Live YouTube Content Creation with Evan Abrams & Jake in Motion - 3 of 3

[Music] hello we are live welcome back to cooking with Evan and Jake today we're gonna be making a souffle so I hope that you have your oven that's ready because it is going to get toasty hot hot hot jokes yes this is gonna be a good stream guys thank you so much for tuning in we are with Adobe live today on be handsome at /live thank you for tuning in let us know where you're from in the comments I'm sure gonna see some of you guys that were here the past couple of days this is day three difference yep and the last day of this week last stream of the week so we're just gonna have a great time okay I'm excited yeah day one we saw Jake making things well Evan talked at him day to sell the reverse and today we're gonna be hot swapping evident Jake tag teaming some titles it's gonna be terrific stuff yeah so it's gonna be a lot of fun I think got an interesting dynamic because you know you're not always going to be the single person working on a project and something like a movie title sequence that we'll be collaborating on you are going to work with designers and you're gonna work with people who specialize in maybe 3d or coming up with compositions and other people who do other things like typography and exactly and it's you know it's it's actually rare that you're the only driver of a project you'll always have to work with somebody usually it's you're executing perhaps somebody else's vision for a piece that can happen and then you just have to you have to work with them to come up with the solutions for the vision that they want to execute so I guess what we should maybe start with is kind of showing people where we're going sure maybe we kind of we kind of joined the project in the middle of things as we would say someone is crack open the final rendered thing that we can enjoy we'll get to get my screen up here and do we have I mean it was about a function hold on function this guy really function brilliant all right now you'll probably hear some of stuff creepy creepy things even more creepy stuff Oh city's melting as you can see we have not completed these titles Jake we got a problem yes problem is we need to finish these titles so this is sort of the the midpoint right we've brought some plates that you can put some text on and we are going to we're going to sort of show you how we arrived at this phase how we would complete some of the parts and Jake will show you how we finish it off when Z comes in from the top rope and drops on it so that's a that's the tag team effort right here so might as well go through sort of where this came from we decided as a team we're gonna work on some thriller titles both enjoy a good good creepy creepy pasta and you know first step of making titles usually is selecting sort of a musical piece or a visual theme or you got to start somewhere right where are we gonna start with this you're thinking one will do something technological maybe something those surveillance maybes anything about you know upsetting nature of reality just revealed in a thriller so these are the themes are gonna work with those themes are gonna pervade all the things we do it's gonna pervade our choice of colors our choice of emotions our choice of music our choice with fonts and cannot wait for us to open up Typekit and explore some fun yeah it's gonna be good but where does this particular piece start it certainly doesn't start with you know making some stylized lens things actually all usually starts off with a bunch of kind of rough looking geometries so what I did was I went and got some audio that I would enjoy pick up this lovely piece here if the waveform dropped it down on my timeline and I just went through and I placed some markers at the points where we're gonna let make some hard edits some hard cuts between even on the waveform you can see I was a function assuming no control ctrl zoom in you can see right here on the waveform that you know these little Peaks here very obvious where the bump bump wire is gonna have right so we're able to make use of that to say well these are good cutting points or these are good action points so we go through and what I do is I just tap the little asterisks button on the number pad so what you can do is you can just press play Oh what like that oh that's a good spot so you just tap and tap the button now it's putting little markers out there and then you can go back to the markers and you can add comments notes to yourself about like well this is where I'd like to feel some zooming in or this is an area where I would I would think interference just giving yourself some notes what's going on what do I want to do what what am i feeling for that area so we're making titles titles are meant to convey sort of the feeling of a piece they're gonna convey you know how you should get pumped up right to the experience you also need to convey some essential information and titles namely write who stars in the bezel what the title of the thing hits so it's conveying information in text and emotional information as well and it might be the sort of thing like the movie set in Boston then you would like to maybe think a shot of Boston Commons or locations that are important depending on what is important to your particular piece so you really want to think of those things what I'll just do is I'll simplify out all the stuff here yeah we're moving removing and I'll show you kind of where it where we started with some of this stuff so let's do it yeah this should do it for us so sort of embarrassed bones of where we started with these things was with a kind of animatic that is just a bunch of rough geometry and kind of moving around you know and it it's interesting to start this way with things that we think that we'll want to see maybe I want a shot like that maybe I want kind of a shot like this I don't know and then it goes like that and I'm just figuring it with squares is this little squares little circles then we're gonna hit and title the film and then then that happens so we're figuring out kind of the opening the closing what kind of shots we want right and I really liked when you showed me this because you called it I think a gestural animatic yeah which is a really great way to put it because an animatic is basically your roadmap your your figuring out what the sequence is going to look like before you've actually really designed anything so this gestural animatic like Evan said it's really just basic geometry to kind of get a sense for what the types of motion we could do are going to be exact and we you know we do it in increments mm-hm that way because from this from this gestural animatic we already have these sort of discrete scenes and if you're just working with areas of light and shadow you might be thinking of colors you might be thinking of certain ideas some pictures for some people it might be easier for them to just take some stock footage and drop it in right or it might be easier for them to say oh well we'll just take some I'll just take some stock video or I might just this is a sketch I've done these are the specific ideas that I want in and for me it was just about areas of light and shadow and movement so from an editors perspective you're thinking of okay this footage is moving from left to right the next shot will be moving the other direction this will be zooming in this will be zooming out and you're just figuring it because what we could do is we could take this we could give it to a DP director of photography and say this is the kind of shot we're thinking of you know and and this works with what we're doing you get the feeling like I know I know I'm now well now I know what to look for on a set now I know what to look what I'm filming the actual actors yeah so that that's kind of the state that we're in right now we're simulating that we're putting together a concept that is pretty polished but it's not a final product because we're if this was in actual production then they would be going out to shoot footage specifically for what you're kind of directing them to exactly cuz in our in our example here you know where we're doing a bunch of a bunch of stuff in here that it's a little bit wacky from time to time who voice is going from all of our all of our days of talking man that's gonna be it's gonna be scratch very good sure some grab me a bottle of water that yes water for my man Evan actually while we before we get into it any further I should mention that we're gonna be giving away this very stylish little bag the weekender the nice Adobe logo you can see that thank you so much so definitely be active in Behance check out the challenge which I believe is under the info tab and you can see all the instructions on how to participate with us be making something while we're walking through our own sequence and you can win some awesome prizes so that's right be active and get get excited yep and the challenge today is to create a lower third with some templates so you'll be able to download all the stuff from that challenge tab and it's all going to be in there for you to to enjoy and yet render it out in a kind of a small format so you can upload it quickly yeah and because you're gonna see eventually a little timer going off in the corner that's gonna tell you how long you have left to make that happen and the time goes before you know so quickly it's because we're so engrossing really what happens so how do we get from a gestural kind of animatic to something real and concrete right how do we do that well the big thing that I started to do is to look around that certain stock photos that we're jumping up to me or stock footage that would work so what we would end up doing is breaking these little discreet scenes down and pre composing them so we end up pre composing these these little blocks and then we end up those layering a bunch of stuff on top of it so then we're saying all right well I see the original roadmap now I'm gonna start to add polished elements to it and then once I'm I'm adding adding adding and we'll break down some of these later on once we get you going on some fonts are there because each of these is going to be unique and it's gonna be different to people's specific preferences and what could even happen is someone could come back and say you know Jake might be like Evan those scenes are okay but when you showed me your animatic I was thinking that you would use maybe a denser City for this right thinking maybe you would you would choose a different you know a little bit different lighting different this different that so we're gonna sort of remake one of these from scratch so that we can experience what that is cool but you've got the same files yeah and your end the big thing which we've played through their stuff it's missing their stuff it has the big thing it's missing is a title of this thing right now in that title now if only we had a group of people with amazing ideas at our disposal if only there was somewhere that we could get high welcome what we need in the chat if you could just hit us up with what the title of a modern cybers kind of thriller there'd be yeah let us know in the chat what works you know what you think is disturbing or playing on you know modern modern trepidations that kind of thing and yeah let us know and we'll yeah I'll be look like we said I'm gonna be the one working on some typography so you're gonna be you're gonna be helping me out because I need some I need some words to type yeah I was just about to replace that I saw but yeah we're gonna be swapping between our computers you can see it right now you're on my view but yeah we'll need a title and then we'll probably need some some actors so I don't know or some some of the actual crew of this show that maybe I can put in some of these other shots so yeah in the chat always let us know if you have any ideas he already got some good ones going in yeah what do we got we got two writers like that biter they'll be like a cybernetic vampire kind of altered effects oh yes very nice an altered carbon kind of pun okay cool okay what do you think other defects I kind of like that that is pretty nice oh we got some more dramatic killer Claude lots coming back from day one that's right he's traveling the world no he's back for revenge I'm like I think I think I'm gonna run with altered effects okay let's go with that thank you Steve so we're gonna stirred altered Steve Santiago so that's the name of the show good so we're on we're already on the right track so so how do you want to play this out because like we said that multiple people are working on the same project you've already given me the same thing that you have yep so I could go ahead and start working on finding a font that I think would work well with his style and play well into the whole mood like we were saying this the the purpose of a title sequence is really to set the scene and you or your mind in the right spot so yeah let's do it let's dive in dirty yeah start chopping away yeah okay let's start looking at fonts I think yeah I'm gonna I'm gonna pull up Typekit which is free through Adobe Creative Cloud