Is he a nutcase? No, he's a rock biter! A rock biter. A rock biter! - Howdy, Joey here at School of Motion. That
was great. And welcome to day 17 of 30 Days of After Affects. This lesson is part two
of a three part series on making a kinetic type video. If you haven't watched part one,
definitely go watch that first. This time we're gonna pick up where we left off in the
last lesson. We're gonna start to get into camera animation, check out some more animation
techniques, and learn more tricks for working with a big piece like this. Don't forget to
sign up for a free student account so you can grab the project files from this lesson,
as well as assets from any other lesson on the site. Let's hop into After Effects and
get started. Here is where we left off with the last video. We animated the footsteps.
We did our first couple of moves with the camera. We set up an environment and we've
marked out all of the places where our animation needs to go based on the audio. We're just
gonna keep moving forward here. If we look at the final render that we're recreating,
the next piece of animation is the panting. Little dude's runnin' through the forest and
he's out of breath and then he's gonna say his first line. What I did for these, I'll
show you how I animated them, but when I listen to the audio for anything I'm animating, I
try to pick out little details that I think might be fun to animate. You don't have to
animate to every single little noise you hear, that might actually be too much, but anything
that's gonna give the animation some character and maybe give it just a little bit of a visual
break can help. I knew that I've got this really fast thing happening here. The panting
kind of acts as a beat in between that and then the first line of dialogue. It's just
a nice little buffer, kind of. Let me show you how I made that. Let's go back into our
AudioSetup comp and let's actually rename that to MAIN_COMP. What I'm gonna do is make
a precomp that has that panting animation in it and I wanna maintain these nice audio
markers that I've already made. The problem is if I just make a new comp, right, Command
+ N, make a new comp, those markers are not in the new comp. Here's a cool trick. What
you can do is hit Command + Y, make a new solid layer. It doesn't even matter what you
name it. Then pre-compose that layer. So Shift + Command + C. Make sure that you're moving
all the attributes into a new composition and we can call this Panting_Animation. Now
if we go into that, all of those markers get copied over. Now even inside this precomp,
I have the timing all kind of marked out. Then, of course, I wanna copy the audio clip.
So let me copy that, paste it in here. I don't want to hear this audio clip play inside of
this comp so I'm gonna Control Click it and make it into a Guide Layer. I'm gonna do this
step a bunch during this tutorial because this is super useful. So there we go. Now
I've got my audio, I've got my markers, so I know that this, let's see here, this is
where the panting is, in here. I can mark it out, but there's only three little pants
in there so I'm gonna say pants way more than I intended to during this video. I'm just
gonna kind of figure it out as we go. The animation for the word, first let's go to
our illustrator file here and let's see. I didn't actually create that artwork. When
I was animating it, that was just sort of another idea that I came up with inside of
After Effects, which is fine. I am going to just create that artwork inside of After Effects.
I'll grab a type layer. I'm gonna type in pant in parentheses like that. It's kinda
like sigh or something like that. You put it in parentheses and it becomes almost like
an aside from the character. What I'm doing here is I'm kerning the type. This is something
I didn't even intend to show you guys in this tutorial, but hey, look at this, a neat little
trick. If you guys don't know what kerning is let me do it with a font that's really
gonna show what's going on here. If I use a font like Gotham, right, Gotham's a great
example, and I do something like this, right? Or, actually, it works even better if we type
out a longer word. Why don't we type out my last name, which is kind of long and hard
to spell. There we go. When I look at this. It's not awful, but looking at it, my eye
kind of picks out these visual breaks that shouldn't be there. Like k o looks like it's
together, but then that looks like it's separate from the r e n m. And then the a kinda looks
like it's separate from that. What's happening is when you type something in, and this is
the same in Photoshop, Illustrator, After Effects, any program, the program will do
its best to put the letters where they're supposed to go, but it doesn't always do a
great job. Sometimes you gotta fix it. What you can do is use your arrow keys to navigate
between the letters. Like the o and the r are too far apart. What I wanna do is hold
Option on a Mac, and on a PC, I apologize, I don't know which button is Option on a PC.
But it's gonna be Control or Alt and then you hit the left arrow. You just tap it. You
just nudge it a little closer together. This is one of those things that you just kind
of do a whole bunch of times and then you get better at it. That's before. And then
this will be after. I just sort of let my eyes go out of focus and see where, you gotta
kinda let your brain just break the thing into different pieces. If it's able to, it's
wrong. So, before. So, before and after. Generally, to be honest, you should do this on every
single piece of type that you set. So there you go. That was a little random bit of information.
Alright, so now let's actually do what I set out to do which was to make a panting animation.
This font, by the way, is called Duality. I believe it's one of those free DaFont fonts,
or I forget where I got it. I will link to it in this tutorial. Here's my panting layer
and I just do a quick little kerning job on it, make it a little bit easier to read. Don't
worry about the colors yet. The first thing we need to do is just get the animation down.
This comp is 1920 by 1080. We're not gonna ever be too too close to these, so that's
fine. We're just gonna leave it at the normal size. What I want is basically for this thing
to just fade on and kinda rotate and scale up and maybe have one pant go this way and
then another pant go clockwise. I'm gonna move the anchor point of pant down below the
layer so that way I can rotate it like this and I can scale it like this. Let's just go
to the first frame of the comp. We'll animate this from there, and then we'll move it into
position. Let's figure out where this thing needs to end. Let's set the end position first.
That's a good end position. Let's go forward maybe 10 frames. Shift + Page Down jumps forward
10 frames. That's a quick little shortcut. We'll set a rotation keyframe. We'll set the
scale keyframe. Most of the time I set keyframes just holding Option and hitting S for scale,
R for rotation. And then go back to the beginning and we'll set the initial values. It's gonna
start rotated over this way, and scaled way down. It doesn't have to be scaled all the
way to zero. Don't be afraid to just have things appear on a frame, especially if they're
moving on the frame they appear. That's totally fine and it's not gonna look weird. It's gonna
let you get away with animation that would be harder to do if you tried to always have
the thing be totally disappeared. I'm gonna easy ease all these keyframes. I'm gonna try
and easy ease, there we go. Then go to the animation curves. I want it to kind of start
by being really quick as it's beginning its animation and then sort of ease at the end.
