Intro To Infographics in Motion: 3D Pie Chart | After Effects Tutorial

hello everybody and welcome back to tipped ax and welcome to a new series this is the start of a series called intro to infographics in motion essentially you've seen all over the web these little infographic kind of things which aim to take boring information and visualize them in an interesting way with the intention of making that information easier to consume this is a series where I'm going to go through all the different parts or lots of different parts rather than all of them because there are so many ways to visualize this of making an infographic things like pie charts and bar graphs and percentages and other visualizations and things like that one by one with the aim at the end of taking that information and creating one big project where I visualize all the analytics of my channel and just to give you guys an idea of how you can use this stuff to make information a bit less boring and the first episode we're going to do is this cool-looking pie chart thing here essentially you can either fake the information for this one or if you have some information that you do want to visualize that's great and it works best if it's a percentage so we're just going to dive right in then and break this down so there's several elements to this of course the main elements are the different segments of the pie chart there's one then null object which is a spinner which rotates the whole thing and there's a camera which takes the camera movement and sort of moves in 3d space so if I were to turn off this camera for example and then scrub through you'd notice and then you just pop this down so it's not quite so long to render that the object still spins and the part still grow however the camera movement doesn't exist so technically all of these assets here are static which is really good for helping maintain stability when you're making these sorts of things so I'm just going to dive right in then we're going to create a new composition we're going to call it pie charts 1920 by 1080 is fine I'm going to make the frame rate 30 just so it renders a bit quicker in the tutorial but most of the stuff I do is at 60 and I'm going to okay we've got background color of red which is fine but just for sort of fullness is sake I'm going to throw in a new solid this for the background and just lock it away that means that again the accidental transparency if we were to move this into other software for example right then so the first thing you're going to want to do is visualize the finished product in your head okay so I know for a fact that I want my finished product to look pretty much like that okay so for segments I've got my values I'm just going to make them up to this but let's say you've got your values and you need to create each of these individual assets now the easiest way to do this for a pie chart is to grab your ellipse tool make sure your fill is empty right you can have your fill before if you want as well but for this example it can be empty and just draw your circle okay I'm just going to pop this up to full until it comes to the 3d rendering I'm just going to realign that anchor point to the center of course you can do this with a Pan behind tool if you don't have the motion to plugin and I'm going to pop it in the center of the screen nothing too complicated now now I'm going to say that if this is moving a bit fast for you then I highly recommend you go and check out my other series called intro to motion graphics because I'm not going to be going over how to create keyframes and stuff in this tutorial this is more of an intermediate kind of tutorial series so do check out intro to motion graphics if you're struggling to follow along that I'll teach you more of the basics of After Effects okay cool so I'm going to start off with a stroke width of 100 because that seems like a natural place to start and I'm going to add a trim path so that I can get the percentage of this section of the pie chart so we're going to go down to the add button on the drop down of our shape layer and we're going to add a trim path to it and that just inside the content as a trim path which you can then choose a start and end point for your circle too well star an end okay so we know for example that we want our first segment to be 40 percent let's say but we want our starting point to be in a top middle here just for simpleness is sake we have all of them start at the same place so we need to do is just drag you start point all the way around to a hundred and actually subtract that to get the percentage so if you subtract by forty that would give you sixty percent so it's actually the opposite of what you need so sixty percent would give you a forty percent complete circle and this isn't super important because you can't ill fluff it later on but what it does mean is that it's really simple when you're getting started just to add all these things together essentially okay so let's collapse that for now and we'll call this one forty percent and let's duplicate that layer okay this one I probably only twenty percent so I'm going to change its color to something a bit different and I'm just going to put my color palette here on the other screen and just drop that in okay and we're going to have to affect the trim path so under contents your trim path will be there and this one of course if we increase it to eighty percent that will give us a 20% rendering okay so now we've filled up sixty percent of our circle with the combination of the forty percent yellow and twenty percent green okay now what I am going to do because we need to do this later is I'm going to keyframe the start points on both of these trim paths so that when I collapse them I've got that property selected now even if this would never change it's good to do that because you can quickly see all the numbers that you need to see for example okay so let's create another one then let's have this one be 30% and we'll have the last one be ten okay so we're on 60 30 or bring us up to 90 and so for that one of course I can just hit you brings up that keyframe which is why it's really important and we can bring that on to 70 and that will override that value and then give it to 70 percent sorry had a bit of a brain fart there I'm going to make this one blue as well okay perfect now yes at the moment they are