Enter your Sign on user name and password.

Forgot password?
  • Follow us on:

What do cowgirls, Wolverine, and space aliens all have in common? They are all a part of Professor Mark Teague’s exciting and hands-on Introduction to Adobe After Effects CS5 course. After Effects is a digital motion graphics and compositing software that is used in the post-production process of film making and television production. In this introductory course you will learn how to work with the interface, the basics of creating effects, and how to construct animations. Having worked with Disney, Marvel, Universal, and on a variety of feature films, Professor Teague knows what it takes to advance in the field of graphic design. A true fan-boy at heart with 10+ years in the industry, he infuses his love of design with step-by-step examples in order to show you how to get the most out of Adobe After Effects CS5. Professor Teague is also an instructor at the famed Video Symphony School of Media Production in Burbank, CA. Downloadable files and footage allow you to work step by step with Professor Teague in the lessons.

Loading video...
expand all   collapse all

Hi, welcome to your first lesson with After Effects at educator.com. What is After Effects?0000

Well, After Effects is a compositing program used for all sorts of digital media.0006

It has endless possibilities. It is better if I just show you.0015

Let us shim over here to QuickTime. I will just let this play.0018

These are I would say 99 percent of the elements you will see before you were created in After Effects. Let us take a look.0023

So, you can animate pretty much anything in After Effects. 0034

You can create titles, you can composite, you can remove green screen, animation. It is pretty endless I must say.0037

Whether it is corporate videos, your own movies other than graphics packages, different TV shows, movie titles. It is pretty endless.0052

Let me show you some of the green screening. 0067

Here are some stuff over the years and I will make this all bigger. So, it is a fun program.0071

So, the main trick with After Effects is that you want to give yourself a reasonable learning curve.0088

It is almost like getting into the cockpit of a 747 saying wow, how do I fly this thing?0099

So, give yourself some time to learn the program. It is basically similar to Photoshop with wings. 0104

So, let me open up the program.0110

And usually when you first open the program, I will give you a quick little tour here. 0114

You get this window here and I need you to leave the tool tips checked. 0118

It is always good to kind of see the latest tool tips and tricks and things.0124

You can then launch the project. I have a premade project here called Six Gun Sally.0129

Let us kind of go to trough the project real quick. So, After Effects is made of different components.0135

We have our project window here. 0141

Here is our stage more or less and similar, like I said, to Photoshop here are the layers.0145

And each layer is similar to an editing program mixed with Photoshop.0152

Basically that is After Effects. 0160

Each one of these layers represents an actor, so to speak.0161

So, you have your timeline here. 0168

Why do not we do this. Why do not we do a RAM preview of this piece here.0171

The green bar is indicating that is actually rendering all the files. So we can watch this as a movie. 0176

You can see as it is rendering all this pieces work are different compositions that are built into one master build.0182

We have a little bit of everything. 0192

We have some effects. We have some titles and we are animating elements that handle sound.0193

There is atmosphere. So this is just about to finish.0201

But you can see it is kind of like you can structure your canvas, and all your windows and pallet is how you see fit. Depends on the kind of work you are doing here.0206

Let us turn this volume up so we can hear some gun shots. Six Gun Sally.0215

Let us let that play one more time. So you can get a feel.0225

There you go. So let s stop that. 0240

So, if you kind of scroll through here these are timeline. 0242

Here is our stage. Here is where we are going to be importing all of our files to our project window here. 0247

If you go down here. The first thing that our time indicator hits is this composition here 0252

And some of this is what they call pre-compositions.0262

So, like, if I were to move forward to the Bullet hits here. Play those.0264

If I were to double-click this layer here, called Bullet hits. 0271

I open that up. And this is his own composition.0277

I will do a quick RAM preview. That is rendering there is a little green line there, 0280

So, as you can see as it is rendering there are several lawyers composited in here.0289

Composite, basically means nesting. You are nesting a composition within a composition.0295

There is no sound in this actual composition. But you can see how if I were to kind of break this down. 0302

Turn all this layers off. Similar to Photoshop, here is your eyeball of things here.0309

And we are going to turn on the back layer, which is wood. Our wood wall.0314

And we have our different Bullet hits. 0318

And on each Bullet hit is a third party purchase. You can purchase different effects like premade smoke and fire, water, things like that, explosions.0321

You can see if you break these down. In fact let us turn off all of our actual wall hits here. 0336

And if we turn on all the Bullet hits you can see why they are kind of all lined up here. 0346

You are kind of working backwards sometimes. 0353

So, let me turn these back on.0356

You could see if I were to turn all of this off except the, you can solo different layers.0358

And if I were to play these wall hits you can see they are played separate.0366

You are really just building things getting into the next thing crannies of every part of production.0376

As you can see here. Let me open up this composition here.0383

And should we do a RAM preview there. Let us do a quick break down actually.0387

And we have the wood wall behind there. We have a black solid we are using, we have fire and we have the text that animates in. 0393

When you are animating text we can get into key framing at some point. 0403

Key frames are assigned different values. 0410

As you can see if I open this up we have position, scale, and opacity. Let me zoom out a bit. These are basically key frames. 0416

Move over here. Let me do a RAM preview.0427

So, as you can see, if I to do frame by frame the word Sweet animates in and here is our landing point key frames.0432

If I want to increase leave the time. If I want to animate in slower, the key frames that I have created.0443

I am just basically going to move the key frames back and it slows it down a bit. 0450

Go back to the main build here. 0459

So, you can see there are all kinds of possibilities in After Effects. It is really endless.0461

Let me break this down for you. 0467

We have the logo at the end. The logo is basically a western town.0470

Now, each layer can have effects applied to it.0477

In this case if I remove all the effects I have a town. A western town here.0481

And I would not know what to do and I added Hue/Saturation, Brightness and Contrast and a little bit of a Blur. 0489

I added a gun on top. Now the gun, the Colt 45 has some effects to it as well.0496

Here is the key frame for that. 0501

Here is where we can kind of see it moving in. 0502

It kind of fades in as well. 0507

We have effects like Brightness and Contrast added to that. It is a fun program.0509

Here is some dust blowing to give it some atmosphere. If I take all this off here we can see our dust.0517

A bit dust there in the bottom.0526

So, whether you are a professional filmmaker or beginner or you just like making fun videos on YouTube. After Effects is the way to go.0532

Thank you for watching educator.com. I look forward to see you in our next lesson.0541

Hi, welcome back to educator.com. 0000

This next lesson is on 3D space. 0003

Working in 3D space is very powerful.0006

But with great power comes great responsibility. Meaning there are endless possibilities.0010

You know, once we begin animating in 3D we will learn about cameras, lights, materials. It is very complex. 0017

So, for now we are just going to, basically, move some shapes around in 3D.0025

So, let us prep for 3D.0029

Here we are in After Effects. 0034

So, the first thing you want to do is make sure that you have the right columns showing up on your timeline.0036

So, let us go ahead and let us control click over here. 0042

And we are going to pull up the switches mode.0045

Now, at the end over here, we have this little cube.0049

This is what turns the layer into 3D layer, basically. It enables all the 3D options.0053

So, let us say we open up the transform triangle here and right know we just have position, scale, rotation and opacity.0059

But if we click this cube here what happens? It just adds it the XYZ axes which is nice.0068

So, now we can see the handles are applied.0075

So, that was what we got to do for prepping for 3D.0082

OK, now that we are all prepped up for 3D.0085

Let us talk about the XYZ axes and the 2D and 3D layers and how to blend those together.0089

So, here we are. We have our 3D layer. It has been turned into 3D here. 0095

Now, you can see that the handle is on each element up here.0101

So, you know, the green arrow here you can see that your cursor turns into a little a white thing here.0107

And you have the red arrow here. Our X axes. 0113

And we have the blue arrow. If you grab that it kind of either, pulls in or it chucks it out.0120

You can also navigate with these arrows here on an actual layer just by changing the values of the numbers.0128

You can kind of drag and pull it that way.0137

So, there is lots of options here. It is kind of, changes everything from this point on.0143

For instance, if I just wanted to, basically, move this layer further back. I am going to pull the arrow. 0148

If I push into the arrow it pulls it towards me.0159

And then when you begin setting key frames then you can see the orientation here. 0164

You can turn sideway. So, just for a second play with that a little bit.0168

You can turn this way, that way. It is just an amazing powerful option here.0172

So, once you start using 3D layers it is nice to have more views. So we are going to call this Multiviews.0182

So, in After Effects to access more multiviews.0191

The reason we are going to have multiviews is because once you had a camera, lights and materials.0194

You want to see around your composition. 0201

So, here is what we are going to do. Where it says View 1 we are going to add two views.0205

Now, on the left side here. This view is activated by the arrows that are highlighted in the corners here.0210

So, when this is activated, then we can change this view.0218

Right now is the same as the right side here. 0222

But if we want to change this to another angle, for instance.0226

We can go and just, we can go to Active camera. We can go the left side, the top side.0229

You cannot see anything in here because we do not have an actual camera recruited.0239

I just want to make sure that you know that is easy to play with 3D once you have more views.0242

Here is a custom option here. Let me zoom out a bit.0248

So, you do not have to use the active camera view.0251

So, you can just keep going and going. Two views, four views.0258

And again, this will all make sense once we have our cameras going. 0262

So, that completes our discussion on 3D space.0266

I look forward to see you next time on educator.com.0270

Hi, welcome back to educator.com. 0000

This next lesson is on rendering movies. 0003

When we are in After Effects we want, at some point, to render out of After Effects.0006

So, think of output as rendering out of the program.0012

When we want to render a movie whether it is a movie file, an mpeg, a windows media file.0015

After Effects has the capability to render out to almost any format. 0021

So, let us talk about that. We have a work area in After Effects.0025

Once your movie is already to go and you are happy with what you have got.0032

We are going to render out a movie.0036

So, this area here. If you, kind of, hover over this. 0037

This is your work area. It is the duration of the clip. 0041

So, let us say that we only wanted to render out the first two seconds of the clip.0045

So, let us go to four seconds.0053

We would go to the four second mark and we would hit the letter N for ending or we can go to B for beginning.0056

So, let us say we just want a specific area.0067

Basically, After Effects will only render out this work area here.0069

So, we can move this ourselves manually or we can just, like, hit the letter B.0074

So, let us render out this whole movie at some point.0079

Let us back up here. So, you can see wherever you put your render you can grab the whole thing, like this.0082

So, let us talk about the render queue. 0093

Now, the render queue is where the actual movie goes and that is where it, sort of, sits.0099

And before we start adjusting the render settings. 0106

So to do that, let us say we want to render this whole piece here. Let us back it up.0109

And we can go to be end of the clip and ending the composition by hitting N and we are going to render out.0116

The ending is right about here and we are going to hit the letter N and it is going to render this area here.0123

So, now we are ready. So, let us get this movie, this competition into the render queue.0131

So, we are going to go Add to render queue and what it does is it actually has. 0136

It is a sort of a holding tank before you adjust your settings, your render settings and choose your different codecs and all that stuff.0147

So, let us talk about the render settings.0155

Now, we are in After Effects and we decide OK, let us make this movie.0161

So, here are the different modules here. We have the render settings, lossless.0166

This is where the actual movie will be output to. So, you have to pick your desire folder.0173

So, let us click on these settings.0177

So, what that does? They actually go back here. 0180

If you hold this down you have different presets here.0182

But, what I like to do is actually click on the word Best settings, which prompts into render settings window.0185

And here we can choose the quality, the resolution.0191

Here is where you are going to leave these set best and full. 0196

There is different proxies which will get into later.0200

But, this was good to go. It has the frame rate.0203

But, is really just these two fields are what is most important here.0206

Now, on lossless it prompts this window. These are the output modules.0210

If there is sound. I usually like to start with sound.0216

Lot of people render out a movie and they forget to turn their sound on.0219

So, we can turn our sound on. Check that.0222

Now, we can check the different types of audio you want. I usually leave it on 48.0224

Now, we can check the format options.0233

And now we have, under here, we have for the best.0236

What you want to do it depends on which you are rendering out to. But, for the different codecs.0238

If you want your movie or your animation to be crisp in and at high resolution or whatever. 0243

Let us say you are rendering out to an editor. 0250

You would want to leave it on animation.0252

That will be the highest resolution. 0255

There is also Apple ProRes as you can see in here. We have the H2 616463 mpegs.0256

So, it really depends on what you are rendering to.0267

So, let us leave it at animation for now.0269

You can resize it if you need to here. 0274

You can have the ratio locked or unlocked.0277

Here we will be setting up alpha channels later.0282

Millions of colors plus you might want to be rendering to web-based projects.0286

So, let us click OK there.0295

So, now we are in the render queue. Now we are ready to go.0298

We also need to set where this is going to go to. 0301

Now, here. Check here. 0305

I usually have a folder set up, which we will get into later for all my renders to render too.0311

A lot of time people will render something out and have no idea where it is.0318

Else, you want to make sure you have enough space for that render.0322

Sometimes you will get into animation or big clip and you will be rendering something that is maybe 10 gigs or over. 0325

So, you want to make sure that wherever hard drive you are rendering to it is enough space there.0331

Alright, so let us do our first render.0336

So, what is going to happen here is, this is all set to go.0342

Your settings are set up. We have a destination.0348

Let us call this. Just call this test01, for now.0354

I have it go to the test renders folder that I have already made. 0363

Hit Save and now we are going to do a render. Click render.0366

Now, when it comes to rendering. Depending on the project is when you can take a break.0373

Get some circulation going in the legs. Get a drink of water, a cup of coffee.0380

Because this might not be too long here. You could actually see what it is doing here.0386

This gold bar is moving here. 0391

It can give you a time, elapsed time.0393

It will tell you how much time is left.0396

But I have had renders that actually, we had to render overnight, depending on the project.0399

So, it is almost done here. It is going to be a ring on the bell.0402

And that will mean that your movie is baked in the oven, ready to go.0408

Here we go. There it is.0414

So, now we have our first movie rendered.0419

Let us navigate to that folder. 0422

We have that educator.com. Renders, test render and there it is right there.0426

Let us open it up. There is our movie.0434

So, renders are great when you want to test things out.0453

This is where you are going to get used to doing renders.0457

Sometimes you want to do a low resolution render. You might want to drop the resolution.0459

That is where you can see all your mistakes see how things were timed out.0462

It is the big, sort of, reality check.0467

So, rendering is something that you are going to be constantly doing.0469

Alright, thank you for watching educator.com. I look forward to our next lesson.0475

Hi, welcome back to educator.com. 0000

This next lesson is on settings and preferences.0003

It is good to know your system. 0007

Whether you are on a Mac or a PC it is good to know the type of computer you are using.0009

The type of processor you are using before you set all the preferences in After Effects.0013

So, let us take a tour of the preferences. Jump over to After Effects.0019

So, as you go up here under After Effects.0024

File menu you want to go to, preferences and general.0028

What that does is it pops up your preferences window and we will go through all these but start with general.0032

