Transcripts
1. Introduction: Hi, I'm Home Shoe and I'm a
motion designer in Canada. I've been using
Adobe After Effects for almost ten years now and have been teaching
motion design online for over four years now. I've worked on brands like
Adidas, PayPal, Walmart, 711, My More, and also
had the honor to teach more than 50,000
students worldwide. My passion lies in
helping designers discover the exciting world of animation and motion design. Making the learning process
easy and fun and effective to help beginners embark on this creative and
rewarding journey. In this comprehensive course, I'll take you through the
entire process of creating this dynamic geometric
looping animation with punchy movement
and slick styles. I'll show you the behind
the scenes step by step of everything you need to know to create an animation
just like this one. You may have seen
many captivating animations like these on social media and wonder how they achieve such
complexity and details. If you're eager to
elevate your skills, stand out in the industry, you've come to the right place. I'll equip you with all the
essential tools and knowledge you need to master the
dynamic style of animation. Please note that this is
not a beginner course, to achieve the best results. A solid understanding of O Aftereffects and basic animation
principles are required. We'll dive right into advanced
techniques and concepts. So if you're new
to motion design, I highly recommend
you to check out our beginner focused
animation courses first. Once you feel comfortable
with the basics, I encourage you to return to this class and build
upon your skills. So for the class, we'll
kick off the course by exploring where to
find inspiration for animation movements
and storyboarding. Understanding how
to gather idea is crucial as it sets the foundation for
our creative process. I'll guide you
through establishing effective guidelines
and planning your animation using hierarchy. Ensuring you won't feel
overwhelmed as you navigate the complexities
of an advanced project. Next, we'll cover
speed graph essentials with a few examples to familiarize you
with the concepts before moving on to more
intricate movements. This foundation
will empower you to manipulate speed and
timing effectively, a critical aspect of
crafting, engaging animation. Heart of this course is our
advanced animation project. Here is a glimpse of what
we'll cover in the course. We'll cover how to establish the key actions that
drive your animation, how to build depth through
background animation, how to add complexity with
interaction between elements, how to stylize the scene
to enhance visual impact, keys to make your animation punchy and filled with energy, how to incorporate subtle, secondary movements,
to add realism, and polish your scenes, how to create smooth and
effective transitions, how to intentionally guide your viewers eyes and
create visual impact, how to use free and
paid plug ins to save time and make your
workflow more efficient. How to approach a large project
like this and figure out the priority to work
on one thing at a time without being
so overwhelmed. We'll also dive into more
advanced topics such as explore both full three D and
real three D animation in after effects to expand your
creative possibilities. How to think complex
animations and coordinate multiple elements for a
cohesive visual narrative, how to apply real world
physics to create realistic motion that
resonates with your viewers, how to gain precision in your animation by
mastering the speed graph. Allowing you to control
movement with accuracy, tons of keyboard
shortcuts and techniques that season animators use daily to enhance their
efficiency and creativity. This course is your
ultimate guide to fast paced animation, packed with valuable
information and techniques designed to elevate your skills to the
professional level. If you're dedicated
to engaging with the material and completing
the assignments, I promise you will see
incredible results. By the end of this course, you will emerge as a
more confident animator, ready to tackle
sophisticated projects that challenge your creativity. I pack this course
with everything I wish I had access to when I
was first starting out, providing an insightful behind the scenes look at
fast paced animation. It's not an easy journey, but if you're ready to embrace the challenge and
grow as an animator, I'm excited to see you in class. Together, we'll unlock your
potential and prepare you for future opportunities in the dynamic world
of motion design. Let's get started, and I can't
wait to see you in class.
2. Inspiration: Welcome to the class.
In this lesson, I want to talk about inspiration and where to get inspired. If you're struggling to find inspiration for
your next project, don't worry. I've
got you covered. In this video, I'll show
you how to tap into some free resources to
find your inspiration. First up, let's talk
about Pinterest. Pinterest is an
amazing platform for discovering and
curating visual ideas. Here's how you can use it
effectively for motion design. Start by typing in keyword related to your project
like motion design, animation, style frames,
or kinetic typography. Pinterest will give you a
lot of pin boards and pins that showcase a variety
of styles and techniques. Don't just scroll aimlessly, create your own boards to
organize your findings. You can create boards
for different aspects of your projects such
as color schemes, typography, or
animation techniques. This will help you keep
everything neat and accessible. Next, let's check up B Hands. Be Hands is a fantastic
platform where professional designers and artists showcase
their portfolios. It's a gold mine for
high quality work and innovative ideas. Search for motion
design projects using specific keywords or browse through the motion
design section. Behance allows you to see detailed project
breakdowns which can give you insights into the creative process
and behind the scenes. Don't forget to follow creators whose work resonates with you. This way, you will
get updates on their latest projects and stay inspired by their
evolving styles. As it pertains to
this specific style that we're teaching
in this course, the geometric fast
paced animation, we have to mention
Austin from Ra V. Austin's work is fantastic
resource for inspiration. His animation are not
only visually stunning, but also showcase
sophisticated techniques that can really elevate
your own projects. Take a look at this
animation by Austin. The fluid motion and
innovative use of color and shapes are a great
source of inspiration. Notice how he uses
movement to guide viewer's eyes and create a
dynamic visual experience. Breaking down works
like this can give you insight into effective
animation techniques, which you can adapt and
incorporate into your own design. Our project in this course is heavily inspired
by Austin's work, and he has tons of
great content that you can check out on his
social media channels. Lastly, I'd like to
introduce you to our very own motion
circles community. We are dedicated to
exploring and sharing the latest animation
techniques and inspirations through our YouTube
channel and Disco group. If you're excited to
stay on the cutting edge of animation and take your
skills to the next level, Visit motion circles.com,
our extensive range of courses will guide you from a beginner to an
animation expert. With over 50,000
students trained, our courses are the fastest
and most effective way to become a
professional animator. Additionally, explore our after
effects marketplace where top motion designers offer advanced project
files for purchase, helping you to
enhance your skills and learn from the
best in the industry. So there you have
it, whether it's diving into pinches for
visual inspiration, exploring Bhands for
high quality work, engaging with motion circles
community and resources or checking out
incredible examples like Austin's work at Ravi. These resources will help you find the inspirations
you need for your own project and
come up with your unique storyboard for
the next animation. That's all with inspiration. I'll see you in the next video.
3. Animation Planning: Come to this lesson on
animation planning. We'll be working with our
pre design storyboard, which draws inspiration
from Pinchs designs and the animation created
by Austin a Ravi. Together, we'll analyze
the storyboard to identify the animation we can implement and how to bring
our ideas to life. To create compelling animations, we'll approach them
with a clear hierarchy. This help us to prioritize
our efforts and ensure that each aspect
of the animation supports the overall vision. The hierarchy is main action, reaction, stylization,
and transition. Let's go through
them one by one. First, let's talk
about main action. Our top priority is to establish the animation of the main
object in the scene. For example, in our
first storyboard, The central circle
is the focal point. We wanted to enter the
scene from one side and then shoot to the
center with energy, pushing the square
aside as it moves. After this dynamic interaction, both the circle and square
we bounced together. This sequence established
the primary action and draws the viewer's attention
to the foreground elements, setting the stage for the
rest of the animation. Sometimes not only do we
have the foreground action, but also the background action. And this first scene,
we'll also have a grid background animation as the action in the background
to go with the foreground. The next hierarchy
is the reaction. We'll focus on how
different elements in the scene interact
with each other. Reaction are crucial
because they add realism and depth
through the animation. For instance, when the
circle pushes a square, this is a positional reaction. We can enhance this by incorporating scale
reaction as well, where the square expands
in size upon impact, creating a visual cue of force, and we might even explore
color reaction as well where the square changes color momentarily as it
react to the movement. By considering
these four aspects, the position, scale, rotation, and color, we can create a rich dynamic animation that feels engaging and
sophisticated. Next thing is the stylization. Once we have our action
and reaction in place, we can move on to stylization. This is where we add
the actual flare that makes our animation
visually striking. In this project,
we'll experiment with color and
grading animations, utilizing vibrant color
palette to capture attention, will also leverage repetition
like repeating elements in one scene to create a sense of rhythm and enhanced
impact of our visual, incorporating secondary
animation such as burst of these circles that emphasize movements will further
elevate the overall effects. Techniques like squash
and stretch will give our main elements
more character, making them feel alive
and follow personality. Remember, stylization
is a third priority. We need to establish the foundational
actions and reactions first to avoid becoming so overwhelmed by the
complexity of the project. And the last thing on the
hierarchy is transition. While transitions are a
fourth priority on the list, they should always be on
your mind as you animate. A well crafted transition can significantly enhance
the flow between scenes. Whether you draw
inspiration from an ye catch pinches animation
or just do a simple, yet effective match cuts. Planning these transitions is essential for creating
a cohesive experience. In this project, we'll
primarily use match cuts. So it's important
to think about how each scene linked
together seamlessly. Taking the time to
plan these transitions will help you create a
polished final projects. This lesson serve as a comprehensive guideline for our approach to complex
animation projects. By breaking down the
process into clear steps, we make it easier to
understand and to execute. So as we proceed, I'll demonstrate how to apply
these principles of action, reaction, stabilization, and
transition in our animation. Ensuring that you
feel confident and prepared to start such a
complex animation project. Let's move on to the next video and bring our ideas to life.
4. Speed Graph Basics: Let's go through four
different examples, and I'll show you how the
speed graph works and how we're going to use it to get the exact movement that we want. First, let's go to this
bouncing composition. This is our animation. You can see we have
this one ball that's bouncing off this platform and then shooting the other way. If we go to the graph editor and show the graph of
the ball animation, This is actually the
bouncing curve that we have. In terms of the speed graph, we have two axis, the x axis is going
to be our timeline, and then the y axis is actually the speed of the object
or the elements. So it's speed against time. If we look at the first point over here and we have
it on this point, it says zero pixels per second. The speed is actually zero, when the point is all
the way at the bottom, and then the higher the point, the faster the speed
is going to be. In this case, we
have this ball here from zero speed,
shooting pretty quick, almost to 15,000 pixels
per second speed, and then hitting this
platform and then it's bouncing off
to the other side. So essentially, when we're
doing a bouncing animation, it's expected to have
a curve like this as symmetric because the energy is always carrying through when it's bounced off a surface. Basically, the first
part we're increasing the speed of the ball
because it's going down, falling down from the sky or like someone threw the
ball is picking up speed, and then once it
hit the platform, the energy is going to be transferred to the
other direction. So we're going to have a symmetrical speed
graph curve that's showing you as going off
to the other direction and slowly losing speed as
the ball is going up. So the key here is the energy. When we're thinking about the animation or
the speed graph, we need to maintain the
energy when it's bouncing. So let me show you how we
animate this bounce curve here. Let me just copy the
platform and the ball. Let's go to the main comp. I'm going to demonstrate here, and then let me just
delete all the keyframes. We have the platform here,
we have the ball here. Let's add a position
property at 0 seconds, and then go forward,
maybe ten frames. We have the ball
hitting this platform, and then go ten frames again, spouncing off the platform,
going off the screen. If we don't do any easing, this is actually the animation. However, this is
not what we want. It's not natural. So
what we need to do is re click keyframe
assistant Easy Ease. And this is a default easing. However, it's not going to work because it
doesn't look natural. What we need to do is we need
to click on this button, which is called graph editor, and then we need to go to click on the
second button here, make sure we select
the edit B graph here. Everything we do in this course is based on the speak graph, so we are only using the speak graph to animate
everything in this course. And we can use this button
here to fit the graph to view. If we're thinking about physics, this ball is either being thrown by someone or it's just falling, free falling from the sky. So the ball is supposed
to pick up speed, and the speed should be
getting faster and faster. So in that case, we're going
to just drag this handle to the right to make
it 100% of influence. And then let's go drag this one, maybe give it a
15% of influence. So we're going to reach
top speed over here. And remember what we said
about bouncing curve, it needs to be symmetrical. So we need to dig this
handle to the left and then drag this one all the
way to 100% influence, make this one around 15% again. So you can see a almost
symmetrical curve, which means the energy is
carried over after the bounce. So the key here, like
I said, is energy, we need to maintain the energy when the object is bouncing. With a curve like this, you can tell that the energy
is maintained, is transferred, It's not lost. So we have the animation after we modify the curve,
it's going to be like this. It is pretty fast.
It's pretty quick. We can make more
time if we want. But you get the
idea, essentially, this is the type
of curve that we need within a
bouncing situation. We need a curve like this. Almost symmetrical to
maintain the energy. And with our example, I also
animate the position of the platform to have it interact with the ball
when it's being hit. We're going to do
a lot of bouncing animation in the course. So just remember this curve
here that we're using for the bouncing is going to have almost symmetrical curves here to make sure the
energy is consistent. And that's for the first
example, bouncing example. Let's go to the
second composition. And this one, we're
going to show you how we do the match cuts. So we're using match cut for almost all our transitions
within the course. So I want to show you
how match cut work. Let's take a look at
this example here. We have this circle, which
is in the scene one. Assume this circle is the whole scene that we
have in the scene one, and then the second scene
would be this square. So for match cuts, basically, we're having a similar motion
between the two scenes, and then we're cutting right
between these two scenes, and it gives an illusion that something is almost like
a magic is happening. If we look at the curve
here, for the scene one, at the end of scene one, we always do an
extreme easing curve, one is match cutting going out. So we always do 100% influence
on the left hand side, and then 0% influence
on the right hand side. So we have a extreme
easing curve going out. And then for the second scene, If we look at the position, we always do an extreme easing
curve on the other side. We're going to do a 0% of influence on the left and then 100% influence
on the right. So basically, almost like a bouncing curve that
you see just now, but we're pushing everything to the extreme because if we
show the two graphs together, become just one exact
movement, animation, whatever you want to call it, so that our transition
is super smooth. Because at this point,
it's supposed to be a transition or a cut
between two objects. However, we're having
the exact speed, or we're reaching the max
speed for this movement, and then we're carrying the energy throughout
this movement. So the motion is really smooth, but we're cutting in between
two different seames. So that's a match cut that
I want to talk about. Let me show you how we do this. Let's just copy the two semes, go to the main composition. We're going to delete
the last example we had. And then we're going to
also delete all these ones. Let's say we have two
objects here. That's good. And then let's first animate the position property
of this circle. We're going to have the
circle moving down. Let's go 410 frames, have the circle moving down. From here to here. And then we're
going to also have this square moving down as well. Square is moving here. So I'm going to move
the square forward. And then this is
a cutting point. I'm going to cut
the circle here. So basically, when the
circle comes here, this is where I'm going
to start with my square, and then the square is going
to come down over here. So that's animation we
have for the match cuts. If I don't add any easing to it, this is actually
what's happening. They're having the
exact same movement, however, we're
cutting in between. And now let's add
some curve to it. Re click, H frame assistant, easy ease, and then let's
go to the speak rap. Fit the graph to view in terms of the first scene
because it's going out, so we need a extreme
easing curve to the right. So push the left handle to 100%, and then push the
right handle to 0%. And then for scene
two, hit position. We also need to
first right click, keyframe assistant,
easy ease it, and then go to the graph editor, push the left handle
all the way to the left to 0% of influence, and then the right handle
is 100% influence. And now, if I show both
keyframes, both layers, you can see this is the
curve that we have, and if I show the animation, The movement is super smooth and we're cutting in between. So it's almost like magic. The circle just all of a
sudden become a square. And later we can also add some rotation property
to these two shapes, and we're going to get
this example animation that we have shown here. So in this example, the most important thing that you want to remember is that for the match cuts that we're doing throughout
the entire project, one is going out, when it's
at the end of one scene, let's say scene one,
this is the at the end. Make sure we're doing
extreme easing to the right, shooting out with full speed. And then is at the beginning of the next
scene, which is scene two here. We're going to do a extreme
easing to the left. We're going to get
all the energy, all the speed from
the previous scene, because you can see
the speed graph here, when it's coming in, is coming in with full speed
and full force. So that's where the
energy is coming from. It's coming from
the previous scene. That's the most important thing. We need to remember the energy is from the previous scene. And in the third example, I'm going to show you how
we're going to work with speed graph for a easier
animation like this. We have a circle just going to travel along these two rings. However, it's going to
follow the physics. It's going to speed
up and slow down, what's going up, speed
up, one's going down. So let's see how we're
going to do that. Let's copy the three layers
onto our main composition. And let me delete
the key frames. Also delete the echo
effect on the ball. I'm going to move this ball to the top of this first ring here. And this is the start
point of my ball here. Essentially, I want
this ball to travel along the outline of this ring, just as if it's a roller
coaster, so it's speeding up, one it's going down, and then slowing down, one is coming up. That's the animation we want. Let's add a keyframe at zero second at the top
point of the first ring, and then go forward 20 frames. Let's drake this ball here to the bottom
of the second ring. Essentially, we only need to add a position change or a keyframe wherever
there's a speed change. So we are Only adding four
key frames in this case. Let's go forward
20 frames again. I'm going to just move it to
the top of the second ring. This is another place where
there is a speed change, and then go forward
another 20 frames. Move this one down over here, and then go forward
another 20 frames, move this ball here at the top. And that complete our loop. However, we need to adjust the motion path so that it's a curved path instead
of a straight path. Let's go to select all
the position keyframes, and then go to the pin tool. Click on this
convert vertex tool, and we need to zoom in. Convert this point here to
draw this handle so that we can almost give this motion path a curve following my
original ring here. So I'm just going to drag
this handle to make sure our motion path is following this ring that we
have in the back. So I'm just going to drag
this handle out really big. And then I'm going to drag
this handle out to make sure it's almost following
the motion path like this. That's good. And then I'm going
to drag this handle here. Drag this handle again. Just fine tune this motion path to make sure it aligned with my rings at the back end and
then drag this one outside. So it's really hard to see where this handle is if you don't
select the last key frame. Select the last key frame, and then you can drag this
handle outside, like this. Move this inside a little bit. Okay, that completes
our motion path, and you can see
the motion path is totally aligned with
my circle at the back. First of all, let's
select all the key frame on the position property. And then we can reli
Keyframe Assistant, easy E. Let's go to
the graph editor. If I don't give it a speed graph change, this
is what it looks like. This is what the default
easing looked like. It's not natural. This is not
the animation that we want. Instead, let's go back to the speed graph and then
fit the graph to view. Let's think about
this animation here. So on the ball comes to the top, it should be the slowest because it's reaching
the top point. And then when it's going down, it should accelerate
picking up speed. So this point over here would be the fastest point that the
ball is going to have. So essentially, over here, I'm going to drag this
handle all the way to the right to give it maybe
like 0% of influence. And then for the first point, it's going to be the slowest, so I'm going to drag this handle all the
way to the right, to give it 100% influence. So we have a curve like this. It's slowly picking up speed, and then at this point, it's going to be the fastest. However, the energy was just remain because once the
ball past this point, it's going to slowly start to lose energy
because it's climbing a very high mountain here or it's climbing a
very high slide here, going all the way to the top. So basically, from
this point on, I need to move my handle
to the left and then move this handle to the left
to form a curve like this. So that one it's reaching
the top point here, it's going to be a flat curve that's losing a lot of energy. And then the same thing, I'm
going to change this curve to this side and then change
the curve to this side. So we're going to
have a curve like this where three points
are going to be flat, when the ball reaches the
top of the roller coaster, and then one is at
the bottom point, it's going to be traveling the fastest, which
is a full speed. Let's see what it
looks like now. And you can see, it's
just much smoother. It's really interesting. It's very natural now because you can see
the ball picking up speed going down and then
slowly losing speed coming up. That's essentially what we
need with the speed graph, we are able to achieve
this natural animation, and also, this is the exact
movement that we want. We can also add some echo
effect to the speed graph, and this is going to be
the final that we have. That's interesting. And
that's it with this example.
