digital motion graphics. technical log 101 aad
TRANSCRIPT
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Digital motion graphics - After Effects 101AAD
Animating motion paths
Adding text with the Type Tool selected I
move to the time line.Below - With the layer selected I expand the
Transform menu and add a key frame
position, by clicking on the stopwatch, at the
start of the time line.
Right- With the layer selected and the
first key frame placed I can move the
selected layer object in time along thetime line and a new key frame will be
added automatically.
Below - An object motion path will be
created. To change this path from
Bezier (curved) to Liner (straight) I
right click the key frame, selectKeyframe Interpolation and change the Spatial
Interpolation option.
(Bezier)
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Right the path is now Linear.
The path of the object will move at a
constant velocity, represented by the
red points on the path. To alter this speed
to create a naturalistic slowing down wecan right click the final key frame, select
Keyframe Assistantand choose Ease In, this will slow
the speed of the path as it nears this key frame. Picture
right the points compress towards the end key frame.
The key frame will now change to and arrow.
To influence the speed of this slowing down we can
right click on the key frame
and selectKeyframe Velocity
here we can adjust the
incoming velocity.
Advanced text animations:
With the text selected, from the top Adobe Premier pro tool bar we select
Animation Browse presets. This will open Adobe Bridge and from here we
can choose pre made effects
to add to the text.
These can also be selected
from the Effects & Presets
panel Animation Presets
Once you have found the desired effect, doubleclick it and it will be applied to the text. We then
expand the effect options and from here we can
alter the effects properties on the time line. With
the Range Selector highlighted the effects key
frames are open for us to manipulate, for
example: altering the effect start point.
Range Selector
The fade out
affect in
motion.
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How to draw shapes in After Effects and how to animate the buried practice
sequence.
Making sure we dont have a
layer selected, we select the
Rectangle tool; we check the Filland Stroke options where we can
set the color and stroke of the
shape.
Clicking and dragging in the composition
window for the desired shape.
If desired I
could duplicate
the layer with
Cmd + D.
As the camera moves down in our
Buried composition, the shapes appear
to move up, and to animate them
further so they move at different
speeds, we simply open each shape
layer and set key frame positions,
adjusting the shapes position in the
composition, thus affecting its
movement.
The
added Key frames
along the time line
and the adjustedposition of the shape.
As the time indicator
progresses the position of the
object is altered, making the objects to
appear to be moving at independent
speeds to each other.
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How to draw and adjust basic shapes in Photoshop
In Photoshop we select File
New. For this project we will be
using the Preset Film & Video
and we change the BackgroundContent to Transparent
because we dont want abackground on the objects we
import into aftereffects.
Next I open an image I want to
recreate to use in my After
Effects composition.
I drag this image into my New Photoshop
composition; this will place the image in a
new layer.
I select the original layer Layer 1 anddrag it above the new image layer
making sure this layer is highlighted, as
this is the layer I want to work with.
From the tool bar I select the Pen Tool which
will allow me to create a path in the
composition window. I check to make sure
Shape layers option is selected.
Using the Pen Tool I create a path around
the object on the layer below.
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I can then use the Convert Point Tool
to pull out handles on the points on the
path to make the path curved to match the
shape.
If I want to move the position of
one of the points I can select them
individually with the Direct
Selection Tool, from the tool bar.
This process can be repeated and each new
shape drawn will be created on its own
new layer
With the original layers, Layer Visibility
deselected, on the top tool bar we select
Layer Merge Visible.
We now have our shapes in one layer
ready to export for use in After Effects.
Effects for Backgrounds
First I will be looking at how to
create this fire effect background.
We create a new composition in
After Effects but we need a layer to
apply effects to, so we go to - Layer
New Solid, this will give us our
layer to work on.
I will be working with the Fractal
Noise effect as it is often the base for
the creation of many varying effects.
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I select Effects Noise & Grain Fractal Noise.
In the effects control panel I set
The Fractal Type to - Dynamic
Twist - and the Noise Type to
Spline.