So, you have levels of undo. I think that is sort of the default setting.0041

You can set it for 10, set it for 50.0046

Basically, you are going to go back.0048

Like in Photoshop, you have multiple levels. 0050

You never know when that comes in handy. 0053

You are want a backtrack.0056

Tool tips I usually leave check and you have all these different preferences here.0058

Most of these are the default preferences.0066

Under previews I leave OpenGL on. 0068

Again, this depends on your type of computer here0074

Audio preview, I have it for 30 seconds display. 0077

We have import. Like, for instance, if you are importing a still of our work or a photograph.0086

You can set the length that each one will import to, the default setting, output settings, and grids. 0096

You can change the color of your grids.0105

I usually leave a lot of this stuff on the default settings.0107

Labels could change these colors if you would like. But, again, I leave this set to default.0110

This is where you can select your folder if you are cash to export to Peter previews. 0117

If you have a second monitor, you can set that up here.0123

Appearance. Basically here if you want your interface to be lighter or darker.0129

Default settings are right about there.0137

Autosave. I am compulsive saver, so I do not usually check autosave but you can.0140

Memory and processing. Again that depends on your type of computer.0147

Audio hardware. You can set your references here.0152

Whether you might have an m-audio system or some type of external audio device.0158

You can set up here automatically with your speakers.0163

So, the other thing we got here is very helpful as the help menu.0172

In After Effects this is pretty helpful here, the help menu.0176

If you really want to some specific questions answered you just type in your computer, your question and it is all there.0181

So, that concludes this lesson.0190

Thank for watching educator.com. I look forward to our next lesson.0193

Hi, welcome back to educator.com. Next lesson is on organization.0000

So, everything is about the folder structure. 0008

You have to think of After Effects as when you start creating animations or movies.0010

When it is referencing from something it needs to reference from like a home base.0016

So, once you start bringing in the files, you want to, sort of, keep them in there.0020

Because, if you move a file it needs to be relinked and After Effects is like hey, where to go?0026

So, let me show you a quick example here.0031

For instance, here is a screen capture of a folder and we will get into the actual folder.0033

But, you can kind of see like here is the project we have been working on here. 0041

And then within that folder there is the actual projects, elements client renders and it, kind of, breaks down.0045

So, the actual folder itself here. Turn this off.0052

If we go to our Finder we have within this project here.0061

So, here is actual break down here.0072

Here is our main folder and in that folder we have. 0076

One would be our After Effects projects and here is the project we are working on here.0081

Two would be are elements and in our elements folder we would have our art, basically our work, JPEGs.0088

Anything that is referencing can be considered as our work.0097

An audio, audio projects. And in video we have, pre rendered movies.0102

So, three is important because you never know where the client.0110

When you have to reference something they might send reference, they might send you sketches or sample.0113

Of course, there is going to be revisions.0120

And four is your overall renders and then I make another folder in there called Test renders.0125

So, that is kind of the way I keep things organized there.0132

The more you practice that, the easier project will flow. I guarantee you.0137

So, thank you for watching educator.com. I will see you on next lesson.0142

Hi, welcome back to educator.com. This next lesson is on creating a composition.0000

First thing we want to do is check out the composition settings.0006

So, let us jump over to After Effects.0009

Before we actually get started in building a composition we need to check the settings.0010

So, if we make a new comp up here we are going to go to composition, new composition.0016

And here is our prompt window and we can name it. 0023

We can check out the different presets.0027

We can set the dimensions here. The pixel aspect ratio is in here.0031

And we can set the frame rate, the resolution and the duration.0038

You can also set the color of the background. 0043

Some people like to leave it black or white as a default.0047

You might want to leave a specific color. 0051

You can go in here and check your code of background.0052

For instance, if I were to make it green, red scale through the color picker.0056

So, that is your comp settings.0062

We also want to talk about element preparation. 0067

That just basically means the artwork. 0071

The pipeline between any Adobe products, for instance.0074

Whether it is Illustrator or Photoshop.0079

You want to make sure that the artwork in those layers are prepped before you bring it in After Effects.0081

So, real quickie let us open up one of these Photoshop files for this project.0088

Here is one here. Here are the bullet holes.0097

Now, these are going to pop up. 0100

They are going to import into the After Effects the same way they are prepared.0102

So, here we have three layers, you know, bullet hit one, two and three. 0106

So, for instance, if I wanted to alter this or clean this up or change the color.0114

I can do that here in Photoshop and they are going to import this way into After Effects.0120

Let me open another one here. We, kind of, examine on this.0127

Here we have a logo. A Six gun Sally logo. 0131

We have the six, the gun, a little bar thing here and Sally. 0136

So, this are all have been prepared for After Effects.0142

Let me close that. 0149

OK, now that we have talked about prepping files for After Effects. 0153

Let us try to import files. Jump over to After Effects.0158

So, we have a blank After Effects project now.0162

What we are going to do is we are going to file, import, where we can hit Command-I.0166

And it prompts your window and we are going to navigate to where we keep the artwork. So, in this case elements, art. 0173

Let us bring in the bullet holes file.0180

So, it is going to give you some options here too.0185

I usually leave this checked here except for files.0188

And we are going to import this document as a set of footage in actual composition.0192

What that means is going to import the Photoshop document as a composition ready to go, all layered, which you will see in a second here. 0198

So, we hit open. Go back to the composition.0205

We click open. Let us keep this the same and here we go. 0209

There it is in your project folder.0217

Now, if we double-click bullet holes, there it is. 0219

It is exactly the way we had in Photoshop.0226

You think why does it have a black background? 0228

That is just because these are on actual alpha channels and we have black selected as our color.0230

If I click this button here for the transparency grid. Similar to Photoshop, it shows the transparency background.0236

If I want to change the color.0244

We can go to Command-K for our comp settings. This is our comp settings window again. 0248

We can change that to white and there we go. Look just like the Photoshop document.0254

Let me change this to half resolution for now. 0261

So, you can see, it kind of imported everything just the way we had it in Photoshop.0265

If I open this up, it shows the actual layers. 0268

Let me pull this open a little more here.0274

And we can pull windows here to see the name.0277

And there is bullet hole one, two or three.0279

Let us import something again. 0287

This time I am going to hit Command-I.0289

And let us bring in the SGS Six gun Sally logo layers. Click on this here.0292

And what will bring in is a composition again.0301

Let us check composition retain layer sizes just so I can show you this way of importing. 0304

Click OK. So, I am going to double-click.0310

So, what it does, you can see it imports the folder where the layers are kept. 0315

And then we have the actual composition that it makes for you.0320

So, we can double-click this layer and it pops open.0324

The Six gun Sally logo there. And there is the six, the gun, the bar and the Sally.0329

Again, if we just want to see this but with a different color we are going to hit Command-K.0337

We can change the color if need be. There we go.0345

So, this kind of gives you an idea of how we import files into After Effects.0352

So, we covered importing. 0362

Now, relinking files is kind of tricky.0364

What that basically means is that there are times when a file is moved out of its source folder.0370

And After Effects is OMG, where is that file?0380

And what will happen is. Let me show you an example.0384

If I were to go to the source folder where we keep these files.0388

I will go into elements, art, bullet holes.0394

And I am going to move this Photoshop document out of its source folder here.0400

Let us say I move it over here, into this folder here.0406

Now, if I go back in the After Effects.0412

And let us say I go to save it, for instance. I will just give this a name like test.0420

It is already saying Hey there are three files missing. Where are they?0429

So, if I were to actually close this project and then reopen it again. 0436

I have got recent projects here. There is my bullet holes.0445

You get our little color grid here and it is saying we do not know where the files are.0453

So, what we are going to do here to relink the footage is.0459

We are going to go into the project folder here and we are going to control click and go to reload footage. 0462

Now, nothing happens. It is basically saying we do not know where it is at, still.0476

So, we are going to go to replace footage and we are going to navigate to that folder.0479

Now, the folder is still left loosely in this elements folder.0496

So, let us hit cancel and let us, temporally, jump over to our finder menu.0501

And let us put this back into the folder that belongs in, Bullet hole. Leave it there.0507

Now, we can go and relink the footage.0515

So, we are going to go to replace folder, replace footage and we are going to navigate through art, bullet holes and click open.0519

So, you get the window that says previous missing items have been found. 0531

So, we are relinked. It just needs to reconnect to that path.0537

Now, another thing you can do too is if you pull this window open here you can see the path here. 0540

It will show you the file path and where these are kept. Pretty much with anything here.0549

I go here. Open it up more here.0554

That will show you the exact path. A little trick there.0559

So, that is kind of how you relink footage. 0566

Do not panic when it happens. 0568

That is why, again, it is good to leave the files in your source folders. 0570

You create the folders. They stay there.0574

And later on we will teach you how to recollect the resource folders when you are going to another project or another computer.0577

Alright, so, pre-compose is similar to Photoshop.0588

Pre-composing you are going to use a lot in After Effects.0596

So, I will give you a quick little demonstration before we get any further into After Effects training.0600

Pre-compose is like merging layers in Photoshop.0608

Now, when you have several layers in Photoshop you are committed to the look of it or your grouping layers.0612

You know, Command-G in Photoshop.0618

Let us say you have 10 layers. But you do not want to delete them so you group them.0620

Same thing in After Effects only we call it pre-composing.0625

So, then we open up the other project we are working on here.0628

And let us say we are in our main comp here.0640

So, I am going to open up one of these layers here.0649

So, these are all pre-composited layers here.0653

Each one of these if I double-click, like in here, Bullet hits.0659

You know, we have three bullets plus lot of effects with the bullets. 0663

But, they are all nested in this one composition.0667

So, if I double-click this it opens up this composition called Bullet hits. 0669

And you can see they are all nested. 0675

So, you keep nesting within a comp, within a comp, within a comp.0676

And you will know when to do it because it gets too.0679

Within this composition there are 7 layers.0681

So, if we are going to master composition here. 0686

That would be 7 layers. It will get so overwhelming when you are working.0690

So, it is good to pre-comp things when you need to.0694

Let us go back into these Bullet hits.0698

So, to pre-comp a layer, which we will show you a little quick here.0701

Let us just make up a little composition here.0707

So, I am going to go into elements and let us just make a new composition from scratch here.0715

It is good to have to keep doing this.0725

Let us go 1280 by 720. This is all good here. 0729

Click OK. So, let us throw in these Bullet holes.0737

Now, to bring these layers into the composition, you can either drag them over manually.0745

Or you can Command-/. It pops them in there.0754

Or you can just drag them right down here into the timeline.0762

So, now there are all in there.0768

I am going to shrink these down a bit, real quick.0770

I am going to hit S for scale. So we have three bullet holes.0774

I would like this to all be into one pre-comp.0782

So, basically, we are going to select them all. While they are selected you are going to hit pre-compose.0785

The quick command for that is Shift-Command-C.0792

And it is saying, hey should we keep all these into one composition?0797

I leave this check most of the time. 0803

Move all attributes into new composition and you give it a new name.0805

Here, let us just call it Bullet hits. Let me hit Bullet hits test.0809

And so what happened here is those three layers have now merged into one layer.0820

You can still access those layers individually just by clicking here. And there you go.0825

Alright, well thank you for watching on educator.com. I look forward to our next lesson0833

Hi, welcome back to educator.com. This next lesson is on layers.0000

First thing you have to do is understand layers.0005

The layers in After Effects are very similar to Photoshop.0008

where each layer has a set of properties and values and you can make all the controls and what not in there.0011

So, let us go over to After Effects real quick.0019

So, here we are in the layers, palette here/timeline.0021

It is kind of like having Photoshop combined with an editing program.0025

So you can see here as I click on each layer that highlights the actual bar here which represents layer itself.0030

And you can move it around like in editing program. And all the values are here.0037

Now, depending on what you are working on you can pull up columns or have them show or not show.0042

In the columns menu here you are going to hit control columns.0049

And in this case we have some things turned off and turned on.0053

If I want to turn off the modes, the blending mode it disappears.0057

You kind of save space here. It just depends on the project you are working on.0062

Let us open that back up again, columns, modes. We have our mode showing here.0066

So, you know when you open up a layer. 0072

This is where we are going to be setting all of our key frames once we get to the animation. 0075

Anchor point, position, scale, rotation, opacity.0079

When we add a filter it will show up in here.0082

So, this is, again, this is where are all of our layers. Where all the magic happens. 0086

Where we control things. Making them in the 3D layers, motion blur, blending modes.0089

So, you are going to spend a lot of time in this menu here and, again, you are going to see over to the side.0096

The next is switches and blending modes.0108

Let us jump back to After Effects.0112

So, again, like in Photoshop we can change the different blending modes.0114

I will show you a quick example here.0119

If I open up this pre-comp here. Let me open up my blending modes.0121

As you can see a new composition. Where are all my blending modes?0126

Well, you want to control click columns. Open up the modes and here we have our modes.0129

So, for instance, here is this wall hit. Let me find a bullet holes.0136

So, I will go to this one right here. Layer six is our bullet hole one.0146

And if I want to quickly show you the blending modes here similar to Photoshop. Turn this back on. 0152

So, here is this layer here. So, let us say right now it is set to normal.0162

I want to make a dissolve. I kind of zoom in here. 0168

I will go to full resolution and you could see the changes with each setting, darkened as this.0173

You are going to be in here a quite a bit too.0183

So, you have a lot of control. 0185

Again if you are familiar with Photoshop, you are going to have some fun in After Effects. I guarantee you.0187

Let us put this back on normal.0193

Another layer aspect is the type tool. 0196

Now, the type tool we can do an entire lesson on. But for now, let us just briefly play with the type tool.0202

So, over here, if we go to our titles here and this sequence here. 0209

Let us just double-click that and we get this comp here.0217

Let us see if we can do a quick little RAM preview hitting zero on our keypad.0223

Now, you can see the text coming in here. This text was created within After Effects with the type tool.0228

So, let us just create a new composition, Command-N. Here we have a blank canvas here.0235

Let us turn this to black, Command-K. And let us create some text.0243

So, what we want to do, we have our type tool here. Click that. 0254

And again, it is a lot like Photoshop. You have a text box. 0259

I have my character palette, my paragraph pallet up here on the right side and let us just type in educator.com.0264

Now, you can see, I have to do some resizing here. I can grab this text box here.0280

I think right now is set to -- let us select everything -- to bold. Take off the bold.0287

I have Helvetica medium for now. And what you want to do is you can just hit the enter button which says OK, that is what I want to do.0293

We are going to go back to the move tool here or hit the letter V and we can just move this here.0305

So, here we have some nice text. Let me show you some presets and how to get. You can animate in, animate out.0311

Let us go back to this here. So, you can create as many of this as you would like.0322

You can duplicate this, Command-D and you could go back and pull this below there and you can give this a new name.0325

You have to reactivate it. You have to click the layer or you can just select the type tool and select that, the actual text.0336

Test layer you can back up. Fix our mistake there, click enter. 0349

Now, over here to the right. You still have all your text options here.0357

If I select this again, back to our text tool. Now, we can go over here, we can change the color.0363