covering up things but that's not a problem we'll get to why in a minute last one then it's create ten percent that'll be 90 on our start keyframe and we'll make this one and purple so we'll take that blue and we'll make it purple okay great so now you can see that we've got each of our elements and they will start at the same point and the extent to the same point okay so what we need to do now is just quickly double check that they do make a complete circle and to do that you just select all of your layers hold shift and press R scuse me and this brings up the rotation menu as well as the keyframes already got hence for the shift there let's just pop all these layers in the 3d so the rotation that we do get is a 3d representation of it and you can see that all this sort of stuff messing up here and that's just because they're all on the same 3d depth at the moment but don't worry they won't actually be overlapping so it's not actually a problem all we need to do is just make sure we're on the right orientation so let's take our original 40 that's going to stay in the same position and our 20% here needs to rotate around this access point so drag these until you find the right one which I think is the last one and you'll see that we can rotate all of our shapes out so all we need to do is push this all the way around until it lines up to the end of that first shape now if you wanted to you could guess the maps I think this one's going to be 220 or 210 to want 5 206 you can see that like this a little bit of tweaking bit doesn't take too long of course if you wanted to you could transform the 360 degrees into a percentage but it's probably not worth the maps it makes sense I'm just going to pop a keyframe on that orientation - even if I don't think I'm going to change it it just keeps that property alive when I press the U or collapse button so the next one then the slightly percenter needs to rotate all the way around push it too far just keep going keep going and keep going until it doesn't overlap anymore so you can zoom all the way in and we can decrease that a little bit I think 1 for 4 yeah that works ok great and then the last one then is this purple segment so we'll just keyframe that and we can collapse all of these give us a bit more space to work with oops our the number of taps you need to get you open start out again navigate the last one then is going to have to rotate all the way around and that's fine keep going okay Bitsey far there let's try say one instead of the runway for that stretch a size K six perfect there we go so now you can see that we've got a fully completed circle okay now you know it's in the first example that some of these are thicker some of them are thinner and some of them don't extrude quite so much see so some of them are deeper than others now you want to keep your 3d elements you want to create them at sort of the latest possible point just because as soon as you make it actually 3d with depth and things like that it starts to take ages to render which isn't a massive problem but can be a little bit of a pain okay so let's bring up all of our controls then and the first thing we want to do is hit ctrl and shift and that's command shift if you're on a Mac and then using the right arrow key just hit that until you get to one second which should be three if you're on 32 frames per second because it Musa ten frames at a time let's just create a whole bunch of new keyframes there go back to the first set and drop all of or increase all of these points back up to a hundred on our start of our trim path what that does is collapse everything so that when you go through these they should increase in time which they do so that's great let's grab those make a bit more interesting by right-clicking good keyframe assistant easy ease clicking your graph editor button here and if you don't see this kind of value you're on the wrong graph you're on the value graph which will look like this then you need to just click down here and make sure you're on the speed graph okay click and drag over all those grab the little yellow parameter shifter here and just drag it to the left so it goes from slow to very quick to slowing down again and if we quickly pre-render this little segment here you can see that our circle starts to form itself now at the moment of course they're all coming in at the same time and which is fine if that's what you want but I probably want to offset these so what I'm going to do is make sure I'm starting on the first one and just drag these over until they line up so dragging this one like so and this one like so et cetera et cetera now if you want it to be very accurate what you could actually do is place your cursor on one of the keyframes by clicking the arrow button and then just hit open square bracket and that pushes the start of the layer to wherever the time indicator is here so you can do that like so and just keep going keep going keep going into little incremental okay perfect so I think this should last about five seconds so I'm just going to trim that comp so get rid of all the extra fluff okay perfect then right what we need to do now I'm just going to leave the cursor on that last one just so we can see the whole thing is we need to actually extrude these because at the moment there's 3d layers but if I were to create a camera and rotate this you'd see they're flat so in fact I'll do that now just to illustrate the point if you got to the layer tool hit new and then camera oops the new camera 50 of or 18 millimeter is fine I prefer working with 50 mil actually and we can just call this camera one if I were then to rotate to this camera you can see that our 3d layer is technically 3d but there's no depth to it okay it is completely flat one important thing to remember is if you drop down this camera and under the transform tool here hit reset it'll undo all the movements that you've done that's quite useful for the future okay so what I'm going to do is I'm going to position this camera by pressing the C button you can scroll through all the unified camera tools so here we can have rotating the orientation okay you can rotate or throw you can translate the shape in XY & z X&Y space and then if you press C again you can translate the camera in z space which is quite sore so that's zooming in and then you've got sort of the unified tool here if you press C again