Here I set the Contrast and
Brightness levels to get a deep
richness to the colors and create
dark areas.
Next Evolution - I set a Key Frame at the
start of my composition. Then move to the
end of the comp. and evolve the effect
through 360 . Now the effect will evolveas time progresses. Currently the image will
look something like this.
To set the color I open Effects ColorCorrection, and here I have many new options.
From here I select Colorama initially it will
look like a bad acid trip has appeared on
screen, so I expand the Output Cycle option here there are a number of presets, including
one for fire, which I add to the comp.
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Now I want to create more
movement in the composition.
Under the Fractal Noise expanded
menu we find - Transform
and if I expand those options I get
to - Offset Turbulence I set a Key Frame at the beginning
of the comp. and using the Offset
Turbulence marker in the comp.
window, or changing the setting in the effects window, I can
move the effect within the composition window and by
moving along the time line it will add key frames for the new
positions of the effects as they move in time.
Ghost Whisper
Now to create this wispy effect I
follow similar steps as above but
chance some setting.
I create a new solid green layer.
With the layer selected Effects Noise &grain Fractal Noise.
In the effects control panel under the Fractalnoise drop down menus select Fractal Type
Terrain.
Noise type Spline
Set the contrast and Brightness Set an Evolution Key frame and evolve the
effect in the time line.
I also adjust the Complexity of the effect; hereI use it to soften the image by reducing the
complexity.
Then select Effects Colour Correction
Tritone, to set the color.
I adjust the Midtones to the green I want.
It currently looks something like this.
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Now I expand the transform options
and uncheck the Uniform Scaling
option; this will allow me to adjust
the scale of the effects.
I greatly increase the scale width andheight, effectively zooming into the
image, picking out a small part of the
overall effect. These Scale options
could also be Key framed to have the
scale change over time.
To create this Red Goo effect
New Red Layer
add Fractal Noise
Fractal Type Dynamic Noise Type Spline
Set the contrast and Brightness
Set an Evolution Key frame and evolve the
effect evolve through 360
Now I set the Blending mode Multiply,which will multiply with my original solid
red layer set in the comp.
For some effects to work we need to Pre compose the effects to a new
composition. Now I select - Layer Pre-compose, this will compress this layer
and its current effects, this will allow us to add certain effects to this new layer.
In the Pre-compose options I opt to move all attributes into the new composition
and open in a new composition.
Gorgeous
Red Goo
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My image currently looks
something like this.
Now to add that glassy, shine effect.
Effects Stylize CC Glass
I expand the options for;
Surface
Light
Shading
Using the settings,pictured left, I can
give this new layer
a realistic look,
making the red goo
pulsate with life.
Backgrounds for specific genres
I can easily see this background I
created used in the title sequence for a
bond film. The flames symbolize
power and destruction, the colorsrepresent passion, anger, domination
and distrust, themes found in a bond
film.
And here it is, in the Goldeneye (1995)
Opening credits sequence.
This Ghostly background would be right at
home in a horror film. Strange eerie shapes
loom in and out of the darkness at you; this is
unsettling, instilling fear in the audience.
Black and white the only colors: black being
evil, powerful and adding mystery, white representing good and purity. The
white lost in a sea of black. A similar effect
found in the film The Others (2001), where
bit of images appear out of the darkness.
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This silky smoke would fit
very well in a Film Noir crime
thriller. The smoke
representing gun smoke or
the smoke from a cigarette,
often smoked by the films antihero detective. The silk effect
of the strands could also
represent luxury and the high
life or folds of the heroines
dress.
I created this green infections
slime effect with the setting
below.
This effect would work well with a Zombie film
like Re-Animator (1988) with the green re-animating liquid the doctor uses, and the gore of
the film.
Equally the red goo effect would be perfect
for the 1958 film The Blob. The Dark red
associated with blood, war, power, rage and
wrath.
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Blend Modes
Blend modes are another way we can combine elements, they allow
two layers to interact in unique and different ways. Blending modes
blend the color of two layers together.