If you keep this active here you can actually highlight inside the text, the font menu here.0374

And we can, using the arrow keys, we can toggle between all the different fonts.0381

I am kind of a font addict myself. I can never have enough fonts. 0385

You can change the actual size of your text. You can align everything up, down, bigger or smaller, taller.0389

You have different stroke options here.0408

If I want to turn my stroke line on. I will go to nice white stroke. 0411

I can increase the size of the stroke.0416

I, of course, have bold, italic, capitols. So, it is a pretty powerful tool, I must say.0422

You will definitely be using that quite a bit in the future.0431

So, another aspect of layers. We have solids, creating solids. 0436

We could stay right in this for now.0446

A solid is another thing that is generated within After Effects.0448

So, let us say you want to put a white card on this, for instance.0452

We can go to layer, new and solid. And it is going to create a solid right in the composition.0460

So, it is basically a white card more or less. And there it is.0471

Now, this is like a sheet of paper and you can grab this and move it around.0476

So, it stays that the size of wisdom that comp settings we first created it.0482

But you can still resize the solid anytime you want. 0487

Solids come in handy for all kinds of things. Solid will be your best friend as well.0492

Command-Y is the quick command to create more solids. 0499

You can change the color of the solid. Color this here.0501

You can bring solid in. Zoom back in here. 0507

You can create a solid at any size. Let us say you just want a very small solid for some reason. 0517

Layer, solid and you can change to, you know, 50 pixels by 50 pixels.0525

You are probably thinking what are you doing? What are these for? 0535

You can use the solid for pretty much anything. So, let me delete some of these.0540

before we go to the next thing. So, solid is, like I said, you can use these for covering things up. 0547

There are times where I will get a piece of footage and let us say the footage. You can put this underneath layers.0553

The footage it will just be like a 4 by 3 size and I need more white or black on the sides.0566

You can just create a quick solid and add to the left or right. You can mask things, which will get into next.0571

That is just basically how you create a solid. It will make more sense, I guarantee you.0581

Another aspect of layers are the shape layers. Let us create a shape layer. 0585

So, as you can see we have a blank, empty composition here.0592

Shape layer is nice because they are generated within After Effects.0597

So, we can do here is we can click the lips tool. We can click and drag and here we have the lips.0600

So, if you notice like now we have a shape layer. It automatically creates a layer. 0610

And it just places it here in your composition and we have all these options now. 0615

So, for instance, here is the lips. We still have our transform options here. 0622

But, for now let us just check out this lips, path, stroke, fill, transform.0626

So, what we can do here is we can open this up and you can resize this here.0633

As the stroke options here. 0637

If we want to make the stroke bigger. 0640

If we want to take off the stroke. Go to zero.0643

It is pretty powerful though. We have the fill color. 0647

You can actually change the fill from one color to another, setting key frames.0652

There is all kinds of shapes in here. Play around with it.0658

We have the start tools nice. Move this around here.0662

You can change the color right here in the top menu if you would like.0670

You can always use the top menu, like Photoshop or the actual menu inside the layer itself.0673

So, these are great tools. You are going to use these once in a while or maybe all the time, who knows.0682

Let us jump back over here.0688

So, masks. Masks are something that you will probably need on a regular basis as well.0691

It is similar to like a last linked something out of the scene in Photoshop.0699

Let us create a new composition.0704

So, let us take a layer from our elements over here and let us add this Western town here. Command-/. 0708

I am going to shrink this down a bit so I am going to open up the properties. Here we go.0724

Here is our Western town and let us just add this wood wall in here.0731

Again, you can hit Command-/ to get this into the comp or you can drag it over manually.0739

So, let us say, for the hack of it. We want to have this wood texture in our background instead of the sky.0748

So, let us put this behind our Western town and let us turn this off for now. This wood wall.0754

And so, the mask tool is similar to the pen tool in Photoshop.0763

So, you are going to click this tool here. Here is our pen tool and we are going to create a mask.0771

So, let us just say I want a mask, a really rough, raw mask here.0775

I am going to click on top of my horizon line on the Western town document here and it creates a mask.0779

So, in this case, it is leaving the sky not the town.0791

What it did is here is our Western town layer. If you open this up it is added the mask.0799

If I click invert, it inverts the mask here. Let us even click on our transparency grid there.0805

So, it temporally removes the actual background. You can set key frames later on.0812

So, let us say we want to do it sort of the opposite way where we actually want to. Double-click this.0820

Let me delete this mask. You just click the word mask and you hit delete.0829

Let us say we want to reverse that. Let us say I want to not invert the mask. 0833

I would go like this. I would just start click in my horizon line again, there.0839

So, it works back with that. I do not have to click on invert, in there.0847

Again, I could go back. Now, If I want to turn on my wood wall it shows up in the back there.0850

Now, of course you can go back in with your masking tool and you can perfect your mask, refine it. I like to zoom in quite a bit. 0858

Masks, again, are like your handles in Photoshop. You kind of click and drag.0871

I hold down option and I pull through a few of my handles here.0876

Now, let us say we get the mask nice and perfect, how we want it.0884

You can always move this by hitting command and the actual. That is your point, pull this open.0891

Now, let us say i want to temporarily take a look at this. You can click the visibility button here. 0903

That is nice. Now, let us say I want to make the mask with a little more blur on the edges here.0911

I am going to open up that mask property and I can feather the mask.0921

So I can give it maybe 28. A little much, back it off.0926

You can see it has all these great properties. 0932

You can even drop the opacity, here, of the mask. You can expand the mask. 0934

So, in this case it is getting bigger or I can decrease. I can expand, I can contract, basically.0942

So, masks are a great way to, sort of, subtract or add something to a saying.0951

You will be using masks all the time.0961

Adjustment layers. Adjustment layers just like in Photoshop.0966

Let us go back to that same composition.0971

An adjustment layer is a layer that we create. Go to layers, new, adjustment layer. 0975

So, the filter usually filters. 0981

Depending on what you are doing with your project you can add effects just to that one adjustment layer.0988

So, it does not affect the layers below it.0994

So, in this case, let us say we want to have a little bit overall blur to this town here.0995

We are going to go to effect, blur, and scouting and let us give it a nice tug to the right here.1001

And you can see it is affecting just this adjustment layer. You will even say adjustment layer.1013

You can rename that if you want. So, let us turn this off temporally.1019

So, you can see it is just affecting the adjustment layer. I can open that up.1024

There is my effect and there are all the values there.1027

Now, I still have transformation options here if I wanted to drop the opacity down a bit.1034

Let us put the opacity back up.1047

I can even create as many adjustment layers as I want.1051

Sometimes when I am trying out effects I am not sure if I want them.1055

I will make several adjustment layers. I will make new, adjustment layer.1059

Let us see, if I want to have more contrast. I am going to brightness and contrast.1064

And I will just give it a nice tag here, Brightness. I will even drop the opacity back down on this layer here.1071

Again, I think if you are doing this kind of a thing or experimenting with adjustment layers.1082

You might want to rename them. Rename your layer here, hit return. 1087

This was the blur layer. This was the contrast layer.1096

So, that, it kind of gives you an idea. 1101

Well, again once you start getting these layers built up in here it is hard to keep track of what is what.1105

So it is fun. It is a lot of fun and that is layers.1112

Thanks for watching educator.com. I look forward to seeing you again.1119

Hi, welcome back to educator.com. This next lesson is on intro to animation.0000

The intro to animation is about the bouncing ball. Most traditional animation. 0007

There is always what they call the bouncing ball exercise in intro to animation.0013

And they also tried it in 3D animation as well.0019

We are going to try that today.0021

We are doing this because what happens most of time,0022

in animation or in After Effects a lot of beginners they get very stressed out. 0026

There is a long learning curve when it comes to key framing.0032

And I want to kind of take away the fears of animation.0036

We are just going to kind of have fun with this. 0039

We are going to experiment. You do not have to do it perfect.0040

If you are a perfectionist like me you will want to try to do it perfect.0043

But after years of working in After Effects it is not worth the stress and anxiety of trying to do it exactly.0047

You know, the exact animation has to appear a certain way or exit a certain way.0055

We are just going to have fun with this. You do not have to do it exactly like me.0060

So, let us just jump into After Effects here.0064

So, what I have done is I have created some exercises here in different stages.0066

So, for instance, here is the bouncing ball and it even has a sound effect. 0071

I am going to zoom in a little bit for you here.0078

We can hit Command-plus or minus and resize this for you. So, here we go.0082

You kind of do another RAM preview on that.0092

It is kind of on a loop here.0101

So, we do not have to do it exactly like this. In fact let us get used to animating this way.0102

We are going to pull back in our view here 50 percent most the time.0112

Because we want to see all the information outside of here.0117

When we are key framing the ball, for instance. When I have the ball selected here is the path.0120

So, we are going to do this in different stages.0126

So, for instance here is an actual composition. 0129

I put a sound effect in here. I even marked to the actual key frame here where we actually see the sound effect. 0134

If I open up the sound file...0143

That is where it happens. Let us ignore that for the moment.0147

So, we have something that is kind of set up for us so we can get right into it.0153

So, here is our ball with no animation. 0157

All the properties are empty right now.0163

We have not turned on any of the actual stopwatches for our key framing yet.0166

I just want to like talk you through this and have some fun here.0170

Remember, we do not have to be perfect. We are just playing with key frames here. 0173

So, if I take this ball. We have a little ground playing I created with a solid here.0177

I even put an effect on there, like a gradient.0186

In After Effects they call it gradient like a ramp effect which will get into later.0189

So, we do not have to worry about that now. Let us lock this for now.0194

We have kind of a ground playing to work with. 0197

Let us even lock our sound effect here. 0200

So, we are going to, kind of, just move this around a bit.0204

When I select this ball. Even if i select this layer here it activates our ball layer.0207

So, you can see how we are just going to. Basically, we are going to move it from here to here.0218

And then it is going to move out of the frame.0225

So, for the first stage, we are really going to stain ball comp 1 here. Ball 01.0228

When we get to ball 2 here. It is going to have a basic movement there with just 3 key frames here.0234

So, as you can see I am going to walk it through frame by frame using page down.0244

And it is just going in and out of the frame.0255

So, here is our point of impact here.0259

You can see it is really just. 0263

If I were to turn off the ground playing here...0265

It is just going down to the bottom here.0269

We are just kind of creating the illusion of a bounce here and it is OK. It is a little slow.0271

If we want to speed things up we would just move in our key frames, squeeze them together. It is all faster.0279

Let us not worry about that right now. We are going to undo this hitting Command-Z.0291

If I keep hitting Command-Z it keeps going to my undo's here.0296

So, stage through, we are going to try little, we are going to add more to this. We are going to each stage 1 through 5.0299

You know, 2, we just had basic key frames.0308

Now in stage 3, we are going to add scaling. 0311

We are going to go a little bit of a squash and stretch which is an old 2D traditional animation term.0316

Now, my background is in comic books and traditional animation.0323

When they told me I had to learn After Effects in one of the studios I thought there is no way I am going to learn this.0328

It is like getting into the cockpit of a 747 airplane, not knowing how to fly and saying fly this plane.0332

Well, we are going to learn how to fly. I guarantee you.0338

So, just give yourself a nice long learning curve by yourself on the back once in a while.0340

We are going to take this and stage it.0345

So, if we just learn the ball trick even if you are further along in animation and you are in intermediate, advanced course.0346

Still always go back to the ball. When in doubt just do the ball, the bouncing ball trick.0354

If you can animate a ball doing that, you can animate anything. I guarantee you.0361

So, that is where we are adding. Each level we are adding a new property here. 0364

So, in here we have position and scale.0368

And in stage 4 we are adding a little bit of rotation.0373

See, the ball, kind of, spins out spins in and then we get real fancy. 0378

We have all kinds of key frames going on here.0386

But you can, kind of, see it is not that complicated, you know.0391

So, let us start with stage 1. You basically have a blank canvas, so to speak.0396

So, let us kind of work through this. 0401

So, we are going to, this is kind of the, I have already set up our little render bar here, for about 2 seconds.0403

So, if your bar is not like this, what do not you set that? Why do not you go up to 2 seconds here.0414

You can see this here, in our timeline or over here. You can kind of page 1.0418

Now, if you do not have enough of your timeline here showing. Let us do that.0426

Go to Command-K, comp settings and add more time. 0431

Like I have, you know, 49 seconds here. It could be 50.0437

The reason I do that is because I want to zoom in tight when I am animating.0440

And if your composition is set exactly at 2 seconds. I will show you. 0445

If this was set for 2 seconds then I would get exactly 2 seconds in my timeline, which is fine.0451

But I cannot really squeeze in there like I would like to.0463

Because when we render out the movie eventually I can then just set my render points for the 2 seconds.0466

Even though I have 50 seconds. I am just going to render out 2 seconds of that 50 seconds.0472

So, let us undo that. Let us have our comp go back to the 49 seconds there.0477

So, now I can kind of zoom in here. So, let us get started.0487

So, using plus or minus is really helpful to the kind of zoom in, zoom out of my timeline. Kind of stretch it out.0491

So I am going to stretch it out. 0499

I only need these items showing here source name, stretch, all the values here, switches and modes.0503

So, here is the ball. So, you can kind of see here we have 2 seconds working with. 0515

I am going to hit B for beginning by render frame here. 0521

I render queue and when we go to my 2 second mark and I am going to hit N.0526

Now, if you do not have a number 2 showing here. That is just kind of represents 2 seconds for me.0532

To get that marker up here you are just going to hit. I will delete this marker now. 0536

I will start over here. Delete this marker.0540

And I am going to hit shift 2 and there is a marker.0544

That is just kind of represents 2 seconds for me. 0548

That way I can kind of get an idea of the sort of playground I have to work in here.0550

So, yeah, this amount of space to work with. 0555

So, if you kind of go to your midpoint here. Let us go to 1 second in.0557

And we are going to set key frames here. That gives you an idea.0564

So, if you want to set a half-point there that is fine. You can even set a marker there if you want, in your timeline0570

And you can hit your asterisk symbol and it goes right on the ball layer there which is fine. That is kind of your midpoint.0575

But I do not want to get to technical with this exercise. I want to stay very loose and organic, so to speak.0584

I just want you to see how simple it is to move key frames around. It is just the most basic properties here.0589

So, here is about our midpoint. So, right now let us go back to the home. 0595

I always call the home. Hit the home key or just move your cursor to the beginning of the timeline.0600

Let us get this ball out of here. So, you kind of have to, like previous pre-visualization. 0606

You want to kind of imagine how this is going to go in.0611

We are going to start up here. We are going to bounce here and we are going to go out.0614

So, let us set our key frames. We are just going to turn on our position key frame. 0618

I am going to turn that on here and we are going to move our cursor here.0623

Our timeline indicator or time indicator. I call it the cursor 0635.1 So, we are at the half-point here.0630

I actually set a marker on the sound effect. Let us unlock that where it starts. 0639

