on the y-axis. I'm going to position this year. Then I duplicate it again. I'm going to position this here. Okay? So this is what we have. We have five plus five shapes and delivered from
one to five lambdas, keep them in order. 12345. Now next thing I'm going
to do is to create a ball using my ellipse tool. Or even by also said, if I have, if seems like
I'm repeating things. So we as I'm walking in with remember we can recollect
because I'm forgetting. Remember I said,
when you're on cue, you can press Q to change the shape option, press Q again. And now I'm on my ellipse tool and I'm going to
select the field when to change the fill
to say blue is blue. Now I'm going to just
drag it all shifted down to create a perfect circle that wanted to change the
anchor point to the center with Control Alt. I'm not sure. Points at the center
contoured F. That's that. Now I'm going to name my shape layer so I don't
forget, so I'm not confused. And why only mashup liaise? Once I'm selected on my
layer, I just press enter. Alright, let's press Enter. Then you can rename it. I'm
going to name it as ball, whole MOOC, blue ball. Now it's this shape layer. We're going to be animating. We're going to run
mentioned this blue ball to move from year to year, from year to year, from year to year,
and out of the frame. Okay, so that's what
the task we are going to be doing
with this blue ball. Now, teddies and columns might
be a little bit too much. I'm just going to
play with this. Basically, you're
going to have what? I'm going to have the
end goal in mind yet, just so you know that
whatever I'm doing, it, it's going to be an original at the moment because I don't
have anything in mind yet. Okay, so let's get this started. Now. This is my blue bar. I'm going to select p2
of my position property. I'm going to move
it out of. My firm. Does move it out, just drag
it and move it out here. I'm going to or towards all
it's P to create a keyframe. Auto select your stopwatch
to create a keyframe. Alright. Now let's go on 1 second. I want you to come out here. So it's going to come out. And it's going to wait a
bit such that it feels like it's studying the
pattern of everything, okay, sin is going to
manage via an E or sheesh MANOVA itself
around or this black bus. Okay, so it's going
to all down a bit. It's going to pause, it beats. And if you don't
want it to pause, if you want to deposit bit, it's not going to be moving. In that case, you
are going to fill a couple of seconds for
how long you want it to which you're going to create
the exact keyframes d. So in this case it is on
one now is going to go. Okay. So you want it
to wait even on true. So you're just going to order P to create the exact
keyframe there. If you don't want to
do that, countries, you cannot command copy, go to the previous keyframe, copy it by cell, highlighting it, auto select it, and press Control C. Then go where you
want to the time you want and press Control
V to paste it. So that way, when it comes in, it's going to wait a beats. It didn't move because we
were still working with this key frame,
the last keyframe, we determine the position of the form that keyframe
to the other seconds. Alright, so last keyframe,
we determine that. Now, I think it's
coming too slow. I don't like how it came in, so I'm going to
go to 15 seconds, 15 firm or for a second
and I'm going to drag it. Now. You saw what I did. I
just selected this. I'm dragging it to
that point now to snap on where my play head is. I'm just going to
hold Shift down. Okay. Let me do that
again. As I'm moving it is shift is not a down now, so that's why it's not snapping. But to snap on my
plate is I'm going to hold Shift down and then goes to the exact coins my playhead. That way, if it moves in, is going to come in faster. Okay? So the more second-order morpheme
you have between your, between two keyframes,
between two points, the slower it's going
to move a piece. I wanted it to move faster than all I needed to do
was just to move the keyframe closer to the initial one so that
way it comes in faster. Now, if I wanted to move faster again, can
just move it here. So that way if I
just play desert, desert comes in, the
more space you have, the slower it plays less space you have
the less interval, less than you have between
your two key frames. The first step is
going to play, okay. Just leave it on 15, that
this red columns in the y. Let's say it's tasty,
the code second. Okay, let's play it again. Comes in Utah second. Then. This is this now
communities was taught second. Then after that, it's
going to move forward. Let's look at 1 second. Move forward from this
point on us as limits on, on this black bar. Okay? Tweets forward
on the black bar. Then on five seconds, It's okay. I'm assuming now that
it's most not jump, must not get to this flow. To make them more beautiful. What I'm going to do is create
another solid control Y, then make it represents danger
or something like that. And I'm going to drag you
name the layer to danger. Now. I'm going to see it's
covering everywhere on my composition are at so because it's at the
top of my timeline. So I'm going to
just drag it down. And I don't want it to be, I want you to just cover my, my black bars example to attack the position
those old shifted down, then the selection
tool to drag it up. Good. Now lambdas apply an
effect to make it look. Who gets to this
much, much later. But lambdas apply an effect
to make it look a little bit mixed to make it make
sense a little bit more. I'm going to use, I'm using
the wave warp effect. I'm going to make it look
like something scary, actually. Mc. Okay, so in this
case I will come to animate the Wave Warp. So as it's moving. Let's say this is
like a UHC that wants a tenth as the
ball is going to melt. So I'm going to make
it enter at the end. I'll just, let's just
consider it not successful. So let's just leave
it this way for now. Let me increase the scale
on the x-axis to say this. Okay, so let's get
back to our animation. So it comes in in torches. Yes, gets in now to
the top of this thing. Now what it wants to
do is it can only attach itself to this black, let's call them magnate. And this meta that magnetic and attract we can all add to
tract itself to this black, the black top or the black
edge of the black bars. Okay, so now it's
asked to move here. So what I'm gonna
do is I'm going to, since it's gotten me
I couldn't make it to wait for 1 second. I'll do that is add those,
create that keyframe. Now on the sixth second, enough of do it
in this black bar is going to attract it again. Okay, black bile
going to attract it. Then what we have is it's this. It's this. And it's been to wait
another 1 second, that's Option P or P. Then the second is going
to move towards this end. Then it's going to wait
again for 1 second. Then on the 10-second, it's going to move
towards this edge. Okay, so now what it is, what it looks like.
You can know. Okay, Well, the
most two weights. So it didn't read
this time around. So I'll just create
another keyframe here. On the second sweating
within 1 second. Then on the 10 second. Now that's when it's
going to move to the top of displays. On top. Now, again, I said
this is an original, so I'm doing this
for the first time. So you can watch me and
what's my sincerity? Okay, So let's
assume it's on top. Let's move it down. I'm moving it down
with my with my arm. Oh, keys. Yeah, I can move it up, then down with my arrow keys
by one device to use these, I prefer you use these x and y axis because if you
move it to your alkene, it moves at a very
small margin, okay, so now if you want to control, it can give you the
number of full blends. I went to come to
that a lot of times and most times you
are not able to reach that threshold by which you are moved into two arrow keys. Okay, so now let's
get it on top, then select it again. Remember I said, I don't know if I've mentioned
that if we want to walk on the layer often makes sure that
layer is selected, getting government
Hundreds nowhere I would have mentioned
that we can now. So it's on top of this place. See how it moved to this point. It went to the black solid. Now you can see this dotted line resuming considered
dotted lines. These lines represent the paths by which your
animation is moving. And you can see
the dotted lines. Now this is this lens as tweets, you can make them curved. So in this case,
where it seems like the ball is passing
to the black, but that's not possible.
It's a magnet. Magnets had the blue box is the metadata the
magnet can attract. So that's not possible
scientifically. So what we'll do now
is we're going to try and cough This paths. And now you do that is, okay, let me select the layer. I selected these
points in the middle. I'm gonna say,
okay, this point in the middle, this showed up. Same thing that
will happen here. If I select this point, this will show up. So you can use this
path to cough. You can use them to
cough your paths. Okay, Now I've
covered this part. This is our than Michigan
is going to happen. Moving for me, it's
following that path exactly. I don't want to do that for
this are lambdas. Leave it. I'm just leave it for this one. Yeah. I don't know if it's
making sense already, but this is what
I want to cough. So I'm going to
select this path. Then I can now COVID, thus audits and drag it
up a little bit more. So in that case, when
your ball is going, this is, I would
screen it's going to follow this pattern. It's going to follow
this exact pattern. Again, based on the position
of your anchor points. Should lie or tides know since I'm honored and inmates and I don't
want to alter it. So if you anchor point
is somewhere else, it's going to animate based on position of your ankle point. Remember I said your
position is always working to FOMC anchor point. So now it's on top. Let me zoom out on my
composition on top of your black magnets. The next thing that
will happen is that it will wait 1 second. Yeah. So what I'm going to do
now 1 second written is Alt P does create
another keyframe, but the exact parameters that, that wasn't the previous one. Let me use this method,
Control C and Control V. Okay? So it's the air then moves here. Then which 1 second? Then this is where
it comes tricky. Now, this is where I want us to master the covering parts. Okay? So what it's going to do is attach itself to the
bottom of this magnet. Am convoluted bit
trickier, acclaimed. Does my buddy drag
the position? Yeah. Okay. My name is Jack position here. Then we have which 1 second. We see the tail is still
interfacing with our magnet, so we have to work
on that again. Let me see. I'm
going to select it, then I'm this point. I'm also going to drag it up. I'm going to also
drag this point up. So that way it won't
stop. Position again. This time I started
the null position. So we're going to move forward. Even yeah, it's the students to have enough resource you have to admit when it gets it
also does the same thing. We have to cover this part. So what I'm going to select, I'm going to let this point
then open it up here, then so it's coming this way. But when you come day it has
to do something like this. Let me show you that again, is coming like this. Well, many columns in order not to interface
with this one, it's going to have to
come like this again. So in that case, I'm going
to draw this one down. Now. This is enough
space for heat to work. Okay, so let's see
how much we can do. So let me see going up, then coming down,
doesn't that visit it. Again. That's it. Now, this is where
your Mac deal Pat is used to for doing
this anonymity, anonymity respect to your paths. Okay? So now, um, yeah, drops here,
which 1 second? And moves trend to
avoid being touched, able to escape with the
literal space we add. Now, this is out. Do you want it to get
into the blood, the pool? So does it have to wait
1 second again now? Okay, let's assume iterates
from 12 to Destin, from 13 to 14, trying to figure out what to do next because we don't
have a next button. You can see it's trying to figure out what
to do next on 14. So I'm just going to
again option position. We can now continue to
be more tricky too. Because when it gets
here and we give it 14 and give it
Option P, odd position. Now, this it also, as it does so as the
chance to create its own. Does Adam, do you want to
create another position here which has created its own Cove year such that it's thinking you want to
move to move on its own, because you see it
is exactly the same. If you look at parameters, we have 1681 tonight Fourier. If you select this also
you have 16812 and I4. Yeah, 1234. So we have the same
exact parameters, the percentage of
created a keyframe. I did try to gingiva itself on its own because for you, okay. So now what I'm going to do
is on my ship it save this. Cough. Okay, let me delete
this lambda ladies. This curve was not present
before, it was facing down. But because I've created
a keyframe here, does assume digging
that I want to move. So odds P data's face to the
curve towards this side. Now it's going to do like
it's moving towards the side. First. It's going towards the side and it comes back to
normal position. But what I'm going to
do to correct that, select the curve and drag it's somewhat into
my anchor points. So it feels like, don't worry, you do worry about moving. I'm not moving anywhere, so I'm going to change that point to the 0 position or at
Channel moving anyway, so it's going to be
in the center again. So let me see if it does not affected my original animation. I'm just watch it slowly. Let me, just to be safe. Let me drag this up
a little bit more. If I watch it. Come up. Looking like that
point is a bit tricky. Feel like it wants
to intersect it. So I'm just going
to drag it down. Yeah. Escape. Yes, it does. Then kind of stays
at this point. Thinking of what to do
now for two seconds, 1 second gets the
annuity little bit. Elicit widths 1 second. The LSAT, which 1 second? Now it's getting tired, living, not getting tagged
with the magnetic property. Say I'm using this terms of
the magnet is becoming week. Alright, so maybe two weights, a little bit more again. And I'm just going to P. Okay, let's see if it's atoms are moving again.
We cannot at all. Then after within
for four seconds, magnet has gotten tired. You know, what is going
to happen is it's going to drop down dead. So how does it
dropped down there? Let me use this to
animate it on my x, y as is, I want you to
jobs to the y-axis. So I'm just going to change
the position with my Y axis. Now, this is going to drop. Nice supposed to drop in set such that you don't
see it again, or even if it's okay,
I know what to do. So this is what it looks like. A mistake. David. So while we're thinking of
what to do then finally jobs. Now that drop-in hours
slow based on oh my God, what's been assigned
students can cause based on gravity gets the
worst job faster than that. So I don't like and not like the 2 second it uses
to jump longitude job fast. Our do I do I would use the
spaces between the keyframe. That's fast enough. That's not due to gravity. Gravity conscious, rather, it
drops simply into displays. Now I want you to be
such that when you dropped into this site. Now, this is going
to be a bit tricky, but let's get it listed. You can get it done that
restart I wanted to jobs. Okay. Let me take it away. Finally, align it to the orders. Drag it down. Using my slider does job, It's whichever axis. Okay? So jobs down here. So when it enters displays
or do I want to do? This is where masking comes in, but we're not allowed
to talk about that. So what do I do? Accounting can overlap
two ways. I can do this. Two ways I can do this, and I think I'm going to use whichever do is Lambda
is David, the opposite. Okay, So I'll go to Add
Media proceeds now. Then I said in my
previous lecture day, old shifts and C down. To open the positive
property simultaneously. When you have one property open, I'm going to do the same thing. Click on the stopwatch
to create a keyframe. So once it gets a column starts the keyframing from the
moment it enters the Red Sea. So now to move path for him to move from one frame
to the other, what you're going to
do is owed control or command, then move forward. Okay, to move
forward, or you owed. Same thing. Command left, our command right,
arrow command left, out, move back one frame,
font, I'll forward. How to move forward? One frame. Sounds like I was babbling.
Let me say it again. Okay. To move forward one frame you'd command then
the forward arrow, then to move forward,
to move backward, one frame would command
then the backward. Okay. Now I'm going to move
forward one frame just to try and get the exact point. It gets into the Red Sea. So once I select it, now it's into the
Red Sea and that's when I want my keyframe. I want you to start from
frame behind previous frame. So if I am moving forward, this is y of pathway mean
is going to look like, okay, so you can select
anywhere in-between. You can select anywhere
in between this, between this and this transect is going to move
to the next one. The next one, next
one, next one. Keyframing is like
basic at this point, I want the opacity to drop to its unknown
that presents now. You can see all of its opaqueness because
anything like that. So I'm going to drop it to, let's say by 20, want to reduce it by 20 to 80. Okay, so now this is
what it's looking like, that you can see part
of the blue subpath ordered previously, couldn't see any overdo it. But this time around on
a chair you can sit. I'm going to move
forward one frame again. I'm going to drop
it to 60. Yeah. Move forward one frame again. You didn't need by 22, up to 40. Move forward one frame
again, it to 20. Forward one frame,
we use it to ten. **** time you're
going to want fame again, it's totally out. Okay? This is what it looks like. I don't like this idea. I want to do masking. Either to mask it. It should be such that
as this point is inside, you can see this like this, but this part is to
be totally opaque. Now let me see if there's
another way I can do that. Then not to work with a person. That's when we'd work on the
preliminary work with that. Let me see. Remember I said
I have not done this before. So this way I'm working on it. I'm going to try
most duplicate this. I'm going to
duplicate this ninja. I'm going to get the ball. Okay? Then at this point, I'm going to call it
did to the first Dan, dan football at this point. So what I'm going to
do two quantities are you owed also option, then press the close bracket. Okay, once you do that, then
we've considered again, once you hold Alt and press
the close bracket is going to shame your layer to that point, to where your play head is. Simply if you hold Alt and forward bracket
is going to trim your layer from the beginning so that you don't have anything
at the beginning again, what I want to do
is trim it from that point so I don't have
anything at the end again, hold Alt or Option,
then close bracket. Then for this one, what do I do now onto change it such that when it
gets to this point, it changes to this one. Again. I don't want the
beginning of this one, so I'm going to hold onto
them forward brackets. Now it's an open bracket. I don't know for worker you're looking like it's overlapping. I don't want that. So I can just select this to select the
edge of any layer. It's going to change to this
too that lead to an icon. Then you can drag
it and consume it. This way, can move it forward or you can move it
back those selected. Or dyslexia, increasing, which your x-y axis
increasingly reducing. You can move it forward,
then come back. Alright, so I'm going to
leave it at this point. I wanted to, I want the effect
to change from this point. Then you start working
with this next. So once I played is
going to look like nothing changed. Now
what I want to do is. You see this Toggle
Switches Modes I'm going to select it now, brings out different,
some different adoptions, some other different
options here. I'm going to change this
to case since I'm working. Now, since I'm
working with this, once I walk on it or
are displayed slogan to make any change is going to look like
I'm not doing anything. But since this is what I
want to walk with beauty, I have to be dead because
if I'm working on this and I'm going to show you, I'm going to work on
these Lambdas changes to not quite sure yet. No, that's not what I want. Luma inverted. Okay, So I'm
going to have to choose one. This is about easiest way
I can think of doing it. Solemnis, use it to search
in these two white, whatever I've loved
it to be blue. Okay, so this is all you
have is going to drop. And it's going to be
like it's creating. That's the code. That's effects of assumption
entering into water, okay. Such that once it enters, once it comes out,
it closes back. Okay, so let's, let's
try and work with these. Okay, let me do this again. Control D. Change this name to leave
the blue on that this time around the turn of
the white ball. So this is what this
is going to look like. I'm an Alpha inverted. I'm just testing everywhere
to see which one works. Okay, I think I think
this does do work. Okay. Here's what I have now. Not the red has disappeared so many debug Lambda
drag this forward. But I still want to see
chooses of the ball inside. Now, this doesn't make sense. I could just have put
the red on top of it. So let me change it to
luma inverted again. Now this is what I
was looking for. Okay, so that's one thing
with the check marks, you don't know what to say. Drop it now, in this
rate as we know, it has entered into the Red Sea. Then let me increase
it a little bit more. It doesn't add into the Red Sea. What do we ask this in
traces of it in the Red Sea. So the mistake I made was when I was doing the check marks that time this danger
was at the bottom, but the blue are supposed
to be at the bottom. So the blue is
referencing the Red Sea, not like directions,
whereas in the blue. I don't know if you
understand that yet. But as we carry on
this particular topic, we're going to deal
with Track Matte. I'll get to understand better. Alright, So as I said, I will turn this
for the first time. I went to this particular thing. What was that just
come up with with these concepts as I
started the lecture. Okay, so that's the less blood to our terminal and see
what it looks like. Okay. Now when we are done with this, okay, we walk irritated seconds, but that's not necessarily
so what I can do is let me Jimmy tweeting
second, 1, second. Then I can just take
this hand to meet. Now what I can do is
since I don't want this, I don't want the S to sue. So instead of having
to do Control key, and that's the
competition incentives and changing it to 18 seconds. Yeah, Candace, select
this at this point, then drag it, hold Shift down, so it snaps at this point, okay. Maps as your play head, then I can resume normal timeline
to get the exact point. And I'll select it
to right-click here. Then you can see
live to work area, a struct work area trim
come to work area, create protected region
from what I want to do is trim our composition
to the work area, okay, So it is my work area. We have selected
from the beginning, from these initial blue to this, to this lasts blue. Okay? So this is my work area. So you can say as a selector needs allied to work here and
I'm going to click on it, then trim, come to work area. Then that way this
is where it ends. Then if I use Control key because it does change
within seconds. Okay, So let him play game for less than the ones who
play. We have this. Okay, Then, um, while
editing gets into causeway, the ILO's add background
music, something like a gimme, we're going music
theory today and we'll see what it looks like. Okay, so that's that
about these are going to do another course on
animation demo from j, because it's as important
as it sounds from there. We'll move on. What
is the amount? We're going to try to be
animating which node objects. But that's that for this
course. I hope you understood. I hope you know that
sometimes you might have to test this and test this and test this before
you know, it works. By time you must add it evenly. If you've mastered
it just some two, you will still have to test just to make
the waters worker. So that's it for this
lecture onto the next one.
9. Null Objects: Folks, welcome back to
this one this time around we're going to be dealing
with animation still, but this time animating
with null objects. Okay, so now I'm going to
create a new composition, call it game played two. We're going to do
almost the same thing we did the other time. Good. White solid
as the background. I'm going to lock this layer so we don't have
any issues with it. Okay, now, what I want to do
is animate it null objects. To create a null object, I said you had clicked then
go to new null object or you simply go to layer
new and all of that. Okay? Now I'm going to
animate our null object, then attach other layers
that we need to move to eat. Okay, so what I'm going
to do for this one is simply quit black. Okay? Maybe not exactly the
same as the previous one, but something not too different. Okay. Here's what I'm going
to this time we're going to send that this yeah. Those center centralize
it and move it down. I'm going to create a duplicate. And duplicate and
going to reduce it, then move it a
little bit forward. So this has been a car where
we have this time around. It's going to be fast and easy. Talked about this already. So it isn't my knowledge is
my big named as big shape. Now I want to not always
emphasizes naming your layers. I mean, given me their
property name asides, 70 it in the
appropriate folders. Give you a LiST. Have to put names when you need to undervalue a project to someone as it should
be easy to work with. Okay, so that's that Next one I'm going to do the
Mandela digest. So what I'm going
to be animating, I want my null
objects to come home, another to come from
outside, to come here, move forward, climbed
on top of year, gets downward forward
and then move up. So that's simple,
I'm going to do, let me just do it in five
seconds or ten seconds. Okay? So P selected openness
stopwords, then move it out. Then in two seconds
There's no need to come up with and think
about your life here. In two seconds, the
climate changes. You can see my line
is not straight, so I'm just make that straight. You can let me show you this. This is my, this is the
point I am on right now. So this is my x and
this is my wife. Now if I move it here, you can see this is my
x and this is my way. So I want to maintain
the same y axis level, but I want it to be straight. That's what I mean. That kind of come in and check on my y-axis. This is 5.8119. So I can just come
in and change it to 5.819 and it's going
to be straight. So it's maintained the
same y-axis label, my x-axis that has
altered familiar to you. Okay, so now I'm moving here. Then when it gets here. Thus
owed on the little bits. Yeah, then I'm going to
create another position. I'm going to move it up.
Move it up here, then. No, no, not supposed to move forward. I'm going
to move it up. Now. I'll try and see if you can do with scale,
scale and mission. Also, admitting us kids
about the same thing, no matter what didn't
period, luckily desecrate, thus paste and I'm
going to hold on a little bit just for a
couple of themes or p. So while we are only, I'm going to move it
forward to say six, then drop it down or not that's moving down.
