Transcripts
1. Introduction: Hi, my name is Elizabeth
and I'm a digital artist. In this class, we will be taking a 2D image and transforming
it so it seems 3D. We'll be using Photoshop
and After Effects. You will not need any experience
with either software. As we will walk
through each step in depth to give you an
idea of how it works, we will start with one photo in photoshop and prep the
image into separate layers. Then bring those layers into After Effects to
demonstrate how to animate the layers and camera
using a few key frames. In the second portion
of the class, we will prep multiple
images to create a photo manipulation and bring those layers to
After Effects again, to create a more
complex animation, we will be utilizing many
different tools in Photoshop, like the Stamp tool, Content Aware, Fill, and mass. We will also be using
many different tools in After Effects
like keyframing, color correction,
curves, and expressions. This is a great way to bring your photos to light
that you can use on social media or just for
fun. Let's get started.
2. Class Project: The project in this course is to prep and create
your own animation. You can use the
images found in the project and resources
section of this course. Or you can use your own images, or you can find
free images online at pixabay.com or unsplash.com. I want you to prep your photos
in Photoshop and then jump into After Effects and animate the photos to what you want. Please post your project in the projects and resources
section of this course. If you have any questions,
please feel free to ask me in the discussion
section of this course, I will answer them
as soon as possible. Be creative when animating
your project and have fun.
3. Photoshop Interface: The first thing
we're gonna do is we're gonna do a very quick walk-through of the
interface of Photoshop. If you want a more in-depth walkthrough where I go into
a little bit more detail, check out one of my other
Photoshop courses because I definitely go into
more detail of the interface and those courses. But because we're only
going to be using a few tools in Photoshop
for this course, which can do a very
quick walk-through. So when you have Photoshop open, you're going to get a
window that asks you to either create a new
file or open a file. I open the file for the first image
that we are going to be using in this class. Along the top is your menu. So you have your File
Edit Image layer. All these are going to be options that you can use if
you don't know the shortcuts. Below that is your
tool adjustments are options for the tool
that you have selected. Right now I have the
brush tool selected. These are all the things that I can change about the brush tool. I can change the opacity. I can change the
hardness of the brush or the size of the
brush up here. Along the right or the left, depending on what side you have this boron is your toolbar. We have selection
tools, move tools, crop tools, brush eraser. In this class we're
only gonna be really utilizing the selection tools, the brush tool, the stamp tool. I'm not gonna go into depth
about those other tools, but we will go into depth
about the tools that we're using when we use them. To the right. The most important panel for this course is going to
be your layers panel. It's in the bottom-right. Here's where you're
going to add mass or adjustment layers or
even a new layer. Just to give you a quick
overview of some shortcuts, if you want to bring
up your brush tool, all you have to do is hit B on your keyboard and you'll
bring up your brush tool. Another tool we're going
to use is the stamp tool. And you can just hit S on your keyboard to bring
up the stamp tool. Throughout the course, I will show you some more shortcuts, but for right now that's
all we're gonna do and let's jump into the next class.
4. Setting up in Photoshop: Image One: Now that we have an idea
of how to use Photoshop, we are going to prep
our first image. We need to isolate anything in the image that we're going
to animate in After Effects. We will use a very simple image first to get the idea of
what we're looking for. I have this picture of a dancer. When we go into After Effects, I want to be able to add
some movement to the dancer. So we need to put the
dancer on her own layer. And to do that will make a
selection of the dancer. Now when it comes to selecting
things in After Effects, you have a variety
of ways to do this. If you want to draw
your own selection, you can use the lasso tool
and just draw around her. This might be a
little bit difficult because its intricate. To make a DIY selection just
hit Command or Control D. So if I make a selection
and I don't like it, hit Command or Control D on your keyboard and
it'll de-select it. Or if you want to
go up to your menu, just go to de-select. Another way you can do
a selection is with the Quick Selection
Tool is looks like a little cross and you would just click on the areas
that you want to select. You can increase or decrease your selection brush size
by using the brackets. The right bracket is
going to increase. The left bracket is
going to decrease. We can use that one.
Let's de-select that. If you hold down your
mouse button on the tool, you'll see that there's
more selection options. The object select
tool is pretty cool. It uses AI. You just hover over
the object and click, Give it a second, ten, and it'll select your object. As you can see,
it's not perfect as it's selected some
area down here. And if you wanted to just get rid of that portion
of the selection, all you have to do is
go to your lasso tool and you can either go to the subtract selection
portion or you can stay in the Add Selection and hold down your
Option or Alt key. You'll see that the
plus turns to a minus, which means that you
are de-selecting that part of the image. Hold it down and just circle around and your de-selecting. That's another way
to make a selection. Let's de-select that. I would say the easiest way to make a selection
is just to use AI. So go to Select and
go to a subject, and it will select
that subject for you. Again, just like the object
select tool over here, it's not gonna be perfect. See how it's looked
at this portion. But if we go in here
and to zoom in and out, you just hold down
Control or Command and the plus or minus
keys on your keyboard. We're going to refine this
selection a little bit. Let's take away this portion. We can also do this with
the Quick Selection Tool, holding down Alt or
Option and just clicking. That might be too much. Let's undo by hitting
Command or Control Z. Let's bring our brush size down and get rid of some of the selection
and it's doing it again. We're just going to go through
and refine the selection. It doesn't need to be perfect. We just want to make
sure we get all of the dancer and not
a lot of the black. We can also use
the lasso tool to go in and deselect areas. Add areas back in. Because the background
is very simple. If there's a little
black on the dancer, you really won't
be able to tell. But if you had a
busy background, you're going to make
your selection. Pretty good. Alright. Let's get rid of
this part of her. Another great shortcut
to know is if you want to move around on your
image when you're zoomed in, hold down your space bar. You'll see the hand comes up
and you can just click on your mouse and move
the image around. We definitely need her foot. What is a dancer without a foot? Okay. Let's let the tip of her TO another thing when
you're making selections, if you're selecting or
