Anime Speed Lines with After Effects | Pedro Acioli DJ | Skillshare

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Anime Speed Lines with After Effects

teacher avatar Pedro Acioli DJ, After Effects is for Everybody

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Course Intro


    • 2.

      Project Parameters


    • 3.

      Discovering Fractal Noise


    • 4.

      Creating Tunnel Like Effect


    • 5.

      Color with Tint


    • 6.

      Color with CC Toner


    • 7.

      Finishing Touches


    • 8.

      Questions & Additional Resources


    • 9.

      Class Project & **BONUS** ASL Pack


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About This Class

- In this class you’re going to learn how to create the iconic look of Anime Speed Lines in After Effects. With this new skill, you'll be able to create dynamic, animated backgrounds to incorporate in any action movie, comic animation, or design element of your choosing.

- For our class project students will create their very own version of speed lines catered specifically to their style.

- The class is geared at After Effects users of all levels and no prior knowledge of AE is needed, but.. If you want a quick basic intro to the software check out this link at as an additional source. Thanks for watching!

 ***BONUS*** ASL Pack -

Meet Your Teacher

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Pedro Acioli DJ

After Effects is for Everybody

Level: Beginner

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1. Course Intro: Hi there. I'm Pedro from after effects in two minutes or less, and today I'll be teaching you how to create animals, speed lines in after effects. You might have seen these from a favorite anime show. Or maybe just from Scott Pilgrim versus the World. This class is geared at aftereffects users off all levels, even the guy who's never touched aftereffects a day in his life. But if you want a little something extra to help you brush up on after effects, check out the link in a course description for a basic rundown of the interface of after effects before you get started on the project now that you need it. But it's a natural resource. So without further ado, let's get started with enemy speed lines. 2. Project Parameters: All right, So now I'm gonna get started setting up the project so that we can prepare it to create the enemy speed lines. I'm gonna create a composition and all that good stuff. Let's get into it. So first things for most. If you are creating a new project, you hear opening after effects. You want to go to file new project and then go to save asset. You have your project save however you want out. Click here and I'll type in enemy speed lines class and click safe shortly after you that your project is named great. Then you want to create a new composition. You go here to composition new, or you can type in apple and for the short cut. But I just click on new composition and you can type the composition whatever you want. I would type in, uh, in May 1 and just leave it at that for a preset. This is where you have your resolution. I usually leave mine at four K, and even if you're not shooting or your screen sizes, not four K, it's good to set up your enemy speed lines of four K because you never know when you want to slant your speed lines or, you know, scale it up a little bit today looks bigger. Smaller gives you a lot more flexibility. If you create a much bigger composition at that point pixel, expect racial yes. Square pixels frame rate. It's up to you for me. I usually keep minor right at 24. And resolution. This is just for preview. So don't worry about this and the time code duration, I will leave minus 10 seconds. You can leave yours at however long you want it to be. It's not a problem at all. The background color. I usually leave it at black and I'll show you Why. Later on Dana click. OK, so it comes up with this blank new canvas here. And if I click on this little checkerboard here, you're going to see that it makes the screen black. It makes that blank, But don't get confused. That is not the background. The background is actually just transparent. So now we have to create a new solid. So we'll go to layer new solid. Or you can just type in apple y for a shortcut. I'll just click here for now and then he has a white solid, which I'm gonna click on this little white square here and pull my color all the way down to black and click OK, that I was gonna have a black solid click. OK, And that is a layer here is completely black. And NASA We're actually gonna put this feed lines. This is just the basics. Some of you may already know this stuff. If you do it, let's just get on to the next video. We're gonna go into the parameters to create the animus. Felines stay tuned. 