subscription so I'm going to go to my assets fonts and I'm just gonna search online because I'm not exactly sure what are and stuff this isn't my personal computer so I don't know what's on it but it's very very easy to be able to just search for anything any type of font and get lots and lots of results you can just sync instantly to all of your Adobe apps it's extremely efficient mm-hmm so I'm gonna just type in the name of the show so we can kind of get a preview what this looks like yeah I'm thinking what are you thinking well it's gonna say like now we have now we have to start sorting and narrowing right all our stuff right so for those who not super familiar with typography and typographical language the terms can be kind of like kind of weird to think about but there's a little visual reference in Typekit right and really help you out all this year so yeah we got serif fonts serifs are the little things that come in like at the bottom the bottoms of stuffs guys those are saris right there yeah so that's a serif font these guys here these are sans serif men or no serif sans the same French word is it songs so it's home yeah okay no problem still access but you can easily sort through those you see the classification I'm here so we have sounds song song sorry Saul sorry you feel serif slab serif I'm particularly fond of slab stairs but let me show you what those look like I don't think that you're necessarily gonna want to use this on show they're usually very blocky yeah they look at a typewriter II right yeah I'm thinking something that looks a little more techy mm-hmm kind of because we're you know or in the present or near near future I imagine from horrifying possible near future and I think thin lines would also be nice because this should be cinematic and when you're thinking in terms of where this is going to be viewed if it is going on a projector like to a movie movie theater things get blown up to such large scales you have to account for that in your design so if I were to leave text the size of the frame imagine sitting in a theater and you're looking at a screen you have to pin your entire view yep just to read two words so those are all things that I'm gonna have to consider but that's why I'm thinking thinner a thinner weight flat not something so super thick like this yeah and the other consideration is we're putting light text on to dark backgrounds right yeah and so the contrast is very different it's not quite if you invert it you have a very different feeling right right than what you're doing so it's important to take those considerations you know when you're you're thinking about what weight of font how big Jimmy's already saying Jimmy Mitchell says Gotham thin yes which isn't that the fun that you thought you were already using Gotham oh I was using costumes yeah because I was thick right big and bold yeah because I was you know sick well I'll just put some bad things and so what else I'm gonna I'm gonna focus on this dump just dump something but also próxima yeah if you know yeah I was just about to say that I saw próxima Nova is a fun on type kit that's a very very good alternative to Gotham if if you're not aware and it has so many weights to it just a really really nice typeface I there was one that I had in mind actually I'm fairly certain it's on here it's called the euro style is that on type if it is here is that B question for the guests Oh how do you estimates how long a project will take you to complete most of your work is deadline dependent from FEMA a team oh yeah and part of that is understanding your process of how you would estimate it so for Jake and I we have very similar processes and we communicate the plan before we kind of get started so we know we were able to break it down into discrete steps to say all right well I'm gonna be able to get you an animatic by Tuesday and then I mean as it happened with us we've got very very busy in the ideal world you'd be able to say all right we have these certain specified steps so I know that you know by tomorrow we need I need to get you an animatic and then we need to get that animatic sort of approved by the people higher up the food chain and once that's locked we can move on to the next thing and so we can we can sort of gate the things we're doing so we're moving from one thing to the next and that's usually how you want to estimate by breaking it into discrete chunks when you look at a project that's large and daunting it can be it can be very hard to estimate because you're thinking of all the parts at once you need to really make these little steps and define the process that you're going to take so that you can know specifically oh well at this stage we should be this far along at the stage we shoot this far along and you can especially with a team yeah keep people keep people sort of accountable we have a large team we start getting into sort of project management level things or you need those Gantt charts that are you know those are those bars that tell you who's doing what when and who's available for things and you know as time ticks by you want make sure that everyone is doing the stuff so it and it's you really if you're gonna be leading a project and you would really hope you would have a little bit of project management and a background to make that happen in the ideal world that is a producer's job right so keeping us in line and that kind of thing so that's or a PA would maybe be coordinating or someone with coordinator in their title would be cord yeah yeah but it really depends on the size of the shop and that kind of thing and when there's just two people you got to work it out between you right yeah and and if if you're coming from the may be an independent freelancers in a situation like I I am an independent freelancer so I'm the one who's in charge of my entire schedule then I just have to do a lot of thought process into what is going what it's going to take to make something and like you mentioned yes a lot of times it is just dependent on the clients deadlines if they say this is the deadline I usually say okay well then this is what needs to happen and this is like these I'm going to give you a first draft on this day and I need feedback within 24 hours and if we don't stick to this schedule things are going to either cost more or take longer or both right so it's just being able to know how to deal with the client and knowing your own abilities being able to schedule things in a way that's gonna get the job done mm-hmm and this it's that triangle right you can have it done and quickly very well or little money in there you must have a balance yeah can I break the triangle mood fast and cheap that's I don't like to say cheap that implies anything I consider exactly cheap is low quality low price I offer affordable quality so Joel is asking your validation processes is with your clients and what steps do you show to them I'm kind of a I like showing people how the hot dog gets made you know and to be upfront so the animatic is definitely something to get sign-off on you you generally want to have people in the loop with all those phases some people are very hands-off you know some folks like I don't care just come at me when you've got a final render right but that's dangerous because they might not even know what they want to see right you know and so yeah I would definitely recommend getting people on board with expecting periodic updates as you go through because really if we skipped the animatic step and I went right into throwing footage together I'm putting so many hours per shot you know but really I could knock up that gestural animatic maybe in an hour maybe less you know to make that happen and then get some feedback and know yes on the right on the right right so that's that's important to do get lots of great questions from folks and we got a follow-up question from Tina so this is I think it's a great question once you start working and you see that your client doesn't seem to make up their mind and the project starts to stretch what's a nice way to say well yeah I think it's really important for people to realize that if they're paying you by the hour it's their money that they're putting into it yeah right well sometimes it's like on a per project basis so it's not it's not great but you went right yeah and really it's all about having to set reasonable expectations yes people you know because you could say well you know we're going back and forth on this when we talked last week you said that we had a deadline of next Tuesday we're not gonna hit that if we keep waffling on this thing you know realistically we want to hit right I'm on your side yeah we both want the same thing how we're going to get theirs by reaching a consensus today on the thing let's do it move forward and do the best we can with this you really have to phrase it in terms of what is in the best interest of the project was ultimately the best interest of the client yeah that'd have to be sometimes you have to be firm with people and you shouldn't be nervous to be firm with people assuming that you have the conversation before yeah yeah you don't need to make sure that you're taught you have an open discussion with the clients so that their expectations are in the right place it doesn't mean that they're gonna stick to them but then you can always go back and say alright so I can do what you're asking no problem like I'm here to do what you need me to do but we agreed to these terms and you can reference back to an email or to a contract or something like that and say like I said we can do this but it's going the way that I usually approach it is like I say it's going to cost more and or it's going to take longer and that is usually enough to get the key either say never mind draw my note or okay great I'll pay you more yeah so and Jimmy has a good point here to initial says sometimes you set up the Commission you can set no iterations say there's many iterations and something else that for a really long project you say okay well after an animatic this much billing is due et cetera so you're you're having the constant deliverable meeting with payment people know that yeah we're actually throwing money away as we trace things so it's important to know that you know things are moving forward it's not yeah it's not ethereal it's real yeah speaking of which make some more yeah is it okay if you pop over to Evans computer real quick I'm just going to sign into my own and I made a cloud perfect project I don't want to share my passwords that's right that's a good move well I'll take this opportunity then to show people some of the little ideas that went into the gesture automatic and how those translate into real things so where are we going from this stuff why is it the way it is why are we choosing these ideas for a thriller right so the first segment we have sort of this expanding getting closer to an object and the idea there is you want to introduce people to sort of an unknown thing and I was thinking well then we're going to investigate we're going to get closer to it or maybe it's getting closer to you how uncomfortable is that slowly approaching things makes people kind of uncomfortable that kind of yeah and a deal is unpleasant so we want to start people off with that I'll use in the song in the song let's call it a track we have hard hard beats and then we have like half beats in there as well so we can just listen to it so we have that like metallic clink Punk clink bunk so what I wanted to do is make the clinks the discrete changes and the bunks like a little shift of the thing yesterday we used a lot of fun words today will be a continuation so as you can see when we move along we have bunk so the bunk is like a zooming in right so again this first shot is closer closer the next one is we're moving we're following something but we still closer similar we're keeping that theme of getting closer to things and the implication is this is a big expanding thing now maybe we've moved inside that thing or and this is perhaps it's perspective when we switch and then we're moving laterally through a city and moving moving moving and then we're still moving in the same direction we're still tracking in this a direction and then we continue tracking in that direction so we're continuing the same kind of movement the idea is like well it's just going to be kind of a reflected cityscape I don't know what City but I do know that I want lighter buildings darker backgrounds right and then on the on the beat here rather than zooming in we're splitting apart so it's like in in a parse so it's that it's that contrast that I think is important to tell you oh we're now we're into something different and you can see in the music here there's a little ramp up that's happening at that point yeah so what I decided was at this point things are gonna get less real things are gonna get more unpleasant and more shifted so that's the idea more shifted and then we're having that heartbeat that wrapping is still happening again that ramping happens again comes back at the half point here thinking of like dividing cells or something kind of organic like that but