deselecting a large area, break it down into pieces. So say I'm fixing this arm. I'm going around and I'm fixing the arm and I mess up somewhere, I'm going to have to
redo that whole thing. Whereas if I just went and selected a small
portion whipped out, you're not going to be having to undo the whole thing only
just that one portion. All right, once
you have a general selection, Let's zoom out. We're going to go up
to your option for this tool which
is up at the top, hit Select and Mask. Now there's many
ways to view this. If you go to the right, you can use onion skin, which basically puts it on
a transparent background. You can use the marching ants is what we're using to select it. The overlay, whatever
you're comfortable with, use that one thing we want to do in this box
is make sure that we have a good selection of the
dancer and maybe smooth out the lines and move the lines in or out depending on
how our selection is. If you look at all
the adjustments you have on the right-hand side, let me change my
view to overlay. You can smooth out
your selection by increasing the smooth. When you do the
adjustments in here, you need to be careful
with yet you're not losing part of your object. Because I increase that smooth losing part of her fingers. You can also shift the
edge of the selection. Also be careful because
if you go too much, you're going to be losing
part of your object. And if we go too much
in the other direction, you're gonna be adding the black portion
that you don't want. We are going to just leave it
a tiny bit in the negative. We can feather it
out, which is a, softens our selection a little bit and smooth it
out a tiny bit. Alright, once you have it
to your liking, click Okay. Now we want to put this on its own layer so that when
we jump into After Effects, we can animate it separately
from the background. Let's click on this
little lock button in our layer panel, which is down at
the bottom right. That's gonna unlock our layer and we can make
adjustments to it now. Now to put this
on its own layer, you can either hit Shift
Command or Control J. And then you'll see
that it's separated that selection from
the background. So if I remove the background, you can see that I just have
the dancer and vice versa. If I removed the dancer, I just have the background
with a hole in it. Now, if you want a different way of putting
it on its own layer, you can also go to layer, new layer via cut, which does the same
thing as before. Or you can right-click and do the same thing layer via cut. Many different
ways to do things. You just got to find the one
that works best for you. Now that we have this dancer on her own layer, we
have a problem. Because if we go into
After Effects and we move this dancer the
way that we want to. Let's say we just wanted to
change your perspective. You're gonna notice that we have a hole in our background and this is gonna show up
in After Effects as well. So we need to fill this
hole so it looks seamless. There's many ways to do this, because we have some
just simple background. We're just going to use
Content-Aware Fill, which uses AI to read the pixels around it
to fill in the hole. When we go into other images, we're going to use
the stamp tool to be a little more detailed, but we don't have any
detail in this background, so we can just fill
in the background. Let's zoom out. Let's undo this transform. Hit Enter. Also, I'm sorry to
transform an object, hit Command or Control
T on your keyboard. That's going to bring up the transform box
and it'll allow you to change the size, rotation of an object. We're going to use
Content-Aware Fill to fill in the background. And to do this, you need to make a selection of the hole that you
want to fill in. An easy way to make a
selection of this dancer, since we already have our cutout is go to your Layers panel. Go to the dancer panel, hold down Command or Control, and then click on
your picture is, and you'll see you get a
selection of the dancer. Now we want to expand this
selection so that it's, now we want to expand
the selection so that it's including the edges and
not just that one whole. So let's go to Select, go to Modify, Expand. You're gonna get this
little box that pops up. And this is the amount of pixels that it's
going to expand by. And we're going to expand by a pretty large number of pixels. I'm gonna say ten. You'll see that the
selection has moved out. Now that that's done. Go to your Layers
panel and make sure that your background
layer is selected. Go to Edit and then
Content-Aware Fill. You're going to get another box that pops up just like this. Right here on the
left-hand side is your way to edit the pixels that are being determined
to fill the whole. Anything that is
in green is what the computer is using
to fill in that hole. Anything that is not
green is not being used. You can deselect areas. You'll see on the right that your image is changing
a little bit. Show you again. This is where the preview is. And if you zoom in
on the preview, if you change some
of the selection, you'll see that this
changes a little bit. Not a ton because there's
not a lot in the background. You're just taking away the
reflection on the bottom. So it's not being used
to fill in the hole. Let's zoom back out.
This doesn't look bad. We're gonna fix a few areas. When we go back in. You can output on
a new layer or you can add it to the layer
that you're already using. We're just going to add it
to the current layer so that we don't have to go back
in and merge the layers. Click OK and Apply, and then hit Command or
Control D in de-select. Now you'll see you have the
whole pretty much filled in. But we don't want to have
this little line right here. And we want to make it so that this little stream of light
or reflection is seamless. We're going to fix that
using the stamp tool. Hit S on your keyboard, or just click on the stamp
tool that looks like a stamp. And your toolbar, when you use the stamp tool is kind of
like painting with pixels. What we're going
to do is increase the brush size by
clicking the bracket on the right or going to the
options and changing the size. Ignore that. To use a standard, you need to pick an area on your image that
you want to copy. So when you hold
that Option or Alt, you'll see that your cursor
change to a bulls-eye. This is what you're going to use to pick the area that
you want to paint with. So say I want to just fill this one little
area in with black. I'm going to pick the
area over here by holding down Alt or Option,
clicking my mouse. Now when you release, you will notice that
let me zoom in. This is hard to see
with the black, but we're painting with pixels. So if I go over the area
that I want to paint, you'll see that the
area disappears. If I click and drag and
just paint a little bit, you'll see that it disappears. You also see that
when you click, you're gonna see
this cross up here. That is what area that you're copying where you're painting. Need to be careful
because when you use a stamp tool and you move, that area that you're painting with is going
to move as well. Let's fix this area right
here where the reflection is. Let's increase our brush
size a little bit. Let's just pick the
area next to it. Pulling down alter option. And we're going to copy
this little reflection over here by just clicking once. And you can see that that
black portion has gone away. It looks just like
a reflection line. Now. Let's bring our dancer
in and see how it looks. It looks seamless. Now we need to save this
as a Photoshop file. And then in the next video, we're going to jump into After
Effects and animate this.
