Intro to Motion Graphics 2021 [2/5] | After Effects Tutorial

welcome to intro to motion graphics 2021 in this series you'll learn everything you need to know to get started in the world of motion design let's do it [Music] hello everybody and welcome back to international motion graphics 2021 we're going to carry on with uh making our animation today what we've done so far is this kind of whip stretched text effect on the intro and today we're going to learn about motion paths and uh animating with realism as we add the t and o in the intro to this next section so without any further ado we'll just jump right into it so to start off with we need to obviously add our text so i'm going to grab my text tool and just click and type in the word to um now you can use whatever your font you'd like but if you're following along obviously you need to use futura pt um like i mentioned before control alt and home we'll place our anchor point within the middle of our letters and we're just gonna place them over until they roughly line up with our guide layer that we used in the last episode and that looks pretty good to me i'm just going to swap out the fill in my character window so that we have a blue fill and no stroke and i think the fill we used for the o was yellow so we can just grab that from our color palette which i moved off screen last episode if you remember and we can just paste that in like so now this is going to have a very similar process to the previous episode we're going to right click and pre-comp and we'll name this one two and that's just going to create a composition that we can drop inside and we can animate the two um individually from the rest of the work doing it this way allows us to know that the t is currently in its perfect finishing positions when we animate it later on we don't have to worry about that i'm going to right click that layer and just use create shapes from text like we did before and we're going to leave the original layer invisible we're also going to do the same thing we did before which duplicate it with ctrl d and just separate out the t and the o onto their own layers by twirling down selecting the ones we don't want and deleting them now we're not actually going to be using this t letter shape we're going to be rebuilding it but we will be using the o so i'm just going to hide the o for now because it'll work on the t first and i'm going to reduce the opacity of this t down to 20 and i'm just going to lock the hidden text layer as well as the t and o layers because we're only using those for reference uh now if we zoom in we're going to grab our rectangle tool um from the toolbar up here and you can long press on that if it doesn't look like a rectangle if it's a circle long press on the circle and click the rectangle tool holding alt i'm going to click until the stroke disappears and there's just a red line through it and we're going to check that this is the correct blue which it is i believe yes so we can hit ok then i'm going to zoom in as closely as i can and if you having trouble seeing you can turn the background to a checkerboard might help and we can click and drag until we draw a rectangle that is the height and width of the full stem of our t going back to our selection tool we can click that again and press ctrl alt home to ensure that the anchor point is in the middle of our shape okay now we have this part of the tee um ready we're gonna wait until we form the crossbar until a little bit later i'm going to choose fit in view and i'm going to collapse that layer with the u key and i'm going to rename it t stem oops or i'm going to rename it tc apparently t stem there we go now we need to draw a path for the whipping motion that we want the t to follow so to do that i'm just going to grab my pen tool with no layer selected i'm going to alt click the fill until there's a red line through it and then zooming out i'm just going to draw myself a path that forms a big spiral with the pen tool by clicking and dragging and holding shift if you want a perfect angle by just clicking and dragging you can use these handles to pull your shape into position and i'm just going to finish it right beneath where our t rectangle starts okay so now we have an empty path that's in a spiral now you can select these individual points by just clicking and dragging and using the handles and dots to reposition until you get a nice smooth spiral that you're happy with okay i think i want my spiral to come in like this but it might be nice if it starts off screen if you want to add handles to a point you can alt click it and that will give you a handle to work with which allows you to change things like trajectory and just tweak that until you get a spiral that you're vaguely happy with i think i'm happy with that now we are going to use something called create path from nulls which is a built-in script in order to create a null object which if you remember it's just an empty object with no content that's going to follow the path of this line and then we're going to attach our rectangle to that path so to do that you're going to need to go to window and make sure that you have create nulls from paths open selecting that will open up this window for you here we are going to twirl down our path layer which we will just rename to path until we have the key frameable layer of the path selected and then we're going to click trace path what that's going to do is create a null object as you can see here and if we press e u on that null object it will bring up all the keyframes and you'll notice that it's already created two keyframes for us one at the start of the path and one at the end of the path now it's already taking a second to move which is totally fine but we want to animate it in a cool way at the moment it's very linear um so what we're going to do first is attach our object now go to the last keyframe of your path and you'll notice that the null object points will line up with that last point it's