5. Speed Graph Advanced: Let's take a look at
this forced example. This is a complex animation that will animate using
the speed graph. We have a ball in the scene, and this ball will move along this motion path like
a roller coaster. It will speed up
while going downhill and slow down while
climbing uphill. Let's preview this for now. You can see it is following physics and traveling
like a roller coaster. Let's see how we can animate
this one from scratch. Let's copy these two layers. Put them inside main Comp, delete all the key frames. Turn off the echo
effects for now. We'll need this ball to
travel along this path. To do that, let's go
inside this path layer, go to content, shape, and then go on path property. Click on the stopwatch
a keyframe on the path. Then we can copy this keyframe, paste it onto the position
property of the ball layer. Now you can see this motion path is applied to our ball layer. We just need to move
the path to the side a bit to align with
my path layer. If I preview, this is what the default animation
is looking like, a bit crazy and doesn't
make any sense. It's also going to
the wrong direction. I want the ball to travel
from the left to right. So let's select all the
keyframes in position property. Right click, keyframe assistant,
time reverse keyframes. Now, the traveling direction of my ball will be reversed and
it's going to the right. Next, let's select
all the keyframe. One thing to note here is that when we are
drawing a motion path, it's very important that we
draw on the anchor point wherever there is a speed
change during the motion path. Meaning we only draw
the anchor point or vertex point at the top
and bottom of each loop. Because that is where the speed change is going to happen. This way, once we
apply the keyframe, we can use the speed graph
to control the change in the speed at the top point and at the bottom
point of each loop. Next thing, with all
the keyframes selected, click, turn off
rove across time. By default, it will create those roving key frames when I
paste in the motion path. However, the animation
is not working, so we need to change them back
to normal keyframes here. And then we can just go to
Easy Ease all the keyframes. Go to the graph editor, and this is the speed
graph we have now. It's a default speed graph. If I preview, the animation doesn't make any sense, either. So first, let's select
all the keyframes. Let's make this animation
slower overall. So hold down option key
to drag the last keyframe to space out these keyframes evenly and make it 4 seconds. So we're adding more
time to this animation. It will take 4 seconds now for the whole animation to
complete. That's good. Next, let's analyze this
animation with our speed graph. We can do this
animation in two steps. The first step we'll apply the speed graph that makes
sense for each loop. When the ball is
at the top point, it should be having
a very slow speed. And then once it's
slide downhill, it will just start
to accelerate. So the second point here
will gain some speed. Then it will start to climb uphill again to lose some speed, and then it'll slide down
to accelerate again. So, our object will travel like a roller coaster constantly
speeding up and slowing down. Let's first make sure we are in the speed graph here.
Let's adjust the curve. First point, drag the handle to the right for 100% of influence. So the curve is flat at the beginning with
very slow speed. And then the second point
drag the handle to the right. So it will be the
fastest speed here. And then the ball
will slow down, so drag this handle to the left and make the
third point flat. As it's a high point
with slow speed. So we'll just keep switching the graphs between high
speed and low speed. Over here, it'll be pretty fast, so drag the two handles to the center to create
a spike here, and then it will slow
down in the next point, so bring the curve flat here, and then it will speed up again. I'll slow down here again. Fast speed here with the spike, and then slow speed
here with a flat curve. Same thing for the
rest of the points. Let's see what happens after
we have the curve adjusted. You can see the ball is
speeding up and slowing down when it's traveling
around each loop, we have in the motion path. That's a great first step. However, the problem is
these loops are connected, and we are not treating
each loop individually. We have to treat
them together as one single big motion path. Like you are on a
roller coaster. So when the ball slows down
at the second point here, it won't lose all the speed. The speed won't become zero. It will still have
plenty of speed. So we need to bring
the second point up to give it more speed, and then bring this
point closer to the first point because it will actually take a
really short time for this ball to climb
up the small hill. Then make the third point
with the higher speed, but not as high as
the first spike here. The speed will be the fastest
as the first downhill, and then the energy will slowly lose as we travel up
hill here and there. So let's see what happens to our animation now with this adjustment to
the speed graph. I'm having an issue
with this point here. I don't want this point
to lose all the speed as is almost becoming
zero on the graph. So I need to give you
some speed manually. Let's re click on this point, go to keyframe velocity, change it to 200 pixels per second for both
incoming and outgoing. So at this point, you
can see it slightly lifted up and it's got a
bit of speed at this point. I think the right side
loop is looking great. Let's turn on the echo if I
and see what it looks like. I think over here, the
speed is too fast. So let me decrease
the influence on the handle to make this
part of the speed slower, and let's take a look. I think that works.
This looks a lot like a roller coaster now
on this right hand side. And let's compare
this animation on the right hand side loops to
the left hand side loops. And you can see the left side
is not following physics, and the speed changes
are all over the place, but we'll fix that now. First, let's go to the
second highest points. Re click, keyframe
velocity changes to 100, so it's not going to stop
here when the ball passes. And then at this point, it's not going to lose
all the energy. So we need to lift this point up to still have it
maintain some speed. And also try to move this point closer to the keyframe before it because this is a really short distance
for the ball to travel. It should happen really fast, and we'll bring the
keyframe closer. And then we'll also bring the
next point closer as well, so I will have the
smaller spike in the speed that we need
here at a low point. And then the next point, we don't want the
speed to be zero, so go to keyframe
velocity change to 200 pixels per second again. And the last section, it will be just speeding
up first and then slowing down to climb
this final big hill. I think the curve
is looking great. Let's preview the
whole animation. That's looking really
smooth. I think I like it. There's a great contrast between slow and fast speed
in various loops, and it's following physics. It's traveling like
a roller coaster. So there you have it. This is how you will
use the speed graph to animate a complex
motion path animation.
6. Speed Graph Assignment: In these previous two lessons, we have covered
various scenarios where speed graphs are used. In this class, I stip into
your first assignment. Remember, practice
makes perfect. Understanding the concept
is just the beginning. It's through the practice
that these skills will become second nature and help you
elevate your abilities. For your assignment,
I'd like you to follow the examples from our recent
lessons on speed graphs. Start with a simple
animation where a small circle travels
along two rings, similar to the third example, and then create a more
complex animation featuring an intricate motion path inspired by the fourth
example I showed you. Feel free to use the motion path a create it in the lesson. Or you can design your own. You might even want to create
your own roller coaster. The key is to ensure
that the animation feels natural with a clear contrast between slow and fast movements. The roller coaster should
speed up when descending and slow down when climbing just
as we practice in the class. I can't wait to see
what you come up with. Once you grasp how
speed graph function, you will be well prepared for the upcoming lessons
in this course. Before diving into
the main content, make sure you thoroughly
understand these examples. We will be focusing exclusively on animating with speed graphs. So a sell understanding
of how they work is crucial for keeping
up with the future lessons. If you find yourself struggling with speed graphs, don't worry. We also have a comprehensive course on both speed graph and the Value graph and
the graph editor that provides a
deeper understanding. Feel free to check out that
foundational course first and return to this advanced course once you are comfortable
with the basics. That's it with this lesson. I'll see you in the next video.
7. Animate First Action: Here we go. Now, let's get
started with the animation. Here's our storyboard. We can go from the
first scene here, as you can see, we already have the first
scene established. And as we talked about before, we mentioned there's going to be action in every single scene. And in terms of
this first scene, the action would be
the ball just hitting the center of the square and somehow maybe bouncing
around in the scene. I want this ball to shoot
from the left corner and then shoot up and maybe
bounce back a little bit, goes up and come down. So this is going to be the
ball movement in this scene as the action of the animation
in the foreground. And then in terms of reaction, I want this square to be
triggered by the ball hitting, and then goes with the ball, travel in the scene to create
some animation with energy. And later on, we're
going to talk about the silzation of
the first scene, which is going to be the color
gradient, the repetition, secondary animation, and some squash and stretch on the ball. So let's get started
first with the animation. I'm going to use the
plugin overload. Let's go to windows
extension overload. This is going to be the
easiest way to transfer shape layers between
Illustrator and After Effect. First of all, I need to create
a After effects project. Let's go to After effects. Let's create a new composition
called this one Main Comp, making 1920 by 108030
frames per second. Duration, we can give it
maybe Around 15 seconds. That should be enough. Click on. This is going to be
my working area. And then the plug in
that I'm going to use is one called Ease Copy. This is very important
because sometimes we're not going to re animate something
that we already have. We're going to just copy the easing value with this plug in. And then for the motion tools, you can also explore
on your own, but most of the time, I'm just using it to reposition
the anchor point. Go back to Illustrator. Let's push this circle into
After Effects project. Just hit this first button here, and now we have a circle. Oh, sorry, The comp
that we created, we need to make it
a vertical one, so it's going to be 1080
by 1920. Click on okay? And now we have a vertical size. Let's go back to
Illustrator again. Let's click on the square
that's already rotated. Transfer this one
into After Effects, and then go back again,
click on this one, push the square
into after effects. And then the last thing we're going to do is
actually the grid, but the grid is already
designed in Illustrator. I know what it looks like
and what it should be, so we're going to
recreate the grid inside After Effects because we
need to animate these lines. In terms of the elements for the first scene,
these are all we need. Only three elements
that we need. Go back to After Effects. We can rename these
elements, called this one. Ball. And then for
these two squares, it actually didn't copy my grading value. I
want to hide this one. Okay. The grading
value is actually not a part of the square
one it's designed. So it's actually
two separate thing. In this case, I'm just
going to recreate this square inside after
effects to make it easier. So to do that, we
don't even need these two squares anymore,
but you know what, let me just go to hit the rectangle tool and then just draw a
rectangle, hold down. Option and command to
make it perfect square, and this is going to be
my square in the center. Let's go to a line
in the center, and then make sure
the anchor point is right in the center
of the square. Just hold down command and double click on this
pan behind tool. It's going to reposition
the anchor point to the center of the square. Let's call this one square one, and then duplicate square one. I can change the scale
maybe like this, just to make it a
little bit bigger, and then I can hide square two, delete these two squares, and then for the first one, we're not going to
stylize it for now. So I'm just going to go to add a color fill
to the square. Maybe change it to a
green color like this. And then for the stroke, let's do a two points, change the stroke color
to maybe a white color, and let's move the ball on top. So the ball is in
front of the square, change the green to a
darker green like this. Okay, that looks good. So that's going to be our initial setup. Later on once we
add the animation, we're going to sylize
it in the next video. But for this video,
we're going to animate this first scene. First of all, I want to
animate the ball moving in. So let's go hit P on the
keyboard for position. Hit the sop watch
add a keyframe, go forward five frames. Commit right arrow, one, two, three, four, five,
for five frames. And then then add a
keyframe over here. Go back to 0 seconds, move the ball to the
outside of the frame. The ball is just
going to shoot from the left bottom corner to
the center of my screen. And then once the
ball hit the square, I want the square and the
ball to travel together. So basically, only these
two key frames are going to be the action
in this case in my And in terms of reaction, I need these two to
travel together, so I need to go to layer, create a new null object,
call this one control, one, and then parent these
two layers to the control. Now, hit P on the
keyboard to bring up the position property of
the controller null object. Once the ball just hit the
center of this square, I'm going to shoot everything, both the ball and the
square to the right. So it stopwatch at a keyframe
and then go forward, maybe three frames,
one, two, three. I want this action
to be really quick. So now you can see a
parent the wrong thing. I need also to parent
the square one, and then let's hide the
square two for now. Go for three frames,
one, two, three. Now let's move the
null object to the right so that the ball and the square
is moving together. And this is a basic setup
of my first animation. And then I'm going
to go forward maybe another ten frames to have these two objects
bounce back again, and then go for
another ten frames. Make this one bounce up, and then let's go for 15 frames. To have everything go down. And now you can see they're traveling in a path that I
drew with my null objects. So let's go select
all the keyframes. R click. Keyframe
Assistant, Easy Ease. We're going to need to add some easing to these animations. Let's select the two
keyframes on the ball. Go to graph editor. I want this ball to shoot in. So it's going to be
pretty quick coming in. And let's go to the speed
graph, fit the graph to view. So when the ball
comes in, I wanted to come in hitting the
square with full speed. So once it hit the square, I want the ball
to be full speed. So let's drake the
handle to the right. And this is the point on the
ball is hitting the square. It's going to get all
the way up to, like, 10,000 pixels per second
in terms of the speed. And then when it
comes in, I just want to have a easing
curve like this. So this is going to be my ball coming in at zero
pixels per second, all the way to 10,000 pixels
per second over here. That's the motion of my
object, let's preview this. You can see already
that my ball is having a force hitting the square. However, as you need to adjust the curves
of these keyframes, let's go to graph editor. In terms of the
curves on this one. So you can see once the
ball hit the square, the square is going
to be affected by the full force of the ball. So in this case, once a hit is going
to have a full speed. So my handle is going
to be go to the left, and then this curve is going to go all the way up
with a lot of speed, and then I'm going to just
easing into a second position. Once it bounce back over here, I'm just going to give it maybe a 75% of influence on
the right hand side. And then over here, this
is where the ball kind of bounces back to the left
corner of the frame. I'm going to just give it a slight bounce curve
over here like this. It's going to pick
up some energy. So the ball is easing in, almost lose all the energy, and then it kind of bounces
to pick up some energy. And then it goes over
here to the top, where it's going to lost
a lot of the speed, making the curve really flat. And then it's going to
free fall from the top, making a falling
curve like this, having a full force going out from the bottom
of the screen. So this is going to be my curve in terms of this motion here. Let's see what it looks like once we have the
curves adjustment. And as you can see,
the last point here, we're not making
these two objects going out of the
screen because we're going to do a match cut between the first scene
and the second scene. So we don't have to have
these two elements go out, because we're going to cut right here or even before here, the second last frame. So in terms of the animation, I think this is what we want. I think it looks pretty cool. And now we just need to adjust some extra things like the
rotation of the square, and then we can add
square two as well. Let's go back to
the main timeline. First of all, I want to add
some rotation to my square, one it is hit by the circle. Let's say R on the keyboard
to pull up the rotation, and then I'm going to add a keyframe over here
once I get hits. And then once we have this
two elements over here, I want to turn this maybe
square a 45 degree angle. And once it goes back
to the life corner, I wanted to turn again back
to a zero normal position, maybe, like, overshoot
a little bit. And then once it
reached the top, I kind of wanted
to rotate again, maybe to this end, and then give it a
rotation like this, and on the drop down, I just want to keep rotating this way and drop
down like this. So let's go to rel, Keyframe Assistant, Easy Ease, go to the graph editor. In terms of these curves, I want this rotation
to basically go with the motion that I
already have, right? So basically, let's scrub
that timeline over here. Once this ball hit the square, I want the square
to turn this way. Maybe around here,
it's going to be where the highest
point of my curve is. I want the square to turn
the most at this point, when it's being hit by the ball to the one end of
my motion path. So it's going to turn over here. And then once I go back, everything can be just
gentle like this. And I'm just dragging
all the handles to each side and then form a graph like this to make
the rotation really smooth. I think it looks fine. I don't know why this square
was not a perfect square. So I just need to go inside the rectangle path property
and link this one and make sure we're having the
exact same width and height. So in this case,
let's do 350 by 350. And now you can see it's
actually a perfect square. It's going to be the same
thing for square number two. Let's go change at 2350 by 350. Now we just need to add some rotation property
on square number two. R on the keyboard, and then we need to turn on the
square number two. I want the square to show
up maybe around this point here once they reach
the bottom left corner. I'm going to cut this
layer over here and then make sure I hit a stopwatch on the
rotation property. Once it comes in, I already wanted to have a
bit of rotation. And then this one is going
to rotate the other way around and then maybe
just go down like this. Let's try that, and then
I'm going to select the three key frames on the rotation property
of M square one, go to ease copy,
copy the easing, and then select the
three key frames. Pace the easing. Let's
see what it looks like. Let's turn this second square
to the other direction. So it's rotating the same
way as M square one. Going to be negative
100 over here. A here. Let's see
what it looks like. Yeah, I think that
looks fine for my action and reaction
part of my first scene.
