- Hello, everybody, this is Evan Abrams and in this After Effects tutorial, we're gonna be doing a
logo reveal where we fly, wee, right out through the logo just like the logo is making
a window for us to fly out of or woo, back into. So we're making use of the
positive and negative space of the logo and to get started, you're gonna wanna have
some kind of vector graphic logo for this so something like an EPS or an Illustrator file,
something like that but we need those nice, crisp lines and this works in pretty much
any version of After Effects so should be good there. Let's do that transition
one more time, woo, and get into After Effects. I'm gonna show you what
we're gonna be doing. So basically, if we do this very slowly, we start by looking at some footage then, now there's a hole and we're going through like a white solid and the hole is resolving into
something interesting, cool and then we can just reverse
the process and go through. So we've made the choice to
use this part of the logo. We're gonna use the
positive space of the logo or at least, that's what
we did in this example. We could just as easily
have used the negative space of the logo, right? If we go here into this example, that we are still going
through the same logo but I've chosen to use the square here as that hole that we're punching through. We're gonna call this
the hole punch method because we're literally gonna
use your logo to define a hole that's gonna be in a
white solid or something. So we're gonna go through that hole that is gonna be defined by the logo. So our adventure needs to start instead of here in After Effects, we need to start in Illustrator looking at some of these logo assets. So let's woo, let's do that. Here in Illustrator, this
is what my logo looks like. It's a collection of lines. It's a collection of vector graphics. It's very simple. This is what we call a
mono color logo, logo mark. Is this a logo mark, I don't know. Feel free to correct me in
the comments, I love it. A logo mark is basically
just a very simplified graphical representation
of a brand, of a thing. It could just be, this A or something although that's sort of
bordering on a logo type 'cause we're using type but I don't have time
to go into the specifics but the real point is
that this logo is defined by its positive space and only one color which makes it ideal for
what we're gonna be doing but something that makes this not so ideal is that right here in the middle, a point we'd like to be zooming through is the negative space. So it might make sense for us to go through the negative space. Ooh, tough decisions and as
a motion graphic designer, this is one of the decisions
you'll be forced to make during your day. For this tutorial, I want
us to have a real easy time. We're gonna use Stachey here, the very bland logo of I
guess a mustache company. I don't know but the point is
you're gonna want this stuff to be all outlines so outlines, outlines. This is now outlines and to have anything you wanna
animate on separate layers. So we got the left side,
the right side, the words. Just like I did with
this, this is a layer, that's a layer, these
things are all layers. If you intend to animate a logo, you're gonna wanna break it
up into the component parts that you intend to animate separately. If that's not a big issue for
you then don't worry about it but this logo makes a lot
of our choices very simple. We look at it, we can tell,
oh yeah, here's positive space right in the center of the image. We're gonna zoom through that, no problem. It's gonna be great. It's almost like Evan set
this up to work flawlessly with the technique he's gonna show you. Anyway, this would also work if you're a check mark based shoe company or if you have some kind of panda or something that has just the one color that defines what the thing looks like with the positive space 'cause
we're gonna be using that like we said to punch
a hole through stuff. So without further ado,
File, New, Project. Woohoo, Import the stuff. First thing I wanna import is the clip that we're gonna be moving from and the next thing we're gonna import is the old mustache logo. Boom, looking good. Import it as a composition. It'll be terrific, cool. So your clip could come from anywhere. It doesn't really matter
but we're gonna take it and drag it on here. Make a new composition with it and at some point, you're gonna know, okay, that's the time when I'm gonna be starting my new transition
into a brand new world and we wanna call up the scale of our clip with the old Keyframe button on there. I'm just kind of randomly
picking a spot here. It doesn't really matter. And then I'm gonna go ahead. 10, 20, 30, 40 frames. Holding down Shift,
hitting the old Page Down and it doesn't really matter. You just wanna give yourself enough time for this to really sink in, to really show off the work you're doing and set another keyframe there. So I'll click on the stopwatch
to turn on the keyframes, click on the diamond, set some keyframes. The ending size of this