very important you do this at this keyframe so that it aligns correctly but you're then just going to grab your t which i like to put above the path because that just makes sense to my brain and we're going to pick whip or parent it to the trace path at that keyframe the reason we do it at that keyframe is that then it will follow that path perfectly all the way through its animation okay if for example you did it halfway through when you parent it will parent it at that point and then obviously that looks completely incorrect okay so go to the last keyframe and then parent to your path now this path just has the movement and we want it to sort of whip into position and then speed up at the end so we're just going to start by just going to f9 select both those keyframes and drag it out let's see what that looks like not great yeah kind of whip super fast in and then kind of slams into position so we're going to definitely want to reduce the last keyframe so it really does whip we want it to go quite slowly until about here and then speed up quite a bit okay so before we do that and before we refine this much further we also wanted to make it look like this this object is very close to the camera and then it disappears by getting um well not disappears it scales down by moving further away from the camera too that's very easy we're just gonna press scale s on our t stem layer and keyframe that at the open and the close so zero seconds and at one second i'm going to go back to the first one and just scale it up scale up as much you want then you can see it's going to start to make a little bit more sense like so you'll also notice that now we have an object attached to it we can see that it's going to loop forever which is no good we only want it to loop once to do that you go down to your trace path and twirl down everything and then under uh the progress where it says expression progress you can just select all of that and delete it that will allow your animation to go once and no further okay one second seems pretty sure i'm going to alt shift and write until we get to two seconds and automatically that gives us a lot more time to work with which is great i'm gonna grab all of my keyframes the scale and the progress keyframes are going to f9 to give them an easy ease effectively undoing what we've just done and i'm going to find a point where i really want it to speed up which is probably going to be about here and then i'm going to keyframe again so selecting these keyframes and control clicking them will just turn them back to normal keyframes effectively undoing the speed ramping that we just did just to test things then if you hit f9 on them it will add the easy ease in and go to your graph it should look like this if you've got the other graph that looks like that then you're on the speed graph and you need the you're on the value graph and you need the speed graph it should look like an m and a w we essentially would like this to go um fast or rather slowing in hovering at the top here and then speeding up again and with easy ease it kind of does that but it doesn't look great okay that's because we want it to whip into position so we already know how to do that by just dragging to go faster slow boom looks quite nice and this one we want to whip fully into position and completely have no speeding out so that it really does like slam into there maybe we can leave a little bit of it in depending on what we think that looks nicer okay so with that in mind we've got this point where it hesitates and we really don't want it to stop so to do that we're going to move to the value graph selecting all your keyframes go to the value graph and you'll see that horizontal movement is no movement in this and we can go to our scale and select that individually and our progress and select individually or we can do what we usually do which is just select both to see both now if we wanted to maintain a little bit of speed it's very simple we just need to drag these points until they are linear ie there is an level amount of motion and you'll notice that the scale the position hasn't been done yet but the scale continues where the position has stopped if we do the same thing to the position we can get a really mind new level of detail where it slows down but it doesn't stop at all and now boom looks good however two seconds far too long one second wasn't enough two seconds was far too long but i think i've got the perfect amount of time if you notice back in our intro setting we had at one second and five frames bosh it starts to jump up that's when we want it to end exactly so we'll go to two and we'll alt drag this until it reaches there that's going to maintain all of the easing we've just done it's just going to speed everything up until it reaches a point we want boom okay so it looks a bit stilted still and that's just because at the moment um we haven't really controlled it with a great amount of detail for example at this point i want it to be much smaller than it is so i'm just going to scale this down we kind of want it to be pretty much its finishing size great the other reason is because the rotation isn't overshooting as it spins if this object were actually rotating out like this the back of it might spin out a little bit so we're gonna hit shift r with our t-stem layer selected to bring up the rotation keyframes and as it whips into position here we might add a keyframe have it spin out slightly by just moving forward a few frames moving forward a few frames and every time there's a hard corner just overshoot the rotation ever so slightly boom especially the keyframe here and right before we have it properly whip into position before making its way back to uh zero or 90 i suppose boom now let's look at that it's a little bit nicer let's also take our scale at this point unlink it keyframe that and right before it slams into position let's have it be longer because of the speed that it's moving that looks much nicer already i think