A lot of sound effects. They have a little bit of a pre-roll time here.0646

So, let us move this marker here. If we hold down shift, it will snap to the marker.0651

We are going to move stuff around later on. For now let us lock.0657

That is our sound effects. So, we are back to our ball layer. 0661

You are having fun? This should be fun.0666

So, we are going to move our ball right here.0667

And we are going to move our time indicator up to the 2 second mark. 0673

And we are going to move our ball out of frame.0678

Ok? Now, let just play that back. 0682

We are going to hit zero on our numeric keypad to a RAM preview.0685

It kind of has kind of the glided out. 0691

That is because a lot of times After Effects will, by default, set up an audio Bezier key frame. 0692

We are going to take care of that right now.0700

So, here is something you really want to get used to doing. 0703

Now, we only have one value turned on. That is our position key frame.0706

So, you are going to use control a lot.0710

For me, when I am working I like to have my keyboard to the left side over here.0712

And my left hand is almost always on the keyboard.0717

I am always hitting, using my thumb for Command-Option or Control and Shift a lot of the times.0720

So, in this case when we are key framing you want to have your thumb almost always on the keypad holding down the control.0729

So, the reason I said that is because like we have a key frame selected. 0737

The thing is I am working on a scenic monitor and you do not have to work this way.0742

You can have an old computer for that matter and with a mouse. I am using a pen here. 0746

But when I first started in After Effects I had a mouse. 0750

But you are always going to be clicking key frames and it gets very tedious and commerce.0753

And you kind of down here you can have. We just have 3 key frames. 0759

Can you imagine something like this? 0762

Now, a lot of the properties are turned on and you are just seeing all these dots and key frames and things like that.0765

So, when you first start out we are going to keep it simple but you are going to be selecting things a lot. 0770

So, Quick Keys are great. So, we are going to go back to the Control key and we are going to click. 0774

And what happens if you click Control on these key frames you pull up this little menu here.0783

The same menu is up in the file menu up here in effect and animation.0788

So, we want to spend as little time as possible when you are key framing up here because it gets very.0793

You are going to move your hand up here and back down here.0799

Because when you are in the trenches of key frames you want to stay in here.0801

So, using control a lot of the times will get you the same menus.0805

So, you go to key frame assistance are you are going to use the ease in ease out of key frames.0809

If we want to see what the key frame is doing is kind of assessment.0815

If we hit key frame interpolation while holding down the control it pops up this menu here. 0819

And right now this key frame is set for audio Bezier. Let us turn that just too linear.0825

We will be doing this a lot so click OK. Let us check this one here. 0832

I think you can actually click all these at once. That depends. 0838

Here we go key frame interpolation, audio Bezier. There. 0843

Now, what happened is now you can see our path here. Our motion pat was changed.0849

It is going to be a linear path. There is no gliding or curving, so to speak.0854

So, let us do a RAM preview of that.0859

And the ball just goes directly to its impact point and straight out.0866

Now, you are probably thinking what? It is kind of slow.0870

It is slow but we can always speed things up later. 0872

We are just trying to get our positioning correct.0875

So, if I want to speed this up. See the gap of time there? 0878

All we are going to do. Here is our point of impact.0881

This is the spatial interpolation we talked about earlier.0887

So, all we have to do is move key frames now.0890

You are the controller. You control your destiny or universe.0893

So, here is what we are going to do. We are just going to move this in and it goes out faster.0898

Now, you think why is it going slow and it goes out faster?0906

Well, this work backwards and you can move these properties here.0908

And now we are just working with this gap time. But we can go even faster.0914

So, the more you move the key frames, whether you move them. 0920

Squeeze them in goes faster, squeeze them out goes slower.0925

So, watch this let us go even faster. 0930

It is a little fast. It just depends on what you are doing here. 0939

You can decide if you want your ball to go slower or faster.0945

So, obviously, the sound effect is off but if we go back to ball 5 for a second.0950

You can see that our animation it kind of ends around a second over here.0956

Whereas right now when the ball leaves it is around 15. It is less than a second here.0964

So, it just depends on how you want to do this.0971

So, there is no right or wrong way in this. So let us just play a little.0975

I am going to back it up a little bit so you can see what we are doing.0978

Let us go to 2 seconds for now. 0981

But, for now, let us just keep it slow.0986

So, what we are going to do next is we are going to add. We are going to stay in ball one0991

But you can kind of see what we are going to do here in our preview is.0998

We are going to check out the motion path now.1002

So, let us go back to ball 1. We are going to stay in there.1006

Let us understand how these handles work.1009

So, we have our ball selected and here is our path, you know.1013

You can see that we are going to go from left to impact to out.1018

And when you select each one of these just play with these a bit 1022

And if you mess it up it is OK you can hit undo.1025

We are just want to get comfortable with this. 1029

Now, if you are in Photoshop you have used the pen tool or if you are in Illustrator the pen tool.1030

You are using a lot of the Bezier handles and it is the same thing.1035

So, it might be familiar to you to a certain agree if you select a key frame.1040

Right now we are just going in and out. 1044

You can move this here. Let us say move this down a little bit more. 1047

We are going to squash and stretch later on.1051

So, if I were to go to this key frame here. I can change the path of the ball.1054

Let us do a quick RAM preview for a second. 1062

Let us make our ball a little higher.1069

So, you are always going to be moving your canvas around when you are working.1071

I know I am kind of twitchy and fast but that is because we are working all the time.1075

And it is like you are always going to be moving things around.1079

Because we really cannot get too attached to the view of how we see things and fully rendered.1082

And, in fact, I usually work at half resolution. 1087

I say we cannot get too attached because we are always going to be zooming out to see if the path is correct.1090

Like I said I wanted to come right over here. 1095

So I am going to be zooming in and out quite a bit. I use these arrow keys here or keys Command-plus or minus.1098

So, let me put this back here, Command-Z.1108

So I am going to have this up here. 1112

If hold down my spacebar. Look at our little hand tool. 1114

I can move my canvas around. I can also publish down here.1118

You are always going to be fighting for space. I guarantee you.1122

I do not care how big your monitor is. You are going to always fight for space, working space here.1124

So, go back to this layer here. 1130

So I want to make this path look something like this path here.1135

Go back to ball 1. OK, so, let us play this.1142

So, it is basically just going in and out in a linear fashion.1152

So, what we want to do now that you see the difference between linear and Bezier.1157

Let us just turn this back into Bezier key frames for a second and I will show you why.1161

So, you want to select all these key frames, hold down the key frame interpolation here.1167

And we are going to go to linear and then we are going to drop and down to Bezier.1174

Click OK. So, now we have our handles. 1180

Again, it is so much like Photoshop and the pen tool or Illustrator with a pen tool.1184

So, now we are on handles which is great and what these handles do.1190

Let us say we want to have our path kind of bounce in and you grab the handle.1194

And, you know, they are a little touchy so you can pull them out, push them in. I will show you what happens here.1197

So, we have only really altered the first key frame here.1212

So, now what we are going to do is jump over. 1216

We can actually edit the second key frame just by grabbing this handle here.1218

See? It is a little too much. 1230

Your arch it is kind of high. Let us do something like this.1232

Great! OK. Let us try this other one over here. 1239

Now, if you hold down Option or Command you can edit then kind of endless curve thing.1242

Let us not do that now. I just want to give you that option there.1250

So, let us go back over here without holding anything, any buttons down on the side over here.1254

And we are just going to edit this one here. Maybe add this here. See what we have got.1259

So, we can make it more realistic or cartoony. 1268

Let us go down a little more here. We can even bring down our actual ball. Play that.1272

So, if you are with me still you have just animated your first bouncing ball. Congratulations!1288

OK, that is great! So, look what you have done here.1297

We just have three key frames. It is all we have.1300

Look how great it looks. So, what we are going to do next. 1305

Let me just open up ball 2. The same thing here. 1310

So, we are going to keep working within the ball 1 comp.1320

So, in ball 3. I will just show you this here. 1323

All we are going to do is add some scaling.1327

It has a little bit of a squash and stretch.1333

So, I am going to walk you through that frame by frame to give you an idea of what we will be doing here.1334

So, if you page down. Here is our key frame area. 1339

You can see what it is happening. Here is your road map. 1344

Back up. Right here is our point of impact.1348

Now, in this key frame here. Right in the middle it is going to squash down a bit.1351

What we do is we uncheck the scale chain and we are going to scale it down here.1357

And then it is going to scale to this and we are going to go out.1365

So, let us do that real quickly. So, back over to ball 1.1372

So, let us go in the middle of our comp here again and let us turn on scale.1376

So, now we have scale activated. Now, we have position and scale.1382

So, we are going to set a key frame there for now. Go back to the home.1385

Another key frame there and the end of our sequence here.1390

Now the twos there. By the way, now that we have a 2 marker here. If we hit the number 2 it goes right to 2.1394

For instance, if we hit shift 3 for instance or any of the numbers up to zero.1403

If I were to hit 2. 2 will go to the end of the sequence, 3 goes to the middle.1410

It depends on how you set your numbers. 1421

This comes in handy when you are to delete each one. Hit down control, delete this marker. 1422

This comes in handy when you are working on a project and you just do not want to try to find out one area.1427

So, you could set a marker and hit the shift or whatever number you want and just hit that actual number.1432

Good! so, OK. So, we are back to this. 1439

We have position and we have scale. That is pretty powerful right there.1442

So, right now if we hit play it is not doing anything yet. So, let us add some key frames.1446

So, we have our key frame set here. Beginning, middle and end.1454

Now, let us just back up a couple frames hitting page up. 1457

You are always going to be using page up and page down.1462

So, let us just back up 2 frames and let us hit position and scale.1465

And let us go ahead two frames from the midpoint. 1, 2 and 2 more key frames, there. 1472

So, here is our point of impact. Let us go to the middle here. 1482.3 Let us even zoom in more hitting plus here.1480

So, here because this is our point of impact let us squash this thing. 1486

Now, let us uncheck our scale button there. 1491

The reason we do that is because if we leave it checked and try to scale the ball it will do it but it is nice to uncheck it.1496

Because then you can kind of see we are scaling the width and this way or we can scale the height.1503

So, in this case let us squash this down here. Again we can make this more cartoony. 1515

You do not have to have yours exactly like mine. We are just playing in here.1523

So, right now we have just squashed it. So let us just play this. 1527

I like to play things back over and over almost like in animator where you are just flipping pages on a flip book.1532

You just want to stay in that little pocket and play it back and forth to see if you got right.1538

So, play it back. Not bad. 1543

In fact I like it, it is very simple.1549

I see some bounce there. So, good! Alright.1552

You are still with me? You are having fun? Is not this fun?1558

You have made a ball come to life, you know. 1560

So, the next stage will definitely be turning on to rotation.1563

I will show you this little preview of the ball for exercise.1567

See? Just that little rotation makes a difference.1574

So, let us go back to our comp here and let us turn on zoom out a bit.1576

Actually, in this case, let us zoom in.1584

So, let us add rotation. Let me turn that on and let us move this. 1586

See that? Key frame was added right where I turned it on.1593

Do not panic. Just move this key frame over or just hit Command-Z and turn it off.1596

So, let us go to the home key. Now, we are home let us turn on rotation.1603

And let us go to the midpoint. Set a key frame here.1609

And let us go to the end here and set a key frame there.1615

In fact, while we are at it why do not we add the other key frames in those positions too?1621

Let us turn on scale and set a key frame over here for rotation.1625

You know what? Let us leave that blank. Let us keep it simple.1633

Alright! So, let us play it back again. Get familiar with it.1636

So, let us go to our midpoint here and let us give this a little bit of rotation.1642

I think it is better to start the key frame rotation right about here for now.1648

So, let us just give it a little bit of a turn. 1653

So, you can kind of see that it is turning on the impact which looks kind of strange.1661

And it does not look too bad, actually.1669

So, when you start going page up and page down now you have sort of become an official animator.1676

Because this is what it is all about. Every frame counts.1683

So, here we go. Add a little bit of rotation in there.1687

So, if you want to spin more the rotation let us set more key frames.1690

So, let us set a key frame right before the impact point.1695

Let us give it more of a rotation. So you are going to pull your value here.1700

Let us go to like 95 and see what happens. 1707

I get a lot of travel areas as you can see. Here we go.1710

Now, if we were to set a key frame around here somewhere in the middle right here.1715

We can actually spin that ball more. Let us try that.1721

So, we should probably delete this key frame. That way it gets to spin.1728

So, it is only going to spin to that one point. 1736

So, again, sometimes you try something and you go I do not like that too much.1739

So, you can just delete these key frames. Let us go back again.1744

Let us go to our midpoint and give the ball more revolutions here. See what happens.1750

That is kind of spinning the other way on the way out but that is OK for now.1763

OK, so let us go up here a few key frames and let us spin a little more to the right.1772

Now, another thing you can do too is we can use a rotation tool.1785

I am constantly using the move tool. So I just know if hit the letter V it is like a second nature.1789

W goes to your rotation tool. You can rotate your elements with that same tool here.1795

OK, let us go back to V tool. Move and see what this does. 1805

Not bad. It is kind of spinning in the opposite way but I kind of like it.1810

OK, so in 5 we have a little bit more of an exaggerated cartoony path going on there.1821

So, let us try to do that. In fact, let me walk you through 5 real quick.1835

So, if I just go frame by frame. 1841

There is point of impact. We have a spin.1845

You can kind of see it is stretchy in here. It is almost like a vertical stretch.1852

Then it, kind of, snaps back into its original scale.1857

So, when you are paging through things like this frame by frame. They do not always look right.1861

Do not get too obsessed with that. It is OK.1868

It is really what matters is playing it back. 1871

If it looks good to your eye you are on a right track. If it looks natural. 1874

So, let us go back and try to do that.1880

So, we are back in ball 1 and this is where you just kind of want to go frame to frame.1882

Let us shrink down our timeline a bit. 1890

If you need some more room here you can move your menu bars here.1893

Now, let me see. Walk through here spin, squash, rotating now.1897

So, I am going to, actually, delete this key frame that rotates out. I want to keep rotating the same way.1907

Play that back. Give it more of a spin here. 1914

I can actually while I am actually in this mode here where the ball is off frame, off the screen. I can still rotate that. 1921

So do not get too attached to the actual images. 1931

You can kind of, if you start getting used to see in there are guiding boxes, there are bounding boxes.1934

Things go a little faster so you can turn it here. See what that does. 1940

Very nice! OK, so let us get that cartoony squash effect here.1946

OK, so let us back up. Get back into the pocket here.1953

We are going to go page up, page down, back and forth.1961

So I am going to start creating more key frames. So, I will go here, add another rotation. 1965

Here I want to be a point of impact. I want to really be flat, almost like a pancake.1975

Let us see what that does. 1982

And I am going to go back to my move tool. I am going to rotate this. 1984

So I am toggling back and forth between V and W. 1994

You are going to do that a lot. 1997

OK, grab that here. Let us see what that does. 1999

Play it back. It is getting there.2004

OK, so now, when it exits I want that sort of stretched out look.2008

So, what I do is. If I like the way it looks here at this point I will just set some key frames.2016

