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Teachers can download the images and give them to students so that they can perform the step-by-step how-tos in the book. Download the Instructor Materials. Since its inception, Apple has offered a wealth of information for K and higher education. After Effects adds another keyframe.
This adds an Easy Ease to all keyframes. To remove only one animator, select its name in the Timeline panel and press Delete. Cleaning up the path animation Currently, the words directed by fade in and out as they wind along the Pipes path preset.
Now, directed by will be visible throughout the composition. Because the middle keyframe now the last keyframe is set to Easy Ease, the words directed by come gently to rest above the lotus flower.
You also need to adjust the path shape so that it starts and ends off the screen. Drag it far enough off that the dragonfly will not be visible. After Effects copies the Position keyframes from the directed by layer to the dragonfly layer.
Now, the dragonfly is facing forward as it flies. After Effects adds a keyframe, and the text moves behind the dragonfly.
The words follow the dragonfly and come to rest above your name, while the dragonfly continues to fly along the path and off the screen. Adding motion blur Motion blur is the blur that occurs as an object moves. Now, apply motion blur to the layers in the credits composition. Then, click the Enable Motion Blur button at the top of the Timeline panel so that you can see the motion blur in the Composition panel.
After Effects exports the project. This process may take a while, depending on the size of the project. After Effects displays a progress bar as it exports the composition. Give yourself a pat on the back. You just completed some hard-core text animations. Review answers 1 In many ways, text layers are just like any other layer in After Effects. However, text layers are like shape layers in that you cannot open them in their own Layer panels, and that they are synthetic layers that consist entirely of vector graphics.
You can animate the text in a text layer using special text animator properties and selectors. Navigate to folders containing categories of text animation presets, such as Blurs or Paths, and watch samples in the Preview panel.
Then, double-click a preset to add it to the currently selected layer in the After Effects Timeline panel. When a layer is made a parent to another layer, the other layer is called the child layer. Creating a parenting relationship between layers synchronizes the changes in the parent layer with corresponding transformation values of the child layers. Text animator groups contain one or more selectors. Selectors are like masks: they let you specify which characters or section of a text layer you want an animator property to affect.
Shape layers are created automatically when you draw a shape with any of the drawing tools. You can customize and transform an individual shape or its entire layer to create interesting results. In this lesson, you will use shape layers to build a dynamic background for the introduction of a reality series called DJ Quad Master. This effect performs best with video cards that support OpenGL. This lesson will take approximately an hour to complete. You can animate shapes, apply animation presets, and add Repeaters to intensify their impact.
As you start After Effects, restore the default application settings. The period indicates that there are no units in that position. To specify 10 minutes, type After Effects opens the new composition in the Timeline and Composition panels. Adding a shape layer One advantage of using a shape layer, rather than a solid layer, is that you can use the Fill option to create a linear or radial gradient.
When you draw a shape directly in the Composition panel, After Effects adds a new shape layer to the composition. You can apply stroke and fill settings to a shape, modify its path, and apply animation presets. Shape attributes are all represented in the Timeline panel, and you can animate each setting over time. The same drawing tools can create both shapes and masks. Masks are applied to layers to hide or reveal areas of an image, while shapes have their own layers.
When you select a drawing tool, you can specify whether the tool draws a shape or a mask. The shape appears in the Composition panel, and After Effects adds a shape layer named Shape Layer 1 to the Timeline panel. Clicking the word Fill opens the Fill Options dialog box, where you can select the kind of fill, its blending mode, and its opacity.
We used RGB , , We used RGB 10, 25, Now the gradient originates at the bottom of the screen and falls off near the top and edges of the composition. Press Enter or Return to accept the new layer name. The Polygon tool, in particular, gives you great flexibility.
Drawing a polygon By default, the Polygon tool draws a shape using the settings of the last shape drawn with that tool. However, by adjusting the points, position, rotation, outer radius, outer roundness, and other values, you can dramatically alter the initial shape.
Select the Solid Color icon , and then click OK. We used RGB , , 0. Click OK. Twisting a shape The Twist path operation rotates a path more sharply in the center than at the edges.
Positive values twist clockwise; negative values twist counterclockwise. In this case, you want to affect only the Repeater. The first value represents the x axis. To move the shapes closer together, use a smaller value for the x axis; to move them farther apart, use a larger value. Now the shapes are farther apart. To move all of the shapes, you need to move the entire shape layer.
