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Mark Teague

Mark Teague

Intro to Animation

Slide Duration:

Table of Contents

I. Introduction
Introduction to After Effects

9m 4s

What is After Effects?
Endless Possibilities
Sample After Effect Projects
Learning Curve
'Six Gun Sally' Project Preview
Bullet Hits Composition
Text Revenge Composition
Logo Composition
The Design of After Effects

3m 40s

Modular Designs
Interface Tour

15m 21s

The Workspace
Setting Up Your Workspace
Preferences: Appearance
Project Window
Introduction to The Project Window
Interpret Footage
Create a New Folder
File Path
Compositions Window
Camera View
Current Time Indicator & Toggle Mask and Shape Path Visibility
Choose Grid and Guide Options
Magnification Ratio Popup
Layers Overview
Preview, Audio, Text
RAM Preview
Introduction to Rendering
Render Setting
Output Module Settings
II. Compositions
Creating Compositions

5m 7s

Creating a Composition
Composition Settings
Using Layers

5m 36s

Using Layers
Switches, Toggles, and Buttons
Properties and Parameters
Timeline and Time Indicator
Keyframe Animation

8m 17s

Keyframe Animation
What is a Keyframe?
Creating a Keyframe
Deleting a Keyframe
Spatial Interpolation
Navigation, Keyboard Shortcuts

4m 51s

What are Effects
Where Do Effects Live?
Applying Effects
Enabling & Disabling Effects
Third Party Plugins
Working in 3D Space

4m 32s

Working in 3D Space
Endless Possibilities
Prepping for 3D
XZY Axis, 2D, and 3D
Multi Views
Rendering Movies


Rendering Movies
Output: Outside of After Effects
Work Area-Duration
Render Queue
Render Settings
1st Render
Settings Preferences

3m 16s

Settings Preferences
Knowing Your System
Preferences Tour
Help Menu

2m 27s

Folder Structure
Creating a Composition

14m 1s

Creating a Composition
Compositions Settings
Element Preparation
Importing Files
Relinking Files

18m 42s

Understanding Layers
Switches and Blending Mode
The Type Tool
Creating Solids
Creating Shape Layers
Creating Mask
Adjustment Layer
III. Animation
Intro to Animation

38m 25s

Intro to Animation: The Bouncing Ball
The Bouncing Ball Overview
Stage 1 & 2: Setting Up The Composition and Position
Stage 3: Scale
Stage 4: Rotation
Stage 5: Bounce Animation and Speed of Effects
Animation, Part 1

4m 45s

Basic Transformation
Basic Transformation Overview
Position and Scale Keyframe
Rotation Keyframe
Animation, Part 2

10m 51s

Prepping the Artwork
Prepping the Artwork
Compositing Bullets
Adding and Positioning Bullet Holes
Adding Smoke and Sparks
Animation, Part 3

17m 7s

Text: Animation Presets
Text: Animation Presets
Animating Text
Animating Text Part 1: 'Revenge Has Never Been So'
Animating Text Part 2: 'Sweet'
Fire Effect
Animation, Part 4

6m 1s

Dissolve Montage
Dissolve Montage
Keyframe Assistant: Sequence Layers…
Animation, Part 5

13m 14s

Prepping the Artwork
Composition Overview
'Six Gun Sally' Logo
CC Toner Effect
Gaussian Blur Effect
Brightness and Contrast Effect
End Title Animation
Position and Scale
Brightness and Contrast
Drop Shadow
Dust Effect
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For more information, please see full course syllabus of Intro to Adobe After Effects
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Intro to Animation

Lecture Slides are screen-captured images of important points in the lecture. Students can download and print out these lecture slide images to do practice problems as well as take notes while watching the lecture.

  • Intro 0:00
  • Intro to Animation: The Bouncing Ball 0:06
    • The Bouncing Ball Overview
    • Stage 1 & 2: Setting Up The Composition and Position
    • Stage 3: Scale
    • Stage 4: Rotation
    • Stage 5: Bounce Animation and Speed of Effects

Transcription: Intro to Animation

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 bit1022

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


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