we're changing the motion pretty dramatically between these two so a hard hit these things are now spreading apart so that's kind of happening on a lateral and then on a vertical and then that very hard hit that so I know all right now it's title time and then we can stare at the title for a while and then that and we end the way we started so that's kind of the idea that it's like we're moving into something we bookended at the end to come behind all together come back at the end side yeah we run end the way we start sometimes there are a lot of kind of trends we looked at a lot of titles going into this a research process is usually important when you start because Lee and our research process was checking out part of the title definitely that's wonderful resource yeah they do such in-depth looks at processes behind things and interviews from the people who actually made the sequences yes and you can see like oh these are the ideas we put in the garbage before we arrived at this one I love those things when you see these were our inspirations this is where we ended up so here in the studio actually there are posters for Twin Peaks vertigo and then Bullitt Twin Peaks in vertigo were actually two that I was looking at when we were making this nice because vertigo uses that old trope of oh we're gonna look at somebody's eyeball we're gonna zoom into the eyeball and you know we're gonna have these spirograph kind of deals Twin Peaks makes a great use of of their cuts and that kind of thing yeah and it's it's interesting to see that you know here in the wall we have those things and it's not bad to look at and be inspired by and make reference to sort of the tropes that pervade the genre you're working with yeah absolutely like this is a genre film it's a thriller so having these looking into an eyeball kind of moments happens all the time it's a joke that all student films start looking at a clock and usually end end of the same way it's that one day kind of kind of thing and so we want to have like oh we're gonna have a city you know shots of urban areas usually a very thriller idea so we know urban areas are gonna be a part of the thing this kind of mirrored thing that we ended up doing we were using just flipping things around it was pretty good go look at my kind of final comp here this mirroring of stuff people really like because it shows sort of the dual nature of things that things are one way but they're also another way there's a lot of metaphorical fun it was into the sequence that's right and another one I was looking at was for the night manager if anyone's seen that this those titles are amazing they use a lot of match cuts in that one where it's matching like chandelier falling with like a like an explosion from something so it's like shh-shh and it's going from they were contrasting high-end luxury items with basically weapons of destruction because the themes in that are opulence arms trading how rich kind of prey on the misery of spreading these things and it's such a good juxtaposition to have those two things right and match cuts are great oh absolutely the match cuts so cutting on action is good having frames that are similar to each other and that that kind of thing is very useful to think about when you're constructing your own ideas when you're putting them together to think what what am I trying to communicate in each of these scenes what I want someone to feel and you can build build on that so there we go I see you've chosen so far yes I've got my my Typekit working now so I sink this file called euro-style which again has lots and lots of different weights different widths in terms of condensed there's an extended version so it gives me lots of different options and I brought it in to after-effects it just syncs automatically through Creative Cloud and now I have access to it in here and I can choose any kind of weight that I want so you know this text right now is the final title but we're also going to need to be making these little credits yeah I went throughout the rest of the sequence so I want to make I want to make them in the same font I want to have it be consistent throughout but being able to play with different weights of fonts can help you make more pleasant looking compositions you can have that's that's what we're the benefit of all these different weights of the same font come into play because you can for instance if we were to make a credit for one of these these maybe the director okay so let's see what shot director coming for masters I think the director is the last thing before the title okay in movies at least I'm sure that TV shows usually finish it off that way as well okay so what is the final shot with the title is that this one yeah that has the title and then no title on the final right that's just like an out yeah I think I just typed this out in the main cop that's why we're seeing it see you never so I'll move that over but let's say for here that will say directed by and you think Jason Levine yeah you'd be a good director I think you'd be an amazing director all right so I'm gonna talking about scale again the title I think having it big and bold on that title screen isn't isn't going to be a bad idea at all what we don't want you know directed by Jason Levine to be this giant thing that's covering up the actual elements of this sequence so instead I want to I want to try and think about this in a composition again thinking this might be on a projector in a theater this text is probably way too big so I'm going to pull up if I can remember the shortcut my grid portion grid I'm going to adjust the grids so that I have a rule of thirds guide basically hmm so grid line every oh here we go subdivisions right doesn't update life but we'll do 3 or 2 by 2 for the proportional mm-hmm nope that's a just a center dot yeah crosshairs we're in the right place though so 3 by 3 and now I have a rule of thirds which is just a ratio that can generate some pleasing layouts mm-hmm when it comes to design but I'm gonna line line it up in in this lower third scale it down pretty small and then I think I'm gonna go with a way that weighted to different weights of my fonts for the two different parts of this credit so we have the title and then the name of the person mmm so because we have a hierarchy of information exactly so the the title is is kind of like the eye I would imagine the the the lower importance of the two because you want to you're giving credit to the person so this is their credit but their name is really what's more important who they are is more important than what they did exactly so I'll just list kind of scale this one down a little bit I don't have to make this drastically larger to have just a little bit of contrast I mean it's not it's not that much larger and I'll change the text here to chase him and then I'm in addition to making the scale change I'm also gonna bump the weight up and I think I'm gonna jump from regular to black this is two weights so that it has a pretty distinct difference because if I if I left it you know just a medium I mean you can tell there there's a difference there but I think the contrast in weights and that little bit of size just makes a much more pleasing looking design and I think that's the kind of format I would want to do for all the credits on the sequence mm-hmm so at this point I'm just trying to find think of a good way to present this information in a way that's not distracting from the background graphics but that is also legible you want it you want to be able to read it when you want to see it but also when you don't want to see it still pay attention to what you're trying to look at so it's a balance person yeah you don't want to cause the visual conflict right where someone's like I don't know where to look yeah where should I be looking because we talked about sometimes leading the eye is kind of important in these things it's gonna be a big frame we're talking about in the theater you might have to move your head to actually look from one place to the other so we have to kind of decide where and how are we going to draw people's eye to a thing where the where is the eye going to be drawn in this shot like everything's very all the big elements are kind of centered which leaves us some good space to play with like a symmetrical framing is kind of helpful because I could go just about anywhere a very asymmetrical framing if some of the other shots we get into those we really have to choose where could this putt work in this fit right right and when you're designing your sort of animatics you want to say oh I'm gonna leave some space for this I'm gonna I'm gonna leave a space so that I know that someone can come in and put in a title there or right possible locations that it might go and that's why we need to have conversations because like right now if I'm trying to put white text on top of this white graphic it's not is that gonna work out no and if I just drop a drop shadow on it that's I mean probably gonna solve the problem but that doesn't necessarily look that good no I mean just sticking a drop shadow and I'm kind of trying to smudge out Evans design and I don't want to do that so you know having a drop shadow there might be smart because even down here on the the elements that aren't so bright it could be a little bit harder to read especially with the motion you know if those things are overlapping parts of it could be a little hard to see and just having a slight drop shadow might be a smart thing know so that if again it's very subtle so that you you can you can read the text without really covering up what you're you're putting so much work into folks are saying it's of all the thoughts this reminds me of like Jason Bourne people are seeing is the edge of tomorrow type fonts and it's true like a lot of tropes in fonts are used in certain kinds of films right it's yeah it just it works people keep doing it people keep doing it so it works it's a really cycles on itself like I mean if we were for making like a Wes Anderson kind of titles would be using very different kinds of box you know Futura as Jason on the first day it's pronounced yeah okay so I I also added a little bit of some padding into my current so that these are a little bit wider hmm I like the this font the that I used is the extended version or the wider version of it so I'm kind of just I'm feeling this vibe of things being white and this cinematic aspect ratio and these kind of longer lines of text so I added in some extra space between those and when we go to actually possibly put some motion on the B's maybe that could be a part of the animation as well as the the tracking right a while ago I did see it another follow-up question about business I just thought was a really good question so I'd like to go back sure really quickly but it was I think it was is it tima DUI yep was the one asking about business so she asked do we always feel proud of the work that we do for clients what's the balance like how do we play with that so I have an answer but I'd like to know what you think - oh boy well I don't know I'm always proud of myself to finish things I am I'm proud that I've made a career in in you know applying the skills I have not all work is portfolio work I'll say that um but at the end of the day if I've if I've helped accomplish the goals somebody else I feel good about that like I I derive a lot of satisfaction out of making sure that it may not be the thing that I have ever sent wanted might not be the thing that you know someone else hundred percent was but if it's the thing if it matters and someone else has been made very happy by it you know what else what else can I say right at the end of it right it is rare that I am in the position of fully directing or fully controlling a project so part of you know how I make peace with that lifestyle is that I have to sort of give myself over to the process and to say okay I what I can do is is my best version of what they envision you know and while it may not agree entirely you know I may have advice to try to shift this in different directions but at the end of the day you know it is not it is not an object that I own it is not a thing where I should be so precious of yes and that that preciousness don't let it get in the way cuz I kind of have to step back and think my subjective take you know and all the experience I bring is great I'm working with someone else who is also bringing their subjective experience and their you know their their knowledge to the table so we have to be cognizant of each other so you know i am i proud of everything as you can probably tell I don't carry a lot of pride in general oh not that I'm you know not that that's a sinful thing you know to get to be proud you should be proud of what you accomplished be proud of what you make but you shouldn't feel I would say you shouldn't feel bad if something you know if you didn't wind all of the actions right it's not you can't win a collaboration win it anyway that's that's my take Jake go sir what are your two cents on this yeah I'm in very much the same opinion I like to use the term that I the where I heard this from