3. Discovering Fractal Noise: So now we're actually gonna use the preset to create the enemy's felines. Check this out. The first thing you want to do you want to click on effects and presets here, and you want to type in fractal noise, which has already come up your sergeant click on fractal noise here and you want to click and drag that all the way to your layer here in your black solid you're gonna see has all this for navigation. This thing, it looks a little bit like smoke. It will look like smoke very long. So once you go here, you go to your settings here, which is the effect controls. And you can tab Dad over here might be on a project. And then you see all these different settings here, and I know it looks a little bit daunting, and it looks a little bit intimidating, but don't worry about it. Once you start tweeting and you're gonna be killing this thing. Okay, so then you go to fractal type. Leave it alone. Leaving a basic. It's totally cool with softly near Leave it alone. It's early. Cool where you start tweaking citizens in a contrast and brightness Okay, so here you're gonna punch up The contrast Cried a bid So you can see the difference between a black and white, a little bit more and in the brightness you want to just maybe turn it down like a smidge It you don't have to turn it out too much. It's your prerogative where things start to look like enemies. Speed lines is when you click on transform right here. So you click on the arrow, go to transform, and you can't do much with the scale with and height right now. But if you uncheck this box, it has uniforms scaling. Suddenly you can tweet these settings and you're going to scale this up. You can push all the way up here and you can see it stretches it out. But it only goes to 600. Not to worry, not to worry. All you gotta do is you click on a 600 here and you're gonna type a really high number. Usually I start off with two thousands, all type in 2000 here, you're gonna see it's already stretched it out quite a bit in a scale height. That's where you're gonna actually spread out what the speed lines are gonna look like. Usually I bring it down to maybe, I don't know, like, in this case I do 20. But you see, you got to keep tweaking the stuff out. So I'm gonna press the keyboard shortcut shift and drag the mouse over to the right to go up some more. You're gonna see that it's gonna make it much, much bigger. And I'm actually gonna raise my skill hype back to 114. Uh, actually, yeah, I think I'm gonna leave it a riot at 130. So once you have that in kind of looks like enemy speed lines, but it's hard to see right, And you've got to keep tweaking it. So then what you do is you skip, offsets turbulence, you skit complexity. Although you can't tweet complexity, so that could be a little bit more varied If I may, in the place where you're gonna start animating it is sub settings for evolution. So the first thing you do is you click on a little stopwatch here and a statistically upon his little stopwatch. You have a key frame that pops up here on your black solid, so oppressed the keyboard shortcut. You said it shows up my key frame here. They you shortcut, actually just shows all the key frames that you have used in after effects. And then you wanna go all the way to the end of your timeline and go to evolution here and bring up the degrees up to I don't know, like something it could be anything, really. At this point, anything over 100 we find 100 20 you're gonna see it's gonna be really slope. It doesn't do much of anything. But then you go to these zero here, right next to the 9.3 and you go to the beginning of your timeline here, and then you're gonna make that like, I don't like 60 something. And then now when you press the pause key to have do a ram preview animation, you're going to see that they start looking a lot more like speed lines, See? And it's a little bit slow now, but they do look good. They do. Look, you keep tweaking the setting, so that animates just the way you like it. I'm letting it ran preview right now. But once it plays at natural speed, you're gonna see it's gonna look really, really fast. You hang in there, come on, you can do this. So check it out now. See? It's moving way, way faster, and that looks good to me. But some of you may want to be like I don't like it's too much white and then you like Okay , well, let's, you know, maybe bring down the brightness. Let's turn up the contrast. It's really up to you. You can actually stretch out the line so it looks a little more spread apart. At this point, it's completely up to you. Not for the next story. We're going to take it a step further and create the tunnel like effect the speed lines. You ready? 4. Creating Tunnel Like Effect: Now, for the next part, I'm gonna teach you how to create the tunnel like effect. Inanimate speed lines. You're gonna see what it looks like now. All right. Now for this next portion here or you're going to do is you're gonna click on a black solid here, and you gonna press the shortcut, Apple D, And that's gonna duplicate your solid, right? So all you're gonna do here, you're gonna uncheck the bottom solid, go to the top solid, and you go to effects. And you see, it already has a fractal noise pulled up here so far is easy. Now, the older you're gonna tweak in here, it's gonna be the transform sayings. When you go back to transform here, it still has the same scale height as the bottom layer. But you actually want to stretch that out even further. You want to make it big, have, like the top of it, really Stretch out. You gonna say, Why would you do that? And you're going to see it in second. So the first thing you want to do now at the top is you want to click on the rectangle tool , which is shortcut is Q. So you click here and