5. Animating in After Effects: Image One: Now that we have
our layers setup, we're going to import those
layers into After Effects. Let's open up After Effects. If you've never used
After Effects before, this might look a
little intimidating, but it's pretty
easy to understand for what we're
going to do today. If you want more in-depth
course in After Effects, I have one called
animating GIFs in After Effects that gives an in-depth look
into the software. The first thing we're
gonna do is just do a quick walk-through
of the interface. After Effects is broken
down into panels, whichever panel has
a blue highlight or an outline around the panel, that's the panel that is active. So if you look at
the controls effect, this panel is active. So any shortcuts that
you do on your keyboard, It's going to go
into this panel. Same with a timeline
that's down below. Say you want to copy
and paste a keyframe. You need to make sure
that your timeline is active when you're pasting key-frame
over to the right, That's where your effects
and presets are gonna be. In the middle, this is
where you're going to have your composition or your
video that you're editing. On top is your menu
where your file edit composition layer,
similar to Photoshop. There's two ways to import
a file into After Effects. You can either go to File, Import and then file, or you can just hit Command I. And that'll bring up your
box to select your file. Now when we import
this and we want to have this selected
and then it says Import As we're gonna change Footage to Composition
Retain Layer Sizes. Now we're going to click Open. The same thing for this
new box composition retain layer sizes and
editable layer styles. This will bring the files into the separate layers that we had in Photoshop instead
of making one video file. Click, Okay. Now you'll see that
you have two items in your project panel. You're gonna have
the precomposition that After Effects
created for you. And then you're gonna
have your folder with the Photoshop layers. All we need to do is take
this precomposition that was made for us and drag
it in our timeline, or we can even drag it
into the composition box. Now we're set up and
all the layers of the same size if they
were in Photoshop. First thing I'm gonna
do is we're going to go to Composition,
composition Settings, and set the duration for the animation that we're
going to do right now, it's about two seconds. Let's make it four, just so we can have a loop. Black and the background is fine because it's not even
going to be showing. And then click Okay. If you double-click into
your pre-composition, it'll open up that
pre-composition and you'll see the layers that we
created in Photoshop. You can hide them by
clicking on the eyeball. You can also lock
them if you don't want them to move by
clicking on the lock. If you just want to
see one of the layers, this little dot will solo
out that layer and then hide all the other layers
just by clicking that. What's name our layer
so that we don't get confused to name a
layer in After Effects. Just have that
layer highlighted, click Enter, then
name the layer. Do the same thing
for the background. Now the arrow next to your name is going to be able
to be toggled down. And that will open up your
transform properties. That can also be toggled down. This is where you
can edit the size, the position, or the
rotation of your asset. So what we basically
want to do is just make this denser twirl a tiny bit. And we're gonna do
that using keyframes to make a keyframe
in After Effects, all you have to do is
click the stopwatch next to the property that
you want to animate. So say we wanted to
scale up our dancer. We would click the stopwatch. And now you see that there's
a keyframe in our timeline. The key frameworks,
the information of that layer at that
point in the animation. Let's move forward in
our clip a little bit, and then you go to 1 second. And let's bring the
scale of our dancer up. You'll see that
another keyframe is made in an in-between
these two keyframes, you're going to have
your dancer being animated up from the
one hundred percent, two hundred and thirty percent. So if you go back to
the beginning and hit your space-bar and let
your animation play. You'll see that your
dancers scaled up. If you want to loop that, it goes back down to a 100, you can just click
that first keyframe, hit Command or Control C. Go to the end of your timeline, hit Command or Control D. Now if you go back
to the beginning, hit Spacebar, you have
an animated loop. Let's undo all that. And what we want to do
is just have her spin a tiny bit digit
that we're going to need to use an effect
called basic 3D. This effect allows
you to swivel or twirl or tilt your layer. Go to your Effects
and Presets panel, and just start typing in basic. And you'll see basic 3D. To add this to your layer, you can either have your
layer highlighted and double-click or you can take the effect and drag
it to your layer. Then in your effects
and control panel, you'll see that a new effect has been added to your layer. Let's take a look at
what this effect does. If we swivel our dancer, you see she's just being turned. And if we rotate the tilt, she's going either
forward or backwards. Let's just animate the
swivel to have her doing a tiny little turn to
animate this again, you're just going to hit the
stopwatch by the swivel. But I don't want this to
be our starting point. I might want this to
be my middle point. I'm going to go to the
middle of the timeline and hit the stopwatch. Then I'm gonna go to the
beginning of the timeline. I'm going to toggle down on my basic effect so I
can see what I'm doing. And I want her to just
do that. Alright. Now I can take this keyframe haven't highlighted hit
Command or Control C. Go to the end of the timeline, hit Command or Control V, and then move it to the end. Now she's going to
have a little turn. This is just a very
basic demonstration of what you can do with a 2D photo and bring it into After Effects and
give it some motion. We're going to do a
little bit more in the next few videos by bringing multiple photos
together to create a manipulation and then bringing that into the After
Effects to create a 3D effect by
animating a 3D camera.
6. Setting up in Photoshop: Image Two: All right, In this next video, we're going to be bringing multiple photos into
Photoshop and masking out portions of the
images that we don't want and creating a
photo manipulation. Then we're going to bring
it into After Effects to create a 3D effect. But this time we're going
to use a 3D camera. Instead of animating the layers, we're going to
animate the camera. The first step we need to
do is go into Photoshop and mask out the portions of the image that we don't want. All these images
are available in the project and resource
section of this course. I also get them on
Pixabay or unsplash.com. If you want to go find
your own photos and set up a different
manipulation, feel free. I would love to see
what you create. So the first thing
you need to do when you're creating
your manipulation, you need to know what kind
of movement you want to have in your manipulation
when you go into After Effects this image, I want to have my
cameras starting at the edge of the
road and then going down the road
through the lens and ending up in the mountain scene. To achieve that,
I need to remove some things from the camera
and the road images. This is the N photo
and but these are the photos that we are
starting off with. I have the camera
with the woman. I have the road, and I have the mountain scene. The mountain one, we're
not going to change, so we're just going to
drag that layer down to the bottom and then we're
gonna hide it for now. Now let's hide the
camera as well. And we're just going
to work on this road layer real quick. I'm going to mask out
or remove the grass, mountain and Skype portions. I really just want
to keep this road. Let's highlight our road layer, hit Command or Control T, and we're going to
size this image up. Let's make it so our edges Meet the edge of
the composition. Hit Enter. And now if you go to
your selection tools, we can use the
polygon lasso tool, which allows you to
select in straight lines. We're just going to click at the end of this row down here. You'll see that a straight
line comes off of the arrow. Then just follow the
white line on the road. And then click around. And then line up to the white
line on the other side, go down and then meet the
end of the selection. Now you have a selection. Now to match this out,
it's very simple. You just have to go
to your layers panel. Click on this square
with the black circle. That is your mass button. When you click this, it's
going to keep everything in the selection and remove
everything out of the selection. Click on the mask. And now we just have a road. If you wanted to
switch it around and have the selection be removed, all you'd have to
do is click the Mask button like we did here, and then hit your mask here, then Command or Control I. And you have the
