Complete Intro to Motion Design [Ep1-4] | FULL COURSE

welcome to complete intro to motion design where you'll learn everything you need to know to get started in the world of motion graphics let's do it everybody and welcome back to tip-top today we are taking our first steps on our journey into complete motion design or complete intro to motion design you've seen in the header there intro that the thing we're gonna be animating is this little lighter character in the forest this is something that I've drawn in procreate on the iPad but as far as you're concerned you can start with the sketch on paper it doesn't really matter we're gonna take this in a series of videos from conceptual sketch all the way through to a completed animated piece inside of After Effects now the first thing I did when I got started was to draw some little concepts now and you can see here eventually I decided on this sort of lighter character and toasting a marshmallow on his own flame and I took that in to procreate Alice did a little sketch of that I actually did do a complete finished version in procreate just to see what that was gonna look like and see whether I would enjoy it and want to work with it which I decided I did so you'll be able to download this from my website but if you want to you can absolutely do this with your own sketch your own drawing as well can be whatever you want and I do highly recommend you do that so that's enough preamble hopefully you've enjoyed this little time lapse of me doing the sketch and let's jump right into the first step which as you saw in the title card is sketching an illustration on the sketching it's time for the illustration so here we are inside illustrator I've just booted up illustrator here will be on the home page and as you can see from my assets folder that I've got here I have my original sketch and I also have the an example of the finished artwork here which I created and procreate this is the thing that we're going to be recreating step by step because I don't want to just do a procreate tutorial I want to assume you guys don't have access to that so all I've done is I've just taken my sketch layer that I'm gonna be bringing into illustrator and we're gonna read Bill that in Illustrator so I'm going to drag and drop my sketch dot PNG into illustrator and that's going to create a file for us yeah now just for my peace of mind what I'm going to do is grab my artboard tool and I'm just going to increase my artboard to the size of my artwork like so that gives us 2048 pixels to work with which is quite a large amount now if you're very new to illustrator and you're ready to solve this source stuff in general then I'd recommend that you watch my intro to illustrate a series which I'll link in the video now that'll just get you to grips with using illustrator and using this software which I will explain a little bit but not in a tremendous amount of detail because there's so much to get through anyway so without any further ado let's jump in so we're gonna build this in a way that will allow us to take it first into Photoshop and then secondly into After Effects and what that means is we have to work quite carefully with our layers palette down here what I will do is I'll just shift myself for this video a little camera version of me I'm gonna go and bring me over here to this side just because our layers palette is down there and we need to know what buttons I'm clicking so to bring this sort of thing into After Effects what you need to do is make sure that all of your content that you want to be separate needs to be on separate layers so the first thing we should do is create a bunch of layers now creating groups inside these layers is fine but it won't be interpreted as editable when you bring it into Photoshop so you need to make sure that all your separate assets are on your separate layers secondly I'm going to be using a brilliant color palette by gigantic again I will link in now and gigantic is a brilliant illustrator and it gives this color palette away for free on his website and I just think it's fantastic I use it for a lot of my stuff so we're gonna pop out there just for reference as well you can grab that from his website if you go and download it so I'm gonna take this sketch here ok and first thing Ling do is drag that layer to the top of the screen and I'm gonna rename it sketch because naming things is important and then I'm also going to twirl this down and I'm gonna change its opacity I don't like this set up I've just bought new pcs my setup isn't complete yet I'm gonna drag my layers palette under my properties palette just so I've got these options separate when I select the sketch layer I'm gonna drop this opacity down so we can start to see through it it's just a reference I'm also gonna lock it so I can't accidentally select it and twirl it down again so it's not too distracting okay so let's take a look at our files here now I'm just going to bring this other one up for reference just on the other screen and we're gonna crack right on so first things first in illustrator we're only making the flat colors we're gonna add all of this lots of nice gradient stuff here that you've seen in Photoshop and then eventually After Effects so first things first we're gonna work from the bottom up we're going to make sure we have our bottom layer selected and we're going to pull this sky and we're just going to draw a box with our rectangle tool and using our grab handles here we're just going to make that feel our canvas and then I'm just gonna drag it up to about that size because I know that's where the sky stops and that's what we really need to see it's gonna pop a basic blue color from my palette there and I did that just by hitting I for the eyedropper and clicking on the palette okay separately to this guy we're gonna add texture to it and some lines we're probably gonna add all these lines in after-effects later however we will do them on a same layer here and we'll call them sky lines whilst these we will probably be rebuilt I'm gonna build them here quickly I'm not gonna worry too much about how they look I'm just gonna grab the blob brush tool that I've got here like say make sure that I'm happy with it I'm gonna grab a nice dark blue and using my blob brush tool I'm just gonna bring some of these lines in that we have from that original using just using the mouse like I said we're going to be rebuilding these so accuracy isn't too important as long as you're happy with the way they look roughly okay I think that's the sky dance I'm gonna hide those layers next up is the moon so we need to moon and we'll need to layer four moon lines and probably what I will be doing is bringing it sort of this reference file into artifacts anyway so we've got those original lines on there so the moon is a circle we'll grab our ellipse tool here and holding alt and shift we'll just click and drag until we get the rough size that we want and then pressing I we can select a nice moon color that one seems to work we can add quite a bit of shading to this along the bottom and highlighting and also some lines along there as well I did accidentally just rely on moon lines notice I'll cut that with ctrl X and I'll select my moon's layer and I'll paste it in place ctrl F on the top of that will go to the moon lines layer we'll grab our slightly darker color here we'll go shift B to bring up our blob brush again and we'll just Brin some rough lines and just for reference because we're going to be redoing those so don't worry if they look a bit messy we will have it grab all of these shapes and this is the reason we do it with the blob brush and we will copy the moon on top so ctrl C on that moon go to the moon lines layer ctrl F and that will paste it on top of these lines now if we shift select all four of these lines we can do right click and then make compound path and that tells illustrator to treat these as a single shape meaning when we select this moon that's on top and we slip these lines that are underneath and we bring up Pathfinder in our properties palette we can choose intersect and that will retain only the intersecting sections when you reapply the color we'd be able to see there you go we've got the lines now cut off to the shape of our moon which is really helpful okay so what is next then next up is creating the mountains so we'll do that there Mountains layer here and then I'm pretty sure there's some lines on those two so we'll just bring up mountains lines and we'll just start to bring these in now because this is a really rough sketch and what we're gonna do is just use the pen tool on our mountains layer and we're gonna choose sort of this nice dark green color making sure that it looks good against our skies will turn our sky back on briefly and grab our pencil and if you long press on the pen tool it should bring up some other options also not the pencil beneath it the pencil there is the curvature tool it used to be under the pen what this does is it allows you to work with like the pen tool by clicking but just clicking around and it will automatically adjust and create the curves for you which you might find quite useful so I'm gonna select this nice dark color here and with my B curvature tool I'm going to zoom in and I'm just gonna start trying to draw in in shape you like that maybe what this does is it ensures that the lines you do have of really smooth now this is gonna be hidden behind the others so I'm just gonna grab my normal pencil now select that anger point and I'm just gonna square off this little mountain okay that's good on that there are some darker lines so we'll do the same thing we did with the moon we'll go on to the mountain lions lair we'll grab our brush tool with it shift B zoom in using ctrl + there and we'll just start drawing in some reference - looks good to me and again these are going to be removed in the final thing and reapplied in After Effects so we're not spending a lot of time on them gonna grab all six of these and make them a compound path we'll copy and paste in place on the mountain lions lair other mountain will choose intersect and we'll reapply that dark color and there is our first mountain in the background there so now we need to start looking at drawing the actual foreground so that'll be on top we'll just call this foreground and then there'll be some lines on that so that we foreground lines and on our foreground layer will select this nice dark blue here and again with our curvature tool we're just gonna dive right in so there's a little bit of a lump a little bit of a hill here so we'll just make sure to include that it starts to curve back down again before it comes up I'm not worrying too much about following the sketch incredibly accurately because sketch and we can neaten things up heart's desire now this one comes all the way down so we're gonna fill the canvas with that pressing V there to bring up the selection tool and we've got our mountain so let's grab our foreground lines we'll make that in this nice dark color shift B to bring up the blob brush and I'm pretty sure I just did a couple sort of along there like that you and know because we're gonna be replacing these they're just there for reference okay good a select both of those right-click make a compound path copy the foreground underneath paste it in place with ctrl F on the foreground layer select the lines choose intersect from the Pathfinder menu and reapply that dark color there we go so that's pretty much the process for this entire section so I'm just going to focus a bit more now on building this character because he's got more intricacies to him that make sense so we'll build the foreground quickly and then we'll build the character after that so I'm gonna go to the top here and I'm gonna prefer a layer for trees and I'm just gonna quickly with the pen tool this time because I need that bit of lumpiness to it I'm just gonna start to draw in these trees again from the sketch here being quite rough and if you click it will create a good point like so but if you click and drag it will create your curve points which is quite useful so I'm just doing quick little drags here just to create a bumpy but still curved main line and then we'll go out to the top now what I'm probably gonna do at the end thinking about all these lines here is I'm gonna go back through with my graphics tablet and I'm gonna neat in them up if you don't have access to that you could do these lines in the same way that I'm doing these pencils you can see in our original sketch here excuse me if I go and zoom in a little bit you can see that they differ in thickness a little bit they differ in and sort of angle so what you could do instead of just drawing a flat line is you could grab your pencil you could start drawing in some curves like so and then if you hold alt you can adjust a single access point here and without Leiter's go back on yourself it's start to follow around like say to show you a way to create these without a graphics tablet which doesn't have obviously pressure sensitivity but I'll be going through and I'll be going creating these again with a graphics tablet that does a pressure sensitivity just cuz it's quicker for me so that's how you'd recreate those lines that's what I'm doing them so roughly you've got our tree here it looks a little bit janky to me though so what I'm going to do is I'm going to select that I'm gonna right-click it and I'm going to do simplify well that's going to do is it's just gonna even out by removing some of these points here it's just gonna even out some of those sections just to 25 points that's just gonna smooth out some of those jagged edges there do the same thing for this tree on the other side then we'll keep this on the same layer and I'm just clicking around here clicking and dragging by itself just to get the edges of these trees in hey looking pretty good that's not bad we'll just extend that a little bit further than we need to just to make sure it fills the page and we'll cut out this little section nice there we go so those are our front trees they will also have lines on them if I remember correctly had closed my reference image so we'll just reopen that back up yeah these are got lines all over them so we'll just add in some guidelines there trees lines over for these two trees we're gonna have to make those a compound path so that we can copy and paste them we're gonna grab our tree lines layer from over here we gotta grab a lighter color this time I think is I think it's actually this same purplish blue here and we're just gonna start drawing in some lines with our blob brush I'd say this one like Irish has one about there there's a couple that's swim down like that some down here and a couple of big sweepers like that nice and over here we've got some stuff which again being very rough here I'm gonna redo them just for reference guy in couple up here swinging around nice that looks pretty good so for simplicity here I'm just going to click this little dot next to the layer which selects everything on that layer right click make a compound path I'm gonna grab my trees of the ctrl C paste another tree lines layer with ctrl s select both right click and so not right click go to path finder choose insect intersecting shapes that we will grab the color for here and there we go we've got our lines looking pretty good let's quickly do these plants and then we'll work on to the character here so we need to remove some of these layers of tree lines actually these can state below I think I'll call this one vines and luckily these don't really have any textures on them so we can literally just grab our pen tool like so you and I'm just gonna click and drag here until that guidelines up and then bring that option up here for the single click creates another harsh edge and then click-and-drag here creates that fine so this is the technique you'd use to create these lines if you didn't have a graphics tablet and there is one of our vines looks pretty good just gonna hide some of these background layers they don't get too distracting here grab all these guys off maybe even turn off the trees and the trees lines draw these ones over here with the pencil single click click and drag at the bottom of that apec dragging around until you get the line ooh one single cliff again single click again adjustment there hang up now here you can see that I need to go way past in order to get the line that I want that's fine because we can just connect that there and then we can draw a rectangle just to cut off this little section select both shapes and choose - front and I'll cut that off for us nice and simply so let's duplicate this one actually that's just right again because it will shrink if we duplicate it so we will grab second vine picking and dragging and then here I'm gonna hold the bolt to create that nice sharp right angle vine there and connecting out like so cool those vines look pretty good so I'm just gonna on the same layer choose my curvature throw my blob brush but what I'm gonna see if I can paint these in if I make these a little bit smaller look right now doesn't exceed bad actually it's gonna the thing about this style of artwork is that it is quite wobbly so doesn't really matter if it looks wobbly so like a hand-drawn illustration style that's pretty good remembering of course these end points are going to be the tree line so that's totally fine and that we have our vines our Sun all these layers back on and so they looking pretty good we hired our sketch briefly you can see what we've got going on here looking not too bad so far actually let's grab however our spare layer and add a few more because we haven't even done our character yet and we haven't even done our once yet we go to the plants down here by sitting layer 9 I'm gonna call this one plant base turn our sketch back on and we're gonna start to draw these little plants now I am gonna hide these tree layers and I'm gonna draw a bit behind them because when we come to animate this we might expose this area a little bit more there's nothing in this area now there might be later so we'll start off with our smaller plant here I'm going to do is just draw the rough shape that I want for the leaf we'll hold alt to shorten this handle here so that I can more easily get the shape that I want I'm gonna drag these handles around and boom there is our leaf shape I'm gonna make sure that this line turns to a fill and I'm gonna make this a nice bright red and press B to come out of that shape now here's the fun bit let's duplicate this by holding alt and shift right clicking it using transform and reflect we want reflect vertically to flop that around there and we're just then going to grab this guy and rotate him a little bit to bring him down like so now you might want these all on separate layers just so you can grade them individually so I'm gonna do is cut that I'm gonna rename this one leaf and on the layer above it I'm gonna paste in place belief too then I'm gonna grab my pen tool again on the layer above and we're gonna draw this leaf and guess what we're gonna call that one it's gonna be leaf three oh now we just need to cut out these little sections here and for that I'm going to do it really simply I'm gonna grab my pen tool again I'm gonna draw a shape holding alt there to change the angle I'm just going to draw our brunch triangles that make the cutouts that I want bring this guy in like that around this guy bring in bring that around every go then I'm going to grab my leaf layer gonna grab my one of my triangles and I'm just may hit - front and I'm gonna do that again a few more times who's let me grab all of these cut them and paste them in place again and that then make sure they're all on top so that when I do grab both of these and hit - front actually - is the triangle control X control s cut control F shift cut and there we have one of our leaves so this one I want the cuts to be in a slight different place which is why I'm not duplicating it and make sure I'm still on the correct layer you just that one is not so we'll cut that one we'll pop that on his own layer down there and just for simplicity we actually hide those other ones for now make sure on the right layer here grab that pen tool to change the angle pressing V to come out of it and P to go back in holding alt hang out these shapes by selecting both - from selecting both - from okay this bottom leaf quickly anyone cut out here luckily to be here all day cut out as well of it you look at them and now we have our three leaves again not the shading that you see here is all going to be applied in a later section in Photoshop so we have to worry about laughter now on top of these are we're going to need these two stalks so we'll make it layer four stalks which we will spell correctly and we're just gonna use our blob brush shift and B brings up the blob brush make sure we're on the right color so I'm gonna grab this sort of dark red color from up here and I was going to draw a nice smooth line nice move couple of lines here then I'm gonna grab my rounded rectangle tool by going to the rectangle here I've got a drawer or the rough shape that I want for the head and then there's these little circles that I can just drag in and it creates a perfect rounded rectangle so if I invert that to show Phil I can start placing these over my little heart desires you every plant needs a friend so we're going to make ourselves a bigger friend to do so I'm just going to grab all these layers like this and I'm going to duplicate them ah then I can grab them again and move them over here I will however because it's behind it grab all these copies and just drag them below like that now we can scale this up just saves us a little bit of time excuse me grab the wrong layer there position that in place looks pretty good let's just rotate it a little bit oops I missed click again there we take that is a little bit just they're not exactly the same we'll have to come back into these rounded rectangles and make sure that they're still fully converted like that and we'll paste a third one in here as well seems the original design had three we'll grab our blob brush and we'll just draw in a final stalk oops we'll make that final stalk the same thickness as the rest just pressing open and close square bracket layer to shrink or grow this little 3d option okay quickly reenable those trees we'll quickly recolor these leaves because in the original one it was like a purplish