Hopefully if you watch enough of my tutorials, these curves should start to look familiar
to you and you may not even need me to tell you what it's doing. Let's take a look at
that. That's pretty good. There's one pant. Then what we need it to do is right about
here we need to start fading out. I'm gonna put a transparency keyframe. Option + T makes
opacity keyframe. Then go to the end and fade it to zero. Now I'm gonna hit Option and the
right bracket. It's just to trim my layer. So there's a pant right there. I'm gonna have
it start to fade out a couple frames later. Maybe just one frame. Just so you get enough
time to read it. There's gonna be three of 'em, so I'm not too worried about it. I can
also delete this solid layer that I made that was just the placeholder so we could carry
over our markers. That's one kind of pant animation. Another thing that I did was I
had kind of the brackets be a different color. Why don't I pick whip the yellow color using
the trick I showed you guys in the last video. You can use this little eye dropper over here
and then come back to the panting animation. Oh, yes, I need to... See, so here's the problem.
I wanna make the brackets yellow. I'm not gonna be able to do that. As soon as I select
this type, this color's gonna change. I actually need to transfer this color to something else
first. I'm just gonna make a new solid a new solid layer. It's very earlyso if I stumble,
that's why. I made a new solid layer where I transferred that color to it so now I can
come in here and pick whip to that color. This is kind of a little cheap trick in After
Effects to copy and paste colors around really easily if you don't wanna go to the trouble
of actually setting up a color preset or creating a color document that you can sort of use
between artists. There you go. There's one animation. I'm gonna precomp this. I'm gonna
make sure I move all the attributes into the new composition. We'll call this Pant_CCW
and this pant is going counter-clockwise. Let me move that into the precomps folder
there. Then I'm gonna duplicate that. I'm gonna rename the duplicate to clockwise. I
can just come in here and all I need to do to make this a clockwise animation is adjust
the rotation. If we look at the animation curve for rotation, it's starting at 28 and
it's ending up at negative 17. If we just reverse those values, then it will actually
be going clockwise. If we draw a box and select these keyframes, what ya can do is actually
scale this. What I wanna do is kinda look at where this keyframe is here. It's in between
25 and 30. I'm gonna hold Command and I'm gonna grab this top box and I'm just gonna
go like this. I just inverted the curve. The benefit of doing it this way is that that
nice shape of that curve gets maintained. You've just sort of flipped it. It's pretty
handy. Cool. So now we have a clockwise pant. If we go to the panting animation now, and
let's zoom out a little bit and let's figure out where that panting needs to happen. I'm
holding Command so I can scrub through. Let me actually select the audio clip and hit
L twice like I showed you guys. Let's see if we can see the pants. I don't think you
can. Yeah, you can't really see the panting on the waveform very well. It's in here somewhere,
but it's kinda tough to see. I think it's gonna be easier to just kind of hold Command
and figure out where the first one starts. Right there. Then I'm gonna select that first
panting layer and I'm going to hit the left bracket key, which is gonna knock it, it's
gonna move it immediately to the time of my playhead. Then I'm gonna duplicate the layer
and I'm gonna replace this layer with the clockwise animation. If you don't know, the
easy way to replace layers, you select the layer you wanna replace in the timeline, you
come up to your project window here, you hold Option and you click and drag like that. Now,
I can move this one to where the next pant is happening. Let's scrub through. Right there
maybe. There is the last one. The last pant is gonna be another counterclockwise, move
it up here, nudge it, there you go. Let's RAM preview that. Alright, so I think the
first pant actually starts a little earlier and then this would be the second one, and
this would be the third one. There we go. Okay. Now they're overlapping, so what I'm
gonna do is I'm just gonna cheat. I'm gonna take this bottom pant and I'm gonna nudge
it up like this. I'm gonna keep nudging it up so that it doesn't really overlap very
much. Now it's going to the top of the screen, so I'm gonna actually have to move some of
these other ones down. I'm just kinda going frame by frame through it and adjusting, there
we go. There we go. Cool, so there's our panting animation done. We made it almost the size
of the comp, so the good thing is we can use it at a really large size if we ever needed
to. Now if we go back into our main comp, here's the panting animation. It should already
be timed out. You can see the layer starts at the beginning of the comp, but there's
nothing in that until the panting. I'm gonna trim this layer. I'm gonna select it, hold
Option, hit the left bracket to trim it. It depends how you like to organize your After
Effects projects. I like to try and color code things when I can, just so this won't
look as crazy in the end. The footsteps and the panting and the line that's about to follow,
those all come from the same character. I'm gonna start color coding them all the same
color. Why don't we make them purple since that's kind of the color of his footprints.
Anything that happens with this character we'll make purple. It'll be easier to see
in the timeline. I need to make this now a 3D layer so the camera can actually see it.
Here's an interesting thing, so because we have this camera in here and we're animating
the camera as we go, when I make something a 3D layer for the first time, it puts it
back at the origin of our scene. If I zoom way out, you can see where it is here. That's
not a big deal. A lot of times you can just zoom out and then scoot this over where you
can see it, and now you can adjust it's rotation and position and all that stuff. Eventually
this is gonna start to get hard to do if the camera moves really far and we'll have to
zoom way out here and try and find the layer. One thing that I found helps is if you, normally
you're looking through the active camera in your scene, but you can change this and you
could set a custom view. The custom view basically gives you control over a totally separate
camera. You can zoom out and move around. What I'm doing is I'm hitting the C key, which
brings up your camera tool. When you first hit C it brings up an icon that looks like
a movie camera. This is cool if you have a three button mouse. You can just click to
rotate. You can, I believe, middle click to zoom in and out. Then you can Right Click
to move around. I use a Wacom tablet and it's a lot tricker to do that with the buttons
on the pen. Normally I just hit C again and that brings up those individual things. In
this view it's easy for me to see other cameras here. I can move this over. You might even
be able to, let me try this, instead of custom view, let's go to top view. Or not top view,
sorry, front view. Then in your front view you can still zoom out and move your sort
of virtual camera around and I can see this is where the camera actually sits. If I just
grab this layer and move it here. Then I can go back to my active camera and it should
be out, now I can see it. Now that I've set up that top camera, if I hit Escape, I can
just toggle back and forth between those two cameras. That's pretty cool because now whenever
I make a new 3D layer, I can just hop into my top view, or, sorry, my front view. This
seems like it should be the top view because in cinema 4D this would be a top view. But
it's actually not. It's actually the front view. Just position it so the camera can see
it. Here's the panting animation and it's not rotated the right way. It's probably too
big and I want it to be over here by the footsteps. Let's just RAM preview the end of this. There
we go. Alright, let's move these here. Cool. So the pants, they feel a little bit big.