Change the Position to , The shape layer is now in the upper-left corner of the composition. Rotating shapes The suns should rotate on the background. This setting causes the shape to rotate three times in 10 seconds.
You want the character in the main video file to be the focus of attention. The value would apply to all the duplicates as well. Press Enter or Return again to accept the new name.
Creating stars The Star tool is similar to the Polygon tool. A polygon is simply a star without an Inner Radius or Inner Roundness property; both tools create shapes called polystars.
To draw a star, drag the Star tool in the Composition panel. We used RGB 75, , After Effects adds a shape layer named Shape Layer 1 to the Timeline panel. The radius values change the shape of the star. Negative values pucker a shape; positive values bloat it. This star shape will go well in the background. Now you can duplicate and animate it. Duplicating shapes You want to have multiple stars in slightly different sizes rotating around the screen.
Now there are six stars on the screen. When you change the Transform properties for the Repeater, the change is multiplied by the number of copies created. For example, if there are 10 copies of a shape and you change the Rotation value to 10 degrees, the first shape retains the original value of 0, the second shape rotates 10 degrees, the third shape rotates 20 degrees, and so on. The same concept applies to each of the Transform properties.
In this project, the anchor point for the layer differs from the position of the shapes, so the chain of stars begins to wrap in on itself. Each star is more transparent than the one before it. Each duplicate star will be smaller than the one before it. Now you want to animate each star to rotate around its own axis. After you confirm that everything is rotating, collapse the layer. Incorporating video and audio layers The background is in place.
Now you can add the video of the DJ and the audio track that accompanies it. Adding audio and video files You imported files at the beginning of the lesson. The DJ. Trimming the work area The DJ.
If you rendered this movie now, the DJ would disappear halfway through the movie. Then, only the first 5 seconds will render. You can drag the current-time indicator in the Timeline panel or click the Current Time box and then type in the Go To Time dialog box. Applying a Cartoon effect After Effects includes a new Cartoon effect, which makes it easy to create a stylized look to your video, so that it looks more like a cartoon.
Since this intro for the DJ Quad Master reality series is very different from other reality series, the Cartoon effect will work perfectly here.
The Cartoon effect performs best on systems with a video card that supports OpenGL. The Cartoon effect performs three operations on a layer. First, it smooths the layer, removing a great deal of detail. Therefore, it works best on video footage rather than a graphic layer, such as the background in this project. Next, the Cartoon effect emphasizes the edges of shapes, based on their brightness values. Finally, it simplifies the color in the layer. These settings control how much detail is removed and how it is smoothed.
Higher values remove more detail. These settings determine how color is reduced and how gradients are preserved. The layer becomes black and white temporarily.
This makes the image even more cartoonish. The only thing missing is the title to identify the program. Creating a self-animating shape Wiggle Paths turns a standard rectangle into a series of jagged peaks and valleys. Because the operation is self-animating, you only need to change a few properties and the entire shape will move on its own.
Then change the Size to and the Detail to Adding text All you need to do is add the title of the program. In the Character panel, select a sans serif font, such as Arial Black, and specify a size of 60 pixels.
Adobe Bridge opens, displaying the animation presets that are available. After Effects applies the preset to the selected text. Press the spacebar to stop the preview. To use the Brainstorm feature, select the layer or properties you want to include, and then click the Brainstorm icon. The Brainstorm dialog box displays multiple variations of your image, based on randomized settings. You can save one or more of the variants, apply one to a composition, or redo the Brainstorm operation.
The Brainstorm feature works especially well with animation presets. Soloing excludes all other layers of the same type from the Composition panel.
You can also use the Brainstorm feature to experiment with one or more specific properties. To see all the variants in action, click the Play button. The feature randomizes the properties and displays variants. When you select a group of layers to create an Encore button, After Effects precomposes the layers and names the precomposition according to the standards Encore uses for naming buttons.
After Effects includes template projects with entire DVD menus for you to use as the basis of your own menus. Name the button to match its function, such as Play Movie or Scene Selection.
Then, use the menus to assign up to three highlight layers and one video thumbnail layer. Review answers 1 A shape layer is simply a layer that contains a vector graphic called a shape. To create a shape layer, draw a shape directly in the Composition panel using any of the drawing tools or the Pen tool. The Repeater path operation creates copies of all paths, strokes, and fills included in the layer. The feature makes it possible to explore numerous possibilities quickly and easily, and to save or apply them with a single click.