At this point. Now it's in the freezing
my black solid layer. Then I'm going to
I'm changing it to my pen tool sometimes when
you do that in my nostrils, I'm going to change it
to my pen tool phase. Then when I change my
pen tool option to alter the path has been highlighted so
I can just move it. So I wanted to come
this way unnecessarily. This is just a preference. Then maybe it's all odd p here. Then I'm going to
move it forward. Now using this olds P agonism, it has moved okay with this, this paths or to some
property that got selected. Let me do it again
when I ought to be. This wasn't there before. If I created a
keyframe, but olds P as made it show up this time around,
what am I going to do? Didn't feel like I
was going to move it towards this point. Okay. So I've told you I don't want to move anywhere,
I'm not going anywhere. So does g because that's
basically what I did. Then. I'm going to move this
out of this place. Okay, so that's
what this is about. Then. Having done that, what we're going to do
now with this we have unmetered are not update. This is where it looks like. Move forward. Okay,
We can see it. You upload to move forward. Move up, movie, then move out. So that's about eight seconds. Okay? So what I'm going
to do now is create a shape layer. My circle. Not leave it as black. My circle or can I live with
us? Stick with the blue. Blue, blue and may reduce
the scale to say HE here. So I want my scale
to be reducing SAT to be altering
between 80 and onto it. So what I can do is select this keyframe starts with
80, Let's start with HE. Then I can move to 1 second. Yeah, I'm watching
this to make sure I'm on the right. No second. Move to once I can change
it to undo it and move to two around to
change it to 80. Then starts with HCI than
a 180 lemon, do one more. Then I'm on TV now
I use Command, back out, move to, move, to move back
on my timeline. Then I changed it
to undo. It starts from Z to undo it to 8200. So what I'm going to do
is I'm going to copy it. I let everything go,
select it and drag it. Keyframe, keyframes
or the Control C. Then I'm starting AT, then this is honored. Okay, now I'm going to move
this to the next one is for densities among Andre
necrosis would be 80. That's why I highlighted
it from it's okay. So if I press Control V
now is going to be Andrea. Andrea, Andrea 1800. So now next one
should be 80 again, same thing happens to
come to the right, so I didn't get that point, it's going to v, So that's it. So when I moved this way, this is going to be green. So it keeps animating from 8200. Okay, so what I'm gonna do
is animate the position. Now, I've animated scale, just to show you how
to animate scale. I'm going to animate the
position and I'm going to copy the initial position of this guy by selecting my
keyframe Control C, then pasting it on my ship. So my ship assumes the original position in
reference to the anchor point. Remember, I don't
know if you saw it. Django point of my null
object was at this point. This is the anchor point, is admitting you had friends
to this anchor point. So yeah, when I pasted
it on my scale, you can see this is, this is the anchor
points of null objects. But now, since my circle as its anchor point
at the center, it doesn't match
the anchor point. So I've copied the
position of those two just to get the
exact position of them. I know that is just a fancy
true to my shape layer. So what I'm going to
do now is animating the position created
a keyframe here. So I'm going to move, am I going to move when it's
okay, I'm not doing that. What I'm going to do now since I've gotten the exact position, I don't need to
create a keyframe there to do is
copy the position. But since it's a keyframe, I copied and pasted. Ok, so what I'm going
to do now this tool is, you can see this is called
parents and link this to Leah is called
the pick whip tool. What it does is, this is what Let me take
my null object to the top. What it does is this
is what you are used to attach layer
to another layer. Alright, you can just call me, this is Baldwin. You
cannot come here. Then drag it audit and drag it to the layer
you want to attach it to. Then it automatically pick whip to the layer or
set of doing that, just click on this, then select the layer
you want to attach it. So that way it wants
to press Play, going to follow the
pattern of data layer. And that's what the pick
whip tool is used for. Outs now, now you can
see something happen. They're supposed to maintain
the original position, but he didn't, did it. I want to maintain the
original position of Mandela is my knowledge
what I'm going to do, it's not my shape layer. You can see what happened there. I'm just going to drag it and take it into
my anchor point. But that doesn't exactly move. Okay, So that's,
that's, that's here. I'm going to do something now. I'm going to duplicate my ball. What are located is
going to change the ball to now when I move it forward. Now I want my ball to, I'm going to change the
shape to take it down. I want to change the
shape, the color, the field to be a lighter blue, then be like I'm not seeing anything because Baldwin
is on top of it. So I'm going to send you
to a lab tech and blue. Then I'm going to
alter the position, the initial position of my bowl. The simple thing I
need to do is move it in a way that
doesn't move it away. Now, I've moved it to be. Remember this first ball is working with the
initial position of my null objects because they attach due to
my null object. Now it's working with the
position of my knowledge. That's what I have is 0.
But now I have moved this a way such that given the
depletion has been altered, it's still going to
follow the animation of. My null objects. But it won't be
the exact position of all of their butt is going
to follow the animation. It's not positioned
policy, but the animation. Okay? So it's going to be working with animation and pollution passage. We can even do
this again. Let me duplicate it, then move it down, then change the fill
to say this the stem. And then we alter this
by minus 42 lambdas make this minus four to minus 80. So now you have this. This is why you have, now, I've attached two layers
to one null objects. For the two layers, I'm going to expect to do one null objects. Okay, let me do one more
time for default ball. And this time I'm just
doing it to completely wipe everything to come to a human so you can
have begun to edge. Okay? So once I played shoe, I have not altered the
position minus C minus 120. So what do you have
now? You have for both been attached to one. And remember, since
we duplicated it is the same animation
for the scale. They shouldn't just duplicated the same admission
for this case. Now if I'm going to play
two, this is what we have. Okay? Now that's the problem because we're not working with the exact position of null objects once it
gets on top of it. This is the only these blue now that is
the exact position. So this ones are offset by
minus 40 on your x axis. Okay, so that's why you have, so these are two animate
with your null objects. So I just wanted to show
you what you can do. Knowledge that instead
of having to admit something several
attempts and made differently as a
one-time is going to submit one null objects here and attach it, which your pick whip tool or your parenting tool
to download it. Now you can also see
that once it gets here, because once it gets it because because we've
altered it by minus 40 year, it's dispatches tissue and
even want to correct this. Let me give you five seconds
to as the mortar we do. Okay. So if I want to cook this, I don't know if you
assumed already, since everything is
attached to my knowledge, that is my null object,
I'm going to call it. So moving to this point,
this is the position. I'm just going to move
it one time movies, everything is going to be
moving at the same time. Okay, so now to move faster, especially this blue ball, to move faster out
of this, please. Because I have tried to
cover more distance in same amount of time that
the previous one was. Okay. So the speed is
going to increase. Faster. Speeds are going to be faster. So once I press Play now and to move faster and
everything is out. Now, that being said,
there is something, as I said, other things that are looking like Jagger and we'll talk about it
as we move forward. Now there's something
I want to do. You see I like to
use in motion blur. Motion blur is
that I'm not sure. I didn't mention it,
but as long as you do your favorites, alright. And natural human
eyes capsules and Muslim law does try and move your hand fast in
front of your face. Now you can see sort of
blurry motion blur is. So that's what your motion blur. So once you select it much on blows for animation or to
any layer you animate. Naturally should
add motion blur, but it's based on
preference, okay? So any layer you and meets
naturally should have motion blur to add to turn on the motion blur for a layer. To select this, select
this, select deselect this. So it's my ship, the ball or the boats that are moving that I want to
turn on motion blur for. You. Just go by that
movement has selected one. This highlighted the same thing I said about your site when
you want to hide the layer. I'm going to select.
All my balls, then come to S. So once you plead to you might not
be able to see the motion. Okay. They've been
shown already born and gets to this point since
it's going to move faster, you can see the motion blur. So it gives this kind of does give this kind
of motion vibe. Now, if I can see, you can see this, okay, this bloat I'm showing at
the edge, at the edges. So if I select it, you can see our
perfect shape is, but if I turn it back on, this is where your
motion blur is. I hope that is clear enough. That's what this is about. So once I played, this
is what it looks like. Okay, so that's how to
animate with your autonomy, with your muslin blue that
I mentioned your knowledge. Okay, so now how to exports are supposed to show
you how to export that. Now you can export you then Media Encoder
for After Effects, the software that
comes with them, the Hadoop package, you
adopt Media Encoder, okay? Now you can export within
After Effects on its own. But then what's the problem with this is that
once you export, it tries to preserve
your quality. And it is an
uncompressed format. You export in an
uncompressed format. But if you want to
export, uncompressed means larger file size. But if want to export. Smaller file size,
then you have to use Media Encoder or use them
dynamic linking payment output, that's not so important. Now, what I want to do to
export this file, go to export. Then you can add
to Render Queue. Then do that again
for my gameplay, go to File, go to Export. Then if you use add to
Adobe Media Encoder, Yeah, it's going to send
to your software, to your other media
encoder software and this MATLAB code, I
don't even have that. Waves, you add it,
then that will work. But if you, you're
about to end IQ, it's going to this ticket to urine that Cuban nafta effect. Now, since I do not use After Effects to x plus
m does show you what it is. I've already selected it
now you have your formats, but just do worry about
just select QuickTime then. Okay, then select
the file location. You want to save it
to them quickly. Locate my After
Effects class project. I'm going to turn this
to gameplay, okay? If I select Save, then once I click on the agenda, it's going to end up, okay? But then you want to send
it to media and cuddle. And to do this,
click on Queue in Media Encoder opens at the
Media Encoder on it soon. Okay, tonight as open
Adobe Media Encoder, now my game play is in here. So the same thing I
selected that time, my code now I want
to save it to, then I've selected my
protect rotate and save. The name also tended to gameplay whatever name
you want to save it out. Then press Save and click
on the Play button. Then you can, this is
where the formats appear. Also wants to say like
there you see the formats, you can save it as this is, it went to cease for expenses
who are willing to do with exporting itself later. But for the project sake, let's click on play and
it's going to export. We didn't do a lot of workshops, should do pretty fast. Now let me also do this. Let me also do this. Or you
will compare the file size gameplay with one dots movie. Yeah, we have dots MP4, so on. Let's compare the file size. Once I render using this one. We are done with
Media Encoder what dermatophyte right
now let's compare the file size as I'm
projects footage. Now, gameplay dot mp4 as to NB, but gameplay but move
as for the two NV. Again, I said this is the uncompressed and you end
up with After Effects. It's the uncompressed format, but using began code that does MP4 is always
compressed format, so you have to be, so that's
why it's always address it. But you can imagine
18 seconds for it to end before what we didn't in evidence and
meeting with shapes and that's that back
to After Effects. It does that on and meeting with null objects and
activating motion blur, attaching your layers
and all of that, and all that's okay. So I see here that we are having a little
bit of intersection, but do you understand
how to do that? I guess. So. That's
that. All right. So onto the next one. Now we're going to
deal with something also very important here. And I hope you are able to follow again if there
are any questions, please don't hesitate
to ask and I'll make sure to answer as fast as I can. Go to the next one. Thank you for watching.
10. Precomposition: Folks, welcome back. Okay, so I haven't dared to
10-meter with null object. Next we're going to
do is how to animate using pre-compose the shirt. Out. That is done is you can select multiple layers and merge
them into one layer. So that's layer is called
the pre-composition. And that layer can be
animated independent of an emitting into one by one. Okay? So this is what you do now. Okay, so what I'm
going to do is add, this isn't my shape selected. And now to create
a pre-composition, what you're going to
do is you're going to add the layer
you want to use. This time I'm going to
add our four balls into one composition to select
it isn't. Your first layer. Then hold shift down
and select where you want to select
it, two or four, you can do select
it using command, hold Command down, then
select each of them. Does hit right-click
on whatever selection you have made and click
on pre-composition. To compose the rider
or the shortcut is Control Shift C or Command Shift C. I'm going to name
this as ball park. We have liberal attitudes
and gameplay to this is suitable for one layer where you want to
pre-compose the one layer, okay, This isn't the
money to do that, to compose one layer and
move all your attributes. Attributes, menu
effects or probiotics are the admissions you might
have done on that ear. Leave it on top of
that pre-composition. But once you move all attributes
into new composition, everything moves into
them. New competition. You don't have any animation on the pre-composition
in your main comp. That was a lot of torque, but I hope you
understand and adjust composition duration to the time span of
the selected layer. Now the duration of
these layers are from the duration of the competition from
0 to 18 seconds. All right, I
precompose this yet. Pick composition is going to
be from 0 to eight seconds, the time span of my main comp. Okay, so now I have this
composition looks like now I've changed it and everything
is inside want composition. Okay, So now if I
double-click on this, but we're going to
see the eyewitness moved into one comp. You have your ball, you have your d
is you have this, you have this in one camp. Okay? So now it's not
showing because it's outside of this.
It's outside this. So what I can do is
select everything or achieved then audit
down and celebrate. You want to orders
I let everything does select this and drag it up and move it to
where I can see it. Okay. We need to, I can see it. Okay. So now the settings of your pre-composition,
in this case, ballpark doesn't have
to be the same thing as this initial we're
working with in 19201080. But can you reduce it to those? Since this is the only
path I'm concerned with, OK, I can reduce it to
just cover for this. Now I'm going to move this. I'm just using my eyes and
nose going to adjust it. So I can cover only for this part that I'm
concerned with, my width and height. That is, this. This is not the best
way to do this, but this way you can see that what am I
doesn't move this. Now I have just this bad neighbors actually
reduce the width. Also again, I can reduce it and it's
going to look this way, or this is not the
best way to do this. I'm going to change
it to my 19th, 2010. It's not the best
way to do this. Once you select
on these, you can see the region of interest. Once you select on it here, you can zoom in on my timeline. Now, remember when we animated
in the previous lecture, we're working with
Etsy at this moment. But then once I increase, it is going to increase. So then work with
Andriod because as the ISQ are going to have
lemon work with Andrea. So in that case now
and then those copies, so this is like your coping what you will do
your picture normal your pictures so you can
just copy it. To this point. Now it looks like
nothing has happened, but you have told After Effects
now absolutely software, this is the path that
you want to cop out. So when you go to composition, then go to Crop Comp
to Region of Interest, do a select a region
of interest here, Crop Comp to Region of Interest. So from that in 2010, it, it has changed to this
as my aspect ratio. So that is why you have, now once you come back
to your main comp, it has centralized IT
and IT has changed. Now, you remember before we
add the boxes at the edges. But this time around,
having done that, we have it at the center. And the region of interest as reduced because
we're going to do, now is animate the composition. Very easily. You can do this,
open up your psi, then you have your
null object here. Alright, so you can, just, as we did earlier, opening up position, copy the position. Paste it on your ballpark. So by time you animate
this, you're okay. We have to also pick whip. It does parent, it's
your null objects, but then you animate
it is going to follow very well
done all of that, but that's not what
we want to do. You can also do this, but I want you to tell me
something at the end of the dust after this lecture, those comments are
assigned the community, which I think is
easier than me to analog data and meeting
precomposition. Okay? So what we're going
to do is I'm going to say this again. Turn it off. Yeah. Animated this. Ok,
let me put it on because I want to unmute
your reference to this. So what I'm going to
do is now we have this initial position as this. Now I'm going to move
forward to this point. Then I'm going to move
my precomposed layer as my ballpark here. Then I'm going to hold down, That's ot P. Then
move it forward. For lambdas, follow my, follow my null object, move it forward to this point. Yeah, Then all done olds p, Then we'll move
forward to this point. Yeah. Then all done. P, then move it out again. So now this, those
ideas is why we have, you can see where it went
you out, we deal with that. Since you're ordinal here. Now I'm going to just all the animation path for
this and also for this. Okay? I already been charged
to do this as well. I'm doing this and
previous lecture. If you don't understand
what that is, please go back to the previous lecture. And I took my time
to explain that. Now you have this. So once you play it, you have these these then down and out. So let me know what we did initially was
admitting them to null object when we have to
attach to one null objects. So we add to animate just
one null up that way. In this case, we have
moved everything. All had the initial
position of each of them, then moved everything
into one layer. Then, even though the scale
is still present here, this KDC presenters and emitting year window, the
scale is depressant. Move everything to one layer. But in that case now, where are those going to
animate one layer here, okay, So this was noted
to do again, what was it? Now? You'll realize that, okay, let me do something to, since I have my scale here, let me copy my skill. When you want to
copy 1.1.1 keyframe, selected and press control C. But when you want
to copy everything, you can either just
do these elides, everything, make sure everything is allocated and come to see. Or you simply just
select your skill. When you select your skill,
everything highlights. Once everything is
elevated that way, if you press the stopwatch
is going to delete all your keyframes again or once everything
is alerted us, please delete all your
keyframes are gone. But if you select this, it's going to deselect
or it is that's keeping him at that point on
the plate that you are on. So in this case,
I want to regina flagged everything control C, and I'm going to move back here. Then I'm going to paste it. Don't you open this k Once
you select the layer, those press Control V to paste. Now you're working with eighty
hundred, eighty hundred. And about what we
did over animating the scale one ATA
under idea one, atm, one under their own ETA. So now the initial
tin was honored. Now we've animated
the TA to 8000. Now. It's going to show as Andriod
presents as your skill ear. Because we moved all attributes
into M Control Shift C, we move all attributes
into new composition. Now, this is possible because we have animated this
using our p of k. Then we can leave
all attributes in gameplay to precompose this. Yet, our position is going to be unlimited in
this competition. Okay? But I'm going to give a
better example of that later. But what we do in our scale. Now I skill is assumed
to be Andre day, even though it's different
in our ballpark. That's because I need to explain that we moved our
attributes into new comp. Okay, so I'm going
to just paste it. Now it's going to assume ETC, of that Andre, again, of that thick Andriod, it will do it already changed in our ballpark of
the African great. So now it's become
smaller and animated with respect to the animation that we have on the
inside of this place. Now I'm going to do
something very tricky. Initially we add what
was the coordinate? It's the 100 on
our M changes, MC. Okay, let me explain this also. Whatever points you
are in your main comp, we are on 127 now, once you select it, It's
going to also be 127. So, so far as your comp is starting at the beginning of
your composition. So far, the pre-comp is that night beginning
of your competition. By time we selected, it's
going to assume the same thing for your subconscious pre-comp. Okay, so now if you want to let me alter the position
of this now to rotate, I can just select
it and move it. Then move it to move to true. We can go to alter it now. Now this is the beginning
of my pre-comp, but this is the beginning
of my composition. What am I select? It? It's still going to be the beginning
of my composition here. Okay? But here is showing
among two seconds but yet shoe in Amman
0 seconds, okay, so it's working with the is referencing the position of
your main, of your precomp. Now if I move it to four seconds as random among for one year. So if I select it, it's
going to add some amount to one year because I ordered
it by two seconds. Okay. Now, if I come
to this part where I don't have any part of the
pre-comp of the ballpark. Yeah. If I select it, I won't find I don't
find my play head because assuming it's
outside of this song, find my plea idea is that that bring it back. Let's see to it. Now. If it's an H1 or H2, now you can assume it's on tenure because our type
two by two seconds. Alright, so I said I wanted
to do something tricky. Initially, this is our
working with 8000100. So what I want to do is since this is I'm going to move it to 111 should be on Andriod, but I'm going to change one year to have Andre da laugh AT. So let's see what it looks like. It's like he's doing
a little bit of fights because
initially it should be on Etsy what I've already,
then this one should be on. Andriod would have 83 doing
a little bit of balancing does like a counter action,
like a cancellation. Okay? So that's if you
ever get to a point, you have to do this because of course then
essentially you cannot do everything you want to do
from you, from your pre-comp. Okay, So now, once I play, this is what it's looking like. Now, all I need to do
tunnel my Muslim law. And I can name Amazon
blow activated. I haven't said they
are going to tell me which in the community, please, you think is
easier and material null. Object to animate them
with your pre-comp. Let me know which is easier. Now the lot of all
that seems you can use pre-composition to do, yeah, it's, you can't even escape it when
it comes to this. Maybe especially masking, but not only limited to mask
and you can't escape it. Alright? So, yeah, So which
one you think is easier and move null object or an McNeill and meeting
with your pre-comp. Okay. So that's that's I hope you
understand how Buddhist clean off and then
onto the next one.
11. Easy Ease & Graph Editors - The Rook: Your folks haven't
extensively with keyframing and measure on the next best
thing you must know is out, make it look its best. And that is by easy, ease and graph editors. This is so important because
they make your work look as professional as it can be
naive. Look at this animation. You can say U2 Dragon. Looking at these, you might
not notice the difference. You might not see these as
bad, but can be better. This is not so bad,
but can be better. So, yeah, isn't, it, isn't Graph Editor this simple. Now what it does is,
as I said already, quiz that fluidity and
smoothness to you and emission. So yeah, we are working with
what we have already done is now a ballpark animation
isn't now pre-composition. Let me hide this again and don't need all of them,
just one layer. Okay? So, yeah, once you select it, now this is what
it's looking like. But as I said, it can be better, so let's make it better. We unlimited our position here, and this is what
we're going to do. Now you're easy. Ease is simple. Graph editor. What is good? What we're going to do is
to enable your easy ease. You can select this. Right-click on your keyframes. Go to keyframe assistant. Select is now the
amount is going to change to something
like Na glass shape. Yet another way to do it, as you saw, is using F9. Once you select your keyframes
and you click on F9, is going to change
through the stopwatch. What I want to do now
is once you selected, once you've changed
the stopwatch, now your Easy Ease basically is to admit between two points, not like this once
we are reaching than maybe between
two points that are of different
parameters or properties. Okay, now I'm going to change
this one also using F9. Select F9. Now I've selected, once I do that, I'll select. Now watch this. Once you click on it. I didn't even notice.
Let me just zoom in on my comp so maybe you
can see it better. Okay, once I play it. Now this is what it looks like. It kind of goes
from slow to fast, then ends up slow
again, Len plate. So you can see slow
to fast that ends up. Now, let me change this back. Once you're easy, ease
is not activated. This is what it looks like. It does kinds of goes evenly, that no dynamic in-between. So you can see how slow
it is going yet does going from like
Andre like evenly. So let me do I'm
using my Easy Ease. I can now select both of them. And F9, once you play it again, you see that little
bit of dynamism and might not be so obvious now, but make you that I'm
going to do this. Now. This is your motion blow. This icon beside it is
called the graph editor. Now you have to make sure you eat before you select
your graph editor. Now, if, I don't know, if I said, okay, and I select my graph editor, nothing's going to show up because I don't have
any layer selected. But now I have my position
selected. I selected this. I can see it has
selected or my position. Okay, so now I'm going to
select what I want to work with and I'm going
to easy, ease. Now I'm going to select
my graph editor. Now you can see this. Now, there are several kinds of things you can do to graph. But for this one
we're going to be working with your speed. Now this is your position graph. Now to change it,
either select this. Now, this is the Edit
Value Graph, okay? But I want to walk
with the speed that under select this and have this. Now I said it's going
form, does watch this. Now this point is add keyframes
are created from year to year widths then then, yeah, with so this
is how it moved. Okay. Now the reason we have this different from
this because we easy, ease these first two keyframes. And this one is, okay. Let me zoom in on my timeline
again. Then I have this. Now I said it goes from slow
to fast, then slow again. So this is what your graph
looks like without animation. So it goes from slow to
fast, too slow again. Now, if I undo what it looked
like with everything now, it goes smoothly
like it goes Plenty. Does no dynamism at all to eat. That's very sluggish. It's driven annoying
meso look at it. Maybe not annoyed me, but And it can better. Okay. I don't know if you noticed the
difference already. So now we can make
it better than that. So you can see the difference. Now, this is what the graph
looks like, as I said, from slow decelerates,
speed increases. This is the peak of this PDF. Then you reduce the
decelerates now, so what I want to do is
now make it look like it goes very slowly
than fast at the end. So the acceleration
is going to be slow. Let's go to decelerate quickly. This is what it looks like. Now you see these
two yellow points. What it looks like when we
are meeting our mask paths. That's what we're going
to walk you through it. So I'm not going to pull it. I can pull it forward
or pull it backwards. Now I said I want you to
go from slow to fast, and I want you to assign weight slowly than decelerate quickly. Now, this is the time I said this is the peak
of the acceleration. Now it's going to determine, it's going to take
glass elevator is from this point to this point. Remember we are, our keyframe
is still adapts to second Mac or at the weights going to wait and which is the position and that's
the second match. But now, why does changing the pattern at which
is going to move, but while still maintaining
that two seconds. Alright, so now I'm
going to pull it and this is what it's
going to look like. It's going to accelerate slowly. It's going to take more
time to accelerate. Then when it gets there
doing to decelerate quickly, silently to see what
I'm talking about. So that's it. Now it goes slowly. And when it gets quickly
comes to to employ it again. Yeah, that's what it is. Easy, ease or using
your graph editor. Now let's try some to defend. Now I want you to
accelerate quickly, wanted to come in quickly, then go out slowly. So what I would do it this is what I moved to the other time. So what I can do is I will
move this one inside. This is the pointed can stop. Now, this is what it looks
like when I use this, comes in quickly, then
reaches its end point slowly, but I wanted to come in faster. So I tended to reduce this. So we'll give it more time. It's going to accelerate
very fast and I'll give them more
time to come in. Okay, so this is what it
looks like with this. You can see it creates
that kind of dynamism not looking so flat like
this other ones. Okay, So this is a bit too much. Now I wanted to come in quickly. Let's try something else. You can just play with
this, your preference. Now what? You can ask them what is going
to look like now? It's going to come in slowly. Then at this point
it accelerates, then goes back down slowly. This is what it
looks like. You can say or you dislike for me. Coming slowly, accelerates,
then goes back. I mean stops slowly with the
same speed this data with. Okay, so now I'm working
with the center of this one. That's why it's when it gets, it gets to pick a solution, then decelerate slowly back. Alright, so that's
it, that's it. Now if we're to
work with others. Okay, let me see if I can
work with others quickly. You can see how dry that is. And if I select this
tool by holding Shift and selecting
an origin F9, you can see it has changed
back to this curve. Now, how do we do this? Lambdas do the same thing here. Where we have, yeah, you can see how much
difference it creates. This one goes goes straight flat and works at
the same rates, but selecting these Odin F9, then I can change this to this. Then it looks very beautiful.