That way it just kind of holds that view or that motion, that path, that scale. 2021

All the values are right there. So, they are going to stay that way.2030

It is going to go to that at the midpoint here of the path.2033

So, I am going to back up a little bit. Now, I can just exaggerate this. 2036

Like right here I want to be that Bugs Bunny wacky stretch effect here.2039

So I will just play it back. Nice! Now, it snaps into place.2047

It looks kind of funky right here, for a lack of better words.2058

So to fix that. Maybe this should cap either sooner or later. It is hard to tell.2062

I kind of like that too. You just never know.2073

So, I am going to back it off a little bit. 2076

I am going to slow that squash effect down.2081

I want to snap back to its normal. 2084

I could actually see what happens if I pull this to the right more.2087

Not bad. So, keep in mind too, you still have to kind of squash this altogether more. Make it a little faster.2095

So, let us do that now and see what happens.2101

So, we have our 2 second mark here. 2103

Here is the space we have been working. Let us stretch it out a bit.2106

Now, here is our midpoint. So, let us just grab all these key frames.2110

And just carefully drag them over to the left a bit here to speed things up.2117

And we are going to then drag the back and up a bit.2125

Now, let us see what we have so far. 2131

Do not worry about the sound effects right now.2134

Nice! This should still come in sooner, exit sooner.2138

Great! Now, this squash and stretch thing is still a little snappy.2152

So I might want to do that almost all the way out of the frame.2160

So, what happens if we were to delete these key frames?2164

Let us fix our path here. Not bad.2171

So, I still think it should exit a little faster.2178

So, these key frames determine my exit here. 2181

So, all I am doing is just moving this in tighter.2184

Not bad. It is a little snappy and we can even have a little more rotation to this.2193

I use my rotation tool. This looks a little funny with the stretch there.2207

So, why do not we do this? Let us have the stretch come in sooner.2215

Let us go back to its original state sooner. 2225

So, the scale, this key frames over here. 2229

This is really the original scale of the basketball.2234

Ups! Wrong key frame! That happens a lot. I am glad I did that.2241

When you are grabbing a key frame just get in the habit of looking across the row here.2245

And I was in the position key frame thinking I was in the scout key frame.2250

But it is kind of a good idea to look over to the left all the time.2253

So, grab this. Move it in sooner. 2257

There you go. So, you do not have to have all your key frames lined up perfectly.2261

Remember, we are just having fun. Make mistakes, they are good.2266

So, this key frame was lined up with the position key frame and this was lined up with.2270

The rotation, scale and the position were lined up together.2277

They do not have to stay together. You can tweak things, boom to the left, boom to the right.2280

It just depends on the effect you are trying to achieve.2284

So I want just the scaling to come in sooner.2286

So, hit zero. There you go.2291

Alright! You are now an official animator.2297

Thank you for watching educator.com. I look forward to see you in our next lesson.2301

Hi, welcome back to educator.com. 0000

This next lesson is on animation, part one. Basic transformation. 0003

In After Effects we are really just creating the illusion of scaling in, scaling out.0010

Like when you see a scene in a movie where you are zooming in or zooming out. 0017

In After Effects we are not using a 3D camera. You have to do that with scaling.0021

And it is a real basic simple technique. 0028

So, for instance, let us take this clip here of our Six gun Sally character.0031

And let us just do a quick RAM preview of her shooting her gun here.0038

So, I am just going to hit B for begin, N for end. Let us zoom in a bit. 0045

We do not need to show this. Let us hide this, our modes here.0052

So, we are just focusing this one render queue area. 0060

So, we are going to press zero. So, it is kind of fast. 0064

So, let us say that we just wanted to create the illusion of moving in really fast, trucking in, and panning in, zooming in.0072

We are just going to open up our key frames here and we are going to set position, scale.0081

Let us say we want to zoom closer into her face, for instance, or the gun. It is a focal point.0093

Set some key frames here. Now, all we are really going to do is just, sort of, scale in.0100

So, we can grab our scale. Pull it to the right a bit, scale in. 0106

Just try to imagine what the camera would be doing.0116

And we are going to move this down a bit and we are going to hit RAM preview.0119

So, you, kind of, see like we are just kind of creating the illusion of camera moving in.0127

It is real basic technique and you can play with that. 0132

I want to zoom in fast. You can go even tighter here. 0139

You can grab your values here or you can hold down shift to hold, to keep your proportions locked. You can do it this way.0146

So, let us say we want to go even tighter. We are just, kind of, scaling out.0159

In some cases you cannot scale out to far because your image might get pixelated. 0165

So, I think the general rule is around 30 percent. Let us go give it a shot.0169

Sometimes it do kind of move your key frames and tighter.0179

Zoom in and you kind of pull out slowly.0184

So, I just gave you, kind of, the basic idea with basic transformation. 0193

Now, we are just using the position and scale key frames.0196

If we want to add in rotation we can create key frame here. 0200

Go back to your beginning position.0208

We can even do a little bit of a rotate on that if we wanted to. Open this back up.0210

I think I have mentioned before, if you hold on P or you are on the layer you just get position or scale or rotation.0217

So, position key frames are for rotation key frames and as for scale.0226

You can also hold down shift R. So, you just want those two values to show up.0233

Keep pulling on shift. You get all 3.0239

So, let us add another key frame here. Let us rotate this actually.0242

Turn it here. We have to move this up a bit.0251

We are going to have toggling between my move tool and my rotation tool VWVW. So let us play that.0256

So, as you can see it is just a basic way to zoom in or zoom out of an image.0268

We use this, a lot in text, shapes. It is very basic.0273

Until we get to the 3D cameras this works pretty well.0278

OK, thank you for watching educator.com. I look forward to our next lesson.0281

Welcome back to educator.com. This next lesson is on animation, part two.0000

Let us prepare the artwork. 0006

Basically the more you prepare your artwork in Photoshop, for instance, or Illustrator or any other program.0008

that is going to import into After Effects the better.0015

So, let us just quickly check our elements here.0019

In this case let us open up our bullet holes. 0023

We are going to have the Six gun Sally shoot her gun at this wall in the comp here.0033

So, in this Photoshop document all it really is it is just 3 bullet holes.0035

And I believe it is the same bullet hole repeated 3 times. You, know, 3 layers, not a big deal.0040

If you do want to make a tweaks and stuff you can do that now.0047

let us say I want it to maybe darken in certain areas before I bring it in.0050

you, know, use the burn tool here. I do not know, it is just depends on what you are doing.0056

So, this is basically what it looks like. So, let us close this.0061

We do not need to save that. Let us jump into After Effects.0065

So, let me show you the quick preview here. 0070

So, here is what we are going to be doing.0074

let us get some sound going. Actually, you know what?0078

I will drag in the sound from the comp I have just made and we will drop it in here. Here we go.0082

OK, we are going to recreate this scene right here.0091

So, I have already made you a comp that has the audio in and I kind of have to save some time here.0096

I have already marked the point of impact for each bullet.0103

So, we have somewhere to go. Kind of work backwards here.0106

So, we are just going to bring in the elements. Let us lock this audio layer.0109

OK, so over here in our project menu we have our project folder here.0114

We have elements and in here let us bring in the start. 0121

Let us work from back to front. That might help.0125

So, to bring in this wood wall and, again, you could drag these over and they usually snap too.0128

I like to hit Command-forward slash. It just pops it right in there.0135

Remember, you can also drag it right into your timeline. Wherever it makes you feel good.0141

Remember, do not stop being fun. We do not have to be perfect in this one either.0146

OK, so you have got a wall. What is next?0149

We would have our bullet hits. So, let us just select all this.0155

Hold down shift, Command-forward and it pop right in there.0161

That got a little big. Why do not we go back to this one here to kind of reference that.0166

OK, here are bullets come in. OK, so they are smaller.0171

What we could do is we can actually shrink these down a little bit at the same time.0174

So, if you hold your S key for scale we are going to pull this over to the left a bit.0181

That it is about right. Again, they do not have to be perfect.0188

So, now we are just positioning our stage basically.0191

So, let us take bullet hole number 3. Move it over here.0194

Click on 2. Move it over here and 1 a little left here.0200

OK. There we go. So, our stage is set.0206

We are going to time all this according to the audio.0209

So, as you can see we brought layers in. usually by default they go to the top here.0213

So, let us move our audio back up to the top. Let us unlock it.0219

And we can move it manually or we could actually hit Command-bracket.0225

Alright and let us lock that. Let us close these layers for now. 0232

So, before we bring in the smoke effect we are going to kind of position this where you want this to go.0238

And we will play it back over and over till we get the timing just right. 0245

So, for now let us just move our layers around.0249

So, here is the third bullet here. We can work from top to bottom or bottom to top.0252

That almost does not matter in this case.0260

So, let us just do a quick little RAM preview.0262

Not bad. Why do not we have it so the first hit is on the left side here.0271

So, that would be this one right here. That would layer bullet hole number 2.0280

So, if you want to organize in that way that is fine.0288

So, let us just drag this down. Bullet hole number 2 will come on the screen first. 0291

And, right about there. Move this back a bit here.0300

we can have bullet hole number 1 in the middle. Let us switch up the order a bit.0305

And 3 on the right. So, let us play this.0312

1, 2, 3. 1, 2, 3.0317

The first bullet here we are hearing is in a previous scene. 0319

So, I do not want to confuse you with that. 0322

Ok, so it looks pretty good. Now, let us make this come to life.0328

So, let me show you this little preview here. Here is our Six gun Sally.0332

There you go. So the smoke is actually.0343

You can buy premade effects. They are basically QuickTime movies.0348

And you can buy premade fire, bullet holes, explosions, muzzle flashes, you name it. 0352

There are all kinds of companies out there. I will even show you the QuickTime movie by itself.0358

It would be tugged into our elements video and in this case there is wall hit 1 and wall hit 2.0368

So, we are basically going to composite that on to the scene. 0380

There is wall hit 1. Here is wall hit 2. 0382

Usually, in a package, when you make the purchase they have got several variation of the same thing.0387

So, you might have 10 different wall hits.0392

OK, so here in our project folder. We have in our video folder wall hit 1 one and wall hit 2.0397

So, for now, let us just pop them in and you can see that they are black.0409

What we have to sort of key that out or like in Photoshop we can use multiplied screen or overlay.0417

We have 2 layers. We are going to duplicate one of these so that we do not have to bring in the third wall hit.0425

OK, so let us move this over to the side. When you are working I like to move over to the right.0434

I will get to you when I need you basically. It is kind of a thing here.0439

So, OK. So, now if you remember in our modes menu here we are going to all of our wall hits.0443

We are going to select. Let me line one up here.0452

Where are going to take one. See the first one and you can see where it hits there.0455

Now, if I go to the mode menu. I am going to go to overlay.0461

Actually, you know, let us go to screen.0469

So, screen basically removes the black and you are just left with the effect.0471

So, here is where we can kind of work backwards. 0477

We are going to want to place this here. We are going to page up and down. 0479

That kind of make sure it is placed right. You might even go a little higher.0484

In this case, we can hit our arrow keys.0487

If you want to get real precise on things I like to use the arrow keys.0490

So, let us go here. Let us just kind of bring our render queue up a bit. 0494

And just get in tight and just play this back for a second.0500

Not bad. Back it up a bit.0505

Great! OK. So, if you have got one. 0512

Now, let us bring in the second wall hit and here is our markers.0516

You can see that they went up to the top again.0521

So, if you want them we can drop these below the audio. 0523

You can grab 2 layers at a time and you can hit Command-bracket up or down. 0526

That moves the layers below the audio layer. Cause we are using the audio layers for our markers here.0530

OK, so we are going to go up here. 0535

If you hold down shift it almost always snaps to any edge.0540

Meaning the edge of a layer it could snap to markers. It is very convenient.0546

OK, so let us line this up. We have got to make sure that we turn this to screen. On this layer.0552

And here is our effect. If you do not see the effect, let me page up a bit. There it is.0561

Now, let us line this up here. Is not this fun?0568

I love bullet. Bam, bam, bam.0573

OK, we have got 2. So, we need one more.0577

Let us just duplicate wall hit number 1 and use that for a third bullet hit.0580

So, to do that, you can go up and hit duplicate. Usually I just hit Command-D and it duplicates that layer.0584

I am going to move it up here. And move over to the side.0595

It is already been, basically copied and copied the screen mode that is set in.0602

So, it is over here. Let us move this over to the right a bit.0609

Let us see if it times out. Now, we are going to hit our RAM preview.0619

There you go. So, that is just the basic compositing there.0627

We are just taking simple layers and premade effects and drop them right into the composition.0636

Alright, thank you for watching educator.com. I look forward to our next lesson.0648

Hi, welcome back to educator.com. This next lesson is animation, part three.0000

We are basically going to animate text, titles, you name it.0005

So, before get into that I want to show you something I learned late in the game with After Effects.0009

They have animation presets that are made for text specifically.0016

Before I show you them in After Effects. Another way you can view these. 0024

There are so many presets to pick from. It is almost like you get browses of options.0027

So, what I usually do is I will open up Bridge. I will view this in Bridge.0032

And what you can do is. You can navigate inside of After Effects to its preset menu and you can view them in Bridge.0040

It is actually kind of nice. So, let us do that real quick.0049

Applications, CS5 and right here where it says presets we are going to look at text. Then animate.0052

All these are presets. So there are a whole lot of folders in here to pick from.0068

I usually start with animate in. 0073

So, as you can see there is all these different presets.0077

So, for instance, if I click one of these I can see what that preset does.0080

So, in this case, this is called Center spiral, Character shuffle and it really just goes on and on.0086

So, when you select the preset.0096

I will go jump into After Effects right now. 0099

I will show you how to apply these to each text layer.0101

But, once you have these applied you can still play with them and adjust them to your composition.0103

So, let us do that. Let us quit this.0111

So, let us pick a basic setting here. 0116

So, here is our Six gun Sally again and do a quick RAM preview.0119

OK, so the word sweet just kind of appears there.0129

So, let us have the word sweet just kind of slide in here.0135

So, what we do is if we do not have this window open you could just go up here to your window, file menu, scroll down. 0139

And make sure that your effects and presets are chosen there.0146

So, they show up here and here they appear and here is animation presets.0153

You want to click presets again and down here we have text and here is animate in.0161

That is what we just viewed in Bridge. So, let us try a few of these out.0170

Here is how you apply these. In fact, why do not we lock the other layers?0174

It is very easy to drag these effects on other layers by accident.0180

So, let us lock everything else but sweet and let us try one.0184

So, the way to do it, several ways of course.0187

Let us try something kind of wacky that is here to looks like here.0192

Let us go with a Center spiral. You can drag it right on top of the word.0198

So, it has already been applied. 0204

So, if you do a quick RAM preview that just kind of flies in. It is rendering right now.0205