In this lesson, you will work on a more complex animation project. The project in this lesson is an animated portfolio for a professional illustrator that can be delivered on a CD or on the web, and it is meant to be a useful, real-world self-promotion.
In fact, he has prepared an After Effects project that already contains this layered Photoshop file, as well as the video and audio clips that you will need later in the lesson. You will animate an illustration of the artist driving a car on a city street.
This is a complex animation. You will start by animating the background and some objects so that the virtual camera appears to move from left to right across the scene. Next, you will animate some passing traffic and buildings to add interest to the background.
Finally, you will animate the slide show of the artwork on the easel. You may delete the sample movie from your hard disk if you have limited storage space.
Now, you will use it to synchronize the movement of the objects in three layers—the leaves, full skyline, and the FG foreground layers—with the BG background layer of the animation. Setting up parenting First, set up the parent-child relationship between the relevant layers in the Timeline panel.
BG from the pop-up menu. This establishes the three selected layers as child layers to the parent layer, which is layer 8, named BG the background. This, in turn, will animate the child layers in the same way.
This moves the background layer off to the left side of the scene, as if the camera had been moved. Then, type the desired time without punctuation as in for , and press Enter or Return. After Effects automatically creates a second keyframe and shows you the motion path of the animation in the Composition panel. The background now moves across the composition, and because the leaves, full skyline, and FG layers are child layers to the BG parent layer, they also move horizontally from the same starting position.
You will animate it next. The bee is not visible at in the Composition panel. Then, click the stopwatch icon to create a Position keyframe. Trimming hiding footage at the beginning or end of a layer lets you change which frames are first or last in the composition.
The first frame to appear is called the In point, and the last frame is called the Out point. You can trim footage by changing the In and Out points in the Layer panel or the Timeline panel, depending on what you want to change. Previewing the animation A quick manual preview will show you how the elements in the scenery move. The animation of the background, leaves, bee, foreground objects, and the objects in the skyline makes it appear as if a camera is panning across the scene.
The red car is on the Artist layer. To edit the anchor point of the Artist layer, you need to work on the Artist layer in the Layer panel. This is a temporary position that lets you see the car onscreen while you mask the driver into place, which is your next task.
Then, you will animate the car so that it drives across the composition. With the car positioned onscreen, you can add the driver. You will use a custom animation preset to create a mask from a shape layer. After Effects creates a new composition named GordonsHead based on the settings of the movie, and it opens the new composition in the Timeline and Composition panels. You need to fix that now.
After Effects adds a new shape layer to the composition. Adobe Bridge opens. You can close Adobe Bridge or leave it open to use later in this lesson. Constraining a layer with an alpha matte There are many ways to mask layers in After Effects.
For example, you can use shape tools or the Pen tool to draw a mask. Artist from the Parent menu. When you animate the Position property, After Effects displays the movement as a motion path. You can create a motion path for the position of the layer or for the anchor point of a layer. A position motion path appears in the Composition panel; an anchor-point motion path appears in the Layer panel. The motion path appears as a sequence of dots in which each dot marks the position of the layer at each frame.
A box in the path marks the position of a keyframe. Dots close together indicate a slower speed; dots farther apart indicate a faster speed. Then, click the stopwatch to set a Scale keyframe. After Effects adds a keyframe, and now the car pops a wheelie. The blur will be visible as the car drives offscreen, and it will be visible for the flying bee as well, because you applied motion blur to that layer earlier in the lesson.
Previewing your work Now that the keyframes are set for the moving car, preview the entire clip and make sure that the driver is framed to create a pleasant composition. Animating the passing traffic Perhaps you noticed in the preview you just watched that the blue car is tailgating the artist in his red hot rod. The blue car is actually on a precomposed layer that also contains a yellow car. In this example, the vehicles layer contains one nested layer with a blue car and one nested layer with a yellow car.
Press Shift after you start to drag to constrain the movement vertically. Animating the buildings Animated buildings? You bet. Notice that this composition has three layers: skyline, building, and buildings. Press Shift after you start to drag to constrain the horizontal axis. Naturally jumping buildings? Aw, come on. This is fun. This adjusts the speed of change as the motion approaches and retreats from the keyframe.
Do the same for the skyline layer.
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