Also, they're not moving as much as I'd like so I'm just gonna add one more sort of layer
to this. I'm gonna hop back into the panting animation and let's zoom to fit. What I wanna
do is as this, I'm gonna shrink 'em all down, first off, 'cause they don't need to be as
big as they are. So let's scale them down to 50%. I know I'm gonna have to adjust where
they are. What I wanna do is open up the position on the first one, Control Click, Separate
Dimensions. Let's put a y position keyframe at the beginning and then let's go to the
last frame. Now that's disappeared, let's put a keyframe there. What I want this to
do is I want it to actually rise as it's animating. I went back to the first keyframe and I just
knocked this layer down, so now it will actually move up a little bit. And, of course, I don't
want it to just be moving up linearly. I want it to kind of mimic that motion where it starts
out fast and it ends slowly. Cool. It makes it feel a little bit more like it's bursting
up. Then I can just copy and paste the y position to the other two, and then I can just adjust
the position like this. Now they're overlapping again. What I wanna do is take the second
layer here and select both keyframes, make sure that my playhead is on one of those keyframes,
and then if I just use my arrow keys to nudge it down, it's moving both keyframes at the
same time. Then I'll do the same thing on this one. I'm just trying to get it so they
don't overlap too much. Let's see. That's better. There's still overlapping more than
I want, so I'm gonna nudge the first layer up. There we go. Then I'm gonna nudge the
last layer down. and now they shouldn't overlap anymore. There we go. Cool. Alright. Let's
see what that looks like. Let me scale this up a little bit. Cool. And move this up and
there you go. Now we have our panting animation. Now we are ready for the first line of dialogue,
that little crazy flash of stuff I just did. It's funny. When you get the hotkeys kind
of embedded in your brain in After Effects, you sometimes just do them without even thinking.
What I was doing was sometimes you have a bunch of layers open like this. And I wanna
sort of look at my timeline as a whole and not see all this stuff anymore. What you can
do is you can hit Command + A, Select All, and then you can hit Shift + Tilde and it
will close everything up for you. That's what I just did. The next line is is he a nutcase.
We can build all of that as one precomp. The reason that that's smart to do is because
we're gonna wanna lay out our type, right? And not have to lay this type out, and then
lay this type out separately, and then hope they work together. It's good to lay it out
in one comp. I also knew that we were gonna zoom in to this. And we were gonna be very
close to it, but then zoom out to see all of this. If I made this comp, this is he a
nutcase precomp, if I made it 1920 by 1080 and then we zoomed in this close, it would
get really, really pixelated. I knew I needed to make it bigger than that. What we need
to do is let's do the same trick here where we go to the main comp and make a new layer
and we pre-compose it and we can call this IsHeANutcase? Then we'll go in there and we'll
see that we have our markers that transferred over. Let's also copy over the audio. And
Control Click it or Right Click it, make it a guide layer. Then we'll go up to our illustrator
file and let's grab this layer, this layer, this layer. Is he a nutcase? Copy 'em. Paste
'em. I'm gonna change the background of this precomp, Command + K. Just make it lighter
so I can see. There we go. Now we can lay the type out. First thing I wanna do is actually
make this comp bigger. I'm just gonna do that quick little trick I showed you guys last
video. You go to the Scripts menu and you do Scale Composition and you say scale factor
two. Now if I go back here it has doubled the size of my comp really quickly and it's
also maintained the relationship between all the layers, and they're visually in the same
place. Let's turn off the nutcase layer for a second. Let's talk about how we wanna animate
this. Actually, first thing I wanna do is scale everything up so that it's really big
and so we have a lot of resolution to work with. I'm gonna just temporarily parent these
two layers to this one, just so I can scale it up really big. I'm not gonna mess with
rotation and all that stuff just yet, but we will in a little bit. The first part of
this is is he and then there's this little noise he makes like like he thinks he's being
funny. Let's talk about the first part. He just ran from screen right, or screen left
to screen right and he kinda stops short and he says, he kind of spits these words out,
"Is he?" So I wanted the motion of those words to kind of reinforce that. I figured it'd
be cool if they animated on left to right. I also thought it might be interesting to
have those three, the ellipses, to sort of animate on to really animate that little pause
before he finishes his sentence. These are all little details I'm sure when you watch
this you don't even notice when it's playing. But if you watch, you see that they animate
on left to right. There's the ellipses, and then the little that just pops on. I'm always
trying to animate the words in kind of the character of what it is they're saying and
what the character's doing. What I need to do is I need to separate is he and the dots
into separate layers. Let's do that real quick. What I'm gonna do is I'm gonna rename this
layer Is and I'm gonna duplicate it. I'm gonna rename it He. I'm gonna duplicate it and say
Dot01, Dot02, and Dot03. I first make the number of layers I need, which is one, two,
three, four, five. Then I'll go back through and I'll mask them. So I'm gonna hit Q, Q
brings up your Mask Tool, and I wanna make sure it's on the Rectangle Tool. I'm gonna
mask out Is. Then I'm gonna hit Command and the up arrow and Command up and down. It moves
between layers in your timeline. So I can then just quickly Command + Up, go to He,
draw a mask, and you see this mask is actually hitting one of these ellipses. I don't want
that. So I'm gonna hit G really quickly, add a point, hold Command so now I can select
a point and then move that. Hopefully you guys can see that green mask on the screen
capture. I'll hit Q, Command + Up goes to the next layer. So now I can draw a mask around
this dot. Command + Up, do the next one. If you're sloppy, make sure you clean that up
and then Command + Up and do the next one. For some reason, I think it's I hit Q too
many times, it changed it to a rounded rectangle, which is not what I want, so we'll go like