8. Grid Background Animation: Now, in this video,
let's work on another action in
the first scene, which is the action
of the backgrounds. And we just need to animate the grit animation
in the storyboard. Let's go back to
my after effects, and then let's add
a solid layer. Go to layer new solid. Call this one grid. We can actually make this one
a white color. That's fine. And then let's put the grid at the bottom of the composition. Let's go to effects and precess and search for special effects. Let's use this one
generate grid. And now you can see we
have a grid generated. However, we need to
animate this one. So basically, we need to anchor the grid at one
position and then animate the width and height of this grid to
have a animated grid. And to do that, let's
go to the anchor, and then let's
select the anchor, put it to the bottom right
corner of my composition. And now let's side from
width and height sliders. All of a sudden, you can see
all this little grid here. We can just change
all these settings and make sure we have
more lines or less lines. So this is what we need. Add a keyframe on the width
and height and then go to you on the keyboard to show the keyframes
on the timeline. First of all, we need
to animate the width, and I don't want the scene to have any grid
at the beginning, so I want to drag
it all the way up, maybe really, really big. Let's drag it all the
way to maybe 2,500. And then for the
heights, same thing, I want to drag it
all the way to 2000. All of a sudden, you don't
see anything in my frame. So let me go forward ten frames, and then I want to change
the width of the grid to be maybe around 300 so that
we have a couple of grid in, and then let's go forward
another ten frames. Let's change this one to 400. And then let's go for
another ten frames, change this one to 250 again. So it's just going to
come in and bounce between a couple of numbers. Same thing with my heights. I want to go over here, change this one to 300, and then maybe come
over here for this one, I want to make it a bit
more, maybe like 650. And then the last one,
this is going to be where my grid is
going to settle, so change it to 250. Let's go select
everything re click keyframe assistant, Easy Ease. And in terms of the graph, I wanted to come in
with some force. So I'm going to drag this
curve all the way to the left to an extreme easing curve to the left, coming
in with some force, and then it could just stay here with a little bit
of easing like this. And then for this one, I'm just going to drag both ends to the center. Like this. Let's see what it
looks like now. Next thing we need to do is we need to move all
the keyframes of my height forward to use the first keyframe to align with the second keyframe
of the width. And then I can maybe drag this
one out a little bit more. Let's see what it
looks like. If I slow the grid layer,
this is the animation. Basically, we're just
bouncing around between these grids to give it some energy to resemble the
first action that we have, which is the ball and
the square action of the first scene. And now we're matching that
energy with my second action, which is a background action. That looks pretty cool.
Let's turn on everything. Let's see what it looks
like. It's almost aligning. I can align it better if I want. Maybe just align these
keyframes better so that they are happening
at the same time. I think align these
keyframes better, give us a better result. So since we already
have the grid, I'm just going to go
ahead and maybe create the gradient for
the grid as well so that we don't have to
recreate it in the next video. So let's now go to rectangle to double click to
add a shape layer, the same size as my composition, and then let's move it down. Over here, now we just need to delete the stroke
of this layer, and I want to change the feel to a radio gradient and
change the gradient color. Over here, I want it
to be this white, and then over here, let's change it to yellow. And then we can change it to
the green color like this. And the last one, let's change
it to the blue. Click on. Now we need to drag this to make sure it's going from
the color that we want. Let's go back to my
illustrator file and then make sure
we're selecting the correct color palette. So for the green is going
to be this color here. And then for the blue, let's try this color here. O. Yeah, something like this. So this is going to
be my color palettes. Let's move the color
above the grid layer. Let's go to effects and precess and search
for set mat effects, and make sure we select
layer six grid as the mat and change it
to effects and masks. Now, you can see the grid is taking on the color
from my shape layer. I can call this one
grid color layer. And now the grid is taking on my grid and color
from this layer. And you can see my grid is now having the
color that I want. That looks pretty cool once
we have the deep glow, which I can add right
now to see the effects. Let's go to add an
adjustment layer. Move it all the way to the top, call this one deep glow. And then we can add on deep glow to see the
effects for now. It's going to be pretty cool. We can tone the radius
down a little bit. I haven't started
with the stylization of our first couple
of layers yet. We only have the background
animated and stylzed. But this is the whole thing,
what it looks like now. There's a little
glitches over here. I might want to move this anchor out of the
way a little bit more, so it's not showing
at the start. There you go, that's
our second action, which is the action of the
background of the first scene.
9. Scene 1 Stylization: In this video, let's work on the syzation of my first
scene to finish up. If we go back to the
Illustrator file, our storyboard, We already worked on the action
foreground and background. We worked on the reaction, which is the square
being pushed around with scale position
and rotation changes. We haven't worked
on the color yet, but that's what we're
going to do in this video. We're going to work
on the stylization of the color grading
color animation, and we're not going to have
any reputation in this case. We already have a
duplicate of the square. So that's the reputation part. And then secondary animation,
we don't have any. We're going to do some
squash and stretch on the middle circle to give us some more
energy, and that's it. That's all we're going
to do in this video. Let's First work on the
grading color changes of my square one. Let's go back to after effects. First of all, I want to go to my square one in terms
of the grading color. I need to go click on this fill, change it to a radio gradient. Click on, and now we have a gradient fill
under my square one. L et me drag this cursor here. And this is not
exactly what I wanted. So I'm going to edit
the gradient over here in terms of the gradients
for the yellow color, I want it to be
something like this, and then the green. Over here, the last one, I
want it to be a darker darker green or maybe even black at the end. Just delete this one. So the color goes from a really light yellow
to yellow color, and then to a green color over here and to a dark black color. So this is going to be my
color for my original circle. Let me turn off the
deep globe for now. I feel like the color
is not very vibrant. So what we can do in this case, is we can let me zoom in. Let's see if we can make
this color more vibrant. Okay, this is my color
for the first square, and the stroke is
just going to be a two point stroke. That's good. Let me hit the
stopwatch on the color. This is going to be
my original color of my square at the beginning. And once I got hit by
the circle coming in, at this point over here. I want to change this
gradient color to a fully orange color like this, as a reaction to the
height of the ball. And then let's go forward
a couple of frames again. Once it reaches over here, maybe about to go
back to the left. I want to edit the
gradient again. In this case, I'm
going to change the grading fill at this
point to be zero opacity. Delete this one.
Delete this one. Change the color like this. And I also want to modify the anchor point
to be on the left. So it's almost as if there's a light that's leading
my circle going down. Yeah, I think that works. Let's select the three keyframe
re keyframe assistant, go to Easy E and make sure
we're in the speed graph. I don't want any transition
between these two colors. So over here, I want this
point to be a whole key frame. Sorry, I want the first point
to be the whole key frame. So there's no transition
from the first and second. It's just going to appear
as yellow once it got hit. And then I want this one to do an extreme
curve to the right. So it's changing quickly to this orange light
or yellow light to the left to be leading my square to go to the
left of my composition. And let's see what
it looks like. Yeah, I think the reaction
is looking great. We have a reaction of
the color of the square, and we also did the
rotation reaction in the previous video. I think it's looking
pretty cool. Although I might want to make the green color
appear even more, because right now, I think I'm losing all the green
color over here. Let's put this one on the top. That looks good. That's my szation
from my first square. In terms of the second square, let's go to my second square. Over here. I guess, all I wanted to
do is give it a gradient, a slight dark green glow, choose radio
gradient, click Okay, and let's this to go like this. And I also need to make sure my second square is
under my first square, so it's not covering anything. And in terms of
the grading color, I just want to make
these two a 0% opacity. And then maybe I should make it a linear gradient instead
of a radial gradient. Just have a slight green
glow over the edge. That's going to look pretty cool. Yeah, I think I like that. Just want to make it
a bit more darker. Choose this one, drag it down. You can see there's a green glow going over from the edge
on one side of the edge, it's giving some texture
or, like, stylezation. That looks pretty
cool. I like it. Save the project. Let's turn on deep globe and see
what it looks like. Tone down the deep
globe exposure, maybe to 0.3 or like
0.5 that might work. Let's see the animation now. Still feel like
exhibit too much. That's 2.3 for now. Yeah, I think 0.2 works
for now. Let's do 0.2. This green is
becoming too bright. Like this. Okay, that works. Let me turn off the deep glow. And the last thing
we're going to add is the echo effect on
my circle layer, so we get some smear squash
stretches on the circle. Let's go add an echo effect. On the ball layer. And then for the echo time, let's change it to
negative 0.001. And in terms of the number, let's change it to
maybe 15 operator, let's change it to
composite in back. Let's see what it
looks like right now. It's going to give us 15 copy of my ball layer as an echo. So it looks like a smear
or squash and stretch. Let's take a look what
it looks like now. It might work in one place
and not in the other place. So the issue is, we need to add some key
frames to make sure it goes well with
the whole scene. I think it works fine in
the first scene over here. Let's add a key frame
on the eco time, and then go forward over here. We need to change
it maybe to 0.002. To give a more reaction time. So we got some smear
over here as well. Or instead of using 0.001, we can let's try use
0.002 altogether. U on the keyboard. And then
let's delete this one. Okay. It doesn't work
because if I put 0.002, there's a disconnect between these balls here because
it's coming too fast. So I need a faster reaction time over here because the ball
is traveling too fast. And over here, once it
settles down a little bit, the speed is slowing
down so that we can give it a bit more time, and then we're going to show all these 15 copies over here. That looks pretty cool. Let's preview this. We're going to mostly cut
it from here to hit in. Save the project. This is what the first scene looks like.
10. Animate Main Action: In this video, let's move
on to our second scene, which is this one over here. In the last scene,
we have this ball coming down from the
top shooting down. And in the second scene, we're going to do a match cut to match with this
ball coming down. We're going to have this
little ball goes up. And then it goes up, we're going to have these
columns or cylinders, whatever you call those,
to push the ball up, come with the ball
going up again. And then almost like
a piano key thing, I want this ball to shoot up
and then come down to push on one of these middle keys. The key is going to drop down, and then All these other keys beside it is going to drop down. Again, it's going to
trigger the circle thing, and that's going to be our
second scene animation. To animate the second scene, we need to first push all these elements
into after effects. Let's use overload again. Let's do this circle first, push it to the after effects. And then we're going
to push this key here. And then we're going to
push this background color. That's good. We just need to move it
down, so it's in the back. And then we're going to push a couple of these
little rectangles. Like this one, and
there's this one. Push all these to after effects. And we don't need to
push the circles yet. Let's first animate
all these first. Or I can push one of them and see if we're going
to use it later on. Ather way is that we can recreate the circle
inside after effects. I think that might be easier. You know what, let's do that. Let's recreate the circle
inside After Effects. Now that we have all
the elements ready, let's go back to after effects. Since we already animated
the first scene, we're going to cut everything a This time frame over here. Let's move everything to here and then change the label
color to maybe yellow, so you know these are going to be the second scene
that we're working with. Everything in the first scene
would be like one color. Let's make it a blue
color like this. And then over here, I'm just going to cut
all these layers. So we're going to
have this ball come in like this from here, This is going to be my ball. P on the keyboard.
We're going to animate the position
property of this ball first. Let's move the ball all the
way to the top because it needs to be the first
layer of my second scene. At a keyframe. Let's
go for ten frames. Let's have the ball go
all the way up like this. And then we're going to
do another 12 frames, one, two, 12 frames. I want the ball to shoot down
to push one of the keys. So it's going to shoot down
somewhere around here. Not in the middle, maybe
like around this area here. It's going to push
one of the keys, and then it's going to
bounce back up again. However, this time it's not
going to bounce as high because the first time we're going all the way
from down there. So we only needed maybe five frames, one,
two, three, four, five for this motion to happen because the
distance is shorter, and we're going to just move it all the way up around here. And once it goes up,
I want the ball to, you know, drop back down again, maybe give it another
ten frames to go down so that it's moving outside of the scene and trigger maybe
the third scene. So this is the action of my ball movement in
the second scene. If I select all the keyframes, right click keyframe assistant, ease the ease, and let's
go to the graph editor. I can turn off the render time
for now because these are going to be really
simple animation that we don't really need
to show render time. Fit the graph to view. In terms of the speed graph, first of all, it's coming
in from the first scene. So I want the ball to
come in at full speed, meaning we want the handle to
be all the way to the left, so this is giving us full speed. And once they reach the top, it's going to lose some energy. So the curve is
going to stay flat. On both end, it's going
to lose a lot of energy. However, I want to give
some bouncing curve over here because once the push the keys at this area over here, this position, I want
it to be almost flat as well so that we can hang there when it's
pushing all the keys. And then the last parts, when it goes out the scene, I wanted to shoot out so that
it's almost like free fall, so the speed is
always increasing. So we have a speed increase all the way to the
max speed at the end, and then we're going to
cut to the third scene. So this is the thought behind
my curves for the ball. Let's see what it
looks like for now. Let me just cut the
preview range so we're only previewing
the second scene. I think I might need to move everything one more frame ahead. So this ball is
going down there, and then our ball is coming up so that the match
cut is matching up better. Once we add in the acl effect, it's going to match
up better, I think. But this is what
it looks like now. I think the hang is
not really effective. I need a couple more
frames, I think, over here to give it more
hang time when it pushes. So over here, I'm
just going to give it maybe two extra
frames to work with. And then let's go to
the graph editor again. Now we have two extra
frames to work with. I want the hang to be more
obvious or more noticeable. So I want this curve
not be in the middle. I want it to skew
towards the right, so there's more
hang to the left. So I'm going to skew this one to the right a bit more like this. All we are going to
do is to give it more hang time at this
push point here. And then it's going
to bounce up. I feel like I can
push it a bit higher. Oh. And then it's going
to free fall. Yeah, I think that looks better. In terms of our ball
animation, I think that works. Now that we have the ball
animation in the second scene. Let's work on the actions
of these columns here, or I can call them piano keys. Because I'm imagining
these are the piano keys, and then we have a ball
just hitting one key, and the other keys
just kind of there's a ripple effect this
goes to both sides, and then the other keys are
kind of pressed as well. Let's see which one
is the middle one. We have the color one. We have the middle column, and then we have
the right three, write two, write one. Left one, f two. Left three. Okay, these
are all my columns. So in terms of the animation, let's go animate the scale
property of these columns. First of all, let's go to
my middle column here. As on the keyboard for
the scale property. First of all, we need to make
sure the anchor point is at the bottom of my column. So go to motion tools. Hit this bottom anchor point here so that we have the
anchor point over here. And then let's unlink
the scale property. Let's add a key
frame on the scale. At first, I just want the
Y scale to be zero, right? So it's not showing up anything. And then once the ball comes in, I want this to grow
up maybe to 10 5%. And then once the circle is
going down to push the key, I want this column
to align right with my circle to be the key
that's been pushed. And then once the
circle goes up again, I'm going to just make it taller like this go
all the way out. So we're going to just drop the size down once the circle goes down.
Something like that. So we're aligning
our key frames with my position key
frame of the ball. Let's select all the key frame of my position of the ball, go to ease copy copy it, and then paste it onto the scale property
of my middle column. Let's see what it
looks like after we paste in the easing. Yeah, I think it
looks pretty good. I like what it looks.
So the next thing we're going to do is this big color
block in the background. So we're going to
do the same thing, S on the keyboard,
unlink the property, and then make sure we
have the anchor point to the bottom middle
of the block. And then, in this case, since we're only
animating the scale, we can actually copy these
scale property keyframes. Can see, and then paste
it onto my middle block. Let's see what it looks
like now. I think it works. Only thing that I didn't
like is this, like, block my middle column at the end that's showing
this edge that I don't like. But if I just move
it taller like this, I think it might work out. Yeah. I think it should be fine. So let's try that. And
then we're going to do the same thing for
all these columns. Let's hit everything. Select everything
as on the keyboard, and link these scale properties. And select everything,
make sure they all have the anchor point
to the bottom of the layer. We're going to copy the
scale keyframes command C, and then paste it on to all these different
columns, command V. And now we have an
animation like this. That's pretty simple
and straightforward. We haven't done a lot of
complex animation so far. So another thing after this animation is
done is that we need to stagger the keyframe so that not all of these columns are
coming in at the same time. And that's pretty easy to do, so I'm going to think about
which one come in first. In this case, I want my gradient
column to come in first. It's going to be the
last one at the bottom, and then I want my middle column to maybe come in second,
one frame delay. Or you know what? Let me delay just one frame for this middle block. Let's
see what it looks like. Yeah, I like that. And then once we delay one frame,
the middle block, we can actually
delay this left one. And then let's delay
the right one. And then let's delay the
left two by one frame again. Each one is delayed
by one frame. And this one is going
to be over here. This one is going
to be over here. Once the ball goes up and then all these columns go
up, at this point, I actually want this
column to go all the way up to give it a little
bit more randomness. So these right three
and left three, I want these two
to go all the way up to cover everything
and then shoot down. And the left two and right two, when the ball comes down, I actually wanted to
go all the way down. Just to give us a little
bit more variation. With our copy and paste
keyframes, right? So we did everything copy paste, but at the end, I don't want
it to look too similar. So we're adjusting a couple of keyframes to make it
a bit more random. This one can go down, and this one can go down. And then once the ball goes
out, I'm going to cut, so no one's going to see
the last couple of frames. That's a bit messy,
but that's okay. Because when the
ball hits, like, over here, I'm going to cut
right away to the next scene. And this is about where
it's going to cut. Let's see the animation for now. Yeah, I think that
looks cool for the action part of
my second scene.