it puts all run together I find it's better to operate them individually however so what I'm going to do is make sure I'm on the rotate camera tool just hold shift and drag it up until I reach an angle where I can see the depth when we make it okay now in a little bit we will go into splitting this use you can see it from the real live view and the side and things like that but for now this will do okay so what we're going to need to do here is go down to our first shape scroll down everything and go down to geometry options okay and we're going to take the extrusion depth and we're going to turn up a little bit let's try 100 and you can see straight away that that turns the shape into 3d it gives it a hundred pixels worth of depth on its a z-axis which is super useful okay so we're going to take that first of all we're just going to keyframe it like so and let's see if we can copy and paste that on to the other layers yes it looks like you can and there you go it's thickened everything up so we're going to do is at the start of each one just taste with control V or command V and you can see now all of our shapes are 3d but however they look like the same color and whereas on this one you can see that there's like a shadow on each side layer now you might be thinking you can do this with a new light which would just lay a new light but as you'll quickly see that creates some sort of gradient realistic e3d lighting which we don't actually want for something as simple as this it also increases render time and stuff like that so we're not going to use a light what we're going to use instead is a really cheesy method but for things like flat design probably works actually a bit better okay so I'm just going to collapse that camera and I'm going to collapse all of the layers down so I've already got the keyframes open and what I'm going to do is click on the twelve down arrow click on ellipse make sure we have the actual shape selected from the layer not the layer itself let's do this on the first one nine so twelve down click on your ellipse shape and then click Add and what you can see is you have four options now it is 3d front bevel side and back okay you can go to side and color what this does is it adds a color only to the sides of the block okay now if we were to zoom in very very far you might not be able to see but this does actually have a bevel depth of only two pixels and what that means is the points where the side meets the top it's not exactly fully straight now you can get rid of that quite easily by just going down to the bevel depths here and moving it to zero if you do on that or you can increase it all the way up and it makes it even bigger I'm going to leave it where it is it's just important to note that it is there so you can see now that under this ellipse shape we have a new material option which is a side color and for that you just want to choose whatever color you like but mine is just going to be a slightly darker version of the yellow because that makes sense okay and now you need to do is just go through and do that on the rest of the layers again what you could do is keyframe that's it's always there and then collapse the layer and then you can just copy and paste this to the rest of the shapes okay now does that work it doesn't seem to so let's try that again you may not be able to copy that you have to copy the material options of see okay so as you can but how they actually worked I don't think so make it really ugly no it hasn't okay definite problem we have to do then is just actually do that bit manually which isn't the end of the world really is it let's just collapse that down then grab our lips on 20% add a side add a color and then change that color to the darker version of the green and so unfortunately this is a little bit of manual process I thought I might be able to speed up a bit there but that's fine go to your lips click Add hit sides hit color and instead of red we want a darker blue and don't forget to just keyframe that so you can keep the option there and then do the same thing here sides color and that one will be a dark purple and can be perfect right let's collapse all of them and I don't think I keyframe side color on this one so I'm just going to do that now and ellipse material options side color and I'm going to grab all of those keyframes one two three and four where's number four and two three and four I didn't keyframe that one either so it's important to remember the keyframe as you can see it really does help with keeping in view what options you've actually got open even if they're never going to change so grab all four of those and I'm just going to push them over to the start keyframe here okay perfect right let's have a look at what we've built so far then let's drag this down so you see a bit better and if we just pop this on a quarter and pre-render you'll notice each shape grows out one by one and has shading to it cool so the next thing then is we want to alternate the size and depth of some of these shapes which is pretty easy to do and you can probably get how we're going to do actually to increase the width of this you just need to simply increase the stroke width and that makes it thicker okay I'm going to leave that one at 104 I'm going to do is push this second section down to about 75 let's try the smaller straight 60 okay let's push this blue section up to about 150 and let's push this purple section down to about 80 just so it's a bit smaller okay now that's effected the width of each segment on one axis we now need to affect the extrusion depth to affect it on the y-axis so what we can actually do is take our extrusion depth here keyframes and just so we can see what we're doing we will move them to the end because obviously if we started here I think we collapse there doesn't actually make sense and we can extrude them further if we want to so let's take this blue one let's take the green one actually first and decrease the extrusion depth now when you do this you'll notice that it doesn't oops sorry I had all of them set to there but it does it from the bottom because you're extruding from this flat plane at the top now it's up to you but what I like is having these smaller blocks actually sit in the center of my shape rather than at the top so I'm actually going to push that down just a little bit further 260 and you'll be able to