you're gonna scroll all the way down a rounded rectangle tool, and you're gonna create a mask around as soon as you click on that, you click and drag your mask all the way over here, right? Dead in the center if you want to. Just the masses press the space bar and you can actually just move it. However you want to move it around instead of just extending it right. Holders face far to move it around and you hold it and keep it like this and then let it go . And then you're gonna click on mass settings here below. You are going Teoh feather the mass quite a bit so that the effect blends with the rest of it, right? So just feather it. I don't know. I'm gonna do mine up to 150 then do the mass expansion a little bit too. And then now you can press play and you can see that it has its own tunnel effect by itself . But see if you click on the bottom layer again. Now you're going to see that, and I'm gonna press to hide this mass here so I can just see the screen. I'm gonna press a short bet shift apple H that highs the screen, and I'm gonna press the space bar now so you can see that the center of it looks way bigger than the edges of it. And it's not as noticeable now, but you're going to see in a second so you can see now the way it's playing that it starts will be really fast, and it's really starting to look like animals. Felines, which is corn, is great. Now you can also make adjustments. Situs, for example. If you want the edges should look a little bit thinner. You click at the bottom layer, and then you take the scale height and you bring that down even more. Now, it looks like has created even more of like a tunnel effect because I'm bringing it down all the way to I think at this point I'm bringing it down all the way to I think I'm gonna leave it at 94.8 here and I'm gonna press play. Let's see what that looks like while it's rendering. I want you to keep in mind that you don't want to tweak any of the other settings other than the scale height, because if you quit the speed or the or the subsidies on the evolution, they're gonna move at different times, and they might have a more complex situation to where it doesn't look like they were put together at the same time, you want to make sure they have the same speed, the same exact key frames. Let's see what it looks like. So now you have enemy speed lines, and he has a moral tunnel like effect, and you can keep adjusting it, for example, on the top layer here, I'm gonna just the scale height, even bigger. And then I'm gonna go to mass feather and go even mawr feathering I'm feather into, like 507 100. Actually, in this case, I'm gonna bring it down. You see what it's looking at? It looks really fast. Like it. It is like an enemy Japanese feed line, and you can see that it looks really cool with the tunnel effect. If I remove the center one you're going to see, it looks a little weird. I'm gonna pause it now. Remove this one and it looks good, right? But you put the center one. It adds that tunnel like layer to it that makes it blend really well. And he looks like the person coming in the middle come true, which is really cool. Now let's see what color his enemy speed line so we can give him a custom look. 5. Color with Tint: Let's see if we can color these animals speed lines and give him a really custom look. First thing you want to do is when she got to solids here, it's Su merged these two layers or put him in a new composition. New composition is what you call a pre calm. So the first thing you would do is you get these two layers here and put them both in a pre comp free com is like a way of just putting all these ladies in a separate little box of their own. So all you do is you select both of them. You hold the apple key like both layers, and you type in a shortcut shift Apple C and he says new composition name and has pre cop one. You can call this enemy speed lines black and white. Okay. And you click. OK, you can leave it. Move attributes into new composition. Click OK, Now, you got a new composition here, so you can call it this composition as a whole And then to color it, all you got to do is type in tint here for color correction. So then I'm gonna drag tend to this composition here. You can see that when you go to tent has the mag black to black, black to white. And that's what you can actually start changing things. Like, for example, if you click here instead of black, I want read, right. So now you could change everything here that was black to red, an area, everything else that was white. I don't know. I'll leave it at white. I think this is a easy when you're doing it. So you press the space bar and now you have red and white enemy speed lines. This is a really easy way to customize the colors because one should do a black solid. You really can change the color on it, right? Because it's a black solid and the background is gonna be black, you know, doing a 10 you can change it to anything. Let's say here if I want to change this white to I don't know, we'll make it like yellow or something like that. And now you got this lava enemy speed lines. It looks very mongo ish. You know what it is just like a cool fire enemy speed line type of thing. You could do it any which way you want. I'm gonna endure because I really like the red and