11. Scene 2 Stylization: All right, in this video,
we're going to work on some reaction of my second scene and some stylization
of my second scene. In terms of reaction, we already have the main
animation going on, which is the ball just
hitting this piano key thing, and everything just
kind of ripples. The reaction of that
would be if we want to change the color of these
columns once it get pushed. So all these columns
is going to turn blue instead of staying
black when it got pushed, and then once the ball goes up, all the blue colors
will disappear. So that would be the reaction of the color once it got pushed. And then we can also animate
some secondary animation, which is these little circle
rings that's going to burst out when the circle is making
contact with my columns. And for the secondary animation, it could also be
repetition as well, because once the ball
push on this middle key, we're going to create
the secondary animation, which is a circle burst, but at the same time,
all these circles will also burst on the
other columns as well. So that'll be the repetition
effects of my second scene. And then the last thing
we're going to add is some squash and stretch on the main circle just like
the first thing. So that's all we're going to do. In this video,
let's get started. Go back to Aftereffects. Now, let's get started. First of all, I'm
thinking we can animate this right column
number two to give it some color once it get pushed
by this middle circle. Let's go click on this drop down and then add a
grading fill color. Let's change the
grading fill like this. And then over here,
make it darker. And then we need to change the
star point and end points. Let's change the end point
exposition to zero and then push the end point down, so the bottom of the column
is going to stay black, and then the top is
going to stay blue. For the blue, I also wanted
to give it a darker blue. Maybe like this blue color here. Okay. And then once we
have the gradient fill, let me copy the gradient fill. Let's apply it onto
all these columns. Okay, that's good. And
then all we need to do is let's animate the opacity
of migrating fill. So let's say if the Bs the
ball hit this circle here, it's going to trigger all
these column to become blue for opacity at a keyframe, and then change it to 0%. Within maybe one, two,
within three frames, it's going to become
blue, and then within the next four frames, it's going to become zero again. Let's sce re click,
keyframe assistant, easy. L et's try a curve like this. How about if we
give it more time? Let me drag this keyframe
out to give it more time. So it's going to
be blue like this. And let me copy all
these opacity keyframes. I'm going to put it on
left number one column, C it on the keyboard
to show the key frame. And then we're going to put
it on right number two, give it one frame delay. And then we're going
to put on this one. Left number two, give
it one frame delay, and then I'm going to put
it on right number three, one frame delay, and then I'm going to put it on
left number three. One frame delay. Let's see
what it looks like now. Yeah, it's giving a
color change like this. I think it looks pretty good. Once I hit the middle key, it's going to change
everything to blue. And I feel like this one
is not pushed down enough. So maybe so left three, the sides over here. Maybe I should give it,
like a bit more push. And then the right
three position is here. Push it like this. Yeah,
that looks better. And now we have a color
change color reaction to my second scene. Next thing I want to do is
the ring that's showing up, a circle burst once they
push the metal key, right? So let's save the projects, and then without everything clicked, let's create a circle. Make sure the anchor point
is right in the center, Let's align the circle right
in the center as well. For the circle, I don't
want any fill to it, just delete the fill,
and then change the stroke to a gradient stroke. Color can change this to a
blue color gradient like this. And then we need to animate
the size of this thing here. Let's say if we have a 40, at the beginning, I
want it to be zero, and then go forward ten frames, change it to 300. And then we also need to
animate the stroke width. So if we go to grading stroke and then go to the stroke width, make sure we hit a
stopwatch on here. I want the width to be around
20 points at the beginning, and then at the end, it could just go back to
zero, so it's disappearing. And then let's also animate
the rotation of my circle. So if I hate shift R to pull
up the rotation property. We've got the rotation here. Let's just do maybe 180
degrees of rotation. So still I need to make sure my anchor point is right in
the center of the circle. Let me cut the layer over here. First of all, let's go re click keyframe assistant, es ease. Let's adjust the curves. Steal a extreme easing
curve to the left, so it's kind of easing
out at the end, almost like a burst like this. So if I slow this, this
is what it looks like. And once we have this circle to push on this piano
key over here, we're going to position
the circle right here. Once it pushes, it's
going to appear, and then what if I make
it happen quicker? So let me just make the
size of the circle a bit bigger and then
move it over here. Once it pushes, it's going
to appear like this, and then let me
duplicate the circle, make it smaller,
position it over here. On top of each column. If I play the animation, it might be too quick. So let me hit you
on the keyboard and then move these
keyframes out a bit more. Let me change the curve, move this one back and
then give it speed. So it's not that quick. And now I just need
to kind of stagger these anchor points so that they're not all coming
up at the same time. For this big one, I can
make it even bigger. And then I can also animate
the position a little bit. So P on the keyboard and shift. I want to animate the
position a little bit so that it's
kind of going with the circle one is animating in to go up a little
bit like this. Use a curve like this. To match up with the
position of that circle. Yeah, I think that looks better. And then we just need to stagger
the circle a little bit, maybe one frame apart. So they're not coming
up at the same time. Let's see the animation for now. You get the idea. We can
make it a bit more polished, but we're going to
move on for now. The last thing we're
going to do is to add the echo effect on the circle, which is our ball
layer, going down here, choose echo effect, or we can just copy the keyframe that
we had in the first scene. Let's go to the ball, and then just copy
you on the keyboard. Let me copy this
effects and key frames. And let's drop it onto our
ball in the second scene. I wanted to just go from the
first frame, paste it in. For the number of echos, let's try 15 again. Okay, I just realized we
did something wrong here. You can see right now, since we animated
the opacity change, let's say you on the
keyboard for the box one, which is this column here. Since we animated the
opacity on the master layer, it's actually making my
outline disappear as well. So you can see, it's
bringing up our blue color, but once the blue
color disappear, the outline is
disappearing as well. So instead of animating the opacity outside
in the master layer, we have to cut this opacity, and then just go inside again, go to content, go
to gradient fill, and under the gradient fill, we need to add the keyframe
on the opacity over here. Just paste it in so
that, in this case, if we were to animate the
opacity under the gradient fil, so we're still having
this blue color change. However, my outline
is going to stay there once the blue
color disappears. So now we need to
do the same thing for all these other columns. Need to cut all these
opacity keyframes and make sure to turn these
master opacity back to 100%, and then go inside to the
content gradient fill. Click on the opacity under there and then past the
key frames back in. Let's do the same thing,
past the key frames, and then let's do
the left columns. I'm going to cut
these keyframes, and then change the
opacity back to 100%, go under to the gradient fill. And paste in the
opacity keyframes. Now, let's see the animation
for the first two scenes.
12. Create Smooth Transition: In this video, let's keep
going with our animation. Now we can reference back
to our illustrator file. This is going to be
our third scene. However, I wanted to do some different
transition in this case, because right now you can see from this frame to this one. It didn't really show you how it was going to transition
between these two scenes. So I want to come
up with something that's interesting to have a bit of energy so that we can
spice up the animation. Sometimes we're
given storyboard, and it doesn't show all the necessary transitions
between each scenes. It depends on our creativity
or our references or whatever idea that
we can come up with to link all these
scenes together. And we can go online
to search for some references or
some good videos for great transitions. So that's where our inspiration is going to be coming from. In this case, I'm going to do something interesting
and bear with me. Let's get started for this scene here between the second
and third scene, and then we're
going to establish the third scene in this video. First of all, let's send all these elements
to After Effects. Let's hit the circle here, push it to Aftereffects. Let's do the same thing
for all these ones. So we have all these
elements that's already pushed to after effects,
and that's all we need. Go back to after effects. We're going to move all
these layers forward. So this is where I'm
going to or maybe here, this is the exact
frame that I'm going to cut the second layer. So I'm going to
align my third scene with this timeline indicator. Let's rearrange the order. And for the ball, let's call this one ball again. And for the third scene, let's try to make it
a different color, maybe like a lavender or
let's do a pink color. Remember, we changed
the label color for the second scene. So I should change all these to yellow because these belong
to the second scene here. Now, you can see where
are clearly labeled. The first scene
labeled in blue color. Second scene is in yellow, and then the third
scene is in Peach. Or let's do something
that's easy to see. Let's do an orange color here. Yeah, that's easy to
see. First, let's animate the circle
and the blocks. I want to have a match cut between these two
scenes as well. And I also want these different circles and blocks to be thrown into the air as if someone is
throwing them into the air and then it's going
to free fall into position. So that's kind of the
idea I have for now. Let's take a look
at how we animate this circle and also
maybe one square. Let's rename this
one to square one. The square two.
Square three. Okay. We've got three
different elements here. And I also want to
cut all these layers. So there's nothing that's behind it that's going to distract me. I'm going to move these
one more frames ahead. So it's cutting over here. And you see the
circle is going down. In this match cut, I need my ball to come up
from the bottom. Almost similar to
the first scene to the second scene transition. Let's do that. Let's
go to the circle here. A for a position. Let's add a key frame, move it all the way down. Yeah, let's try this from here outside and then
let's go for 12 frames. Let's move it all
the way up as if someone is throwing the
ball into the scene. And then go forward another
maybe eight frames. It's going to land or
free fall into position. So this is going to be
the final position, and that's my animation. Let's go to the graph editor, make sure we right click
Keyframe Assistant, easy ease those keyframes. And since we're doing
a throwing animation, it's going to be a curve like this to the
left end extreme, and then we're going
to hang in the air in the middle and then drag this curve all the way
to the right again. It's going to lend or
slam into position. So both ends are going
to be pretty extreme. I can maybe tone it back
down to 85 on the right end, so it doesn't slam so hard when it ease into the
middle of the scene here. Let's see the animation now. I need the two scene
to tie it better. When the scene is cutting into the third scene for
the first frame, I already need the ball
inside the scene, I think. So for the position, I would have to move the ball up a little bit,
maybe over here. Yeah, I think that's
hide the scam better. And then we have a throw like that and it fall into position. Something like that,
but I want to move this position down a
little bit because I want to have another
square that goes over the circle around this area here and then another
square over here. So let's try that. Let's do hide the square two, the blue one, and only work with these green squares here. Let's go back to my key frame. Select the two layers, square one and square three, P on the keyboard for
position at a keyframe. I kind of want to establish
the scene because right now, since we copy these elements
from the storyboard, and this angle of the square is actually a
angle that's in motion. So I actually wanted to stay
static when it comes in, meaning like I want to level
these two square maybe horizontally so that
we need to rotate these two layers
like for 90 degrees. First of all, let's also
rotate these two squares. Hit shift r for the rotation. Let's do negative 45 degree. Both squares, and this is going to
be the final position when they settle in place. However, I wanted to be
thrown at the beginning. So basically for the position, let's say square one
for the position. This is going to be
the final position, and then I want it to
be thrown over here. And then the first frame, it's going to be starting
from this position over here. So it's going to be
thrown to the top and then land into position. However, I want to make sure there's no ex position change. So the ex position should
stay 540 across the board. And then for this one, I'm going to do the same thing, put a keyframe over here. However, I need to
make this one smaller. So I also need to
adjust the size. Let's hit a keyframe on
the scale on both scales, I would say, and then shrink
this one down a little bit, maybe like really small
at the beginning. Being thrown around here and
then keep the size small. So this is going to
be my animation. I also want to
change the scale of my ball to make it a little
bit bigger at the beginning. So the three shape have a
better ratio, I would say. So the ball is going to be
this big at the beginning, and then the first
square is going to be shrink this one as well, make it a little bit smaller, and then it's going
to go into position. Everyone is going to
zoom up or zoom down. The two square is
going to change size, and then the circle is going
to change size as well. So all we did is to
animate the position scale together for the three
different elements so that they're synchronized together when they're coming in. Let's try to copy the easing on the position property of the ball because I
already have the easing, copy that and then paste it onto the position property of
square one and square two. And for the scale property, let's just go right
click easy ease and then maybe We can just do
a easing like this. I think that works
like 85% easing. Let me copy the easing to
these key frames as well. I don't need this key frame. So let's see the animation. Yeah, that's kind
of what I want. And in terms of the position, I also want to move this
one down atle bit and then maybe move this
one even further down. L et's try to move
this one down. So there's a little bit of
overlap between the elements. It might look better with
a little bit overlap. With scale and position, I also want to add some
rotation to my elements. So let's pull up the
rotation property. So like all three hit shift R, and then let's animate a
little bit of rotation to give it some more
interesting movements. In terms of rotation,
when they first come in, because I know
they're going to stay like this rotation at the end, so we can animate backward. The ball doesn't have to
rotate because you can't really see it even
if it rotates. However, for the square, this is right now negative 45. L et's try maybe a
90 degree angle. So negative 45, I
would say, plus 90. So this one, we're
going to change it to 45 and change it to
45 here as well. And then when it comes in, we're just going to do
180 plus 45, so 225. Let's make it 225
at the beginning. The square is kind of rotating. Let's see the animation. We
haven't add any easing to it. So we need to add some easing. Let's go to square one. Right click over to keyframe
assistant, easy ease. Let's turn on the graph editor, and I need to show the
position graph as well. Let's hit the position. Let's make it a
little bit bigger. What we want to do is when the square reaches the top here. You know what? I
think we need to move these two keyframes back
forward a little bit so that this is going to be Okay, I think that's
what I want to do. So basically, I want to have
this rotation like this. And then when
everything settles, I'm going to turn on square two and then cut it over here. Let's make this 170 5%. Okay, that makes more sense now. And then we're going to also animate square two in
the other direction. So let's hit R on the
keyboard, add a rotation. This is going to be final, and we did 90 degrees. So in here, we're going
to put in negative 90. So the blue square is going to rotate a different direction
from the green square. And then let's go back to the
square one rotation curves. I need to make sure when this square is hitting
maybe the top, I want it to rotate from there. So basically, I'm going
to match my curve. Top point to the
highest point of my motion path of the square. So I want the square to rotate the most when
it hits the top, and then I want it to ease it into position when it settles
into the final position. So this is kind of the
curve that I want. I'm going to match
this top point to the top point of my square. Maybe around here, I
think it's too late. It should be in the
front over here. And then when it lends, it's going to animate really fast. The rotation is going
to animate really fast. Yeah. So that's the
curve that I want. And then I'm going to apply this curve copy to
my square three. Apply the easing, and then copy the last two keyframes and copy the easing
to my square two. And let's see the animation now. Maybe I should drop this
circle like even further down. I just feel like
the position is a bit weird between these ones, so I'm going to make this
one bigger, I guess. I think I like that transition. You can feel the
force and energy. Yeah, we're gonna
leave it like that. So that's the action
of my third scene.
13. Scene 3 Stylization: In this video, we're
going to work on some reaction and slezation
of my third scene. We already finished the action of the third scene in
the previous video. So now it's time to add some more variation of my
colors or gradient colors, secondary animation, or
some squash and stretch. So let's take a look at what we can do for
the third scene. Let's go to after effects. This is our animation so far. First thing I'm thinking
about, if we refer back to my illustrator file here. We can actually add some
reaction for the background. So this is something that's
missing in this scene here. We already have the
action of the background, like the grade animation
in the first scene. We can also add You
can either call it action or reaction for the
background in this case. Let's take a look
at what we can do. I want to maybe
add one more layer of background in
this blue color. So basically, let's
duplicate this square two. And then put it down here. Now it's called
square four, right? So I wanted to delete all
the keyframes we have, and then move it
forward, make it bigger. Unlink the scale property, like, make it longer, like
this long here. And then let's try to
animate the scale property. Let's hit the keyframe
on the scale. When it first come in, Maybe let's try 136 as a square before and then
go forward 12 frames, one, two, change this one bigger, almost like a pulse that we're trying to make in
the background. You can feel like there's a pulse in the background
that's kind of going with the animation
in the foreground to add some extra
layer of movement. Let's go for ten frames
again and then make this really thin again. And then let's go for
ten frames again. Me it goes back to
this bigger version. And the last one, maybe just
go for ten frames again, fill the whole space
to fill the hosting, and this is what
we're going to do. In terms of the easing, let's re click from Assistant. Easy Ease, go to
the graph editor. Make sure inside
the speed graph, let's fit the graph to view. I'm going to drag
this curve here. To give it an extreme easing
over here in the middle. And then for this one, remember when everything
settles in place, we have a very extreme
easing to the left, just like the rotation
property we had. And then this one, I think we're going to do an extreme
easing to the left again. I think we can delete
the last keyframe. We can just use the
second last keyframe to fill the blue
color all the way, so it's occupying
the whole space, and this is the animation. And then what I want to do is, I want to add an
extra line that goes across from the top to be
a secondary animation. And almost as if it's a skewer that's going through
all the shape to knock the shape
into position. So it's very easy to do. Let's just go to the penol and then
draw a line like this. Let's make the
line ten point and make the color into
a white color. We can just do a solid
white color in this case. And make sure this line here, let me call it line, make sure it's centered in the
center of the composition. So I want to appear over here. Let's go add a trim path effect, and then add a keyframe
on both start and end. Change the ending to zero, go forward ten frames, change the start and
end both to 100%, and then re click, go to
keyframe assistant, easy East. Let's move the curve to
drag both end to the middle so that we have an extreme
easing in the center, and then let's move the two
keyframes on the end forward. So we have almost a
drawing animation. So this is what we have. We have a line that's drawing from the top to the bottom and then going through
all the shapes to knock the shape
into position. And the next thing
I want to add is, I want to change some color
of these shapes here. In terms of color
like this one here, I want to have these two squares come in in a black color
instead of in green, and then they can become
green once the skewer is going through
across these shapes and then knock them
into position, it's going to change the
color of that square. So basically, the square
one is going to be here. Let's go inside to the
group gradient fill, and then let's dit
the gradients. It's add a keyframe over here. At the beginning, I'm
going to delete the white and yellow only use
green and dark black. Something like that. Then let's also relate to make it easy
to sc to keyframe velocity, just change it to 66.66. That's a general easing that's going to give you
some kind of energy. That looks good, and
then I'm going to copy the key frame, go to square three. Let's go down to the gradient fill and
then add it over here. Let's see if we can change this blue color into a
green at the beginning. So for square four, let's go inside
the gradient fill, and then add a key frame. Over here, and at the beginning, I wanted to be the
green gradient that we have instead
of the blue. Let's see if that's
going to work. I'm going to change
the yellow here and make sure it's not much yellow. I want more green to it. I'm going to move
it here like this. And then and make this third
square not so visible, so I need to change
the third square maybe to a pure black instead
of a green black. Basically, we're just
animating some stylization of the color changes as we already have the action
of the third scene, we just want to add
something that extra to make the scene looking
more interesting. And now, basically we change this blue color
background into the green color. So it's going to animate
between the two colors. However, I kind of don't want the transition in between because it's kind of washed out. So I kind of need to go to
square four and then make sure I have a very fast transition
between the two colors. Maybe just do a very
extreme easing curve in the middle so that we have a very fast
transition like this. All of a sudden, the
green turns blue. I think that works.