Play it back. You know, that it is OK.0212

Some of these are kind of nice for a good start.0215

If you do not like that hit Command-Z and just kind of try a few.0219

It is one thing to view them in Bridge and when you have them in your comp.0224

It kind of tells you what fits best with your compositions. So, let us try a random. 0226

Now, see I applied that and it going to kind of animate in.0232

So if you want to see what is going on here we can open up our layer and look what is done here.0238

It is added in animator what they call an expression.0244

And it has not really affected our transformation properties at all.0248

It is sort of its own self-contained preset.0253

And in here we can see all that information are contained into these 2 key frames.0256

So, we can either speed it up we can slow it down.0262

That is kind of nice. So, these are really fun.0269

You know you can really take advantage of the presets especially when you have a deadline.0273

Even if you just want to like throw out some ideas.0278

And, sometimes is good to add a preset and then try to emulate that yourself.0283

Well, it is just basic key frames.0287

So, yeah. That is all fun.0289

So, the next thing is let us just animate some text.0294

This is one of the best program for animating text.0298

So, if we look at our original composition here. 0302

Here is our pre-rendered movie. Six gun Sally, revenge is so sweet.0310

OK, so, let us just play that. 0319

We have the word sweet just sliming in and we call it stamping on to the frame. Let us do that.0321

We have this. OK, let us get rid of this modes menu for now.0340

Hide this and as you can see. Play this back again.0349

Revenge pops in the top. So, if you think of text like characters.0362

They are almost like characters or cartoon characters, so to speak.0369

They are actually have a life of their own.0374

And the way they enter a frame, the way they exit a frame. 0377

Everything matters here and we can key frame all that information.0380

So, let us open up our layer. Title sweet and you can see here all these key frames.0384

Hit Command-N and you can see it enters from. We are using opacity.0398

If I go frame by frame here it just kind of stamps in and gives it a little bit of a shake.0406

The first layer revenge just drops in from the top.0417

So, it is very basic but it is effective.0431

So, let us do this. Let us delete the key frames and sweet for instance. 0439

I will kind of show you what we did from scratch here.0454

Revenge, Close this. 0457

Alright! So, now you can see we have it sort of timed out.0466

Again, After Effects is kind of like an editing program but at the same time you can see how these layers will come in.0471

Now, these are premade as far as I already typed these in. I formatted them.0481

So, let us get this moving. Alright, so let us start with revenge.0487

Revenge needs to drop in from the top probably around here or so.0492

Let us space out our timeline a little bit.0500

And let us work backwards meaning let us set a key frames position.0505

Actually we are not going to even use scales. 0510

Let us just leave position turned on. 0511

And let us drop in our title revenge. 0514

You can kind of nudge them with your arrow keys.0519

And beginning of the comp we are going to have it drop in from the top.0525

So, let us move our render queue area. Let us hit the letter N.0532

We are always going to be playing back things so we get it just right.0539

And there you go. That it is a little fast. 0545

Actually it seems a little late.0548

Let us move this in sooner. 0550

Now, things seem kind of flat or it just kind of drops in a basic.0555

We can always do and ease in key frame and by doing that. I almost use this all the time.0561

You want to select that key frame. That is the landing point of revenge.0567

And you hold down control and scroll down here to key frame assistance and use easy ease in.0571

And watch what happens to the word revenge. 0580

It just kind of has a little bit of a glide at the end.0582

In fact, let me show you this by itself.0586

Now, if I were to space this out. 0590

That is a nice little handy key frame. Let us bring that back over here.0595

OK, so we have revenge has never been so sweet.0604

By the way, if you open this up here you already have a drop shadow applied to that. I am going to delete that.0608

When in doubt I use a drop shadow. It kind of makes the text pop.0619

So, let us add a drop shadow to that. How do we do that?0623

We are going to go to click the layer. 0627

We want to go to effects and it is usually down here in perspective how to drop shadow.0632

And over here is our effects control menu here.0640

And what it did is it added the effect here on the layer itself.0647

You can make your adjustments here are you can make them up here.0651

I usually, kind of, play with the direction here.0654

And I will bring up the opacity a bit. You cannot really see it. 0658

So, let us get some distance on there and a little bit of softness. There you go. 0664

You can actually copy and paste effects to other layers too.0676

So you do not have to reset that every time. It is very convenient.0679

So, here we go. Let us play it back again. Get familiar with it.0684

Alright, we have our fire right at the bottom there which we can definitely get into in a second.0692

OK, so let us get to sweet. 0700

So, there is different ways for a title to enter and exit a frame, like I said.0706

In this case, revenge has never been so sweet. The word sweet should kind of seal the deal.0712

That is what we are saying.0719

So, what we are going to do is right now this has no opacity. So let us bring our opacity up.0722

In fact, let me just reset the layer here.0733

Right now, that was in its original size when I originally typed in into our text tool here.0737

So, let us scale that back up. Let us get dramatic.0746

Let us go 650. You can type that in or just drag it.0754

You can kind of fill it out. You do not always have the type and the values.0762

You kind of drag your, you can scale them up way by hand.0764

OK, so just leave it there for the second here.0769

We are going to eventually drop the opacity to have a kind of fade in to the scene.0773

So, right now let us set some key frames, position, and scale.0779

And let us move up the timeline a bit here.0786

And let us scale down to. Let us see here what feels right.0791

Let us have it so it just fits in the title safe area here. Here we go.0800

Now, if you hold down the Command while you are scaling or using any of the values it kind of slows it down a bit.0812

Because if I do not hold any keys at all. 0818

If I just drag this it just goes really fast. It just scales it, almost too fast. 0821

But if you are trying to finesse a little bit just hold down command. It slows down the values rate.0826

OK, so it looks pretty good. Let us play it back.0835

Revenge has never been so sweet. OK, looks good.0843

It could be a little more dramatic. 0850

So, what we are going to do here is we are going to do a little more key framing.0851

Stomps in. Let us go ahead and turn on our opacity key frame.0860

Let us turn this to zero. Let us go up about 4 or 5 frames.0865

Put it back to 100 and hit enter and you can kind of see it just kind of fades in.0874

And again you could tweak all this later want.0882

Now, if you want this to have more of a stamp in.0885

What we do is we are going to copy these key frames at the point of impact but sweet.0888

And you are going to hit Command-C, page up a few, copy paste, page up a few, copy paste.0893

So, this is with its original size here. 0901

So, from there we can kind of scale it down more to give it that smash effect.0904

We just kind of scale it in. Move it up a bit.0911

Very similar to the squash and stretch effect we did and bam.0917

There is kind of a shake. Play it back some.0922

What you can do is scale this up a little bit, a little more dramatic.0929

This is kind of capa, if that is even a word.0937

Let us try this. You can just move your key frames now.0942

I like to play with the key frames and retime things a bit.0946

Give you this a little closer. Alright, not bad!0954

So, down here at the bottom. 0961

This is a pre-purchased effect. It is fire as you kind of see there.0965

I have a drop shadow on there. It just gives it more drama.0981

So, there you go. OK, so to play that back. Command-0988

Revenge has never been so sweet.0997

So, as you can see all the information is in here.1006

We started here and we can page up.1011

And you just keep retiming it, resizing it and to get it just right.1017

Thank you for watching educator.com. I look forward to our next lesson.1024

Hi, welcome back to educator.com. This next lesson is animation, part four.0000

This is a dissolve montage. 0006

A lot of times I am asked by clients to create sort of a montage whether it is a wedding or a funeral.0008

And I thought it would be nice to teach you a quick way to do this.0015

Usually I am given like a whole CD full of photographs.0019

And you know they are just slowly dissolving on each other over and over.0024

So, one thing I like to do is I like to open up Photoshop.0030

And I kind of like to get in there and make sure that.0038

Again, the more prep work you do in situations the better.0040

So, for instance, we are going to kind of break this scene down here.0048

This is the scene in six gun Sally where we have kind of a photo montage.0055

This are all the men she is about to get revenge on.0061

And do a quick little RAM preview to remind you of what we are doing here.0066

That is a real simple effect but when you have 50 to 100 pictures it can get overwhelming.0074

So, what I can do is once I have all the photographs in my possession.0080

What I can do is take them into Photoshop.0088

And in this case there are only 6 pictures.0090

But here is where I can kind of crop all the pictures.0092

If you are scaling the pictures or zooming into a person in a picture.0097

You might want to have your pictures a little bigger. 0101

So, let us go through this real quick. 0105

There are 6 pictures. Real simple.0106

If I wanted to make any tweaks in the pictures I can do them here.0110

I can also add effects in After Effects.0113

So, I will close this and let us jump into After Effects.0117

So, here we have our photomontage.0122

Now, in that comp if I double-click this. 0125

Here is the breakdown. This is what it looks like inside that composition.0129

You can see they are just basically dissolving on each other.0136

Now, if we select all of these and open them up.0140

As you can see they all have the opacity key frame stopwatch turned on.0146

So, just see that we can hit T. It is for opacity.0153

And as you can see, here is our kind of map of what is going on.0158

It is always good to get into project in someone else dialectic.0160

You can actually purchase premade After Effects project. 0163

You can see the whole breakdown, you know.0166

It is nice to study the way things are built.0168

So, as you can see here what is happening if I were to go frame by frame here.0173

Is, you know, this first layer starts with this here. This group of men here.0178

Let me turn off our title safe for a moment.0186

And if we page up frame by frame we can see the next picture dissolving in.0190

So, basically it is kind of an editing term when a scene or photograph is dissolving on to another.0200

There is a cross dissolved or you are fading in, fading out.0208

In this case it is like a cross dissolved.0211

So, as you can see go to the next picture, frame by frame.0213

So, these are about, you know. These are about 10 frames.0220

At the end of each layer here it just stacks on each other.0227

So, if we did this from scratch. 0231

Let us jump over to this comp here. Old photos dissolve.0235

And there is nothing in these layers. They have not been treated yet.0242

Which, by the way, this black solid at the top here.0246

This is if we want to add sort of a vignette on the top there.0250

And we kind of do that with a mask. 0254

You want to open this up because there is a mask that has been applied.0256

If you want me to turn on the visibility, there is our mask.0259

We can turn that on and off. This gives it more feeling.0264

OK, so let us lock that for now.0271

So, here we have our 6 layers from Photoshop.0273

You can see if I move them around they all appear.0277

But in this case we want them to all to have the same properties.0283

So, a quick way to do that would be to select all of these.0287

And instead of spacing them out manually we can select all the layers and go up here to animation.0293

We go to key frame assistance and there is a little option here called sequence layers.0302

And what we want to do is we want these to overlap. So we turn on overlap.0309

In this case we want them to go dissolve front layer.0316

And you can even set the time of how long it should dissolves.0321

In this case let us try 22.0324

So, you can see while we open this up real quick. 0331

Hit T and it is applied. It dissolved to every layer. 0335

You want to get a RAM preview here. That it is ready to go.0341

Again, if you have got like 20 to 100 pictures this comes in handy.0350

OK, so that is our dissolve montage.0356

Thank you for watching educator.com. I will see you soon.0359

Hi, welcome back to educator.com. 0000

This next lesson is animation, part five. This is the fun stuff.0002

Before we get started let us check the artwork or prepping the artwork.0006

So, we are basically going to animate the end title sequence of six gun Sally.0010

Let me play it back for you real quick.0019

Basically after she shoots her gun. The gun comes in behind the logo.0024

Here we have got smoke. We have got the western town.0033

I will even play the ending for you here. 0038

A little bit of a clip of her, of her hand.0041

Here we go. It is going to render for a second.0047

Bam! So, this is our end title. So, let us jump into it.0056

So here is what was done previously.0063

And I like to open this up and kind of show you what is going on before we get started.0068

So, you know we kind of work from back to front. 0072

We have our western town and we have effects applied to that. 0074

We have a blur, a contrast, a saturation. 0083

If I take these off you have got to write Western town.0087

On top of that, we have a Colt 45. 0092

It is a photograph and that just kind of comes in from the right side.0096

And we have transformation keys turned on, position. 0102

It has an ease in there. I play that. 0107

We have a gun. We have opacity there as well.0111

So, here is the logo. It is just sort of stamps in.0116

And we have a pre-purchased effect, dust blowing. 0124

And it is really just 4 layers.0133

So, let me just jump into Photoshop really quick here to give you an idea.0135

Here is our six gun Sally logo.0141

Now, this was created in another program, a 3D program.0142

And I just kind of exported out the actual layers individually.0146

I kind of rebuilt it in Photoshop.0154

Now, we are not really going to animate each layer.0155

But they are there in case we need it to.0159

So, let us jump into After Effects. 0165

OK, so here is our composition here.0167

Nothing has really been applied to these layers.0175

You see the original layers of how they are brought into each comp here.0177

And we have got some work to do. 0181

So let us start with the background. 0184

We do not have to make it exactly like the other comp.0190

But let us give this a little blur. Give it a tent.0192

So, what we are going to do up here is go to effect. We can go to color.0198

Let us go to CC. It is a very handy filter here.0203

And we are going to kind of give it a little more orange or yellow.0208

Go down here. Find something in here.0214

It kind of emulates that kind of a Sepia tone if possible.0220

Give it a little bit more red.0222

It is something in there and it is kind of westernish.0230

Let us lighten this up a little bit.0233

And so now we have one effect applied. 0237

Let us apply another effect.0240

Let us go with a blur. Here we go.0241

And you can move your effects around by the way. 0249

You can close this effect. You can move it below this effect.0250

Sometimes it changes the actual composition.0254

Let us say we want the blur on the top there.0259

So, let us go to 8.7. That looks OK.0262

And maybe just a little bit more contrast overall.0269

So, I will go back to effects and I will go inside color correction and brightness and contrast.0272

Maybe a little more brightness here.0283

And we had a little bit of a blur so the objects on top that will kind of pop more.0286

OK, that is good for now so let us go to the logo.0294

Now, if you can see down here we have our six gun Sally logo.0297

Now, is it has been pre-comp meaning if we double-click it those individual layers are inside the pre-comp.0304

We could put all 4 these layers into this comp.0313

But I think it will be kind of overkill because we are just going to animate the whole piece.0317

Like this is. It is just kind of stamped in like that.0322

So, let us close that. Let us go back to our composition and let us animate.0326

In fact, let us turn off the gun for now.0335

Let us let the logo dictate the movement of the gun.0338

OK, so what we need is some key frames.0345

So, obviously this logo is too big at the moment.0348

But it is a good starting point to stamp in.0353

So, why do not we just open up our layer.0357

We are going to be using position and scale for now.0360

And let us set those at the beginning of the layer.0364

And let us move in a bit. Page down, set more key frames.0369

And let us just Scale this till it feels right. Put it right there.0375

Now, we are not really worried about colors and blurs.0384

Right now let us just get our positioning set.0387

That looks pretty good. Let us play it back. RAM preview.0391

Why is not playing back? That is because my RAM preview is way over here.0406

So, I can grab that or I can go back to my home key and hit B.0411

It is only going to preview where my render key was set.0419

So, let us go to here. Actually I just want to see the area that I am working in.0423