opposite selection. But now we want the road, so we're going to undo that by hitting
Command or Control Z. And now we're gonna bring
back our camera image. Now we're going to
want to line up with this camera like we have here. Let's select that camera
and then hit Command or Control T. And let's
just scale it up. Remember if you need to move your image around
in the window is hold down the Spacebar
and then you can click and drag and move
it wherever we want. Let's just drag this up until we get the
size that we want. A little bit bigger
so I can center it. I think that looks good. Hit Enter. Now because I don't
know exactly what I need to animate
in After Effects. I want to make it as
easy as possible for me. I'm gonna take this
lens and put it on its own layer in
case I need to scale it up or scale it down when I'm animating in After Effects. Let's hide our road layer
by clicking on the eye. So we can either select using the Quick Selection
Tool or we can just use the Elliptical Marquee Tool and just drag out a circle. Probably not gonna get
it right the first time, but just leave the circle there. Go to Select and go to
Transform selection. And you can move it around, scale it up or down, whatever you need to do. All right, I think that's good. Maybe bring it out a little bit. Hit enter. Now we're going to want to
put this on its own layer, like we did with the dancer. Remember, you can do
that by right-clicking and hitting layer via cut, going to layer,
new layer via cut. Or you can just hit Shift
Command or Control J. Now if we hide that lens, you'll see we have this whole, we're not going to need
to fill this hole in because when we
scale up the lens, if we do, we're gonna
scale up this as well. So you're not gonna see
the missing pixels. The lens is going
to be covering it. But the one thing I do want
to do is I need to mask out the glass portion so that I can see the
mountains through the lens. And we're going to
do that just the same way we do with the road. We're going to use the
Elliptical Marquee Tool. We're going to make sure that
our lens layer is selected. We're also going to name it. Double-click on it and just
type in a name. Click again. Select your marquee, your
elliptical marquee tool. Drag out a circle. Go to Select, Transform
selection if you need to. Zoom in a little bit and bring my right. And if you don't do it
perfectly remember that we can always bring stuff back in
with a mask by painting. Let's hit Enter. Let's see how this looks
when it's masked out. Click the Mask button. You'll see that it
left the portion that we wanted to remove. Remember we can invert that, so make sure your lens
mass is selected. Command I. And now we have the portion
that we want to keep, but we have a hole here, but we're going to fill
that in with our mountain. And all you have to do there is just bring our
mountain image back. Let's zoom out by
hitting command or control with
the minus button. Make sure your mountain
layer is selected. Hit Command or Control T. And let's just scale
it up for right now, but we're really going
to fix this one. And after effects hit Enter, let's bring our road back
and see how it looks. All right, one thing I want
to do before we go into After Effects is I want to fix
this road up a little bit. I want to change the perspective so that it's angling down some. So it looks like it's getting thinner the further it goes. And I also want to
blend it so the edge of the road that's inside of
the lens isn't so sharp. To change the perspective
of something, you just need to
click on that layer, hit Command or Control T, and then right-click
in your composition. And this is where you can
change the perspective. You can distort it,
you can warp it, which makes it weird. But we just want to change
the perspective a tiny bit. Click on the perspective. Now you'll see if
you grab corners and go up, it changes sides. If you go in. You can also go out, which is what we want when
we want to take this out. So the road looks a little flat. Line it up however
you think is best. All right, and then hit Enter. Now the next thing we're
gonna do is we're gonna remove portion of
this road at the end. So it looks like it's
blending into the rock. And to do that,
we're just going to use the Nash that
we already have. Click on that mask. We're going to hit B on the
keyboard for the brush tool. Now you want to make
sure that black is in the foreground because
when you work with mask, you only work with
black and white. Black is gonna remove portion of the image and white is going
to bring the pixels back. We're gonna remove
portions of the image. Let's zoom in a little bit. Make sure your paint
brushes selected, make sure your hardness
is all the way down. The harder your brush, the more crisp lines are. Let's bring the
opacity up a tiny bit and make sure your hardness is all
the way down again. And then just start painting. If you remove too much, don't worry, you
can bring it back. I removed a little bit too much, so I'm gonna hit
X on my keyboard and bring it back a little bit. I also want to make this
a little bit thinner. Change his perspective again. Need to zoom out. I'm just going to
make it a little bit thinner at the edge. Let's see how that looks now. Now I want to bring back more pixels just to make
it blend into that rock. All right, I think
that looks good. Now we shouldn't make some
of the adjustments to the image like
levels and curves. But we're gonna do that in
After Effects because we can animate those adjustments in After Effects and make
it so that the mountains of darker and then the closer
we get it gets lighter. So we're gonna do all
that in After Effects. And for right now we're
done in Photoshop. So make sure you
save this file as a Photoshop file where
you can find it. All you have to do to save
your file is either go to File Save or Command
or Control S. And your box will pop up, name it whatever you want, then make sure it is a
Photoshop format. Click Save. All right, the next
video we're going to take this all into After
Effects and animate it.
7. Animating in After Effects: Image Two: All. So now we're going
to jump into After Effects and we're going to import our Photoshop
file that we just saved. So go ahead and click on the Project panel
and after effects, hit Command or Control
I to import your file. Find the lens Photoshop file
that we just worked on. Click on it and make
sure you import as composition retain layer sizes. And then click Open again, Composition Retain Layer Sizes. And then click open
one more time. All right, you'll see we have a new composition and all of our Photoshop files and
layers in our project panel. Let's go ahead and
grab that composition and drag it to our timeline. And you'll see it's
already set up for us. If we double-click
on that composition, will see all of our layers. All right, The first
thing we're going to want to do is we're going to want to set this
up as a 3D scene. To do that, all we
have to do is click on this little cube right here. This is gonna make it so
that we can manipulate our layers on three different
axes instead of two. If we don't have,
instead of as 3D, we can only manipulate it going vertically
or horizontally. When instead of as 3D, we can manipulate it on
the z-axis as well. Which helps us create depth. Because we have our layers
setup in a 3D space. We're going to want
to add a camera to our scene so that we can move
that camera in a 3D space. We're gonna be want
to be traveling through down the road, through the lens and end
up in that mountain scene. To do that, we're going
to have to animate our camera on the z-axis. Let's add a camera to our scene. First. To do that, we go to Layer and new
and then go to camera. And that's going to
bring up this box. In this box you can set
your camera settings. We're not gonna go into
that in this class, but the one thing that we are going to do is make sure that our focal length is
at 50 millimeters. What focal length is, is
the angle of your lens or the amount of scene that you
can capture in your lens. The smaller the focal length, the more you capture, the larger the focal length, the more narrow your angle is. Make sure that that's
at 50 millimeters. Click Okay, then
you'll see you have a new layer in your timeline.
This is your camera. You can toggle that
open and you have a bunch of camera
operations, depth of field, you can add blur, and you can also transform your position and your rotation of your camera here as well. To see how a camera works, we're gonna change the
view in our comp panel. To do that, Let's go up to View, Switch View Layout and
we're gonna have two views. So you can choose different
ways to see your scene. On the left, I have
my camera one, which is I'm seeing
whatever my camera is seeing on the right. I'm going to want
to change this to something where I can
set up the layers because we're gonna
need to put space in-between our layers on the z-axis to create depth. So to do that, I'm going to
either pick left to right, just so I can see this
scene from the side instead of straight ahead.