as well the path is a little bit extreme or rather not extreme enough so we're gonna grab up half of the pen tool and we're just going to tweak out to get an extra bit of spin and overshoot you'll see there and don't worry that it's not matching up to our original we will fix that because it's going to continue to spin in that direction so really what we could do is actually have it start and finish like that perfect okay so we have our spinning um block coming in like so and we also have the ghost layer of our teeth where we want this to finish up so at this point i'm just going to collapse all my layers and press u until just the keyframes come up and then with the t stem selected i'm going to hit ctrl shift d to split that layer now if i press u it's actually duplicated it's all those previous keyframes are there but if you want to be neat you can just delete them we don't need them for now okay now at this point we've probably noticed that the line has slipped off a little bit so i'm just going to take my path keyframe once again where it finishes and we're just going to reposition just so that it looks central just that last point not the whole thing just the last point and then here bam perfect okay so this is still linked to the path which is great um apart from we don't need that anymore so i'm just going to disconnect from the trace path and if you want to you could also split ctrl shift d the null object just so that visually in your timeline you can see that it's uh we're finished with it now we want this to keep spinning and then drop into position so position definitely let's keyframe that let's have it move 15 frames and then another 15 to go back to its original position and in the middle let's have it move up like so selecting all these keyframes hit f9 to give them an easy ease go to your value editor or graph editor make sure you're on a speed graph and because it's just whipped out of this massive spiral we want it to go super fast at the beginning so we'll remove all influence from the start and add all influence to the end very nice so you can already see how this might look pretty good apart from we want to have it settle into position with a smack so we'll give loads of influence at the start and reduce some at the end boom very nice okay so that is the position that looks totally fine let's look at the whole thing i think i'm happy with that it's a bit long at the end there perhaps we stretch that scale a bit too much but don't worry we'll leave some of it maybe 120 because we'll be stretching this scale as it spins as well which is actually the next step so shift s on that layer to increase the scale that needs to be at 120. it's gonna rotate rotate rotate rotate rotate and it's gonna stop let's say at the beginning about here so we'll put that down to 100 100 here that'll make more sense when we add the rotation shift r with the layer selected adds a rotation keyframe go all the way to the end and let's say it spins out two full rotations so we click this first number here and type in two so two full rotations plus it'll have to land perfectly upright so let's just zero that out so now we've got the object spinning but it's spinning in the wrong direction it's going to flick into position here and then start spinning the wrong way so we actually want to make sure that that is negative too so it's now going to spin and land looks okay but again now we can fix the scale once we've fixed the speed of the rotation so we're going to grab those two rotation keyframes hit f9 and you guessed it it's going to go from super fast to super slow i don't know if we can remove all the influence yeah we should definitely remove all the influence bam that looks pretty nice [Music] and the scale kind of works already but there'll be a point if you go to your graph editor where a drastic amount of speed has been reduced somewhere around here and at that point i'd say is where we want the scale to roughly end so we'll just f9 those nice very nice okay so let's look at that looks nice apart from i do want it to slam down a bit harder so i'm just going to grab those position keyframes again and i am going to remove all of that influence because when it slams we want it to squash and stretch to compensate it's much easier to squash and stretch something and keep it in place if your anchor point is at the bottom of the shape so we are once again going to split this layer ctrl shift d u to bring up all the keyframes and just delete them all to make it nice and clean then we can move our anchor point down to the bottom of the shape we can just grab our pan behind tool from up here in the toolbar and holding shift we can just click and drag on that anchor point until we position it roughly at the bottom of the shape from there just some simple scale keyframes so scale once we go forward say 10 frames and we've already we know we're at 100 100 so we can just squash and stretch this to our heart's content go forward 10 frames stretch up making sure it's taller and thinner because we want to make it look like it's maintaining the same amount of mass we'll have it squash and stretch just a little bit again and then return to 100 100 which is the shape of our original t hit f9 on all those keyframes and we've got something that looks like this which looks a bit rubbish so again really has to influence its scale coming out super fast boom and that looks kind of okay but you need to remember that there's energy so it's squash it's going to hold at the bottom then it's going to shoot up a little bit and that's going to continue but dissipating slightly each time so you'd want to grab and add just a little bit of influence one way grab that same amount of influence back the other way and then for the final one you can add just a touch of influence both ways like so and then that looks kind of okay like that so let's drop back here and take a look that looks pretty nice okay so i'd say that's that part of the shape i'm happy with it for now