So let me just hit N and let us preview that.0427

Nice! it is a little low. So, let us go to the endpoint of the key frames here. 0435

Let us zoom in a little bit and let us move it up some.0441

It just kind of stamps in there.0451

Now, in the original we did the logo has an ease in key frame. 0454

So, what we do for that is we can select both key frames at once here.0463

And we can hold down control. Toggle down to key frame assistance. Then easy ease in.0467

What that does is applies it to the key frames.0476

And gives it that kind of a soft landing, kind of glide effect. There you go. 0479

Now, let us get the gun, actually. The gun is kind of fun.0487

So, the gun is way too big. 0493

Let us close our logo layer. Open our gun layer and we have position, scale.0495

Before we had any key frames like sometimes we are bringing the layer.0505

I think the reason why this gun is so big is when I originally took the photograph of this gun.0508

I just wanted to make sure in case I want to go closer for close ups I had enough resolution.0517

The pixels were there so that is OK. It is better to have it bigger than smaller.0521

So, what we are going to do is let us scale this down.0525

We do not have to turn the key frames of the stopwatch on just yet.0527

Let us just kind of play with this and size it. Alright, it is a good size.0531

Alright, remember it does not have to be exactly like the other one for this purpose. We are just having fun. 0540

Ok, so it is going to come in. It is going to kind of land in this position.0548

So, you can see there is a lot of a contrast conflicting color. We will get to that later.0552

So, right now let us just animate this gun coming in here.0556

So, what we are going to do.0560

Let us lock this back layer over here for now and the logo and the dust and let us work backwards.0561

So, we know that the gun it is going to land in this position.0571

So, let us work backwards and hit position.0573

And let us move back and let us move our gun out to this.0576

Now, if you wanted to move it in a straight line a nice thing is. 0584

If you hold down shift you can grab the gun and just locks it straight. It works for up down. 0586

Ok, so, there it is. Bam!0595

Now, let us add an ease in key frame to that as well. And there we go.0601

Now, if we want to be more dramatic we can have our gun enter the scene a little bit later.0610

As you can see I am constantly moving in and out.0618

Because I need to see what is going on here. This is where I need to work at times.0623

You know, my key frame, my past over here at my elements. You name it.0627

OK, so let us play this back. Ok, all comes together nice.0632

OK, so let us clean this up a bit in regards to color and contrast.0637

So, the gun is kind of bright. 0643

So what we are going to do is we are going to go to effect.0647

We are just going to use brightness and contrast.0651

And let us just darken the gun a little bit because we want that logo to pop.0655

You can even take off some of the contrast. Still make it darker.0659

That looks pretty good. No more mystery in there.0666

Now, on the logo let us select that. Let us give that a drop shadow.0669

We are going to go to perspective, drop shadow and let us adjust our direction first.0678

Bring up the opacity. Give it some distance away from the logo itself and let us soften it.0688

Another cool thing about After Effects is you can set a preset.0697

So, if I had the drop shadow just how I wanted it and I was using that on a regular basis.0701

It would be good to say that is a preset.0708

And what you do is you go up here and you go to save, select those animation preset.0712

And you would basically give it a name. You can call it your initials, drop shadow 1 or drop shadow 2.0717

But it is a nice thing to have there. 0723

So, let us try this out. Great! 0725

Alright, now let us turn our smoke on.0731

So, we have dust here, smoke, and dust.0735

But again we have our black background.0740

So, we need to get rid of that. How do we do that?0744

We want to make sure we have our modes menu showing. So, how do we get that?0746

We are going to hold down the control. We are going to toggle down here to modes.0751

Similar to Photoshop you can have different blending modes.0757

In this case we want to remove the black.0761

I think green worked the best. Let us try that.0764

Here we go. Alright, it looks pretty good.0768

Then you can keep tweaking this. 0775

Let us look at the original. The original has more brown in it.0776

You can even add more contrast to the logo.0781

But all in all that is not about logo.0787

OK, thank you for watching educator.com. I will see you soon.0790

Hi, welcome back to educator.com. This next lesson is on the design of After Effects.0000

After Effects is built on five components - what they call modular.0011

So, this first modular would be compositions. 0018

In compositions, let me open up a project here.0027

Compositions are like containers in which all the layers are kept.0034

Here we could have a composition. This is the composition window.0041

And in the composition window, next to that, we have the project window.0047

In the composition window, down below, we have all the layers that are in the composition.0051

We have all their different modules and switches. They all, kind of, work together.0058

Another component we have here, in the modular design, would be the layers.0068

The layers here, similar to Photoshop layers. Each lawyer has its own set of properties when you open them up.0078

You can see that they have different values that you can set here. They have the anchor point, position, scale, rotation and opacity.0087

Another component of After Effects, of course, are the effects.0102

Each layer not only has values set up. 0110

But you can alternate in transform. You can also add effects to each lawyer. 0117

So, for instance this layer here. The letter Sweet has a drop shadow applied to it which you can turn on or off.0123

Another module would be 3D. 0135

After Effects has the ability to transform a layer into a 3D layer.0143

We get cameras and move through objects. We can create different paths for the cameras.0149

The 3D portion of After Effects is very powerful. 0155

You will be using that for all kind of stuff like titles, tracking information, moving through objects. Very powerful. 0159

The other module of After Effects is of course rendering. 0172

Once we are in After Effects we want to render out a movie to little format or codec.0175

We could render the movie out into QuickTime, like I said, or an MPEG or pretty much any type you can dream up. After Effects can put out.0182

So, if you look at our list here. You have compositions, layers, effects, 3D and rendering. 0201

Let us check that off.0213

Thank you for watching educator.com. I look forward to our next lesson.0218

Hi, welcome back to educator.com.0000

In this next lesson we are going to take a tour to the interface of After Effects. 0002

It is going to be very exciting.0007

So, the first thing we are going to check out is the workspace.0009

When you first open After Effects it prompts you this window here.0014

And I suggest you leave on the sure welcome tips and tricks of the day start up. 0019

I usually leave that checked -- you never know. I am always learning something new in After Effects.0025

A quick little tip here in the window.0028

I am going to open up our project here.0031

Let me close all this. So, this is the workspace.0036

Now the workspace it is kind of comprised of a project window, our stage area, we have a timeline, our layers. We have effects.0039

And you can pull up, like Photoshop. You can pull up as many windows that you would like to have here.0048

For instance, you can see we have some of these actually turned off character as for creating text. 0053

It kind of, pops up there. 0061

So, each one of these windows if you grab short here in the corners. 0062

It kind of moves, it kind of reads what you are doing here, it kind of resizes.0068

It really depends on the project. 0074

They have different presets here in your workspace area where you have all panel showing, just the facts, motion tracking. 0076

It really depends on what you are doing. 0085

You can also set your workspace up in difference. You can unlock the each docking panel.0087

So, After Effects calls in bullets, pallets are here. In After Effects they are called windows or panels.0094

You can also change if you want go into the settings or the preferences. 0102

You can change the basic display of After Effects.0107

A quick ahead here you can change the brightness of your workspace. 0117

So, really depends what kind of project we are going to have to have it set.0125

So, if you go to. Let us go back over here. 0131

The next thing we are going to look at it is our project window.0134

In the project window, basically that is sort of the Hub as for you import everything. That is all your files are kept. 0139

It is where you are going to keep your audio files, your footage files. 0149

The more you keep this area organized the easier it will be to work in After Effects. 0155

In the project window, you can tell that is highlighted right now because that is the actor window we are working in.0161

If you move around in different panels here you can see the gold trim around each panel, kind of, come to life here. 0169

So, we are on a project window.0177

I usually sort of working into organization later but I keep them kind of organized here. 0180

My compositions, audio elements rendered anything I bring into here.0183

Because if you click the pull downs here you can see here is all my footage files.0188

So, at the bottom of the project window, if I click this button here it interprets the footage. 0195

For instance, if I have this highlighted this video file. I click this button here and it kind of, it prompts the window, 0202

This is all the information about that clip it is highlighted here.0213

I click OK. This is where we can create a new folder, this button here.0217

So, you can see it is ready to create. It prompts you New folder. 0224

And over here it is where you can actually use this button here to create a new composition, which will get into in a minute 0232

It prompts of the COM settings. 0237

Of course, is a trashcan here and you can move this over if it gets too busy in here. 0242

What is nice about the project window is. Let us say I needed to try to find out where an actual file is kept.0246

It has already been imported. 0256

If I want to check out the path of that file, I can pull my project window here and see the file path.0258

Here is the type of file, the size and the paths were kept here on one my drives. 0267

So that is your project window.0273

The next part of our tour would be compositions. 0276

So, compositions are really almost like containers for each part of your story or your footage or your project.0283

So, we will get to the timeline. But each one of these is a composition here that is self-contained.0294

This is where compositions are created.0302

This is our composition window or you going to think of it more like a stage0305

When you create a composition, which we will clear one from scratch later, it will look something like this.0310

And in the composition you have all the properties down here.0317

At the bottom here you have different toggle buttons and switches. 0322

Here is where I can select whether I want a wall in working.0327

You are going to see that if you work in full resolution and you have a slow computer that is going to get kind of bumped down.0331

I like to work at half resolution, even quarter resolution and that is where you make that selection here. 0336

Here we have different channels. Our RGB channel is here. 0342

If you want to just work in your red channel, green, blue, alpha channels and why not go back to our RGB.0347

Different camera views are here.0355

Here is where we have our actual current time indicator.0357

This is the turner of masks on and off. 0362

Something when you are working you have all these different things going on like paths and motion mass and everything. 0365

So, to not see those temporally you can click this button here.0371

Here is where we can turn on and off our title safe area.0374

When you are working in graphics or television you want to know the title safe and the action safe area. 0378

You do not have to have that turned on all the time.0385

In After Effects like Photoshop, there is at least 5 to 10 ways to do the same thing.0388

So, here is we can scale in our composition or scale out. 0395

A lot of times I am hitting our arrow keys here or Command-plus or minus.0400

You are always going to be kind of zooming in and zooming out when you work out in certain areas. 0406

Let us go back over here and next would be layers. Let us turn our layers on.0415

And layers, again, are very similar to Photoshop and I would say it is kind of like Photoshop with wings.0422

Down here, here is our timeline area and these are where our layers are kept.0431

It is almost like an editing program and Photoshop kind of put together where each layer has its own properties.0439

So, for instance, if I were to open up this layer here and we have different transformed properties. 0446

Each layer, everything is brought into this window here. We will have these properties ready for start working in key framing.0454

In this case, it is always going to have your anchor point, position, scale, rotation.0462

In this case let us back up a bit here. And this is the Sally shoot movie. 0467

You can see if we keep going down to shrink down the timeline a bit this movie does not appear. 0476

This sequence here does not appear until we get to write about here.0483

Around 8 minutes in and that is where appears on the time indicator there. 0488

And there she is shooting. 0494

So, if I turn this layer off, she disappears.0496

If I kind of zoom in our timeline here you can see that each one of these, if I would to turn this off. 0499

For instance we are in one of our titles here, Revenge has never been so sweet.0509

If I turn that layer off the text that way turns off.0513

And you can have this competition since you can see it like Photoshop like a transparency.0518

Turn that back on.0525

So, layers are where you are going to be doing a lot of your adjusting.0526

If you move down here you could turn some of these into 3D layers, which will get into motion, blur.0530

There is a lot of modes and switches.0535

If I hit control here I can add more properties to each layer.0538

For instance, we might get into modes, again similar to Photoshop.0545

Or we can turn the layer and change their values. Multiply, add light and dark screen, the whole bits in there.0549

So, when you are working it gets a little too cumbersome.0557

If you are not using those values you might as well turn some of these columns off by hitting Hide this.0559

You can move this around, you can rename your layers.0566

So you are really going to be working in here. You know, composition and your timeline area are your layers.0570

The layers are like your actors and your composition area it is like a stage. That is the best way to explain it.0579

Go back over here. We kind of briefly mention the timeline.0587

The timeline, again, it is similar to an editing program. 0592

So you have your time indicator. I will hit spacebar. 0596

I will render this way.0603

You can also hit your RAM preview, hitting number zero in your numeric keypad here and it renders.0605

We will get into rendering. 0615

Here you go, shoot them up0619

So, here this is the timeline, like I said and you can set this for frames or you can set it for seconds. 0620

Some people in animation like to work in frames.0626

When you are working with a client is helpful to make a correction or revision. 0630

They will work frames that are on and what was the time on that.0635

You can click your actual timeline. Let us say you needed to get to a specific time. 0639

You can click that and you can type in your values here and the actual timeline indicator will go to that point in time. 0645

So, that is kind of your timeline. There is little tricks which you will get into. 0653

You can set markers, predefined areas. You can stretch out the timeline.0655

You can, like, adding programs, you can grab the timeline here and stretch it or shrink it.0663

Next would be our RAM preview, audio and text.0670

So After Effects, like I said, it is a very powerful program. 0676

Shrink that back up.0682

You can add text, you can, and there is different values here.0684

So, while we are working in After Effects your goals to get everything how you would like it to be. 0690

You are going to set the stage, your colors, your timing and then you can see a RAM preview.0699

So, before you rendered out to a QuickTime movie. You can do RAM preview here and you click this button here.0704

Or again, you can hit the number zero in your numeric keypad. 0711

And it gives you a preview of what you are doing before you render it out into a movie.0716

Let us do a little preview here. I will hit play. 0723

So, now, back to preview, now with audio.0735

After Effects handles audio and you can see this is the only layer here that has audio.0739

And you can tell because it has a little speaker symbol turned on. 0744

I like to turn that on and off. If I want to I can actually open up this value here.0748

There is transformation and we have audio and if I open up the waveform you can actually see the audio in that layer.0753

I can even hold down Command and scrub the audio.0762

Now, as far as text goes. Let me open up the text composition here.0770

And you can see that each one of these layers here is a text layer 0775

Now, if I want to change this word Sweet to another layer. And it is similar to Photoshop that has a text tool.0782

I am going to highlight that and I am simply going to type in a new word, Sweet and sour.0793

So, next thing on the tour here is rendering.0804

Rendering basically means once we have compiled everything and we are set to make a movie. 0807

Now, you can render out to almost any format you can imagine.0815

And to do that we would add something to our render courier here.0821

Let us say we want to render out this movie right now.0826

We would go up here and we are going to add to render queue. 0830

And what it does is it prompts the render settings. 0838

So, what you want to do is you can click here. 0842

And here is we can make all of your configurations here. Best draft wireframe, the resolution. 0845

You can select the size here. 0852

If you go to the output module. We are basically trying to get it out of After Effects and render it into a self-contained movie. 0856

Here is our more output settings which will get into later on.0863

Here you can see there are all kinds of different formats.0866

You have the H264, you have MP3 sequences you can make, pin sequences, tiff sequences. 0871

It is really all in there. 0880

Your format option is here where you can render out in different compression rates, different codecs.0882