You can do that. You're going to see you have
these new arrows come up. The blue is going to be the z. And if I move
something on the Z, you'll see that on
the left-hand side, it's getting bigger and smaller. It's not really getting
bigger and smaller is getting closer to the camera or
further away from the camera. Let's undo that. Then. The green is
gonna go vertical, so it brings it up
and up and down. Then you can also
rotate it here as well. Now that we have
our Cameron place, the first thing that
we want to do is parent some layers
to each other. When you parent two
layers together, the layer that is
the parent later, we'll have control
of the child layer. Let's say that we
parent this road layer by taking this pick whip and dragging it over to the lens. And let's hit S on our keyboard to bring up the
scale of the lens layer. And if we bring up the scale, you'll notice that the road
is getting scaled up as well. That's because the road layer is a child of the lens layer. And whenever we do
through the lens layer, the road layer will be
affected in the same way. So let's undo that but keep it parented because
we want to pair up the road and the
background camera layer to our lens layers so that
when we scale up the lens, the road and the camera
will get scaled up as well. We already have our road
layer parented to the lens. Let's parent our background
camera layer to the lens. When I say background camera, I'm talking about
the layer that has the girl with the
camera in her hand. So you'd click on that Photoshop layer and
we're going to drag the pick whip to
the lens layer as well to see
something's parented, just look over here where
it says Parent and Link. You can see our lens layer is the parent layer to our road
and our background layer. I'm going to rename
this camera layer to background so we
don't get confused. All right. So now we only need to
animate our lens layer, the actual camera and
the mountain layer, because the other two will be animated with the lens layer. The first thing I'm
gonna do is animate our camera layer so that we can adjust the lens and the mountain layers around
the camera movement. I just want to have the camera
moving from the front of the road to the back of
the road through the lens. So to do that, we're
just going to open up our camera transform tools. The position we're gonna click the stopwatch to
create a keyframe. And then we're just
going to scrub forward. I'm going to go all
the way to the end. About ten seconds. Let's say that eight seconds. We're just going to move this on the z-axis through our lens. We don't need to go
all the way through because we're also
going to animate their lens layer
to come forward, to have the camera
go through it. We're just going to go to about right there for right now. Now go down to your lens layer. Click on the position
stopwatch to create a keyframe and drag
that key frame all the way to the
beginning of your timeline. That is the position that
we started off with, but not the one that we're
going to end up with. But our play head is still in the same position from when
our cameras stops moving. So let's change
our z position of the lens to go all the way until we don't
see the road anymore. All right, now let's go back to our beginning of our timeline. Hit the Spacebar, and we'll see that we
have some movement. It's rendering right
now while it's playing, That's why it's playing
a little bit slowly. But once it's played through, it'll play at the normal speed. You can always speed this
up by dragging the end keyframes closer to the
beginning keyframes. And we're gonna do
that. Let's hit U on our keyboard with our lens layer selected and our
cameras selected. And we're going to select
both of these keyframes. Let's just drag them forward to about five seconds and see how that movement looks better. The last thing that
we're gonna do with this is we're
going to animate the mountain image so that it fills out the frame
of our camera. Because you can see
on the sides we have the transparency showing
and we don't want that. We want to fill the frame
with our mountain scene. So go to your mountain layer and drop down the
transform tools. And let's animate the position
and the scale of this. Because when we scale it up, it might get a
little off-center. So let's click the
stopwatch to create keyframes for our
position and our scale. And then we're gonna go
to where the keyframe is on the rest of our timeline, which is about five seconds. Let's just scale
this up a little bit until it fills up our frame. We can also move it
over on the x-axis. It's still not perfect because
when you scrub forward, you can still see some
of the transparencies. So let's go to these keyframes, and let's scale it up a
tiny bit more and move it over on the X a little
bit more as well. All right, and this goes
beginning of the play head and hit Spacebar to
see how it looks. All right, now we
have an animation using multiple images. Another thing you
can do when you get into the end of here is you can animate the rotation
of the camera as well. So that is looking up or down
while it's going through. Let's do that really quick. So go to your camera layer. Go to, I believe it's
the x. Yes, it is. Let's click the stopwatch
next to the x rotation. Let's drag forward a little bit and we'll
just have it go. You can have it go up or down. I'm gonna have to go down
because then it looks like the road is going down as well. All right, I'm going to drag
that rotation key frame to the end of my timeline. Go back to the beginning
and let's see how it looks. All right, We're
going to bump up the rotation just so we can actually see the
camera rotating. Let's try it one more time. I'm just going to
have this rotation start a little bit earlier. Now one more thing that
you can do to make your animations a little
more lifelike is with sound. I have two sounds that
I'm going to add to this. Animation. It's going to be the noise of a car
driving on the road. And then once it passes
through the lens, it's going to be the
noise of birds chirping. Because I'm recording
this class. I can't play the sound while
I'm recording the class, but I'm going to render
the video out once we're done putting this sound in
so that you can hear it. To import audio
into your project. It's the same way you
import any images or video. You go to your project panel, makes sure that it's
active by clicking in it, hit Command or Control I. And then we're going to find the audio files
that we want in. These are the two that I want. And now you'll see that you're there in your project panel. And then to bring them
into your timeline. Same way, click and drag again because I am recording
this class right now. I can't play the audio, but I will show you how to edit the audio if you
want to move it around. The easiest way for me to edit audio is by looking
at the waveform. It shows you when it's
coming in and going out. What I want to do because we're already on the road
and we're traveling. I don't want to have this
gradual sound come in. I wanted to already be there. I'm going to click
and drag until the audio doesn't have
that ease into the sound. Okay, And then I'm
gonna go forward at the play head until we're
about through the lens. Once we get through the lens, I'm going to put some keyframes on the audio because I want the audio volume to go from normal to all the
way out. Gradually. What we're about
to pass through, I'm gonna put a keyframe. And then I'm gonna
go forward until we're all the way through. I'm gonna drag this audio
until this line is flat. And I can't hear that anymore. I'm gonna do the exact
opposite for the other one. I'm going to open
the audio wave form. I'm going to drag
the clip this way, so we have that gradual going, but I'm going to have this
volume turned up a little bit. Let me open up this waveform
so I can see where I'm at. We need it to be
right about here. So when the road
audio is going out, the bird audio is coming in. Ok. And I'm going to
keyframe this one as well. Have this one at full
level right about here. But here we're gonna go down. So we have that
gradually in the audio. The last thing I'm
gonna do is add a curves effect to
our mountain layer. Curves lets you adjust the lightness and
darkness of a layer. What I want to do is have, well, we're traveling down the road. The mountain layer is
gonna look darker. And then it's going
to gradually get to the point of lightness
that it is right now. So to do that, go to your Effects and
Presets, type in curves. Under color correction,
you just going to drag that to your
mountain layer. And then this little box is
going to pop up this line. You can adjust it
darker and lighter. Let's undo that. What we're
going to do is we are going to open up this affects curve. And we're gonna go over to where we pass through the tunnel almost
right about here. And we're gonna put a
keyframe on our curves. This is gonna be
the lightness of the mountain image
by the time we're at this point in the animation. So we're gonna go back to the
beginning of our timeline and we're going to darken that mountain layer a little bit. So it looks like
it's not getting a lot of light
from where we are. Bringing that down. You'll see it already created
a new keyframe for us. So let's hit the Spacebar
and see how it looks. All right, the next
thing we're gonna do is we're going to render
out our animation. To render out an animation, all you have to
do is go to File, export, Add to Render Queue. Then your render settings
are gonna pop up. We're gonna leave
all the settings alone except for the output. Just click on that blue link and then save your video
to wherever you want. And then you hit Render and it'll then I'll render
your animation. Once it's done, it's
going to be wherever you outputted your file to. I'm going to add this
video up next so you can check it out with the
sound and the animation.