that. There we go. Okay. Now, we have very quickly broken that word, or, sorry, that
whole phrase up into different layers. I want them to just sort of slide in very quickly
and sort of reveal from left to right. First, I need to set up some masks or a matte layer
for each one of these. This is an easy trick. I do this constantly. This is one of my go-to
moves. If you guys remember back from a few tutorials ago, this is kind of a go-to move
and it's really simple. Hopefully this is something you guys can use, too. I'm gonna
make a new layer. It's a good idea just to make it a totally different color than something
else in your comp so it's easier to see. I'm gonna put it underneath all my layers. I'm
just gonna move it like this. You can do it two ways. You can move the layer to the very
edge of your layer like this, or you can do the reverse and put it on this side. I think
that's what I'm gonna do. This layer is going to be the matte for Is. Then what I can do
is I can have is start over here where the layer doesn't exist and slide into the layer
and it will reveal. And it'll be beautiful. It'll be gorgeous. To make this easy, I could
even, let me do this a better way. This will save time. Let me put this back where it came
from. Instead of doing that, I'm just gonna grab my Mask Tool and just drag a mask around
it like this. I'm gonna bring this up above Is and I'm gonna set Is, I'm gonna hit F4
so I can swap out this column here so I can see the track mattes, and turn on the Alpha
Matte option for Is. So now it's using that layer as the matte and what that means is
I can just slide it in like that. I need to set that up for all the other layers. What
I can do is just duplicate the matte, bring it above the next layer, and then move this
mask over just like this. And then adjust the shape of it. Then duplicate it and do
the same thing for the dot. If you double click a mask, it let's you transform the whole
mask at the same time. Then I can duplicate it again, move the mask over here, duplicate
it, and there we go. Now it's all set up. Then we just need to tell all of these other
layers to use whatever layer's above them as an alpha matte. Fantastic. Then we need
to have each layer slide from left to right. Now what we can do is open up the position
property for each of these layers, select all position properties, Control Click Separate
Dimensions, and all we wanna animate is x position. I just turned on a stopwatch for
those, hit U. I accidentally turned on y for this, which I don't want. Then this is gonna
happen very, very quickly so let's go forward four frames, maybe five, and add a keyframe
here. Then we'll go back to the first keyframe and set the initial position. Is, if I move
it to the left, I just need to move it until I can't see it anymore. And then the same
thing with He, and then the first dot, second dot, and the third dot. There we go. Then
I'm gonna easy ease all of these, go into the animation curves, this little button down
here, it looks like two squiggles, that fits all of your graphs to the view. It actually
does a pretty terrible job of doing it, too. The graph editor in After Effects, it could
be better. Let me just leave it at that. What I want, I kinda want that same animation style
that I've been doing where things sort of shoot out and then ease at the end. The problem
is if I grab all these like this and I try to point them up, I'm gonna run into a problem
which is these layers that have more change in their value are not gonna be adjusted the
same as these layers that don't have as much change. Unfortunately in this case, I'm gonna
have to just do it manually. Or, what might save me some time is go like this, pull these
up, grab all these, pull these out, but then quickly go through each one and just take
a look. Like this one looks like it's bent a little too much. Just quickly go through
and adjust these curves. Like this one isn't bent enough, right? It's always a good idea
to just double check, make sure everything's workin'. Let's take a look at the speed of
these. Nice, they slide in nicely. And then next thing we gotta do is just stagger them.
Is comes out first and then He and then the Dots and I want them to happen in time. So
I actually have markers here that tell me when those words happen. If I take the Is
layers and move them there. I probably want Is to land on that marker. I'm gonna nudge.
I wanna just scoot this back a little bit like this. An easy way to do it is hold Option
and hit Page Up and it will nudge layers backwards and forwards in time for you. Then He I'm
gonna want to land right here like that. Then the first Dot, the dots, you know, obviously
you can't hear the dots in the audio. I'm just gonna kind of wing those and hope that
I like where they end up and then adjust them when I don't. Is he dot dot dot and then thatwill
happen. Let's listen to this. - [Boy] Is he - [Joey] Okay, I like the is he, but the dots,
they need to happen faster. So I'm just gonna make sure there's only one frame in between
them and I'm gonna have them start a little sooner. Okay? - [Boy] Is he? - [Joey] Cool, cool. I'm thrilled with this.
All I need to do is precomp this now and then we can start on the next piece. One thing
I wanna make sure is that this type is big enough so that when I get very close to it,
I'm gonna be happy. You can see I'm zoomed in. Since this comp is basically twice the
size of a normal HD comp, if I'm zoomed in at 50%, I mean, this is actually 100% here.
This is how big it's gonna be able to be without pixelating. The reason it's pixelated now
is 'cause I'm in half res. But if I'm in full res, it'll look nice and crisp. I think this
should be big enough. So we don't need to do anything else to that. Then the next piece
of the animation is the Let me move this up. Cool. I was thinking about what I wanted this
to be like and it's such a sharp, fast sound that I thought it'd be cool if it just appeared.
Sometimes just cutting something into existence looks cool, but I wanted a little something
extra. I thought he's making this noise and I kind of pictured him spitting, like little
bits of spit coming out of his mouth when he said it. I decided to animate some of those
and I did it as quickly as I possibly could and this is how I did that. First let me move
thelayer to the right spot. Let's do a quick RAM preview, make sure we like where it is.
Yup. There we go. Then I'm gonna make a new precomp real quick. Just to save time, so
I don't have to then find the precomp and bring it in, I'm gonna make a new solid, I'm
gonna pre-compose it. We're gonna call this Spit. We go in here, we can delete that solid.