color not a reddish color so we'll grab like this kind of nice purple here we'll leave these the same color though I think that looks good and will briefly turn off the sketch to see where we are that's everything except for the character done now this is already going to be a long video it's really half an hour long but I think it's important that we do all of this step in one video for you guys so it's easy to consume feel free to pause and come back at another time but we're just gonna crack on and create this character now because we've done all of the background set up you know just need to do this guy and this guy is gonna be a little bit more complicated as I'm sure you can imagine so I'm going to take a sip of tea and we're gonna carry on okay so we're going Rab our sketch layer here make sure that's still on top and we're gonna start drawing our little dude now what I'm going to do is I'm gonna make sure well first of all I'm going to name this layer palette and I'm gonna make sure that my character because he doesn't actually touch anything else in the scene at the moment I'm gonna pop him on top just for simplicity here but when you're done you're gonna want to drag him back down so that he's at least below the trees layer so that when we come to animate here later on he's in the right place I'm gonna do howevers grab all of these layers we haven't used yet and I'm just gonna pop them right at the top just so that I know that I can sort of ignore everything underneath the pallet layer for now right let's get started then so we're gonna draw up the trunk he's sitting on first I'm gonna need a layer for the trunk and we'll probably need a layer for the trunk shadow as a separate thing so we'll call this guy trunk shadow and we'll just get cracking now this consists of a few shapes but I'm just gonna pop more than the same layer because I'm not really gonna need to shade them any differently so we'll just do that now that's a bit of a guesstimate there I saw that trunk line is behind him that's okay it's a straight line doesn't matter not going to see it anyway so I'm just using the same techniques we did before here just gonna zoom in and make sure I get this guy looking somewhat good cracking and clicking and as you can see I'm sort of just feeling it out it might not be exactly the same as the original sketch that's okay because it is a sketch and that looks pretty good to me I've missed wildly the wrong color so we'll just grab this nice sort of turquoise looking color here and we'll leave at that now we need our little ends here so we're just gonna grab a on the same layer grab a pencil and we're just going to create a new shape making sure nothing's selected I just can aide so roughly line out we've got going on on in control there to edit an existing point and then holding alt to just edit one branch off that existing point then copy with control C paste with control F select both choose intersect and I can now choose my darker color for the end of the log there cool it's pretty good you know that it's overlapping and for this one we can just grab a little ellipse and rotate it so they're lines up with the edges here and that's it so there is the lock we're happy with that we didn't need to add some log lines however so we'll do that now trunk lines not turn Cline's trunk lines these are brighter colors so we'll do that now we'll grab our nice bright green here we'll grab our blahblah brush and we'll start to just oops professor will make sure it's not that fat they'll just shrink it down to the same size over here again we'll probably be redoing these so just gonna pop them in quickly for reference like say all of them by selecting the trunk lines layer probably the easiest way right click compound path now we're going to take this shape ctrl C paste here ctrl F who just did that sooo on the same layer paste ctrl s and then intersect up here quickly reapply that light to color and then we'll just take this shape here we'll cut that or paste that on the trunk lines layer as well so that it's above those lines there have it if the log done we do have some lines on the floor in our original one and so we will quickly pop those in as well we'll just call them new layer underneath the trunk shadow layer and we'll call these trunk shadow lines grab our blob brush tool they look like they're the same color if not this kind of blue instead and these look to be a little bit thinner so we'll just do them that for consistency again we will absolutely be redoing these so don't worry too much yours you'll obviously get right first-time mine I'm gonna redo with my pen later on so they are just for reference let's actually grab all of these put them in more convenient place with control X can delete our trunk shadows layer because I don't know what I was thinking we want to go and paste them all on the foreground lines layer with control F okay much better trunk lines done so now we need to start thinking about our character and he is probably the most complicated part of this section because we need to think about how he's gonna animate and move the rest of these animation bits are just gonna sort of slide around the page whereas this guy's gonna have individual animated elements for his like arms and his flames and things like that we also need to think about whether we're gonna have this lid flapping down that's all things if basically we're gonna treat him as separate as possible and we could if you wanted to build him in his own little file to make sure he's not too difficult but we're gonna build them in the same file just for simplicity here before I do that hover keep the guessing trunks shadow so we'll just quickly pop him in a this and he goes cool we will make that almost black and we will reduce the opacity of that layer down to about 30% there we go trunk shadow done let's start on our lighter boy okay so first things first and probably want to do the body that's probably gonna be the first thing so we'll just call this one body and which needs the pen tool again you could if you wanted to make a bit more rigid shape use the rectangle tool and then using your direct selection tool if we just make him the right color choose your direct selection tool up here and individually move around these points if you wanted to that create something a little bit too rigid for me though I really like that and he looks too square you know compared to the rest of like this for organic design might want that you might want that because it sort of creates a nice contrast and but me I think I'm going to just draw this guy using the pen tool I'm gonna come in and grab the body we're just going to choose the main sections of the body here so it's gonna be starting like this having little bits of curve to his body justice it's not quite so rigid you know worried about his legs in another step and sure to include all of the sections that this sort of bit is attached to because that's gonna make a bit easier later down the line when it comes to do all the shading and that sort of thing so that's the main section of the body on the other bit we're gonna want a layer for the body right there's really any section that's going to have its own individual bit of shading on it so for the body right we're going to make sure nothing's selected just so that when we grab our pen tool and we click the same point as before we don't accidentally select it we're gonna start where there is no point like so and then we're gonna overlap there you can bring this out because we're going to use this clipping mask technique that we had from before like say and then we're going to join up section like that paint there's a nice dark color just we can see the difference originally and then we will copy in place on the body right layer and choose intersect same as before and that creates a perfectly aligned section that when we color because see he's got no overlapping elements and no other bits just gently sticking out we'll do the same with the top here we'll name this body top and we'll grab somewhere we don't have a point yet so we could just start over there to be honest click that section here making sure there's a point click that section there making sure there's a point bring that go across add a little bit of curve so he doesn't look super rigid now here it's important that we align so if we snap you can see we can snap there bring that section over and then pull that out grab the body from the previous layer select the body top paste in place grab both of them choose intersect and this time I'm going to choose a lighter color I say you can see the difference between these block color sections and these painted sections here where we've softened out everything so we will get to that it's just not in this step so that's the main body of our lighter we now need to start adding in all of the little extraneous sections here so I try and do it from the ground up okay so like the lid will be next and then other stuff from there so it will call this one hinge and we will create ourselves a nice rectangle which we will zoom in and smooth the edges for and then we could rotate this until it's roughly the same alignment as this section here and we'll just shorten it to make that hinge this will paint the same color as a this body right section like so I see it oh it's because I accidentally selected something where the opacity is way down whether I select them out the sketch layer I think that'd be why so there is our hinge that's all good that's where you can't I drop it from here then because you'll be I dropping the 20% opacity layer should I drop it from your color palette let's draw this a lid this lid is gonna have to go under the hinge because it will be behind it and we're just gonna bring in a nice curve on that corner there looks good come to this section nice curve no answer here make sure there's no really harsh dragging edges or anything and then collect that one up nice now we'll leave that one as it is and we'll call this one lid vase and this color will be the soft inside section here which we'll paint later on to have shadows you can see it against the hinge above that we're going to choose a new layer we're gonna actually one excite in the top you coming across making sure there's no hard edge on the edge there kids grab both bass copy and paste it onto this layer select both choose intersect and choose a nice bright color for it I think that that one looks a bit better so we'll do that and we'll name this one lid top now we need a layer between lid top and hinge and we can just start to roughly pop in this guy we don't actually need anything here to be accurate apart from where we want this edge to be so we can line it up with there bring that in and we'll make sure that this is painted the same color as the front so this one should probably actually be that color so that when we then select the lid base paste it on the same layer as lid front select both these choose intersect you can see we've got our colors good to go doesn't look too great like that so I'm going to do is I'm going to grab this lid top layer I'm just gonna shimmy this one up a bit shimmy this point up a bit with the direct selection tool and we're gonna see how that looks well I like that curve so I think what happenes happen is this point here is to come down to the match up at that point we can add that curve back in make it that but again we're gonna be softening up all these colors later on anyway so it doesn't really matter I'm gonna grab my hinge layer actually and for now I'm just gonna make it a nice darker color just so we can see it against the rest of this stuff and we're gonna make sure that this lid front is below English because the hinge sticks out a bit there is lid front so you can see our little guys starting to come together let's see what we've got else to draw let's do the legs we'll do that underneath the body so grab one of our layers and we'll pop them under the body and we'll call it legs these I am just gonna pop on their own layer and then later on if we need to zipper in that we can so let's do that grab this guy paint in the same color and we'll just add some shading later on here you and drawing so nice legs for a little lighter boy you and just to make sure that he looks as even as possible I'm gonna do is well first of all gonna paint in the right colour which is this kind of oops in the girl I click the wrong layer there so I'm going to drag that pasty back up I'm just gonna alt and drag him so duplicate and transform reflect vertically to flop him around and then we'll just spin this guy out so that he's got two legs that are the same size all right looks pretty good let's do the arm that's behind his body so that needs a layer here arm you'll find and again this one is just a case of grabbing pencil and tracing like say so if you're feeling pretty comfortable you can obviously do the rest of this without watching this video if you are following along with this design and you want to see how it's all done then obviously you can follow along with me here as I'm creating this stuff if you're a bit more confident you can go off and do it by yourself with your own drawing that's on behind happy they're now armed front is a bit difficult cuz we need some fingers that are above this stick and a bit less below this stick so we'll do that on top of the body and on top of body right we need a new layout I'm gonna call this arm front bot for bottom and then we'll need another layer for armed front top and then we'll need another layer for armed stick so I'm front bot first then we're gonna grab this guy ourselves a nice little shoulder lump you bring our my smooth way now I'm using the pen tool but you can of course use the curvature tool if you find yourself a bit more familiar with that you you and there you go bless me that spike to the audio I'm very sorry everyone hopefully that woke you all up that is the arm front autumn fine then on the arm front top layer will draw all of his fingers then in between that we can add the stick so grab our pencil make sure we're aligning with the edge here just so it's a nice smooth transition away from the arm and what poppin these days big thumb nice I'm gonna make a new layer for the fingers just so that we can add that nice bit of shading later on if we want to and for the fingers I'm just going to grab my rectangle tool those edges take them you and duplicate them into position at least for these two for the pinky finger I think I'm gonna have to do pen I'm gonna just have to choose we're the edge of that pinky's gonna be because obviously it's gonna be in front of or behind off the stick okay okay that looks pretty good seems we're already over here we'll do the stick next so we've got arm stick and then we'll need some more layers for like the marshmallow and the like ends of the stick and I should do your stick and marshmallow and now so we'll grab our pen tool and we'll start tea you roaring this low stick and hopefully it should all line up quite nicely if the hands that we just drawn and it's pretty good okay that looks nice apart from we don't want a green stick preferably like a brown one and they can see that the fingers and thumb are separate to the hand that goes underneath it awesome let's add in just on the same layer we'll just add in the ends of the stick here we'll make that a nice brighter brown me some reason that's thing going to the full ground layer I'll make sure we did all that on the right layer yes we did i sat in place they're rotating around so these covering up the edge of the stick and it's pretty good apart from we will just grab this individual point and to something okay looks a bit less rigid now we'll also need one of these guys up here just because of the way the angle of the stickies so just scale him up I'm position him until he covers up the end of the stick again we can grab all individual points here tweaking them so it comes up the sections that we want that's getting a bit high for me he's a bit of fat so they will just bring that out okay the rest of the stuff we will add later the rest of the texture will have add this marshmallow on this own layer because we're gonna have to add individual shading to the old marshmallow friend how this but it sticks behind that corner so I'm actually gonna make this guy a bit shorter and the way I did it before is I think I just brought this up and I did like a a splurged little S shape indicates been stabbed on section pulled out like that then I painted it and I should marshmallow color and shift them up the stick a bit and that looks pretty good to me mmm maybe I don't like that little s maybe that just needs to be having shape yeah it looks better we'll just do that perfect all right final step then is this guy's face and his flames here so let's do the face first these nice and keep on top of body I'm just going to do the face here so make a layer for the mouth we'll make a layer for each eye and we'll make a layer for the brows now it's nice and simple again it's just a cool little pen tool you and really want it to be this blue color though so we'll make sure to fix that by making a basalt dark reddish color here we also need to add in his blush which will probably read a v' to be honest in After Effects but we will just quickly add in some little blushing lines just so we know they're there and then time to do the eye that will obviously grab the ellipse tool will alt shift and reposition slightly and we'll make this off-white then we'll ctrl C trial effort will shrink it down slightly and move it to the edge of the I will make it this nice dark color here and then you guessed it we're gonna copy we're gonna paste in place we're gonna select both and choose intersect and they have our first I we can then just copy this and on the other eye layer hit paste you can rotate them around a little bit and reposition here there you go the Brow's will grab a rounded rectangle tool again will make them color as the blush in the mouth we'll just position them nicely an inquisitive little style Oh as he's toasting like checking out his little marshmallows roast okay looks pretty good all right last step then the flames the fun bit this we're going to have to add under the stick layer because the stick might move in front of it so we'll find where our on that stick layer is and we'll create a few new layers in here I think that five should do maybe easy so now we need the lighter top base we'll just grab our pencil and for this one I think I did it all a shade of darker so the whole thing wouldn't be this color it would be this one and we're lucky in a moment because we've got that light bit on the top here or like the top of our lighter color why is he not looking so good nineteen rather than a hundred percent say that's why he got double check your things right he should be sort of that color and he should be that color and then he should also be below body top should be below arm stick and also below marshmallow it now is the same color as the marshmallow with the shading that's probably not a problem what we will do just for now is we'll make him this kind of darkish color here Shh okay that doesn't look too bad we will do that as the color instead and where was I it top don't care light the top vase that's what we wanted so we'll make the lighter top base of this color from the front and we turn on our sketch so we can see it and we'll start at this claim you remember when we're going to extend behind the flames because we're not really sure what we're gonna be doing with the animation yet it will draw the whole thing properly honest you you you and there you go so that is the later top we now need to do the same thing we did before with the right to say this would be lighter top right grabbing this guy and this one we can be quite loose with up until actually we can be quite elated at all because we're going to do a top section here anyway so we can just do that make it the dark color we can grab both layers you just give me got the bottom layer we can paste it in place grab both intersect them make sure this guy is on the right layer by itself she is and pop it there from our Gurney's behind body top so we'd want body top to be below lighter base but there's stick to be above it now like the Front's gonna stay that color so what we'll do is we'll turn lighter base to be this dark color here oops excuse me we'll select it from there and now we'll add the front on and the front will be nice and careful to get correct so I will have him swinging around like yes around the front this you and then around the back like that and then we'd want it to be all the way around there now that way I just need to tweak so that it does connect at least where I want it to then we can grab this stick it on the right layer which will be lighter top front placed in place it's a place where you copy lighter top bottom and paste it in place there grab this one intersect then choose our nice light color and see what we're working with okay looks pretty good this guy needs to move up a level so that he's covered there and then we need to just draw in this top section now one good way to do that is to select all three of these parts copy and paste them onto a new layer excuse me - a new layer and we'll call this lighter top hole then we can go to our shape builder tool and we can merge these two shapes together and remove those two now we've got our by yourself and there is the top of our lighter not super happy with it I'm gonna lie because I'm probably going to want to shift these along like that you and just line them up a bit better with that shape and that obviously means we'll need to adjust this guy underneath you here there we go so that's all hidden away nicely cool looks good will on the same as the lighter top layer lighter top front this one will add a new layer on top of that and we'll just say holes and I think I did four holes yeah in this sketch version so we'll grab our ellipse tool and line these up he's a little bit at an angle to us so we can squish them horizontally somewhat everything has to move that way and some holes there maybe something like that looks good and we'll make these the same color as our nice stock over here be good actually make that of a nice dog yeah that it's cool all right nice one now it's time for the flames for which you'll need one two and three layers so when we flame bot flame mid and flame top now for this I am gonna go back to my curvature tool because