8. Setting up in Photoshop: Image Three: All right, the last image
that we're going to prep for this class is going to
be the subway image of the lumen that I want
to have in After Effects is having this subway
just go through the scene. Nothing else is going
to be moving really except for the subway
going through the scene. And we're gonna add
some motion blur to it and some sounds. So it actually seems
like there's actually a subway going through the
scene. It seems like a video. I broke this down into
five different layers. I have the sign. I have this beam that the
subway needs to be behind. I have the actual subway. Then I have the Content
Aware Fill layer that I used to fill up the hole
in the background layer. So if I turn that off and
I turn the subway off, you'll see we have this
hole where the beam was. We're going to break
this down really easily. We're going to create
a long subway. Because if you look
at this Subway, I had to create multiple cart so that it looks like an actual
subway was going through. And I only used one cart and then just duplicated
it over and over again. These are the two
pictures that I used. I used this subway piece
to make the actual subway. And then this background piece. Let's start breaking
this image down. The first thing we're
gonna want to do is this subway sign. We're going to just put that on its own layer in case we want to animate
something later on, Let's get a selection tool
and just drag out a box. Let's hit select and mask and see if that selection
is okay, which it is. Click Okay. And then hit Shift, Command or Control J. And let's name our
layers as we go. So let's just name
this one sign. All right, let's hide that sign layer and
let's fill it in. And we haven't really easy
way to fill this one in. We don't need to use
Content-Aware Fill. We can just take this
portion of this image and duplicate it and
put it over here. So let's grab that layer. Let's rename this background. While we're here. That same selection tool, we're just going to drag
out a box and then hit Command or Control
J to duplicate that area and not take
away the background area. Let's hit Command or Control T. And let's right-click
and let's flip it horizontally and
then click on it, hold down Shift and
then just bring it over until it lines up. The sign is going to be
highly most of this area. Anyways. Let me zoom in a little bit. I am just going to transform it. All right, It looks good there. And let's hide this
scene with a mask. Let's hit the Mask button on the layer that we
just duplicate it. Put the B on our
keyboard to bring up your brush tool
and make sure you opacities downtime it so we can blend the
images together, bring up the size of your
brush and just start taking away part of that
layer to blend it in. Let's zoom out and
see how that looks. All right, and I want to take a little bit more
weight so that we can just see all of
this beam right here. Alright, let's see how it
looks and it looks good. Okay, so let's apply this
mask by right-clicking on the mass and go into
Apply Layer Mask. Then we're gonna take that one that we just copied the layer one layer shift and click on the background
layer and then hit Command or Control E to
merge those layers together. Let's rename this layer
again to background. All right, the next thing we
wanna do is put this beam, the cross beam on its own layer. We're going to use the
square select tool. Make sure you have your add to selection selected instead of
the initial selection one, so that we can select
two different areas. So just drag out a thin box
that might be too thin. Zoom in a tiny bit. Let's drag out a box here. I'm gonna go to Select
Transform selection just to bring this
selection up a tiny bit. Alright, hit Enter. Now we're going to just add to the selection by grabbing
this beam right here. I select it a little bit
too much on this area. So what I'm gonna do is go
to the minuss selection. To take away part of the
selection right here. I'm going to use the
square selection again to just drag out a selection box wherever the
two boxes are intersecting, That's what's going to be
removed from your selection. So at tiny selection that was right here, that's gone now. There's a little
bit more on this side that I want to take away. So we're gonna do the same
thing on the other side. Drag out a selection
and wherever they're intersecting is what's
going to be removed. That was too much. Okay. Now we're gonna put
this on its own layer and remove it from
the background layer. We're going to hit Shift
Command or Control J. Now it's on its own layer. Let's rename that by
double-clicking in naming a beam. And if you remove that, you'll see that our background
layer has a hole in it. Again. We're gonna fill in this
hole by dragging out two boxes like we did
to select the beam. All right, and we're
going to go to edit content aware fill. This doesn't need to be perfect because we're going to have the subway going through the scene that's gonna hide
most of this area anyways. So just hit Okay. And then hit Command or
Control D to de-select. Let's bring back our beam. Let's bring back our sign. Okay, let's go to our background copy and our background layer and we're going to merge those together. Bye, holding down Shift and selecting them and
then Command or Control E. And then we can just remove that copy and just
name it background. Now let's hide our sign layer, our beam layer and
our background layer, and bring back our train layer. What I'm gonna do in the
train layer is I'm going to make a selection and
just keep the car. Then we're gonna
take that portion of the layer and
duplicate it and flip it and merge them together
to make one subway car. It's gonna be really easy
to don't get discouraged. So let's just make a
selection of this subway car. You can use any
selection tool you want. Make sure your subway
layer is selected. And let's hit the Mask button in case we want to
bring some areas back. But I want to take away some
areas like this portion down here and this
little piece right here. I'm going to zoom
in a little bit. I'm going to drag
out a selection box because I only want to remove certain portions of the subway and I don't really want
to make a mistake. So I'm gonna go right here and that's all the stuff
that I want to remove. So let's just go
to our brush tool. Make sure blacks
in the foreground. And we're going to turn the
opacity all the way up. And let's just paint that away. Perfect. De-select. Drew this little curve
right here as well. All right, and then
I'm going to remove this portion right here. And an easy way to do
that is just to click, hold down, Shift, go to the
other end and click again. And you're gonna
have a straight line except that mine was hard. I'm going to reduce the
hardness of my brush. I'm sorry. I'm going to increase
the hardness of my brush so it's not feathered. Click, hold down,
shift, click again, and keep doing it until you have the amount of area
remove that you want. Another way you can do it is by just doing what we
did before with the selection box and then hitting B on the
keyboard and removing that. All right, so I
forgot that we needed to add some doors to the subway because the Subway
does not have any doors. I found this image on pixabay.com and all I'm going to use for this really
is the Windows. So I'm gonna hide this real
quick and I'm gonna make a door out of the subway
that we already have here. So I'm just going to drag out a selection of an
area right here, Command or Control J on the
keyboard to copy that area, transform it, and then we're
gonna bring it over here. Alright, let's move it up a tiny bit so
everything lines up. All right, that's good enough. Now we're gonna hide that really quick and we're gonna
select this area. I'm gonna use my Quick
Selection Tool just to go around this right here. And I'm going to deselect these corners really quick