All we need to do, I can also make this comp much smaller. This doesn't need to be a double
HD comp. I'm just gonna make a line, I'm gonna put a point here, hold Shift, put a point
here. That's it. And then just make sure there's a stroke on it. The stroke by default, let's
see, that's 25. What I'm gonna do is I'm gonna make a line, I'm gonna animate it on and off,
and then I'm gonna just bring it into here and scale it down. Let me just kind of test
fit this and see. I'm gonna move the anchor point to one end of the line and it should
probably be the beginning of the line. Let's do it like that. I'm gonna scale it down and
I'm just gonna sort of place it like this. The thickness of that stroke looks pretty
good to me. What I wanted to check was in this comp it looks super thick. But I knew
I was gonna scale it down in this comp, so it looks okay here. I'm glad I checked that.
All I need to do is animate that line on and off. You see how it has these hard edges?
I don't want it to have the hard edge, I want it to be rounded. If I go into the contents
of the shape, look at the stroke options, there is a line cap and you can change it
to a Round Cap instead of a Butt Cap. It's 6:30 in the morning. That made me laugh. There's
your Round Cap. Then, if you wanna animate the line on and off, the easiest way is to
add to your shape layer, add the Trim Paths modifier. Then I can just animate the end
and I can animate the start. What I'll do is I'll start at zero zero, and let me go
to the beginning of this layer here, and I'm gonna animate first the end. Maybe five frames.
Goes all the way to the end. And then I'll animate the start. Goes all the way like that.
Then I'll just overlap them a little bit. I'm gonna easy ease both of them. Let's go
to the end first. The end, this is what's bringing that line on. What I want it to do
is you probably could have guessed, I want it to start fast and then really ease into
its last keyframe. Then with start, I want it to do the opposite. I want it to ease out,
but then get faster. The combination of doing that is gonna look like this. It's kinda poppin'
out a little too fast. I'm gonna adjust that keyframe a little bit. There we go. Cool,
wonderful. Then I can overlap them more or less. Basically the more overlap they have,
the shorter that line is gonna look. The more overlap, the longer it'll look. Somewhere
in the middle is probably good and then we'll come back to this comp and we'll go here.
Let me move this spit layer. I just used the left bracket hotkey again to move the end
point of the layer here. I have it, actually, backwards. Let me adjust the anchor point.
Let me zoom in here. I'm gonna adjust the anchor point so it's on the end of that line,
and that way I can easily rotate the line to point where I want and I can position this
wherever I want. Let's say I want one line there. Now I can start selecting font colors
now if I wanted to. I can use a generate fill effect. So why don't we do that. We'll use
Effect, Generate, Fill, and use that yellow color. I'll just copy that effect onto each
of my type layers. And that's it. Then I'll copy that same effect onto the spit so it
matches with this type. Alright, so that's what it's gonna do. And then what I wanna
do, and maybe it's too long so I'm gonna scale this layer just on x a little bit so I can
control how long it is. There we go. Cool. Then I can just duplicate it, rotate it, and
move it. So I can have another one come out of here, kind of along the angle of this k.
I can duplicate it again and bring it over here, and they can be going straight up with
the t, but then maybe have another one that's a little bit shorter maybe down here, somewhere
like that. I'm just sort of trying to randomly place these, but in general have them move
outwards, like it's a burst. Cool. Now if we RAM preview this. I kinda like what they're
doing, but it just feels like the lines get too long. There's not enough variation and
then they're too slow. Let's just quickly fix that. I can grab these last two keyframes
and move 'em a frame closer and overlap these quite a bit more so we get something that's
more like that. Okay. Let's double check our animation curves here. I think it might actually
work better with my start animation maybe if I tried it like this, tried actually easing
on both sides. It's gonna let us see a little bit more of the end there. That's much, much
better. - [Boy] Is he Is he - [Joey] Cool. If I wanted to, just to add
a little variation, maybe I could take a couple of these and nudge them forward one frame.
There's an expression that a good friend of mine says that it's a sound only a dog can
hear. But just that little bit of variation in timing, I like it. I notice it and I know
it's there, so that's what we're doin'. Cool. So now we've got that. Then the next part
is is hea nutcase. Let's turn on a nutcase. For this, I sort of had planned this out in
my head ahead of time. I knew is he was gonna happen very close to camera, and then a nutcase
we're gonna zoom back and sort of reveal. I wanted a nutcase to have a lot of movement
to it. Here, first thing I'm gonna do is I'm gonna precomp this whole bit up here. This
is is he And there's that. Then that layer doesn't start until here. So Option + Left
Bracket, there we go. Now I'm gonna make a null and I'm gonna call this TypeNull and
I'm gonna parent both of these layers to the null, and that way I can just adjust the overall
scale and rotation and things like that. Because, if you look at the actual composition that
this ends up with, again, the character, if you guys have seen the movie, the person saying
this looks like he's completely insane. And so I wanted it to look a little off and I
wanted it kind of pointing left to right with things getting bigger, or smaller to bigger.
Almost like he's getting louder and louder with each word he's saying like he's losing
his mind. This is just a little insight into sort of how you can think about these things.
I knew it was gonna be rotated and I kinda wanted to visualize that. Lookin' at this,
I know I need to first break up this layer into three layers. Instead of a nutcase, it
should be A Nut Case. Then I can do that same trick. Q, grab my Mask Tool and just mask
out each piece of that one piece at a time, and move the mask points so that we don't
get any overlap. There we go. And then do the same thing here. There we go. We've got
those. What I sort of did was I just sort of did a little pred key move, a predkey type
move on here and just had them sort of rotate and scale up and land. It worked great because
it kind of makes it feel like he's shouting these words. Let's start with a and I'm gonna
hit Y and move the anchor point. Maybe we'll try just doing it on the corner of the a.