white. Now, another way to call it an enemy. Speed lines is with seizing solar. Let's see what that looks like. 6. Color with CC Toner: all right. Now, instead of color in it with 10 which is a simple and easy way of color and animate speed lines, we're gonna color it with the CC toner. Let's see what that looks like. So I'm gonna type in on the effects of presets, your cc toner and what that allows us to do on your click and drag you here to the top composition. Now, it has kind of like a old vintage look to it, but it allows us to tweak the shadows, Highlights admits on, so you can create a tribes home. You can even do a pencil tone and just do the brights dark Midtown's that create a really custom look for the sake of this class, I'm gonna focus on the strike zone. So here I want to leave the highlights of the white right where it's at. But on the midst home, I don't want this brown, So I'm gonna click on the brown square here, and I'm gonna bring it to a green is always like green a lot. And I think you has this really cool, right? Contrast you feel to it and I can also turn up and down on the highlights. For example, if I don't want the white to be so white, I can bring that down, or I can make it all black. You know, you can tweak almost like the opacity by bringing down the tones a little bit. So click OK here. Then, when you press play, you have this really cool, slimy type of color to your enemy. Speed lines. Let's see what that looks like. That looks pretty cool, right? Pretty cool rendering of it. Now you have this black dark enemy speed lines. You have two different style. See, You can see you have the red, the green one here. And then if I turned that off, you have the red here. Now, let's see in the next video how we're gonna do the finishing touches to make him look really, really cool. 7. Finishing Touches: a single class. I'm gonna focus on the green animate speed lines just to pick one. Right. So here I'm gonna unchecked the bottom one, which is already in checked here for the Red Enemy speed lines. And I'm gonna duplicate my enemy speed lines two times. So press the shortcut Apple D and Apple D and just appreciate them for organizational purposes. I'm gonna highlight all three of them here, and I'm gonna label them. Uh oh, no, that's a good color. Let's do purple. That makes you stand out quite a bit. So now we're gonna create a master on his duplicated compositions. So here's what it's gonna look like. I'm gonna press Apple minus two back out on the screen and I'm gonna click on my top composition here, and I'm gonna press the and I'm gonna press the que tool to create a mask. And I am going to select the rounded rectangle tool. I'm gonna create a mass right over here, Bone. A mask has been created. Then I will go to the bottom composition and I am going to create a mask here as well Move it around and then I am going to select both of these here. And I am going to go to the effects and presets and do curves. Just typing curves for color correction. And I'm gonna drag that over to, uh, this mass here. And then you're going to see what I'm gonna do is bring down the tone of the curve quite a bit now. Lots. Where's completely black, but enough to where it just feels right. And then I'm gonna go to the same mask I have here, bring and then bring the curves down to the bottom composition. Here. I'm gonna bring that all the way down. I'm gonna bring this cop up here, bring this all the way down. I'm gonna bring this down all the way down here. Mind you, I had to move the comp that was at the middle to the bottom because I couldn't see in the mask. But you see, what happens here is that if, with or without the mask is that it's making these edges darker, right? Said it on the third composition. I'm also gonna do a mask. So click on mask here and then I'm gonna do a mass right in the center and now for the third composition. What I'm gonna do is I'm gonna goto curves here and drag it all the way down here and I'm gonna make a slightly brighter right. So then, are you gonna do with the top compositions here? You got a click on mass feather and feather, both of them quite a bit so that the effect blends really well. Same thing here and when that's gonna create is a tunnel like effect, so that when you play it, it draws your attention to the center of it and makes it look there's a tunnel, a beam of energy in the center, and everything else is just really, really dark. Now, you can also adjust these mass. Like, for example, I think this mask here, it might be a little bit too much to the edge. So I'm gonna push him war towards the center here, and I'm gonna do the same thing with this one here at the bottom. Push this mask up here to the center, so that makes it a little bit dark. And increase that tunnel like effect and you can play around and keep adjusting it right with the curves. So now I'm gonna go to have my screen fit. I'm gonna press shift apple age too. Hi the screen and let's see what it looks like. So now you see that with center is much, much brighter, and you can always keep changing it. Like it If you want to go to the bottom composition here and you don't see that the curves look like it's very bright. You can keep tweaking a year and just make it a little bit brighter in the center