This is what we have. Then this one also lambdas change the
dynamic Lem me something else is an F9 to, let me make this one starts
fast and end slowly. This is okay then
this one also F9, want you to do the opposite. So for mouth flatter looking,
this is what we have now. It's very beautiful.
Always looking at complex as people
make it sound, right? Initially it's very complex, but now as we carry on, just go right way
between software and gives you a lot of liberty to
work with a lot of things. Okay, So then play now, so we'll see what
the difference with what we add, define
what we have now. Can you imagine compared
to the very flat, very flat and masonry
add your time. So you can say you want to do any animation and you
don't work with this. It should not be done. Occasionally. You may have some
reasons to do that, but I don't think if not that I don't think
it should be done. Let's play again. Comes in. She, that drug does smoothening and the dynamics is adds to eat. That's where your graph
editor or easy ease or ease out or
easing is used for. Alright, so yeah, that's, that's for this one. As we carry on using
masks and all of that, we'll understand this better
of using the graph editor. I always use it. So now that I've
explained it up, isn't it at random? So that's it. Onto the next one.
12. Masking - The Knight: You folks, I was agreeing. Hours the journey being sofa. So as humans have seen from
the tied to next we're going to be talking
about is masking. So yeah, we're going to
talk about our AT tools. We talked about a
couple of tools that perform dual functions. And one of them is the
shape tool or the Pen tool, rectangle tool,
the Shape tool or the Pen tool where we said, you want to create a shape, you have to make sure
no layer is selected. Else is going to create
a mask on that layer. Ok. So now we're going to be talking about Maschine itself now. So you can refer to
a mask as simple as the crop tool in most
photo editing apps, which is basically
used to select a region you will
want to isolate. It could get more
complicated as time goes on, but that's basically
what it does, right? So she will work with these, should do less work with another composition
and name it masking. Well as work with
192010, it's okay. This could ever live
duration as HIn, I want to do the same
to create a solid. I'm doesn't make it good. Do something different. Okay, Then enter
green solid, fine. Okay, so now we have this, we have the green solid. And I said you can use your shape tool or the
pen tool to create mask. Right now that means you
can use to create mask, but you just ship your text tool to create mask
is great, I remember that. So creating a mask now what
you need to do is Start, we can go to select
your account, go to the option q
naught epsilon naught. Q has no trunk Q, the Q
key on your keyboard. Now you can, once you select it, that
this is where you add. Remember when we're dealing
with our composition, we add where we selected
our cooperation. We add this same thing, like edges to cooperate
region of interests, but this is not masking. This is ready to talk about
what this is used for. Okay? So select it. We have that same icon
or the same thing that what our cost
was two into now is to perform basically
the same thing. Now, instead, we need to select the region of interests
on your layer, not on your composition
at this time around. So I want to buy, this is initially
my solid layer, is filling the whole comp, but I want you to
be only this part so I can just mask it. Does, where does it go? Select it and drag it
to whatever extent you want such that assuming add another them to do that I didn't add another ship,
Amanda solid layer. It'd be whites at the bottom. Okay, now let me delete
the mask related master. Select your mask, select
mass, can delete it. Okay. Now let me copy it again.
Now I've changed my two. Let me use my ellipse tool
and I can just do this. So it tells me the
part of the comp, the layout that I
want to select. Okay, so that's where your
mask tool is used for. Now I've done this using
my ellipse tool at and do the same
thing using my tool, my polygon tool, the
same thing happens. Again. I can mask it until
I whatever path I want. And then if I select that layer and drag
it, this is what I have. We have this here because
when we selected it, leaves, it exceeds competition. That's why we have this
black, this blank here. Alright, so that's where your
mask tool to create a mask. Then the other way to
create a mask also is, let me fit this to come. Alright. The other way to create
the mask also is by using our pen tool. So the same thing that happened, it are shaped who went
with lending out to that to create
shapes using a mask. You are only using your
ship to you early, limited to these
kinds of shapes, but using your Pen tool, you can create your
own shapes, right? So you have to be there on we did is that
inquiry deed for it? We all must have done this. That I wouldn't be
that one or you don't want you ever to visa on. What it does is it
creates automatic curves. Alright? So it kind of, as you are moving, it
covers your edges. So that's different between
we're too busy or not. Alright? The same thing
we did when we're creating shapes has known
as the same tune with da, doesn't move it
from 1 to another. But make sure you get back
to that where you started, just to make sure your
ship is complete. Let me delete this again. Turn off auto visa. Then you see the difference. Now this one does
get discharged line. So there's no alcoves and
this one's called them. This one's, so that's why I prefer using this won't do it, depends on what it is
you're actually doing. Hip phase in this
lead to smooth edges. And it's about creating a mask. In this case now since our mask is now a
shape on its own, so it can either increase
it or reduce it, increase it or you did it
increase it or reduce it. Now, since we have
created a mask, simply for your shape,
simplify your pen. Now I've created a mask. When you want to see
the mask is created, you click on em, used M2 activity or mosque
or add the mask option. So this is this, this is the mask you've created. Now, for example, if you create an unarmed mask
inside of this mask, it's going to, now this color
is the color of this edge, edges you have, okay? Now, if we create
another mask inside of these lambdas, do this. Now, we have this mask inside. The color of the
outline is this color? Yeah. Okay. Now you can change
it to whatever you want. Now you have this color, you
able to distribution between these colors because you
can create different mask. And when you want to
change this one outside, you can do it this
way or delete it, or you want to change
this one as how you can notice when
I didn't have it. Alright, so now, since we have used our shape
to create this mask, we can alter the way
our mask looks by using our pen tool to
move from place to place. But this is what I mean. I use my Shape tool to just create a random
mask on this one too. Luckily, I'm going
to do this instead. We can use our selection
tool to automate this. All looks too. Alright,
so let me delete this. So that's where we have with this nowadays you explain
something I said, well, you want to see your
masterpiece m. Now, the other options that
come with your mask, not just the mask itself. Now this mask itself
is your mask paths. Again, once you drop
down what these, you can see your mask, pat your mask feather, your mask opacity,
mask expansion. So these are different parts of the mask that
you can work with. Now, let me delete this. I'm going to do something
like that data again. Let's say we are working with this as well, working with this. Now, this mask path is the path, basically the part of your mask. Now I'm going to change this. Now if I change,
my mask path has changed to a
different mask button now so you have different parts, different parts compared
to the other one cell layer mask participants
guy wants to press M, dilute your mask path.
Let's drop down. Then you have your mask feather. The mask feather has been
to those feather out the edges is going to
smoothen out the edges. This is where you
have your x and y. You can either
increase or decrease. Now the x and y as this. So if I increase both of them, this is what
it looks like. Feathers, the edge is kind
of small, teams it out. The edges kind of
spontaneity it out. Now this is the edge
of the die increase. Recommend Andriod. This is the edge of your
comp, of your layer. That that's why it's this way. So now I know that
my fader is mode. So if I want to open my
feather, I've just press F. Want took my favorite app. You've under my mask path, press M on top of
my for diapers, a waveform to see
everything those drop-down and you have this. So now I have to use my
further so I don't get to the edges of the shape itself. So I reduce it and
I have this 26. Still see other feather on it. If I reduce it to 0, you can
see those entirely gone. So you have a very sharp edge. The lambdas leave it at say, 25. And we have this, okay? Now, based on an x and a y axis, if I turn this off,
let me zoom in. So you can see, even though
you can see that this, your x is not fair, that you can see this x now your x axis is not
fair that, but you will. Why is fed at, then, if I turn this to
a zoo but are then become very sharp at the edge now I can
increase it to 25. And you can see now that
your x becomes faded. Yoy isn't okay. That's basically the I don't I don't see any reason why
you should do that anyway. So I always leave
it to look like let's increase it and further it without bound what
I want to add that, okay, so that's the
next new mask opacity. Mask capacity determines how much of whatever it
is you have maxed, you want to see your mask
capacity is damaged that much for devices
or maximum on to C. So you just like
your regular basis, PCs or Macs that
your regular basis. So why that is
important is when you have two masks on one layer, I'm going to do that now
your mask expansion is, once you increase the expansion, now this is different
from fading. It doesn't increase, the
expansion is going to increase. Now. I initial points. So it's going to ask
them the points that have created on this side, okay, now if you reduce it, it's going to eat it in
rather than increase it in. Is it trying to maintain that
shape with the mask path? Now, if you change
the mask paths, if you change it, it's
going to do the same thing. But this time our changes
are eaten it into asm, the shape of the mask Pi. But this time it's
going to reduce it. I'm going to turn to leave
that at as I was going to create another ship inside, slim does create a random
mask inside of this. So you have this
random mask in here. Okay? Now there are different
options that you can set your mask as this, like the transfer
mode of your mask. You have add, subtract
graph intersect. You have lighting that
can and difference. Alright? So where we have, for example, this mask, one domain mask, now
change it to non. Yeah, it's okay,
this is entered into non is going to exactly what's
the effect of that mask. Now this one is this
way because it's an ad, okay, So I'm going to
change it to launch. It's going to do
manual kitten mask. So if I change this one to
add even just one last known, it's going through this
since this one is inside, since this red one, mask two is inside of the
main mask, mask one. Alright, that's why
it's overshadowing it. Alright, so remember
the last time we left this as known why we
live this as add. Now you have this
as AD when it's at, but when you transfer mode
is on ad for your mask, then it's going to, that's part a of mass out is
going to be present or at. But this time I want to say, I live this on add and I
leave this on, subtract. What is it going to do is
going to subtract this part that you don't die of max
is going to inhibit it. So it's going to
subtract, That's paths. So that's what you're
add and subtract. Is there other times
you may have to do, take it a little bit more
complexes and intersects. Now, this is the trick
where you have a tone. You have it on subtract,
it's going to subtract it. Now, if we are
going to intersect, now you know, it's
initially on Add. If you have this on add,
both of them are going to be added initially on subtracts. Now when you have subtract, you're going to subtract that path that you
have selected, a subtract that mask selected I subtract our intended
to intersect. Okay, it's going
to lag fine like imagined points
between the two Mask. Now the initial mask is on Add, then this one is on intersects. So it's going to assume
that you are combining, combining the both of them. I usually find this part very difficult to explain because I sometimes when I'm
working now you do not know what it
is I need to do. I just play around it and get to the point I won't say
it's going to assume this part is going to create an intersecting
point between both of them. So what you're telling
it is this mask, you want it to be added, but this one you want
it to interstate so it doesn't
subtract initially, but once you intersect, it is going to
remove the main one, then leave only this one. So instead of doing that, you can simply do non and add, says we're going to be
the same thing, alright? Now you should change it
to none and subtract, is going to subtract
that one from inside. But then your main
mosque is unknown. So it's going to ask them,
this is the only mask present and I've subtracted it. Okay, if we turn this back
to Add, now you have this. Now let's try and change
this one to subtract. Changes want to subtract. So if both of them or subtract, It's going to definitely
subtract the old thing, then you have this
one outside agenda to subtract and changes to add. So you have this subtracted, the main one subtracted, but I've added the mask
you want on the inside. Okay? So depends on
what you want to do. Now Olympian, that's
subtract and non, you can assume it's
only this one, I will be subtracted now, it depends on what you
want to do exactly. What you want to do exactly. My notes, specifically know what it is you want
to do bass player, and it gets more complicated
when you get to intersect. It a little bit slim
does to other options. Change this one to intersect? Then say attorneys want to add to what's it
going to look like? Intersects, add, then
subtract or intersect. Okay, So it just depends on
what it is you want to do dilemmas so much
time on this, okay? So that's that about
transform mood, transfer mode Radha of your mask properties
of your masking. That heard about the mask path to fade out your opacity and the expansion of the
assumption as you can do them delete this mask. So once you have this, nice, I want you to
send you to subtract. It's going to invert
that path, okay, so it's thought that
it's the path that you must apps there's
going to be subtracted, but the other part is
going to be added. Something that you
can, you can either change that to subtract. Well, when you have this as add, you simply change it to invert. Okay, so once you invert, it seems you have
this one added in. What's this one? Yes. 70 that these
top tracks dose. So if it's tended to subtract, you can imagine the
same thing is going to subtract two is
going to invert it does the same thing basically
when you have add invited this on damage or working on subtractor and you have
subtracts and invited the zone. I'm still working on
ad, but that's what the mask creating
mask is used for. And this is how
to create a mask. Alright, I O performance. Now you can see this stopwatch are available for all
the properties that we're going to talk about
next lecture, mask animation. So onto the next.
13. Mask Animation: You folks. So without wasting time, we're going to go straight into the next one allows mask paths. Animation are going
to be admitting the mask path to the
mask expansion feather. All right, so as you might have guessed to a combined in
the last two lectures, or masking and mission together. Okay, So based on our present subject to what
we did in the last lecture, simply going to start with this. Let me uninvited this and
changes to add a kid to simply, we're going to be animating
our expansion over time. And how do you do that? I did talk to what the expansion is to reduce or you increase, or actually I want it to go from the literature
points to this one. So I'm going to just
put it on a 2 second. Mark, creates a keyframe, then go to the beginning of
a composition, then changes. We do this is what I have, is the M leave it
entirely and move it. Then I reduced it. Of course. The deadline if I'm playing this, what is going
to look like? Oh yeah, this is our mass, this our mask animation. Basically it gets
more complicated than this as you go, as we go on. So this is what it is basically, with our knowledge of animation, I shouldn't think there's
a problem with this. Alright, so next we're
going to do is admit, I'm sorry, from the,
from the easiest one. This we're going to use
unmet our mask capacity. So we have it at
Clemson is back to 0. We have these as Andre, leave it as a 100
and move it here. We have this as basically doing the same thing we did when we were talking about admission. So I'm not sure I'm unmuted
obesity I've taught today. I don't think it's guided, but that's what it does since I were talking about
scale and position. It doesn't seem right. So that's a mask. Admitting our mask obesity. I'm turning it back to Andre. Mask feather does
the same thing. Create this, then increase the feather bunch so
it does the same team. So basically the most important and that is
where it gets a little bit more complex is our mask path. So in this case, since we didn't have
any increments, incremental reduction,
incremental reduction here. Now, this is what squint to
these points that you see. Here. This point is I can adjust the points that I can animate. Okay, let me turn
it back to this. Now. A creative cue sheet
music, my stopwatch. And I can move forward
on timeline, right? And I can alter the
position of these points. Now you can animate each of
this point respect to time. Okay? So once I've done that since I've
watered version of this, if I move backward and I plead, that is what is
going to look like. Now let me reduce my feather. I beat my plate. This is where we have that what your Maschine M animation is. Basically an emitting. The most important level can also do the
opposite and expansion, but most importantly
than meeting the part, alright, so I've done that one, imitate this from this to this. Now, let me move
this forward again. Okay, Then moving back, let me say I want this
to follow as this is moving along this
path to follow it. Okay, I want all this
points to follow it. Now, it doesn't have to be 11, you don't have to do one by one. So this is what we have now. So as I'm moving
all the paths I've selected or the
pattern one method of following a button and
select this path as well. They are stationary. So if I press on this,
this is your mask. Animation is basically
what it does, right? So I'm going to do something, I'm going to be trying to
defend kinds of this pattern. So you understand when to, when it comes to
mask path animation. So I'm moving forward
now I'm going to redo this hour I did is
I will select it, hold Shift down, select
another point I want to mask so I can do both
of them at the same time. Then let's say I want to do
this to move it like this, then same with this one like
this also, I have this. And if I play, this is
what I can do that again, up to this point. Alright, this paths, the
ones I did last unaffected, but when it gets here, become affected
because admitted. And so this is why you have so you can use it to do
something like liquid reducing obesity and maybe change it to a
little bit of white. But we have white backgrounds.
You can use it to do the reducing or something. You can be very creative. We did, this is
where the beauty of After Effects comes to play as I referred in last lecture
called masking the nights. Because one of the
beauty of After Effects, it's not all video editing
softwares that averages, but when it comes to complex
or more complicated software is definitely they have
this even on phones. You can do this sometimes. Yeah, Michelle,
Michelle Obama skin. Okay. There's some apps
on phones that can do masking, but yeah, you didn't have the you don't have total
control over the kind of mask and create two by the admission of the mask
path and all of that. Okay, so increasing
these 200 words, your mask patches basically where I let me try
something else. Let me, or the
shape of this guy. This, I'm doing a little bit. Let's call this an unnatural put in the millipedes,
centipedes. Okay. So let me move this on 1 second. I wanted to move forward. I wanted to be like
it's moving forward limb centimeter distance force, then I'll move this forward. Okay? As I move this forward, I
also move this forward. I can just be creative with it. Then. Having done that, I can
just select this and select it and move it
forward on to second. I select this and move
it forward. Select this. Move it forward. Does it create a little
bit of dynamism? Make others move this one fasta. With this one, the
aim of this one here. We've gotten to the
end of our layer. But let's worry,
we have already, this is what we have. Okay. It's looking like
the undermine water due to look like okay,
this is what we have. We have done something like
this. It has to trade. This is what we have
with our mask paths. Okay, So this is where
the work starts. Now, let me start with, this will create the texts. You've done that at all creative when we're
talking about about 2s, I'm going to create a text. I'm going to just increase it to say Andriod. I'm
going to call it. Let me add on the name of one of you watching this is WeChat. You designate each ad,
please doesn't mature. You indicates at
night guessed right. Let's change the formatting
changes to total bold. Okay, now I'm going to turn that coupon to the
center than centralized my my layer so we have a chat
to each other you doing, please commence in the
community alumni are doing. And how has this been for you if there's any
reach idea at all? So let's get started. So what I'm going
to do now is I'm going to unmute the
position of this. Okay, now we're going
to deal with admission to composition and
masking all at once. So I'm going to unmute
this position now what I would do is I want you to come from the bottom right and
I'm going to move it here. Now, I move to my 2 second mark. So I just create a keyframe
where I wanted to stop. I'm going to go back to the
zoo, change the position. So this is what I have. It's going to come this way. That was boring and slow. Okay. Yeah, this is it. Now I'm going to easy, ease. Now I'm combining everything
we've been learning f and I want to go to my graph editor to zoom
in on my timeline. I mean, it's a matter
of my timeline rather than how do we make this dynamism? Should
we give this one? Fast, slow? Let's do that until the
community very quickly. Yes, this is a little bit. I think COVID is coming
quickly then slowly. Alright, so I haven't done that. I'm going to turn
on motion blur. Again. I'm combining everything
we have done. This y-axis is where
the work starts. So if there's any new member, please go back and make
sure you catch up. I'm going to combine able
to, I've done press U to open my keyframes or press
P since I'm using P. But if alumina them as selected as enough caffeine is
I can just press U to open all my keyframes for
the layer selected and even only I selected
all my layers, give him it's going to open. If I play, that is what we have. Yeah. You can see the motion
blur because the distance between each of them is the
keyframes is quiet much. Okay, so let's get to where
the work is now going to precompose this using Control Shift C. Then we have moved, I'm going to move all
attributes into the new comp such that remember from
the previous sections by time move all attributes
into new compound we have is my position is going to be inside of the new
component on top of this, if I press P at the animation, only inside of new completed. Alright, Okay, let's
get going further. Now I've manned
missions still intact, but my position is
inside of the new one. Alright, so this
is where we have. Now what I'm going to do
it, I'm going to create a mask is in my Shape tool. I'm just work with
the rectangle. Now. I want it to be such
that now we can see it. There's no point animating
it this way if you can see it initially when it's
going to come on top. But now I want to do it
in such a way that it, when it gets to oldest, old my mask and that mask now kinda mask to known
so I can see what I'm doing. I wanted to be such that
when I said as I said, I mentioned due to non inmates
eliminates your masking. Doesn't regard to masking. When we have it as add
that path that you go, that path that you must ask them to show up
when you have to subtract that part of it as
you try to machine up here, it's actually not
sure you have it. I subtracted the opposite
algorithm to show we can now, so this is where you have. I'm just going to leave it
as non weighted our mask, what I'm going to use, this mask is not big enough. So when you move like this, you can see, see it. So what I meant to do is
I'm going to select both of them and drag it down. Drag it down. Now you
can see these paths. Now I'm trying to cover
up for this part. I don't want this part
to show Orchestra. It's going to start to him
and he gets to this edge. Alright? If you want to start sure,
when it gets to the cell. So what do you think as
you do a magazine ad or margin subtract? Now, remember, this is
the part that is maxed. Okay? So if I'm using add, that part is going to show, so this is what our unmentioned
is going to look like. It's like living
wherever you subtract. That part is not going
to show the patho is max is not going to show
it's only the opposite. I will show this what we have. It's coming from infinity
Speech Guarantee. Tell where it's coming from. This is what we
have kind of coming form on that mask then up. So if I turn it back to none, this where we have dual of it is shown, but this
is not what I want. So having said that, if we don't add at a
certain period like a vaccine news and
you've got to have the same effect right now. I can just fed up, press F to give it a
little fatter than ten, so the edge is not
exactly sharp. Let me zoom in so
you can see it. Now, if I change it to the zoo, is where we have, I'm
going to leave it on ten. Okay, so when we play,
this is where we are. This is one path that
is your Maschine for. So you can imagine I've combined a shape layer with
position animation yet, which precomposition
with my skin. Tone down motion blur also, because one nanometer
names in it. I don't know Amazon lawyer. Then what else did we do? I think that's all we did. Alright. Yes, So that's, that's about this
kind of animation. So a lot of water, you can just be creative
with you all of it. Now, we didn't animate
the mask paths here. We didn't have any
mass by herbal Amtrak. Somebody say, it
has gotten here. Now, you can press M to open your NAD instead of N plus
M to open your mask paths, then select your stopwatch. When it has gotten, I've
gotten out of its shell, wanted to wait a bit, then you want to cover it
up the same way you did. What you do is let me just
move forward a little bit. Then. Select these
points are achieved, celebrate data point, then
you can just drag it up, then all shifted down. If you drag it up,
that shift down you can still going to be you're
not going to go up straight, so you will shift down to snap
it to that vertical axis. Then you have this. So this
is what M do that again. Then it will shift down
and snap it on top. So this is where you add
your animation looks like. And that covers it. Okay, Now that was a little bit fast and there was
no dynamism to that. Fn F9. What do we do? Let it go from slow to fast. Too fast. I think that's okay.
You get the point. Here is where we add Mask Path. Alright, so let me try something here. This is one example. I think the second one,
we tried something initially, but let's
try something else. What do I do? Lambda delete this. Flower
creating your composition. I'm creating your composition,
control N or compositions. Then let me call this morphine. So create a new
solid, white solid, creates another solid control
while make this green. K, you have the green solid. Now we'll switch file to tense. Please pay attention here. Pay attention here.