I want them to be perfectly smooth I'm gonna grab a nice bold red color and I'm going to start going around here now one you can be as blazing as you want if you'll excuse me as blazing as you want don't select any points on other shapes it'll be nice and smooth all the way through even if you click and drag a little bit you've knew why I've gone Gloucestershire accent so be filming fridges and I'm losing my night okay there is our base color flame mid we'll make this nice toasty orange and we'll do the shape here we'll also do a couple of these little circle bits by the bigger ones that's pretty good and then flame top we will do in this right yellow color the tools selected and we'll just do some nice additional flame elements as well as one in the middle here like that looks pretty good to me and then you're ready for the big reveal boom our character created in Illustrator ready to be brought into Photoshop to add texture now I know that was really long it's nearly an hour long tutorial but that's what this course is it's a complete intro to hopefully stuck around this long if you have thank you very much you're very tenacious I appreciate that and I respect it and I'll see you for the second episode where we're gonna be adding texture to this bad boy in Photoshop so thanks very much you guys and I'll see you next time on tip top part 2 adding texture hello everybody and welcome back to complete intro to motion design last time we created this little fella inside of Illustrator and all of our flat layers and this time we're going to be dropping this guy into Photoshop and adding some of our guidelines for the grain that we're going to be animating then inside of After Effects so basically we're gonna make a little guy here look a lot like this little guy so we're gonna be adding all of this shading here so this is a version I created in Pro crepe obviously we're gonna recreate this in Photoshop just in case you don't have access to that so first things first we need to export this from Illustrator to a Photoshop ready file and that's why we could spend all that time last time creating these layers here ok so now when we go to file export export as we can from the drop down menu choose a Photoshop PSD and we're just gonna save that there that's fine it'll ask you a few settings RGB is the colour model you want for digital screens resolution 150 or 72 PPI I'm gonna leave it hundred and fifty 72 is the standard but with a lot of tablets and phones and stuff these days having a higher dpi than that I like to leave it 150 we want to write the layers definitely we do not want a flat image and we want maximum editability we don't want to type optimize however you want art optimized because we're drawing some arts you want it you can also embed the color profile to make sure your colors are matched correctly if you're using srgb or Adobe RGB that sort of thing so once that has been created we can pop down to our layer here and open it up in Photoshop and you can see we have our complete Photoshop file now Photoshop will not respect an artboard if you choose maximum edit ability and stuff like that so you're probably gonna have to go ahead and crop your artwork to the area that you want so I'm just going to zoom in there and we're gonna go ahead and crop this guy now I'm not gonna go over how to use Photoshop I do have an intro to photoshop series that you can go ahead and watch and I'll link that for you now if you are not particularly ofay with Photoshop if you are however we're not doing much here that you won't be able to understand it's gonna be fairly simple stuff so roughly that shape will do so I'm just gonna hit accept and I'm pretty happy with that I will however make sure that we've got a perfectly square palate here by dragging this guy in because I don't think the tree was that large so we'll make it maybe four four forty that would do so go for four four Oh excels by four four four Oh pixels there we go and I'll just make sure we've got a nice square canvas here so you can see that every layer we created in Illustrator has been respected here inside of Photoshop some things which were accidentally in groups have been popped into a folder that's fine doesn't really bother us so we can just twelve those down to make sure that we're doing it all correctly now any layer that was hidden I don't think gets exported for example I cannot find my palate layer that's not in here so we're gonna have to re-import that but that's totally fine it was only a reference layer anyway so obviously you can add a pallet to Photoshop what I'm gonna do is just drag in this JPEG that I've got here again this is the one I got from gigantic last time so if you want to use this then you can do so you can download it from his store which I will link also for you right now so we've got our pallets which we're working with that's great and we've got our artwork here so what we're gonna be doing is adding the shading in this section which we will probably be recreating in after-effects but it's very important to do this because a this isn't might be how you're provided this image by another designer if you were just the animator be you can then use this as a still image for like reference or for thumbnails of your final product that sort of thing and see it's useful just to have it there and ready for you for any number of situations what we're going to do is we're going to basically try and replicate this original one as much as possible so I'm just going to drag this over here for reference over to see for you if you're following along you can do it ever you like using your own artwork it's the same process just different content so I'm gonna make a folder for the sky and I'm going to go and rename that group sky inside oops excuse me I just edited my DP either that sky folder we now have skylines and the sky layer itself we're gonna create a new layer on top of that we're gonna call this sky shading and we're going to hold alt and hover our mouse between those two layers and when we do that you can see just by my head here that we've got this so box as an arrow you click that'll create a clipping mask basically what that does is anything we draw on this layer will only appear in the area that has content on the layer below it for example if I just take a big yellow brush and just scribble that around and we were to hide this foreground layer and a bunch of the others so we can actually see what's going on you can see that this yellow even though I'm painting it all over the place it doesn't appear anywhere other than what our sky layer has content for so we don't want that yellow it's hideous so we'll get rid of it and we will choose a nice sort of bluish color from our palette so I'm just gonna grab my palate layer here now I'm using a graphics tablet for this but you can absolutely just use a mouse it really doesn't matter we're gonna make sure that we've got a sky layer selected and we're gonna choose just one of the darker colors for that probably this nice green now I've got a large soft brush that I've just hit with B and I've just basically gone sighs all the way up hardness all the way down and I'm going to be using the open and close square brackets to resize this and I'm just gonna start painting in I think a bit of shading on them now the only issue is this one at the moment has got that nice sort of dotted grainy noise effect on it and this brush that we've chosen doesn't have that they're simply to fix you just change the blending mode from normal to dissolve and the good thing about this is you can obviously move after you've drawn if you're not entirely happy of how that looks so yeah I think that looks pretty nice I think however it does need on top of this sort of lighter blue with this like greyish color here just along this top of the sky just add a bit of texture up there and that looks pretty good and then we're gonna make sure that the skylines folder is below that as well so that our shading goes on top of these lines if you want that if you don't want that you can obviously leave those lines on top I'm gonna drag that below it would probably be recreating anyway and then I'm going to twirl down my sky folder because we're done with that layer now that is the process for this entire section so if you're happy you can just carry on without me but if you want to follow along we'll be doing that for the rest of these layers here so moon is up next of course so we're gonna add a layer here we're gonna call this moon shading I'm gonna pop that above the moon lines folder so we'll just my head is in the way again I don't know why I pop him this way I'm gonna reflect me I'm gonna drag me away over here it's because in after-effects it's better for him to be down there but in Photoshop and stuff it's not so I'll just pop myself over there okay so we've got a moon moon lines moon shading we're gonna pop that in a folder called moon and on the moon shading layer we're gonna alt click and it's only gonna appear on that layer beneath it sounds good so we're gonna check that that still works no that's only appearing on that layer so we'll have to drag it there and then move that afterwards after we've drawn it yep that's now appearing everywhere I'll click it so that it's only going to appear on the moon that's lovely what we don't want however is that hideous blue color there what we want is a nice sort of darkish pink color so we've got a moon here we'll take this lighter pink and we'll just shade in the bottom of them in there like so nice and gentle touch maybe we'll also get a pure white then we'll just lightly touch the top of that mean change that blatant dissolve and that looks pretty good I'm happy with that maybe it's a touch heavy so I'll grab my razor brush and I'll just get rid of that bottom bit it was that was not a razor that was just paintbrush I'll drag this guy up and we're gonna leave this one fairly solid so that we can actually erase things properly grab our lighter pink color and if with a bit of a lighter touch maybe with a larger brush can just come in my bath that looks pretty good okay yeah that'll be so that mean so this is basically the process for the entire thing you create a layer you clipping mask it you name that mountains shading and you all three of those things in a folder that you could mount if now all this folding and naming is very important because when it comes to moving this across to after-effects this will create things like sub comps and name them in the same way you've named them inside Photoshop so it's really useful to make sure we would get in that correct early on what colors that that let's color yes so we'll choose this darker blue we've got our clipping mask on nice large brush I'm just gonna come in paint the bottom of this mountain in change that blending mode to dissolve and that's a little bit harsh so we're just gonna show me that go down a bit using the arrow keys that looks pretty good happy with that so it will collapse down the mountains now we have our foreground so again we'll add a layer foreground will Oh click it foreground shading and we'll pop all of these in a folder and we'll call that folder foreground oh that now I like working from the bottom to the top surely because it means I don't waste time creating good shading on you're not gonna see and also it makes sense to me to build up an image that way if you were to do this traditionally obviously you paint from the bottom to the top there's no other way to do it and we're afforded a bit more luxury thankfully when we're doing things digitally so that's useful for us to be able to edit and work in any way that we'd like I still really enjoy working from bottom to top we can change this to resolve now so we can see what we're getting bit heavy-handed there so I'm just going to undo some of that okay to dissolve note now a bit heavy-handed you kind of course reduce the flow of your brush and that will lighten things up a little bit for you lighten up the touch and then I think we had a bit of shading down here as well who didn't like that let's make that really big zoom out and we'll start drawing over here and that means only the very edges our brush will actually touch the canvas there okay that's pretty good happy with that so we'll collapse our foreground shading and we'll move on to our leaves so I'm gonna zoom right in for this one because it's gonna be for these small plants here and I'm gonna just scale down the brush here so the good thing about this is it was something I just wasn't a preview gun there we go the good thing about this is even though I make the brush smaller if you then turn it to blending mode dissolve the dot size stays the same which is really useful for us inside leaf copy which is this pink one here I'm going to add a new layer Oh click it in a folder leaf one will call this leaf one pink so we can rename things doesn't really matter leaf one pink shading now naming these shading layers isn't super important because when it pre composes this inside of After Effects is gonna obviously be the only layer inside of that folder if if you don't mind labeling things and it doesn't bother you then I'd still recommend you do it because it doesn't take too long I'm just checking that's the right color there we're going to want this darker color instead we're going to zoom back in and we're just going to start to paint in these layers and one thing I've immediately noticed is that is in the wrong order this I'd like to be on the top so I'm going to just drag it to the top of those three leads so you can reorder things doesn't really matter and going to effect anyway that's pretty good we're gonna go to collapse this guy we're gonna they can go to leaf to see what one that is ice on the right I'd like that one to be above leaf three so they're gonna I'll click that layer select both of these group them call it leaf two pink and I'm not going to bother naming these anymore because like I mentioned before [Music] it doesn't actually matter for those interior ones due to the fact that they're gonna be inside a composition called Li two Pink's there's only two layers in there we'll take leave three just in the interest of saving time we'll grab both these layers grouping them together we'll call them lief three pink and we'll just paint in I will bring this one out a bit further change that to dissolve mode it's a bit heavy-handed for me so reduce that down alright that's pretty nice the stalks I'm just gonna leave by themselves I think I did add a bit of you know a bit of stuff in the first one though so maybe we will just have that if we go to stalks one eye stalks Pinkett sorry so it's talked pink we've got our top layer we're gonna select this dark color check that it's similar to the one we've got in here and we're gonna grab like this nice hot pink I'm just gonna just tease the tops of these nice and then when we change to dissolve mode Oh looks good we like that a lot yeah okay great carrying on then collapses good now we've now got these other leaves here so how long is this episode it's only 16 minutes or so so I'm gonna do is I'm gonna speed through the rest of the background stuff here for the trees and then I'm gonna come back once we get to our character because that it's gonna be quite complicated and so just so you're like oh you deaf we're gonna speed through the rest of this background now so I'll see you on the other side of this time-lapse [Music] okay so we've finished all of the noise on our background layers there and as you can see it's starting to look a little bit like this section we did in procreate from earlier looking pretty good I'm pretty happy with it so let's jump right into our character now just to make this a little bit easier on myself I'm gonna hide all my other layers so you just got the character that we're working with here okay just makes it a little bit easier to consume you don't get distracted with all the different colors so we're gonna start and work on how we think this guy's gonna have shading apply to him we're not gonna worry too much about the flames impacting it because we can add that sort of stuff later on in After Effects so we're literally just gonna go and start adding in layers for each section that we know is gonna need shading like his arm or the behind on for example is gonna need its own bit of shading the body definitely the mouth all this sort of stuff so it's the same process but I just wanted to do this one in real time because I thought it might be a bit easier to consume for you guys so you don't have to watch me do all the boring stuff and you can actually watch me do the interesting bit so I'm gonna select this color that we've got from our character body and I'm gonna go to shades darker and I'm just gonna start shading in his making sure I'm on the right layer gonna sort that layer to dissolve mode and I'm just gonna shrink down my brush I'm gonna go quite hard there on the back just because I believe that sort of around this area is where the most shadows gonna come cuz being cast down from this lid here on the body we're gonna actually have a few types of shading I'm gonna stick them on the same layer here because just reference in After Effects when we moved it later however it's probably gonna be on separate layers will pop that inside a folder called body and I'm gonna again choose the darker color but probably just this mid one it increase the size of my brush I'm just gonna I've noticed already is that his legs seem to be above his layer by quite a bit I could punch them in the layer palette here or I could hold ctrl and click them I'd say and that should bring up there we go the layer inside it now it thinks it's body top and that's because foolishly I did the one the same layer as the top of his body there so what I'm going to do is grab my lasso tool drag around this section I'm hit ctrl X to cut it I'm going to add in a new layer which I'll call legs [Music] paste them oops control shift Oh v12 shift B Joseph V is the shortcut for that in Photoshop to paste in place then we're just gonna move that legs lay up below the body outside of the body folder quickly do the shading on the legs then because that's going to impact shading on the body call that legs and we'll just use the same color here actually to be consistent we'll use this darker fade same shape we use on the arm and we'll just pop that guy bit of shading isostatics pretty good okay actually the body so we'll change this to dissolve mode we'll select the same color that we need aim and we'll just start painting in this guy's shading so what like a nice curve down the bottom there that looks pretty good and then there'll also be a lighter color really light touch just up here I looked pretty good okay great the mouse doesn't run need any shading the brush does not need any shading these eyes however they need shading the eyes will I'm gonna pop them in the same layer same folder because I'm gonna want to animate them within the same folder later on in the same sub composition and I'm gonna select the eye layer ball I'm gonna do is I'm gonna go and grab my magic wand tool I'm just gonna select its excuse me on the right layer here I'm just gonna select this dark black section gonna grab a lighter gray I'm gonna out click that and I'm just gonna paint in the top of his iris there that looks nice it doesn't affect the white behind it we'll do the same on this one shift I'll click on the eye layer I'm getting a phone call excuse me okay sorry about that as in-laws and so what we're doing we're doing ice I'm gonna grab my magic wand tool select that people pain tinge oh that's the top of it and then change that to dissolve mode and that looks pretty good for the ice happy with that control D will deselect that for you oh that didn't work why is he not on dissolve mode I changed the wrong layer to dissolve I think I did yes I changed the actual eye layer that's not what we want that to be normal more that we dissolve and I drew it on the wrong layer that's why it's not working well you gotta be careful you know careful your balls the entire thing up so how have you K paint in there dissolve mode much better now we're happy claps down those eyes brows don't need shading on them that's all but the body right does so add a new layer we'll clip that grab both these stick them inside a folder and cool it body right and we're gonna grab that shading layer and we want our nice dark color again this is already this nice dark color as you can see when I'm i dropping them both so I'm gonna go down to my darker red here and grab that one change this blending mode to dissolve and increase the brush line just a little bit and then we'll just start painting up in the bottom and we kind of want this to roughly match oh god that's a bit much excuse me roughly match there we go the height of this other bit of shading on the front of his body collapse down body rights now this is the arm front so for this one we just want a little bit of shading on the shoulder because otherwise it kind of stands out quite a bit from there so we'll I'll click there on a new layer he'll grab both of them will call this arm right oops if we can spell and for this one however we will just grab this color which is the same color as the top of this section here and that's because then when we come to draw this guy in you should blend a little bit nicer with the top of the arm that looks pretty good yeah that's most of his body done so we'll just keep going body top then is just now this remaining top section which we're just gonna add a lot of bright color onto because obviously the flame is going to be around here so everybody top grab it's already this darker color which is this one so I think we're just gonna go for this brighter color here and we'll just paint in like so and dissolve it and see what that looks like that looks pretty good we'll just stick with that to be honest because on this front section here we're gonna be adding this lighter white so that'll separate that out lighter top base we can't even see checking so idly that laugh like the top front is that front section holes of the holes I'd stop right and like the top part every day so light stop front will do that section first will alt click to link those letters create a clipping mask of them inside a folder call it lighter top front and here is where we're gonna grab this nice bright white color here just from the edges we're just gonna creep that in like that and then when we turn