and you checked. You see how it how it stands out. So now you have the enemy streamlines more or less the way you want it, right? So what you're gonna do is unit select all these three compositions here, you're gonna pre compose him into yet another new composition. So press a shortcut shift apple see again and do finalized green speed lines press OK, Now you have your very own composite of speed lines. You can add more touches on top of that, for example, another cool thing you can do is let's say you want to add a new solid to give a little bit of Irish funnel look right, so you press a shortcut. Apple. Why? For a new solid? You know, it's gonna be a black solid in there, and it's completely black, and that's okay. So then you click on the rounded rectangle still here. But this time you're gonna go all the way down lips. You click and drag your mouth all the way to the center. Here, you're gonna drag just where the edges are showing right, which looks pretty cool. And then you're gonna take this mask down here, you're gonna click the inverted check box you inverted and then assumes you do that. You're gonna feather that bad boy quite a bit, right, so that it kind of just looks like it's fading out a little bit. And then you can also do the opacity by pressing the T shortcuts of this type in T for rapacity And bring that down a little bit and it's hard to see, but these details make a difference. If I turn it off, you see how it shows up in it, pops. But if you turn it on, it just creates yet more of a tunnel effect to draw your eyes right to the middle of it. And it adds a little bit of an edge to It's really cool. You could do that with a rectangle. So I just chose to do what I wrote because I want to create an Irish looking like effect. So now I'm gonna breast ship H. Let's see what that looks like the result of create that tunnel like effect. Another thing you could do to is actually Atmore solids and tweak the color of it. A creative contrast. Let's say I'm gonna do yet another solid and pressed apple. Why get a new solid in here and now we're going to do, you know, we're gonna make it yellowish, right? We're gonna give it more of a yellow hue and it's okay. We have a solid It will press the shortcut t for opacity and then bring that down. You see, it now has, like, a little Hayes to it. And again, it isn't like you notice anything, but until you turn it off, you see Oh, yes, it's definitely there. The night has more like a jungle type of information on Everything you do is well, it's kind of change the direction of enemy speed lines, right, so you can make it do like a diagonal, Like it's a role flying down through the sky or something like that. So how do you do that? It's really simple. Or you would do Is you clicking your black solid and you finalized green speed lines. You select them both and you press we get again, say, with the shift apple C you doing? Just call this one pre come for the sake of it, which is great. And then you just press are for rotation. You rotate this bad boy, you know right here and you have it come down. See, now it's transparent. But if you click on a checker, you can actually just make everything all black. And in this case, we still need to scale it up. So I'll press s for scale and scale up the animation here. And you see, when you press this now you have like an arrow flying out. It could be anything. It looks pretty cool, right? So it's just different ways to use enemy speed lines behind it. Touch it up so you can make a slightly different. Now you have an arrow coming down is like all know, Errol coming down looks really cool, just different ways to put little touches on it. You can play around in into your own thing and see how you could tweak it out. 8. Questions & Additional Resources: So that's it, guys. By now we should be able to create your very own enemy speed lines, animation. Hope you had fun learning this new skill, and he gets to create all kinds of cool stuff with this. Now, as with any class, questions will arise. That's okay. Please message me directly if anything comes up that I haven't covered in the course or just any small snack that comes up along the way And if you want to keep following aftereffects in two minutes or less, just check out the link in the course description and subscribe to our channel. We upload frequently. You have plenty of cool stuff for you to learn in two minutes or less. 9. Class Project & **BONUS** ASL Pack: now for our class project. I'll let you guys to create your enemy speed line and uploaded to our project timeline. The only thing I ask is that you don't make it exactly like the one that did in this tutorial. Why? Because I want you to be original. I want you to be different, on which you have fun being different. There's so many different ways to create enemy speed lines and by you uploading we can see all the different styles that are out there. You can be inspired by somebody else. So have fun and let your creativity fly. And as a bonus token of my appreciation for your viewership, I'm also uploaded all the enemy speed lines that I created in this course for free in the link below in a course description. So now you can add that CEO arsenal of enemy speed lines Thank you so much for watching and stay creative