So I'm going to create another solid Control D. Now this is what I'm
going to do, isn't my Q. I'm going to create a shape. And this shape is going to be, now I'm holding
Shift down arrow. I can create the perfect square. Alright, so, um, the reason it's not showing
tonight because this is, we have another green on top,
so I'm going to put it off. So you can see this is the
mask path we have here. So I'm going to just endless, you'd use it today. No lambda should
leave it that way. And I'm moving to the
center of the common. I'm going to turn this
off to the 17 year, but this time around I'm going
to create an ellipse mask. What I'm going to do or
achieve down also to create a perfect circle. Now, I'm going to
center my anchor point. And then my uncle
burned and send it to the center
of my composition. Alright, so we have to mask now. We have four green solid
one, rough mask, one. Then we have also for this one. So we have this one. Again to open your, instead of having to do this and come down and select this, you can simply press MM, MM, and it's going to open
all your mask properties. Alright. So we're going to do
something very beautiful. Now, what I want to
do is I'm going to, I want to change the shape
over time from this square, I wanted to change to
that circle we add. Alright, so how to do this? This is not necessarily the part you have to take
out to just do this. Now, I will just
select keyframes on both Mask paths or Atlanta. Zoom in on my timeline. Select keyframes on
both the mask path and I'll go to my 2 second. Then this is my immune intimate
circle and this is my, this is my square. Square. Easy David. Okay, now so I'm going to, now what I did on my
circle, let me turn it off. It has created a mask
paths with this mask. And I said m created
a key-frame. Key-frame the assembly
to turn it off. I'm going to do is I'm going
to copy this keyframe. Select it, does highlight
it and press Control C. Then it's going to copy this
position of my keyframes. I want it on to two seconds. Alright, so I'm going to select
my square and Control V. Okay? So this is where we have no, I'm not supposed to do this. Now. It asks, it has copied the mask itself
and presented here, but that's not what
I'm trying to achieve. Again, let me make sure this
is centralized. It is now. So I'm going to just simply
copy this Control C. And I'm going to
select my mask paths, then move to, to
lay my mask path. What I did was selected
this and Control V. But it's going to assume I want to create
another mask itself. So I'm going to
select my mask paths then Control V. It has created a keyframe to just copy the
keyframe in from this layer, from this solid layer
into specifics here. But this is what we have. Now,
this is a circle, alright? And then make sure this is also done is on, turn this off. And we said this is also
at the center of the comp. So yeah, so this is what we have now is going to move
from thats squared, started as a square
because we created a square mask paths, right? So it's going to move from
that square to circle. Can you see what
it did move from that square into a
psychosis falling the math. Now this is mask path animation. Also. It's moving this way. Moving this way. You can see what the mask
path looks like. Now, it's fine to get into
that circle is empty. We can do for these ones, I copy these
keyframes Control C, and I call me and
I'm going to V, right, is going to
the same thing. When to move from circled
into that squared, alright, going to move from
that circle to that square. So this is going to
be your mask path. This is called morphine k. So I'm deterred afford,
I've lost countered. The next one I want
to do now is using a real-life footage, okay, so I'm going to import my clip, come to a okay, So I have this, I'm
going to select. Okay, let me quickly
do this to explain. Once you have imported your clip or whatever it is
you want to work with us, you can just double-click on it, then opens into your footage
or at so at this point, I don't need all of the footage. I only need from the point this lady enters the frame, doesn't
move it back a little. And I can select this
as my end point. My time I select it, it
changes to my inputs. Alright, let me do that again. It's entering the frame.
Select these changes to my endpoint of i. So this is the part
from this point that it's going to
start on my timeline, all my composition, then
when she leaves the frame, that's all I need. Okay, So I'm going to just
select this as my outpoint. So once you overall need to see set out points to current time. Okay, so now I can go back. Let's drag it into
my composition icon. You can see when it talks about
I'm creating composition, when I talk about
creating competition, I can't remember
the lecture now, but once I drop it, it's going to create
a composition. We didn't name of that layer, masking or two scoping
talking about the scope. And then next we're
talking about again. So now average from that point she enters to the
point that she leaves, the original footage
starts for me, then out this way, but since I've set my in
and out points is going to no treatment to that point. So here's what we have in this play. This
is where we have. Yeah, so what I
want to do now is watch this created texts
using Control T to setting my text tool then on
them should I use again? Mike? Let me change it to whites, then increase the size
a little bit more. Control, Enter, Control Option, Home, then Control Room. Shortcuts, lifesavers. Alright. Okay, so this is
where we are live in. Could you do to be more
to, let's say 200? Samsonite the idea that term. So this is what we have. Okay, so I want it to be, what I want to do
is as she enters, it's not going to
show now you can see that she's going to detect
the text is on top. Definitely. She's going to be
behind the texts, but I want to put
the text behind one and I want to make sure
is ash as she's passing. That is when the texts
taps to get revealed. Okay. Now there are two
ways to do this. Mask notice coping. We'll use the exact
same footage. Talk about two
scoping when it comes to coping in next class. Okay, So now let me know
withstand them, get started. Now, as I said, I
want these two, you can do this with
masking in two ways. It's add a decided to mask or I deal with the text itself. So having done that
with my texts, I can just come this way and does create this mask around it. So I've created a Muslim, I'm going to press M to put my mask path and I'm
going to start animating. Let me zoom in so you can
see what we're doing. Able to be more
lemon yellow tie, what this thing looks
like first, we have this, now wants to and
meeting the mask, but initially it's not going
to show until she passes. It's going to be actually
do only revealing it. So this is where we are. I got this footage
from Pexels anyway, a few stock footage website. So here's what we have. Now, when she passes, it's going to start revealing T2 until it gets to this point. So I'm going to alter
my mask position. So select my keyframes to create a let my stopwatch create
a keyframe matter. So at this point is not going
to show all this points. It's not going to show until I'm going to close it entirely. Then after we using
control forward to make sure now this
is key frame animation. At this keyframe
animation for now to be using frame-by-frame
to move forward. Okay, now, let me zoom in. So you can see what I'm doing. Given at this point is
not supposed to show, maybe it's supposed to decide the best way to
do it since I'm not exactly creating a straightens
is not exactly straight. She has a discourse around that. Okay, so this is not
the best way to do it. So I'm just going to use my
pen tool to create that mask. Rather than using either
using the shape tools, I'm going to use my pencil
to create the mask so I can be fluid with my shapes. I'm trying to create a key and I'm also going to
live or to be zone. This is where we
have initially yes, I'm going to just M
Mask Path, turn it on. So initially we can see to be able to see
it. Again, I guess. Now let me change it to non
so I can see what I'm doing. Mask path here and select this keyframe
muscle move forward. Now, we should be
able to start seeing. She'd be able to start
seeing the mask here. Alright, so I'm going
to select this. Then. At this point I'm
going to just turn off the layer so we can
see what I'm doing. There isn't enough layer. So I can, instead of
turning of obesity, but I prefer always to
turn off the layer. I can turn off the layer and animate based on
that using my m. So I'm not sort of following
photo, following the Liddy. Now, I've created
this mask points. To create another
point, just select your mask tool. I want
you to add Latin. Any other point is
going to join to form the shape
tool to your plus. So now we have this, okay, so I'm going to
keep moving forward. I'm going to keep
following the bug. Okay? Now this will take time as
now we're doing this on YouTube out of
probably fast-forward. It is sped this up. So I don't bore you
with all its parts. But now since we
are all students, then we need to see the
need to see the process. Okay? So yes, I'm just going
to be following the bag until I'm sure that
it has exceeded the. Now based on this, Am I have
to keep creating points? This is a better
way to do this and always we faster than what
I'm doing here. Okay? So just to be sure. Okay, Now I'm there to take
just to be sure my mask. Be sure to the extent
that my mask and my text gets to add
to turn it on again, try not to put it off,
move back, then put it on. So we'll see this. Okay, so I can still
work with this. I'm going to move forward, back 20 back of move
forward, selects. And then now I know I have to work with the bottom part also. Okay, so this is what we have and this is going to
take a lot of time, but it's what the lambda is. Mickey off doesn't
have to be perfect. That would teach you the
easy way in the next class, okay, So this is what we have. Say you have to make sure
you're following everything. Let's see what we have so far. If I turn it on, this
is where we have. Now my mask is set to none as
why you can't see anything. So we still have a long
way to go. My God. I have a long way to go. Instead of doing that, I think I'll just
fast-forward this part. I get it on the
phospholipids play music facility than the video doesn't get from
especially long. So yeah, this is the
time-lapse of the old post. It's going to take time, but at the end, what you achieved. Oh my God. So yeah, guys out to offer you move from animating frame by
frame by frame. Okay. I just suddenly
thought of it doesn't have to be perfect and it works. It works. We're good to go. This is where we have
the mask moving, fallen, the lady with the
umbrella and out of it. So put on our mask, my interface ID bit,
and put on our mask. This is what we
have following it, following and
following it then it's unknown as we can see
any difference yet. So what are we going to do now? Go and change it to
non add or subtract. If you said add your variety, if you said subtract, your lungs are
changing into Add. Now this is where
we have fees like the ladies do want to
reveal in the text itself. That took me about
the admission took me roughly about ten
minutes to get done. Okay. So this is where we have She's going to leave
it detects, right? So I'm just going to feather
it a little bit using f, then five, then receive. So once you Please, please, please, I think
tangled I did that. Whenever you are working
in After Effects, once you are working on
your mask paths animation, please make sure you
are saving your work. I can't overemphasize that, please make sure you
ask even your work. Alright. Yeah, is where we
have delayed release the mask. So this is one thing you
can use mask paths to do. Also, this was tedious. Belong, I did something else. But data alone
without this method. So guys, I'm going to make this product available and
we're going to export it. I'm going to make it available. So you can see it and you
can follow while we are, you are trying to practice
and then come to think of it as an equivalent
pseudo scraping. But I think I'm actually
hoping for a little bit further down the coast and I'm going to do
something more basic now, rotoscoping is basic in its Save depending on what After
Effects you have. Migrants leave that for
that on the course and deal with the more important, since it's not less important,
don't get me wrong, but some things that we need to know before
due to the scoping. So that's what we're going
to talk about in next cost. So onto the next one.
14. Effects: You focus. I was going I said was supposed to do
with turtles coping, but yeah, just cover that. This one is just one should
come before to scoping. Because as you have seen
in the tied to this talking about effects
and applying effects. Alright? So what does companies and
effect basically, yes. So this is, I'm going to start with the basic effects for me. Now this is where we stopped
in our last lecture. You can just do this. And if you feel like, you know, you, you know, editing, if you are able to do this. Okay? So yeah, we're
going to start with your plan based effects. And first I'm going to turn
off the texts layer, Mike. I'm going to turn you
off, I'm sorry, Michael. K. Then next we're going to do is go to yoga we
used with y prime. We're talking about
our game played. You are at time
so you go to your Effects and Presets panel here, cancel with WAP, then these are the effects you have said. If you can see a fact
and presets panel, you can just go to window, then select where is it, effect ampere is that alright, is selected, as you can see, ten shortcut is command five. Projects should be K Command 0. So these are other
ways to do that. If I eat Command F5 now you can see the halftone literacy
rate command five again. Yeah, it's going to turn it on. Alright, so, yeah,
this has effects. You can add the quiet in
number and this, except this, this is it third party plugin, except that this one's come with After Effects doesn't
reflect that you can select, that you can use the plugin
stood by the plug-in. So my pizza, my free, everything I have is
free video copilot, that's lightsaber, colorblind one VC or by
inflict entrance fee. Okay, So this idea that
once you can have, now I'm just going
to mention a few. So I want to introduce you to
the effects controls panel. Basically just what I'm doing this first before to scoping. So you can see blur and sharpen the one I'll be so
evidenced for everyone to sin that is blur and sharpen
to once I come here, I can add different
kind of blow bottle, the one I use the most
in my camera lens blur. So once I select my camera lens blur onto a plan, in fact, what I would do is drag it and
drop it on my composition. When the case that you
have a white solid on top, if you drag it is going
to apply to that whites. I said white, solid on top, whatever color it is going
to apply to that solid. Right, but I don't want that. So that's one way you
can apply and effect. Another way is by simply
selecting your layer, okay? Once you select
that layer, I can just drag the effect and drop it on the mean in the
effect controls panel. These are in fact
conscious panels. So once any effect you apply, this is where you're
going to work with it. Okay? Another way to do it is simply select it and drag
it on the layer. That's another way. Once your layer is
selected or introduce, double-click on your effect, but you have it in the
effects controls panel. Alright, so that's the best way, that's the fastest way I
can think of it being done. So I select my layer and
double-click on it and gravity. So it's combining with
metal selected on it. This blow, we have this looking blurry
compared to before. All right, control, just
looking sharp onto Shift Z, then you have that blown it. Okay, So this is an
effect controls panel. Whatever effect you apply
is going to show up here. Now this is blow to turn it off. Camera lens blur. You see this efflux and
just click on Effects. It turns it off,
click it turns it on, or you can meet these effects. So instead of turning each one, you can apply, say, more than one Effects. Let's say you have to apply
more than one effect. You want to turn everything off. You can just come here and select everything, turns it off. But in this case you have
to turn it off one by one. Okay, so let me delete this. Now for your camera lens
blur, radius is five. So if you increase it, your blood is going to increase. Now for every effects they have, their own dynamics are at the
effect of that on dynamics. So I'm not going to put
you through every, I mean, each of each one of them
as you keep working, you just play around them and you can decide what you want to do with the effect. Now in this case, my
camera lens blur them, I increase my blood
the more blue I have. Again, I'm working
with a hexagon. That's why it's
looking like hexagons. Polygons with shaped like six
add a shape, 123456 years. That's why it's
looking this way. Most cameras have
the exact gone. Blow on it the shape
of your iris, right? Triangle, you see to
turn to a triangle. Now, this is why. This is what it looks like then. Squared is empty map on each
effect as its own dynamics. I'm not going to bore you
with one for each of them. Then let me try something else. Mc my color correction
lambdas job, what can I use? Drop this in, say select, since when I draw my tint in, it's going to change
to black and white. Now I can reduce the
amount of tin Taiwan's. Increase it. So this is another dynamic for this particular effect
on swap the colors. And it changed from white
to black, black to white. So it changes the black
to white to black. So in this case, if I increase it, it is
what it looks like. This is how you should be
normally so I can change it. Now. You just kind of Teams
or inverts the effect. Now let me try
something. Try and our planet dies
back to this one. Now I have this as black, this is white instead
of swapping colors, let me try something different. I can just search for my effects here and type on typing in vats. Alright, so if I select invites, does exactly the
same thing, right? So if this is on,
this swapping colors, basically inverts
it, then if you have one in what's in, it
does the same thing. So if I swap color again, since my inverter is at the
bottom, does the same thing. Now the order of
the effect matters. Now, if my watch is on top, you will see it's going to be an entirely different
effects, okay? And what is on top? Now, if I put off my tint, this is the inverter
IF on to operate as my color based on the
algebra I've selected. But if I select two edges going to invert it based on the red, select the wind is going to different effect with
different dynamics. Alright, so now,
since I'm Tintin, it's going to turn it into
black and white still. Okay. So that's, that's
why I said the order of your effect size. Now if I drag it down, it's going to cost
you that tint faced, then inverted the data. Because if I invert, you're going to invert
based on this tint, okay? Let me apply an
effect so you see what it's like again,
what are the efforts? Can I apply them?
Does look through it. Let me add a little
noise noise and grain. Nice. You can never go
to and get nine. So let me add
noise, added green. So I'm going to increase
it increase the intensity. Let me see. So it covers your screen. Yes. And I can increase the
intensity, increases. So reduce it doesn't have
to be two modules is nice. You have Grenada, then
you can add noise. Let me, instead of adding
green, let me add noise. Let me use this
and I can increase it and you see that
noise on the screen. Okay. So yeah, I mean, I jogged this one up first and
it's going to consider it. Now my tint is referencing, my tenth is based on the noise. Okay, Now that's why you can see the colors that you've
seen initially. Again, I'm not zooming comp, so the close agenda, but once I take my nice to the top of the teens,
It's Harrington, you're going to go black
and whites, it as tinted, that's going to go
black and whites. So these are the kind of
effects you can apply, or k. So let me delete
this London, Canada one. We just voted or so. So for example, let me
keep talking about Lynn M, green-screen or chroma key. Now, I can decide to remove
the green in this course, in this video using your green, your key light or
your linear key or whatever keen if
you want to apply. Now, the one I use, the one most people using After
Effects is key lights. I can just select
tomake lights, right? Then this is black. I don't want to key out black. Okay, so I'll just take my
pen tool then select green. I want to isolate green, everything that
looks like green in that competition
disappears on that layer, not the competition on
that layer disappears. So if I turn it off, greenback, then I can
change the color again. Now. More prominent one is red. Second key out to it. Now you have this worry. It looks like it's like a black vehicle them
with a lot of green. The footage, Steve Keen
and black mix mechanisms. Not exactly. Okay, so that's what's
another effect you can apply. Then this one has its
own dynamics to run, not going to bore you with that. Then lastly, the last kind
of effect I'm going to apply some I'm just search for it. I'm just add saturation.
You answer tuition. So in this case now you can
increase the saturation. Wanted to pop out a little bit more or increase the lightness. Okay. Yeah, That's different effects,
different dynamics again. So I'm not going
to bore you with this part of my plan of effects. So the more you
work with defects, Somaliland dynamics,
and then you can more flexible and
able to work with them. So now I can comfortably do the other aspects that I intentionally skipped
to do this first. So since you understand
how effects work now, so we can go into the next one, and then from next topic, we'll move into otoscopy and, and I think, I think I think
will make sense that way. So I hope this was clear enough. I hope you understand. And if you don't,
please watch it again, and if you have any questions, make sure to ask that
for this lecture. Onto the next one.
15. Rotoscoping - The Bishop: Welcome to the next one, folks. So next we're going
to talk about is otoscopy and finally, how to introduce you to
dare to do the scoping. What this company is a tool
and it's no inland effect, but it appears as an
effect basically read. So when talking about our
tools when we got here, we said this is the otoscope
to go to Brush tool and the shortcut is option w or
w. So once you select it, now what it's used for is
to, talking about masking. I say it's a better way
to do a mask or hard to isolate a layer also
just like the mask. So I'm not going to
waste time Tolkien, I'm just going to make
you see it, okay? So once you have your layer, now, we wanted to do that. I'm just to make this lady
appear in font of the text. Okay, now I'm going to
duplicate my texts. Tony, tony remove the mask. My beneath the mask later. I'm not quite sure now,
so timely with the mask, I'm going to add this one. So we don't see it's now
this lady is the mask on. Okay. I didn't do
and turn it off. If I turn it off fluids Justice
selected as way too soon. Now, I wanted to let
you to be informed. So what I'm going to do
is I'm going to mask, I'm going to isolate and phones. I want to put the mask and bad. So what I usually do first off is I make sure I
duplicate my layer, whatever layer I'm working with, I'll make sure I
duplicate our first. Then once I do that, I will just change the color
to something different. I don't want to use it. Let's say green. I'll name it as. Remember I said try and name your layers
as much as it can. So I'm going to put on top
now whichever two bars to what I'm going to do is once I would propose
to select it. Once I select it,
it's going to open. I'm going to open that
layer in my layer panel. Now I can look for the point. The lady comes into frame. Lambdas and Mickey D's point. So different beginning. Now I don't know. Let me see. I don't know if the umbrella is also also affects the texts. The kidney doesn't get dozens, I don't need to go
to the umbrella bumps are going to
do that anyways. So yeah, I haven't
done that again, go to your layer panel. Roto Brush Tool does move
forward to where you can see the dual of all we need. Let me use my bucket
tool to open up my, my layer panel, make it to
isolate my layer panel. If that's the better word,
then what I'm going to do is talking about your boss to when we're talking
about the tools, the knowledge and the
clone stamp tool, I'm just going to
select on this subject. I want to isolate
this kinda going to create a brush
around the subject. I need to isolate. This is what I have on our
shoes and everything, okay, so this is
not what I want. My path is not perfect. It doesn't have to be perfect. But for this, I'm going to
show you how it is done. I'll just hold Alt down. Then I'm going to erase
the same thing that happens with your eraser tool and blastula and everything. I'm going to use the pads. I do not want. So remember it was
green initially bonds I wrote down is going to cancel. So once I select any point,
it's going to ask them, I wonder upon loans
I ordered than one, select any point. You're
going to ask them. I don't want that point
because I don't know wanted to add Zoom. So you're also going
to do the same thing. I do not need these points. So all I need is the
Lidia safe and the bug because I knew the texts are working with already
done the masking. So even I and I really don't
only just behind I need, okay, but I'm still going
to do it for this lecture. Sick. Now, I would normally
not swans legs to be in. So if I want to do that,
I'll hold Control down, then use my mouse pad on my track pad and I
would actually reduce it. So I guess all control, slide it up my mouse pad or
per slide it down to this. Okay. So in this case I
would have owed or what I don't want
this media to show. Also, I can just select the
middle and it creates that. Tell you that I don't want
you to show us our legs. Okay. So this is where we have those live After Effects
to do the meaning. But in cases you
need a perfect O2. In that case you
have to zoom in. You have to get those
points perfectly. But in this case, I
didn't really need it to get just to make sure you
understand what it is. I haven't done that yet. Selected every path I wanted. What I will not do
is press foods. So once I select
Freeze, let me save it with well as Ionic
frieze After Effects, you do all the masking itself or the auto,
auto scoping and save. So once I select
Freeze, just leave it. To get it done. Force is going to go back. And it's going to
track forward also. Now, this is true. I'm going to show you what
the effect controls panel. I'm going to show
you what it is. Now. This is a water
brush tool. Was true. Okay. This asthma intelligence
that auto brush1. Now it's not exactly perfect. Can you imagine I
denoted with this band? So a vital skill to my, um, this is all we have. It's not so perfect. So in this case, there
are ways to go about it. So you can see this
if I solo this layer, now this is where
you have absolute, this ledge is where you
have using this layer. And I just isolated
Liddy as safe if I change it to blank. Since that is what it
looks like originally. This is what we have now. It's on top. I moved it to on top
of MIC of magnetic. So that's why we have it on top. Now if I move it down, I love Michaela on
top of it again. So the position
of your layers in your timeline also
matters again, or as I'm going to
move it back up. Now you can see that Roto Brush has created an effective.