to dissolve mode out look really nice the holes don't need any shading if you wanted to you could probably reduce the opacity of these a bit because they look a bit dark and but we're just leave them on there if you wanted to add shading onto these you could do and you could just Oh click that grab both open holes what I would recommend you do is you're going really really close for this one like all the way in you scale all the way down and you choose basically the darkest red to color that you've got which doesn't exist so just grab that gray and you'll just have to really carefully like change it to self mode okay as you can't really see it so it doesn't really matter anyway if you miss that one out like the top right same process keep that together you make sure you scale that brush back and this time we've got a lot of like coming from the tops instead of making the bottom darker we're gonna make the top lighter so we got that color yep we'll grab two shades brighter the next it's right next to the flame just fade that in to solve it what looks a bit heavy-handed so we'll retry that try dissolving it first let's increase the brush size to make a bit of a softer grain and then there you go that looks pretty good alright now we've got the lighter top hole which we definitely will need some shading for but this time we're gonna make it dark so we'll grab both those layers stick them inside a folder the lighter top hole and we'll grab that same dark color we did here and we'll just creep in we'll just creep in from the bottom that dissolve mode and it's a bit heavy-handed so we'll just shift that down bit hard to see unless you see him too much maybe something like that looks pretty good all right good up next we've got flame bot flame mid flame top I'm just gonna pop all these in a folder for now and we'll come back to them and then I'm just going to type not done yet on that fold us that we can just see quickly that's where they are I just want to do those last because it should technically be sort of way at the top there it's just in case they're down there just in case this lid we choose to sort of collapse it down like so and we then obviously have to be on top of those flames so what we'll do is we'll leave that for now and we'll start doing the stick and stuff now the stick I want a layer that has some shading but also I want to layer that has some lines on it as well we didn't do in the original one so I'm just gonna call this arm stick will do our shading first of all so go to our brush tool make sure on the right shade of brown which I think is this one yeah and just go to the lighter shade I'm just in a bit change it to dissolve mode and we will just do that again I was pretty heavy-handed yeah that's pretty good and then my other thing was I was gonna scale the brush all the way down and then on a new layer still on the dissolve brush doesn't really matter I was just gonna add in some little little stick lines I'm not sure if I liked these in the original one they because the really else like them in the no bet should I keep them no I don't think we should I think we should delete that layer there is our stick and we're on to the marshmallow quite like this mush really maash my life make sure we scale our brush we'll way back up again so exhibiting and this one I am gonna add two tones of shading to we're gonna have a bit of white near the top there I'm also gonna have just a tasty little hint of pink just up and in from the bottom then that should look pretty good when we hit dissolve oh yeah all right we now get to do the fingers now these I'm not sure on okay I think what we should do is leave the thumb which should be on top of the fingers we'll leave that alone but on the fingers layer we will add in some noise some grain okay bear with me and I'll explain why if we zoom in and we grab this darker color and we just create just a little little quick off like that yeah that's gonna highlight the thumb for us which means we don't need to do anything on the thumb to highlight it from the rest of the body okay just makes it really easy to see really easy and it saves us a layer it saves us some animated grain later on music can leave that thumb alone so now we got the lid lid bass is definitely gonna need some shading some hefty shading so we'll stick that inside a folder lid base and I'm gonna grab this same dark color here which I believe was this one and we're gonna stick that on its own layer nice big brush and we're just gonna start way down here and drawing little circles we're gonna spy on my way up like that to make sure it's really heavy on this side because that's gonna obviously be delving deeper inside the lid so it should be darker okay looks good lid front we'll need to do some highlights on this I think so adding a layer will link those two layers together of them inside a folder with that lid front as you can see the process of this is very simple it's just a little bit time-consuming I think that's fine I don't mind time-consuming stuff some long as it looks good which I think this does I think this looks great the hinge will definitely need a bit of shading on the hinge so we'll come in and we'll grab that guy and all of them in a folder it's and make sure they're actually in the folder first of all and we'll grab that same duct up all that we had before and we're just from behind here we'll just bring that in a little bit make that a dissolve looks pretty good and then the last layer here we go lid top create a folder for it which we will call lid top boom grab this color and I think what we're gonna want is just this pink here just want it touching the edge of that tip dissolve now we can collapse down all these layers we've been working on and we can take a look at the final result so let's hide our color palette for now and bring back in all other layers oh there we go now we have it we have our little guy grained up and ready for animation inside of motion inside of After Effects for some motion design there we go we will say it right eventually and so that is everything apart from the motion done so that was two episodes of just setting up now obviously you might have had this file handed to you by someone else and you weren't about to do this session but I think it's worth going through because all this sort of folder organization our organization is come in handy is as I'm looking at it I've noticed I forgot to do the flames foolish I've been foolish I'm gonna add in layout on flame bot I'm gonna grab my brush tool I'm gonna re-enabled my color palette I'm gonna grab a nice dark red and I'm gonna start pushing in some of that and make it as ole nice then we'll do the same for the flame it so this is again I completely missed that up because we took our time to label our layers I didn't miss it permanently would have been a right pain in the art if I miss that layer on very important to label your layers Thanks you painting some that is over lovely there we go now we're done and we can rename this this guy alright look at that deed thanks very much for joining me everybody if you enjoyed this one and next time we're gonna start on the motion and I'll see you there part three basic motion in after-effects out of everybody and welcome back to tip-top and welcome back to complete intro to motion design this is episode three now and we're gonna start animating inside After Effects the last two episodes what we've done is created this little guy inside of Illustrator and then brought him into Photoshop to add some guidelines for the noise effects that we'd like to see when we create these inside of After Effects one thing I will go over now though is preparing this file for After Effects because why didn't realize or what I got wrong accidentally was that yes creating a folder in Photoshop will create a pre comp inside of After Effects but so too will creating a clipping mask and a layer this will create its own folder and its own pre composition so that actually does is drop anything that's inside a folder inside a double composition which is just a pain in the butt for you guys so all I did was I selected all of my layers like so and then I control click to the 12 down option and then I just came through and I just selected all the layers I wanted and I dragged them outside of the folders like that okay and any layer that has a clipping mask applied will be turned into a composition inside After Effects with the name of the non clipped layer so to show you what that looks like it just becomes this inside of Photoshop same exact file but with no folders and that took me about two minutes to do so it's not too bad another thing I did was crop this down to 1920 by 1920 pixels and I just did that by cropping the entire canvas making sure delete cropped pixels was turned off and then I just scaled the whole thing down to match it and that's just so that my computer doesn't have a meltdown trying to render a 4k animation whilst also screen recording and all that other stuff so we're gonna get to the fun bit now we're going to get to some motion first thing you're gonna want to do is make sure you import your file your Photoshop file correctly into after-effects and the way to do that is just to go to your project panel and either choose file import or use the shortcut control eye control eye opens up the import window here and I'm going to grab my sketch 1920 PSD file and I'm just going to hit import that's going to bring up this import window and there's a few settings you want to get correct here first of all you want to make sure it's on composition retain layer sizes and what that will do is inside of your pre compositions it'll make sure that the layer sizes aren't the full size of the comp they'll be the size of the actual content that they are I'm gonna make sure it's on editable layer styles and then you can hit OK hello every 100 pausing this video to quickly tell you that if you haven't checked out my intro to motion graphics series and you're brand new to After Effects I would really recommend watching that series at least the first episode of it first because there are a few basic After Effects controls here that I do sort of gloss over throughout this series just because there's so much to get through so if you haven't opened After Effects before go watch that video now which I'll be linking in the description and on the screen however if you're fairly comfortable in After Effects you should be fine ok I won't stop you again or maybe I will who knows actual video that will import and create a pre composition which is your entire Photoshop file as well as a folder with all the different layers from your Photoshop file and the pre-made compositions that make up those layers so we can just leave that in that folder to be nice and neat and we can open up our sketch file with a double click so we have our composition now inside our some window here and if we look down at our layers palette we've got all of these layers and you can see the each folder or each clipping mask that we made inside of Photoshop is respected here inside After Effects so if we open up our lid top layer we should see we have two layers here one of which is our grain that we made and one of which is our lid base itself okay and you can also see that the clipping mask has been applied to this layer although it is larger we can still move it around all that information still exists okay and that's important for later on well that is though is just track matting that below layer this lid top layer here now our first steps we're going to be doing is recreating this dissolve so that we can animate it and make some nice animated grain effects inside our fabrics and then we're going to take a look at some basic animation to get this guy moving and I'll be more than enough for today so if you hit a tab it will bring up a quick flow chart composition and you can just pop back to your original comp here or of course you can just select it up in your project layer so if I expand this area just quickly you can see that we've got all of the layers that we need anything that didn't have a pre comp was just given its own layer by itself and anything that wasn't named like the trunk lines here I can just quickly name like so I'm going to use the lid of our little lighter guy here as an example of how we're going to set up this animated grain and then I'm probably go to time lapse to the rest because it is exactly the same process for each layer so don't worry about missing anything so I'm just gonna select lid top here and I'm gonna go inside that composition as you can see we have two layers we have our grain layer and we have our lid top layer now we're gonna replace this grain with an animated version and we're going to do that for every layer that we have inside After Effects so we're gonna go to layer new and then solid we can call this grain because we'll be using it over and over again and making it the same size as our composition is totally fine black is also totally fine because we're going to be adding an effect to it where we control the color so let's go to our effects and presets panel and we're going to type in rough and edges or just rough and bring up I'm gonna drag and drop that on to our lair we're also going to type in a fill and we're gonna drag and drop the fill effect on to that layer as well making sure that it's after rough on edges we hide this layer we can zoom in and I'm just using space to pan around there we can zoom in and on our fill effect inside our layer we're going to choose the eyedropper tool and choose this dark color here like so when we re re visible reve visible eyes that layer you can see that it's now the same color as our grain which is perfect and you can also see this weird bumping around the edge of the line here now this is our roughen edges what we're gonna do is push this to its far extremes in order to turn it into some kind of animated green now these settings are going to be dependent on your canvas size but for me what I found was I increase the border to max which is 500 and you can see that you get these really really rough edges okay we're gonna basically turn this into our grain I'm gonna make sure that I'm going to set rough and mode to cut which basically just makes things a little bit harsher and there's a few other settings here that you need to make sure are correct so if you can hear that that's my cat going absolutely ham on a scratching post behind me maybe honestly baby I'm recording we're gonna turn up the edge sharpness again to max which i think is 10 yeah that's correct and we're gonna turn the scale all the way down this one will depend on your canvas size we're kind of a size of 1920 I found that the minimum of 10 works quite well and you can see already that's starting to look a little bit like the noise that we want now I'm gonna turn the complexity after max which is 10 as well and you can see that brings in a little bit more detail here at the moment this is still static noise okay we want this to be animated and we can animate it by just changing the evolution on this dial if I click and drag you can see it starts to dance a little bit on the screen but what we're going to do is animate this using a script and hold alt on my keyboard and I'm going to click the little stopwatch next to evolution in our effects palette that will bring up in our layers palette the evolution and we can apply an expression to it this expression can be very simple we're simply going to type time and then the ass Durex which in this case is multiplied so time times a number now the number I found works quite well for me is 1500 and this is basically 1500 increments a second and as you can see now that really starts to make our content anime quite well if we watch the RAM preview you can see it's going quite fast in its animation okay if you want that to be a bit slower than of course you can just reduce the number here to maybe times times 750 and that will reduce the speed you can see that it's once it's pre-rendered there's a little bit slower now this depends entirely on your preference me I like 1500 so I'm gonna leave it on 1500 now that is our grain layer finished we're gonna copy and paste this layer all over our document and we're gonna use each one of those examples as that sort of animated section of grain but at the moment obviously fills the screen we don't want that we want it to just fill this same area that layer 29 currently fills so this is the smallest amount of grain you can get if you want it to be smaller you can actually just scale down the layer and you can see that obviously makes your grain a bit more detailed I'm gonna scale it down to 50% it also makes it easier to work with and I'm gonna position it just over the rest of my content now all these little guides that are popping up or just because I have this snapping option enabled here now I'm gonna drag that below or grain layer and I'm gonna take my lid top layer I'm gonna duplicate it yeah with control D and then I'm gonna drag that above my grain layer okay now we can see that we've got that base layer beneath it we're gonna hide our original grain layer and on our after-effects grain layer we're going to make sure we've got our track map options open by clicking toggle switches slash mode and we're gonna say alpha matte lid top - and what that basically does is only show the grain layer where there is content on the lid top to layer so that obviously will fill our lid and nowhere else so to get the grain just where we want it we just simply select our pen tool from the menu at the top and clicking and dragging we're just going to mask out the section that we want to have grain boom finished you'll notice that it will apply all the effects that we did on our rough and edges only to the area of this mask okay however it's got a harsh line which is not what we want so we can just go to our grain mask 12 that down or I'll look down mask one and increase our mask feather now for my composition I found about 100 pixels worked which basically means that soften the edges of each mask by a hundred pixels again yours will depend on your composition size and there we go if we try and review that pram review and preview that you can see that we've got our first bit of animated grain now the only next step is to go through and do that for the rest of the composition now as you can see that's going to take a little bit of time and it is exactly the same process as I just showed you so I'm not gonna do that a normal speed I'm gonna do that SuperDuper speed and I'll see you on the other side and I'll drop back out if I do anything different or anything that I think requires calling attention to it than that let's do it hi everyone post editing matt here with a quick PSA just to say maybe you'd like to leave this first step to the end of your project instead unless you're working from a fairly beefy PC doing all these rough and edges effects doesn't quite strain on your computer and if you're working for my laptop or something it might not be able to keep up there's no reason you can't do it at the end instead of at the beginning it's completely up to you so if you're working from a weak PC instead of doing this point at the end I do show you a trick however in a minute to reduce the rendering effort that your PC needs to put in so don't worry too much about it okay actually video so once I'm happy with a certain section and I know later on that section is not going to need any individual animation like for example this hinge here what I'm gonna do is take all the layers that are on the top of this lid section like so so the top hinge front and base I'm gonna pre-compose those we're gonna go to pre comp we're gonna go to lid complete and move will actually reach the new composition that's fine so what this does is it will move all those lid sections into one bit by itself and I'm going to add a quick mask to this that basically encompasses the entire lid and what this will do is move all of our transform controls to the outlines of that mask which means when we do things like move our anchor point using the Pan behind tool to the section that we're gonna want rotating okay it means that we can apply and see all those changes in sort of one easy-to-use composition and then we can go inside that composition we want to and still edit all of the different sections okay one thing I have noticed though is that all these comps are only two seconds long we're going to need much more than that and we want this animation to last longer than that as well so I will quickly go in and I'll make all of these compositions let's do 20 seconds in length and then we'll get back to the animating the grain hi everyone post editing map here I tried to figure out why the default composition length was two seconds in this case and I couldn't really figure it out I think it's something to do with the length of the last composition that you made which for me was these test projects that I was creating so a possible way around this would be to create a default composition that is like 40 seconds and empty and then delete that andrian port your Photoshop file and it should be 40 seconds long I only took like five minutes to fix this but just so you guys don't have to go through that you could probably try that as a way to get around it all right time that should be over now let's get back to the video okay so after I've made all of those compositions 20 seconds long it's just then a case of selecting them all using shift click and dragging their ends out so that they are actually filling the twenty seconds of our composition here so you can see I've done the animation on our lid layer here and collapsed it down and I'm just going to work my way through the rest of these layers and do the rest of the animation now inside of here I will show you this one because it's got two types of shading on it it's got the darker section here and the lighter section although the actual process is exactly the same it's just a case of copying and pasting one of your previous grain layers going to your marshmallow layer which is here placing that in so we've got a section of grain and I'm just gonna drag that above my first marshmallow layer duplicate that marshmallow layer put it on top and hide it then when we move our grating into place it will start filling only that section we can make that grain the same color as the dark one first so we'll just grab that dark color we'll hide our original grain layer for