was Joey corn man who runs school emotion but basically you got to do one for the meal and one for the real and that as a freelancer at least that's exactly how I see it I most of the work that I do is not going on my real it it's not glamorous yeah but I'm okay with that because I'm still working in the software that I like to work with I get to be at least a little bit creative and and and it's a fun occupation what I take pride in is that I'm making an income that supporting my family and allowing me to live my life and the way that I want to have the career that I want and every now and then I do get to have a gig that comes in that's something that I'm really excited about doing that I want what am i real or a client maybe gives me more creative freedom with the visuals so it I mean one for the meal one for the real that's the answer I really folks are having like you maybe having four three five projects for a year that are your breakout things like oh yeah it was really really big time no one special yep and it's yeah it's for us they we're both the same way that we designers you know we solve problems for other people using motion and the principles of design you know that's our that's our thing you know yeah we if there's a problem yeah yo we'll solve it you know it's fun I mean that's that's the thing you gotta have that the realization that even if you're not enjoying a client job like you said you're still you have a pretty awesome job as a motion designer yeah pretty good yeah it's a good life you're not in a coal mine yeah exactly you could be in a coal mine no I'm just kidding and it doesn't what does it have to be painful either right it's not a rough life be open and honest in your communication everything works out for the best usually and Joel is asking how do you present your automatic to a client to avoid them freaking out instead project themselves into it what it would look like in the end so again that is how how are you saying it well I like to kind of take people through it at the same time it was give him a here's an email with one sentence and an mp4 in it enjoy it's not gonna work you should probably hey let's jump on a Skype call if you're working or both have a look at this we're gonna play through it or like I'm gonna I'm gonna share my screen and we're gonna we're gonna have a look and I'll talk you through what I'm thinking see if you and I are on the same wavelength you know that kind of thing and it's okay to do that you know yeah yeah blindly don't think someone it's not cool no matter what we're making whether if we're designing a poster for today like hey here's something this is what I think it'll be you have to be willing to communicate the full of fullness anyway so well I don't have a lot of time like five minutes take five minutes your time I'll talk you through what I'm thinking you know if you you know you know and always phrase it like it's interests interest to take this thing to to do it oh you know and it doesn't take super long to come with an animatic doesn't take super long to come up with and change things yeah and that's kind of the importance of an animatic is so that you're not spending a ton of time making a finished thing before the client even knows where you're going yeah it's a way to indicate this is what I'm thinking and I know that it's only black and white shapes yeah but that's where you just again have that discussion up front with the client so that they're there your expectations are set so they know what an animatic is but rather you show it because some people do yeah I've know what's up what's of what was it animatic yeah if you send somebody like a nicely designed animatic they might think that that's the finished product before you've done any animation right you never know how how familiar the client is with the process so and then making sure again just being upfront this is what it is what we're looking at and like if if they say well I don't quite get it you know they might say that they might say I don't quite get what you're thinking like well you know what if only there was a library of stock footage that you could pull from at a moment right notice to just slip into stuff right imagine a possibility well thankfully yeah we've got one of those you just open up the Adobe stock thing and throw in some stuff and if they love it you can license the clips later like it'd all be water marked and but that conveys the idea you can like effect up stuff and make it look really cool and interesting before you've even licensed it and they say oh my kid loved it you still swap it out and then licensed the one they love right and that's the that's the move you know that you want to be able to convey those ideas very quickly so yeah see what's going on the chat get here some people are having a barber come over and cut their hair already excellent you know treat yourself be well groomed gotta treat yourself while you're on the live stream yeah any any quandary about font guys let us know any quandary about text animation yeah I'm just I'm just continuing on with this trying to come up with some unique motion many questions along the way always feel free to ask yeah but I'm just trying to come up with something that's again a subtle little bit of emotion but that ties into the five of this piece one thing I did want to point out was that originally my text was pure white but your graphics were not pure white no so I want to make sure I'm matching the color palette so I just went ahead and sampled because everything in Altered effects is dirty and so you can see we have just the slightest bit of color and saturation it's not a hundred percent white and I personally I really like not having 100% white and 100% black yep adding just a little bit of faded and that when we feed that through projector right now it's blinding yeah that don't to harm people so we've got a question from Joseph asking our title designer is usually different from the editor of the movie and sometimes they are sometimes a totally different firm yeah it's brought a lot of times there there are many studios that all they do only titles that is what they they want people to come to them for that and they're amazing at it yep and it's like an title and editing the two very kind of unique skill sets you know an editor is taking a lot of a lot of footage in some cases and in choosing you know choosing the best stuff to fit the specificity of a scene right yeah where your each shot should contribute to the overall feeling and story of the scene right titles do the similar thing right but they're they're very specific in what they're doing what they're communicating sometimes the same person and on smaller production jobs maybe but for the big stuff you see a lot of firms that specialize in titles or yeah people who only like there's a separate director for the titles right yeah exactly and it's interesting that question came up because school motion actually did a podcast interviewing an editor who had lots of experience doing title sequences and having to work with motion designers and you can learn a lot about exactly what the role of that person is so check out school notion podcast mm-hmm yeah and and joel is saying should we be testing out this font in a different background just to see if it even fits Oh Joel you know it you know that that's what we gotta we gotta get to next yes we want to have an idea before we start promote ating it all over the place yeah okay but yeah I mean I I'm pretty happy with the way that we're going with this so why don't we test out a different frame mm-hmm what is another roll we got producer we've got writer we need actors actors you know actors yeah that's probably one of the first credits right they say the the stars who are her in this that are probably why a lot of people are watching it that's right that's right maybe in this frame and this could be an interesting frame because there's a lot of motion you know from this left to right or right to left movement so I would I would need to matter you put my text in that motion so yeah I like that idea so give me an actor's name if whether it's it's real or or not yeah let's use a made-up founder so that no one comes after us that's the program that's why I haven't yeah give me a name any name not John Doe I don't like using no nobody does and Ari Hait I know people yeah I'm sorry I even mentioned we could let's stick over stay away from actual name Bert Macklin Bert Macklin do you know Bert man don't know Bert if I remember correctly he is the the FBI agent on Parks and Rec okay who was a made-up character on the show so I like that cuz it's a fictional name Jimmy Mitchell we're feeling Bert Macklin it's Bert Macklin and he would star in this type of movie so that's great exactly and something else we're gonna have a one of those random giveaways coming up they happen and what is it the people win this time with a random giveaway is that beautiful better is this the random giveaway yes this is the rainy giveaway the The Weekender Adobe branded Weekender yep got to get my hands so you know don't go anywhere it could randomly happen at any time you never know altered effects it'll happen oh yeah it's coming up guys it's coming up so instead of just redoing this text from scratch ad copy and paste it what I already done mm-hmm that way my weights and my sizes are all going to be consistent throughout so I don't think we need to say like a title because no we're just saying this is the actors name so let's say Bert Macklin starring guest starring you could do that but usually I've been seeing them more and more than reducing yeah the number of words especially if we're pretending this as an actor the people with no yep and speaks for itself we know they're starring in it because you said their name first I've got a fun fact about names I take off my animator but let's see how did we animate this mm-hmm so using Knoll yeah we were so the footage itself is moving if you want to pin it to the footage you got that no there that can you can just stick it there we go which is reference oh yeah and see that's great the way that Evan has is set up it because it's tracked at the top of the building it even has this nice parallax effect so I just with a simple pick whip I was able to make this 2d text seem very 3d and if Evan was a nicer person he would have labeled the null object right more clearly and and my text is at the top of the list but we have a bunch of effects you that are warping the image underneath I want that warping to happen on his text as well so I need to make sure it goes below with the adjustment layer so I'm just gonna move it down not that far too far right about there a little bit of optical compensation for you very nice and again now this is just a matter of of layout and you know maybe maybe it would look nice if it was more up here I guess it really depends on the the shot how much distance is traveled so like by this point it's gonna be gone if I look in the main comp that's gonna go four through two beats yep so up to here so I'll just go to that point in time and now I know I'll set a marker that is the point in time that the text needs to be legible so it's not gonna work if I put it over here on the Left No so I'll just probably keep it in line with the building mm-hmm and the beats so each kind of beat we've got because we've got the two beats on each thing I think it's two seconds so it's you know one two dunk one two pink one two dunk so even if you want to have them come in at the half right on that zoom in yeah that might be the action to bring them in on next action Julius Pepperwood melissa's say wow I already wish to know what's happening well melissa for those of you who are joining us late actually yeah we are creating titles we are we are putting some text onto some titles we're talking and collaboration we're talking about talking about how two people would work together towards this common thing we've covered some animatics so if you come back and you watch it all all over from the beginning you'll learn some wonderful things about animatics and communicating with clients and getting your ideas out very quick so that'll should go pretty well and too but keep sticking her alive because it's gonna get wonderful and we will oh yeah ash is speculating on what goes into each of these frames a and we will definitely be exploring that that will be probably coming up once you've got a good serve once you're happy with what you've got yeah we'll dive into we can hop over to your computer at any point I'm happy with the way that we're going here but I can we can do our little swap okay here we go we're jumping over to to Evans side here and we're looking at looking at what's going on and I'll dissect some of these so you can see kind of the bare bones of what goes into these and then we will sort of make one from scratch we have another Canadian Zach welcome welcome and you know Bonjour if you are from that part of Canada hey I'm from Ottawa I got a speak in both official languages so that's salut and Bonjour and make fun of my accent all you want I went to school in Ontario Oh only for the