i'm going to go to my last keyframes that it's in perfect position perfect size and i'm just going to collapse everything like that i'll leave this with with you so i can see where my last keyframe is and then on a new shape layer i'm going to get myself a copy of the same blue with a fill and no stroke i'm going to come in and i'm going to trace there's a slight upward tilt in my font might not be the same for you so i'm gonna add that in i'm gonna trace the outline of that t and line it up so that all the sub pixeling looks fine and that's probably close enough since it's quite small you'll never be able to tell and then pressing open square bracket i'm going to position the start of this layer here like so using my pan behind tool i'm just going to link or move the rotation point up to the top left of this t part here and we're basically going to have this this part swing out of the t so we're going to take our rotation tool keyframe that uh rotate by 90 degrees or just enough to hide it so 61 degrees move forward 10 frames and we're going to overshoot it a little bit by just scaling that up undershoot it again a little bit and then bring it back to nil now you'll notice that at some point the top of its arc you may need to adjust its path just extend that so that it covers at all points and don't worry too much about it poking out the other side because we're going to actually just trim that from that single frame off because it doesn't really matter let's grab all those in f9 you know the deal by now we wanted to go fast into not so fast into not so fast that looks pretty good like so lovely now at the very end again at the very end we're going to pick whip that to our stem and the reason we do this is because we're going to offset it in a moment but first i'm going to duplicate this layer with ctrl d right click it choose transform flip horizontal and that's going to fill in the other end of our t here may have to just bring out just a little bit like so so we get a perfect t and now all we need to do is flip these um rotation values because obviously uh the rotation value needs to be negative 61 rather than positive 61. that needs to be positive 11 as opposed to negative 11. that needs to be negative 9 as opposed to positive 9 and 0 is 0. it doesn't matter so now we've got two sides of the tee popping out like so and kind of doesn't matter that they they flop down and reveal the top of that t i'm happy with that it's how it would actually be that's fine and now what we're going to do because we pinned them after all the movement was finished if we just move these back by selecting them both and choosing open square bracket they will be scaled and connected to the movements of the t so they too will squash and stretch with the t which means as the t comes down and these things flip out they're going to react and come up which is a form of secondary motion which looks very good looking at the whole thing nice let's press tab to go up to our main composition and we'll see how now it looks like the t swings in and knocks the word intro up perfecto okay may just tweak the beginning of these t's see what it looks like there that looks nicer actually a bit earlier doesn't it very nice okay cool so that is the t finished which is great so let's move on to the o we're going to make our own layer visible and unlock it because this is the layer that we're actually going to be doing the editing on no no sneaky duplicate shapes this time ctrl alt home we'll place this at the center of the o which is quite important but because we're going to want to make this bounce we're going to grab our pan behind tool and holding shift we're just going to position it at the bottom of our o like so now we're going to use similar techniques for this o but it's not a symbol symbol it's on a single shape so it's much easier we're going to grab our position in fact let's make it let's make it drop in at 105. so we'll just open square bracket there and keep in my position let's have it take 15 frames to hit the floor and we're just gonna go back to our first frame and drag it off screen on our second frame it's going to hit the floor let's have it go 10 frames or no let's say 15 keep things even and have it raise up then there's less space for it to travel with less energy so 10 frames should be fine and we will just copy this original keyframe there another 10 or that's 20 frames sorry my mistake another 10 frames and we'll have it come up slightly less another 10 frames it hits the floor just pasting that keyframe another 10 frames it comes up slightly less and another 10 frames paste the keyframe another 10 frames even less and another 10 frames paste the keyframes now we have a very boi [Music] rubbish looking bouncy ball let's grab all of those and hit f9 and we want this one to just come rocketing up in speed so it's going to start dropping and with gravity obviously it doesn't slow down as it reaches the end of its arc so we need to make sure there's absolutely no influence there so it's just completely speeding up and then here what we're probably going to do is grab both of these arcs maybe not 100 influence but we'll see let's drag it up to say 85 percent influence either side or thereabouts see what that looks like looks a bit weird yeah that looks a bit strange so let's drag it touchdown again say around 50 influence for these until it starts to slow down like this okay that looks kind of okay i think this needs much less than the start because it should be rocketing out as it reaches the top of its arc it should hover there for a bit so we will pull this one out as well so that it hovers slightly it's going to hover in the air it's going to keep speeding up which means there's going to be no influence or very little influence towards the end then it's going to rock it into the air again at the next keyframe it's going to hover so we'll add a little bit of influence there it's going to hover in there so we don't want it to drop too fast so we'll