I turn it off. Yet my O2 is gone. Myotome is going by
turning tomatoes on. So that's greater than Effects. Now you see why I put into effect controls
panel initially, okay, So now my edges are sharp. You've isolated by Madison. We're going to fade
out a little bit. Is on Fiverr, I'm
just going to say ten or something,
you can see it. But if I zoom in my comp, you're going to see it better. Okay, So this is it. So if I change it to a zoo, you can see how sharp and crisp. If I change it back with ten. This is where we have immune
solo, this control S. So you have this. Now this is not so perfect,
but you get the idea. So this is the texts
this way. Okay. I add the text this way and
you have the lady that way. So why I say this is easier
is because once you do this, now you don't have to exactly get the position of the bag. Now want to, you can simply do is let me create another
of these duplicates. This bring it does
have to come on, bring it on top of my gear. Then let's add turn it off. I'm going to follow
the movement of the lady this time are not
the movement of the bag. So I can simply create
a mask this way. With this layer, is
this layer selected? I can create a mask. Select your mask to continue. I can create a
mask disabilities. I have to go that far. And
this time around I'm going to use the movement of
delete the mask paths. Lambdas move forward randomly. I don't want to
spend time doing it. This should make things easier. Actually. I want to spend time
doing the frame by frame. What is at the end. Okay. So yeah, I'm following the
movement of the lady now too. Now I'm going to show
you what it is I'm doing. As I know. One of the classes I took
onetime one-off classes. I took one time in Nigeria. I ax, after doing a task, I asked people what
they think I did. And they give me about two
to three methods to do it. And that was not what I use. So as they say, and there's no one
way to market, right? If I wish to do your tin. And as I said in the last
two or three classes now, your client doesn't want to know how you're able to achieve it. All that consents them is that you are
able to achieve it. So the pattern you take this, the matter whether
you go the easy way, are you good, difficult to edit. Paternity doesn't matter. Okay. So now I have this
come out or the, so if I put on my layer,
this is what we have. It's even falling even though I didn't do it frame-by-frame. So this is where we are now if I solo this layer,
this is what I have. So this guy is basically
just covering, is covered in for now this, this guy is on top. Now if I un-solo this
and move this on top, this both layers now
this is where you have a mask part can do wonders. Drop it bugged on that do too. So what is basically,
it's covering? If I reduce the opacity, what it's doing, it's
covering up points. So I'm just using to cover the points and
I'm using this guy as it is guys, okay. So yeah, this is
what it's doing. So instead of going
to the gym to match the bags position
and all of that, this is an easier way to do it, isn't 0 to plus two. So here we have it. I 02 isn't perfect. Let me see if I can correct
that to collect it. Which out-of-box tool
on those on you have to unfreeze. You have
to unfreeze it. Okay. Now, I'm going to go
back to the point I started. I'm just going to
go back to Keil. I'm just going to go under
me to point my timeline, then look for points
that I'm having issues. There are no
perfectly track like this one does too and
quirks, It's okay. At this point. Also,
we have some issues. Yet another shanker seeds. Now one thing that
will help is contrast. A contrast to a lot less than you have black on
black background. It will be difficult for After
Effects to mask that out. So sometimes food
to get it perfect. 22, you have to go frame by frame two year to
get it perfect. And especially if
we're doing any professional job and
professional job. Now, I said, they don't
kill the process, but even if they don't
care about the process, your work must look as
good as possible or add because someone like me now when it comes to jobs like this, I sometimes critic
movies look when I see very good effects
and try and see if those don't perfectly and more stamps
usually that way. So once you correct few points moving forward for my fame
wants to correct viewpoint, it will use that point that you've corrected as
reference to other points. Okay. So yeah, this is where
you have occurred. You can see at this
point is this way, but if I correct this point, they're going to eat
this one I've created as referenced to work on this one. Okay, so I can keep moving
forward frame-by-frame. Now, I think I'm out of
what's a good amount of my cares position
in my fame already. So let me go back and see what
it looks like on this end. I think we're good on this end. And having collected that, this is something I
think we are good, haven't collected airline
to do is freeze again. So once I freeze
is going to take reference or what is
points F correctly. And now your otoscope in the otoscope parabola is going to look at it a bit better. So depending on the
speed of your system, this can take a lot of time. What I do for my system or
is using this was a lot of issues and Joseph tube was one that was present
on that one, I was using a 29th year. So now you have these and
notice the Qin way better. So once you plate, you have this, you
can even notice now, should we try something? Okay, I think this is
easier because it's faster. But then I want us to
try them pull this off, pull this off and
turn this back on. Okay, so see which does. But you can really notice
the different season, both of them actually,
you can notice the difference. You
can totally different. But then as I said, different ways to
get things done. So if you knew another
guy says these are works. If it works for you, go
ahead and get it done, I use it that works for you. I'm going to save
this, but that's that about scoping now. Okay. Let me try something
else. Let me turn off all these layers. Duplicate this. Nimitz dm. So if I select this, I can decide to MC this guy moving the cholesterol via
something with the car. Okay, we did. Let's try something
with the tree. Now is not only
for moving layer. So you can see this guy
is true, is not moving. So I can, this is my w to
select it is my ticket. You expand it, then I can select the CI and I have
this. I can do better. Let's select the tree. I have this. And then I, Candace
collected which ordinate WE again corrected. Corrected, and then
decide to okay. So I have kind of
maxed out my trees. Instead of using the max tool, you can use max two-year also, I'm going to use that. I haven't done that. Timeless fees. Stop it. I know this part was this way. So again, to unfreeze again. And having known
that if life is, since my tree is not moving, you should be able to
get something perfect except when the lady comes
in front of the tree, then you see what happened. Let me move this so you
can see what opponents, that's what these kinds of
scattered in the later be. It wasn't that bad. We have then, since it
has alternative bit, find it difficult
to go back to it. So in that case, you might just want to do it
frame by frame. Yeah, so let me turn this off to this where
we have your random, so you have successfully taking your tree
out of the frame. Now this is when
the lady comes in. It isn't lady comes
that you serve. You're taking your
chat of the frame. Now let me turn off my R2D2. Them do the same
thing with my mask. This time I'm going
to double-click on the layer either you can use a mask with your main comp. So this time around
is all we have is M. Igm is going to
randomly create a mask. Remember my auto Baeza is on. Now to get the perfect points I have to zoom in
on my timeline. But for this sake,
I'm not going to earn a composition right after
the minimal competition. But for this, I'm not
going to do that. Just so you know what you
can use mask to do again, when it comes to real-life
footage is not just animation, which shapes and layers
and all of that. This is, this next one we're going to do now is
something called tracking. So in this case, instead
of having to animate the mask one by one, you can do something we
call tracking are going to continue from this point
in the next lecture.
16. Tracking - The Queen: Folks, welcome back. So the next thing, as I said in the previous
lecture we are going to be talking about
now is tracking. Now, tracking is a
very broad subject to really bored what I'm going to take my
time to put you through all the different methods
of tracking the force. From the last lecture, we were able to
mask out this tree. Now. We have our mask
in mask one. Yeah. So what you basically do
with tracking is just like your mask paths where you have to get the position of
something over time. So that different kinds of tracking you can do
in After Effects. And then if you have
seen subsequent lecture topics that you will know that I took my time
to put you to everything, maybe not everything, but
the ones we need to know. Okay, So in this case now
we've maxed out our tree, then we have our mask one year what we can do is
just right-click on mask one and
select truck mask. Let Chuck mask or Macau
chakra is going to be opened. Glenn Close it again.
Let me do that again. Right-click and say
let's chuck mask. So as you tell it, trach mask tracker is
going to be opened. Now we have different
options here. This is the chuck forward, backwards, then you
check for what this is. I'm tracking forward
by one frame, tracking backward by one frame. You have different options
there on that metal. Position, position and scale, position, scale and
rotation present. And then all of
these fish tracking and this two phase two, I can now do that. We also get to this part, but let's start with position now, tracking your position
is basically just tracking it as position, not taking cognizance of
the rotation and scale. Okay, So in this case now
our tree is not moving. No, or communism,
what's it called? A camera is not moving. Okay, so our choose non-moving. Does the suffragettes
frame at a moving, okay, Now, if this lady comes in font, once it comes in font, since we are only tracking, now it feels like we are
tracking in one 2D space, but k, we take their
friends or to take concentration of everything that the lady is when it cause she
comes in front of the tree. Okay. So it's not like
you're tracking the tuna, It's like you're tracking this part just like
feels like now, like it's a solid
with a tracking this part of the solid tracking
this part of the frame. Now this is happening because
the camera is not moving. Go do a moving camera
as we go further. So as I said, you go to mask, then I'm Chuck mask. Okay. Hold on to track
our position now, over time, how many
seconds do you have? My three seconds, because
it does work with that. What I will do the select, Track, Select and Mask forward. So Chuck forward and I will
leave it as is tracking, It's creating keyframes
of this point is basically the same keyframe because it's not moving, right? Because the camera is no boom, you see it has basically
the same keyframe. So now if I turn off this layer and this layer on,
this is what we have. Okay, so when it gets
to where the lady is, it also takes
cognizance of the lady, take some constitutional delay. They also say it feels like
you're basically tracking into this space since there's
no movement of camera. Yeah. So that's the one that you use that to explain what's
tracking is basically, but this is not the best example to XNOR tracking is I'm
going to import the clip. Let me do this. Just input to this clip, then use it in another acclaim does create
my in and out points. Let's look for where we don't
have too much blinking. Okay. I'm starting with this. She might blink but
doesn't blink too much. I'm just work with Amazon
wants a new socket for. So in this case you can
see I had this bent here. So this time around you can check the scale-out
rotation, okay? But you can say that a
little bit less work with 5 second camera is going to drop this since my timelines
members create a new Timeline, a new composition to Columbia's leave it
as face tracking. Okay, I hope you've gotten you use unfamiliar with
the shortcuts. So now you have striking. Now when we go to track
the other time we saw fish tracking
for outline only. Fish tracking for details. But that's not the
main building for now. I want to create a
mask on my eyes. Okay, I'm going to create a mask around the eyes just like I did. Create a mask on the
tree and track it. Now, since the Jew will
not move into so easy. But now we have a
survey that is moving. So I'm going to
create your mask on the eyes and desire
to be XYZ important, okay, So you are able
to, besides impotent. Now, I haven't created a mask. I'm going to change the mask to none so we can see the eyes. I'm going to reduce it lump-sum. It can make it a
little bit more, better to give more
room for the tracking. Okay? Now we have this one. Select my mask, right-click
then Chuck mask. So now I would say
more prone position, rotation and scale
and translate to, I think how those do
depending on where you go, let him do this and skew. Okay, Then we'll try
perspective with the same team footage. I'm going to select
this nabla 655 seconds, and I'm going to
track forward to now, discover that this is
taking more time compared to when you have
just no movement, doesn't want to be tracking. Alright, so he's
going to pay more attention to detail now. Okay, this is, what's this
kind of tracking is used for. Basically, I can see data's
shifted a little bit. Now it's my it's my duty
now to move it back. I can also adjust the mask
and I'll keep tracking. Okay, Now we add little bit
of defaults at some point, but then I've corrected it. So here is where we have
basically tracks that point. But this one is, this one helps when you
didn't really have movements. Movements. Now, when you track a particular point, when
you track your point, you can attach a cool, We'll get to that later. We'll get to that later. So I haven't checked
that this is where we have, remember it's unknown. So if I change it
to add Lambdas, zoom in and I played two. This is where we have the pointed did that
actually change it? So you can see that
jump from curiosity. I'm doing, I can do
to satisfy we have, it has perfectly matched
to the position, the scale and the rotation, this Q also of your mask. Okay. So yeah. So instead of equal, I've been to London
where they record, having to do it frame by frame actually instead of
having to track it. So I'm going to duplicate this. I'm going to remove the mask. I'm looking to rename this mask. The selector needs
and press Enter. This is my for my own side left, I am going to create
another mask and call it. I'm calling it right? Okay, but this time around, but this time around I'll be
tracking the perspective. Let's see what the
difference is. So I'll select perspective and this is what I will
check this time around. So I haven't done that. Track forward and live
After Effects to do work. So yeah. Okay, Turn add now, so I'm going to
turn this also see the other eye tracking
but a bit wider than, it's not so bad,
but just be wider compared to this
one that doesn't. Pay attention to
the perspective. Okay, So this is what we
have for the two eyes. Now, tell me which one
do you think is better? Which one do you think
is more perfect? Then both of them make sense depending on what
it is you want to do. Right now. I actually think I do prefer the perspective rating,
Happy Friday perspective. That's been done. I'm going to duplicate it again, delete the mask, and then
create some finance. I'm going to turn
these guys off. Those changes to know what
I'm doing isn't necessary. Let me rename just
the masculine moving in the layers two. Okay, so I'm going to do
this and now I change it to face truck or should I do this? Okay, not notice
what we've got here. Name it as point Chuck, so we're going to
work on point Jack. Now, what's your
point tracking is? Is we're going to pick a
point on the footage. Okay. I'm going to track that point. But it's a moment of
creating mask, right? We're going to pick a
point on your footage, are going to track that point. So select that and
go to animation. Select Track Motion or selected, I'm quickly, just simply
go to your tracker. Then you see chat motion. Once click on Track
Motion is going to open the layer panel with
this track point. Okay, So now this is what, now this is very, very
important in After Effects. You can, I'm not sure you can do without this in After Effects. To now we have this point. Now. Ma expanded to expand it, or would you just select
here and select it, then do this one also. So this point is lack the exact point
you wanted to track. Okay? But now it's going to
give you a little chance. So you can use, you can select one
particular points that you can position it in-between this small box by using this point
as the reference. Okay? Now, this one outside is like the area in general where your point is they
are trying to track. So in this case I
want to track my eye. So what I'm going to do is
increase it a little bit. One, which one should we do? Increase this also? Now, it helps when you have
a high contrasting points. For example, you have a
black on a white background. You have a black solid shape
on a white background. Black point on a
white background. Okay, It's EPS track it better. Okay, So for this case
now works so perfectly. So I was trying to look for
this white part of our eyes, then increase the work area. Displays that I want you to
work with all of the eyes. And I'm going to increase
this a little bit. So my backslash key, I'm going to go back there. I'm making sure I'm on
my first my first frame. Now I have I can also track frame-by-frame or
track forward at once. Okay, So now let's
talk about some tools we used in one of the lectures where I
said you're not objects. You can use it to track or animates and attach all
that seems to eat, right? So now I'm going to
track it forward. Now, let me redo this
so you can see it and I'm going to drag it forward.
I hope this works fine. Chuck, forward. So After Effects, does the job considered to be more tricky when
she closes her eyes? Okay, So after effect follows a movement and
tracks that point. Now, you can see that
shifted already. But let us do what
it looks like. Doesn't have to be
perfect normally, as it as it is
getting all tatty. I should just be I
should just pause. Yeah. I should pause it and try and
position it as a posture, positioning, then
continue tracking. This hour should
be done normally, especially when you're working
in very professionally. Whenever there's any old tuition or fees like something
that's shifted a lot, condos, pause it, go back and reposition it and
continue tracking. This. This is where we have luminous
finished tracking here. Shifted a lot, but
now I want to track frame-by-frame to learn
She's open the eyes again. Okay, now I can drag
frame by frame. Okay, now I can track
frame by frame. And then let's just
do two of you. Okay? So this is what we have. And you can see that
it's sort of following, following for the Navy press
you to open your keyframes. It has tracked based
on these points. Now, this feature isn't
really necessary, but it's the points
you need to position itself and kind of
track our easing. Just like you have when you're tracking
your muscular sac, you have positional notation. I'm scaled perspectives Q1 or you can also
select a check type, select you can track as one, which are transformed, transform properties
or parallel canopy. We'll come back to this
or you can also do this. I'm not showing you an app because I decided
don't do tracking. Okay, so now what I'm
going to do is I'm going to create a null object. Create knowledge here. Then I'm going to based
on my truck in here. I'm going to click on Edit, then change my layer to Normal. To my knowledge,
that's not true. Okay. Now, having done that, what are those stood
After Effects to do is I want to transfer the data used to talk
to this null object. So it feels like now I'm
going to, this, is it. If I click on Apply, apply dimensions x and y
or x only or why only, I'm going to apply x and y dimensions because I'm
tracking on a 2D layer, basically because there's
no TBD as I'm dragging. I'm tracking with a 2D layer, but I'm tracking with 2D points. So you're going to
take cognizance of just my x and y axis. Okay, so I'm going to
transfer the x and y positions through
my knowledge. But once I click Okay. Right? It has created, if I click on penile
can see it has created this point,
are men null objects. So now today After Effects to transfer my points that I
chat to my knowledge it, so in this case
now it feels like I've animated my
knowledge there too. I can attach anything I want to this null object and it's going to follow this tracking. Okay, so let's do
something. Now. I'm Zach creates a simple shape. Blue, monkey blue. Then if I do this, I'm just create this first. Yeah, then centralize
the anchor points. So now remember using
our pick whip tool, I can just call me parented
to the null object. So it's going to
follow the movement of Mandela objects does what is nice fallen movement of blood following the
movement of the eyes. Okay. Yeah. To make it better,
I'm going to change the initial position
of my null objects, the initial portion of Mandela this I'm
going to just select the first position,
first keyframe contrast, see where they went to this, then Control V MC. I cannot initial position, so I'm just going
to change it to, since I've tried it,
since I've positioned it to the organ now, the reason it did that is
because since I've already pinned it to my
null objects here, it's taking you a friend
of the original position. I would not advise
as the reference of depletion of non-locality
as original position. So rather than doing
that, I don't have to change this to 0. Okay? Now it's taking these as the original position since
I've already pinned it down. Okay, It's taking this as
the original position. Then the new position I put
was in reference to this one. If I want to actually copy
that position conscious, see, now I have to unlink this. Once I press control V, Now it's going to maintain that position because
it's ticking. Now in reference to
the composition, it's saved down coupon
code competition. But in the other case, I linked it to my null object. And that's why it is appear
to you at that time, I didn't have shown us to that, but let's carry on. Let's carry on. Now. Remember our knowledge
it is based on, this is the anchor point
or at the top left is always the anchor
point of another. Okay? So now the reason we're having this as the 0
is always because now it's taking a
reference or sticking its reference based
on the anchor point of another update because I've attached it to download it. I think I already
went through this. Now, the anchor point is at the center of the anchor
point of the null objects. So that's why I changed it to 0, is whenever you attach a truck to any null
objects are added by. If you wanted to maintain
that exact same position, then you change it to 0. Okay, now having done that, I've pinned it and obtain my position. And
we're going to play. And this is where we have. You can see how
attached to the eyes. It's the one taking the
record of the blinking here. Because because when we're tracking the blinking
or to agitate bit, I'm going to do
something better. I'm going to increase
the scale here. I'm just delete this
position not necessary. Then increase the scale. Now I'm going to turn it off. Now combining everything
we have lent again. Now I haven't turned it off. Turn it on again. I haven't turned it
off now I'm going to create a mask on the ice. Does I'm not creating
a mask on the I am creating a mask on this shape. Now, if I do this,
select to continue. Now lambdas make it a lot.
Okay, I haven't done that. Another space M also that wasn't creating a mask
that was created niche ship. Now, I didn't select to activate since it's
a shape layer once I tried to Joe Any other thing to also do it as a shape now
as opposed to commensal it. And to create a mask so
that I can create my mask. With this. I'm going to press MM to open this and expanded a
little BLM, turn it on. This is what we want to
expand it a little bit. Sushi Ten, Ten isn't lots. Say for this adjusted
a little bit more, okay, leave it up to
something then further, it would say five. Then when I played, since it's already
attached to my knowledge, this is what it's
going to look like. Instead of having that
circle is what we have now. It's not perfect. But there are better
ways to do this. We'll get a perfect truck, okay? So this is where we are,
where you get the idea of the old tracking
tin and attaching. Using a null objects as the reference point
and attaching or whatever we need to download it because I'm going
to delete my mask. Now. Whatever it is you whatever it is
you want to attach. Now, you can collect me bringing this bill worked on
before we use this scale. Let me turn this off. Now. This is going to attach
this to my knowledge is now this is where we have
an understanding position to reserve position
chain but odometry 0 to maintain decentralized anchor
point on the null objects. Okay? So once I play e to the I m is going to be
attached to the eye. I said that we're
tracking is basically, as I said already, there are
different kinds of tracking. The lesson I'm going
to do now is just put you to the linen, put you through
the other kind of tracking when we want
to track a mask. So now having this, I'm going to delete
this tracker. I haven't done this. I'm going to delete this,
I haven't done this year. Now talking about
mask tracking again. Quickly create this
points or not. Let's talk about fish tracking. Now your face tracking the tin, it does is track your face. Basically tracks
your face as named. See, I'm just going to afflict, create a mask around a face. Now, the more MOM you give it, the better way to track. Going to create a
mask on my face. Now suited to different kinds of fish tracking we can have. Now if I play this tube
because we have not animated, It's just going to maintain that point
because of non imitated. So now let's get it unlimited. So without a mask selected, select mask one, then
click on track mask. Then our charter is opened here. Drop-down and click on face
tracking does outline only. So what's your outline only does is track the outline
of your face. Let's select that then. Track forward. This is where you have choices as is that sage only going to track the outline
of your face, okay? But the other kind of tracking, we'll see what it does. Okay, so this will be happening. It's an ad now. So once you plate it
as kind of follow the movement of the eyes of the face nowadays track
the movement of the face. So let's say we fade out a little bit to save
five or maybe ten. So you have what looks like a face tracking ease. Now let's try something a
lamina is located this. Then delete the mask, now, delete the points
so we serve to mask. Now going to go back to our
second type of face tracking. Face tracking with
dictate features. Once you select
it. You didn't do deal with this. Chuck forward. Now this is an
effect on its own. So it wants to track forward. It's going to pay attention to every feature on your
feet as your eyes, your eyes, your nose, your lips, your chin, mouth,
and everything. But let's jump forward
and see what it's like. Now this one is going to
take a little more time. So you can see that
outlined everything, your eyebrows, your eyes, your nose, your lips,
chin, and everything. Now, this is the
reason this is done. I'm going to show you an example of why it is done
and now it is done. Okay. So wants it to John tracking. Now, yeah. Once you play it forward, you can see the effect here, but this is where we have now. So that's a fish tracking
technical in the sense of every point, right? Taking cognisant of every
point on your Layer. One thing we can use these to
do is as we have done as we did in the other
tracking where we attached a shape layer to the
edge can also do with this. Okay, this is not
exactly what it is used for, what we
can do with this. Then if I create a solid, okay, then I'm going
to pick lesson. I want to attach it to the left. I go here. This is just a cheats doesn't necessarily
have to be this way. Let me see. Let me walk with this. If I copy that, select it and press Control C. And I'm going to go
to my shape layer, use to reclaim those, position it on the eyes. Let me see if this will
be shining on the eyes. I'm going to select my position. I use Control V.
Okay, So that way, once we have done that, once you press play is going to get attached to the eyes also. Alright, so that's
one thing you can do. It is not M. Do I know that? I'm going to use the code now
Q to create another shape. Well, that's simply
the mouth this time. And then if you go back to
face truck, select them out. They all can see my
left top right button. Let us pick one to
be worked with. Top. Then go to our first frame control C and EMEA region
and push on the, the shape on the mouth
then is our W addition to rotate it and it beats. Having done that with the COP9, select P as position, then Control V. Okay, so now I've altered
the position, then. I'll add a devotee, Nevada, if once you paste it, it's going to let everything. So if we discover our shape
has moved a little bit, you can just move it down. Once it moves it
down, we're going to move everything down. Also move all your, all your animation down also. So in that case, once you
plate, this is what you have. Okay. Now, I don't know if
you've seen movies where they where they use the F word, weight has to be sent so than it does do something
to cover the mouth. That's what this is so
interesting, you can use it to do, or there's a particular
part of the corner. You don't want a part
of the face to be seen. I don't want the part of
the scene to be seen. I need to blow it out
so you can always check that path and attached to
block two in this case, now, I'm going to apply
an effect called effects. Camera lens blow to the shape that I'm going to change it to an
adjustment layer. Then I can increase the blow. So now it has blurred out
the mouse and I want to select position and
drag a little bit down. Okay? Okay, look, so I'm going
to increase it also. Ok, so in this case
that's not at the mouth. Tribute to have. Once I played through, it is going to take
them because I use a lot of blow hooks and western blot out the
mouth in this case. So that's one thing again, you can use it for. Now. That's what tracking is. Basically. Tracking is
basically, oh, yeah. I hope you understand that
that was clear enough for now. You can play around these
depending on what it is you are trying to
achieve. Alright? Depending on what
it is you're trying to algebra and all that kind of tracking out talking
about in the next lectures. Now next thing I
want us to do it is camera tracking and talk
about that in next lecture. See you there.