Quebec people will know my French is so horrified so we need to pick some scenes to sort of look at and I think the ones that are sort of most interesting are these ones with the footage let's crack open this one here with Shanghai going on so if we play this through it's like Shanghai is like sinking into sinking into like a like a miasma of some kind right so let me just start stripping away layers and we'll be observing what they are so over the top we've got this vignette engaging especially in sort of tense moments sort of a keep speaking French oh well that would appeal to some people put super cross a so not be so great so we've got this vignette up at the top and the vignette helps to focus the attention towards the center and to create kind of a colostrum oba kale right and we can make that using in our case just a black solid that we've put a mask on you know and that's it and the mask is mask is feathered and the mask is condense like we're making this expansion go so we can tighten that up we can loosen it you know there's a lot of things you can do with the vignette goes up on the top you strip that away see what else is going on we've got some shape layers that never ended up getting use then we have graininess and graininess is on an adjustment layer I'm just using noise HLS what my favorite ways to make make noise me too and reason to get a square noise in it I think what's so great one of the things I like about anyways is the grain function of it that I use more often the others it can be very machine intensive but yes that's true but you can control the size yeah when you switch it to grain that's my favorite so good and and so with you know without the grain you see everything kind of gets a little smooth with the grain kind of chops it up and the other thing that's happening is I'm kind of using footage that I'm kind of scaling up and kind of blowing out of proportion a little bit so it can start to pixelate and start to stretch even if we have this one there we go even if we have this little button here turned on this bad boy here this is the what do they call is the quality and sampling so when this is a straight line and you're scaling things up it's it's sampling of a certain quality if you give it a little click you get this curve here well now we're going into I think it's cubic is it squared and cubic are the different ones that it's just it's working so much harder to produce a better quality scale you click it again and you can get to the worst of the worst one we know this you know this little jagged e line here which tells you good so the default is the medium but you can go bigger or better and really that allows you to scale things without them degrading as much I didn't know you could do that by the way another another use for that that I found is if you're trying to make something look like it's 8-bit or just a low resolution just turn off the aliasing the anti-aliasing with that switch mm-hmm and that'll preserve your hard pixels yeah cuz you could make a cop that's small scale it up it's like yeah I'm gonna work in a 64 by 64 square scale it up turn off the trying to fix things right or ssin that's a great way to make kind of like fake old time video games yeah and a lot of people probably don't think about it but you can just look up what the resolution of the original Nintendo was or what the Atari was and you see the pixels you just set your comp to that size but you want the final thing to be in HD we'll just drag that comp into an HD comp make sure you have your anti hey listen off yeah you get a pretty decent very quick to make yeah so the next thing under the grain is we're dropping a mirror on here curves and a tint so the curves in the tint are the things that are that are giving us the style of this and you see this curves is so wacky it's all over the place but I'm I'm basically when you look at it visually I'm removing sort of the pure black state but I'm still crushing it down into the into that level you know I'm pushing the Greens away and I'm bringing the Blues up the Reds are going away a little bit you know less red makes things seem a little bit more blue so it you know things are going to push in a lot of different directions we're having a little cross processing going on and finally a tint to remove and we're tinting it like 90 percent here so I'm removing quite a lot of color information from it because you know thriller things sir bonnet things are either black of their ways right right and very moody yeah I think is very moody right that's where having the higher contrast but at the same time thing sir and biggie wasn't confusing so you have to have that juxtaposition between the two things so what that means is that this footage that raw on its own is a nice bright shot of the hazy shanghai skyline which if we observe it on its own you know this is a hyperlapse moving vibe of the city and the hyperlapse is pretty great you've got flashing colors you get these patterns going on you have the clouds rolling over this great movement so this movement is what attracted me to the clip and what I'm looking at it I'm thinking oh I love that we're spiraling up you know when I was thinking of the clip because the one I had selected when I was looking at my animatic we go back to the back to the gestural animatic the thing that I was thinking of ours this kind of thing panning by and it's mirrored so I want to see sky at the top you know let's see sky up there and I don't really care what happens do not care about the bottom of the frame and then we're basically gonna kind of flip it we're gonna offset it so that you know what what is the bottom is now at the top whoo everything's backwards and weird you know what's going on you know this is the trippy these kind of thoughts that I have what I write putting things together and so in this in this final version here we end up the mirroring dropping that mirror line along the middle of it dropping that mirror in here flips it on that axis and because the camera was moving up for this thing everything seems to be sinking into that so that's something you should think about when sort of choosing your footage and it's just kind of disturbing when it does that something else that kind of goes on is I did add some motion in here so I've got the Anchor Point changing so that the this whole thing so this this layer is parented to a null and then the nose moving along dragging it along and then it drags it abruptly below the surface like the shark is grabbing it and pulling it down and you did that to the music as well right yeah that happens on that half beat because that is the abrupt change that I want Bernie on the me on that half beat that were you know where we're sinking slowly slowly slowly and then it changes you know it's it's impending pressure has been sudden jolt yeah it's a jump scare let's just call it what it is yeah got me yeah got me so that's that Cydia but we're still continuing the first motion right the first Anchor Point change is continuing even after that little jump and that jump is also timed up to when it's going to split into the it's going to change from from sinking together it's kind of spreading apart have that kind of thing going some other little effects that we dropped on here I put a motion tile on it just so that because when I was playing around with it I would start to kind of go beyond the bounds of the thing in motion tile will repeat your stuff oh so that things go and front something to repeat random random giveaway look at this wonderful weekender bag that you could win definitely give us some lovin that you know in the comments we want to know that you want to be the lucky winner of this random giveaway that's right so you guys let us know who you are let us know where you're from make sure you are signed into Behance you win this that is it very important thing if you're like working you gotta be signed in to be hands and this is actually to all of you who are commenting in YouTube right now which we learned if you're watching this on youtube watch Behance live because then you can get the full chat experience and you know that's that's it what dude you where would you take your weekend bag Jake if you oh well I mean I would have brought it here I'm going Denver personally we're in San Francisco now so that's right you can probably fit a week's worth it oh I could've easily came here in this bag get me up in that sit me up in that bag take me away for the weekend oh boy lots of folks getting involved will be using the the random Gus BOTS I believe to choose the lucky winner but yeah and wow that stuff is going a hun we're gonna we're gonna proceed keep keep it on in the chat guys keep it going and we did have another question actually that I saw that was how do we prevent ourselves from overdoing things with these types of graphics which is a great question because it is very easy to overdo things oh yeah yeah yeah I tend to like what's a with a vignette for example it's so easy to just like get in love with the way that that's making your frame look and you're like oh yeah make it darker make it darker and then you step away from the computer and you come back and you're like that's pretty bad no that's stepping away is actually one of the techniques you should use do this like you get so engrossed in a thing you're working like an hour 2 hours staring at the same shot you just getting the tunnel vision in you know you're being drawn into into your own work just step step away you go get some coffee you come back you know if you're you're tight on a deadline I know it's hard to not get away but you just you know just clear your mind and then come back to me yep but we have a winner someone has won the bang one of you is a winner and it is Noel yells there you go that is congratulations no else is your bag it's on to you I'm jelly yeah Larry jelly well will you be our friends I have a jacket that matches perfectly - should I go walking around with the jack perfectly my red shoes so matching goes with Jake not match it so yeah congratulations congratulations yeah and you know if if you like these random giveaways you know where this is the last day of the week but every week on behance live here from Adobe we are we've got stuff going on so there's gonna be different experts coming in next week yes learn expand even more skills so it's a great reason it's an amazing program here that they get going so you interact with us this visit that's the part I love about this yes that we get to talk to you directly while we're making things that it's so much fun for us mm-hmm such a so many creative things happen sometimes in a vacuum you know that you know you're working freelance from home maybe you're in a shared workspace you know but a lot of it is solitary right nice to to get in there and experience other human beings yes you know well she would being some kind of the main reason good stuff you know that's it's a good driver that's a good thing to go for so yeah so what are you working on now you got over a mind good okay so yeah I was just I was playing around with the other elements that you had in this scene so I you know you had this nice red glowy box so I thought well maybe I could implement that and kind of highlight the the actors since they're kind of the stars of the show but I just duplicated my text layer added some good old venetian blinds to kind of give these scanline feels again playing into that techy looking through you know surveillance monitor or something like that making it that red color give it a little bit of a glow and then just having it kind of swipe over the text yeah as it comes in like it's being scammed mm-hmm and again it's it was Evan suggesting I did have this text come in on that kind of bump that you did which I believe again was to the beat it does pop on so I'm gonna have it fade on just over a couple frames please way abrupt when you play it to the beat instead of male reference right there and I don't think I can play sound but that's okay because you use markers and I know that that's already good beat yep we had the discussion beforehand so it's gonna work out yeah and really like you really markers markers markers markers yeah yeah you know you hit the little button you can change the color of the markers these days so yeah very fancy you can add comments so good yeah that's where you can put notes like if you and I are trading a project back and forth that's where I can I can just drop a little marker on say hey Jake could you uh I'm thinking you put the text here or a little note for you don't mess this up it's a great great feature of After Effects being on the handoff files to other people and if you're making templates something like that and you can easily put identifiable instructions in there yeah and if you if you're sort of a larger shop and you're using sort of the I think it's the enterprise functions you get the the team all the team features where you can like sign out files and you can push updates to each other yes and then so while you're working you get a little notification that's like pushing an update to you would you like the update how fancy