see there's a gap here but none of the top that's fine for now let's get all of our shape to the right size you want and then I'll show you how to move those okay so next then we want to probably make this one a lot taller let's have it 150 which looks huge which is fine but let's move in at about one to five there we go that should be good and then our last one our purple segment the extrusion depth is still a hundred so should we decrease that yes decrease the width by 20 so let's do the extrusion depth by the same for that 80 why not so now if I were to grab my camera again and with the camera rotation tool rotate around you can see that they're all different and depths and things like that but they all start on the same flat plane on the top which is really useful okay so let's reset the camera controls and now what we need to do is the clever bit this is where we split the view here so that we can work on a top view while still seeing the side which is pretty useful so to do that you need to go to this button down here which has one view and just turn it to two view you can evaluate horizontal or vertical depending on how much screen space you've got like so probably horizontal is going to work best and you'll notice now that we have a single active camera and one that's called right now this may say top or left or bottom for you doesn't really matter what you need to do is make sure you're selected on your second camera here and you'll have a little action that changes it says active camera and right down the bottom you can just choose from which side you want to view your shape so from the front from the left from the top from the back from the right or from the bottom okay now one of these is going to be useful for you one of them is an or some of them aren't just pick the one which makes the most sense to you for me it's probably going to be left for some of it and then right for the rest so what I'm going to need to do now is choose a base shape okay and I want our yellow one to be the base shape which doesn't move and I need to align the rest of the shapes to the center of that if it makes sense so let's take our green shape first things that seems to be the second one I've been working with and what you can actually do is you can bring up your position controls if you want to but the good thing is now if I try to grab this green shape on our active camera and move it about I'd have to either grab these individual ones and guess where I'm moving it in Zed space or X or Y space and hope that it's in the center because we've got this left view what we can actually do is see exactly where we're moving it in that plane of existence and I know that that is vertically or in red space rather okay now I just need to do the same with the rest of the layers as simple as that you can either click and use these controls here or you can use just the arrow controls which I find a bit better when it's something is for nikah to use this that's fine and the last bit then is the purple segment now I can't really see it on here for what it does do is give me a nice outline anyway so if I wanted to I could just push that or I could just go to the right view which flicks it around and I can see that it's in the center okay so now I know that that's fine and all lines I can just pop back to my one view here and when I adjust that camera I can now see that all of these are perfectly centered which is exactly what I want okay great so let's then get this sucker spinning now you might think that the best way to do that is to grab all of these because we haven't done any rotation values yet bring up our rotation here and then spin those out but as you can see we've actually changed the orientation on somebody's to align them to make sure they're aligned properly so the best way to do this is actually to work with a null object so let's go back to frame 1 here and we're going to go up to new null object okay so that will be layer new and then null push that below your camera and make sure it exists in 3d space okay and then bring up your rotation now there's two ways to do this I'm going to use a plug-in because it means all I have to do is click one button but there is a way to make something spin forever manually but it involves a bit of scripting so what you can do is you can either take your rotation value and find out which one is I think it should be z space actually that it rotates in yes like this and what you can do is create a keyframe at the beginning create a keyframe at the end and increase however many times you wanted to make a full rotation in that point so three for example and that means between here and here that will spin around three four times another way to do it is to create one keyframe move on a little while and have it spin by one and then you can add in a piece of code by Oke getting that stopwatch and I think it's something like loop out like that maybe and what that would do is keep it looping forever yes that's one way to do it or and then obviously if you adjust these that adjusts the speed of the loop pound or another way and this is my favorite because I'm in love with this plug-in and I'm not being paid to sell it I just love it so much you can go up here and you click spin and that's it it does it all for you that are now spin forever one click and if you want to just adjust the speed of that what you need to do is go over to the effects of that particular shape and then just adjust the angle which is actually technically the speed in this so I can slow down to say 90 and that just affects how quickly if spins maybe I want to even slow actually 45 okay so now we've got a spilling null but our shakes aren't following it so that's really easy to do or you need to do is grab all of your shape layers you can probably collapse them now because you don't actually need their controls anymore okay and then just take this pick grip here with all the layers selected and pick with it to the null object and what this is basically saying is saying make these four layers follow the actions of this null layer and as you can see when we then scrub through quite slowly the shapes follow the spinning of the null layer which is super useful okay so last thing to do then is to create our camera movement which is again a nice and simple process we want it to move position and we want to just to make sure that we're