by holding down Option. Actually I'm gonna go
to this square tool, the subtraction porch, and just de-select
this right here. And de-select this area too, because I want that seem to stay small area
right here as well. All right. Well, Jews selection
that fits that doorway. I definitely want this
portion in there. Go to that layer
that we just created the extra door and then
hit a mask on that. And you see it kind
of fits in there, but we're gonna make
it better to worry. So hit your brush tool. It'd be on your keyboard
or select the brush tool, make sure blacks
in the foreground. And we're just going to go
around the edge and de-select. The rim. Might be easier if your brush is
a little bit harder. And then just click, hold down, Shift, go down in
a straight line. The same thing on
the other side. Draw around that curve. Now we're just going to
add some windows to it. This doesn't need to be perfect. Remember, because this train
is going moving really fast and you're not gonna be able
to see tiny little details. We're going to go back to this new layer
with a door on it. And let's just
select these doors right now for right now, and we'll mask out everything
else that we don't want. So let's just drag
a selection box. Hit the Mask button. Then let's zoom in a little bit. Then. Easy way to do this is just draw
out a selection box. Hit B on your keyboard. Remove the area. De-select that area, draw out another selection box to
line up next to that window. Hit V on your keyboard, remove some area, De-select, draw out another selection
box and do this until you have the area all the way
around the windows removed. And then we'll bring that
black line back in afterwards. I think that's good
enough for right now. All right, The last
thing I want to do is size these windows
down a little bit. Move them over. So right there maybe. I'm going to grab
that black line by hitting a selection tool, hitting Command or Control T and moving that back where it was. Maybe sizing it up a tiny bit, hit Enter, and then hit
Command or Control D. Now I'm going to
move the insides of these windows really
quick as well. So hit B on your keyboard, make sure black is
in the foreground. And make sure you
opacity is at 100. Easy way to do this is just to click on a corner, hold down, shift, click on another corner, and just keep going around
until it's all done. We're gonna have to
do the same thing with the other layer. Don't worry, I know it
looks weird right now. And do the same thing with
the other window as well. Just going around until you remove all of that
inside of the window. Go down to the layer
that has the door on it, then click on that mask. And then we're going to
do the same exact thing that we did with
the other window. Click hold down Shift. And you'll see that we have the original layer
coming back through. And do the other window. Whoops. Let's apply these
maths really quick. Hit apply. Apply. Alright. I'm gonna take that
black line, select it. I'm gonna hit Shift
Command or Control J to put it on its own layer. And then I'm gonna change
the blend mode of it. So it blends in a
little bit on the door. Got to scroll through and
see which one works best. I think pin light works best. Now I'm going to take
all the subway layers, the actual subway layer, the doors, the windows,
and that black line. And I'm going to merge
them all together. So let's select that Subway hold down shift and
select the top layer, hit Command or Control E. And now you can see that
Subway is on one layer. Now we're going to take this
one cart and we're going to duplicate it
and then flip it. Let's reduce the size
of it really quickly. We can see what we're doing. Move it over, hit Enter it Command J to duplicate
it. Command or Control T. And then we're gonna
right-click on it and flip horizontally. Click on it with your
left mouse button, hold down shift
and move it over. We don't want to move
it all the way over. We're going to blend
these two together. Say right about there is fine. Hit Enter. Now on that copy
that we just made, add a mass to that. Hit B on your keyboard
to bring up your brush. Let's lower down the opacity so we can blend these
two images together. Make sure your
hardness is all the way down to the brushes soft, increase the size of your brush. Zoom in and then just painting
away part of that Subway. Until it starts to blend
and looked like one carb. That's it. Let's apply this mask really
quickly by right-clicking, Apply Layer Mask, hit Command or Control E to blend those two subway
layers together. Now we have one subway car. Hit Enter. Let's get rid of this number in American flag that is backwards. That's very simple as well. We're going to use
Content-Aware Fill. Let's make a selection, just use a box, and then go
to Edit Content-Aware Fill. And that's how it's gonna look
and it looks pretty good. I'm going to have this output to the current layer
and then hit Okay, hit Command or Control D. And it looks like it was
never there. Let's zoom out. Now the next thing we
want to do is we want to duplicate this subway card
so we have multiple cars. Let's just make it a
little bit smaller. Let's zoom out some more
and put it right there. Go to your layer panel, hit Command J, Command T, hold down your left mouse
button and shift and drag that layer to the other
end of the cart, makes sure that the
cars are touching and there's no gaps
in the middle. Just hit Enter. Let's zoom back out. We're going to merge
these two layers again by shift clicking or control clicking and then
Command or Control E. Let's reduce the size of this a little bit so we
can see what we're doing. And then we're just going
to make about six cars. Let's hit Command J. Sorry. Let's hit Command J, Command T, hold down shift
and click and bring it over. Make sure the
touching hit Enter. Let's go back to
our layer panel. Take those two subway layers, select them Command or
Control E to merge and then Command or Control J
to duplicate one more time. Command or Control T
one more time Shift. And left-click and we're going to move that
over to the other end. Alright, and the last
time we are going to merge these layers again by selecting them hitting
Command or Control E and not be hit Command or Control
T. And move this layer, you'll see that we
have one long Subway. Alright, let's hit
Enter and let's bring back all of our background
layer is our background, our beam and our sign. Now we need to put
our subway layer in-between our beam and
our background layer. And let's also
change the name of that Subway layer to Subway. Try that one more time. Now we have our subway
back in this scene. Let's size it up by
hitting Command or Control T and
putting it in place. And you'll see that the
subway is behind the beam. Let's move it over so that we see the
beginning of the subway. The last thing that we're
gonna do before we jump into, After Effects is
fixed the color of the subway because
it just doesn't fit into the dark background. A really easy way to do
this is to use match color. That, to do that,
let's make sure our subway layer is selected. Go to image, go to
adjustments and match color. This is a really
quick and easy way to match two images together. So our source image, it's going to be the image, the product that
we're working on, and then our layer, it's going to be the background. And you'll see it automatically adjust the color of it for us. You can adjust this by moving these sliders if it's
too light or too dark. The hue is too much. I think the way it was as good. That's the before,
that's the after. And then just click Okay. All right, so you're
gonna have four layers, your background layer,
your subway car, your beam, and your sign. We're gonna save this
project as a Photoshop file. And then in the next video we're going to jump
into After Effects and animate the subway with some
motion blur and some sound.