is that oh it's so fancy it's the fanciest it's the sort of thing that before that was a thing I've worked in a shop before where you had to manually tell someone we big board to write on the board and because if two people have the same file open off the network and someone saved it your work just went away yeah yeah birth and that's like a check-in/check-out kind of system yeah yeah when you take a tool out of the toolbox you leave your check yeah those who've worked in a factory you'll know know what I'm talking about you have a giant ring of these checks with your name on it and you put it in the bin where the tool you took so it's like yeah I have to have a 3/16 wrench and so if anyone else needs a 3/16 wrench they go to the box and they say oh yeah oh yeah oh here's the giant brick with Evans name on and he has it I need it and then you go get him so but that kind of knowledge and accountability of who has what file who's working on what do I need to work on that what do I need to talk to them you know it's good good to do looks like you're lining up the old Shanghai shot yeah why don't we get like a leading lady mmm that's right a female lead named in the comments and we'll we'll stick that into this shot that Evan was working on just a second ago hmm and I what I really like about this shot is the mirrored aspect because I might be able to play with that in this this text treatment mm-hmm so you want to set your collaborators up to look good that's the important part yes you know don't try to overshadow them share the stage be a gracious performer these are all improv things which we covered yesterday yes and I learned quickly okay what are some of these names naseous and Ed's yeah yes thank you Valentina oh we have the wonderful Valentina in our comments yeah how about those streams these past couple days we just had amazing time with expression yeah and then the most essential graphics panel yeah Oh guys and if you missed it if you miss her if you mr. streams there are all-time all-time in space they'll always be there to check them out so we would that would be good and probably also mentioned you got 17 minutes to get your lower thirds challenge done in solid no 17 you know when we're treating it back and forth this time really but make sure get them ready get them in if you don't know what the challenge is the challenge is to make a lower third using components in the challenge tab and you'll win I believe it's a question so amazing hundreds of dollars well valued think of all the things you could make all the titles you'll be making how much you will grow in that year you know when you're able to you know you've already got me you got your two little investment done gets you can stop worrying you can you just make great things so yes and and be creative because we're gonna be the judges that's true make us happy you're very but yeah don't be afraid to add in your own little bit of flair to that template that's right we want to sort of see what you bring to the party when you put that stuff together so yeah what do we got coming up here what kind of names we have we've got some some names for sure I don't mean Nessie wattle Nessie wattle that's an interesting name does that sound like a good lean Gretel regretful bender so these are great names I would name my kid Gretel why I wouldn't yeah we're gonna go with dick can we get some some confirmation that we're picking the right name here in the comments it's true there's also slight delays we're asking that's for asking future people yeah but yeah we could well the great thing is easy to swap out is you just swap it right we get any better names right so yeah but I'll stick you know this would be a good place holder mmm-hmm the other thing to consider is the length of people's names right yes so like this is a longer name yeah and you can end up with with actors with very long names but if you are if you're designing a title sequence and then someone someone comes along like oh yeah by the way we're gonna be using this is the actors actual name so you're gonna use this and suddenly your design is broken because the name is too long it like goes way too big so you really need to account for you know think about when you have the big list of names work with the longest name and work with the shortest name to make sure that both the longest and the shortest work you know in in that way and you might have to do things like stacking them above and below right you might have to have a first name in the last name tough to say but when you start doing that if one of them is stacked it can be like why is this one so unique why is this different than the other right and you get these little things that stand out we were saying we've been saying a study yesterday the day before that the points of contrast are what draws your attention yes absolutely so whether they dressed in lots of different ways yeah controllers motions motion yep textures like we're talking about the weights of the font mm-hmm so be aware that causing these contrast points will direct mental attention to that space ocular attention mental attention it'll stick with you and you can use that to upset people you know it could be intentional that you want to like it feel uncomfortable yeah because not everything is pleasing and especially maybe that's why we chose the thriller to talk about yes but not everything is meant to make you feel good you know maybe the feeling you want people to have is unease you want them to you know question their place in the universe that kind of thing so that's part of what we're part of what we're doing and I just had this idea I'm talking about making people uncomfortable what if we had this text come in and then at this point when it collapses down what if all the text kind of decomposes a little bit oh it all splits apart and goes a little chaotic right because this is also the point in the music where things start to get a little bit wacky right because this is where the main comp things are gonna split apart right so yeah we invert that relationship on those things you'd still be able to read the text but if we like them to start messing it up that's a good time to write to start doing that oh I think I'm gonna do this like a wiggly selector because that'll give me some random offset using the musician value so instead of a range selector I'll use a wiggly selector and a position animator yeah there we go yeah so everyone loves the range selector I think that's the first one that people touch yeah you know then you got the wiggly selector the one that people don't use as much and then finally the expression selector which the dangerous I don't know if we can even talk about that one on air not without dedicating a lot of time it's kind of a it's kind of a yeah it's the very complicated cousin do you know how it works I don't I've never I've honestly have never used it so I don't know how it works I use a tutorial that I'm aware of yeah I've used it a couple times but in very limited ways like I'm using it by putting like a random expression in there right so enemies is randomly selecting which thing is getting affected you know and it's it's just it's just a difficult kind of thing that sometimes wrap your head around yeah just as text layers are already a little bit difficult because they have such kind of esoteric different ways to think about how a thing is applied to another thing and it's it's just that you know that's this is another thing to kind of to grok you know to use stranger in a strange lands word grok Valentina Oh who's jumping in jumping in on the questions is asking if the Flickr is coming with the footage or did we add it that's actually from the footage so on this this guy right here yeah so on the flickering that's happening because this is a hyperlapse of a bunch of lights reflecting into the clouds so as the clouds go by that's when we're getting that it's one of the things that attracted me to the footage you might think looking at where it starts and where it ends like how did you you saw the one thing in the other thing that one would be coming yeah I was kind of hunting for these little elements not necessarily everything in it like when I was looking for footage you're saying well only the top half is sort of the thing I'm interested in so what's going on up there what kind of activity is happening what is fitting with with what I want to do with it so it had had the bright lights had the slightly darker sky you know what we're halfway there let's use it and you can just grab it from the Adobe stock panel and right and it goes so it very quick very quick so this is just matching yours you're using here my key frames so that those two motions just stick together really nicely right and so yeah we're you know you're how are you accessing those key frame velocity yes very cool right-click on a key frame and then that this is just I'm just being really precise I could try and match his curve but I was trying to match it pretty much exactly so that's why I was copying and pasting numbers but I could just fiddle with this until it looks about the same mm-hmm is what you had but if you can copy and paste you know do less work yeah you know and have some great scripts to that'll allow you to do that very easily as well mm-hmm each copy is what comes to mind there are so many excellent scripts out there that folks should you know peruse to make your life a little bit easier sometimes they're they're generally very useful things available to you but yeah okay yeah I think I was just adding easing where I didn't need it so it's there we go that motion fits a much better now so that you see that text kind of just breaks apart a little bit mmm on that move and maybe I want to keep that motion going oh just a little bit yeah throughout this so it doesn't just stay static cuz the clip underneath it is moved mm-hmm so I just kind of want to continue that motion and I was like it's getting a hard hit and then floating right floating through space ambling just the malaise of modern life yeah which is the characters in this particular film so again bring it back to the idea of theme of this kind of drifting feeling and I'm a big fan of the jean-luc RA books like your Tinker Tailor Soldier Spy those kinds of things that's kind of that kind of spy craft that is about information and and precision and not about shooting guns and car chases you know if this were a shoot he got in car chase thing probably have a lot more guns have a lot more dynamic motion happening right to prepare you for the dynamic thing that's about to happen right it's a slow burn this one is a slow burn and I want to point out that in the matin this is this is the pre-comp yeah which is slightly different than what you had in the Mein Kampf in your Mein Kampf you split this clip we can because you made it even more jarring not only is it mirrored but it's now it's almost like an inverted you use the offset effect yeah to shift it on the y-axis yeah so what's at the top now at the bottom yeah and so that as you can see that makes the text breaking apart even more off-putting really well the things I really like about that is like it's illegible at the bottom and then when the switch happens what was illegible appears to have become legible yes you know so it's like aha it's a cipher or whatever you know like all the truth is it mirrors that kind of thing so I think that works out yeah beautifully I know I'd hoped without giving you notes that that's what I think yes you know that worked beautifully and that that's a great I mean we happen to both be hanging the same thing but again if if we were really collaborating on a real project we could have met a stronger motion just by communicating yes I would have wanted that in the discussion earlier right and the other thing is like we could have been adding these titles to the gestural animatic as well like yeah we could have started there and been doing it in tangent right because you've got all sort of the framing ideas all the motion ideas are conveyed in that earlier animatic so we that's a way you can kind of save time a lot of the times you have two people but they're working concurrently so in one is going and the other one picks it up and then the other one is going right what you want ideally is two people to be able to apply their labor at the same time finding ways that they can overlap in the time they're spending so that two people can accomplish a two day project in one day not right two people still take two days to do the thing then you're just spreading the amount of time it takes over two people and that's fine too but it's not the most efficient use of people's time so it's it's good stuff so what I'm trying to do here is just match the placement of the text on this flip a little bit closer okay because that is throwing me off a little bit more than I want to because if I just go between these two frames you're looking at this line right here mm-hmm it's you know at this point that's the baseline and the next frame it's off of that baseline so I'm just gonna manually I'm just gonna split my clip and move this all forward one frame is