17. Camera tracking: Folks, welcome back to this one. Alright, so yeah, I haven't done this now one thing I want us to realize is that when
we are tracking footages of this manner, let me turn off the mask here. Now. We'll just call that
the camera is not moving. It's just night coming
up, but it's only the it's only the
footage I mean, only the elements in the
footages that I usually move in 17 we are doing with
otoscope in the tree. Okay. Only the elements in the footage that is moving
we have is to try it, possibly on a tripod or
being properly and did not want to deal with tracking when we have
a moving camera. So I'm going to
import another clip, and in this case, should we use, now
let's use this. We're going to use
the order also some input, both of them. And then enter, okay, So now which one
do we have here? What we have here? Just
taking time to load. So we have this now the camera
is moving in this case. Now we're going to track, these are going to learn how to track moving footage is OK. So now you can track them. Moving footages. Create a camera that Don Christian and camera create an element
that you want it to be as if it's in the scene. In this scene, such that
when your camera is moving, that element is going
to move in your teeth. There's going to be
naturally in this scene, especially if it's a 2D element. But we're going to denote
with two different now to the elements in a 3D space. Okay? So yeah, this is where
we actually see the footage. We have exactly half to get it from any
points but aim to do. Okay. So now I'm going to
create a composition, new composition with
this camera tracking, nameless camera tracking
one over n Jn ourselves. We understand what we are doing. Okay? I'm gonna name does
come out. I kinda EMC. Can you imagine the
previous futility? We walked down the period literally working with four key. One that just dragging,
talking for key. That does check. Then
I realized this horse, it's footage of them 19201080 HD bucket using the source
for killed because we just dragged the face
tracking footage. You can see the detail here. It's ready for key and just
drag it into the competition. This case a competition based on the footage, which
is we're working. Okay. Let's get back to this. Now. As I said, Well, I
turned to these track the movement of the camera. Now, how many frames
plus the quantities the camera tracking them and interests are
considered to have. Ternary isn't good. This iPhone five
frames per second, if image is 25, okay, it was looking at it too
slow, so I thought it was. Okay. This is the leaves to change that fast so we're good. So I'm going to do
to track our camera is select your
footage to animation. Select track camera or
select your footage again, goofy tracker, then track. Once you select that After Effects is going to do is thin. It could take a little
time depending on the dynamics of your footage. Alright. Or size of your footage. Okay. So how long do you want
to track rate is don't tracking it because
I will come into about four seconds thereabouts. So that way it tracks that fast. Now, let's live birth
defects that we see now it has created. You can see, let me
use this so you can see these different
points it has created. Okay, let's, let's
do that again. So what I did was select
this, then track camera. And I'll leave
After Effects to do is to check frame by frame
based on percentage. We have an iframe there. That's about it for seconds. So once it's done tracking, it's going to solve camera. Okay, then it's going to
create a track points. Track points. Just like what
we did when we were in here. When we attached tract emotion attached to the one over eyes. Okay, So here is
what it is doing. Also, squirted
track points here. Now I can increase the size
of my truck point so we can see better.
How do I do that? Check point size and I
can increase the size. So you can see better. Now, if I move forward on my now it's going to
maintain that position. Let's pay attention. Pay
attention to this point, okay, now you can see it's maintaining that same position
on that point again. So it's basically doing
the same thing as your motion tracking body
stem, interior space? Yes. If I play
treatment is located, you can see that there
is a sculpture with my playhead is maintained
in a position in 3D space. Okay, so what we're
going to do now is. Okay, Let's start more profit. Now you can select
it points you want. Now let's move forward. Yeah, you can select
the points you want. Now I'm going to select or a
couple of points downwards. I usually love to
select three points. Okay? All, okay, let's start
with the ground plane. Now. It's sticking cognizance of this as the ground
handler is going to select one or Shift, select another and hold
Shift select Canada. Or you can simply just
select here, deselect, select, then drag over the
points you want to query it. So after doing that, we're going to create
this yellow highlights. Then right-click. Then create which one should we do not create
null and camera. Let us create solid and Cambria. So once you create
solid and comma y is going to create a solid, the, I don't know if you can see it has created a solid year. Okay. That's good
to our terminal. We see, but it has greater. So it has created a 3D
chalk, a 3D camera. Doing that you can
increase the size. Now, you're solid
automatically is TBD because it's
tracked integrate the space that you can increase the size of your solid so
you can see it better. Here, increase the
size of the solid. Now let me rotate it. Rotate to read this and make
it match the perspective. Perspective of the floor. I think we're okay with
that. Now once you scrub to your solid is going to
maintain that position. So in this case now
you can even tell if this was in the
footage initially are not even there is the
solid I'm a plain shape with no dynamism on
noise or something. It's to SAP or two plane. Now you can't really tell if
it's in your footage or not. Now let's try something good. I remembered, I guess in this case when we're
talking about recomposing. So if I pre-cum, suppose my layer here and leave all attributes
in camera tracking. If I do that once I select, Okay, now my precomposed layer, whatever it is I
draw PA is going to be present as with
this perspective. Okay, whatever it is, I
dropped my precomposed layer, going to paint this
perspective, that lemon job. Simple white, white
sheep, and make it big. Yeah, so if I go back here, you can see the white
shape is in E. And now, if I scrub through it,
maintains the same thing, maintains the same perspective
method, the same thing. Let me use this on my z axis. Then push it. Going to do addition.
The position. This is tricky to others. Use this x, y, z then puts the position, okay? I'm Asit axis. So we have ones, I played two, it has attached itself
to to that point. Okay, so that's one way
to get things done. Let me, um, pre-compose it isn't conscious that so
having done that, we can do something else. But this time around, we
don't need to walk with our track points because we have
created we didn't work. We can walk down a track points, but we're going to do
that since we have created a 3D camera. Your camera in this
case now is Gouin to any 3D layer is going
to walk with reference to D2D camera you have created. Okay, So this one is working this way because
it's a 3D layer. But if all selected now, After Effects doesn't even care. Now this is just attached to the frame, not,
it's not moving. Just attached to
the frame is not moving with it looking
like it's moving. It's not moving. If I change once I change it to the TVD back, now it's moving. The position has been altered. That's why it's doing
that. It's following the movement of the
camera basically. Let's try something again. Let me turn this off. Lambda's going to create
the texts using continuity. Now, whose name can I use? I've been using
guy's name a lot. I don't want to have
them only guys. Give me a lady's name, give me lady's name. Give
me a lady's name. Gives me lady's name. Let's see. Okay, let me use this. Again. Let's make it, make it this and increase
the size a little bit. One of 50 keeps every every day and increase
the size a little bit more. You will discover now I'm
increasing the sizes. Caps lock off. Once I told him to a 2D layer, it's going to move widths, macadamia, look into if it's like this text is
presented in that space. As I'm, as I'm moving, as the camera is moving. The text is also moving. Alright, so what I'm
going to do now to make this look better is I'm going to position it in maturity space with the perspective I
want it to look like. So I want you to I would have loved to
attach it to the wall, but let's dress on let me
attach it to the floor. This is what I'm going to do. Shifting back my dead
space on my x-axis. Then I'm going to
do my rotation. Then drop it. Okay? Then my x, then moving
back home as dead space. So now this is what we
have. So once I played two is attached to the floor. This is where we have there's going to be moving based on the camera's position. Based on movement of the
camera is going to move me. Then we're going to become
a, this is why we have this moving a little bit
faster than shoot. Let me rotate it this way. So it's like it's
standing on the floor. So once you play through, you have this nothing is my position on the
z space that is making it a little
bit fast okay. Compared to the speed
of the footage. So once you play too, this is where you can see it's following the movement
of the camera compared to your point
tracking or emotion tracking. Well, let's try something else. Is none other footage
using the corner. A second camera track footage. Using this digital
work quite well. Now what I want to do them, attach it to this boss. Attach it takes to this boss. Then whatever follows
movement of the bus, we have 24 seconds. So
we'll turn to that. Work with them has
worked for me. Remote from ear to ear sound or dragged into a new composition, then call it camera tracking. To help It's not four
key, that value for K, So lambdas change it to
the TV tenancy, that's 20. Then it is, the
change is then see the scale and it use it since it's half of
my composition. Competition, half of the size or the suit is due by 50 per cent. Now, having done that, let's track select Chaka. Then Chuck, Camila, I'm going to leave After Effects
to do its thing again. Now we have about 11 seconds. This is going to take a
little bit more time, but instead of doing that
to make my work easier. Okay, countries it this one. Now since it's not exactly, since our to scale
it down, okay, Now imagine a little
problem because it's not the exact size I am working
in talking about scale. So I'm just leave Lambdas
work with four keys to another before k instead
of trying to change it to HD, After Effects is
already hanging. But let's see where
we app and I'm going to chuck Camila. Again. I'm going to leave it to track. Okay, guys, so we have a
truck could dawn early. This took a little
more time because our code for k for k footage
and have a longer duration. Yeah, So don't do tracking. I'm going to start the system maturity getting into our lungs. I'm just going to
increase the track size struck point size to sit here and as you
can see it better, but these are the points. Okay, so now we are
working with our boss. I'm going to go to the last one, to go to the last frame here, where we can say we're
both better and auto select a couple of points. Yeah. Okay. No, I think I need
somewhere on the boss. The boss. Not in space. So I can assume this is
on the bus mechanism. This is on the bus also. So Andy's okay. Don't I don't I
don't think this is based on the perspective of this stuff is giving me I
don't think this is slim to, okay, I don't think
that is also this definitely not. Socrates point. Then create solid and Camila. Okay, So here is what we have. The solid definitely
attached to the boss. Now, it's falling the boss, whoever it is, it's moving
too. You can see the solid. If I scale it up. This
is where we have. Now he doesn't exactly after beta position at
the anchor point of the solid is based on
the anchor point of that position is based on
the center of that position. Now in this case, that can alter the position of the solid, but you still maintain
that truck. Okay. Let me increase the scale to be more than shifted the position. Okay. So here is what
we have. Then if I Played to have
that, Chuck, okay, So this is where
we have this guy is really beginning to UNC. So once I played two,
this is where we have. Now we can see the Clementine
of the sound again. Now you can see it is
attached to the boss. So as we do that time, once I, if I precompose these
Control Shift C, then leave all attributes
in common law comp. Then open up my comp. Now, the comp size as
taking this size of the, of the initial shape I created. So I'll do I do that. Let me just change it to, let's say on thousand,
one thousand. Okay. Then creates another solid control Y again to fill up. So I go back here. Now since I already
increase the scale, I have to reduce it. Let's say 200. So much, let's say 50 or
even 50, Dillard's, 20. Okay. That is what
we have instead of having to blow out the old. Since the box is created. I mean, the solid creator
initially was quite small. Okay, so that's why it's
competition I created was based on the
size of the solid. So this is where
we have attached perfectly so we can
just come here. And then when we
attach any texts, when write any text here, say let me say school bus, using it to really be reduced
it from the main main comp. Okay, so here's where
we have school bus. Then if I turn off this one and then go
back to our main comp, you can see it's
already attached. Okay, so now I can alter the position
of this one to have, I want you to be here. We have this glorious
are trying to replicate it to wherever I want it to be. So once I click on Play, it's going to get perfectly
attached to the school bus. Now avidly to glow so I can
just add a little blue dots to give it a touch of
having an effect again, oh my God, this is for k, so that's why it's
playing this way. But lambdas reduce the
playback as delusion to say. So it can play faster. So you don't have to
include the exact quality. It harder for k is still
about 720 thereabouts. Okay, so he's
playing fast and I, because I will just
do a deletion. You can see a perfectly
attached it is your school. Now you can tell if it's actually on the boss may because of perspective,
you'll be able to tell. But you can really tell if
it's on the bus or not. As I said, I'm going
to attach it to glow, go to my effects, effects and presets and
I'm going to type in, I really need to start After Effects and we'll type in glue. Then double-click on it
to add that glow to it. Now let's look at our glute. We've not used this
effect at all. But let's see, Let's
look at our glow now. So you see how it is used. Come to our team, we
mobilized and let me zoom in. It's been more demand
and we change it to four dilution so you can see the effect of the
glue in a veteran of glue. This is what it is.
You are totally tones is what it is now your glue. As I said, each, every factor has its
own dynamics here. So for these glow, what I'm going to do is if
I increase the threshold, it's going to sort of
reduce the glow in itself. Then if we do the Cheshire Tesla
checklist like the limit. So if I wanted to just
load treasured rather degree increases a
little bit more. Okay, so turn it
off, turn it on. If I increase it to a 100, really can see the difference. But if I increase it
to 20, just check it. It doesn't lead to more
glow at the edges knife and increasingly intensity how
much glue you want it to have, by how much you want it to glow. Then the glow radius times the distance it's going
to cover when it's wet. If I increase the
videos now it's having more distance as coffee,
more distance mortgages, or K. But for this, we do not have such distance
for this 25-year trying to copy with enough so as this and leave it on Andrea,
Andrea does a lot. I see 20. You can
work with this. If you turn it off,
is where we have. 2020 is what we have. So the resolution again. So yeah, this is
where we haven't played to using a
camera tracking. Now you can't really
tell whether it's. Actually on it or not
naive looking like school boards that you can
like school was actually okay, so let me do this. Let me attach it to the
to this side of the bus. Now, when it leaves, when the bus leaves the frame, a key, it's also going
to leave the frame. Camera tracking can be so beautiful if you know
how to use it to. Now let's try something else. Let's imagine that a texts I have to get on track
point. Let me turn this off. Attach a text's to a part of the street as we're trying to do the other ten,
but I didn't walk out. Let's look for based
on perspective. Now, the perspective, when you select a point
in perspective of that point will show
you what it's going to look like when you attach whatever it is
you want to attach. So in this case now
if I select here, this is like the
ground plane. Okay? So let's look for a
well-grounded plane like this one I can assume is well-grounded because
it sits on the floor. But even at that
Tinbergen, the LMC, this we have this then
we have these also. Okay. So yeah, then I want to
attach it to the wall. So I'm going to consider the
perspective of the wall. It's given me. Okay.
It doesn't mean it's certain that these three points one to two and over, I
don't need all that time. These three points
attached that when I right-click on it and create a solid or
whatever it is I create is going to
take this perspective. So I'm going to create a
text to text I want to use, I'm going to create a text. I'll you position this
than I am for my Texts. Limiter streets, then I
let it reduce the size. Okay, So I've already decided
if I know that Control, Enter even outside the position. Okay, If I were
tied to position, my y-axis or that
change it down. Now you see that
when you've added, gave the perspective
of that wall. Now all vibe. Okay, So once I it's going to attach exactly to
the wall, okay, now if I move it forward on my Z space so we
can see it better. Now It's still
attached to the wall, but the initial
position has changed. So once you press play, this is what we have, is perfectly attached
to the one tango for the perspective they
showed us initially. Okay, so you can work with these with 3D layers and all of that. Yet, talking about here, you guys can work with
these utility layer that I want to choose
something to you at that time. If I take my otoscopy
for example, then I just copy it control C. Now there's only the
two are copied and pasted. And then Control V. I'm going to center
the anchor point here, then increase the scale. Now, this is a 2D layer, so based on perspective, I turn it into a 2D layer. Based on perspective. It doesn't have that
two dimensions, okay, So the same thing is
going to apply anyways. But it's going to show
that it's going to look somehow because it's nativity Leanne Simpson
is going to apply. So it's going to feel
like it's a Coloumb. See where I can position it. Gop, drug B tier,
application it here. Or actually if I press
play back on the z space, we forward, backward,
whatever that is. You have these
ones I played two. This is what we have,
are K22 delay at, at us, look into it. That's what we have. So that's basically
about camera tracking. A lot of other things you can do camera tracking now
let me select this. And then if you play, this is where we have, alright. Yeah, so does play around it and let me know what
you come up with. You can send your videos in name nowhere
you come up with. So you can see how
creative you can get T2. Now we have this, this
and this attached and you can see what
it looks like now. I think that's the
issue we add with this. When I created the track point, I didn't pay attention
to the perspective. Where is it? So hard to pay
attention to the perspective? Talking about increasing
the check point size. Then looking at the plane we create to make sure it's
not just one is forward. This one is forward
than the ones behind. If you go forward, uh, my timer, you can
see the ones behind. Okay. So let's play around
with aluminum. You come up with. Send it in as I already said. So thank you for listening, talking about the kind of
tracking in the next lecture. So please don't get tagged. It gets more
interesting for mere forward onto the next one.
18. 4-Point Tracking: Do folks to continue
from where we stopped. Welcome back to this one. Again. I hope you're enjoying it so
far as to not give up it. It gets really interesting
from this point. I've got two really
interesting, but it gets more interesting for me. Okay, so next we're
going to talk about is still tracking, okay. But then different kinds
of tracking this time, I don't know if you've
seen some things like screening placements. The camera is going to
create a food diary. And then before that screen, okay, so I'm going to open up before that and
Control I to import. So now I have everything I need for my
screen placement here. And I will import my
clips into After Effects. Okay, so this is an interesting one to
do because as I said, there's no one way
to do market, right? So there are lots of ways
you can get this done. So let's see what we have. I have this footage. Yeah. And this is what I'm going to be placing my screen widths. That's one. I'm going to be placing my
screen with the nav. This also for our phone screen. Yeah. And these were the phone one. Is this for fun again? I have this laptop. Now also have this for laptop. Alright, so we're going to
be placing these screens with the footages we have here. So let's get started now. Let me see which ones
should we start with? Let's start with one that isn't moving on, that
isn't so difficult. Okay, so let's work with
this. I'm going to open and I'm just going to
work with five seconds. Start moving from the beginning. Yes, it does. That's going
to work with five seconds. I'll set my outpoint, then use to create
a composition. I'll check if we're
working with for k or teleworking foci. Let's let's let's carry
on screen placements, misnamed does gameplay elements. One. Okay, so what
screaming placement is basically is going to be
pleasing this screen. And the beauty of it is that the footage itself is moving. Even though it's sort
of like just a zoom in, then the footage is moving. Okay, so I'm going to
replace this screen with this or you don't have
placement of this footage. So there's several
ways to do this. I'm going to put you
through all the ways with different footages we have. Okay? So first of
all, the easiest way, which is the easiest
way to do this is say your Corner Pin effects. Okay, using your
kidnapping effects. But let's now start with that. Since we already
talked about tracking, Let's work with tracking. So I'm going to select my
footage and go to animation. Click on Track Motion. Okay, so in this case, I have just 1 here as we have seen from
the previous videos. I have 1 here, but in this
case you can change it from 1.24. Who wants you
to lead to addition? I'm going to select scale also. Okay? Because it's an early
rotating weights moving forward and I'm
going to select that. Now. Having done that, I'm
going to select Transform. Then we have parallel
kidnapping, perspective, canopy and dairy, which
01:00 AM I going to use? Let me work with pilocarpine
or even perspective. So our four points now,
these four points, I can attach each
of the four points, truck 12342, default
coordinate z and track it. So let's get that done quickly. I'm just going to that
this is going to be easy because this corner
already kind of creates that contrasting points. And the movement of the
food aid is not so much. Yeah, you don't have
so much movements. So it can be easy to track Bogut to more complicated
ones as we carry on. Okay? So when two judges
to this point also, then this one also
to this point. Okay, Sorry about that. So
I haven't done that yet, attached each successfully to the point to the next
one we're going to do is just like we do
for our normal 1. Now we're going to
create a null object here called is null objects
that are going to Paget's, then to null for that we've
created and press Okay, you can do this after tracking, but I'd say to do it now, so I'm going to track forward. Alright. Once you press track forward, we're going to leave
After Effects. Do is t. Now, this is about
the easiest one. Now this is not the easiest, but we didn't have to. I feel like this about
the easiest to one yet, but this is almost
the least accurate. Okay. Now, I might be easy because of the footage is just
like zooming in. And progressively as time
passes, it does zooming in. But in the case where we
have a lot of movement, this will become very
difficult because this can't exactly catch
those movements, okay, but I will teach
you better ones to use when we have
movements of them. And I edited the chat, touch it to null forward and press Apply to apply
the truck to null for. You can see it here. We have the upper left, upper right, lower left, and right inside of
the null for already. And we have the position animated also read
so you don't need to check points
here. That is done. So next we're going to do
is go to your first frame, then one of the this
one we're using. Yeah, I'm just going to drag
it into my comp. Let me see. It's also living more
than four key can do. I'm going to drag it into my competent Reduces
Reduces scale. Each denture fits
it initially into the into my screen or
into my, into my frame. Let's just assume it
has become very cheeky, but I'm just going to give us a cheats on how
to go about this. Let's say I just track
it. Let me read you the PC so I can see
what I'm working with. So we have only two over here. We have a little at the bottom, we have a lot outside. So my scale, the movie
digitally to be more. I'm just typing the number 26. Okay, I can work with this. So what I'm going to do now is I haven't gotten to this point. I would just simply
using my mask tool, I just mask it out. Okay, That will make
it easier for me. Since I'm using my row to be 0, since the turbidites on have
to be careful because of the COVID it's going to create. So to make that easier,
I'm just going to zoom in and creates better
points with that. Okay, so here we have a
little bit of extension. I'm going to do this. We can use also come with a
cheat for this part also. But let, let, let me
show you what it sees basically increase my
opacity to Andrea it. Now having done
that, I'll simply attach my layer to null for orders JND
parents to know for. Once I played playing with
T6 seafood resolution, luminosity is due to, I mean, I said to 64 K full resolution. So then let me read you the total resolution
to take place faster. So once the plate is going to
be attached to that point, it's even slower than
expects limb changes to cut out the resolution. It really slow. But what do
you expect by dealing with the foci for foci footage
lambda scope too. So you see what it looks like
at different points here. So even here, what
it looks like, yeah, it's not perfect. This is one, that is one
problem we have with this method of tracking. Usually not perfect, but there are better
ways to get it done. To get it done. So you can
see at different points, even though it's
not perfect, gases is making a little bit of sense. So you get the idea of what we're oddities we
are trained to do. So let me just play lambdas
preview Italy to n, Say it only plays this point. So you can see are attached to our screen, not
entirely preferred. Entirely perfect,
but we have it. Okay, So this is
what tracking or screen replacement is actually. So let me turn it to my
kids, my work area again. Let's go to the end and paste n. Okay? So yeah, this is one method
that gets things done. Second metal to get things
done is let me turn this off. So once I've turned
that off now, okay, so we're going to work on the next
method now, undetectable. Third is, let me say let
me delete the chalky. Using an effect called
kidnapping or parallel Klonopin, something around
our lemon check. We can use either of them, but one gives a better result than the order less
that would connect pin. So having done this, let me just delete this
since we already got it done every lesson that I haven't done this green pigment that
can delete the mask. Then I'm going to just leave
the scale on Andriod center. It's in my comp. I'm just reduce it to two bits. So you can see we have
our can you mute. Okay, so let me turn
this off for now. Soda parlor canopy. Well, we're going to
do is I'm going to select the layer we want to turn back on layer one
to fit into the screen. Then we'll just double-click
on our effects, which now it's in our Effects
Controls panel, right? So once you select
your kidnapping, the effects are going to
see that it has created. These selected, that's
created is max at the edges. So this is the max
that you use to fit. Eats immediately
obesity. So you can see, is that the max that we use
to fit it into this screen. Okay, so here is where we
have. So here's where we have. Our pilot cannot pin. Let me oughta my
interface a little bit. Because they're using
that pi electron affinities where we have checked it again now we have a upper-left,
upper-right, upper-left. An opioid seemed to me abdomen
tract into our analog bit. And I'm just going to use this point's going to
use these points to track heat into the upper
left of the screen. Now once I've done that, is going to look very distorted. And I'm going to come
with my opioids, then select it into my
opioids of the screen. Now I'm not selecting here. Drop it into my lower
left of the screen. Let me see an initial
data points perfectly. Okay. Now I can drag it down. Same thing applies here. I can just called
Camila and audits, then drag it into the
lower right of the screen. Okay, so this is why we have this where we have them drag
this into here to here. So this is what we have now fits perfectly into the screen. Now I'm creating capacity.