The green turns blue. And at the beginning, we
got two black square coming in for the black square. I'm hoping we can use stroke effect to make
the border more visible. Yeah, you can see,
once it become bigger, it is very visible,
but once it's smaller, it's not so visible, but it's going to be
a hint of the style. So we're going to
do the same thing for square two to add
a gradient stroke. Let me copy the gradient
stroke and then put it on square one square
two, like this. So each square is going to
have a gradient stroke going on at a little bit of
extra depths to my color. And the last thing we want to do is I don't want
the transition between this black to
this gradient green. So I'm going to do
the same thing, maybe just copy the easing of my square four copy
and then paste it onto the gradient fill animation so that the change
is really fast. Or let's just do re
click, keyframe velocity, change it instead of 66, let's change it to 88
or 88. Let's try 88. 88 is going to give
you a curve like this. I'm going to just drag
it all the way in, maybe 100% influence
on both sides. Copy this 100% influence on
both side and then paste it onto my square one color key
frame like this one, easing. No, it doesn't work. Doesn't
work for the copy and paste, so I have to adjust manually, just drag out 100% easing
influence on both sides. So the curve looks like this. And then we're going to have a color change
that's really fast. It's not so visible. And you can see the
energy that we have now. It's looking super cool. We've got some color changes. We got some secondary animation
of the line going across. We got some rotations. We got some background that's reacting to the
animation in the foregrounds. So that's all we want
to add in terms of the stabilization
in the third scene. Let's see the
animation we have now.
14. Assignment Time: Now, let's discuss your
major class assignment. Up to this point, we have
explored how to animate using speed graphs and work through the initial scenes
of our project. I hope you're finding it
enjoyable and are getting comfortable with this fast paced geometric animation style. For your major project, you have two options
to choose from. First option is to follow my
demonstration and complete at three scenes from the example we're
animating in class. The final assignment should
be around 6 seconds long. While you don't need to
finish all nine scenes, I encourage you to tackle
more if you feel comfortable. Remember, everyone learns
at their own pace. So focus on animating at least three scenes from our storyboard that
resonate with you. This will help you
build your confidence and understanding
this animation style. The second option is, if you're up for a
bigger challenge, I've provided a brand
new storyboard, the one that I created
for the section cover. You can choose to animate something similar
to my section cover animation or use it as an inspiration to develop
your own unique animation. Feel free to explore
platforms like pinches, B hands, or Ravi for
additional ideas. I can't wait to see
what you can create. After you're done
with the assignments, don't forget to upload
to share with me and your fellow students or share within our discord community. I'm looking forward to
seeing your animation. That's all I have for now
regarding the assignments. We'll continue with the
animation in the next video.
15. Faux 3d Animation: All right. In this video, let's keep going with our animation. We're going to animate
the fourth scene over here that looks like this. And in terms of the transition between
the third and force, you can just look
at the third scene as a top view of a pyramid or, like, a a bunch of blocks. It's actually the top view, and then we're going to turn
the camera in this case, to show the side view of my stairs or like my
pyramid so that you can see all these stairs going
on so that we can show some volume that's
going to look super cool and make your
project interesting. So we're going to do some fun animation for
the fourth them. Let's go back to after effects. First of all, let me make a screenshot of this
layer because I need the position of
these stairs to make sure we're going to do the same position
as the storyboard. I'm just going to add this
screenshot to my project. And then we're going
to use this screenshot to position our squares. I want to see where
the animation ends. So this is where everything
kind of settles in place. And after it settles in place, let's create a null object
so that we are able to control the size of my blocks. I forgot to cut this line. Since we only have
keyframes over here, I'm just going to cut this
line over here really quick. And then go back to
the null object. We're going to call
this one controller. For the null, let's
pair the ball, the square one,
two, three, four. Parent all these to my null. And now I can change the scale to make sure
we can modify the scale. So before I turn everything, I kind of want to
give it a bit of scale animation so that it's not so static
when we're turning, we're giving it a buffer
layer of animation. So let's change it back to 100%. This is where it
ends. I want to start scaling before it ends rotating. Maybe around here. And then we can
give it maybe one, two, three, three
frame of anticipation, make it bigger, and then go for ten frames, make it smaller. It's going to be the
actual animation. Also, even if we are
making it smaller, I don't want my square four to be totally within the scene, so I still want it to
bleed off the scene. Let's try to make this square
four still a bit bigger. So that even if we
scale down everything, it can still just bleed
outside of the scene. I need to make it even taller. Still a bit more taller. Here. Just make it
taller like this. So when we're scaling down, my blue color block
is still outside. We only show these smaller
blocks getting smaller. R click Keyframe
Assistant, easy ease. Let's go to the graph editor. Let's change the curve. Just drag both side to the center to give it
a easing like this. Oh. Okay, that works. And now, we're going to
turn the squares sideways. To do that, we need to animate the path property
of these squares. And in order to turn sideway, we actually need two
different block. I'll show you what I mean. Let's go to square one, and you can see group one is
actually this green square. And what we need
is another group, let's duplicate this group one. G D. We're going to
have a group two, move it to the bottom. And then for the group two, for the grading fill,
let's go inside. Let's change the color to
totally black, pure black. Change everything to black.
If I hide group one, you can see there's a
black layer over there. So that's behind my square one. And we need a black
layer that's behind all these squares so that we can create a depth when we
turn them sideways. So let's go to square two. Command D duplicate group two, and then let's go
to gradient fill. I don't need the
color animation. I just need to turn the
gradient fill into pure black. That's going to go
behind my square two. And then the score two
square three, same thing. Just go duplicate
and then go inside. Gradient fill, make sure we
can delete the keyframes and then change the color
into a black color. If I hight group one,
you can see there's a black color over there.
That should be fine. And then what we need to do is we need to animate the path
property of these layers. To animate the path
property, first of all, I want to make sure I select the square 123 and
then search for path. I want to find a
place where I want to start turning maybe around here before the controller
ends the animation, I'm going to set a key frame on all the path property
of the three layers. That's good. And then let's
go forward, maybe 15 frames. Because the turning
needs some time. And now, we need our
reference layer. Let's move my reference
layer inside the thing, and then let me just
make it bigger, go to transparency,
make it ale lighter. Another thing is, maybe I
can drag some outlines. So if I hit command R, I can drag some
guidelines to align with the actual thickness or position of my layer so
that I know where I should align these blocks or boxes. So let's say if we align
these over here like this. Okay, I can turn off
my reference layer. And then let me
select the F three, go to path again. So we need to adjust the path animation to align
with these guidelines. So for this green one, I'm just going to go
select both and then move it down here like this. And then for this one, it's actually behind the green one. If I hide the green one, you can see it over here, so I'm going to move
this dark one over here. And then if I turn on both, This is the animation
you can see. Is turning. Okay, that's
exactly what I want. Let's do the same thing
for the blue path. I'm going to put it over here. That's nice. And then
let's hide the group one. Let's go to group two. Just going to make
this one taller and change the black over here. And then let's turn
back the group one. If I see the animation, you can see it's actually
turning like this. That looks pretty cool. And
then the last one, the green. I'm going to change the layer like this to align
with my guide, and then let's hide
the first one, push the black one down. And this is my green one. And then the last one is
actually square four. I still need to add a keyframe on the path
property of square four. And for this one,
I'm just going to go adjust this one like this. This one doesn't
have a black layer because the background
is already black. So we'll just treat it as a last layer that we're
going to have. Okay. So that's a turning animation. And then all we need to do is to add some easing to the curves. Select two keyframes. R click Keyframe assistant. Easy Ease, go to
the graph editor. I wanted to see if we can do an extreme
easing to the left. However, just leave a
little bit of room, maybe like 20% influence
on the left handle, and then 100% on
the right handle. If I copy the easing and then paste it down
to all these keyframes, Let's see the animation now. Yeah, I think that
looks pretty cool. So it's turning like this.
16. Main & Secondary Elements: Alright, we're done with
the three D camera turning. Next, we're going to change
the position of this ball and make sure this ball is also going with the camera
in three D position. Right now, you can see it's
kind of overlapping with my first step here,
first box here. So to do that, first, let's hide all these guide layer because we don't
need those anymore. And then let's just
go to the ball layer. This is going to be my ball, and I'm going to
duplicate it command D. Hit you on the keyboard
to show the key frame. I want to see where this
ball should go away. I want this new ball
to come in from here. So let's just delete all
the position property, and then let's move
this ball down. Maybe just cut it
here and then move it all the way down to the
bottom outside of the frame. Hit P on the keyboard at
a position key frame. So from here, let me go forward
maybe around six frames, one, two, three,
four, five, six, and I want this ball
to go straight up to overlap around here to
cover this middle circle. And so when it's covered
the middle circle, I can actually turn
this layer off. This original ball is
going to disappear once this new ball is
covering on top of it. And then let me go forward
another 12 frames. I'm going to animate
this ball over here. So this ball is going to
shoot from the bottom of the screen all the way
to somewhere up here. And then it's going
to hang here, and then we're going
to drop this ball down to hit on top
of this first box. So go for another 12 frames. Drop this ball down
to hit on here. And that's going to be
our new ball animation. Let's go take a look at the graph editor,
go to Easy East. Fit the graph to view. I want the thing to come in
with a little bit of energy. So it's going to ease in when
it hits the middle part. It's going to gain a lot
of momentum like this. And then the momentum
should continue. And I want the ball to hang while it's at the top points
or the highest point. So this is where the ball
is going to be the highest, where the curve should be flat. It's losing almost
all the energy. We're going to drag
both handle left and right to make this curve flat, so it's losing a lot
of speed at the top. And then we're going to
keep this curve bouncing. Like this, it's going to bounce off this box
and then go up again. But we're going to animate the next half of the
keyframes a bit later. Right now, I only
want to stop here. Let's see what the
animation look like. So if I preview from here, this is the transition I want. I want this new ball to pick up this middle ball in the center. And then almost like a drag. So we're using this ball to drag the camera or like
this whole scene up, so the scene is turning. That looks pretty good to me. And let's go back to
my illustrator file. I want to add the circle in. If you look at the illustrator, we also have this pretty big
clock thing that's going on. And I want this
clock to maybe pop up once the circle reached
the top highest point. So let me push this one
into after effects. We have this circle here. Just call this one circle. And then let's S on the
keyboard, make a smaller. Let's reposition the circle. Let me go to a line
to, make sure it's in the center of my
composition vertically. And then once the
ball comes here, I want to animate the size of the circle to make it pop up. So I'm going to change
the scale to zero, go 410 frames, and make
it bigger like this. And I also want to
animate the stroke width. So let's go inside the circle. Content group grading stroke is going to have a stroke width. So in terms of the stroke width, the end could be this ten point. At the beginning, I want it
to be thicker, maybe like 40. So we have almost like a
burst thing happening. If sorry, I change
the wrong thing. If we do 40 point stroke
width at the beginning, we're going to have a thicker
Trcal once coming in, I want it to be really thick, like 150 points or something
because it's too small. It's really hard to
see if I make it 40. And then let's go click. You frame assistance.
I'm going to do a burst. So at the beginning, there should be like a quick movement, so it's bursting
out, and then it should be slowly
easing into position. I think it's too quick. Maybe I need to still make
the keyframes further apart. And if I move this circle forward a little bit to align
better with the circle, one is coming to
the highest point. So I want this
circle to go here, and then the thing
is bursting out. And also, I don't want it
to be front of my box, so I need to push
this circle burst. Down so that it's
behind the square, that looks good. You
on the keyboard. Now that I'm thinking the end
stroke width is too thin, I'm going to change to be thicker a little
bit, maybe like 30%. I think that works. So at
the beginning, let's do 300. Yeah, I think that works better.
17. Syncing Complex Action: T. Et's keep going
with our animation. Let's go to the controller layer and turn on the scale property. I want to shrink everything down while the
camera is turning. So basically, once we have
this camera start turning, let's hit a keyframe
on the scale property, go forward ten frames. And then we can scale
everything down a little bit so that we can show a
three boxes over here. And then the last
one is going to be extending outside of my click, go to keyframe velocity. Let's go type in
the value, 66 66. Okay. And then let's see what
the animation looks like. Yeah. This way, we
can get a full view of our boxes of our
three D in here. And then what we need to do is, let's bring in the other
elements from Illustrator. Let's go transfer
this ring into after effects and then align it with
my main circle like this. Call this one outer circle and bring it down to be
closer to my circle burst. I also want it to be parentid
to the circle burst. And then I can move
this layer or cut this layer here. That's good. And then go to can later on add these
two little elements. And these little lines here, we're going to do it
inside after effect. So we don't need to add
anything else right now. Let's go back to continue
on with our animation. Okay, so next thing,
we need to animate this ball hitting the
boxes and then bounce up. It's going to slide
within this circle, goes around the circle
and then goes to the top, drop to the bottom again, and then bounce up again. So this is going to
be our animation. Let's go to hit you on the
keyboard for the ball. And next thing,
what we need to do now is I want to add
another null object. Call this one scale controller. Then let's go back
to the composition. Make sure we have
this null object at the bottom of the layer, and then I want to parent this original controller
to my scale controller. So if I go hit S
on the keyboard, link the scale property, I can actually modify the scale of these four boxes
together like this. And this way we can
animate almost squash and stretch once the
ball touches the boxes. So that's what we want to do. Let's go forward
maybe ten frames, and we're going
to drop this ball down to hit on the boxes. However, we're going
to drop it down even further because I want to
squash the boxes down as well. Once we drop this
ball further down, let's go to scale property and hit P on the keyboard as well. Let's animate the
position property here. Think that might work better
instead of using the scale. Let's move it down
like this. Okay. And then it's going
to push it down. It's also going to drag my
circle births down as well. So I need to go to
circle burst layer, it P on the position
property and drag this one to align with
my main object here. So this is the
motion that we have. Let's go to the curves editor for the position
of the ball layer. We need a free fall curve here. So for the free fall curve, it's going to keep picking
up speed until the end. So it's going to be
an extreme curve on the right like this. Keep falling free fall. And let me copy
the influence for the two keyframe and paste it
onto the scale controller, as well as my circle burst. And now the three is going
to have the same animation. It's going to drop down
like this. That's good. And then let's go forward ten frames or maybe
eight frames. We're going to bounce
this ball up like this. And then once we
bounce this ball up, we're going to move
the circle first up as well so that my ball is
still within the circle, is going to slide down the
circle following this outline. And let's go to the scale
controller as well. Once everything goes up. I want to add a
scale property here. Let me move up like this. That's good. And then for the ball to slide
down the circle. Let's go forward three key
frames, one, two, three. Move the position
of the ball here, and then go forward
another three frames. Move the position
to the bottom here. Go forward another three
frames. Move it to here. Another three frames,
move it to the top, and then let's do
another eight frames, drop to the bottom again, and then let's do
another five frames to bounce up in the center. So this is going to be
my general motion path. However, I need to
make it curved path. So let's go to pin tool, go to convert vertex tool, it on this vertex
to make it a curve, just to make sure my curve
is following this outline of the circle, like this. It's going to happen pretty
fast so we can do it roughly. And if I want to move the
position of the circle, I can just hit V on
the keyboard and move these positions as well to better position
them so that it's going sliding through
this inner circle here. That's good. And the next thing we need to do is to
adjust the curves. So let's analyze this one. Right now, we have
this ball bouncing, so we have a bounce curve here, and once it hit,
it's going to have a bounce curve on the
right hand side as well. So the right hand side curve
should look similar to the left to form a bounce
curve almost symmetrical. So the energy is consistent. And then we're going to
bounce it up to here. So basically, once it
reached the top point, it's going to lose
a lot of energy. And then once the
ball goes down, it's going to slide
and picking up energy. This point here, this is where the ball should have
the most energy. So in order to make
this point the fastest, we need to move this little
dots all the way to the top. And in order to do that, if I move only one point here, the left and right handle
is going to be broken. So I need to select two points here and then
make sure I click on this, convert to Auto Basie. In this case, I can move both left and right
handle altogether, and then just going to move
all the way to the top. Like this. That's good. And then I'm going
to also convert these points to
auto Basie as well. Let's go back to the timeline. I also need to make sure the
left and right keyframe of this keyframe right here
is going to be converted right click into a rove
across time roving keyframe. So basically, it means that it's going to be linked to the
before and after keyframe, and then it's going to
even out our value. If we go back to the curves
editor, the speed graph, you can see, our curve
become much smooer now. It's basically
automatically reposition itself to form a smooth curve. Now we have a great curve that we can use for
our motion path. And over here at
the highest point, it's going to lose a lot
of speed that's good, and then we're going to
do a free fall curve picking up energy, so
it's going faster. And then once it bounce back, it's going to be an extreme
curve to the right. We're going to cut here at
the end to the next scene. This is where our
animation is going to be. Let's see what it looks like. And we need to over here, we need to copy
these two keyframes, the easing and then
paste it onto the circle burst so that my circle is
following this ball here. Let's take a look.