now and we'll just do our first mask so we'll come in and we'll grab this bottom section and so and that should mask out all of those layers and we will feather a little bit and as you can see because our mosque is really small it's only touched the very edge of the shading there so if you wanted to you could push that further in to increase that or another way to increase it is to select your pen tool edit the actual mask itself and make the backend bigger I know that doesn't seem to make much sense if you think about it the more area that this is visible the more solid mass we're gonna have before that grain starts to come in so that's the first dark grain okay and then to do the bright one you let you just select both those layers duplicate them and then change the position of the mask here which I'm just going to delete and redo to give yourself a second mask and just change that masks color to pure white and then there you've got your brighter section like so you can then position to your heart's content and as you drag through the animated grain will be there but in two parts okay give me the rest of character now and will probably drop back in when we come to background because I might do it on a slower rate I see on the other side [Music] one thing I will skip doing are the flame layers and that's because we're probably gonna be recreating these completely later on in the next episode so I am just gonna skip them for now and to make sure I remember to do them later I'm just gonna hide those layers [Music] again here now I know I'm done with this section I'm gonna select all four layers that make up the little spout of the lighter I'm going to pre compose those and I'll call them lighter top because that's what they're called here and I'm gonna grab my mask tool and I'm just going to generally and roughly click around this area this is just so the later on when we come to animate it all of our transform controls are nice and tight to that particular section of the composition okay [Music] that's right that last time naps are so powerful I've changed jumper and put on headphones just kidding it's a different day it's Christmas actually knows Boxing Day today as you can see from the date in the bottom corner there the last one was recorded on Christmas Eve so and all I'm telling you that doesn't actually affect the video never mind so let's carry on them we have now as you can see finished animating all of our grain now this looks really cool I really like this a lot however you've probably found we haven't animated the grade in the eyes but us because I decided I didn't want that in the end you'll probably find this is putting quite a strain in your computer as we mentioned earlier in this video so what we're going to do now is we can animate the background elements to our liking and then in order to reduce the load on the computer we're actually going to pre render that into a video and then use that video in the background of our composition that's just a good way to reduce the load on your particular project so to help that what we're going to do is for now we're just going to hide all of our layers that aren't part of the background so let's just get rid of everything apart from our background layer we're going to need our trees our tree trunks want the trunk lines what what element is these lines on so in here somewhere before ground lines we can leave those on for now that's fine so we've got basically everything here that we get a need for our background and we're gonna first of all pre compose that so grab all of these layers of shift-click right click and choose pre-compose move all attributes is fine we'll just call this one background yeah okay okay so first of all we can then double click inside that background and we're now only working with our isolated background elements which is very useful for us because we're going to start animating now first thing I'm going to do those grab all of my lines layers like these ones here and foreground lines and what can I do that with that is it because I can't I do that I can do it with this this Photoshop file odd I'm just going to change the mode to soft light I think it just looks a little bit nicer so we're gonna grab what's this that's our mountain lines we'll make sure to name that and we're going to come through and change all these to soft light I just think they look a little bit nicer you work we can try screened for darker or lighter elements this is our moon lines so I need them moon lines soft light let's try let's try multiply actually for this one based I want to go through the blending modes and see which one I prefer for each one I think for this one overlay this is a lavas color they may be for this one we'll leave it on normal but we'll reduce its opacity down basically I'm just looking to soften out some of the sort of contrast between all these elements because they look a bit bold for our background which we don't we don't want maybe soft light screen mode light and merge multiply mode and there 70% it's just to soften all of that up basically tree lines we can try soft light because the background is dark that was silly of me let's leave that as it is a juicy opacity down to about 80% okay I starting to look pretty good I'm happy with that so we're gonna take a look at animating these elements now now in the background I was thinking about having some of these lines move now we could do that with all sorts of things I'm gonna try applying a wave walk to these so I'm gonna grab my skylines here I'm gonna go to my effects & presets panel I'm gonna type in wave drag my wave walk over to here now as you can see that Skinner that's gonna walk them quite heavily so we're going to want to grab our wave type make sure that's on sign and we're gonna increase our wave width till it's almost back to normal and then as you can see here we can start to phase these lines and you'll see they'll just start to gently move which is really quite nice the wave speed will drop down to about point five so it's not quite so fast and the wave height will drop down to about six again so it's just a little bit flatter let's make that a nice even 300 for the wave width and we'll change the wave direction to be not exactly ninety because the main one is this sort of like slightly up slanted one here so we'll just change that line to two somewhat follow that section then we're just going to do the same thing we did with the phase here as we did with the rough and edges apart we can be much slower might just be time times let's try five see what that looks like if we were to play and pre-render a second of this footage you can see that it moves quite slowly and early noticeable actually which is quite good let's pre-render two seconds to see what that looks like if pre rendering is going quite slow for you you don't have to watch this in full full view mode we can do is turn on thing called adaptive resolution which will help you when you're zooming in and moving around and you could probably drop down to about third view quality and see how quickly that renders for you as you can see this sped up that rendering significantly especially with all these rubberneck rough and edges effects I mentioned before which is another reason why you might want to play those last let's take a look I liked that bit jump fast-forward quite quickly there so just gonna hit end to crop that off that looks pretty good I'm happy with that sort of level of movement on those you can see that they start to come away from the edges of the screen here so we're literally just going to grab our skylines shift them up just a tiny bit just to compensate for that okay that looks pretty good that's gonna then go on forever so we can drag that element back out again and collapse down our skylines I don't want this to happen for all of them though for the moon for example I'm just going to have that slowly drifting over time so what I'm going to do is grab my moon lines layer I'm going to grab the pick whip and I'm going to pick whip that to the moon and what that does is makes it follow it so that every time I rotate the moon then the lines will rotate with it as well I'm gonna have to grab my pan behind tool and move this element over here to the center of our moon shape if I wanted to rotate the entire composition alternatively because it is a pre-comp we can come inside here and we can start editing these things individually that way we don't have to worry about the what's the word the pinning the pic whipping of the moon lines well sorry I've got a lot of food very slow mind of today I can't really think or talk so what we can do then is grab our grain layers not a soda top mask but maybe grab our grain layers and Pickwick them to the bottom moon and then we can just see what's spinning that does okay so that will rotate the whole thing for us so we'll grab a rotation and again we'll just do time times maybe five so that's look like nice that's like a nice slow rotation and if we go back using tab to our background layer and we scrub through that we can see that that reveals nice and slowly without reflecting the moon lines we could if you wanted to is the rotation on here time times negative five should rotate them in the opposite direction so you can see now if we turn off adaptive resolution so doesn't chopping quality and we scrub you'll see that the lines are actually rotating in the other direction so if we were to pre render that just saying quarter quality you can see the lines are rotating one way whereas the globe is rotating the other which is really quite cool all right sweet so that's the happy with that moon rotation there what I'm gonna do is have these trees now we're gonna work on the trees so it's got our trees composition double-click inside of that what we are gonna do is actually let's go back up a level to the background and we'll grab our treeline layer cut that and we'll pop it inside the actual trees composition and the reason for that is so that we can start to mask these off and have them animated individually from each other okay so what I'm going to do is grab all these layers and I'm gonna pre-con fit we're going to call that trees left and then we're going to mask the left half of this composition will duplicate that with control D and then we'll change the mask we just made to subtract and that will bring out the other half of our lines there then we can just hit P keyframe both people's let's move over to about let's move over to the twenty second mark and then we can just shift these off-screen a little bit just as if we were zooming in then we can scrub through see if we're happy with the speed of that moving which I think we are if we go back up a layer to the background and scrub through we can see that over time those trees look I get zooming in a little bit I rather foolishly left the vines out though so we'll grab those vine layers too we will cut that go to the trees layer paste it here just to make sure that it's correct will cut that again and then inside this composition will paste it will make sure they're underneath everything else and then when we go back up to our background layer those vines will then move with the trees as they come out words which is pretty great so let's do the same thing to these plants then we are inside our background here we're just going to grab the stalks layers all the way through down to all the other leaf layers too and we can pre compose that and call this plants then inside plants by double clicking we can start okay you can see that viewing your overall composition is obviously gonna put a lot of strain on your computer but as your whilst you're working inside these little pre-comp these individual elements of rough and edges I'm going to cause too much strain let us grab all of our leaves and pick quick them to the stalks grab all of these ways and Pickwick them to the stalks then we can position keyframe both the stalks and the stalks copy let's go to the first frame here the last frame and we can just move move them over a bit then that should move all of the plants pretty good nice okay so what we're going to do now is we're going to use a wiggle expression to just help wiggle the rotational value of these leaves to see it as if they're like blowing in the wind a little bit so we're gonna grab our leaf copy make sure we know what leaf this is we're working on first of all and we're going to change the anchor point of that by clicking and dragging over to this layer here if you want to as well you can just quickly mask so you can change your anchor points so when you select the layer it just appears by its place edges down here so it's a bit easier to control and manage then we're gonna bring up our rotational value we're gonna alt click the rotational keyframe and we're going to type in wiggle open brackets and then for now we'll just type 1 comma 10 and when we click away and scrub through you can see that's gonna wiggle randomly on the rotational value as it moves away let's see what that looks like in real time that's actually not too bad I quite like that so that's really easy to duplicate we'll just copy this code we'll grab our other two leaf layers we'll hit our I'll to click them and paste that piece of code in a quick way to see whether or not you're an expression has been applied is to check the color of your numbers if they're red and they're done by an expression if they're blue and they're not so again then we know we need to just paste that in there as well and now all of our lease oops I didn't do those rotational points all those leaves will be affected randomly by that wiggle expression so I will quickly just fix these leaves anchor points so they don't wiggle all over the place I will turn off snapping for now so that we can more accurately position I required and then we'll just reapply those out click paste' oh click paste and that looks a little bit better now they're moving quite a bit for me and what this is doing is using these figures that we punched in here so we have every one second wiggle it ten increments which in this case would be degrees so for this sorry this is the bottom leaf isn't it I'm gonna leave that bottom leaf on because where it's vertical those ten degrees actually impact it less where this one's horizontal those tangora's look like the impact a lot more so if we just reduce that down to say five like so they'll wiggle a lot less now well the wiggler same amount but with less intensity okay so let's do the same thing to these other leaves we'll just have to come in make sure on the right layer change their anchor points and do that for all three you you Nega I'm pretty good you can bring up the rotational symmetry fill all of em I'll click them and paste that in this one I'm gonna do all of them a little bit smaller we're gonna do wiggle one for because it's a smaller plant there we go so they're all wiggling quite nicely and then we wiggle the stalks as well I think we should so if you want to do that's the stalks as well you can see that if I were to select this layer and move the Pan behind tool like we did before it's gonna create a strange line that follows that and that's actually because we've got these positioning your keyframes already on here so it's gonna affect that and move those across the canvas which obviously is not will be one few ways to fix this I find it quite a nice way is to hit ctrl shift alt Y which creates you a new null object and then you can use this null object with the move move tool and position the top left of that way you want the anchor point to be you can then select your stalks layer and equip it to that null object and then that null object will become your new anchor point okay that will be for all of those layers however so that was going to rotate the whole thing so the alternate way to do that is to just delete your keyframes and remove that anchor point sometimes you can select all your keyframes and move the Pan behind tool and that will stop it from working as well but it doesn't seem to be working this time around so we can delete our null like so we can take our stalks we could select both keyframes make sure our cursor playhead is over one of them and then if you move to Pan behind tool it shouldn't do that it is don't know why so since it's literally only two keyframes I'm just going to delete that second one for now move the pan behind towards where I want get my position and just remove that position and then we've got everything working as intended bring up that rotational tool alt click and choose wiggle 1 comma 4 and that or wiggle those as well looking pretty good okay let's do the same thing for this stock copy we'll delete our second keyframe grab our first one move the Pan behind tool reapply by moving I'll click on your rotational keyframe with this sugar our wiggle one let's do five slightly bigger all right that looks pretty good so if we hit tab and go back up to our background we should be able to preview all of that animation so I'll just quickly round preview that and we can take a look okay so here we have a ram preview in quarter resolution and as you can see it looks pretty good obviously the grain isn't that large it's just cuz we're looking at it in quarter preview we can see that up Lance drift gently in the wind we've got our sky background wobbling around we've got our moon rotate rotating rotating a moon rotating ever so slowly and that's all good to go now as you can see this is gonna put quite a strain on your computer if I were to try and round preview this in full mode it's gonna get a bit crazy it's just like no I'd do it too much so one thing I'd like to do if we just hit tab to go back up to our main menu here what we can do is just export our background okay so one way to make sure it doesn't around preview it also working is to hide that you might want to see what your character looks like whilst you're editing it what it looks like on your background yeah I'm not just in this black void so one way to do that is just to hide all of your layers show the background and then just quickly export this video now I don't need this to be the fullest quality so we're not going to export was just a full render avi render we're going to drag and drop our composition into a media encoder and we're gonna just export weekend before so I'm gonna get to my project I'm actually just going to export just the background composition so up here I'm going to drag BG over to media encoder and release and that's going to pop it in the key for us you can then make sure we've got the right settings I'm going to choose matching entries what I think is already on there which is high efficiency video codec 81 265 mp4 that creates 17 megabytes that's fine and leave all these sort settings as they are we can just quickly render that into our document project document and what we'll do is we'll just hide our background composition and when we come to render the finished thing we can just divide the video instead and show our background composition that I'm sure we get the highest quality upon export for now they were just gonna quickly re render this and replace it so whilst this is rendering I'd like to reintroduce you guys to Phoebe and her baby she's come to say hello I say hey go caused some trouble you like to get in the way don't you baby she's probably gonna take a while this render because I'm recording the screen no oven anyway back to it I'll skip past this bit no you can't you're gonna press something bad all right off you go okay so whilst that renders out in the background we're just gonna try and see if we can carry on here and so that I don't spend all night just waiting we're going to take a look at animating our little character now so we've done all of our background I'm just gonna hide that for the sake of brevity and I'm gonna turn on this transparency mode here just that we can see every aspect of our character like the trunk shadow which is what we're going to be animating first let's grab our trunk shadow layer and we basically want to make sure that we're gonna be mimicking this kind of flickering light which is coming from the flame here we've mimicked all the flickering light with our animated grain but this is going to be static which isn't what we want so I'm gonna grab my pan behind tool and I'm just gonna drag the anchor point of this to where I think the back edge of the log will be okay and we're gonna see if we can take our scale options by hitting s and just unlink them like so so that when we start to squash and stretch this later on we can see what we can operate those parameters individually so I'm gonna pop a keyframe on scale I'm also going to see if I can pop a keyframe on rotation as well by hitting R and then I'm gonna press Q to bring both of these up now I'm gonna go over to about two seconds let's just hide everything apart from the trunk as well what we what we're doing this so we can nice and quickly see some stuff that's going on there [Music] about two seconds in we're gonna pop another set of keyframes which will return this sort of shadow to normal and then at one second we're just going to squash and stretch these just a little bit maybe even just you know one or two degrees just that it starts to morph in shape a little bit okay maybe one degrees and that creates a nice little flicker that we can loop okay but also however going to add a rough and edges that were not an extreme one to this shadow maybe push the border up to about 50 or worse way too much actually 20 yeah 20 is good and then will affect the evolution of this as well as the that flickers okay evolution will just hit time times maybe 10 it should make it go pretty really slowly and I see what that looks like maybe it's got to be faster than that loads faster okay that's much better so that's gonna flicker as it grows and shrinks that's pretty good so let's grab all these key frames I'm gonna hold alt and I'm gonna squish these down a little bit maybe to one second good yeah then we're gonna just copy these last two sets of keyframes and copy the motor doesn't really matter and then pressing control right we're gonna move along 30 frames or so and paste them and keep doing that again you could loop this if you wanted to I'm going to press alt shift and left there because I went a bit too far it's just fine to just sort of do this repeating keyframe for this section because you there's no point for a script we know that that's what we want it's looping we're happy