I'll have the a sort of swing up and swing into position. It's gonna start, and I actually
have my markers up here so I can see a nutcase. So a is gonna start there. I know I'm gonna
animate rotation and scale, so why don't we move forward, let's say, six frames. And I'm
just guessing. We'll put keyframes there. When it swings, it's gonna be swinging pretty
fast. These are big letters, so I want it to overshoot a little bit. I know it's gonna
have to spend a few frames coming back and settling. If this is six frames, why don't
we go forward two frames. Alright, and put two more keyframes there. This keyframe, this
is actually where it lands. On this keyframe, this is where it starts and I want it to start
way down here and smaller. It doesn't have to be all the way shrunk down, remember. It
can pop on and it'll look fine. Then when it comes here, I want it to overshoot. So
it's gonna rotate a little too far. It's gonna grow a little too big. Then I'll easy ease
those. Go into my animation curve, and really yank out these ending keyframes so that it
feels like a big kind of bouncy, sticky move. There we go. Alright. And it's not big enough.
It's not big enough. I really want it overshoot, so it needs to over shoot way more. And maybe
it even needs to start smaller so there's more acceleration. I'm just gonna sort of
gently, with a soft touch, I'm gonna just sort of get these curves where they need to
be. What I'm looking for is I'm lookin' for the animation to feel natural. Right now,
it feels like when it comes back, it's happening so fast. It kind of loses the illusion of
weight. What that means is that I even could adjust this keyframe, but I actually like
this. Or I need to add some overshoot in the opposite direction, so I think that's what
I'll do. So just go forward a couple of frames, add another keyframe, and then step back one
set of keyframes and just add a little bit of overshoot back the other way, like an overcorrection.
That's better. Let me turn the audio off for a minute just so you guys can see that little
bit of overshoot coming back down, it sold the whole thing. It was not good before that.
Now that feels better to me. And maybe you guys still think it sucks. This actually,
looking at it, feels like a good animation. If you're stuck and you're looking at your
thing and it doesn't look right, always go back to those animation principles. They make
it a lot easier once you start working within a framework like that. There's a nutcase.
Now, because I've got that set up, I can just kind of apply that to each layer. A nutcase,
or sorry, nut, I'm gonna have it rotate the opposite way. But I've already shown you guys
the trick how to do that so that's gonna be easy. We'll copy that. Then nut obviously
starts where the nutcase marker is. I'll paste that. Then I'm gonna hit rotation, go to the
animation curves, and I need to flip flop this rotation curve. It starts up here in
between 40 and 50 and it ends at zero. I still want it to end at zero, so what I'm gonna
do is select all these keyframes, and I'm gonna move the anchor point of this transform
box to this keyframe here. I don't want that keyframe to move. I want everything else to
move but I want that ending to stay where it is. Hold Command and then drag this thing
down so now when you just go down here so that it begins in between 40 and 50 just like
it started. Cool. There you go. Then I can just copy the original animation to the case
layer. Let's figure out where that needs to go. Let me turn the audio on. I'm gonna hold
Command and scrub through. Case, right there. Then I'll just paste those keyframes. Now
we've got the whole line. The animation of a nutcase, it looks great and the one little
problem, which is easy to fix, is that the animation takes time. So you're hearing the
word, but you're not actually seeing it until a few frames later. I'm just gonna nudge these
back. Let's try five frames. So Option, page up five times. Just like that. It's better.
Cool. Now, if you look at the main comp, sorry, not the main comp. If you look at the preview
render, you can see that the words a nutcase are all kind of messed up and a little off.
To do that, I could just precomp all of these layers and then adjust the precomps. An easy
thing I can do is just grab a transform effect. So Distort, Transform. Transform is just gonna
let me kind of manipulate these layers and scale 'em and move 'em, but it's not gonna
mess up the animation I already have on there. That's kind of a cool trick so I'm just gonna
do that. That's kind of like a quick and easy way to do it. You could also give each of
these pieces their own null and parent them to that null and then you can use the null
to adjust 'em. Actually, as soon as I said that I realized that that's a better option,
'cause one of the problems with the transform effect is the anchor point is not in the right
spot to make this easy. If you move the anchor point, it moves the letter. You can fix that,
but it's kind of a pain so actually I think the null is gonna be the way to go. Let me
make a new null real quick and I'll just put one null. Come on, null. Put one by the a.
I'll put it above the a. I'm just gonna say ANull, duplicate it. This is gonna be the
nut null. This tutorial is just full of funny named layers. I'm having trouble removing
it, there you go. A nut null and then a case null. Now I'll just parent a to a null and
then nut to nut null and case to case null. I'll parent those nulls to the type null.
Now I can grab my a null. Geez, oh my god. I'm so sorry! My a null. Then I'm gonna scale
the a down and then I'm gonna grab the nut null, scale that down, and kind of rotate
it the opposite way, just to kind of give it this weird little cant. Something maybe
like this. This is one of those things that you just play with for a long time. Then the
case null may be rotated a little bit back this way and scale it up a little bit. And
then scoot it over. Is he a nutcase? Cool. Just to see what it looks like, I wanna see
what happens if I take the anchor point of some of these layers that we've already animated
and just scoot 'em over so the animation isn't happening so far over on the layer. It lets
them overlap a little more as they animate on, which is kinda cool. Now I can set the
color for a nutcase. This is something I did, actually, much later in the process but I
can do it now just to show you guys how. You see how there's kind of like a little yellow
highlight on the edge here. All that is is just I duplicated the a nutcase layer and
I offset a copy and made the copy a different color. I did that because I wanted a little
but more contrast and a more visual interest to the scene. I'm gonna do that right now.
The first copy of a nutcase is that yellow color that we already have. I can grab my
Generate, Fill effect. Make yellow. And just copy, paste that. Then literally all I did
was I duplicated these layers and the copy I made this blue color. Let me pick whip that
blue color. Let's come over here. These top copies are gonna have a blue fill color to
them. Let me copy that, paste it to these top copies. Then just take these top copies
and just knock them over to the right with your arrows a little bit. You can nudge 'em
up and down if you want to. Then I just offset them by a frame. Now you get a little something
like this. Cool. If we now go to our main comp and we scrub through, you can see that
these are already timed out perfectly, the words are. Let me trim this layer, make it
our nice purple color. Then we need to place this in 3D space. Let's make it a 3D layer,
and you can see that now it moved into some weird spot, but I can actually see it so I'm
just gonna drag it here and rotate it. Is he a nutcase. What I figured I wanted to do
was sort of right here when he says, "Is he," I wanted is he to be much smaller. Let me
move the anchor point here. I wanted is he to be small like this, but then have the camera
zoom in. Sort of like 'cause he's whispering and it's almost like he thinks he's telling
us a secret so I wanted the viewer to lean in to kind of hear this. It's gonna happen
like this. Is he We zoom into that. Then when a nutcase happens, we're gonna pop way out.