Yeah, that looks good. And then I can just add in the ecole effect to my ball two. It's an echo effect. Let's do 0.002, and
then let's do 15 copy. And now let's see
what it looks like. Yeah, I think that looks good. And right now you can
see the problem is that our ball is going in
front of the boxes. So we need to cut
this ball layer. Once it bounce off, we're going to cut it from here, and then make sure
the ball three is going underneath the square four so that it's going behind all these squares
instead of in the front. And then we're going
to keep animating this scale controller. We can copy these two keyframes, the easing onto the scale
of the scale controller, and then we're
going to just have the scale controller
move down like this. So it's going to stay
like this at the end. Something like that. Let's
adjust the curve here. We're going to just
do a easing curve in the middle like this. So the boxes are
moving out of the way. And then at the final end, I need the box to move up again to do a match
cut at the end. So it's going to be an extreme
easing curve to the right, like this, like this, all
the way to the right. And that's going to be
a match cut at the end. Okay, that works. And
then the last thing is that this circle thing that
we need to take care of, need to animate
the circle burst. I can make this burst a
bit smaller like this. And then I think once
it hit the first box, this is where I'm going to
introduce my outer burst. I'm going to just go 0-107. So beginning is
going to be zero. And then I also want to do
a stroke width animation. Final stroke width is
going to be like this. Strike maybe two points, and then the beginning
would be strike 100 points. And then let's go re click, ease to adjust the key frame. Make sure it's easing
in, like this. And then we can also cut it maybe right
here and move it out. So we get a animation like this. Okay. I need my struck with to be pretty thick at the beginning.
So let's do this. Almost like a bounce,
and then it's triggering this the reaction
of my outer circle. So that's our animation for
here, the outer circle. I'm just going to align this position of the
circle with the ball here, and then I'm going to move
this circle up as well. To introduce this
match cut at the end. So we're going to do an
extreme easing curve to the right. Okay, that's good. So we got a match cut curve at the end of the circle burst, the scale controller, as
well as the ball two. So let's see the animation. The only issue is that the
scale controller over here, I think is scaling
down too much. I can move it up a little bit. And then I also want
to do a couple of more reaction when the
ball hits the first box. So basically, I
want these boxes to shrink into a similar
size, similar width. Let's go to square one and four and then search
for path property. Let's add a key frame on the path property once
the circle hits the box. And then let me zoom in, and I'm going to change the
width of these boxes to match with the first box. Okay. And then let's
do square three. Then let's do square four. I see the animation here. I want this final hit
can be a bit higher. Okay, I think that works.
That's it with this video. We're going to finish up the
scene in the next video.
18. Finishing Up Scene 4: All right, welcome
back. Let's finish the scene in this video. This is probably the hardest
scene in the whole project. So thanks for bearing with me. We're going to finish
the scene in this video. Let's go back to Illustrator and get some elements
inside after effects. We have these little elements that goes around
this clock thing. Let me select all these. I can group these and then push them inside after effects. It's generating a
bunch of layers. L et's precompose
all these layers. Call these one clock pins. And then let's go inside
this composition. The composition itself
is not large enough, so we're going to need to make the width bigger to show
all these little pins. Let's move this
layer composition right above our
circle birth layer. That's good. And
then we can make this composition smaller. Move it so it's positioned
correctly within our clock. I think that works. And then now we just need to find a place where we can rotate this one. And we also need to parent this layer with our circle burst so it's traveling with it. I think we're going to
start rotating the. Let's go hit R on the
keyboard, start rotating. Until the end, maybe just
give it a one rotation. That might be too much. Okay, that might be too much. Let me just go ahead and maybe hide all these
as in the bottom half, and then we're only
keeping everything that's in the top half. So at the end, I want everything to be at
zero degrees so we can see these pins at at the top and I
say a keyframe here. And then go back
to the beginning, I want it to be maybe
somewhere around here. Let me make it a bit bigger 110. Then let me go to keyframe
assistant. Easy Ease. Let's change it to
an extreme easing, so it's like easing in
to position like this. What if we just have one pin? Because I feel like
it's still too much. Let me delete
everything. Just have one. At the beginning. We're going to keep it at
zero at the beginning. Move it down a little bit. So we got this one pin here. It's going to appear
with my outer circle. It's going to cut in like this. And then it's going
to start rotating. Add a keyframe here. And then once the ball
hit the circle again, I'm going to add
another key frame. It's going to get
one fo rotation. Let's go to the graph editor. Right click Keyframe Assistant, e e. Let me change the graph. Maybe something like this. So it's rotating kind of
with my main circle here. Okay, I think that looks good. And then let me go
inside my clock pin. Let me turn on a
couple more like this. We only keep three of them. What if we turn on a
couple more at the bottom? So let's see. Okay, I think that looks fine. So I just need to make it a bit smaller and then reposition it. So it's right in the
center of my circle. And then, let me just add in
an opacity change from 0%. G 410 frames to 100%. Maybe something like that. Just see how many of these
pins you want to turn on, and that's it for this parts. The next thing we need
to do is we need to add all these little dashed
lines inside my clock. So I'm going to duplicate this outer circle layer.
U on the keyboard. I don't need all
these keyframes. M is smaller, so it's inside
this circle burst layer, and then I need to go inside to my stroke and
then add a dashed line. Let's zoom in for the dash line. Let me click on this plus
sign again and need a gap. The stroke width, we
need to make it bigger. Maybe like let's do 100 points, make the dash thinner and
then make the gap bigger. So that looks similar
to what we have now. Let's go to S for
the size and make it attached to this circle
burst like this, and then we can move it down
behind the circle burst. Let's also make the with
a little bit smaller. Change it to 50 Yeah, I think that works. And the next thing we
need to do is we need to animate with trim path,
adding a trim path, and then if I togo
the end value, it's going to animate from here, so I need to offset it
so it's in the top. I want to offset it to start
from the top, that's good. Then I'm going to add a
keyframe on the start and end. So if I have the end at
zero at the beginning, So this is going to
be the beginning when my ball is just about
to lie down the circle. And then the end would
be the ball on the top, and this is where the
end is going to be 100%. And then we're going
to just go reli, keyframe assistant, easy ease. Try to match up with
my ball animation. As if this ball is leading
all these lines like that. And then I'm just going
to change this stroke with bigger again a
little bit bigger. Does that work? I can also
tone down with the opacity. I do like 50% instead of 100%. Yeah, I think that works. And
that's our clock animation. Maybe I don't want it to be
attached to my circle burst, so I'm going to just go to size, make it smaller, like this. Okay, that might look better. A. And then let's tone down the
opacity again to like 35%. Okay, that looks better. And that's our full animation
in this scene here. And the last thing we want
to do is I want to add another layer of movement
with an null objects. And this one, we could call
this one master control. And we can parent anything
that doesn't have a null object on it with
this master control layer. So select everything that
doesn't have any parents. Ball three circle. First, I'm going to
parent all these with my master control. I'm going to pull up
the position and scale. So I wanted to start
from right here, when it about to drop down
and turning the camera, I'm going to hit a
scale for a keyframe. And then once everything
hits like this, I'm going to make everything
bigger, like this. And then before it
cuts out at the end, I'm going to shrink
everything down maybe to 115, and then this one to 100%. So if we go re click,
Keyframe assistant, esas. We're going to adjust the curve. First one is going to be
easing to the right like this. And then the middle one, This, and then the last
one is going to be extreme easing to the right before the final
frame of the match cuts. Maybe this point is too big. I'm going to do 125, and over here, I don't know. Let's keep it 115. Let me see what it
looks like now with a little bit of
position scale change. I'm going to push it
up. And then this one, I'm going to keep it to 15. That's too big it's
already outside, so I'm going to
change it to 100%. Let's try to move
the position because I kind of want the circle
to be in the center. Right now, the circle is
moving too much to the top. So I kind of want to
move everything down. Something like this. Let's try this position
change if it works. I'm just going to change the curve like this
to the center, and then the last one would be extreme rights to
be a match cut. I think it looks better
because I just want this circle thing to be in
the center for the most part. And let's take a look at
our animation so far. That's it for the scene.
This is a very long scene, and you can take a
break if you want, but in the next video, we're going to keep going
with the animation.
19. Establish Main Action: All right. In this video, let's keep animating the next scene, which is going to
be the Scene five. Let me go back to my
illustrator file. This is going to
be our scene five. Let's add these elements into after effects. Let
me move this ball. And then I'm going to
move the two circle. Let me move these elements here. And then I need this line here. I also need this line here. You can see it's overlapping
with my previous scene, so I need to move this
one forward a little bit, so it's not overlapping. I'm going to cut
this scene here and then move to the
next scene here. For the new scene lets
select all the layers, change it to different
label color. Let's change it to green. And you can see this
line is not continuous, so we need to use a pin tool to drag this
point all the way up, so we have this line. That's going across the
circle extending to the fool. Length of the scene here. And now we're just
only missing the grid, but we're going to do the
grid inside after effects. So it should be fine for now. These are all the elements
we need for the scene. I need to find this ball layer, call it ball, and then
move it all the way up. I can change to make this deep globe layer on the top here. We're not using it right now, so I can hide it. First, I want to animate the position property
of this ball here. H P on the keyboard at a
position property at zero, or at the beginning, I
want it to be shooting up, so it will be staying
down at first, and then we're going to do maybe let's trike three
frames, one, two, three, move it up pretty quickly, and then it's going to take another eight frames to settle into the
center position here. Then after it settles, we're going to have this
line in the left corner, left bottom corner shooting up to going across
this ball here. And then once it
settle a little bit, we're going to have
another line just shooting this ball down. So we're going to have maybe another four frames,
one, two, three, four, just to have this
ball move slightly down a little bit,
another eight frames. To be pushed by this
line pushing down, and then we're going
to do another couple of frames, recoil back. So this is going to be
the line animation. Let's do a easy ease and
go do the graph editor. We can adjust the
curve a little bit. We're going to do
extreme left easing because this is the
beginning of the match cuts, and then we're going to shoot
this part here to the left. And for the middle, we're
going to do a easing in the center and
the last position, we're going to do
extreme easing to the right because it's a
match cut going outside. Let's see if that works. Let's move this curve here. I need this point to have
the fastest speed here. So it's going to be
pushed down by this line. So we're moving this
middle position up, and then we can drag
this handle back. So over here, this point
has a higher speed. It's being pushed by this line. A. And then it's going
to go up at the end. So I think roughly
the animation works. I just need to time it
with my line animation. Let's find the line here. So this is going
to be my line one. And then all we need is to
add a trim path effect. And then we can animate
the end position. Let's do zero at the beginning. And then let's do maybe
12 frames become 100%. Let's go ahead and
ease the key frame. Let's go to the graph editor. I want to change the graph. Let's do a influence
at the beginning, could be 40%, and then let's do a bigger easing at
the end, maybe, like, 95%. Or, let's do 100%. Over here, let's do 3,100%. Let's see how that works. I need to pair in this
line with the circle. So let's go to line one and then pair
it to the ball layer. When the ball comes in, I want this line to
shoot out to go across this circle here.
I think that works. And then I also need to
pair in this other line. Let's call this one line two. Let me parent this line
to the circle as well. And let's add in the trim
path defect as well. Just copy the trim path, paste it in, hit you
on the keyboard. We're going to have
the keyframe already. I think overall it
actually works already. So I want this other line to come in while the circle
is being pushed down. When the line cross
a circle like this, the circle is being
pushed to the bottom, and then it's going
to recoil back. That works. I think
the only adjustment we need is we need to make this
line more visible here. Right now it's
really hard to see. So let me change this to a
different darker blue color. That's easier to see, and
then we can extend this line, so it's still going
outside of the frame. While being pushed down. Yeah. Let's go add the echo
effect to the ball layer. And then let's 2.002, and then echo let's
do 15 copies. I think we need to
tie these two scenes. I'm going to move every
backward by one frame. H. The issue might be the starting position
of my ball in the 15. So we need to move
this circle up more, so it's starting from here instead of all the
way from the bottom. Everything is moving
up here, that's good, and then we have the
circle come up like this. So let me move everything
backward for one more frame, and then we can cut one frame. So when it comes in, ball is already moving
instead of starting to move. And there's some overlap, so I need to cut my
previous layers. Look, all these layers
from my scene four, I need to cut one more frame from that previous scene here. Yeah, I think it's
connecting better now. And for the ball, we need to change the
echo operator to maximum. So we're still showing
the original color of my circle in the fifth
scene. That's good. And then now we just need to animate the grad animation
in the background. Let's go back to my
first scene here. Let's go copy my grad
animation layer, which is the first ever layer
in this project. Copy that. And then let's
paste it onto here, move it all the way back. Change the label color to green, and then hit you on the
keyboard to show the keyframe. We don't need this
many keyframes. I'm just going to delete
the middle two key frame. And then let me drag these
key frame like this. I'm going to only have two
keyframes for each side. Let me also align with my
animation on the ball better. I'm going to just for the width, I'm going to finish the
width animating from here, and then I'm going to start
the height animation, and then it's going to
stop it's over here. Let's take a look what it looks
like. I think that works. Let's go to the graph editor. It's already got the pretty
extreme easing curve. I can drag it a little
bit further to give it more slowing down at the end. Yeah, I think that
works pretty well. That's our action of the scene. Basically, we have the two lines animating with the
circle in the center, and then we have the
background grid animation. And in the next video, we're going to work on
the secondary animation.
20. Reaction & Secondary Animation: So this first scene is
a very short scene. We don't want to spend
so much time on it. Let's quickly finish the secondary animation
in the scene, so we can finish this scene up. Right now, we already
have the main action, which is the ball, the
lines, and the backgrounds. And let's do a animation
on these circles here. We've got the circle
one here. Circle two. Let me move these
two all the way up. And then for the circle one, let's go inside the
scale property. Let's just do a scale change. It could be starting from zero, and then when it
hits the circle, when the line hits a circle
it is going to cause a burst over here and then
it's going to become 100%. From zero at the
beginning to 100%. And maybe it can overshoot to 120 after three more frames, is going to go back to 100%. So now we have 021 20, two 100%. That's a easy ease. Going to change the graph
like this. A general easing. Maybe 122 big. Is st 110. Let's see this circle
animation on its own. Let's move this keyframe here. We need to make this gentle. And then we can cut the layer
while it's still small. So when it first come in is
big already. Let's try that. Let's see how it works
with my animation here. Yeah, I think that works.
And then let me copy the three key frames
pace down to Circle two. For Circle two, we're going to cut the layer
over here as well. And then let me
position the circle two while the second
line hit my circle. We're going to have
the Circle two burst out. Something like that. However, I still think the
animation is too fast, Let me just try to ease out these key frames.
Give it more time. Yeah, I think that looks better. And also, we need to parent the two circles with
the middle ball here. Just right before it moves. So I'm going to parent
these two circles to my middle ball here. And that's the animation. Let's tone down the
transparency of the grid. I think it's a bit too heavy. Maybe change it to
50% of transparency. Just make the background
a little bit faded. Yeah, I think that looks nice. And then we can animate these
two little elements here. Let's just do
position animation. We're going to have
layer ten parent to layer nine and then layer
nine parent to layer eight. And then for layer eight, we're going to do
a position change. At the beginning,
I want it to be just on the left hand side
outside of the frame. And then it's going
to come in with these grid lines here when
the grid settles in position. I kind of wanted to move
it to this position here. And then we can actually
copy the easing of my grid. Let me go back to my grid
and then show the key frame. Let's copy the easing. Paste it onto my layer eights. It's going to come
in with my grid. And also, I want
to do a couple of rotation animation as well on these three different layers. Let me zoom in. Further
rotation property. Let's do a 90 degree rotation on the first and the last layer. And then in the middle, I want to do a
negative 90 rotation. So they actually
rotate differently. And for the easing, let's also copy the easing
from my position property, paste it onto all the
rotation property. Let's take a look. Let's change all the rotation to
180 in instead of 90, and then this is
what it looks like. It's subtle, but
you can see there's a rotation when it's coming in. I think that's good enough. That's good for
now, and let's do the same thing for
the three layers. I'm going to parent
the seven to six, and then parent the six to five. Let's do only a position
property change. At the beginning,
it's going to be at the top and
then it's going to drop down all the way down here. And then in terms of rotation, I'm just going to
copy the rotation of these key frames and then
paste it onto d three layers. Like this. And now we have a different set of secondary
animation over here. However, these elements is going to come in with
the other side of grid, so I'm going to time it
with the other side of grid here to align with
these two key frames. Let me move the layer
position to here. So it's not in the same column
as my layers over here. I think that works.