This is where we have. Now, the only bought about
this is that it is stressful. This is actually
when these chairs who I can drop it down yet to these actually
really stressed, we said it is stress-free
is once you move it, you can notice that it's not falling the movement of the
camera, of the video itself. Now why that is happening is
because we're supposed to unlimited as time passes and
of course, as time passes. So we have to turn
on our stopwatch for all of these points. Okay, such that as we are moving lambdas and emitted per
second as we're moving, we have to be immediately
obesity again. So you can see as we're moving, we have to be fitting eats
into each of the corners. Okay. Retrofitted into each
of the corners again. So this time around we're
animating it over time. Then do this. We're going to awfully do this so we can see
what it looks like. Yeah, so now this is what we have and I'm going to play two. Again, this is going to play slowly sandals going to change it to a cutout
the resolution. So let me just drop the opacity, add 70. Once I played. This is where we have. I didn't do it frame by frame, edited by 1 second. And since the movement of the bilinear, okay,
That's right. It's not totally obvious. I mean, the zooming
in the bilinear, so it's not really obvious. So that's why I did that. To do it by 1 second. Data is what we have for
this camera tracking, for this effect
particularly, okay, So another kind of
effect you can use, in this case for this
simple pose, is this. For this one, let
me get this done. Let's let's use the reason
I let me delete this. Okay, Let's use, I can't remember what the effect
is called with let me see. Parallel power pin, CC
power pin is tangled. I remember that it has
the same effects here. That the same effects. Top, right, bottom, this one, but the only
difference is this one takes notes of your perspective. Okay? This one takes
the perspective into goodness and the
same thing applies. You take your points
and maybe do this. You say 40. Exemption applies, take your points
one-by-one and drop it. Drop it, take the top-right. You draw P. You can
see the difference between that and this one. This one takes note
of your perspective, but still you have to
admit it over time. Okay. Let me zoom in on my comp so we can see
what we're doing better. Power pin can get
those exact point. Tonight. This is what we have. I can just drag it and
do the same thing. Now this lines the app to make sure we are
doing the streets. And if it's not straight, it's dependent on the
perspective of your screen. But basically your screen
should be straight here. So this line is F2. Note the edges have control. S does increase its
two-sevenths, three, I'm not going to go
short animation, but you get the d.
So in that case you just select everything. Again, not as perspective
you doing perspective, select everything and
animate it over time. It does the same
thing basically. So that's another way of tracking your screen, of
replacing your screen. Now let's do
something different. Now we've used this cranial or let's do something different. Now, the reason it's a bit
easier using this green is because your movement
is basic together. I've already said that
your movement is basic. In a case where we have
this kind of movement. You can see I'm the
laptop. You don't tones. And now in this case,
there's lots of movements. So now you can know for
sure that we can use our, cannot pin our
trocar kidnapping, that we can use that perspective
canopy and then also be difficult to use our CC
power pin or a pin. There. Better ways to get this done. And the best way to do scary
placement is by using Mocha. Mocha is the toad Patsy plug-in
inside of After Effects. So to apply mocha on
any layer, this is it. So just know boys Effects mocha, okay, So this is it. Or you can just go and type in more than you
select it and drag it, or you just drop it on the
layer you want to track. So I'm going to my system, they be slow now
hanging so I'm going to shut it down, start it all over. There won't be back and we'll continue from
where we stopped.
19. Mocha AE final - The King: You folks, welcome back. Sorry, I have to
shut down my system. My system, the Australian
After Effects so I could start all over because
certain language was jogging. Okay. So you could experience any of these problems
while you are working? Sometimes after I freak Miami
dragon, even your system. So in some cases
I've had to shut down my system and
start all over. So I'm going to delete
these talking about mocha AE that I mentioned
in the previous lecture. I'm going to delete this then. Just typing mocha selected. Okay, So I said it's a third
party plugin that is free, that comes with After Effects. This DIY makers buoys effects, they have other plug-ins, but these are moca
is just three. So now our bouquets and our
Effects Controls panel. Well actually we have
different options here, match tracking data, but there's nothing to track now because
we've not done anything. So I'm just going
to select this. Let me set it to
full resolution. I'm going to select this
then is going to open mocha. Yeah. So this is opening more
car then I'm just tell it. Okay. So now I have this since I have my screen
and everything here in Mocha, so I will use my zoom
tool and this is looking. As you work on these, you get more familiar
with the interface. You might always have to use this not only to track screens, not only for screening placement before that in those two. So what I did now, my selection tool,
select my zoom tool. Then does all your trackpad up, drag audits, and drag up
and drag down to zoom out. I'm old and drag up to zoom in. I want to be able to
see my screen, right? So as we have said
from our composition, we have about five seconds. This is your time. We have about five seconds to work with. So now, going back to the
beginning of my comp down to make sure that at the end mount, all my screen is inside my
film so I can see if there's any or if there's
anything I need to correct even if I
minimize them to, to move a little
bit more forward. So we save everything
in my frame. So let's start from the end, Let's start tracking
from the end. We also know that it's
possible to learn to grow to scoping note when we started
tracking down the middle, LUM back to track from
that middle point, middle, but from somewhere
in-between to the beginning, then deed from the
police to the end also. So now what I'm going to select
it, this mass electrons, which is my tool,
this is my zoom tool. So you can use this to
move the same thing, the unto doors in After Effects. I'm going to select
this pen tool. It's called the explained to. Okay, so I'm going to select these and I'm going to use it to create like a shape
around my screen. Okay, so this is how
it is done owed. Now I don't want
to exactly truck the inner part of the screen and then it's going to track
the frame of the screen. I'm going to draw lines on
the frame of the screen. Okay, so after if
more car, wheel, truck, that's our top paths, this is not perfect. I don't like plenty of
edges n by winning, so I'm just going to
create more points. We're going to
create more points, which might explain tool. Now we have this, then we're going to adjust it a little bit, just select it and drag it
to adjust it a little bit. Okay, so now we have done this. Now you're going to
see what this will do. This just like you just
like a quick mask. You tell the software
to track the mask. I haven't done that
now you can track your transform your scale. They transform into
position here. Your scale rotate,
skew any perspective. But in this case,
I didn't do track perspective because I can see everything right in front of me. I don't check my perspective. If I needed to check that, how does select it this way? In this case, I don't
need to track it. I haven't done that now, I'm
at the end of my footage. What I'm going to
do now is press this to track forward,
to track backwards. So other, but now you have, this is used to play backwards. This is to play backwards
by one frame to play or pause to play forward by one frame to play
forward, right? Then these as mean, this green stuff here is
a keyframe it created. When I created this point,
it may explain two. So if I am at this point, I want to move to the next
keyframe, this next keyframe. So once I press this is going to move to this point to
the next keyframe. Now, once I press this, it doesn't recognize him and
keep him so nothing happens. We always sit down and
we're going to track backward by using
our track backwards. All right, so once I
click on track backwards, I'm going to leave
the software to do its thing, to track it backward. So this is actually the best when it comes to screen replacement or when
it comes to tracking. Sometimes even. Remember in the
lecture away with chuck, that part of the tree, you can also use moca
to deal with that. Go ahead. Oh, I shouldn't have
used this footage. Again. I will repeat it to
the other screens. Okay. If I invoke, have
to deal with that, this one is too easy for mucus, sort of, kind of, sort of
three different Mocha. So I'm going to use the
other screens we have. The one with the green screen
we're delayed was really needs are and then we're going
to use your phones also. I'm going to do
this example so we can know how flexible these can be and how much to
make your work easier. Okay, So we're almost done now. I'm just going to skip
to the end of the track. Okay, So I check is done the air from this point to
this point here. So I'm just going
to play two to make sure we don't have any. You can see how perfect it is common because
they're perfect disease. Alright, so what I'm going
to do now to be sure that my tracking is on point, I'm going to select this is called S planner or
show planner surface. So once I selected is going to show my parents
of his than what we used to do to get the
exact point in my screen. Okay, so I'm going to
move this to this point. Yeah, I'm going to move
to move it to this point. So the edges of
my screen itself, I forgot to zoom in. That exact point is in each
tool to get the exact points, the selection tool to move. H. This is not, it's actually
it has its own shortcuts. We're saying it's not gotten
familiar with the shortcut, does I was in each foci, so it's not H plus. Then I moved this to this point. And my unto you can tell that
because this is because, um, I don't know
what the shortcuts. So we have this now
I'm going to use my Zoom tool to draw
back the man to centralize it so I
can see the OT and I'm going to scrub through my timeline now
you can see those, the planar surfaces that
we created right now, just sticking to the edges
of the screen itself. Okay. So you used a planar surface
to note the edges of the screen itself while
you use the explain tool. To create explained, to create a mask around the corner
on the female the screen. Now this explain to
amazing mask because as, as tracking, you can also
use it to mask, right? I'm going to show you that when we get back into After Effects, you can also use it to mask. I think I already
mentioned that. So once I'm done doing that, I'm going to click on Save. Okay, I'm going
to click on Save. Now. I haven't done save, I'm going to exit and go
back to my After Effects. Okay, now I have
my tracking data and everything out here. So what I'm going to do
is I'm going to create a solid M doesn't make it blue. I haven't created that started. I'm going to click on the
ice so I can turn it off, then go to math. Then I can say we
can create masks. So let me duplicate this first, then turn this off. Okay, this first sample, and if I click on Create Mask is going to build on
the x plane to be created is going to mask that screen out based on
the explanatory created. Okay, So this is the mask
that we have, right? So it also can be used to create mask and it creates
a more accurate one, especially when it comes
to tracking your mask. But that's not what we're doing. So I'm going to turn it off. I'm going to go to
amazing Martin. I'm using tracking data. Now. I'm going to select Layer Export to amounted to
export into my tracking data. I want you to
export into my blue solid from my source or
add to this is myself. I don't have any mask on it, so I'm going to select source. Then I'm going to
call me and say Let's canopy in that
supports motion blur. You can use any of them
based on preference. Cannot pin that
support motion blur. So what I'm gonna
do now is I'm going to select Apply experts. Now if I go to my blue solid and I press U to bring
up my keyframes. I'm going to see all of these. So it has created
keyframes for me. Remember, selected our
position scale and rotation. So it has greater
keyframe, so amino based on my tracking data. So we have the upper left
also have the opioids. We have the lower
left-hand side. We have this also is because we're dealing
with chronic pain. So the kidnapping effect, we apply this effect
and present we can also do that quickly. Read mocha AE. So all the trouble went
to the other time is now present in mocha and
has bought it yet. So if I turn on my
solid layer now, it is. Perfectly on my screen. Okay, so if I press play, a solid layers fit perfectly on my screen as if
I go my tracker it, this is what we have
now, you can see already that this is the
best truck we have done. So I haven't done that. If I precompose using
mycelium abuse or layer isn't conscious shift C and I leave all attributes in
screen replacements. So I'm just going to name this screen comp and I'll
leave all attributes here. That means all my tracking
the term icon up in effect, my position scale and rotation
animation that going to be on top of this composition
such that, that way. See the size of this
composition is also four key, alright, because we're dealing
with the four key footage. Okay? So now I can go ahead
and bring in my garden. I bringing this into
my screen comp. Now, it doesn't
have to be fitted perfectly as the footage itself is not exactly for K. I haven't done that and put
it into my screen comp. So once I go back to
my screen replacement, this is where we
have whatever it is I drop inside of here. Even if I drop this
footage itself, we've got this footage
is safe inside. It's going to show up. You're going to fit perfectly
based on the facts that when we tracked it
will have jumped all our data on this
comp where we lived, all attributes in the decomp. Yeah, So that's that. So whatever it is we drop
is going to fit perfectly. So I'm turning this off. This is where we have now and
this is where we have here. So if you play
too, we have this. So that's how easy mocha can be. Now, this was a bit easy because as I said in
the previous lecture, the movement of
this one is easy, but let's do something a
little bit more complex, so give them more work to do. Alright, so which are
the footages are we using? Let's work with this. Yeah. Okay. Now A1 to make sure I and j, then we start tracking. So see how Moka can do it. And if you have to adjust
it to, we should go ahead. So let's start with
screen replacement. Screen placement two. Okay. Now it's even beyond this
is what Kyle orientation. So let's work with that. So the symptoms are going
to do them more car. Select my layer than job,
my account, my layer. I'm going to select smoker, then go back into the software. Let's close this. So we have this now
I'm going to zoom in. Then. The same thing. If
I go to the end of my footage that we can see everything is
fitted in this screen. Also, phonology is my
explained to them, resuming, it would be more so I won't be making any mistakes. Becomes very trickier
when you have movement. And most times we have movement. So that's why I'm doing this. So we can understand
how to quiet tracking points if we are
if they're okay. So that wasn't necessary. So yeah. Now go back to my
beginning point. As long as you consider this
a little bit more perfect, your point is, the
more perfect jet truck in is going to be. The more points you
have. You are telling the software to pay more
attention to detail. The more points you have. Again, I hope that's clear. So having done that now, we have that movement
and we have the end of a co-owner tracking.
That's why it's doing that. We have the underdeliver
at this point. So what I'm going to
just go back to my end, go back to the end of my teal. Alright, so I'm going to
track backwards, right? I'm just going to do it and leave more car to
deal with is ten. Then if we need to stop it and correct any checkpoint,
then we'll also do that. So let's go see, I guess the tracking is done
even really unlike k-mean, still able to maintain
our track points. Okay, so that's our
brilliant This software is. Alright, so yeah, I was thinking that we're
going to have to do a lot of adjustments even
though we have a little bit of deviation on this end by thanking my
position in that we have that. The same thing we did last time. Now I'm going to create a link to show planar
surfaces isn't my S. Okay, so we are good
with Dynamic Zoom out. So having done that,
I'm just going to play two to be sure that Our tracking is okay. Even when our n
columns in C, okay? What was what it
looked like finally in this world looks like finally in After Effects. So I haven't done that yet. We selected or
checked forward and we've Journal of
data will just save, you save our tracking data. Then we go back
to After Effects. So the same thing we did
here that I'm going to excrete is solid glass. Leave it as blue clumped
into green this time. I haven't done that
created solely at Simpson. I said we can create
a mask and it's just going to mask
out the whole thing, but that's not
what I want to do. Okay? So we're going to do
now is set of matched. You go to tracking data. Then you set your targets
to orient your solid color. Again, solid color. Then go to your source,
the same thing, then you use, I'm
just stick with kidnapping. Kidnapping
for this one. Then once you apply exports, this is going to fit
perfectly into here. So if you sculpt Chu here,
this is where we have. Okay, now that's an m
in front of the screen. Now is going to be
a little tricky, but there are ways to go about it before let's
deal with this force. Okay, so now having
applied to export, so as you press your
layer and press U, you can see the expert
has been applied already. So if I use Control Shift
C and I change it to screen comp to then live in all attributes in screen
replacements than or the same thing applies
once you select your layer and whatever it is you drop inside of these will
take the form of the screen. So let's drop this in here. When we drop this in here, watch what is going to happen when you open your
screen replacement. This is what it's going
to look like yet. Now, the two keys, this is a complete solid. I mean, the green was
the complete solid. But when we apply
to the exports, I mean the very exploited
our tracking data here. It kind of squeezes the solid into these corners,
into the ship. Okay, so that's why
whatever it is now, drop inside of this comp
is going to be squeezed. Now we've dropped this in, Yes. So to make it to make
it perfectly fits into, into the screen here, I want to do is you're
going to try and make this fit perfectly
into this screen. You can manually do it by just using your
eyes to match it. You can zoom in, you see better. When you zoom in, you
can do this, okay, so once you open it fits
perfectly into the screen. Another way you can do it is by simply using your shortcut is Control Alt F or Command F. Now it's going to fit perfectly
into the screen. Okay, so for every
layer that you want your layer to fit pathogen
in the composition, you can do that or
right-click Transform. Then Fit to Comp,
does the same thing. So now I've perfectly
fitted into the screen. So once we play, once you
play it, we have this. Now you're, the screen is
still in font of the end, but it has made it easier for us in that it has given us
a chroma key to work with. So what I'm going
to do, I'm going to turn this off now
this is a green screen. This the Acoma Qin. When we're talking about effect, I mentioned something
like Keen there. Alright, so what we're going to do now is I'm going to just duplicate this, put it on top. Then I'm going to key this out. So my end is going to be
keyed out of the screen. So simply I'm going to do, or what do we use now? I'm just check it. My brain is known that present
boots in scheme. So we're going to use
key light 1 to those. Select this green, right? So once you select that green, I'm going to turn this off. I will select the green light is turned off, the green LED. So now we have our end is isolated now and
then our screens. So now we can apply the applied, the old enough footage and
towards the end on top, okay, So this is the end
we have on top here. Then we can apply the
screen comp on that. Then we have this to compensate. Okay? So this is what
we have now discovered. I have a ton of these.
You can see that the greens sought
of them put it off. The green set of spills. On that one. It should be of more
cannot kill it. The green, so those pills
on the system, alright, that's why you can see
that when we eat out, you can see part of the green part of the system
hasn't keyed out also. So that's why you have
this MC and pixel boxes. Alright, so to avoid seen
that does turn this off. But then we see all black, which is the one we want to see. So yeah, as as me, I wasn't on pixels, I wouldn't have noticed
that this part was kid out. So that's why it's always
good sometimes to be. So you know, when you have
an empty bag, randomness, even though when
you take it into your phone or whatever it is, you're watching
your final footage. We're going to see
these pictures, they're probably
going to be black. So I'm going to say that now we've dropped our and on top, I wanted the first
thing I see now. Okay. Then the screen comp on the screen comp on that as
well, you have on that. Then we're going to
just add this one to those compensate as the basement and to fill in for all
the pixels we have here. And now this is where you
have our tracking points. So once you play it,
this is where you have this now you can't
actually tell you, you should be able to tell. Now the trick is
very DV calls for, let's say the camera
captured images to capture every detail. Yet, one thing I will
always prefer to do is make sure my subquery
placement is in Andriod percent sharp. And
how do I do that? I will simply maybe just
come here and add it to camera lens blur
to my screen comp. Okay, let's see.
Five is two more. Drop it adds two or two. And only two colonially without two as a little bit of blue. And I can also reduce the
opacity a bit to say, okay, now we have that green,
you see that green here. So lambdas, if I key touts, we'll see the key light's going to cheat
on this key lights. If I dropped the
key lights and a solute is I can
key out the green. We're going to keep
it out now we have that empty pixels again, I'm going to cheat on this. What I'm going to do is I'm
going to also duplicate this. I'm going to get that
then mask this part of the the keyboard out. Then I'm off to do a
little bit of tracking, but that won't be so
necessary because of this two to mask this
part of the keyboard out. So this part I've maxed
out, my, my mask is on. Add. This part to compensate for whatever pixel we
are having is lagging. Okay? What can we do? 89, so I can just solid is to reduce the tone of the pixels, to reduce the pixels behind. Or if I don't want to do that, the pixels will
be on McCandless, create a black, a black solid, and drop it in at the bottom. Okay, so this black fills
in for the pixels nearby. Turn the black of
this event and we have this black now is not spilling on the keyboard
because this one hasn't been. I put this off. You can see how the
black is going to spill on the keyboard, okay? I mean, on this part of
the screen of your system. Okay, so now I'm going
to put it on back. In this case, I'll say I love naming my layer
so I don't get confused. I'm just going to name
this key, key-frame. Key-frame. Like if I'm unmuting your keyboard,
That's what I meant. Then what was this one? We'll use this one for C Now, can you remember a
little bit confused and named is as this, then these as key. Okay, so now we recognized
every part of our layer, the black solid year. Okay, now so even if I
didn't if I didn't do that, if I didn't add the black solid, the fact that we have a
repetition of this part of the system as feeding
for the pixels that we are surely
Avenue and the bottom. So you remember we
add this initially. But then once I
add these kinds of fields and for the pixels
wide at the bottom, okay, Now this has covered, now, if you see it's
a little bit dark, gives it a little bit
dark water you can do is go to your Effects
and select Field. Drop. Your field has changed to red if we
want to change it to white to continue
to either you can change to whatever
color you want. This colonized by gone by
using that you can change. Now this is not to
change the color of any solid that technicolor when
solid you are working with. So we average. Okay, So this is
our perfect track. I'm just increase the
opacity a little bit. This is our screen
comparator, let's say 90. Okay, since our blood
filling in for, for the sharpness
that we have seen, we have this quickly
player two and we have our perfectly
fitted screen. So now I've done a lot
of adding effects, especially the camera lens
blur, even there is not. So every Lambda should use it to say it taught
or working with. Okay, So just to be
clear a little bit. Once you play too, we have
this acclaimed does keep on, Let it pull it back and then
we'll come back to this. So here we are back and
it's finished plane. So once I place too,
this is what we have. We can't really tell
that it was replaced. Okay. So let's get
into other ones. Let's check our phones
now using loci E, which are the funds
should we deal with? I see. Let's do with this
phone. Okay. So let's say some five seconds to, as it's going to be a
little bit easily MCU or down movement. The movement will have
loved movement. I guess. This is tricky
because the stats, the focus is on the
lady initially, the focus shifts to the phone. Okay, so let's just do this. We can work with this. Now.
Looking at this on also, it's about the same
kind of phone. I saw something and I want
us to actually work on that. And so let's work with this. Let's walk through this.
So let me check form. Yeah. Six to say ten seconds, four seconds of footage. So let me create a comp then. Limit screen replacements,
gain or tree. We have also aspect
ratio to 1604096. This loss carryon word, I would put you
through the process. I'm just going to
quickly get it done. Full resolution upon Mocha. So as we already
agreed, I assume, you know, Dispatch is I'm just going to quickly
create my x plane two. So should we allow perspective? Let us allow perspective on this one because
we don't know how much it has cute animals perspective was
Jane so doing that, having done all this. Now, in this case,
even if our phone, even if our track all tasks
met F to what's going on, I might have to pause
our truck, then. We position our points. Right. But let's see how it goes. I'm just going to track
forward and let's move card, do it's ten. So here we have a perfect track. Again, Give it up for Mocha. Ok, we have a perfect, very perfect track and then the points are not
really shifting. You can imagine having
to do this with them, cannot pin the corners, another one pinpointed, or
they have curved corner. Now, so this is going
to be a little bit difficult. I would
send two we did. I'm going to use in
our planet's surface, just try and match it with the lens based on
perspective of the screen. It doesn't have to entirely fit. But this time
around since, okay, now what I'm going to do is I want now this kind of skin becomes needs
to be more complex, but avenue worked,
done this already. I know I'm at Avanade
over to go about this. So I'm going to just match it with this line rather
than this point. So I'm going to match
it with this line. I'm just going to
see how I can match the perspective with
this line of the phone. Okay, I'm going to do
the same thing for this, matches perspective with
this line over the phone. Okay, so that's done.