drag up the influence as it drops towards the ground there'll be barely any influence before it hits here we want the same thing we want it to be slightly faster moving out of its influence hanging in the air dropping into no influence and then the last two are so slight that you can probably just get away with it almost you can see it gets a bit floaty towards the end and that's because we haven't um adjusted this influence uh well enough so if you hold alt you can zoom in which makes your keys a little bit easier to see and you can see where the issue is it slows down as it hits there so we need to remove that influence this influence hangs in the air as it rockets up a little bit and then as it hits there'll be barely any influence so alt again to zoom out very nice so those are the position keyframes um we now need to add squash and stretch to this as it folds so we're going to have shift s on this layer to bring up scale and we can do this in a very similar way we're just going to go straight ahead on this one as it drops you can see the dots on your line here which make it easy to see where the speed starts to slow down we're going to have it be unlinked scale and we're just going to stretch the height just loads loads loads because at this point you can see it's moving half the distance in a single frame by the next frame we're just going to squash it down and make it wider and you'll notice that on the first keyframe i haven't done any editing and that's so i can just copy paste it it's not really because it's going to speed up as it starts to drop it's not really going to stretch until about here maybe here so we'll copy this first keyframe and paste it that means it's going to drop stretch and hit by about here we'd like it to squash and stretch the other way and you can just grab these handles and it's going to start to slow down around here so again we'll keyframe that move to where we think it's reaching the apex of this arc and we'll squash it back into a regular ish shape it's going to start to drop again and speed up which means we need another keyframe as it speeds up we're gonna need a few more shapes and this isn't as extreme because um it's lost a lot of its energy on the first bounce squash and stretch it in the other direction as it moves back up into the air let's go one frame further we want to squash and stretch it the other way it's going to start to slow down again so we kind of want it to go back to its original shape in fact maybe we could even just paste it you can see how otherwise you get a little bit of creep you can see it scales up so let's look at that so we can see actually there we overscaled quite a lot you can see that massive drop and that is an issue with working straight ahead is that you will get this creep scale creep which is why it's good to basically check your work i think that needs to move forward a bit as it drops through the air here we just want a little bit because it's lost so much energy now we're just gonna stretch it one way it's gonna hit the floor we'll keyframe that on the next frame we'll just squash and stretch it the other way it's going to rise into the air let's paste back the original size and then i think we're done maybe on this bounce we'll have a final tiny bit of squash and stretch by just like that okay let's take a look that looks okay let's see what that looks like in context by going tab back to our main and taking a look perfecto okay one thing i did like however about this is that um you could see through it in the original and to do that i literally just went to two the layer went to the layer mode and just change it to multiply and that allows you to see through and when we add this motion block in the next episode it's going to look even better because it kind of cuts the o in half if i just hide these originals here and you can see what i mean when i talk about that i kind of half cut in um color look there so let's take a look at what we've done so far looks pretty good okay last step then is to go back inside this two layer and to just hide the original t like that and there you have it really great shape manipulation with basic uh scale rotation position keyframes really core fundamental um theory by emotion graphics there is this this theory of animation and weight and feeling emotion and you get that by just taking your time doing it one step at a time do the position keyframes come back and do the scale for keyframes come back and do the rotation keyframes etc have a go see if you can't replicate this and i look forward to the next episode where we can do some really fun stuff with masks and a little little little bit of expressions as well so hope you enjoyed this tutorial and i'll see you next time for another episode of tiptoe and intro to motion graphics colossal thank yous to my level 2 and above members wn 62 motion explainer maybe sharma ian costello deschamps syndrome 16 starry teachy katmar rob v jason carl roddy mpd missouri followers melon hoover relic m tim fitzgerald two steps to chill josh cole on ursula for manskr the x andrew hammond jenna kerry jk digital creations jobs animations paul draman and sergio degalado thank you so much you guys you're all beautiful people promise it's not a cult but if you do click that join button below you get access to all sorts remember to subscribe for more tips tricks and tutorials thanks for watching

Channel: TipTut

Views: 9,898

Keywords: tiptut, tutorials, lessons, helpful, basic, easy, simple, beginners, designer, graphical, digital, create, theory, after effects tutorial, motion graphics tutorial, tutorial, how to use after effects, motion graphics, motion design, intro to motion graphics, into to motion graphics, adobe after effects for beginners, get started with motion graphics, get started with after effects, beginner motion graphics, beginner after effects, beginer, after effects, easy motion graphics

Id: J_M0L-rkH2w

Length: 34min 19sec (2059 seconds)

Published: Mon Feb 22 2021