It's a short animation, so we can just cut it quickly. There you go. This is our scene
five animation. If we play everything. We're going to cut
this layer right here, so let's play everything
from the starts. Even right now, you can see it's connecting with
the first frame, almost like a seamless loop. However, the position
of the ball is a bit different, but you get the idea. We're going to keep
animating in the next video.
21. Animation with Simple Physics: T. All right. In this video, let's keep going
with our animation. Let me go back to
our storyboard. This is going to be the next
scene that we're animating. Let me first bring these
elements inside after effects. We can do this middle
bar here first. Let's try to do that.
And then we can drop this ball in. That's good. And then we can select the grid. It's going to make
a bunch of layers, but let's select all the grid
layers and then precompose. Call this one grid top. That's good. And then we
can do a grid bottom here. That's good. And
then we're going to cut this layer or move
everything forward. So it's not overlapping
with my previous scene. I'm going to cut all the
layers of the previous scene. And then in this new scene, I'm going to change
the label color to maybe a peach color. So it's different from
the previous scene here. That's good. And this is going to be all the elements we need for this scene. I'm going to rename
this one to Circle. Rename this one to the bar. So for this grid right now it is exactly the same size
as my composition. I'm going to go to
scale, change it to 125, make it a little bit bigger.
That's good for now. And then I'm going to move
bottom one up a little bit. I I I I hide these two, I'm going to just try
to attach these grid together to the center
of my composition, so the two lines are kind of
aligning together like that. That's good. And then let's
go ahead with the animation. First, we can animate
this middle bar here. Let's do a scale change,
Unlink the property. Let's add a key frame, M zero at the beginning. And then go forward
eight frames. Let's try to do maybe 150 as an overshoot and then go forward five frames,
one, two, three, 45. Change it back to 100%. So we have an animation now. Let's go to easy es a key frame. Let's change it to an
extreme easing to the left because this scene is coming from the previous scene and we're going to
do a match cut. So the energy is already there coming from the
last scene we have. And then for the second part, we're just going to do another extreme easing to
the other side. And this is going
to be our curve. Let's try the animation. That looks good. Let's
move the circle and the bar on top of the grid
layer. That looks good. And then let's do a scale and position change
of the circle. For the scale, let's just
do a zero to 100% scale. That's good. And then we can copy the easing on
these two keyframes, put it on the circle. And then for the position, let's just go direct
click separate dimension. We're going to only
do the y position. At the beginning, I want the
circle to be really down, maybe like around here. And then it's going
to come up here, and then it's going
to drop down again to the center of my screen, and this is going to
be the animation. It's going to go up
and then come down. Let me copy the easing
on these key frames. Paste it in. Let's take
a look at the animation. That looks pretty
cool. So we have this ball coming up from
the previous scene, and this is going to
become this new circle in my scene six and then
shooting up, dropping down. That's good. And
then next thing, we're going to animate
the grid line here. For the grid line,
I kind of want the grid line just to move with the yellow bar that we have when the yellow
bar increases the size. We're going to have
the yellow bar to push the grid line outside. So if we want to do that, let me just do a position
animation for the grid. The P on the keyboard. And then let's just
add a keyframe here. At the beginning, it's
going to be like this. And then around
this second here, I'm going to move this one down. Here to align my top of the
grid with my yellow bar, and then I'm going to move the top as well,
to align it here. And then after the
yellow bar comes in, I'm going to just
move everything back to its original
position like this. Just copy the first key frame. And then we can just
do the same easing, copy the easing, paste it
onto these key frames. Let's take a look.
Now you can see the scale bar is pushing my grid outside
when it scales up. That's the reaction
of the animation. Basically. We have the action, which is the main animation, my circle and the
middle yellow bar here, and then the reaction would
be the grid that's being pushed by the yellow bar
when it's scaling up. That's good. Then let's
try to add a null object. Call this one grid scale. And then we're going to pair the top and bottom
grid to the scale. That's good. H as
on the keyboard. We're going to do a scale
change for the grid as well. So let's say at the beginning, if the scale is around 85, we're going to have
a smaller grid. And then when it when
everything is popping up, I want the grid to
increase in size as well. So let's try, like 110%. And then it's going
to go back to 100%. So that's another extra
layer of animation. Let's try to copy
the easing again. So we're using the same
easing information for all these keyframes. Paste it in, and
let's take a look. You can see there's a
scale change of the grid. And the problem is this grid here is showing one
line for the bottom, so I need to move
the position in a little bit to go behind
my yellow bar again. This top as well, just hide
it behind the yellow bar. And you can see it's more
dramatic because we add a scale change of the grid when the animation is happening. That looks good. And
then let's keep going. After this move, I'm going
to do another null object. Let's call this one rotation. Put it on the top. And for the rotation, let's parent everything to
this rotation null here. Everything that
doesn't have a parent. So we're going to do
only the three layers because the other two
has parent already. And then we're going to do a rotation change after
everything settles in place, on the keyboard. Sco 48 frames. And then let's change the rotation back to
do a anticipation. This is going to be
an anticipation. And then after the anticipation, right now you can see the
edge of my yellow layer, yellow bar, so I need
to make it longer, so it's bleeding
off my screen here. And then sc four
maybe 12 frames. L et me change the
rotation the other way. So we're going to do a
490 degree rotation. Everything is going
to be straight up and down. That's good. So that's my rotation animation. Let's go easing the key frame, right click. Easy Ease. And then we're going to adjust
the curve a little bit. Let's do a maybe like
5% at the beginning, and then let's do
maybe like 94 95%. Over here, and then that's
going to be a anticipation, moving to the opposite direction and then rotate the other way. And for this one, let's do a percent or 5% influence
and the other way, we're going to do like
full 100% influence. So it's going to be like this. We're going to
reach the top speed at this point over here. So that's my rotation animation
controlled by this null. And I also want the circle to interact with this
rotation, right. So for the circle
or for the ball, I actually want this ball
to move to the left. So let me hit a keyframe
on the position, and then it's going to move down because
there's some overshoots, and then my space is slanted, so this ball is going
to slide down first. And then when it rotates, it's going to move
all the way down. Over here. Something like that. However, you can see if I
toggle my timeline indicator, I kind of want my bow
to still stay really high when the rotation is
reaching this point here. So I need to move this keyframe
all the way over here. And then let's adjust my curve, keyframe assistant, easy ease. Just want to make sure my
curve is making sense. So we're going to do
a easing like this. Let's try a similar easing to my rotation curve like this. And then it's going to hang
around this point here. And then we're going
to do a falling curve, which is going to be picking
up speed all the way. It's going to be 0% of influence
at the last key frame, and then we're going
to do over here, probably, like,
90% of influence. Or let's do 80. Let's try 80% influence here. Let's take a look
what it looks like. Yeah, I think that makes sense. So we have this ball
to slide to the left, and then when the
rotation happens, the ball is still
going to the left. And then once everything
has rotated 90 degree, the ball is going to do a
free fall animation here. And now the only thing I want to do is when the rotation happens, we want to also add a bit of
scale change for the grid. So let's try to do this
grid scale layer again. Let's add a key frame over here, nothing is going to
change around this point. And then let me just
unlink the property here. That's going to change
to 150 from 100% to 150. And then let's do a curve. Ease it to the left like this. I feel like it's
not that obvious, so let's try 170. So the grid is going to
become really big. 200. I like 200, I think. And for the circle here, let's add a echo effect. So change the time to 0.002, and then copy is
going to be 15 copy. Let's try maximum. Let's see the animation here. Okay, there's some
problem over here, so I need to do a keyframe to interfere
with this property here. Basically, let me change
the number of echos here. We're going to only have
15 copies over here, and then there's
one frame before. We're going to change it
to zero copy. That's good. And then over here at a key
frame before this frame, we're going to do 15 copy. So we still have this animation
at this lighting here, and then we're going to delete the animation when
it's rotating. And then when it's falling, we're going to have this
smear effect back again. That's good. Next thing, let's add a little bit of
stylization for the circle. Let's go to ayer styles. Let's add a drop shadow
for the drop shadow. Let's change the
opacity to maybe 10%. Then we can make
the descent bigger, like maybe 20 for distance. And then we can make the
size bigger, try 30. Yeah, you can see
there's a slight drop shadow that works. And then we can add a
inner glow. As well. Let's make the globe
color into a white color, and then we're going to do change a little bit
of the settings. So just adding a little
bit of inner glow and the drop shadow to make the circle more
obvious in the scene. All right, this is going
to be our animation. That's it for this scene,
we're going to work on the next scene
in the next video.
22. Simple Geometric Animation: Welcome back to this video. Let's keep animating
the next scene. First of all, I want
to change the color of the previous scene into
the same label color. Let's change
everything to peach, and then we're going to
cut the layers over here. So the next frame, we're going to introduce
the next scene, which is this one. Let me bring in all these
elements into after effects. The circle here, and then we're going to have
this middle circle, and then we're going to
have this middle ball here. Move everything forward. We can keep it in
the blue color. That's good. Call this one ring one, Ring two, middle circle. And then this one is
the main ball here. That's good. First of all, let's focus on this
ball animation. I want this ball to
drop in from the top. So we're going to move this
ball all the way to the top, hit a keyframe on the position. Go for five frames, one, two, three, four, five, and then this ball is
going to just go all the way down to hit the
bottom of the circle here. Let's go for another
five frames. It's going to bounce
up a little bit. And then maybe
another five frames, one, two, three, four. Or let's do four frames
is going to fall down again to the
edge of this circle. And then we're going to
do the similar animation that we did before
with this ball just going inside the circle, sliding inside the circle. Let's go forward.
Maybe 12 frames. So we're going to have this ball go all the way to the top, and then let's go for
another 12 frames. It's going to go
down around here. And then let's do
another five frames, one, two, three, four, five. We're going to have this ball
to go in the center again. And then remember how we need to change these anchor points, go to the convert vertex tool, drag these curves so that
we can form a circle. Just need to modify
the motion path. So it's basically going
inside this big circle here, following this motion path. I need to adjust this
one handle on one side, so I need to hold down command and then
click on one handle, so I can adjust
just one handle on one hand to break the
handle over here, so this curve is coming
in from the side here. That's good. And then let's try to go inside the graph editor. Let's add some easing
to this animation. It's going to drop in
as a falling curve. So we're going to
have a free fall going really fast at the end, and then we're going
to do a bounce curve. So it's going to be almost symmetrical to my falling curve, and this is going to
be a bounce curve. And from here, it's
going to fall again. Let's do a falling
curve again, like this. And then over here is going
to carry all that energy. Going upward, and then
at the top point, it's going to be the slowest. So since it's the slowest, we're going to just do a
flat curve around here. This is going to be pretty flat because it's slowest point, and then we're going to do
another following following the sliding down the
circle over here, and then we're going to do
another bounce again here. Almost symmetrical.
So the bounce curve is symmetrical on both end, and this is going
to be our curves for this animation.
Let's take a look. I think I don't
want the speed to completely lose
around the top point. So I still want a little
bit of speed at the top. So to do that, I might need
to move this handle up a little bit so that it doesn't lose all the energy
at the top point here. Let's try that. Okay. Not working, let me pull
it back towards zero. Still not working. I just need to drop this curve really down to almost zero, but not exactly at zero. Make it really flat like this. I think that works.
Okay, that's working. Now, if I copied
the echo effects on the first circle in
the previous scene, we can put on this ball here. Let's take a look. Yeah,
I think that works. Now that we have
this ball animation, let me go ahead and
add a null object. And then we're going to parent
everything to this null. Change the color of
the label to blue. Let's only do a scale
change for the null. At first, I wanted to be
maybe make it really big 120. And then once the circle
drops, like this. It's going to trigger
a scale change, make it a little bit
smaller, maybe 75%. And then after the circle
hit the top point over here, we're going to do another
scale up again, like 115, and at the end, we're just going
to do another 75, at the very end, everything is going to zoom in to the center, so we're going to do it
like a really small 35. And that's going to be my
keyframe for the null object. Let's go easy key frame. And then let's adjust
the curve a little bit. Just adjust everything
to the center. It's going to zoom
out and then zoom in. Just everything to the center. And the last one is going
to be extreme easing. I guess, we're going to do
a match cut at the end. Okay, so since we're doing continuously zooming
out, this part here, I think we're going to Let's try to add the extreme easing
to the second last point, second last keyframe,
and then we're going to leave this
keyframe like this. Let's try that. I think it might work. We're going to see how it
works with the next scene, but right now I'm going
to leave it like this. And then we're going
to cut at the end. So that's the null object
controlling the scale property. That's looking good. And then we're going to just do a simple animation on the. I think what I want
is, first of all, I need to change the position of the anchor point
to the bottom. And then make ring
two to the top. For the scale at beginning, I wanted to be pretty
big, maybe like 400%. And then we're going to follow the same momentum
as my null object. We're going to do like 150, when everything is shrink down, and then we're going to
do another 400 over here, and then go back to 150 again. Something like that, and then we were just going to
copy the easing of my null object pasted
onto these keyframes. Let's say, look. Yeah,
I think that works. And the last thing we
need to do is to animate this glowing gradient
inside my circle, so it's moving with my ball
to give it more momentum. So let's do that. First of all, let's locate where
the middle circle is, and then let's go inside
to the gradient fill. We need to animate the start and end point of the gradient. At the first point over here, we're going to have the yellow
at the very top like this. And then when the
ball hits the bottom, we're going to have this
yellow to come down, and the green would
be just going up a little bit to fill all
the space on the top. Like this. That's good. And then keep going over
here, nothing changes. Let me add two keyframes. And then over here, yellow is going to move
with this ball here. Green will stay
as it is for now, and then once the ball
is moving to the top, yellow need to follow it, and the green need to
be in the bottom. However, I still need to
track this ball here. So basically, around this point, I'm going to just
move the yellow to the head of the ball, move the green over here. And then at this
point, like this. And then over here is
going to be like this. Okay. That's good.
And then go forward. At this point here, the ball is hitting around
this base here. I'm going to move the
grain to the other side. However, I still need
to track this ball. So once the ball moves here, I'm going to just do track with my gradient starting point with the head of the ball here, and then make sure my green
is filling the entire space. Like this. And then it's going
to be like this. And at the very last second, everything will just
go into the center. So the green is going
to be like this. And then at the very end, I want it to be like
full yellow, like this. So let's take a look at the animation once we
have all the keyframes tracking the position of my circle with the
grating color. Yeah, I think that
looks pretty cool. There you have it. That's
the end of the scene here. That's the full
animation we have. And the next video, we're going to animate the next scene.
23. Natural Eye Animation: We'll come back to this video. Let's keep going
with our animation. We only have two
more scenes left, so we're almost
there. Bear with me. First, let's cut the layers from our previous scene to match
with the last key frame, and then we're
going to transition to the next scene from there. Let me go back to Illustrator. This is the scene that we're
animating in this video. So let's bring these
layers into after effects. We're going to do it
from the bottom up. Let's do this
gradient color here. This is going to be the
gradient background layer. And then we can
bring the gradient. Let me group all these layers
together, call it grid, and then we can bring
this shape here, call this one shape two. Let's do this one. This
is going to be Shape one, and then we can bring the i shape here
inside after effects. This is going to
be the eye layer. We have the iris, and
then we have a pupil. And the last one is a little reflection
that's on the pupil. We call this one reflection. That's all the layers we need. Okay, that's good. And then, let me select all
these layers in this scene and then change the label color to
a different color. Maybe a yellow. Move
everything forward. That's good. And if we go
back to the previous scene, let's take a look
at the animation. Everything is coming
into the center, and we have this little circle that's coming into the center
to hit this big circle, and then everything is shrinking
down and become yellow. So in terms of the transition, I want this yellow circle to become the pupil of my
eye in the next scene. So what I need to
do is to match up the motion from the
previous scene. In that case, we need the
pupil to shrink in size. So let's go to scale property. Let's hit a key frame, go forward, eight frames, maybe. And then make sure
after eight frames, it's going to become 100%. And then before we can
change the scale to 150. It's going to be pretty big. And let me re click, keyframe
assistant, easy ease. Since it's a match cut, so we're going to have an extreme easing curve
like this to the left. And this is going
to be my animation. It's hard to see right now. Let me move all these
layer one frame forward. Now we have the pupil animation. Let me also do the
iris and the i first. I think for the i,
we're going to just use the same animation
as the pupil. So the ei is going to
shrink in size as well. We can just copy
these two keyframes and then paste it on the i. Make sure to move and align
these two keyframes together. And then for the iris, I'm going to do an
opposite animation. Instead of going
from a bigger size, I wanted to come up from zero. And for the easing, we're
going to do the same easing, just copy the easing,
and then paste that onto the scale
property of the iris. And then we have
this reflection. Let me copy the
scale property from the iris onto the
reflection. That's good. And then let me also pair in
the reflection to the pupil. My reflection is always
going with the pupil. I think the reflection
might be a bit too big. So let me make the size a little smaller like
this. That's good. Let's take a look at
the animation now. I think it's pretty smooth. And the next thing we need to do is after everything lands, I want this eye to look
to the right and then look to the left and then
come back to the center. So first, let me zoom
in for the pupil. In order for it to
look to the right, let me go forward ten frames, H P on the keyboard for
the position property. That's add a keyframe
on the position. So it's going to stay in this
position after ten frames. We're going to have the
pupil to go to the right, and then another ten
frames or maybe 12 frames, go to the left, and then let's do another 15 frames coming
back to the center. Let me go to keyframe
assistant Easy Ease, and then we're going
to do some easing on this e animation. I want this one to
be pretty smooth. So let's do a 100%
influence on the left and then try 25% influence
on the right. Let's see what the animation looks like with this curve here. This one can come
down a little bit. Yeah, I think it might work. So let me also animate the iris and see how
they look together. Let's go to the position
property of the iris. Hit the stopwatch
here at a que frame. And then for here, I'm going to just move the iris to the right as well to align with
my pupil like this. And then the final position would be the iris coming
back to the center. Let me copy the easing
from the pupil and then paste down to the
ris. Let's take a look. A Yeah, I think that works. Another thing is
that I don't want the pupil and ris to be
going outside of my eye. So I need a set matt effect. Let's put a set mat
effect and make sure we select the i layer as the mat so that no matter how big this
eye shape layer is, if I just make it smaller, you can see my pupil and ris is still inside
my eye layer. So that's the set mat effect. And as my pupil is moving, I want this i to
be moving as well. So we're going to do a bit
of skill changes for the e. Let me unlink the X
and y scale on the i. And then once the
pupil comes over here, I actually want the eye to maybe squint a little bit to
be smaller like this. It's looking over there, and then one is coming
to the other side. I want it to come
back a little bigger. And then maybe what we can do is we can do
a little blink here, just do 0% on the y scale, and then go forward,
another three frame is going to come back to
this original position. So we're going to
have like this here. And you can see my
reflection is left outside. So I need a set mat on
the reflection as well. Make sure it's also
using the eye as a mask. Okay. So my eye is
closing over here, and then it's coming back
to the center everything, and my eye can be a
little smaller here. So I want the blink to
happen a little bit later. Once everything about
to come back in place. So I'm going to move
the three key frames forward for a couple of frames. Like that. I think that works. And at the beginning,
when everything comes in, I want my eye to have
a little bit rotation. So let's go to R rotation
at a keyframe and then make sure to align with my original
scale property keyframes. So this one, I want
this rotation to be 180 or like Let's
try 180 degree. Let me copy the easing. Paste it onto the rotation. So 180 is too much. Let's do 90 degrees. I'm going to also drag
it outside a bit more. So you can see there's a very subtle rotation change
when it first comes in. Okay, I think that works. Yeah, that works. So
that's the eye animation.
