Adobe After Effects for Dummies | David Ologunde | Skillshare

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction

      3:27

    • 2.

      Opening Project

      1:19

    • 3.

      Interface and Panels

      7:42

    • 4.

      Importing Clips

      1:40

    • 5.

      Creating Composition

      8:45

    • 6.

      Tool Panel

      36:33

    • 7.

      Transform Properties

      21:13

    • 8.

      Keyframe Animation - The Pawn

      43:21

    • 9.

      Null Objects

      20:17

    • 10.

      Precomposition

      13:29

    • 11.

      Easy Ease & Graph Editors - The Rook

      11:02

    • 12.

      Masking - The Knight

      16:07

    • 13.

      Mask Animation

      30:54

    • 14.

      Effects

      10:48

    • 15.

      Rotoscoping - The Bishop

      16:59

    • 16.

      Tracking - The Queen

      30:39

    • 17.

      Camera tracking

      27:47

    • 18.

      4-Point Tracking

      19:14

    • 19.

      Mocha AE final - The King

      41:24

    • 20.

      Blending Modes

      5:05

    • 21.

      Rendering

      16:37

    • 22.

      Conclusion - What Next?

      1:24

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About This Class

About This Class - Adobe After Effects for Dummies

     This is for everyone and anyone who has been finding it difficult to learn Adobe After Effects. If it has always seemed complex to you, this is the course you need. I call it 'FOR DUMMIES' because the use of language and explanation can suit just anybody. I also specifically included more than one route to performing a particular task so you have an opportunity to pick one that best suits you.

After Effects is an industry standard tool for designers, motion graphics artists and visual effects artist.

I included a couple of footages I have used so you can follow along. (Link down below).

In this course, we'll cover the following skills:

  • Creating a new project and composition
  • Importing media and organization
  • Basic Keyframe Animation
  • Masking and Rotoscoping
  • Tracking - Motion and Camera Tracking
  • Use of Effects
  • Other important subjects.

As I earlier mentioned and said in the introductory video, I made sure this course is appealing to every class of persons; old and young, interested and uninterested, learned and unlearned.

After effects is very wide and this implies that there is still a lot to learn. This course covers all you will need to learn to learn MORE.

For this class, you'll need access to Adobe After Effects, most preferably the latest version as that is what I have used here.

(PS: You can also use other versions as you'll discover it doesn't really matter for this class, except for an upgraded tool in the rotoscoping lecture.)

The projects are really straight forward and I'm sure they will be easy to pull off.

I hope you have an amazing time learning After Effects with this course
Kindly leave a review about the class, thank you!

DOWNLOAD PROJECT FOOTAGES HERE

Meet Your Teacher

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David Ologunde

Pro-Video Editor and Motion Designer

Teacher
Level: Beginner

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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.