but my my layer and then give it a different starting point and two for reference I'm just gonna open or lock this comp viewer so I can see it while going into my pre comp and I'll just drag my second compuer to dock on the side of that now we can see both in context yeah so this is something I think a lot of people don't do often is lock these things in this is a great way that you can be updating the nested thing seeing the updates happen live on the other thing right and it really helps because look you were doing the your first stream here you are doing the these titles for a blogger and there's nested things there's stuff outside and yeah being able to see your updates as they happen outside can be really useful right so have that have that just come together you know so you don't have to like tab oh I'm in here now I'm back in back in back in yeah so that's yeah it's something yeah cool so I I mean I'm happy with the way this is looking what do you think we should work on next so how much time we got here word oh we got five minutes for we're reviewing some cons right now that's gonna be coming into play so what we'll do is after we let me let me get started showing how you do what these shots from scratch okay jump over to I'll take a look at these comments as they come in you don't focus on that okay good so if we were to make something from from scratch let's say we were to do this thing that we're gonna put behind the titles right we're like we want to put something back there and the thing we want to put back there is a converging amount of city that's gonna come together like Inception let people love I would start by probably making making a new composition or by grabbing the elements that I put out there and pre composing those so that's a good way to start so we would do that getting their new thing you want to name these things so this might be like the main title background and generally give things a number so they know which one in the sequence it is that we're talking about that can be very helpful to fit things together so we've got here this particular project I've got some footage we can play with I've got an aerial shot of Boston that I really enjoyed so we're gonna bring that out and just have a look at that lovely daytime footage you know I think when you see oh this is how it starts saying well that's a little weird you're starting from such a bright and interesting cheery even kind of way this could be the start of a rom-com what what are you talking about this is not the move this is not the thing so then we start to distort and make things unpleasant so what we would do is we would start by making the big moves make the big moves first so I would make a new adjustment layer and I would drop on that adjustment layer a mirror the mirror effect the distort mirror and what mirror does that drops a little reflection Center out there so where wherever you move that that's where the reflections are gonna come from and me I'm gonna put that right in the middle 960 540 so now it's mirror is mirroring in the middle where it is mirroring so here's what that would look like things are kind of drifting together interesting interest just rotating the thing under routing the clip underneath in Valerie position and now while everything's moving away from the center how about that is that a weird idea you know and maybe I like the buildings I don't like the directions I could go to the lair I could go to it's time I could go to it's time stretch I could make it faster I can make it slower I can flip it and make it go you know go in reverse go forward adjusting the timing of the clip can be really helpful to convey a different idea so let's say we're just gonna go - 100 maybe Oh now the cliff has gone somewhere else because I did not maintain the in point big whoopsie forever but now when we play it back you know everything is converging it's converging together it's looking very strange as it converges so that can be very useful so it's helpful to kind of play around with those things to find what's going to work because we could instead of reversing the direction you could just rotate this thing around right that's another way to make it converge because the footage already has the motion right you're making money moves that's right no one makes the moves like Evan you should see me dance maybe later you know it's today's still yes yes so we've got one mirror on the adjustment layer we could add a second mirror to the same adjustment layer you just duplicate this the reflection Center is still the same spot and as you can see it's snap snap we're having at all 90 degrees and now things are coming together you know and inception style yeah what I find is really interesting about this kind of thing is is that we end up with with these repeated things that are coming together it's not to look like circuitry you know it starts to look very computery we start to lose the original elements of the thing what it was before it doesn't because much sense anymore you know these could be little micro processors the roads could be little circuits you know that's sort of why I chose this piece that has all these little bits this is something that happens when you look at urban infrastructure from the air too much right so that's that's just a thing man so so we've got things going is kind of converging in a mill things can get a little bit weirder when you just offset this by 45 degrees so know like I'm just tilting it a little bit getting much stranger all the time so he needs lines very 19th lines exactly and you know just tilting it slightly slightly little slightly and it's changing it so much now we have this X pattern that's coming in and I think you know that tilting was fun right so how about over the length of the clip we just drop a keyframe over here we drop another one over here and we're just slightly slightly slightly tilted and now you have this very different feeling but we're but how would how things are moving you know and that's yeah now that's fun and you can try to position stuff so that it you end up with like little patterns as they as they merge together you're kind of searching for these little synchronicities that are gonna happen there is there are many many things you can sort of do to the footage to gain further control of it you might stabilize the footage you might stabilize it around a certain element you might decide to make things seem even trickier by you know having like a certain Street or a certain landmark locked into the center right and the thing is that with this kind of a shot we're able to say oh well a director of photography when you're out there selecting your drone footage when you're out there telling people what to do on the day think about look for these kinds of elements and bring us those if you please you and and so you can see you can then back it up for them you can say alright this is the original shot that we started to work with I can take this and I can do you know X Y Z to it and you can end up with the other the other piece that will eventually end here but to communicate to someone who isn't using After Effects you know what it'll become to be able to show them that early is helpful because then they yeah what am I gonna what are you looking for to make this I have no idea help me out and helping each other out is super important so we've got that cross coming in I like that I like how things kind of crash together we then have to sort of tint this down to make something of it right yeah yeah Tim is saying those are aerial shots from Boston Tim are you from the Boston area I would love to know if if you recognize it recognize the streets and that kind of thing I definitely recognize like when I see shots of trial especially in TV shows that are pretending that it is shots of shots of New York I find those television programs hilarious it's like no no that's Yonge and Dundas it's a that's a specific place why don't you just set this in Toronto that's a real city you know we also we have things there so it's it's sometimes baffling why that happens when one city stands in for another like most of the x-files is filmed in the Vancouver area oh so yeah and you can notice a lot of Vancouver things but they're saying they're in many cities around the u.s. like nope no man there's a very specific spot but I love that you were filming in Vancouver you know always always happy to see so if we were to start dropping effects on this we kind of decide do you want the effects above the mirror below the mirror right what effects are gonna live below what effects are gonna live above and guys before we get into that kind of thing we've reached the zero our missions guys well thank everyone who brought in the submissions everyone who rendered stuff everyone who participated adobe puts on these challenges to see you know what you can do to stretch your creativity to give you some stuff but it's great too it's great to see what you guys do and you got a yeah why don't we take a look Oh tab Joe yeah I just brought up the template because I was curious I you know I don't always have time to know exactly what you're given so I looked up this is the template that we suggested you use so that's there's your reference and we have four submissions they're all fantastic let's take a look mm-hmm so what I love about this is that that is clearly not the same template so I'm just happy you know see that yeah you know you guys are using original concepts here zoom there's our first that was from well I don't know if that's actually your name but Henry olds is the username on YouTube we've got salt this salt all right let's see what you've got it and I'm pretty sure this one might have two options anyway let's just watch it's given us two things to consider Wow look at that you got some noisy gradients were you inspired by Pablo earlier earlier he was doing some new ingredients those are fantastic those are fun yeah really nice okay next up we have half have feed is that right very nice see all of these seem completely original to me maybe you chose a different template I don't know I mean I'd be very impressed very impressed if if you guys came up with these from scratch in the amount of time that you had I know right but the other thing is that some templates have like different styles you can choose in them you tab through these styles which is a really powerful use of the of the template kind of functions like you're taking a numerical input one two three and you're mapping that to a whole bunch of stuff inside the composition right which is terrific and it's it's good stuff these are our final submission okay good good I I think all of these are very very good oh did you have one in particular like you know let's watch him through again okay here's the first one and I'll back it up and that's 1 and this is 2 if you ever considered a career as an optometrist Jake better and that's one and there's two that's was number two and this one had two options yeah so it's like this first option to double the submission both very cool I like both of those a lot they want fun elements so we got two different styles you have two different colors to match the the programs you've had stuff that's very harmonious yeah and here's our fourth submission mm-hmm remember what is that steak a year of creative cloud is a fantastic prize all right so did you have a favorite I think my favor is number two but I would have to agree as soon as I saw this I was just I was in love with it so this is from salt salt salt congratulations yeah regardless of how badly I'm pronouncing your name you are the winner of this challenge congratulations you're going to be getting a year of creative cloud and thank you everyone who submitted everyone was following along I'm seriously impressed with all of these submissions i loving it's just fantastic results just really really great job thank you so much for participating that yeah and we yeah we love seeing that everyone gets involved and you know you should always be always be tuning into the adobe live streams cuz yeah you never know what's gonna go down and you get to get to see how people's great work you get to to experience having your shared and everyone loves it and it's great like Jason was on here before he's talking about how super positive the Behance community yeah and that is that's well things I like about it in a in a in a world you know where comments sections are sometimes bad you know it's great to see creative people supporting other creative people cuz you know he's right like everything everyone was new once everyone had to do the thing the first time once and you want to make sure that you know you if in my early days people had poo pooed some of my earlier stuff I probably would not have continued with the the Verve that I did and well you know that being said I did I got a lot of notes my my first gig was at Army Public Affairs so you can imagine the notes you get at army public affairs and that's everything from from producers coming in saying well this is not up to you know a and 'red that we can broadcast to you can't show that or like you know the this editing is