To access the blend modes we right click next to Source Name Columns and check Modes, which will appearin the composition panel. Now we can move
through the different blending modes.
They are grouped in to general categories.
These modes generally darken an image These modes lighten the image These modes lighten light values and darken dark values (Bring colors to life). These modes are special effects
For example I take this retro picture and I want to make
it a bit cooler by adding some color.
I open the image in a new
composition create a new solid
layer (Cmd + Y) above it Layer
new solid, and add Ramp to this
new solid layer. Effects Generate Ramp.
(Ramp is great for skyscapes)
Now in this layer I have my Ramp options
where I can set the color of the ramp
and the ramp position markers can be
moved to change the ramp position and
direction.
I select my blend mode Multiply, from the menu
This blend mode is now added to the
layer and the layer now blends with the
layer below.
I also added a new text layer and select
the blending mode Divide.
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Ramp in effect again on this Sky - Blend mode Multiply.
Flashy transitions between video clips
We have two pieces of footage we want to transition
between. I open the file Filmclutter to use to createthe transition.
I put the Film clutter clip
in above my footage in
the composition and
make a copy of it by
pressing cmd+ d.
I align the layers as below and set the
blending mode to Add, this will grab the bright pixels of both layersand add them together.
At the point I want the two clips to cross, I cross over the film clutter
layer to create an almost solid layer of color, hiding the transition.
This clip needed to be reversed: layer time time reverse layer. This is because
the clip moves from solid light and fades
away, so by reversing this and copying it
back to back we get our complete
transition.
We can also get this same transition effect with a solid white layer.
Layer new solid. Placing the solid layer on top of the footage
and selecting the Add blending mode.
Then I key frame the opacity of
the white solid to fade in and out
creating a transition, from the
footage, building to solid white,
then fading back to the new clip.
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Masks
Masks remove pieces of a layer.
To create a mask we create a new composition, and with the
layer selected - select the Rectangle tool.
Now I draw a box on the selected
layer to create my vector mask.
Worth noting I can change the
mask mode here
To animate the mask I expand the mask
options and add a key frame at the start of
the composition.
To move the mask make sure its is selected
and using the Selection Tool (V) hover
over the Mask border and look for the
curser to change to black, now we can move it.
To move individual points on the Mask path hold shiftand select the points. With the Mask selected I move it
in the composition which will add a new key frame,
animating the mask.
To add text and animate it using a Mask
Text Tool - add my text to the composition.
With the text layer
selected, I get the
Rectangle tool and
draw a new mask.
I expand the Mask options get the selection tool (V)
set a key frame under the mark option move along thetime line, adding key frames as I move the Mask.
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Track Matte
Blending modes combine layers together; Tack mattes create transparency on
the layer below. They create transparency, but in a more subtle way. A Luma
Matte will knock out dark pieces of an image, and whats keptare the white
parts of the image. (Luma is brightness,
Saturation is color.)
I open an image in the composition
layer new - solid effects - generate
ramp, on the solid layer. Now under the
track matte option select Luma Matte
So I started with
this image of peas.
I created a new solid layer above it and
applied a Ramp (I also adjusted its
position with the ramp start and end
markers). Now under the track matte
option select Luma Matte, now the image
look like this
Then I add a new image of piece of footage below the Peas
image and now I have this bizarre city with a sky of peas
The Luma matte lets us see through the layers.
AnAlpha Matte: I take the same image
of Peas as above. I select the Text tooland add text which will be created in its
own new layer.
On the original Peas layer I select the
Track Matte mode Alpha Matte.
I could then create a new solid layer,
Ctrl + Y, and drop it below the image to
create a background.
Layers with transparency are often used as Alpha Mattes,
while layers showing variations in brightness (e.g. footage)
are often used as Luma Mattes.
Alpha layer is an empty layer, an alpha channel is transparent. A Track Matte will
knock out the alpha layer. The alpha channel basically controls the transparency
of all the other channels. By adding the alpha channel to an image you control the
transparency of the red channel, green channel and the blue channel.