I'm just really use it so I can see my whole screen. Who's going to scope
to my footage. And I didn't know it's
perfectly chugged. Okay. So perfectly track them, eat save, then we go
into After Effects. So now I'm going to
create another solid. I'm just make these
whites, white solid. Okay, then I'm
going to come here. Then create tracking data. Creating checking data is
going up in motion blur. If you use transforms, we're going to work
with the position. So let's just go up in motion blur then
known to white solid. I mean lay expert
vitalism apply expert. Then it fits perfectly into this cranium and Beta is going before,
but now it's white. Wow. Okay, so they fit
perfectly into the screen. But now you notice that
the corners of us, the very sharp, the sharp corners compared to
the curved ones. And this team has to show your camera famous to show
compassion from your phone. That's to show. So find a way
to get around that quickly. Think of things you can do to make sure
that it's in front. While I precompose this control
shift C does get there. See if you can get then
screen comp to here. So what are you guys are
not sledges get to work. Now I'm going to walk
with the water capitalism and the phone was
capitals meant, okay? And we're going to
drop this inside here. Put it on top, on top
so it fits perfectly. Then you can tell
it's going to fit perfectly into your screen. So this is why we have, this is why we add
this is where we are, but then we have
this straight edges and we don't want that. So one thing we can do is
that two things we can do, but the easiest one
is to duplicate this Control D and
drop it on top. When drop it on top. This time I'm going to use our key light to
remove the green. I'm going to come,
I click the green, then we keyed out. So in this case now, what does that point
now is your coordinate, your now this is
the screen itself. So this frame has
covered the footage. Okay, so we cheated now and this famous
cava, the footage. But now I do not like this. That's because of
a planar surface when we tracked it
to the other time. Okay. So we did exactly
get the top of this, but I'm just going
to turn it off, turn this up and say,
we have a green years. I'm also going to
key out the green. Apply. I'm going to key out
the green and apply a black solid underneath. Alright, so we have, we have that pixels. You can apply a black
solid on planets. So it covers since the phone
itself is black hole merger between islands were unable
to notice those pixels. So we can really see the flow inside of the song to play it. Once you play chew, it fits
perfectly into our screen. Okay, now the deal is, put it to the other
method using mocha instead of a case
where you don't have to work with the older footages and Luca
Yoda screen type this one. So in this case now
you don't have green. You can key. You
can cue lights out. You can write out
so many seconds. Do we use, let me just use four seconds again,
set my out point. Create a composition
based on the footage. Then. Yeah, so this is where we
are less tragic keywords out to see if it works. So if I use my Pen Tool to
Q8 hours is going to keep all the other parts of the
food that contains white. Doesn't matter what
you can do this using extracts, affects
called extracts. Once you drop Pete
on each now you can extract the black side, the black point or
the white point. So if I reduce the white
points removed, That's paths. But you can see
it's also moving. This white part of the book. I guess I'm just going to
check and see if it works. Try and reduce that cannot
be moved or the white parts, then we have our screen intact distribution within tamper
with any other white part. Just the screen
getting we're good then at the bottom here too. Why do we have that limb? Potato flimsy doesn't fit
perfectly into the comp. So yeah, that's,
that's about this. Now you can use extra energy is extracted, move
this plant nearby. Experience. I know that
when I use the extract, I'll be able to achieve what it is I want to achieve, okay? Yeah. So now we are lucky
we are able to move. This isn't extracts for someone that doesn't
know what to do now, doesn't it effects to apply it? How would you have gone
through this part? So I'm going to just
turn this off for now. I'm going to go back to my
tracking with Mocha ie. Hey, I'm taking
time on mocha AE, but it's as important
as it seems. So once I dropped beats, select mocha, I'm
getting to a point. Do a quick check. I'm just going to
fast-forward this part. So when you don't tracking,
we'll come back to it. So let's get started. So folks here we have this now. Don't be my planar surface, I'm just going to play forward. I scrub through my
timeline and see outfits. Okay, I noticed
that little bit of an issue here and it's
going to try and adjust it. I'd say I'm doing
denominator matter. Who does fix it
in After Effects. So that's what we have. Then I can save my truck then
go back to After Effects, then critically solid,
change the color to whatever it is you are somehow isn't ready
to put it off. Then all the process we
went through that time, I tend to read and use by experts because we have the same
tinea in this case. Now, instead of using extract, what we're going to do is
we're going to open up more Kagan or instead
of opening up Mocha. So I was selected as we're working with screen
placement again. Right. Okay. So what I'm
going to do is I'm going to duplicate this here. Then at advocating it, I'm going to open up. I'm going to reset Mocha. So we already have
the trunk here. I'm going to do this after
I've set them okay now, so I opened up Mocha again. Now what I'm going
to do with moca, it's time to create mask. Okay, so I know now that
this part has to show, this is the only part we need because I'm
going to zoom in. Well, I mean the top
of the phone itself, it has to show, so this
is the only part of it. And so what I'm going
to do is zooming in, well, I'm going to create. Nevada. And as planned, I
use my experience with I'm going to get unless my little limited to zoom out. And we work with often
creates another supplier is in my explain to
hopefully do that first. Now correlate that to pay attentions more details
after I've done it off. Okay, so having
done this movement, just keep this part so I'll just bring it back at the end. So you guys haven't done that. Now I've dragged my screen. So what I'm going to do now, since my skin is
white and we have black frames is going to be
pretty easy to track forward. So once I do that, I'm just
going to track it forward. That I've been
tracking it forward. You can only Opower track points are intact this time around. We don't need to show planar surface so
you can just select, Save, then head back
into After Effects. So this time around, what we're going to do is you're
going to create, instead of tracking data
are going to create a mask. So it has created a mask. Now Nim solo, this layer, it has created a
mask on our screen. On our screen, Let's see, level the two elements
of black here, because it does get to the
mask on all white screen. So we have this mask this way. So to subtract this mask, all you need to do is
click on inverted. Of course you know that
click on, subtract or add. So this is now, this
is what we have now, we've removed do white. So instead of, you
could as well have done those extracts to move to wait, an extra device is gone. But we didn't want to do that. We wanted to look for
another minute or two. We use moca a. So in this case now we
have your frame maxed out. So if I take this on top now, the femur is going to cover
every part of the screen that is shooting out are
actually famous cava did now, that's another way to do it. So use moca E for your masking and for this
amount to track mask. Okay, Having said that knife, it becomes post
this control shift C level attributes in new layer, then screen for, okay, so once you open
it up and you drop your stoma and we have
our we have this, we have to fit the comp. Then when we drop our
Vertica phone inside, drop it on top of D. So once we go back into
it, this is why we have. So you can see our
sweet This looks. So once I plead to my timeline, this is where we have
perfectly fitted into is not anger tangled. The gradient of our phone
is a little bit dark, so I can just do the same
thing we did the other time. Create dark solid
or whatever it is. You want them to habitat button. Let's see if it
makes a difference. Let's see if you
notice any difference. I can use them
differently because our masking didn't do a bad job. Okay, So this is where we have, I think that will bring
us to the end of tracking ID mocha e. So when
you play to you, you have your perfectly
fact mask and you have this as beautiful as it looks, as
simple as it looks. Don't be tempted to use
your pin tracker or to manually animate your connect your opinion or your a pin. Since you can't do
everything in mocha and to animate it safe to give the software a
job to do for you. Why you get done with your
own thing by yourself. So that's about murky. It's a very simple, all
interesting software. It took us about how many
123444 different trucks to do that. I hope
you understood. I hope you gasped. And if you have any questions, if you find any difficulty
where you're working, please make sure you
mentioned so I can refer back and put you chew as
easy as it could be about. So thank you for watching
onto the next one.
20. Blending Modes: All right guys, welcome
back, Guadalupe. Getting to the end
of this course. I hope you are laying
out to and Save. As I always say, the aim is to make it
as simple as possible. So anyone who's
interested can Lynn, and I hope you are
able to achieve that. That's where I usually
take my temperature repeat some processes like
I did in the last lecture. Having to go over several methods by which
you can get one thing done. The next one we're
going to do is something called transfer moods. So let me just
correct this a bit. Let's see, this is my mask. Feather it a little
bit, hit ten. There was a sharp edge before but that wasn't necessarily so it doesn't all you have done, your transfer mode is I
want your layout to look. There are several
transfer modes, and if you can't find it, this is your transfer
mode. You see more detail. Or if you can find it, you
just toggle switch or modes, or you can simply press F4. Okay. So what's the
split between F4, F4, Demode, toggles, yeah,
so transfer mode. Now this is your screen. So I want to check the different
transfer mode for this. So I'll do we do it, select what you want to work on. Go to Layer, then, then blending mode, okay? Then this higher blending modes, also transfer modes are
blending, blending modes, okay? So, yeah, this is
where you have. So another way to do
that is by simply clicking on this drop-down. Once you click on it, now you can see on transfer mode you have now the shortcuts to change from one transfer or blending
mode to another is by using shift equals two for next blending mode and Shift minus for the
previous blending mode. So in this case now
you're going to swell. You're blending mode
looks like, again, I said it's how you want the layer to look like
your composition. So I'm going to keep audience Shift equals two for
next blending mode. So this is where it looks like those what she is going to be changing rather than coming and collected into one by one. Sometimes you don't know the
blend mode you want to use. They can just be switching
amusing, shift equals two. Now you can see it's
changing On this side. Shift equals to moving from
one blending mode to another. So some will not have
any effect, okay? But this is where we
have now when we get to the end, yeah, it's going to stop and go
back to the beginning. Again. When you go back,
it goes to the end. So now let's say we want
to use this blending mode. Let's see what it looks like. Screen. Blend mode looks like
they're less work with. You want to use
classic difference, this is where it looks like. So let's go to another screen. We're working on. This one. Let me zoom in. So since it's the same footage, we have the same effect
of the blending modes. So now you can alter
the blending mode using the same team shift
equals to make it look. So instead of doing the opacity and then blow with
did you at that time, you're blending mode
can make it look a little bit more realistic. So having something like this, you can assume that
the brightness of your phone screen is low,
something like that. Then this also maybe you
haven't increased brightness because this is not the normal. This is lighter, wasn't on a lighter color, so
it will tend to normal. You can see the difference,
alright, Control Z, Control Shift contributes it. Now. So that's where the
blending mode basically is. I will go to next one. Let's work with this one. Let's where it looks
like with this. I'm going to zoom in. I think this is where we add
our blossom going to be moved the camera
lens blur. There. An empty opacity is a
bit down to 902200. F4. Again. Now you can just shift to change
the blending mode, right? The blend modes is dependent
on the loop or the cardinal, the saturation or the look of the layer working
on or working with two other
blending modes you have depends on what
you want to do exactly. I can't really say this
is the way she used or this is what you
should only use. Okay. So let's look at
what feels right. Look our eating is okay for whatever it
is you're working on. Now, I just kinda for
muscarine placement as I only use ad lighting or screen. Okay. I usually use
ad litem screen so I can switch between either of them and decided which
I think is best for me, rather than having
no matter which makes it look realistic. So if I press control C, it looks a little
bit more realistic. So that's where the
blending mode should always so much time on this one. So next we're going to be
talking about is how to export. So you can have done all of
this work and you're not able to exploit two-dimension on this LAN, one of the lectures. But then I want to
put us to eat so we can see how to properly exports. Alright, so we can have our footage and
send to our friends or whoever we are showing that we have worked
on something. So having said that,
let's get to the next.
21. Rendering: Ufuk I've already mentioned
in the previous lecture, the next one talking about
is the engine and exporting. Now you can't have
done so much work and you don't want to. Okay. So that's where your engine exporting
comes into play. So we have we've
done a lot of work. We should be proud of
ourselves. And I'm just close. My skill comes to doing a lot
of work as you part of us, and I believe you also. You are doing something
as you. What it. Um. Yeah. So let's
start from this. Let's see if you
can handle this. Okay. I, I mentioned when we're dealing with what was you in that our animation the
game to me that we done right already
briefed on how to export. Okay so I'm just
going to put you to it again and
properly this time. Alright. So you shortcut for exporting to take
it to your end. That key is control
m for windows and command control m for
for your MacBook. Alright, so this is it. So once you have done that, it's been to our opinion
and like you, this is what your
render cue looks like. Okay, then I'm going to go
with our screen placement one. So instead of doing that job, you can also come to a file, go down to export, then see your options to
add to adopt modern codec. Yeah, I didn't
mention the item in the encoder is your expert in software encoding software that comes with
the audio package. Alright. You have to
get that differently. Okay. And then you
have to train that you should cause which
I said is control, control aim or command
option m command control aim in on your MacBook. So this is these are
all that you can do. You can export to premiere pro project by doing to do that you
can also work with this but from M in my for
the exporter so working with this it does work with these two identities
get into premiere pro. Okay so now if I select out to my own like you going
to do the same time and did initially delete
one of them and work with this now
you can see in the settings you can
see output module, you can see logs or
you can see outputs to this output to the
destination file where you want it to export to. All right. So coming
to best settings, it's you're in the
setting there. You can select the
quality you want, but you really do not
touch this resolution. Then you will touch these. Okay? You should not touch this. Then to your output module,
select high quality. Now this is what matters. Okay, I can say the
format you want to export in quick time empty
does to mute. I mean disable the video
and then export only audio. Yeah, but in this case do
not have a lot of options. So we usually advise that whenever you export
2 minutes after effect, you have to keep in mind
media encoder sent. Media Encoder,
therefore QuickTime. Now we have different options. You can export this
way now for example, if you want to export using, let's say you are
going to text on it and then empty background. They want to export that text
to be the empty background. Now all you do is you
select QuickTime. Now you have your
format options. I click on animation, okay, then you go to video output, select channels and
see out you be alpha, then out to be plus alpha. So your alpha is
your empty channel. Okay, you offer empty channel, so you algebras
your colored text or shape or whatever it is. All your video that is
appearing on your footage. Okay, now exports just
out. You be okay. It's going through with the Alpha Channel and
most cases, no, you will. Even the empty parts that you have in the screen is
going to turn to black. That's why I said our pixel when we are where we have
pictures that are showing on our
system you just to because no we are doing
most times when we do not activate
that's empty but we that we have on our composition is going to be turned to black. Okay. So having done that,
selected everything, then you can resize your let alone to export in
this association. I can understand you to 1920. Okay. I can select a custom one and then use
the presets. All right? But I don't do that, so
I'm going to cancel. And, um. Was recording. I'm going to use my to it 40. I was looking at
the 2022 season, so I'm expecting for you
guys that you can copy to use your deal of
interest or file size. Okay. You can go up to
the top left button, but I don't think there's
any need for you to do that. You could just have
done in the form you're working and the
audio output also. Um, yeah. So those are the
options you have. I just had to put
teacher everything. You didn't want to touch a
lot of teams on this end, so now I'm going to send to select my destination
for the replacement one, then save that one. Once you do select a destination for that, you won't
be able to enter. Okay, so I can
either end the word, just edit where we try to
end up with after effects, then me then go down and
discovered that the file size of after effects for about 8
seconds was about two and B and that of media encoder because it was empty for
because those are the compressed there was about
11 NBA data about so if you cue in media encoder the then couldn't do
that again to open. All right so let's
wait for you to open. So now median coda is open. And this is our project. All right. Screen placement, which is what we're
trying to do in that. So the symptom that plays out, you can select here and
select your family, tries to link with you
after effect project. Okay. So this is where
you have the same to. You add enough to I
felt you are viable. You have more flexibility because that's the sole
function of this one. Okay. So you can select its
point, which is for you. It went to this for ease. Your MP for you also
have a QuickTime here. Okay. But you can select
your images for now, your MP for the
compressed format. Then you can. You have
a lot of options here, but most times I use my bitrate. Okay, I'm going to show
you what that means. Now you can export once
you do select export, if you want to watch a video or have to
select export audio, it's willing to
export your audio. But in this case, I
do not need audio. I'm just going to I can see
that the selected percentage, he's not going to make a
difference. All right. So now I have my video have effects and you're not playing
the effects like that. Okay. Now for my video, I have my other my multiplex
f captions I have published. I will do apply
captions to because we didn't we didn't do that we do that for premiere pro and if we want to improve
for the premiere pro class, it does anticipate is
going to be out soon. So yeah come into my
video I can match source. Okay. Now the correction we made in after
effects with our, um, which resizing is
not seen on this end. Okay. So I can match source or d selected and change
it to what I want. 19, 20, 1080. Now it must carry
because it's linked. Okay. So it does
reduce it by itself. Okay. Now do isn't
it parallelism? That's in 2010 because
I'm working with the same pixel aspect issue
as what was formerly present. Okay. So I can either
match source at that age 4 to 1920
if divided in 1920. This is 21. 60 divided
by two to give you 1080. Okay. So now I'm going to
go back to my 19, 20, 1080. Okay. It's doing that already. So I'm working with
the same pixel as much as I have that. So our frame rate is still
going to be with us. Data then live. This delivered is
also ten and when. That must mean that you can
electric this or leave it. Okay, now I'm going to select what you want your
system to use to end. Now I'm using a MacBook
Pro with M1 processor. Okay. So I can use hardware
encoding very easily. But for those for
systems that are not prioritized for graphics. Yeah. Once you might not be able to use out way,
but you use software. Okay. But in this case, I'm
just going to use Adobe because it makes use of my other I don't
know, my software. So when I'm using Adobe, okay, so that's my and coda numbers, which is keyboard is parts then this is what matters for me. Now you can either do this would be I want
to be able to parse. I don't really see a
difference between using CBO. We'd be able then we'd be able to pass this
is your constant between is a way would be to it the way would
be to it to pass. Now what is going
to pass is going to do is it's going to end at once. Okay, then go to it at another time.
That's not necessary. That's not wasting your time, especially if you're working with very heavy footage is going to initially
take time to render. Okay. I'm going to leave it as about one pass then your
target bitrate is ten. Now your bitrate
already mentioned in the mention when we're talking about our
composition settings, which is number of
beats per second as and megabytes per second. Okay, so this is MBP is
so megabytes per second. So when you change
it, when you call me, I intended to arbitrate
because I wasn't able to it. That's why we have
ten as our car. There'd be two IDs.
So if I turn you to medium bitrates you
see this change? NATO's reduced
drastically to G. Okay, so it's just going to use more processing
storage per second. Okay. And it's going
to become heavier. More won't be treated as the every of the value
footage becomes. Okay. So if I go back to a bitrate now you can see
we are working with six MP. Okay. But if I go back
to medium be talking to me and it doesn't really make a difference to the
quality of your footage. Okay. It just takes more
processing and power and they must triage those cells
more data in one second. Okay, so now I'm just going
to leave with that arbitrary. It's because I
forget it's more the six MP I work in
there 5 seconds. That is our timecode 5 seconds. Okay, so that's that. Then you can select use
maximum in that quality. Okay. So I haven't done that. So click. Okay, just leave
your accent and click. Okay, now you can
when you open this, it does the same
thing to remember. It was selected initially, but when we opened this
it was the same thing. Okay. And this is the
presets we're using. This is so this part. This part, this is
despite this is it's it. You can either select
select either of them or. Right, then enter. Then you output fire,
you select where you want it to be saved. You've already done
that for my folks. So this time it takes cognizance of what has happened
in that effort. Click on Save and click on Display Button,
click on Render. Then it turned out okay. Now we're working 5
seconds to go very fast. Okay, so this is the time
that has passed and this is the time remaining
for you to get exited. I So this time I'm
raising our window. Mike McCurry Playback
engine DPI you instead of my software and we selected that as I do in
the task software. Okay. So that's that
about exporting. Now we have different presets here based on what you put in for a comparative
episode so we can select and drag it into where
you are trying to export. Okay, so let's go back
to after effects. Let's export something else. Um, let's see what else
can you implement? One. So let's work with,
see, um, replacement. Let's work with this one. Let's see, let's
work with this one. Okay. So for this
one now to send directly to a medium
coda on my MacBook, I use control alt and that's command option and to send the to my
media encoder so I don't second and do from here the exports then go
to item then coded that hospitalizados is coming up some of the symptoms that
potentially a window control order and sent down
to something good so now I have got it
I have presets. Yeah. So I can expand it. Look a little bit better than
average point is for you. Okay. I can work with 19, 20, 1080 then this is my bad, which is 29 seconds. Now if I just select this
and drag it over this, okay, now I can delete. It's going to export way
so I can say ladies. Yes, now work with this. Okay. Now what can be 20
seconds? You can see our lady. I said this is going to be okay. So yeah, you cannot
drag glue for presets. Let's see what broadcasts
you should see. YouTube. Sorry.
Um, social media. We expect it for social
media, YouTube and. Cool. Yeah, you can
use this intensity. You can repeat,
drag and drop it, you know, on your footage. Now going to the ladies also. So let's see how
loud this one is. It's maybe compared
to using them, the one you used the other time. So you have different
presets here. Sometimes even after
you drag that, you have to command and customize it to do
whatever it is you want. For example, now
well what community on YouTube tend to be full HD? Now want to check my
bitrates to see what works with 1616
megabytes per second? Okay. So it's a target
bit rate. All right. So it doesn't
necessarily have to get to 16. So tell me to it. So once I click on okay, then I can do the same thing
when that first one screen plays in my and him just
changes to screw placement too. Okay then I once I press play 20 under okay so that's
how you exhale does are you in then the last
way is by using your and by sending as a project
inside of premiere pro. But I do want to open payment proposal we will be
dealing with that. So that's not about explicit. So please, I'm talking about in lecture talk about
different projects that you can do. All right. Each and every one of them. I want us to try it
now, starting the form. We've done quite a
number of things. We dealt with the gameplay, dealt with some gameplay too. Okay. This was one
export idea then. What else have you done? Dirt with morphine also. So we can also try this. So I'm going to export all
of these and make them available in our projects.
Who can try them? Okay. So I'm going to send
this to be the encoder, too. So I'm going to
click on exports. Okay. 17 apples here. Okay. So this is
our mask. And also I'm going to just send it to me then kinda know
what I'm asking. Controls tend to medium quicker
than government must fix. Um. Oh. Did you also. Okay. So which of the
methods should I use? It's about the
same thing we did. So I'm just going to
turn this on the. Okay. So we're going
to send this also to. Media encoder once press
play to start treatment, which I gave it to not once. Then this also amplitude
to see how good it is. Okay. I think we used the we used the face
tracking reads ditty. In addition to features, not just the outlines
to track this one. I'm also going to send
you some down code so you can work with it also. So I've been doing
that once I press play as well to end everything down, to be sure I have
the right names. Okay, now, I didn't even change the destination
for the for these guys. I didn't change anything
for the first guys after my position. Um, I mean, Chen, do you on this mission
towards a year out that's changed to, um. Put those footage. Now, whether you call
it this is must kill. And we call this masking
one, which is the mask. And let me be clear. Then
there's also camera tracking, then camera tracking, boss. So once I press play, everything he's been through
is going to be a cue. Okay, so as one is finishing
the next one, start once. Once. Once one finishes again. Nixon starts us off. Finishes
again. Nixon starts. Okay, so that's.
That's about engine. And I'm someone to
make this product available so we
can work on them. And then once you are
doing your own part, just be be creative
with each also. Okay. So once I don't want to
move on to the next or you send to the community so
we can see your work. All right. But thank
you for watching. Now, this is the end of
the tutorial itself. Okay. So, yeah, let's move
on to the next video.
22. Conclusion - What Next?: Wow, Thank you for watching to this point that we'll
be able to follow. And I hope you are
able to follow every single subject
to be treated. Alright. Now you
should be able to call yourself a visual effect
as a motion designer, motion graphics artists, whatever it is decided
to call yourself. Alright, and open
note also that this is not all there is to
learn enough time for. This are just the basics, right? Remember is After
Effects for dome is just to break it the easiest way so you develop interests and be
able to continue from there. Alright, so please keep
practicing, keep working, keep working, keep you encounter unique problems that
require a unique solution. And there are some things that, as we did during the
customer have to play around and you'd
get what it is. You're exactly
looking for a light and make sure that you
do not set to false. What is less than what
you're looking for? Like if you aim
towards something, make sure you get it before
you move on to the next. All right, So putting the
work, keep practising. Remember it's only by
practicing that you can gain mastery, alright? And then if you're
looking to enroll to the pineapple clasp,
remember for dummies class, this anticipates is going to be out soon as it's
going to be next. Until then I hope to hear
from you soon when David, they say you can call me an
id and to hear from you soon, keep it real and peace.