clip should be 100% or something larger than 100%. At the beginning though, we want it to be a little bit larger. We want it to be maybe 120, 110. Somewhere above 110 and if
we're stretching this thing out, we're stretching these pixels, it's already been filmed
pretty crappily by me sitting in an office. Just one thing to know here is on the newer versions of After Effects, you can make your scaling
a little bit nicer by making it on this cubic,
get that cubic scaling. So that just makes it
look a little bit nicer. So it's almost like we're pulling back, we're pulling back from the image, great. If you're shooting this on set and you know you wanna use this technique, maybe just pull the
camera back a little bit during that period. You won't have to do this kinda nonsense. That'd be amazing. So we've defined the time
this is gonna happen. Let's bring that mustache logo down onto the timeline right here. Obviously, that is too small. That's not what we want. So scale it up to the size
you want it to end at. Maybe like this and ooh,
look how ugly it is. What an ugly thing. Why did Evan have us do this? Well, there's a little
tearing along the edges here. That's caused by you not
clicking these buttons in here, the continuous rasterization
sunshine buttons. And so you click on them
if you're having a bad day and your day gets brighter. Pretty nice, eh? Let's go back to that intro clip. Ooh, it's still bad, what am I gonna do? Well, you're gonna
click that button again. So you're gonna bring all of the things that you did in this
comp out into this one so we can appreciate them. So all that continuous
rasterizing, we can do that here. Whoa, whoa, whoa. So I'm gonna pick a size that I like. This looks good. Yeah, that's nice. Very nice, very good mustache, Evan. So I think this is the appropriate size. Now, I'm gonna make a new Null Object that I'm gonna use to
control the scaling of stuff. We've got this thing scaling. I want the Null Object
to scale at the same time so I'm gonna set a keyframe here for it. 100%, that's good, that's perfect. 100% is what I want and I want the mustache
logo parented to it. Boom. So this null is gonna be
controlling the stuff. So now I know if I go back in time what I want the Null
Object to do is get bigger until that mustache, that
hole that we're gonna use, if your logo has a different
hole that we're gonna use then make sure that hole is large enough to fill up all of the space. Boom, just like that. So now, if we play that through, okay, good, that's
happening, it's doing it but it's not a hole. We need that hole. So I'm gonna go New, Solid and we're gonna make
it the composition size and give me just an off
white solid just like that. Great, I'm gonna put that down here. I'm gonna move it so that it's time starts at the same time as the mustache, good, and we're gonna make
sure the mustache logo is above that white solid, very important. Now, we're gonna toggle
the switches and modes and we're gonna tell the white solid, hey, you need a track matte, sir and I'm gonna have you take orders from somebody else for a change. You're gonna look at the layer above you and everywhere it is, that is where you are not gonna be. So Alpha Inverted creates that hole. So everywhere that the stache is looking, everything that the stache is saying, hey, I got pixels there
then it's gonna go away and the white solid is gonna
be everywhere it's not. So that's basically
what's going on with that. So that means we have made a hole. Perfect, you've done it. You're pretty much done. You have made this hole,
you've made it happen and something else we probably want is that once we've come
sort of through the hole, maybe we wanna have sort of
parts of this start to animate. So this is where we might
have say the stache thing. Maybe, we call up its
position by hitting p and we want sort of some
animating starting for it and don't know how long it's gonna take but how about we just push
this up a little bit like this? Interesting. Okay, so I did that in reverse but we're gonna Keyframe
Assistant, Time Reverse so it's gonna come out of there like so. Eh, that's kinda lame but
what are you gonna do? Just easy ease those by adding
F9, select the keyframes and then easy ease them. I go into the Graph
Editor here, Graph Editor and then we make we're
looking at a Speed Graph and then we grab these
handles, give 'em a pull and then this comes down like so and really, we can sort of, things are kinda gross but
here's where this layer can start so I'm actually going to
trim the layer like this so that it's nothing and then
Stache comes down from there. Little bit of animation, who cares? So let's look at that again. Boom. So when it's speeding
up, boom, that comes out. Something else we probably wanna
do is grab these keyframes. Let's do a little bit of
that hit F9, easy ease these. Let's then pull these handles. Let's do that so it. Nice and then we might wanna affect some of the timing in here so you're going back and forth, you're picking good timings,