One thing I can see happening here is the case is actually animated in such a way that
it's hitting the top of the frame. That should, in theory, be an easy solution. All I need
to do is because I have a type null that everything's parented to, just move that type null down
like this so now nothing is hitting the edge of the frame. Now I'm obviously gonna have
to adjust the position of this again, but that's okay. So, is he. Here's the footsteps.
The panting ends, and then we see is hea nutcase. Cool. Now we just need to add that camera
move. Let's fit the comp to the window. Right here I want the camera to start zooming in
really close to the type. If you guys remember from the last tutorial, you duplicate one
of these move nulls and you hit the left bracket key and move it to now where you want the
move to start. Then delete any keyframes that are on it. Then you can grab that null and
put it somewhere in your scene that makes sense. I know I'm gonna kinda zoom in about
here, so I'm gonna put the null there. Then I'm gonna parent, move two to move three.
Now I can put keyframes on all of the positions. I'll put it on rotation to z rotation. This
is gonna be a very fast move. I want it to feel like a snap zoom. Let's try six frames.
Then we'll rotate a little bit, 'cause I want it to now be sort of aligned to the type.
We'll zoom in like that and we'll scoot over. You can see now, because I've rotated the
comp, it gets a little weird when I move on x. We're kind of moving at an angle. That's
why it's handy. I can just grab this null and move it visually like this. Just kinda
need is he. We zoom in so fast, this isn't something I did in the little demo scene that
I rendered out, but let's try it here. Let's zoom in, hang for two frames, and then zoom
out. Like a little correction. I just want it, there we go, just zoom out a little bit.
That might be cool. Now I'm gonna easy ease all of these. Let's just preview it. - [Boy] Is he? - [Joey] Okay, so the only thing, and this
gets into the philosophy of camera moves, but if the camera starts moving before he
talks, it's as if we already knew what he was gonna say. I want it to feel a little
bit more like a surprise. I want this move to just happen a little bit later. That's
gonna be really easy. All I have to do is move the null a little bit later. Now you
start to see the type and then we zoom in. It just makes it feel a little bit more natural,
like we were surprised. That first part of the camera move can happen quicker. The little
zoom out is okay, but I think that could be quicker, too. Let's play that. - [Boy] Is he? - [Joey] Okay. Then, as soon as we see the
a start to pop up, I want the camera to then zoom back and sort of take in the whole line.
I don't wanna do that with this null. I wanna make a new null. I'm gonna go to where I want
that move to start. Maybe right there. I'm gonna duplicate my null. Left bracket, delete
all the keyframes on it, and you can see that the move null is in this weird spot and it's
rotated so I'm gonna rotate it back and basically just give myself a nice control that I can
grab and move around. Parent move three to move four. And then position keyframes and
rotation keyframe, and then let's go to where the type is completely out. So now we can
zoom out. And we can really put this exactly where we want. I can click and drag the null
and then I can rotate it this. We can zoom in a little bit more. I can place that where
I want. I knew I was also gonna have this little googly eyes kind of icon just to reinforce
how nutty this equally nutty person thinks the rock biter is. So I made sure I left some
room up here for that. I obviously don't want the move to take that long. I want it to be
really quick. Maybe let's try eight frames. The camera move will actually finish before
the type does. But because we came out here to set that last keyframe, it's gonna line
up, it's gonna be exactly where we want it. Let's take a look at that. - [Boy] Is hea nutcase? - [Joey] Cool. Now looking at this and what
I'm realizing is you look at this, look how much smaller I made it here. The is he I want
that to be smaller. I'm not digging the, and the way I figured this out now is because
when we zoom out, it doesn't feel like we zoom out very much. What I wanna do is come
into this is he a nutcase animation and scale this down. Let's make it like 50%. I want
it to be maybe not that small. But I want it to be much, much smaller than it is so
there's a lot more contrast to it. Come back here. What that's gonna do, that's gonna screw
up this camera move here. It's gonna screw it up a little bit. Because now I'm gonna
need to actually be in closer than I am. Let me adjust it like this. I'm gonna zoom in
more. I'm gonna move over like this. Get that where I want it. If I move forward now, this
keyframe is messed up so let me copy and paste like this and then zooms out. Let me delete
this last keyframe actually. This was the sort of correcting back a little bit. Now
I fixed this. In this animation, I have to adjust this keyframe, but the actual kind
of overall movement of this move here is still there and it still works because it's on a
separate null. I can adjust this null, and then I just have to tweak this one. It doesn't
screw everything up completely. Which is nice. What I do need to do is go to end here where
the type is kind of in its final position and then figure out where I want it. I seem
to have lost my null here. I think what I might do I just redo this move real quick.
Let me delete all these keyframes, un-parent this temporarily, and then let's figure out
where this null is. One easy thing to do if you can't find a null, parent it to the camera
and then zero out everything, and then move it forward in z space a little bit and now
you'll see it, then un-parent it. I'll rotate it like this, here we go. Parent three to
four. We want position and z rotation. Then we'll go to the end here and we will zoom
out like this. We'll rotate like this. Then we'll move over here. Let me make sure I can
see my whole comp. I wanna zoom out even more. There we go. Now this should feel a lot better.
There we go. This should feel better. Eight frames, go like this. Move it to the playhead.
Then we'll select 'em all and we'll easy ease. There we go. - [Boy] Is hea nutcase? - [Joey] Cool, so that's what I was looking
for. I wanted a big camera move where we're leaning in close, and then zoom out. That's
kind of it. Cool. There's some little details. I want a nutcase to be over this is he line,
but right now it's underneath it. That's pretty easy. I can just pop back into the precomp
and move this layer to the bottom. That fixes that. That was easy. We can animate the googly
eyes and place them here. If you look at the example, all they're doing is the pupils are
kind of rotating a little bit. There's a little trick I did with that, which I will show you.