9. Animating in After Effects: Image Three: All right, I've
jumped into After Effects and I've imported by subway layers from Photoshop. And I also found the
noise of a subway. I think I found it
on pixabay.com. It's a free download if you want to go over there
and download it, I will also provide
it in the project and resource section
of this course. So let's start off by dragging our precomp into the scene. Let's double-click
on that pre-comp and you'll see we have our sign. We have our beams are
subway and our background. The first thing we
want to do like we did in the previous lesson is turned our layers into 3D layers by
clicking the little cube. Then we're going to add
a camera to the scene, going to Layer New, add camera. 50 millimeter is fine for
this animation as well. So click Okay, and let's
drag that one up top. And I'm also going
to enable the view. So I have two views
instead of one. And I'm going to make
my right view had left. So what I see on the left is what's going to
be seeing through the camera. On the right is how I'm
going to set up my scene. The first thing I want
to do is drag out my background layer just to
give my scene a little depth. Let's toggle down on the arrow, gets some Transform
tools go in and drag it back on the
z-axis a little bit. We're going to need to
scale it up some as well. All right. Let's take the subway card
and scale it up a tiny bit. Let me go back to one
view really quick. See the simple way. That's good. And then
I'm also going to move the position over until
that is out of the scene. Now the beam, we
are going to move forward in our scene because we want it to be a little
bit closer to us. Let's grab that beam layer
and move it on the z-axis. I'm sorry, moving into the wrong way towards
us on the z-axis. So it's moving
towards the camera. Alright, let's move that
sign towards us as well. Just tiny bit. The first thing that
we're gonna do is we're going to
animate our Subway. So let's toggle open the
transform properties. Let's start at the
beginning of our play head. Just a few frames in, maybe five frames in. Let's click the stopwatch next to position to
create a keyframe. Let's go forward. Let's save out 1
second, 5 frames in. And then we're
just going to drag that Subway all the way out. Once you have it all
the way through, you'll see that new keyframe
is already been made. So let's go back to the
beginning of the play head and hit the space bar. That's really fast. To make this a
little bit slower, we're just going to
take that N key frame and drag it out. Let's try two seconds. See how fast that is. Alright, let's take
this animation and let's make it
about five seconds. Right-click and then
trim comp to work area. And let's see how this looks. It's still a little bit too fat, so we're going to drag this out. Let's say to three seconds. That looks better. You can
move this as slow as there, as fast as you want. Just move your keyframes around until you get
something that you like. One thing we do need to
do for the subway layer before we move on is we
want to enable motion blur. As you can see, everything is really crisp and it goes by, when a subway goes
by really fast, you're not seeing
much of detail. Let's enable the motion
blur by going to our little box right
here next to the cube. It's the three little
circles next to each other. Enable that on your subway layer and you'll see the
difference right away. So this is width, the motion blur,
this is without. Okay, so we're gonna
have that enabled. Let's go back to
the beginning of our playhead and we'll
see how it looks now. Needs to render out. All right, we're already
starting to look better. Let's move on from our subway. Let's animate our
camera to be going out. So let's open up the
position on it really quick. And let's go to the two views so we can
see what we're doing. I want to make it so it starts closer to the subway
and then moves out a little bit as a
subway is coming. So maybe right about here, we're going to move the
camera closer to our scene. Just move it on the z-axis, so it goes closer to the scene. And that's where
we're gonna start. Hit your position stopwatch
to create a keyframe. Let's go forward to, let's say two seconds
and let's drag it back. Right there is good. Okay, and let's go back to the
beginning of our playhead. Can see how that looks. I wanted to a little bit faster, so I'm going to drag
that keyframe forward. All right, I think
that looks fine. The next thing we're gonna
do first is we're going to add a little bit of movement. So when the subway goes by, the camera shakes a little bit. Let's go back to one view. So go to View, Switch
Layout, go to one. Let's zoom in on
here a little bit. So I'm gonna add a little
wiggle to my camera. And to do that, we're going
to add an adjustment layer. So let's go to Layer new. And then we're going to
go to Adjustment layer. And we're going to add an effect to the adjustment layer with your adjustment layer selected type in wiggle in your presets. And we're gonna look
for a wiggle position. And let's just drag that over
to our adjustment layer. We're going to animate this
effect as well so that it's only shaking when the subway
car is going through. So let's scrub through our timeline to see when the
subway is about to enter, which is right about here. Set our wiggle to 0. We will amount to 0. Then let's keyframe those
both things right here. Then we're going to scrub
forward until all of the subways out of
the scene right here. And we're going to copy those two key frames that we
just made by selecting them. Command or Control C Command or Control V to paste them
in the place that we are. Now we're going to
go to the middle. We're going to increase
the wiggle per second. This is something
that we're just going to have to play around with. Let's just see how that did. Think. That's gonna be
a little bit too much. Yeah, that's a
little bit too much. So we are going to go back
to those middle keyframes. Let's just lower them
down a little bit. Let's just say the
speed is eight. Let's try ten for the amount. Actually, let's do a
little bit smaller. Let's do seven. Let's go through this again. All right, and I think
that looks good. Now that we have that
done, the last thing we need to do is just add
some sound to this. And I found this sound of
a subway on pixabay.com. I'm going to open
up the audio of it. Open up a waveform so I can
see where it's coming in. And it's getting
louder about here. But my Subway is entering here. I'm gonna take this
and drag this over. That's too early, so we're going to drag it out some more. And I'm also going to play with the volume
and animate the audio. So let's click the stopwatch
and bring it over to here. And then when it's
out of the scene, we want it to be really low. So let's hit the Spacebar. It's just rendering right now. Alright, and this is where it's starting to leave the scene. So this is where we
need to start fading the audio out right about here
when it's about to leave, we're going to make a keyframe. And then when it's gone
a little bit after, we're going to drag
that audio down again until it's
pretty much gone. Let's try this one more time. It leaves a little bit too fast. So let's drag this
last keyframe out. Still too fast. I'm going to bring
the audio up here. Make a new keyframe. Alright, and that's how you take a few photos and break them down to create an
animation using 2D images. To render this out, we're going to go to file, go to export, Add
to Render Queue. Change your output to
wherever you want it to be. Safe to just render it out. And this is what we
just rendered out and made from 2D images.
10. Thank You!: Alright, that's the
end of the course. Those are just a couple of
things that you can do, breaking down
images in Photoshop and then moving over to
After Effects to animate them and make sure you
post your project in the project and
resources section so I can check out
what you made. I want to thank you very
much for taking the course. If you have time,
I would love it. If you can go over to the review section
and review course, I would love to
hear your feedback. Hope you had a good time in
the class and thanks again.
Elizabeth Ann, Digital Artist