with it it's good to go we can then collapse at down and that's our trunk shadow nice and animated let's show our trunk lines and see if we're happy with this I don't really want to be in normal mode let's see what soft light looks like us a little bit better if you say that's the truck shadow Alex and we'll reduce the opacity of that's about 80 yeah looks good all right awesome so that's how trunk animated so we can hide that for now because we're not going to be looking at it again until we're done so let's bring in all of our character and see what bit we want to animate first now we're going to tackle the flame last because I still gotta figure out how to do that bit so let's take a look at animating these legs I want them to sort of just bounced happily to do that however we should probably set up the rig for this character first and what that means is just connecting certain elements to other elements of his body for example his arms are gonna be attached to his body yeah that's kind of how it works so we need to make sure that's reflected in our layers palette so if we grab let's collapse all of these with you just so that they're a bit smaller if we grab the arm behind layer before we add any keyframes we can use Pan behind tool and we can just move our anchor point to somewhere but we think the shoulder joints gonna be then we can use our pick whip tool to attach that to the body okay now the legs I'm gonna do something a bit unique with we're going to use the mirror tool for that so we're gonna grab our pan behind tool yes grab the center access point but we're gonna pop them yeah on this one leg like so okay we're also then going to mask out and just this mask that's already here by deleting some of these anchor points enough to hide this right hand leg and we're gonna use a mirror so that we only have to do the animation keyframes once okay go back to in a minute mouths blush eye eye brows they'll just need to attach to the body the lighter top needs to be attached to the body the flames should all be attached to the lighter top even though probably gonna be be doing them I'm front all let's grab the Pan behind tool for this one grab our anchor points and pop it over on his shoulder really good and then the lid we've already done from earlier so that's pretty good let's pick with this guide to the body and pick up the lid completes to the body like so so now moving the body should move everything out from the legs which we forgot looks dude okay so if we now hide everything but the legs because we're gonna work on that first so the way I thought of doing it is masking out the one leg as we've done and then just duplicating the layer in the same way they did before and subtracting our mask as well and on this one we can move the anchor point to this other leg like so all right cool let's hide everything else we don't need and let's add a bit of bouncing animation to these legs so let's take our first leg bring up our rotation keyframes probably the only one we're gonna need and I'm just gonna have him maybe take two seconds he'll just lift his leg a little bit and settle in that spot now this linear animation is probably gonna look quite bad so I'm gonna hit f9 to bring up some easing and then go to my graph editor to edit the path now if you don't see this graph that's probably because you're seeing the value graph which looks like that we want to be editing the speed graph at the moment gonna grab both of these by clicking and dragging and that's gonna bring up two little yellow handles and I'm just going to drag that little yellow handle over this way that's then going to change we just hide that our animation path to get faster slow which is what we want it's gonna go up I wanted to hold here for just a second maybe a full second actually let's switch back to our keyframes I'm gonna copy this one paste it in place copy the first one move over a bunch of frames that are about two seconds and paste it in place again now the moment that's gonna go fast too slow again let's see if that's what we want and take a look you up old back town that's good but the pause in between them is quite high so I'm just gonna go back to my keyframe view because I prefer it and I'm just gonna reduce that damn okay that looks pretty good I'm gonna take a similar concept and apply that to the other leg so return on this leg turn on the body just check that that doesn't extend to farther the bottom the leg starts to peek out it does a little bit so what we can do since we don't have any position keyframes and this is we can just eat that guy back up with it doesn't quite cover up let's bring up rotation on here and keyframe that this one went 14 so let's try this one as negative 14 see that's a bit high which I don't like so juice that negative three be a lot of movement but that's okay what we can do instead is shift this leg up a little bit which will allow us to push that rotation a bit further make six keyframe negative six rayray all of those hit f9 go to our graph view select the first two and do the same process as before select the second to do the same process as before let's hide our body and see what those legs have like you that looks pretty good and like working exactly in unison though so I'm gonna grab all of these key frames I'm just going to drag this a little bit along just slightly out of unison the first ones gonna move then the second one like so that looks pretty good so we can now just start looking at copy and pasting these so he wanted to pause just a little bit no I'm the reason I'm copy-pasting these is because there's going to be then minor two three frame variations between each thing okay which is what I want for this is gonna make it look a little bit more natural a little bit less looped [Music] and also we want our animated grain to never leap as well so if we were to have this looping it would be because we trimmed it down to say like a two-second duration which means our animated grain isn't actually gonna evolve any further past that particular thing whereas if we let it go all the way for the 20 seconds that evolution is always gonna be unique essentially so let's take a look at our legs now then that looks pretty good I'm pretty happy with that let's bring our body back in look at it from the outside dragging out can dragon are moving back in okay that's pretty pretty happy without it at the moment though if we bring back in our trunk see how he's sitting on that trunk that all the legs look a little bit too far over so I'm just going to drag them back to the middle quickly check you don't see anything yeah that looks pretty good I'm just gonna reposition so as you can see like you really don't have to worry too much about moving things after your initial sketch if they change doesn't really matter okay now the body itself I'd like to move this pan behind down to the bottom and now that we've animated all of this stuff to be attached to it if I were to rotate this let's change down to just a third quality so that we can see what we're working with or to rotate our body everything else will move with it okay which is totally fine however legs we want to act as a separate entity so now that we've animated the legs to our liking we can unpin those from the body that means when we're rotating the body now this will stay in place okay so to fix the animation for this then what I want to do is maybe have him stop bouncing up and down a little bit and Swain's so I decide a little bit as he's toasting his little marshmallow so I'm gonna do everything in roughly like two seconds sent like segments so that when the rest of the animation is in there it's gonna all flow together and be set very similar to each other so I'm gonna grab my body or I'm gonna grab the scale I'm gonna grab rotation and I'm gonna unlink scale again its keyframe both of those both scale and rotation move over to two seconds keyframe them again so let's take our height value and we're don't worry we're not gonna squish him much he's literally just gonna squish down maybe 2% maybe 3% maybe that'll be 2% as well as you see because it's attached to everything it's got quite a lot of impact even though it's only a 2% sway after another seconds so he'll pause a little bit as he gets there when he maybe that much frame again and in this time in about four seconds so one two three four and I can edit these later on doesn't matter we'll have them rotate to negative two actually let's have that take two seconds as well roughly so we can go back to these keyframes and we can do two seconds exactly that was just control shift right and that moves it ten frames every time keyframe that exactly here and we'll go to negative two here which will rotate in the other way then we wanted to pause for a little bit but then we don't want him to go back to this first keyframe because that first keyframe is the settled one yeah so he's gonna shrink and he's just gonna keep swaying so what we actually want to do is keyframe these and then we want to copy these keyframes and paste them we just sway them back to the other side now we can grab all of these copy ctrl C cuz that's starting over on the left hand side on the right hand side sorry so I can copy all of these I can move over a little bit of space here and paste them again okay move over a little bit of space paste them again move over a little bit of space paste them again and if you wanted to make this a seamless loop you could probably do that and paste your first keyframes there but the legs and stuff don't sync up anyway so it doesn't really matter basically I'm gonna be cropping this at about 16 seconds okay let's take a look at what that looks like around previewing is probably gonna take a while because this is still exporting so I'll drop it all the way down to quarter quality and I'll cut this out okay so how does that look he's swaying around it looks pretty happy boo it's really slow though speed that uploads T seconds is crazy strong with me too bad so let's bring that out to about there that's better he looks at a bit janky though the sort of movement pattern is not very easy there's no heating so we'll just hit f9 to ease those out and I'm gonna select all of these let me just delete this last keyframe over there wherever that's coming from what's that doing away over there happy gay [Music] why is that now missing that's because it's way off-screen so he's gonna be negative two negative two is fine just keyframe that so let's grab these keyframes go to our graph here and I'm just gonna pop them a little bit inwards just like that just gives a bit more umph so he goes yep and he saw into a bit more and then we can look at that we like now his help buddies kind of got that nice little swaying motion to it okay that is pretty good so we are now going to collapse that layer and our leg layers is we're happy with all them and we can hide all of this for now let's get rid of that arm behind in a trunk layer so we've animated our trunk vanna mated our legs of animated our body I'm gonna take my mouth brush and I layers now and we'll look at automating these next episode because it's going to be some things like chopping and changing layers and frame-by-frame animation and our sort of thing we'll do the same with the flame next episode too but what I make the arms and the lid this episode so let's take our arm behind layer and our body layer and now as you can see that animations already applied so we can take a look at this on now as he sways I'd quite like his arm to sort of every now and then just read resettle itself so we'll grab our rotation keyframe here and we'll just have himself as he's swaying this way we'll have his arm sort of sink into his body a bit settle and you'll go back out this way and we'll have hymns of which because we drew the rest of that hand so if we go to full view mode we can see we've got like a round curve there so it doesn't really matter too much if it separates from the body we could just leave it like just touching so instead of negative eight that's come to seven and then as he comes back in this way we can settle that back to zero so that looks like just a little bit of salt Bond Singh I suppose you'd call it like a bouncing animation drag those keyframes in a little bit just to see that look okay so he's kind of sinking down there Oh settling and then as his body rocks back this way when I was going slowly watching little full there we go let's watch it on a slightly lower resolution so every now and there on that every single time just every now and then he's gonna go mmm yeah there you go that's good so we'll just copy and paste that a few times in our whole composition now let's take a look at the toasting of the marshmallow cider on behind and go to our arm front so as like every once basically once or twice every 20 second loop of this I want him to bring the marshmallow closer to his head I want it to toast a little bit and then as he pulls it away I wanted to untoasted ghin maybe we'll actually just have it he'll goes in once he toasts pulls away still toasted and we won't have this as a loop because that's a whole nother scene and it doesn't make sense they would untoasted as it comes away so we're gonna use the this outer composition to do the movement and the inner composition of the marshmallow to toast and shrivel that up a little bit okay so what happened rocking for a few seconds and then maybe as that this arm starts to animate for the first time she used to make sense and he starts to rock in this way we'll have this arm front top and let's just bring up our animation keyframes for the body so just as he starts rocking here will bring arm front we'll grab a rotational keyframe and as he rocks that way we'll have this one shoot all the way in to start to toast a little bit let's grab our position keyframe as well pressure you to bring both those up I'm also have him just shift up a little bit just as if he's lifting his arm just a touch because you don't want that to be like his shoulder isn't attached but as you can see like we can we can lift him and shrug our shoulders and as you raise that your shoulder would sort of naturally go up this keyframe those grab both these if we zoom in a little bit we can just add a nice whipping like what nice now that very that once it's gonna remain there as he continues to rock which is the benefit of all these layer linkings and stuff like that so he's gonna toast out there and then maybe we'll have him just rotate here a little bit as if he's like just like toasting above his head so maybe give him every 30 frames every half second we just have him waft it a little bit paste those she's kind of going like to do watering it around okay and this is where it'll start to taste yeah Shh let's keep him doing that actually for a little while I have it takes quite some time to toast then we'll have him bring his arm back down again once it's done back to its original setting so we can see a route that and I think we just did like one or two yeah - to shift pounds therefore position of his shoulder some reason is his body and that's because I just didn't copy these keyframes far enough so we will do that now I think that is two seconds right there we go I guess he's still rocking back and forth yet so he's brought down that marshmallow so let's take a point here where he's just started to bring it to the top and let's go inside arm front all now inside arm front all here we've got our marshmallow layer our arm stick layer and arm front behind layer as well as our thumb layer if you weren't doing any animation with any of those will however animate our marshmallow now we could animate inside of here and change the colors but that's gonna get quite messy with all these layers that we're working with so I'm just gonna go and animate this section here what we will do is we'll grab our pan behind tool and we'll just bring that to the center of our marshmallow and then we're just roughly with a bit of space mask out this lay us that when we select it the transform controls are a lot closer all right cool so let's hit tab go back to our sketch 1920 and you can see that this goes from five seconds all the way through to about 10 seconds when he's toasting it so we've got a marker point of sort of here so for this marshmallow then to make it shrivel up we're gonna grab our good old wave warp again and drag that over to our marshmallows immediately this made it go a bit crazy and so what we'll do is we'll zero out both the wave width and height and if we turn this on and off you can see that doesn't really affect it in the moment we'll make sure we're sort of five and a half seconds which is the same place that our other key frames started inside our master composition and we'll also animate our scale a little bit so we've got our scale we're gonna animate the wave height and width and we'll just change the direction to be in line with the way this is going I'm not sure if that's going to affect it but we'll do it anyway if we hit u that will bring up all of those keyframes and then about ten seconds we want that to be where the marshmallow stops shrivelling so I'm gonna unlink scale and I'm gonna sort of maybe go to 95 percent with maybe 90% height and that's gonna scale that down a little bit might also have to edit position ever so slightly so we'll just key frame that position here and here and we'll just do that so that we can make sure that shape is roughly aligned at the bottom there so that as it sort of scales down and shrivels we know that that's all good to go then we're going to just increase our wave height and width five I've got five for the heights and about I don't know 60 maybe 40 for the width really that's gonna start ah that doesn't live it like oh I attended to all and I think it's because you need the width to always be 40 and that's then just gonna start - here we go Oh as it really starts to shrivel up you don't want it to sort of move though we want that speed down to zero there you go so that's just gonna start to shrivel there's this setting I forgot speed zero let's maybe start with a wave width of like 20 then see what that looks like just gonna or that is gonna make it look like it's wobbling again so we'll leave that up at 40 and it's gonna shrivel like that okay last step then is to change the color of that so we're gonna go to hue light saturation and we're gonna drag that onto our marshmallow as well and then we're gonna keyframe all the things that we can which is gonna be our channel range then if we go to the end and we affect stuff you'll see that it should have been created a movement through those colors through the hue because we only just affected the here's an example what we're going to use is our hue light and saturation just to darken up this marshmallow a little bit so go back to this one here we'll set this guy back to zero I want to change our master lightness increase the saturation so he burns a little bit and we'll just eat this guy a bit more towards red so that's a nice subtle change there which looks pretty nice as it starts to shrivel then what we'll do is inside our marshmallow we can go to our grain layer for this dark grain and we can keyframe the color of our film as well so we do that at five and a half seconds and ten seconds and we can just choose a nice darker toasted brown and we'll do that as well for this white color or keyframe the fill here he framed the fill here as well and we'll just make that one slightly yellow and it's pretty good I think I might be pushing it too far on that that on those who would just line that up a touch we go back up a layer to arm front all we can see that now if we just expand all of these and hit f9 if it wheezing that's gonna over time start to shrivel in both shape and color looks pretty good so let's go back to sketch 1920 now he'll be tasting tasting toasting he'll start to shrivel away and bring that toasted marshmallow back out I don't like that dirty off-white color actually so we're probably gonna fix that now and let's go back inside our marshmallow and where's he gone I'm top all marshmallow let's change that master lightness back up just a little bit take that set down and just push that guy a little bit further oops accidentally did that over there so we'll just drag that keyframe back over this one that looks a little bit nicer to me all right cool tab will bring us back up to our sketch 19:20 layer and we can scrub through just to see what we think that looks pretty good brings it away toasted all right that's nice we've got left to do now is the flame top mid bot and the face of our character as well so we'll definitely leave that for next time but before we go we'll quickly animate the tilting of this lid as well because whilst this guy is following the body if we were to rotate this entire section you'll see that it will rotate the hinge as well which is not what we want so we want to just make sure that we are aligned with one of our key frame sections here so we might want to do it from the start and as he tilts right we want a slight delay we want this guy to tilt right as well so let's go inside of our lid complete where we've got everything but the hinge okay so I'm gonna take the lid front and lid base and I'm gonna try to apply that to you so we're gonna lid top and lid front and I'm gonna apply that pick with that to lid base okay then when we rotate lid base that'll rotate everything apart from the hinge which is fine grab our pan behind tool and we'll shift that over to the hinge here on this section event this end of the hinge and then when we rotate it's gonna look like it's rotating a little bit better which is good okay over it's going to start to extend past that hinge we're not gonna push it too far actually it's literally gonna be no more than five degrees or so so what we'll do to mask out these layers now is we'll just apply a little mask here cuz we've got a lid base hinge lid top I'm gonna take the hinge and drag that to the top because that should be on top of everything and then I'm just gonna pre-compose all of these rather than pick ripping into each other we'll just call this pre-compose we'll just call it lid interior that's good that's still going to maintain all the stuff that we want we're gonna reapply that pan behind we can I think it was seven degrees just to fix that rotation good now we can create a mask shape so if we have no layer selected at all and we just draw a shape where we want this lid to be visible we can just make