not zooming all over the place you press a it brings up the point of interest and this is basically the focal points the thing that the camera is looking at and you may not change this but I find it's best to keyframe that anyway just in case you accidentally do you can quickly see why the camera isn't behaving in the way you think it should okay and I'm going to go to four seconds and I'm going to change these parameters so I'm going to press the C button to bring up the rotation like so and just bring it around until I can see an angle I'm pretty happy with and maybe I'll zoom in a little bit too as you can see that pushes the shape off-center a little bit so I'm just going to translate this up and probably tilt it just a touch more and I think I'm pretty happy with that I'm going to just add a bit of easing to these cameras movements here to make it a bit more realistic like so and that is it let's pre-render and see what it looks like I'm going to render it on full okay there you go so here is our shape growing as it spins in 3d space all done in after-effects with no plugins well I use motion to by also explain how to use things that doesn't involve that plug-in there's one last thing that I don't particularly love now on the smaller segments in terms of x and y size you can see that when they pop out of the previous segment they look right because they're growing out of it and they're smaller but when the blue segment pops out of the green one it kind of snaps into space there you can see as it starts so yellow green is fine BAM the blue just pops there so what we probably want the blue section to do is actually to grow as it increases in its length so that way it's growing in x y&z space as it pops out of the green segment you don't have to do this step and you might like it just popping in but to me this one little pop frame here looks weird so we're going to fix it I think this is the sabersense segment to double check yes it is that's great I'm just gonna pop this back down to 1/4 so we can work a bit quicker and I'm going to bring up all of the keyframes right here okay okay so you can see that what we have here is two keyframes one for the trim path and one for the orientation what we need to do is increase from 0 or from smaller than the green segment the stroke width the extrusion depth and the position in z space so that it's center of the green section when it starts and back in its finished position when it's fully grown okay so what we're going to do is make sure on our second of our two keyframes so we know that we're working from the finished position and we're going to add those keyframes in so we need position we need scale sorry not scale position we need geometry options extrusion depth which you've already got and but we'll just pop one here so we know it's the right size we're going to need a position keyframe and we're going to need a stroke width a keyframe okay so let's bring all those up contents ellipse one stroke width okay great press you to collapse all of those and you'll see now that we're working with a position keyframe on this layer here a extrusion depth keyframe here and a stroke width keyframe up here unfortunately other thing you can actually rearrange those so you're just going to have to kind of remember that one's up and ones at the bottom the stuff like that let's pop back to the first set of keyframes then and drop a load in so now we know we're working with a start and end keyframe for each of those parameters now we need to drop the stroke width down to zero so that it starts completely visible we need to drop the extrusion depth down to zero and that means you can see as it grows it increases in size and depth but you'll also notice that the start of these here if I go back to our two views you can see it's now starting in the wrong place in z space okay so we'll go back to our first keyframe here we'll take this we'll take our position which is a negative twelve and we'll push it back until it's in the center of all of the shapes okay so roughly there then when we go through the shape we'll start from the center of that green shape and just increase in scale now the moment is increasing linearly because we haven't added any of those easing in but because we want all the easing to be the saying what we can do is select all of the keyframes on this layer control click them which brings them all back to normal keyframes and then right click keyframe assistant easy ease go to our graph menu and just drag in those sections again nice and easy okay perfect now if we wanted to this is our reference 1 for our extrusion depth we could probably delete that now but since it doesn't change it's not going to affect anything so that's no problem we'll leave it there so I think that's it we'll just collapse all of that we'll go back to single view and we'll just pre render and see what it is we've come up with okay and that is it look at what we've created I'm pretty happy with that so we've created some 3d shapes that exist in 3d space we've attached them to a null spinner that continuously sends it rotating and we've thrown in some camera movement there as well all of that without technically doing any kind of lighting or really difficult 3d stuff it's all quite simple it looks really good in a flat design kind of concept and it works it's smooth and it's pretty simple if you look at our layers down here it really is simple there's no extra layers for the extra depth and things like that there's no real clever stuff going on here there's no scripting it's all doable which is pretty cool actually so I hope you enjoyed this it's going to be the start of a new series like I said so there's definitely more on the way and that is it so thanks very much for watching everybody I hope you enjoyed it if you did let me know if you want to see more also let me know but we'll be continuing this next week in the next episode of intro to end for graphics in motion stick around and I'll see you then right for more tips tricks and tutorials thanks for watching

Channel: TipTut

Views: 85,909

Keywords: tiptut, tip, tut, adobe, creative, cloud, graphic, design, designers, tutorials, lessons, tiptalks, tipwalks, helpful, intro, to, after, effects, motion, graphics, info, infographics, in, pie, chrt, line, graph, chart

Id: -ejsD4upUwY

Length: 34min 3sec (2043 seconds)

Published: Mon Aug 07 2017