you're making good choices. So this is coming on and
it's going like that. Sure, I'm comfortable with that. In case I wanna come back in
here and just stretch that out. Great. So we've got the logo, it's coming on but you can still see through the hole so you need to make a new
solid and cover that up. So not quite that dark. Something like that, okay, good. Put that under the white solid. Okay, perfect, that's
the end state I want. Now, I'm gonna hit t, bring up its opacity and I'll set these keyframes for it to start like, just like this. So you'll wanna tweak your keyframes to be sort of in line
with what you thought this should look like for your thing and maybe you've got
some music or something but you get the idea that
you've got these layers up here then those are coming in
above this video layer. Now, why do I do it this way? There is another method
that we might get to maybe in a different video that would transform this
clip into a dark solid and we'd cut it out and then
you'd put things behind it but I like this method
for a couple reasons. First reason is that if I choose to make this footage go away, I have a hole here. If I wanted then export
this, I can go Composition, Add to Render Queue and then export this
with the RGB Plus Alpha meaning I'm sending out
the red, greens, blues and also the transparency information then I could export this or I could just import
this clip into Premiere and I could layer it over top of stuff. I can use this as a transition
in those other ways. I'm not bound to use it
exactly the way it is here. I don't have to come back in here and use this clip exactly where it's at. I can just transplant this,
throw it somewhere else. Awesome. Some of the benefits of other methods are that you can easily
put things in behind like if we had some things
to put behind Stachey here. I don't know what, maybe a line I guess. If we wanna put this
line behind the mustache, well, we can't do that just by
moving the layer down, right, 'cause then it's under the white solid and that's not what we want. If we wanna provide the
illusion that it's behind it, we need another copy of mustache logo, put that above whatever
we wanna put behind and say, hey, Alpha Inverted, alright? Just check yourself before
you riggity wreck yourself and there you go. So this is sorta what
we're getting at here that this method is pretty good. This is a good method
for punching that hole for making it very simple, right? It's very simple to think about okay, this is creating a hole in this. That's what we wanted. I wanted a hole, that's what we have. So there's not a lot of trickery involved and it sorta logically works
exactly as you would expect but I will say we are here
at the end of the tutorial and I haven't told you how
to do this in reverse yet. Oh, man, I'm missing that crucial piece. So what you gotta do is hit
u, bring up all the keyframes. You're gonna grab those
keyframes individually by layer so hey, u keyframes, come with me. Copy them, paste them,
grab these keyframes, copy them, paste them. Grab these keyframes,
copy them, paste them and then select 'em all, right click, Keyframe Assistant, Time Reverse 'em and when you play that back, look at that. We are in reverse, boom. Perfect. And you might wanna tweak your
graphs and stuff like that but that's how you do it. Going back through is just the
reverse of how you got here so just think about that
the next time you feel lost and you might have more
advanced animating required with your logo. You might need to make
more complicated choices but that's it, we're done. You went through the logo, boom. You're ready to end your
Visa card commericals or whatever else you wanna do with this particular technique. I've seen it all over the place. This is a good way to start videos, it's a good way to end videos and with that, I'm gonna
end this video with it. This has been Evan Abrams. If you had trouble with this tutorial then why don't you let
me know in the comments what your questions are and
I will attempt to help you and if you've enjoyed watching this then you should subscribe. There's a button somewhere for that. We put up a lot of motion graphics and After Effects tutorials. The channel is full of them already so why don't you go back
and watch some of those. Perhaps, you'd like to learn more about animating shape layers, maybe you wanna learn
more about matte layers. We got that, that's
going on on the channel. Check that out and if you
really got stuck on this thing, head on over to evanabrams.com. We do offer the project
files for these things up on there so maybe check that out and support the channel a
little bit in the process. We much really appreciate
it or at least I do and people who know me do. Anyway, this has been Evan Abrams. If you like what you're
seeing then subscribe for more After Effects tutorials and if you do then I'll see
you around the internet. Thanks for watching and have a nice day.