sure that line cuts through the hinge here like that go here and just cheese out from that shape layer one now when we rotate this dude he's not gonna appear below that hinge yeah which is quite good for us so starting from the start rotation we'll go and make sure if we go back to our sketch 19:20 layer we can go to our keyframe here like a second keyframe here and now we know that that's lined up correctly we can then go and rotate this guy until we're happy seems to be good [Music] then we can go back up to this other layer skip forward so we know that we're along the same lines again create a pause keyframe another couple of another one second over and then this time if we'll instead of going back to what I thought was negative seven which is the flat amount we'll push it just a little bit further and we'll also grab a position keyframe Aaron here and we'll just shimmy position down so that the lighter still remains connected without overlapping any elements that we don't want to see okay grab all these keyframes here f9 and we'll just tweak these a little bit now got rotating one way rotating the other way aim boom back up a layer navigate to the next section vrooom they're not lining up exactly but doesn't really matter then it's waiting here and we wanted to rotate back that way so you've got the starting position rotates one-way rotates back we then just need to copy this rotational keyframe get forward a second paste that in place so now we've got our section that we need to copy and paste to our hearts content take a look at that you so that rotates back and forth quite nicely as and third view so it goes bit faster you looks pretty good to me so if we just keep copy and pasting the for just one second so I've got all of the animation that we need then we can get back up a layer see what that looks like in the whole thing so go down to quarter view and we'll just scrub through so you can see that's slightly off timing to the main body which makes sense because as it as it's moving that body over the lids gonna like flickering so if this has been a bit of a rambling tutorial it's just hard to sort of think and do at the same time so I'm kind of trying to explain this in a way that makes sense to me but it's hard to do that and talk about it and do it so it's just sorry about that I'm trying to get better at that sort of thing but for this time around that is gonna be everything that we need doing so let's bring our character's legs back in as well as our tree trunk and background and we can roughly see what's going on here he started to animate quite nicely so next time what we're gonna do is replace our background now that it's finished rendering we're going to animate the flames and we can animate his face as well with some cool frame-by-frame animation so thanks very much for sticking around this long apologies has been a bit rambling there's kind of no other way to do it hopefully it's still interesting and useful for you guys but otherwise I'll see you next episode for some advanced animation and editing inside After Effects before the final episode which will be knitting things up and exporting this guy and get him ready for posting online thanks very much I'll see you all next time on the next episode of complete intro to motion design on tip top part 4 finishing touches in After Effects hello everybody and welcome back to tip 2 and welcome to the final episode of intro to motion design so so far we've created all of the basic animation for our little character here you can see that he's sitting on his log rocking back and forth the camera slowly zooms in and he toasts a marshmallow which goes from a nice crisp white all the way down to a shriveled brownish color the last things we need to animate on this then are going to be his face and the flames the reason I left early used to lasted because they're quite complicated and long-winded to do for themselves so we're gonna do the face first and then we're gonna take a look at doing some frame by frame animation in Adobe animate and bring that over to After Effects for the frames for the flames on his head here so only further ado let's just jump right in so you can see here that we have mouth rush eyes and brows layers that we're just going to precompose and call face and then we're going to pick whip this face composition to the body just so that it continues to rotate with the rest of the body as we expect and just to double check that that happens we can just pre-render a few frames yeah so you can see that that's rotating along with the body there perfect so now we can drop inside our face for this one we can probably actually turn the background back to back to black just so we can see a little bit easier what's going on with our face here so first thing I'm going to do is delete one of the eyes and there's a reason for this trust me we're going to use a mirror technique to mirror one of these eyes hears that we only have to animate one of them and the other one will follow suit the mouth blush and brows we're gonna animate independently in fact the blush and the mouth I'm probably gonna animate at all the brows we're just going to go like up and down you know together so a single layer for those is fine so we're gonna take our eye and go inside that composition and inside this comp here you can see that we've got two layers the shading and the rest of this ice if you want to animate this properly we're going to need to separate those out so I'm gonna grab my ellipse tool I'm gonna alt click on this stroke box until the stroke disappears and then I'm going to give the fill color the same color as the eye I grab this is roughly the center for I shape here you're clicking and dragging or holding ctrl and shift I'm going to draw a circle this the same size we're going to rename this one eye and we'll just pop it below the two we've already got and we'll hide those then I'm going to duplicate this layer rename that people and I'm just going to scale it down a little bit show the old pupil layer I'm going to I drop of that to be a correct color and then hide it again we can then position this up in the top left like so we can see that that's now overlapping and our eye shape being too like out the other side of it so we just need to duplicate our eye layer drag that above the people and turn the pupils trap map to that eye layer which then will cap it for existing area and it's just a case of moving this people around a little bit so we'll grab our pupil layer will grab the position tool and let's it go maybe one second in and keyframe position move say half a second over and just move that a little bit around as he's kind of not doing much in the main scene we don't really need to worry about his eyes following anything so we're literally just gonna add in some random small motion just to make the movements look natural and they don't always have to take half a second they could be maybe a slightly quicker movement if it's a shorter space and then I'm just going to copy my first frame again so that we know that it leaps back I'm gonna ctrl click all these layers and then hit f9 and that will make them perfectly easy eased which is what we want in fact if we grab all of these we could probably pull out this handle so that it whips a little bit more motion wise look at that it's good happy with that I put my preview cache before play back make sure that's turned on well that looks pretty good so we can just copy these keyframes and paste them again to duplicate them and then we've got some good eye movement throughout our entire composition it looks pretty good we're happy with that so we'll go hit tab go back up to our face layer and we can see now that we've got our pupil moving throughout the composition now then let's grab our mirror tool from the effects and presets panel by type in mirror and we can click and drag that over our eye and you can see that over here we'll get a small dot on the right hand side that's just gonna be the center point of our mirror so you want to drag that to a place until you get the eyes roughly the right amount of whit's apart that you want so I'm gonna say about there then we need to change the reflection angle in this case so just bring those eyes into alignment a little bit better so that they're not he doesn't look quite so boss I'd essentially drag that guy over and it's pretty good maybe I should add to 9 degrees reflection angle there so now you can see we only have one way that once and both the eyes are following in comparison to what we expect additionally this also means that we can add some scale and stuff as the sites are basically making blink so we'll go over to here we will select our bottom eye layer and we will pick with our people and our eye to layer to this so that when we start to scale this up and down everything else follows it as well so I will unlink the scale properties and just after emus maybe about let's have it be here sort of four and a half seconds in I'm just going to keyframe the scale move along half a second or so and I'm just gonna shrink down the height of the eye a little bit maybe just a ninety five percent very shrinks and I'm just gonna have the eye blink so shrinking a little bit and then you say 20 frames will have that scale or down just something about here that's gonna move quite quickly so they say that's 40% and see what that looks like you [Music] it's pretty good so f9 that we can actually other I don't think I like that slow into the quick so we'll just delete that middle keyframe and it'll go all the way down and if we press alt shift and left we can drag those over a bit and we can take both of these keyframes here and make it go from faster slow you Ostrava that looks better Hank we have our shrinking there which is good we can then select all three of our layers and hit ctrl shift D and that will split them pressing ctrl close square bracket will push them above all of your other layers and you can make sure that you're deleting the right ones then that's going to have our shrink down we can then duplicate these layers with ctrl D press you to make sure we're bringing up all these keyframes we don't want that if you plan emotion there and we can bring these frames along one to three frames after this keyframe and hit ctrl shift D to split them and what that gives us is the eye closing disappearing for a second and then closing again we also wanted to be closing again so we want to time reverse to these two keyframes now that gives us the eye closing and then opening again only does it do that also means we maintain all of our means for these pupil movements so in that three frame gap going to draw a new shape layer which has a slight curve it has no fill but it does have a stroke that is the same color as the people we will shift that down oshi you to collapse it and we'll cut that layer to just be the length of our three frames but I don't like these harsh edges that we've got here on the edge of our line I want them to be round so I'm going to twirl this layer down go to content shape stroke and change that to a round cap just as around edges now if we watch this patch we've got our eye that closes goes to the link opens again why won't that play you comin if cashing play cash frames we're not playing says it's playing I've run out of RAM or something that's okay I can scrub through for now then it was happening there so we have that shrink goes to our other eye opens up again pretty good and then we can just copy these keyframes again paste them over here when we want our second link what we could probably do is just 1 2 3 paste like so duplicate that layer and move it over to where that 3 frame pause is like so and then split split and get rid of those 3 changing to that I again and opening up again okay so now let me go back to our face composition we've got eyes that move around Linc and blink again I like that little bring us nice okay looks good need to add some random Brown movement so we'll just grab the position of these eyebrows and we'll just have them shrink down with some basic easing maybe after a few seconds maybe as he starts to rise that stick to his his flame at five and a half seconds he brings up his eyebrows again and then blows them back to the starting position with a copy and paste and we can do all of that again a second time and there we have our face animation so we don't want that to go down to wireframes when I adaptive resolution he's getting along maybe he'll blink so five seconds he's doing a blink which is nice and then I think he does another one but later looking pretty good hard to see there because we've got so much going on easier to see inside of the face layer obviously she's blinking once or twice moving his eyes around looks pretty good okay back up to our sketch layer then it's a free round preview all of this we should see what we have so far which should be everything apart from the flames animated so let's hop back in once we've seen that pre-rendered okay it's time for an offer effects hot tip turns out if you're pressing space and your RAM preview isn't working it's probably because you're an idiot like me and your audio hardware changed so I turned off my speakers which caused the audio order to change which caused them to be not working in After Effects which means when I've got audio on in the preview it doesn't brand preview that now switch that to be correct in the preferences and it's working fine again okay no worries around preview this and we'll see what we've got just so I'd let you know what happened [Music] okay so here we are with the RAM preview I so can pretty good actually I'm quite happy with that I might do is increase the speed of his blink a little bit it seems to be a little bit slow for me you can see here I like the way the eyes move and then the brings I'm doing really quite slow so it will just speed up that blink I think and then we'll move on to the flames so I'm just gonna cut the first keyframe of each and I'll shift it over by 10 frames just to speed up that little section there okay looks pretty good let's save that go back to our sketch to 1920 layer and it's time to work on these flames now so I'm gonna actually animate these frame by frame using Adobe animate and then bring them back into After Effects so it's time for what might be the greatest crossover event in tip-top history you've probably already seen this tutorial and it's because I was doing it for this very video but I figured it would make a good tutorial by itself so we're going to jump over to that we're going to do that section and we're going to come back and then we're going to finalize everything for our finished motion design animation so let's look at how to animate some cool flame effects inside of Adobe animate 2020 let's do it [Music] hello everybody and welcome back to Egypt and welcome to this Adobe animate tutorial today we're gonna take a look at how to animate some cool flames inside of Adobe animate 2020 so to get started we're gonna need to make ourselves a new canvas and I've actually got a reference file here called flames animation PNG so we're gonna bring that in first step is to create a new canvas here we're just gonna make it 1080 by 1080 pixels for this particular project I'm doing 60 frames per second because it's for another project I need to integrate with this also 60 frames per second I recommend you use the more standard 24 if you're doing this because 60 frames a second is a lot to draw I'm shooting myself in the foot by doing it but I've got to match it now so I recommend 24 frames per second and we can just hit create on that one not too many settings to set up there once we've got our canvas we want to drag and drop our reference file in if you don't have a reference file and to follow along this one it doesn't really matter you just need to draw your first frame so I'm just going to hold ctrl and shift whilst pressing Q initially to scale up my flame here and then I'm just gonna hit f8 and turn this into a symbol called flame just so that I can reduce the opacity of this which you do over in the properties panel by clicking alpha and then dragging that up acity down we can then lock this layer later on but I would just like to start off by saying if you haven't watched my intro to adobe animate series which I'll link for you in the description and on-screen now I recommend you go and do this because there's gonna be a few things I skip over but if you're happy to kind of just follow along you should be able to do it without watching that anyway so without any further ado let's just jump right in first thing need to has got to our timeline layer here and decide how long we want our animation to be I think one second is fine so I'm just gonna click over on my one second option here and I'm just f-five and that's gonna introduce a bunch of copied frames so that when we Scrabble on our timeline here this flame remains constant on screen for a second I'm gonna add a few layers on top of that three should do for now and we'll just name those BOTS mid and top as if we're playing League of Legends we want a new frame for every drawing of these however this is where we're gonna introduce the ruffs and I'm thinking of that let's add a new layer called ruff actually so I'm going to select all these frames on the ruff layer and I'm just gonna hit f7 which populates that with a bunch of blank key frames then I'm gonna select the first one of these frames and over on my canvas I'm gonna press shift and B to bring up this really cool new vector brush over here this fluid brush tool which has a lot lot more options than the normal brush tool inside of Adobe anim so we need some colors to work with so what I'm actually going to do is grab our original layer here select our symbol and just drag that opacity back up then on a new layer which I'm going to call palette and drag Ruff's I'm just gonna eyedropper some of these colors and with the blob brush tool I can call it the blob brush tool with the fluid brush tool we're just gonna paint ourselves over a little pallet in the corner so I'm just saying I and then shift B to bring up these colors that we require and these are just a reference really because and obviously you can change them later on but make sure you just get the colors you are happy with I'm gonna select my dark red then I'm gonna click my symbol again and just reduce that paucity down and really we're gonna need this layer here for the first frame so what I'm gonna do is just lock it and then grabbing my blob brush pull with shift B I can start editing these settings over on the right hand side until I get a brush that I'm happy with now this is what I've determined I'm happy with it might need to be a bit smaller for this particular project so I'm gonna drag that down to nice even ten if I can do say there we go that's just gonna make a nice solid line now I've dragged the stabilizer all the way up if I remove it you can see exactly what happens it kind of smoothes out everything that you need and to make your lines a little bit smoother there's also curse smoothing which smooths a neat sort of rounded shapes here roundness is affecting obviously the roundness of the brush so makes it a little bit more calligraphy style if you drag that all the way down angle and is to do with your angle of your pen if I bring the under camera there like so how much it respects you tilting the angle taper is how much you want your brush to sort of close off so you can see here that taper all the way up makes this nice spiked ending taper all the way down makes a nice round edge brush withdrawing for this one and then yes we do want pressure to be applied so I'm just going to delete all of those by selecting that frame and hitting delete then using the control + so I'm gonna zoom in and we're just gonna create ourselves our first frame and we're just mainly using this one for a reference so we wanted to get close enough to the original but not worrying too much because obviously we're not going to be using the original at all it's just for reference now I find it best to work with first and then come and fill later on I also find it best to work thinking about one shape at a time okay so you can fill that in with K and then shift B to go back to our normal brush so at the moment we got zoom size of stage on so what that does is I'll show you if we if we currently draw a shift B a single line like so and then we zoom out and draw a single line it maintains that size if we check that off and we draw a single line and then zoom in and then zoom in again you can see that that becomes thinner and thinner and thinner and depending on how far we are zoomed in or out now that's just personal preference how you'd like to work I like to actually leave that on so I know that I've always got the same size brush regardless of where I am and what I'm doing how FAR's oom din are out I am so I'm just going to take my rough frame here and basically as long as you keep this guide layer underneath your shapes visible and if I just go to like that would you keep this layer visible and you make sure that your last frame starts to move back towards this shape and you'll have a perfectly looping animation as well so that's what we're gonna try and do as we move forward through this shape over at the moment you can see that I can't actually see the previous frame that I've just drawn if I press comma and full stop I can move back and forth in my frames with the keyboard but we don't have onion skin turns on so that's just this little symbol at the top here we can just turn that on and you can see that once it's checked and we draw a new shape on our second frame our previous frame will be onion skinned with a certain color if you want to go to the onion skinning options you can right click on that and just choose advanced settings and you can do things like choose the range of frames that want to be shown so its previous - next - how Pasadena through there is basically and how little they're see-through is and whether or not you want to show keyframes or anchor markers and all this other stuff and you can adjust the range like so you can also choose whether you just want to see outlines and outlines for this one might be quite useful so that's what I'm going to leave okay so I'm going to close off my onionskin settings I'm going to zoom in a little bit and I'm gonna start to see how I want to move this shape now it's obvious here to me that this shapes kind of pulling itself upwards brush