I'm gonna show it to you really quickly because we've already been recording for over an hour
and I have a feeling that's where we're gonna have to end. But really quickly I'll show
you the eyeballs. If we go back to our main comp, make a solid, precomp it, move all the
attributes to a new composition, jump into the composition. And, of course, I did that
so fast I didn't actually name the composition something useful. Let me name this GooglyEyes.
Then I can delete that layer. We'll hop into our illustrator file. We'll grab our eyeballs.
I also drew this little mouth form, too. I don't know, I was kind of thinking like a
Ren and Stimpy looking mouth. But I didn't end up using the mouth, 'cause it just kind
of looked really bizarre. For the eyes, all we need to do is first separate out the eyes.
Actually, what I really wanna do, if I use my brain, is I need to separate this into
four pieces. The left eye, the right eye, the left pupil, the right pupil. I've got
left eye, right eye. And then I got left pupil and right pupil. For the left eye, what I
need is I need this shape, and I need to subtract the pupil from it. So I need to add another
mask and then set that second mask to subtract. Then for the right eye, I'm gonna do the same
thing. I need this shape, and then I need to subtract this shape. Set that mask to subtract.
Then all I need to do is for the left pupil, grab that second mask and paste it, but set
this to add. For the right pupil, grab this mask and set it to add. There we go. Then
what I did was I also did this, this just reminded me, there's actually nothing, the
white part of the eye is actually transparent. And it was lookin' a little weird, so the
other thing I did was I made a white solid, put it at the bottom, and then I just really
quickly came in, turn off RotoBezier, and I just sort of made this fill layer that goes
underneath just like that, and then put it over here. In general, this is how it works.
You make your artwork in Illustrator, but you don't really now how it's gonna look when
it's all comped up. Unless you board this whole thing out ahead of time, which sometimes
you have the luxury of doing that with kinetic type things. Nowadays you probably don't.
You can always adjust in After Effects and do stuff like this. I believe I brought the
transparency down, too. We'll leave that somewhere in there. For the pupils, what I need to do
is create a null for each one. This is LPupilNull. I'm gonna put it in the eye where I want the
center of rotation to be for the pupil. Then I'm gonna do the same thing for the right
pupil. RPupilNull. I'll move this over here like that. Then I'll parent left pupil to
left pupil null, right pupil to right pupil null. Here's the little list you're going
into. When you rotate this, it's actually gonna rotate the pupil. Pupil's don't rotate
They move, they don't rotate. What I need to do is make sure the anchor point of the
pupil's in the right spot. The left pupil anchor point should be right in the middle.
The right pupil should be right in the middle of the right. Now what I can do is I can make
a very simple expression. I'm gonna open up the rotation property for left pupil, hold
Option, click stopwatch, and what I wanna do is pick whip to the left pupil null's rotation,
and then just type in times negative one. Asterisk is the multiplication symbol in an
expression, and then just negative one. What now happens is as I rotate the null, the pupil
rotates in the opposite direction so it's always gonna face the same direction. Now
I can have it spin around in the eyeball like a crazy person. Let me just nudge that null
a little bit so we don't clip. There we go. Then I'm just gonna do a quick time times
rotation expression. I'll just say time times 100, and let's see what that looks like. Let's
see how fast that moves. That's too slow. Do time times maybe 300. There we go. Then
we'll just do the same thing on the right pupil. Pick whip the null's rotation, multiply
it by negative one. Then I'll copy this rotation expression. But on the right pupil maybe what
I'll do is I'll set it to negative 300. You get these googly eyes. That's what I wanted,
and I kinda wanted just something silly and ridiculous looking. In the pupil, you can
see it's kind of crossing the boundary of the eye. What I can do is just adjust the
position of the pupil, there we go. Beautiful. Now we've got googly eyes. I actually hand
placed the googly eyes separately from the is he a nutcase type. So let's make that a
3D layer. Let's go here. I can't see my layer, so I'm gonna hit Escape, so now I have my
front view. I can move this in front of the camera. Hit Escape again and then I can just
rotate it and scale it. I did some color correction to these so that they'd show up better. If
you go look here, oh, and you can see I also ended up clipping out a little piece of the,
I forget what that part of the eye is called, but the eyeball, I actually made it a little
smaller in this case, too. You can see that I made the outline blue and then I made this
part white and then the pupil is sort of the same color as the background. You could just
come in here and use your fill effects. So Generate, Fill. Grab the blue color. Copy
it to that. Then let me just adjust. What I could do is probably just shrink this mask
a little bit, move it over like that. There we go. Then shrink this mask and move it over.
It doesn't have to be perfect. Yes it does. There we go. Now we've got our googly eyes
and what I should then be able to do is come in here and set this to a Screen mode. Now
I'll see through the pupils. We can come up here and rotate these and scale them and place
them where we want them. What I did was just as we're zooming out here, I just cut these
things on as part of this movement here. Great. Okay, now let's preview our whole thing and
see what we got so far. Cool. We are in good shape. There's still the second half of the
animation to do, and I'm hoping in the next video I can kind of fly through some of it.
What I hope you guys are seeing with this kind of tutorial series is a bunch of workflow
tricks and just ways to think about doing kinetic typing animations. The principles
of what I'm doing for this animation, they work for a lot of other situations, not just
kinetic type. It's really just about working smart and giving yourself as much visual help
as you can and setting up your camera moves in a way where it's easy to adjust. You're
never gonna do this and get it right the first time. You're watching me do it. I've already
made this whole thing once before, and I'm still making mistakes. That's the nature of
motion design is you're gonna screw up and then you're gonna have to fix it. The easier
that you've set things up, or the more efficiently you've set things up, the better time you're
gonna have. Thank you guys so much for sitting through another very long, very detailed tutorial.
In the next video, we are gonna just keep goin'. One more time, thank you to Ringling,
and I will see you guys next time. Thank you so much for watching. We're gonna finish this
project in part three where we'll add that final polish to our kinetic type piece. If
you have any questions or thoughts on this lesson, definitely let us know. Thanks so
much and I'll see you next time.