With all today's cameras After Effects will definitely have a setting for you.0890

And then here we are going to output where we would we output 2.0895

We are going to click the output 2 and you are going to name your file here and we are going to render on a movie.0899

So, really, you just want to give yourself a nice learning curve, time and you really learn each aspect of After Effects.0906

Thank you for watching educator.com. I will see you in the next lesson.0919

Hi, welcome back to educator.com. 0000

This next lesson is going to be on compositions.0002

First we are going to learn how to create a composition.0007

In After Effects, as in most Adobe products, there is always several ways to complete one task.0013

A composition, if you think of a composition, is more like a stage. 0020

This is where all the action takes place. This is where all the actors and their props live. 0025

This is what our audience will finally see.0031

So, to create a composition. 0033

This is our composition window. Let us create a new composition from scratch here.0036

So, there is this three ways we can create a composition. 0041

We can create one right from the project window. 0044

We can click this button here. Create a new composition. 0048

And when we do that it pops up a new menu. And this is where we can name the composition. 0051

Just call it New comp. 0059

If we hit Tab we can toggle through all the different fields.0061

Here we have different presets - web videos, DV settings, film settings. 0066

It is all in there. If you do not see one in there you make your own.0073

You can set your different aspect ratios in here. You can uncheck this.0076

I like to work in square pixels. 0082

You can set your frame right here. 0084

You can set your resolution, which will change all the time, the background color.0086

Another way to create a composition. Let us delete that. 0095

You can go up to the composition window. Hit new composition. 0102

It pops up the same window. 0105

Another way is you can hit Command-N. 0108

It pops up the composition there.0111

Let us go to an actual composition and talk about the different toggles and switches here.0117

All the different comps settings. 0125

Here are the different magnification pop-ups.0130

Basically, in here you can set how far or how close you want to work, 100 percent, 200 percent.0135

I rarely use this window. I think a lot of us use the Command-plus or minus, as in Photoshop or the arrow buttons here.0144

You have a grid here. This is where you can have your grid and guidelines, title safe, action safe. 0156

I use this a lot when I am doing title work. 0165

Make sure that your titles are in the action safe areas. 0168

You have different grids that you can pop up here. 0172

Depends on how you like to work or the kind of project you are working. 0177

You can pull up rulers and you can bring in different rulers here and there. Let me turn this off. 0179

So, the next window over here is what we are using if you want to change the visibility of masks. 0189

They get pretty covered sometimes when you are working. 0195

Let me turn this off here.0198

We have the go to time window here.0201

When we type in a value you can go directly to that point in the layers window.0206

We have snapshots, we can save still, we have the RGB channel, which comes in handy.0211

This is where we can set the setting at full resolution, a quarter resolution, half, third.0217

Just depends on what kind of project you are working on. 0224

Here is where we can have a region of interest. 0227

Let us say we just want to zoom in on one specific area. 0230

We can click this button here and zoom in. 0234

We are just have it very selected, sold out.0239

Here is our transparency grid, your active camera which you will get into later with 3D cameras.0244

And we can view two, three windows, even four windows at a time. 0256.3 Again that we might use that were using 3D cameras. 0250

Go to change that back.0261

This Windows will get into later as well. 0264

So, that is, kind of, our composition window.0266

Covered all the toggle switches, toggle buttons. 0272

One thing I should assure you too is that up in this right corner you can also change the size and the view options.0276

You can set the motion blurs and things like that. 0286

So again, think of a composition window as a stage.0291

This is where we will see our final renders.0294

Great, so that completes our discussion on compositions.0303

Thank you for watching educator.com.0306

Hi, welcome back to educator.com. This next lesson is on layers.0000

If you think of layers like actors or props in a movie it makes it easier to understand how this all works.0008

So let us go to our Layer menu down here.0018

A Layer menu has all kinds of goodies in it basically. 0023

So, over here to the left. Here we have our eyeballs where we can turn on and off.0028

If you turn off this layer it would go to a more complicated composition.0038

So, we have our Revenge has never been so sweet comp.0045

If we turn these layers off you can see that they start to disappear like in Photoshop. 0050

So, everything is sort of laid out and assembled in our layer window.0057

We have our background here, our wood wall and we have a vignette. We have fire.0061

Revenge has never been so sweet over text. You will have an adjustment layer here.0071

So, each layer has its own set of what we call Properties or Parameters or Values.0078

And if you open one of these up for instance we have, this happens to be a text layer.0090

And each layer sort of tells you what is going on. 0098

If you open this one up here you have your text. 0100

This one has an effect applied to it, which is a drop shadow.0102

If you look at the word Sweet it turns a drop shadow on and off.0107

And on every layer we have these properties here, or values, or parameters. 0113

We are always going to have anchor point, position, scale, rotation and opacity.0120

Later when we get into key framing you will see how important this is.0126

Here, to the right we have key frames which we will get into later. 0130

But, each layer you will open them up with a triangle and here are the values.0132

If you keep moving to the right here. We have the different modes. 0139

Similar to Photoshop we have our multiplied, dissolve. Add lighting, all those goodies.0146

Over to the right over here we have all of our switches. 0152

We can stretch. We can turn layers into 3D layers motion blur. 0158

Now, if you do not see some of these columns in your After Effects that is because they are probably hidden.0162

And to bring those up. You basically hold down the control and we can our columns here.0170

For instance, I am going to bring up the parent window. Bring that up over here.0177

I can get rid of things by going hide this.0182

So, is a lot happening in here.0187

We also have the timeline or the timeline indicator. 0192

So, if you think of this window over here as your editor, more or less. This is like a timeline. 0197

So, let me shrink down our timeline a little bit here. I can hit Command- plus or minus.0205

In fact, let us shim over to the main comp here.0211

So, here are all of our layers and our timeline side over here.0214

This is our time indicator. Wherever this time indicator is placed that is the layer we are going to see in our comp window.0218

So, you kind of see how it is all kind of working together, kind of like a circular motion here.0226

So, let me do a quick RAM preview. 0232

I am going to hit zero here as the quick key or I can go to our preview window and hit this button here. 0236

So, let this RAM preview go. 0243

So, the green line is just an indicator that is rendering for us. 0244

And it is going to give you preview when it hits the end mark here. 0252

Let her render, let her render, Six Gun Sally. So I will hit play. 0257

Now, this is set on a loop up here. So, this is going to loop again when it finishes.0267

So, you can see this is our timeline, it kind of, indicator scrubs across each layer and that is what we see.0275

So, for instance, some of these just cut right to them, some of them have dissolves. 0283

There are a lot of tricks you can do here. 0295

When we are working we can hit shift1. You can set up markers in here, shift2, shift3. 0297

These come in handy when you are working and you need to get to certain point in your timeline.0310

So, this is your timeline indicator window. This it is more like an editing program, more or less.0317

OK, well thank you for watching. I will see you soon on educator.com.0330

Hi, welcome back to educator.com. 0000

This next lesson is on key frame animation. What is a key frame?0003

Well, key frame will be your best friend in After Effects.0008

Key frame records the current state of a parameter at a specific time on the timeline.0011

And then the animation begins when at least 2 key frames are applied to that same parameter. So, what does that mean?0017

Well, let us first take a look at what a key frame looks like.0023

Here is a screen cap. We will be creating key frames all the time. 0026

Let us shim back over After Effects.0033

So, here we have our pistol. But in this pistol area, we will open it up like this, drop the triangle down.0037

And in the transformation properties we could set key frames with anchor point, position scale, rotation, opacity.0046

So, this is where you will be creating the key frame. You are going to turn on a stopwatch 0055

And then you could have the access to create key frames up and down the timeline.0060

So, why would not we, actually, create a key frame?0066

So, to create a key frame let us do a quick RAM preview of what we have on this comp here.0073

This is where the pistol comes in from the side here. Hit zero for a RAM preview.0080

So, you can see it just sort of comes in from the right side of the screen. 0090

I am going to turn this one off or we are going to create a new one here.0094

So, let us work backwards. 0097

Here is our pistol and for now let us turn off the actual logo. The Six gun Sally logo.0101

And here we have our pistol. 0107

So, let us go to about 12 seconds in. And let us actually create a key frame.0113

So, you are going to turn on the stopwatch by clicking the stopwatch there.0121

Now, you really turned off the stopwatch once you turned it on.0126

So, let us work backwards. 0130

So, here we have one key frame here. And here are all the values of the key frame. 0132

Now, let us go to the beginning of the timeline or hit the Home key.0138

And let us create another key frame.0142

Now, you notice that you have these two arrows here. So, these two arrows will take you up and down to the next key frame.0145

You will not go any further. You will have to actually use the page up or page down to go any further.0154

But, for now let us just stay within these 2 key frames. What have we done here?0160

Now, we have a space between the 2 key frames. They both have the same values here.0164

If I were to actually grab the pistol you can see that there is sort of a dot line there and sort of a path within the key frames.0172

So, what you want to do is, in this case, we can grab the actual element, the pistol here, with our cursor.0185

Or we can, let me hit Command-Z, we can actually move it by holding down the values.0195

And you can see how your cursor, just sort of, turns into a little double arrow there.0203

So, here we can go up and down.0209

So I have decided. 0211

So, let us pull this guy right out the screen and let us hit play. Let us hit the RAM preview.0213

It is going backwards. But that is OK. 0223

I just want to give you an idea of how this all works here.0226

So, we have created time here. 0228

What we want to do is we want to move the key frames. 0232

Let us put this value here at the beginning of the clip. So, it is going to be off screen.0236

And now you can see if we just sort of toggle through, page up page down, back and forth.0245

You can see that the actual animation begins.0251

I am going to hit a RAM preview again. There is our pistol.0257

If we turn on the Six gun Sally logo. Here we go.0262

You have just created your first animation.0269

So, let us go back here. How do we delete key frames?0275

When deleting a key frame you are basically going to select the key frame and hit delete.0284

Now, if you delete all the key frames what will happen is you actually turn off the stopwatch.0294

Now, the position layer is no longer active.0300

So, you want to make sure that that is what you want to do.0304

If you are really done with that property then you have to turn off the stopwatch.0306

But most of the time you are going to leave it on in most animations.0311

OK, so let me back up a bit here.0315

So, let me talk about a spatial interpolation.0320

Basically, what that means is the space between the key frames. 0326

We turn off the logo again. 0331

And that is space between the key frames is where you are going to be constantly adjusting your time values.0335

So, for instance, if want this pistol to enter the frame sooner.0344

I am just going to grab that key frame and move it closer to the timeline or the other key frame here.0349

That is the spatial interpolation they were talking about.0354

So, hit the RAM preview. You can see it just darts right in.0356

And if I just keep pull it out the farther the distance between the first key frame the more time is increased.0361

So, now is even slower. 0372

So that is basically what we mean by spatial interpolation. 0378

OK, so how do we get around these key frames?0384

Let us talk about the navigation in some keyboard shortcuts.0386

So, here we are back in After Effects.0391

Now, as I said, you can kind of page up or page down. 0394

And if you hit this. Hit the Home key and it always goes to the beginning of the comp. 0398

If you hit these arrow keys it goes to the next key frame.0403

And if you hit the U key. The U just tells you all the information within that layer.0408

These are all the actual key frames we are actually using at that point.0414

So, let us say I just wanted to see the position key frames. So, I will just hit the letter P. 0417

That just shows, kind of save some real estate on the screen here.0424

Let us try another key frame. Let us try to let us add opacity and let us have this opacity into the same.0429

So, basically let us drop down the value so it kind of dissolves in. See that? 0438

It kind of space that out as well. There you go. 0446

So, once you get to hang up the key frames the fun begins.0457

You know, it is just a matter of learning the distance between the key frames.0462

How to apply different values to the key frames, learning how to grab, whether you want to, grab the actual elements.0467

I will get into all the details of what we can do with these different paths later on.0476

But, that kind of concludes key frames. 0481

We covered what is a key frame, create a new key frame, deleting key frames, spatial interpolation, navigation and keyboard shortcuts.0485

OK, so I will see you back on educator.com.0495

Hi, welcome back to educator.com. This next lesson is on effects.0000

What are effects? Effects are fun and exciting.0005

They are similar to filters in Photoshop. Only in After Effects we call them effects.0009

Where do effects live? Let us jump into After Effects here.0017

So, effects. Let me show you a quick little sample here. 0021

Is like if we show you this Six gun Sally logo. Let us break down. 0024

Here, you can see if you open up a layer. 0032

If it has effects applied to it you are going get this FX on the side here and this has a drop shadow.0035

So, if we turn this off you can see that the drop shadow on the logo disappears.0041

If you do a break down over here. 0048

Look at the Western town on the back. Let us solo that for a second. 0051

It has a blur brightness contrast and has a hue and saturation.0056

If I turn this off one by one the blur is gone, the contrast is gone and the hue and saturation is gone.0061

We have the original photo there.0069

How do we apply effects? 0074

Well, there is different ways to apply effects but let us do it the basic simple way.0077

So, let us turn these effects back on here.0083

And why do not we take our pistol here and let us delete the effect that is on there now, which is the brightness and contrast.0089

So, to add an effect you simply go up to the effects menu.0105

In this case, we are going to go to color correction, brightness and contrast.0112

And now we have this window that pops up right next to our project folder.0119

This is our effects and controls panel here.0126

So, you can see, let me pull this out for you some. So, in brightness and contrast has been applied. 0129

We can actually now change the values here. 0136

So, if I change the values here, on the left, you can see that the gun gets brighter or darker. 0139

In fact, let me turn off these layers on top of it and there is our gun.0148

See what is happening in there?0156

So, let us say we wanted to add a drop shadow as well.0157

Back to effect. In this case, the drop shadow is in the perspective and we add drop shadow.0161

Cannot quite see it yet. So, we are going to adjust this here.0170

There is distance. You can apply softness.0173

You can even change the color of the shadow. Looks kind of funny, but. 0180

That is how you apply effects.0187

Like I said, there is other ways to do it but this is the simple way, for now.0191

So, enabling effects while you are working or disabling them is pretty important.0196

Because a lot of times when we are working the comp gets very bogged down and it slows down the processor.0206

So, is good to sometimes turn off the effects.0217

So, for instance let us open up this layer at the bottom here.0221

And if we want to turn off the effects we just unclick the effects buttons here on the left side. 0225

It makes the work flow go faster.0232

Let me talk a little bit about plugins.0236

So, I should probably mention third party plugins now as opposed to waiting, because these days people love plugins. 0240

What is a plugin? Well if you go back to the After Effects here.0248

You will notice that up in my effects window I have several extra options here. 0250

I have Sapphire plugins, Red Giant plugins, Trapcode, Video copilots. 0258

These are all third party companies that actually make plugins for After Effects.0263

Sometimes there are very handy. You might spend an hour or two After Effects creating a certain effect.0268

Or as a plugin might just have that premade effect and be done in minutes.0274

So, it is kind of important.0280

OK, well, that completes our discussion on effects.0283

Thank you for watching educator.com. I will see you next time.0289