is quite large actually I'm just going to bring that down there we go yeah this shape seems to be putting itself upwards this section seems to be kind of like in a swooping motion and this sectioning seems to be coming out and sweeping like that so that's what we're going to try and replicate in our animation here basically it's just a case of seeing where and how your your your flame is going to be moving so we can see at the moment that the bottom of this flame here if this blob were to start pulling upwards that's gonna be pulling some of this flame away to be thinner at that section and then in the next flame frame it will be slightly taller there okay and this section will be slightly thinner because this frame is going to be pulled up further same goes for here slightly thinner slightly thinner and taller and same goes for that just gonna grab my razor tool and ruin via which I did quite badly section and then cable for that infamy that's pretty good so we can move by presing . and you can see now that we've got our two different frames here so again we can start pulling this one in a bit thinner this time it's going to start to rise even further out you this one's gonna be pushing itself they're up which makes a / even thinner and goes to this section here thinner again and then this but I want to keep fairly solid some kind of rigidity Russian K will fill that and you can start to see already how this is going to move okay starting to grow out now for this particular one I wanted the fire to look a little bit liquidy but if you want it to be a bit more spiky you know with with spike tips like so there's no reason you can't do that so basically that is the process I'm just now going to go through and do all of this base layer and then I'll get back to you guys at the end of our time lapse [Music] so as you're going through your animation here you might start to notice that it feels like it's coming to a conclusion much earlier naturally than you expected like for example here I'm only on frame 10 I need you frame 60 before it starts to loop around I've already had my shapes break away from the main lock here and it feels natural that it would start to bring it this little lump back in to start to really please elements if that happens to you not to fret you can basically say that you're going to add more in-betweens between these to change the speed of the animation to make it slower and smooth the transition between those different frames that'll make sense in a second when I get to doing that bit but I just let you know that if you're experiencing this as well it's not really an issue you can you can fix that later on [Music] [Music] okay so I feel like I've reached the natural end of my animation here but as you can see as the first shape here starts to move back towards this shape from the beginning we're left with all these sort of extra shapes here that don't quite finish their natural movement before it's supposed to leap and the way you can fix that is by moving the tail ends of these natural shapes to the start of the animation as well because it's going to be seamlessly looping there is no actual start or end so what you do is copy these shapes with ctrl C sorry one more frame this was quickly do these last frames and copy these shapes instead so grab these elements it's mainly this larger blob here it'll take them all so using the lasso tool which is L just grab all these elements and copy and just place them on the layer above for now with control with paste in place which is control shift V when you're inside of Adobe animate and as you can see then you can start to blend these two frames together if you need it to so let's shift them over frame so we can use them as a reference for our first frame and they're going to be slightly further ahead each of these may be getting ready to disappear so that one's gonna be like this it's larger one over here like that and they'll probably do then if you need to you can delete this above frame and you should be able to see the remnants of your last frame here and you can just carry on animating them straight ahead like normal fill out that with a K shift B this one here framed you the last little bits you you there now should have that looping so starting off expanding and then starting again if you want to see how that leaps you can turn on the looping options here and just drag that leaping to your frame roomis that you want just hit play and you can see that we're starting to get this kind of bursting motion there which is quite nice however this only feels a third of a second and we want it to feel a full second so what we're going to do to make sure this loop properly and to use it as the basis for the rest of our animation as well we're gonna drag this last frame over here probably helps if we clear the rest of these spare keyframes like so and we're just gonna then space out these 20 frames into the 60 so how many do I actually have this is on frame at 19 so if we give each of these two key frames in between them or in this case one key frame in between them that will space them out in between the timeline we can then hit f7 between each of these and this gives us just two frames that we can create a tween for so if we change our advanced onion skin settings to only show one frame previous and one frame after knowing that I'm going to one because they're locked together one one next one I want okay one frame previous and one frame after we can now see quite clearly where those two changes will be and we just simply draw the in-between so we just do that this creates a longer smoother animation and fits it in between the amount of frames that we want so let's do that [Music] [Music] [Music] [Music] okay and there you have our first looping section of the fire now the other segments for the orange and the yellow are the exact same process I'm not going to bother showing you that I'm just going to jump right ahead to where it's completed now and you can see the finished product and there we have it our completely finished looping fire animation really simple to do frame by frame make sure that your first frame matches your last frame and you're good to go okay so here we are back in After Effects now it's time to import we just made in animate so I'm just gonna hit ctrl + I and I'm gonna grab my animate the flames door Fla and that's the source file the Fla is the same as sort of the PSD in Photoshop terms you want to save your import files to a folder somewhere so make sure that that is local to you and will be able to be seen by the after-effects software and that's going to be very similar to when we imported our Photoshop file beginning I'll create a folder with all of our assets one for each layer and a composition inside of which there'll be a swift file which represents the piece of animation per layer that you just made inside of Adobe anim now I noticed the bottom of this kind of jumps a little bit which I'm not a massive fan of but I don't have time to go back and fix that just late know you guys know that that's there and I'm not particularly happy with it once this is brought in however it's really simple to just pop into our animation if we go back to our sketch 1920 layer and we've got flame top mid and bot I'm going to do with those I'm just going to pre compose them call them flames and we're going to pin those flames to the light top like usual and then go inside now the reason we do that is that we can grab our animated frames layer animated flames layer sorry it's hard to say and then just roughly scale it down and position it to replace the general positioning of our previous layers so I scale this guy down pop him in place and then hide these three layers because we don't need them anymore to extend that work area out sisters only got about 16 seconds in length that's fine though because our original layer here we're probably gonna be limited to about 16 seconds anyway in fact let's take the time to make it 15 and we can trim our composition to that layer we'll do that last day so now we can see that our new animated flames will be following our previous motion apart from they are now animated which looks quite nice so you just need to add on noise back into these separate layers as well now because they obviously they don't have that noise because we didn't create that in a dopey enemy so that is attached is animating the full length of what we want I'm sort of happy with the position but what I'm going to do is just reposition this outside containing composition and what we can do actually to fix that jagged bottom that we didn't really like is we can mask out if we go and give a breathing space we could mask out the bottom of this overarching composition with a subtractive mask that has a feather of say five pixels maybe ten pixels and that will stop that janky bottom edge from showing too much if we give it maybe a fair 20 okay it makes it like it's growing out of that spout there which is quite nice and that sells our janky bottom edge problem so there you go back inside our flames layer then we just need to go to one of our sub comps the marshmallow one multi and copy one of our grain layers I just not using much fun because I've got keyframes on it that we don't want so let's just take this layer here from our arm and go back to our flames composition here we can probably look at this in full quality preview and paste in our random grain effect from which we will delete the mask and we're left with our previous grain so same thing as the first part of this tutorial gonna grab that base color choose a darker color of it here maybe something like that probably should be grabbing that from my color palette actually so I'm just gonna search for that in my project panel which I now obviously won't ever be able to find I forget to sketch 19 20 layers maybe and then it should be near the top somewhere Hallet is that it yeah there we go let's do it properly might as well do it properly let's grab our grain layer and eyedropper this dark color there we go drag that to the bottom for now so you've got our grain now on our correct color this darkish purple looks quite nice just gonna drag that over our flames that we did before pop it on top of flame Bott duplicate to flame bot drag that above the grain and you'll see that it's already started to crop that color off for us so that when we grab our mask tool like we did before and we mask off this shape it's gonna create some really nice grain for us here get out our mask feather that by about 100 pixels maybe 200 and we're actually just gonna move the whole thing down that looks pretty good so now we won't flame but showing we want the grain showing but the mask for the grain hidden then we want this guy showing and this top guy showing as well now why flame mid has got some of that grain showing through I don't know that because that's the original animated layer there which I've done I've done wrong and never mind this isn't the animated one at all let's grab that gray layer and cut that my mistake sorry and we'll just pop it inside our animated flames layer which is a layer we won't be working on the composition rather I'm gonna grab my pallet - gonna pop that inside animated flames and this time you're actually working so we grab our flame BOTS we duplicate that pop it above the grain and maneuver the grain layer into position like so and there we go you now see it working as intended I will however now adjust these settings maybe make the mask for like a 600 pixel mask that looks pretty good and drag out the mask area because this is always going to animate and change we want to make sure it covers the entire thing so then as that goes through we're gonna see a grain anime perfect okay let's do the same thing then with the rest of these layers so we want to duplicate our grain layer pop that above flame mid duplicate flame mid pop that above grain and then show our bottom flame mid that's pretty good let's bring our color palette on screen so that we can change the color of this grain was originally this orange which makes it the same so we'll make it this kind of darkish color here and we'll just grab that great low and we'll just bring it down a little bit I say that of good so again would you look at that grain layer place it above flame top duplicate flame top price up of the grain show that bottom grain then take this guy here shimmy him up all the way to the top and this time we're gonna accent with white off-white color and we'll just reduce the opacity of this overall layer to about 40 maybe 60 that looks pretty good and now we can see that that's gonna be just animating the brighter elements as opposed to the dark elements of this flame yeah as well pretty happy with that you could go further and add obviously brighter elements on the orange here but I quite like the fact that the darker part here is kind of the only grain shaded bit that you actually see so just quickly around preview that and then we'll take a look to see what it looks like at full speed all right so there's a couple of seconds of that round previewed looks pretty good to me I really like the way it looks actually so we'll pause that we'll save and we'll drop back to our main composition here where we can see it take place now why isn't that showing up let's find out it's because we have accidentally hidden that animate flames layer which is not great and there we go we can see it coming in now now this is the finishing touch that's gonna add quite a lot of actual movement to our little dude here as it moves and shifts around however it does look like yeah the lid there is going behind these flames that's not correct we want that lid complete to be the low the flames layer we on the arm to be in front of it yeah it does it like going after just slightly adjust the position of that as well like so okay that looks pretty good and I think we might be somewhere close to done so let's Ram preview this guy have a look at what he looks like and then get him exported okay so just round previewed a few seconds and I think this looks really good actually our guys bouncing around he's looking quite happy there's quite a lot of nice movement going on in here but one thing I will think I'd like to add is some animation to these vines just have them swaying left and right just because that overall part of the scene looks a little bit static still so that's the final thing we're gonna do I think I popped those inside our background layer and then inside our trees layer which was then duplicated so we've got trees left and then this other tree is left one here so if we animate inside this one section it will do both of them for us now we have our vines composition which helps us because if we drop inside this we can see we've got our animated grain on here as well as our original vines underneath and the green layer on top if we move this vine layer mmm it's gonna affect the grains layer t so the best way to do this then might be with some kind of adjustment layer now I'm not done this yet so this could all go horribly wrong let's try it ctrl shift why to also that has a new solid and what is the composition four layer new layer ctrl alt Y so ctrl alt Y will affect everything beneath it let's then do a [Music] that's not doing the decimal a let's do a null control-shift hole two wides create a new null and let's parent all of these shapes to this null meaning that whether we do to the null the rest of these shapes will duty so before we parent that we'll just position the null so somewhere up here in the middle re parent all of those and now I just need to skew this null a little bit so it will be the best way to do that vertical scaling with scaling could work it's probably a way to rotate or skew this if with some kind of effect forget effects and presets maybe skew something no what about warp mesh wop-wop stabilize a wave warp we do the classic old wave warp here and with that work probably not know okay let's see what we can do with a combination of subtle rotation and scale keyframes here so at the start let's scale and rotate these let's say it takes a second to go one way so let's have them rotate maybe two degrees one direction but scale back down the height by about five because my worry is obviously these are gonna start appearing behind the tree so we might be able to fix that so that's gonna have them waving one way quite nicely that looks alright so have them take a second or so to reach that apex by just adjusting these keyframes so they'll go quite fast and that may take two seconds actually so really slows down and then it waits a second and then reverses itself all the way to the other way so it would go to rotation of negative two in the middle of that it would reach 100 100 again before going back down to 195 and then that would just go through zero so we don't need to keyframe that see what those look like we'd have to have it speed up heat up the rotation but the skelter just sort of swing like say that looks pretty good so we can copy these keyframes now and after a second pause paste them and then time reverse them they swing back the other way their swings swings swings let's take a look at that swing that it actually so let's take all of these and paste them a few times now my only concern is whether or not these are going to come off of the tree but doesn't it lady so that's pretty good all right great let's look at that on this trees level around preview the first maybe three or four seconds and see what that looks like in real time so rests comes through for one second swings back the other way and it would stop at five seconds good so let's have a look yeah that adds a lot of nice move and actually I really quite like that alright great save let's export this guy because we are done now one thing I remember I did do was I exported this background as a video and then didn't replace it it was just so that it helped with round previews and stuff on weaker systems so if I just never gain now to the folder completely intro to motion design and go to the Adobe Media encoder we see we've got this background file here which is just by itself obviously this is now outdated but just because I remember the only thing I was gonna do is drag that in to after-effects here into our project folder and then once it figures out what we want and hopefully doesn't crash anything I was literally just going to replace that background composition with the video and hide the background composition and that would just vastly reduce the amount of effort it needs to Ram preview this stuff because it's only been previewing a video as opposed to a collection of live shapes that was it though so don't worry too much about me forgetting that please don't be mad all right let's export this guy one way to do it to get completely uncompressed version is to go to composition add to render queue and then you've got your best settings and lossless I'm already selected and that will create an avi if you're on PC or more if you're on Mac when I did this before it was 10 gigabytes because it was entirely uncompressed so what I actually remind me recommend recommend edie is to select your composition which I will just rename to main now and go to composition add to Adobe Media encoder queue and that will open up Adobe Media encoder which is a separate piece of software specifically for encoding videos and in there we can code directly to an mp4 so you won't lose any quality other than you would normally encoding to an mp4 so skipping that exploring to an avi step doesn't really lose you any quality so sometimes when you hit that and you open up Adobe Media encoder automatically won't actually add it to the queue for a few seconds until it figures itself out just wait and be patient basically so you want to click on your preset option blew there and that will open up your dynamic link once that's resolved with everything it needs to resolve it will bring up all of your encoding options like so I recommend H point two six four which is your standard mp4 format or HEV C high efficiency video codec eight point two six five which is basically the next step in H point two six for encoding where it has smaller file sizes but longer encoding times because I don't particularly care about file size I'm going to choose H point two six four and leave all the other settings by itself and then we're just gonna hit render and once that has finished we'll be able to check out exactly what it is we've done one mistake I probably shouldn't have done is put this in 60fps I wanted to see what it look like in animation or it to be really buttery smooth and all that sort of stuff and a lot of people are creating things in 60fps these days so I wanted to check out what that would look like it would be probably find in 30fps which would also make your computer run a lot smoother when rendering this so let's take a look at what his like wants is finished and that'll be the end of the course okay and here is the finished product this has been a whirlwind of a journey so I really do appreciate you guys sticking around and helping me out with this one and by watching and sharing and enjoying if you can think of ways to me to improve these kind of long format videos then please do let me know something that I'm trying out I tried out when I first started and then wanted to try it again now so I could cover more project solving depth if you're enjoying it great let me know by liking and subscribing and ringing the bell and all that stuff I hate saying it but YouTube basically forces you to do so so that really doesn't really just help out the channel and make sure that I can do more of this stuff in the future so really well done if you've got this far I know this has been quite the endeavor you deserve a massive pat on the back so go I have a cup of tea and look at your lovely new animation and make sure as well to sort of tag me on social media and stuff I mainly use Instagram and with anything that you do create using this series and it'll be really interesting to see what you guys come up with thanks very much everyone thank you for sticking with me this long and I'll see you next time on another episode of tip top [Music] for more tips tricks and tutorials thanks for watching

Channel: TipTut

Views: 50,042

Keywords: tiptut, tip, tut, adobe, creative, cloud, graphic, design, designers, tutorials, lessons, tiptalks, tipwalks, helpful

Id: ZR2n3Gd-SqU

Length: 222min 11sec (13331 seconds)

Published: Fri Jan 24 2020