24. Background Elements: After we have this middle
center main action, let's do some other secondary animation around
the scene as well. So first, let's do
this shape one. H it as for the scale, link the property here. And for the shape one, I need to change the anchor point to the
bottom over here, and we can just animate
the scale property, it a keyframe here. It's going to become 100%
over here at the beginning, it's going to be zero
for the Y scale. So let me copy the easing from the scale
property of the y, and then paste in
the easing as well. Once the I come in, I want
the shape to shoot up like this. I think
that should work. Let me copy these two key frames command C, and then
for shape two, I'm going to change the anchor
point to the bottom again, link the scale property, paste in the key frames. And in this case, I'm going to instead of
animating the y scale, I need to animate the x scale. So at the beginning, it
will be zero on the x, and then 100% like this. It's going to go horizontally. We can also move this
keyframe further. Yeah, I think that's fine. We might need to adjust the gradient a little bit
once we finish the animation. Or we can do it right now. Let's go ahead and take a
look at this gradient here. This is a gradient that's coming from the
illustrator file. So I just want to make sure we're capturing the gradients. From the illustrator file. We have this handle
here that's the top, and then we need to
drag this handles on the bottom all the way to the bottom of the shape here. Same thing with this one. Click on this grading editor, click on, and then you can see there's a handle over here. I'm going to put the top
handle on one side of the rectangle shape and then the other handle
on the other side here. Just drag it to the
bottom like this. So there's a bit of variation
between the two shapes. I think I like that better. That looks nice. That's good. And then we're going to
animate the grid here. We're going to change the
anchor point to the top. We're not the top.
Let's put it over here. Just right behind the eye here, and then we can do a
scale animation as well. 0-100%. For the grid, we actually needed
to shrink in size. So instead of from zero, let's do from 300. Then coming back to 100%. So in terms of the easing, we can still copy the easing
from all the other layers. It's going to be the
same exact easing like this, extreme easing. Let's try this. We can actually move this
keyframe further a little bit. There's a little more time
to have the grid just settle in place while the
e is still animating. Yeah, I like that. Let's
do the gradient as well. Still the scale property. Make sure we have
the anchor points to the top corner of
this grading color. And then this one is
going to get bigger. So let's change from 30% all
the way to 100% like this. Let's copy the easing, paste it onto the
scale property. And then we need to
change the color. So click on the fill, click on. Zoom in. We need to
modify the color here. So this is going to be the
one side of the gradient, and then the other
side would be just around here like this. So the whole gradient is kind
of spreading out when it is coming in or popping
in, like this. Okay. Let's see the
animation for now. Yeah, I think that
works. Once we have the deep globe effect, it's going to look much nicer. There's just going
to be one more thing that I want to add, which is a null
layer that controls the whole eye animation, just to add one more
layer of complexity. Let's add a, change the
label color to yellow, call this one I control. And then we compare
the iris and ei onto my null objects.
That's good. And then at the beginning, when everything is coming in, S on the scale property, I want this I to become a little bit smaller,
maybe like 70%. And then when it's looking, I wanted to go back
to maybe around 90%. So at the beginning, it will be 150 and
then become 70, become a little
bigger once looking. And then at the final animation, we're going to have this
I just zooming out, becoming smaller to
transition to the next scene. So we're going to have
from 90% of scale to maybe 30% of scale at the
end. So let's try that. Right click, keyframe
assistant, es. So for the easing on coming in, it would be the match
cut extreme easing, and then I'm going to
do a curve like this. And the final would be
another match cut going out, so it would be extreme
easing to the right. Let's see what it looks like. I think it's popping too much, so I need to move
this first key frame outside to give it more time, so when it's coming in,
it's already pretty small. It's not that big. Yeah.
I think that works. And now that my eye is
becoming smaller at the end, I also want to add another not object to control
my background. So this one would be
the background control, and then change it
to yellow again, put it right underneath
all the eye layers. And then we'll compare
the shape, the gradient, and the grid to the
background control. Just to match up
with my other null, the last two keyframes, it S on the keyboard. We're going to make everything
bigger in this case, just like zooming in like this, and then we're going to copy the easing like this over here. So we can transition out
to the next scene here. And you can see right now,
I need to put my grid and the gradient on top
of my shape here. So my grid is complete covering the edge of
the shape layer on top. There you have it. That's all the animation
we need for the scene. And in the next video, let's get started with the final
scene animation, which is going to be
a little bit complex, but you're going to learn a lot of things from that scene. So stick with us and I'll
see you in the next video.
25. 3D Cube Animation: All right. In this video,
let's work on the last scene. Let's take a look at the last
scene from the storyboard. Essentially, we're going
to animate this cube first and then we're going to
animate the grid later on. Let's take a look at the cube. Let's create this cube
inside after effects. First, let me cut these layers
from the previous scene, all the yellow
layers, and then just cut it at the last frame. Then, what we need to do
is let's draw a rectangle. And inside the rectangle, I need to change the size to
300 pixels by 300 pixels. And then I can lock this
size property again. Call this one front, and we have a front of the cube. Let's make sure we get
this fill color right. I want this yellow on
the left end edge, and then I want this green
just to go diagonally. This is going to be one side
of my cube. That's good. And now make sure
the anchor point is in the center of the cube, and then I also make sure the cube is right in the
center of the composition. Let me go turn around
this three D layer here. Then we need to go
to this view here, change it to two
view so that we have two views in the pre view panel. And then for the
right hand side, we're going to change
this view to a top view. And you can see this top view, we have one thin layer
of this front cube. And now we just need to
duplicate this front cube, C D, go to position property. I'm going to enter in the Z axis a full width of my square. Over here, we're
going to put in 300, so this is going to be
pushed back 300 pixels. Form the back of the cube.
So we call this one back. And now let's duplicate the
front again, go to position. We're going to push 150, just half of the square size. It's going to sit in the center, and then we're going
to go to rotation. We're going to turn the
y rotation 90 degrees. Essentially, we're going to
add 150 pixels to the x axis, and now you can see it is
pushed to the right instead. So this one would be my
right panel of the cube, and then let's duplicate
that, P on the keyboard, and then we're going to
minus the 300 pixels, so it's going to be
pushed to the left to form my left
side of the cube. And now you can see I have my front and back
and left and right. And you can see that
from the top view here. Now I just need a
top and bottom. Let's go to duplicate the front
again, from the position. I'm going to push this
150 pixels to the center. I need to rotate this
one in the x rotation, change it to 90 degrees, and now we have this
surface facing up. This is going to be my top. However, I still need to push this surface up because right now it's in the center
in my front view. So I need to push this
one up 150 pixels, so I'm going to minus
150 to push it up. And then this is
going to be the top, duplicate again, P on the
keyboard for the y position. Let's add 300 pixels. So it's going to be
pushed to the bottom, and this is going to
be my bottom layer. And now we have all the
surface of my cube. To animate the cube, we need
to create a null object, let's go create a null object. This one is called cube control. We need to make sure this null is right in the
center of the cube. First of all, we need to make
this null a three D layer. We need to push this
up in the Z position. So it's going to be
150 in the Z position. So that my null is right in
the center in the top view, and also in the front view. Select all these surfaces
and parent it to the null. And now, if I go to hit R on the keyboard and rotate this
cube from the null object, you can see, we have a cube
now inside the preview panel. Next, we just need to
animate this cube. Let me move all the
layers forward. And then if I want
to animate the cube, I'm just going to delete the two views, make
it one view again. This is going to be the
active camera view, which is the front view. And first, I want to add a
scale property to the cube. Let's go forward 12
frames, 50% to 100%. And while this
cube is coming in, I also want to add
some rotation, maybe do some x rotation
and it rotation. So when it's coming up, I wanted to rotate this way, and then maybe rotate
like this over here. That's good. And then let's go forward another ten frames. We're going to have
this circle drop down again to 50% of scale, and then it's going
to keep rotating. We're going to keep
rotating a little bit. And then let's go forward
in another 12 frames. It's going to go back
to around maybe 75%, and then we're going
to have this cube, keep rotating like this. So it's going to return to this flat cube again at the end. Now I just need to go
select the rotation. And then as R click, Key from assistant, Easy Es, go to the graph editor. Remember, at the beginning, it's going to be a match cut. So I'm going to do an
extreme curve to the left, introducing a lot of
energy at the beginning. And then this cube is
going to rotate like this. I'm going to do a
smoother curve over here, give it a 80% of influence, and then I'm going to do another maybe 80% of
influence over here. I also want to make
sure this point, I don't want the
speed to be zero, so I'm going to
move this point up a little bit to introduce
a little bit of speed. Let's see what that looks like. I also need to
apply these easings onto my other
keyframes over here. I'm going to use this ease
copy here, copy the easing. And then let's preview this. So I need this one
to bounce up again. So it's going to be 100% again. Rotate. It's going to bow down. Be really small, maybe 25%. I want this one to
be a bounce curve. Almost like this cube
is bouncing up again. So I'm going to
change the curve to a bounce curve like this. Let's see if that's
going to work. I'm going to copy the
easing again and then apply it onto my other set of key frames. Almost like that. I think that might
work. So the cube is going to come up and
rotate like this, and it's going to drop down. It's going to come
up and rotate again. All right, this is going to
be our cube animation here. It's going to be
bouncing up and down and also rotating like this. That's good. In the next video, we're going to work on the
background grade animation.
26. Grid Animation with Repeater: Now, let's work on the
background grid animation, since we already have
the cube animation here. Let's hide the cube for now. And then I just want to focus on the background
grid animation. We're going to have
this black screen here. Let's first draw a line that's pretty long that's going
across the whole scene here. And then let me delete
the fill of the line, change the stroke
to white color, and then make the line
maybe three points. That's good. That's
my line here. And then I need to go to add a repeater inside the
content. Add a repeater. There's going to
be repeater one. I'm going to do 15
copy for the repeater, and then go down to transform, change the position to be 100, and now I'm going
to have this line repeating all the way to the
bottom of my scene here. And the next thing I want to do is to add another repeater. Let's go add another repeater. Under content right
below the repeater one. I'm going to add
another repeater. For this one, I'm going to
do actually four copies. And then inside the
transform repeater two, I'm going to change the
position of x to zero, and then let's change the
rotation to 90 degrees. And now you can see we have a grid that's filled
the whole space. Right now, I feel like these grid are too close
to each other. So let's go back to
the repeater one, change the position of the
first repeater to 200 pixels. So that we have a much bigger
boxes for the whole grid. So to animate this grid, we need to go inside to
my original line here. And then we can go
down to the shape one. Let's go down to the transform
property of the shape one. Just locate the scale property. We can unlink the
scale property. And at the very beginning, I can change this
X scale to zero, and then let's go 420 frames, change it back to 100%. And we're going to have these
lines draw on like this. Let's go click frame
assistant, es Es, let's do a smooth easing curve, 100% influence on
the right hand side, and then we're going to do
just a 35% on the left. That's good. And then
we can go inside the repeater one and then locate the scale
property again, and link the scale property. Let's add a keyframe on the scale property
and the repeater one, change it to zero to 100, and then we're going to do
a same easing from here, just copy the easing, paste it onto these key frames. After we add the scale
animation on the repeater, this is what it's going to
look like. Pretty cool, yeah. And next thing, I just want
to add a rotation property in the overall master transform property under the whole layer. So I'm going to go
to this outside transform property
at a rotation. It's going to be 90 degrees
at the beginning and then rotate back to zero. Let's also add a easing
to the rotation. I think it's too fast
at the beginning. I'm just going to
slow it down a little bit like this. That's good. If we change the it position
sizes under repeater one, it's going to make our
grid bigger and smaller. So now I'm just going
to do some animation on the position property
of the repeater. Let's change it to, let's say 300 pixels at the beginning. And then after 20 frames, we're going to change
it back to 150, and then it's going
to hold at 1:50 for maybe eight frames at
another key frame at 1:50, and then it's going to go
back to 200 at the end. So that's how I want to
animate this part here. Let's go to the graph editor. Give it an easing
curve like this, 100% influence on
the right hand side, and then 40% in the front, or maybe give it, like
25% in the front. If we show all the cube layers, let's see how the grid is
interacting with my cube here. So I just want to align when
the grid is animating in different sizes to align with the actual animation of my
cube dropping over here, my cube is dropping over here, but the grid is
still not changing. So I'm going to try to align these two kube frames over
here, and move this one back. Yeah, that works better.
And the next thing what we need to do is go duplicate this line layer
and call this one the blur. And for the blur layer, I actually need to make
the line really thick. So let's go inside the content shape and
then go under stroke. For the stroke width, you can actually see if we turn
up the stroke width. This is what's
happening. A the stroke is going to become
thicker and thicker. And what I need to do is I need to animate the stroke over here, change it to 200 pixels, and then go forward to
the end of the animation. Let's change it to three pixels. And the stroke is going
to coming in like this. Is giving us a mask
for the transition. And then for this
mask transition, I'm going to put the
blur layer underneath my line so we can
still see the line. And the next thing we need to do is go back to Illustrator. Let's push this grading
color into after effects. This one is going to be called my color mat for the blur layer. I'm going to drop this
one above the blur layer, and then I'm going to
use a set mat effect, go to search for set mats. And then change the mat to
the number ten blur layer. And you can see the edges
are actually very sharp. So we need to add
another gaugan blur to blur out the edges. Let's change it to maybe 100. Not only on the color mats, I also need the
gaugan blur on top of my blur layer. So I'm
going to do that. And instead of 100, I'm going to change it to 350. After we add the color mats, we can turn off this
blur layer now, only use this matt layer. And then for the
mat layer, let's also change the blurriness to 350 to blur out this
transition over here. I need to change this
one to vertical. So we have a much
cleaner transition now, and we have these grid
lines as growing inside. Then at the back end, we're going to have this
vertical gauge and blur that's happening when my stroke width is becoming
smaller in size, to become this final grid, which is going to go back to the first scene that we have. So let's see what's
happening here. Let's take a look
at animation here. There you have it. That's our animation
for the final scene. Let me preview
everything we have so far. There you have it. That's our entire animation
for the whole project. For the next video, we're
going to do some slization and do some deep glow effect
and finish up this project.
27. Congrats!: Congratulations on
completing this class. First off, I want to acknowledge the hard work you put in. This course wasn't easy, but you conquered it, so give yourself a well deserved
pat on the back. Now that you understand
the ins and outs of how to create a
professional animation, especially how to use graph
editors like the Speed graph, you are equipped
to create dynamic fast paced geometric animation. Remember, understanding the concept is just
the beginning, the real growth
comes from practice. I encourage you
to apply what you learned from the class
to your assignments. Only then will these skills truly become a part of you and propel you toward your goal of becoming an
outstanding animator. Make sure to focus
on the assignment and submit it for review. If you have any
question along the way, don't hesitate to reach
out. I'm here to help you. If you're finding
value in this course, please consider
leaving a review. Your feedback is really
helping us to reach more students who wants to learn this kind of animation,
just like you. Don't forget to subscribe to our Motion Circles
YouTube channel and join our discord group
to connect with your fellow students and
enhance your skills together. If you're interested in
a structured approach to learning motion design, check out our in depth courses
at motion circles.com. Trusted by over 50,000
students worldwide. That's it for this
video. I look forward to seeing you in the
next one. Cheers.