bad because it doesn't conform with this binder of guidelines you know so you have to learn to work to god lines pretty quick learn it or boot it that's your two options so yeah so you're putting the big titles on now and I figured we should probably visit this you were working on that showing how to make that kind of a clip from scratch and it is good the title of the movie yeah but I really was inspired kind of like inspired by this whole kaleidoscopic effect mm-hmm and again we're seeing this text but it's not it's not legible so it's done nerving yeah seeing altered you can kind of make that out but it's not the full title and just say Alberta yeah not quite sure how Berta affects the only thing is that I don't want it ending right there I think it's a little too high in the frame right so that's the current issue that I'm working right with everything being drawn to the center you know it would be it's even more incongruent that that is not in the center as well you know you we can see the line and it's helpful when it comes to covers the line to hide the division right it seems more magical when when we don't know we can't Intuit that unless is to mirrors you know right that kind of thing and that you know it needs to be it needs to be creepier that's so the way that I fixed that was just by cheating and I'm using a mat it's just existing right there and I just dropped it down below the halfway point so that once the text passes through it it ends up where I wanted in a frame which is slightly above center just from a compositional daddy and that even might be a little bit higher than I want so I'll grab both just tap it down a little bit just tap it down and yeah that's kind of cool I like how we're getting a little bit of this repeated mirroring effect again just playing to the same themes that we've had this entire time yep and then I would probably just add in a little bit of that tracking animation that we had from the rest of the titles mmm but otherwise I'm gonna leave it leave it as that keep it simple but before you in even before you leave it here comes producer Evan in Cu everybody's jumping in for the top rope see here's a twist what do we got so in this shot there's a part here that happens at around 17:08 you know if you go in there I'll play it back for you so we can hear there's that at 17 does that hit okay so we should probably put something there and as it's as this track kind of goes we're building building building to that final final little out so it'd be great if we could put like maybe some kind of glitching towards the end some kind of a hit to drop in there the title is up for a fairly long time could book and read it many times in their mind yeah and we'll just envision so it's almost like it's like the it's intensifying so it's like something comes on here and then gets worse and worse and worse and then it goes out like that okay what do you think what if we started this this title in a thinner version of the font really thin and at that hit which she said was at 17 seconds we're at 1708 so do you know eight so we'll go to that point exactly and I'm going to just split well I don't need this this original copy anymore because that's gone you can actually just trim that down here but I'll split split the thing right there and Tim is saying here that more glitches doesn't always make it better well that's true not always again the overdoing yeah concept that we're talking about I think of it as a feature more than a bug and Joel is asking do you use the safe margins we got the retraction title safe and action safe so when we call those up which you're just using a hotkey - yep - bring those up you can see them there at the side some of these are a little antiquated right so the four by threes that are in there those are the innermost boxes generally correspond to the four by three tube televisions right that are not as widely used right I don't know more I don't know I've not seen a tube television in a while but yeah those bezel situations are not as prevalent anymore all right ice I'll be honest I've seen some of those cabinets they've all been repurposed into some kind of retro gaming console by hipsters who frequent my local flea market but but that's the general would happen so the you've got the four by threes that are in there and then the ones on the outside the action station and the title safe that's about the bezel and what won't be seen by anybody but you used to work in television right those so yeah I would have to deal with these these safe guides I mean basically the rule was always stay within title and action safe so title safe would be for any text actions safe would be for anything that needs to be seen you could basically assume that anything outside of this action safe area could be cropped off and not seen so you're never gonna want anything that needs to happen existing in that space it's kind of like a no-fly zone at this point I mean I've never worked on actual movie title so I'm sure there are standard guidelines for edges of the frame for a projector but that's just something you'd have to you know look if I asked the right questions to find the broadcast standard that ya action standards know and while we're talking about that people these days are working in various different formats with very different requirements right I'm uploading to YouTube I'm uploading to Vimeo I'm uploading to you know some of these can be played back on a phone vertically I'm uploading something that's Square and I one of the questions I get all the time is Evan how do you make content for such-and-such a specific output zone or one thing BRE cently is I'm doing titles for a live situation how do I get this up on the scoreboard or I do a bit of work with arena signage that are these really interesting very strange formats that you would have like sixteen pixels by a thousand and like ten thousand pixels Wow right because that's what the board is now the board is sixteen lights by so ever many lights right and so what you have to do in those situations is you have to talk to the people who physically run the board and they usually have a manual though it'll tell you what they expect to get and what you need to feed in there so depending on what you specifically have to work with whether it's going to be the one by one square situation of an Instagram whether it's gonna be the vertical situation you really just want to make sure that you're doing the research into where it's gonna go it's very important because with our if we're say that's gonna come out of a projector there is definitely some warping that happens to where the outer bounds a lot of that's been corrected thanks to modern technology the kind of fixes a lot of those gripes but it's definitely a thing that can that can happen sometimes it's useful to say Oh we'll play it safe right we'll just stay away from the edges which can be very very useful kind of guideline yeah and that's what I was also gonna just say is this sometimes it is nice to just use them as a guide for giving yourself some breathing room in your composition you know not the the text wouldn't necessarily look that great if it was just all the way up against the edge you know taking up the entire screen that might not be a very good look you know giving your composition room to breathe is I think one of the simplest design principles that you should you should get used to doing yep is how how oblige your items are in the in the frame mm-hmm and it's it's helpful especially when collaborating we talked about sort of being generous you know making sure that I want to make sure that I don't create backgrounds that overshadow the kind of text you'll be doing and then you don't want to like come in and be like oh well now we're just gonna cover up everything else you know right these backgrounds are great but they should be entirely text so that you know you want to make sure that you're leveraging the skills on hand for both parties right Morgan's right which you know if I might say I think we've done a good job of doing that today I'd say so really took the oh that's that's something I'm like in here like that oh yeah so that yeah I just added some Wiggly selectors again gave some craziness to that and is there a way that I can get my sound internal speakers I hope I'm not messing anything up Pablo but you let us know when our levels are very bad if I have audio coming out of here I don't it's not playing okay you should do import import the render that I dropped that has the audio I don't know if my speakers are working that's oh I see I'm not hearing anything bad bad speakers but it should be going right to the beat because even though I don't have the audio mm-hmm I will enjoy used room markers and we were talking about that hit right there at 1708 and we also see it right in their wav format look yeah yeah right there that little peak right there and that their waveform there so yeah I mean honestly I am pretty happy with the way that looks we could always take it further adding some blurring or but we double so don't want to overdo it exactly know when to be done that's right no one to call it day maybe I'll have it which out just in like the last three frames before that that's amount yeah well you're doing that everybody in the chat you know we've got only a few more minutes here to hang with you if you got any quandary swell we're still here we'd love to try to answer them for you try to do our best to you know leave you leave you satisfied with your quandary answers if there's anything that you need to know we accept reviews on Yelp that's right that's right TripAdvisor great you go on a trip with Jacob that's right a trip of your mind you know and how are those souffles coming by the way mine's uh just wrapping up in another room yeah bye Jake here's one I prepared earlier so yeah well thank you thank you bye I'm glad you're having a good time you know and we love love having you all here that's great Maya yeah it's great to see you in person mm-hmm and it's been great hanging out with the other creatives you came out for the stream you know it was great you know having dinner with Pablo was great he's got a lot of interesting insights absolutely mine where the phenomenal artists oh yeah yeah he's the stuff he does oh yeah and there's also a time for us to I guess shamelessly plug the things we do oh drop that in Jake we can find you Jake in motion motion command anywhere on social media yep a lot of lot of skill share courses yeah like hearing your voice and they like the thoughts that come out of your mouth then they should definitely be taking those skills share courses from you so that's something I would highly recommend myself I'm on YouTube at M&A at ICI Abrams on their all the Twitter EC Abrams where you can learn more ad hoc things on there if you enjoy that yeah if you like hearing our voices you could hear them more yes in your lives and I just recently joined Evan on YouTube as well so maybe we can even collaborate and we could become YouTube stars where were you taking so many trips alright we're taking the cooking show on the road that's right we're gonna be pranking so many people but also if you if you enjoy this program and you watch some of the other streams this week this happens almost daily I believe there's new content on the Creative Cloud YouTube channel constantly and Tuesdays Wednesdays and Thursdays they're usually live streams throughout the day so no keep coming back and the Adobe evangelist they have on the Facebook pages they have live streams of little little little knowledge nuggets to drop on you all the time I love seeing some little things that Jason drops on there and if you're not following Toby on the various social medias you miss some interesting things like to celebrate the 25th anniversary of After Effects by the way older than After Effects what do you think of that I buy yeah say it's yeah it's 25 years old makes sharing little interesting tips that you know I'm learned some interesting things all the time oh yeah there I love it it's fantastic it's it's it's a great way to just you know get a little refresher on some things highly recommend it so I learned yesterday that we both started on the first version back at the same version matter yes 6.5 which was not cs6 point five no who is six point five what so old still had the capability of making lightsabers and that's really the first things almost anybody does we have effects to say they first need to wave lifesavers at each other that's job one you know job two is being frustrated that your lifesaver still looks so good three get explosions explosions and things Matt Kozar yeah as we became obsessed with how to do that we wanted to build little models and blow them up and superimpose them to the background you know and facilitated having to make a lot of tiny models that did not appreciate that so end up buying I had a train set when I was a kid yeah a kid I was plenty of a chose scale trains to explode which was fun it's um american-style fireworks and blow those up I know this but Canadian style fireworks are kind of kind of cruddy they're not okay well weird they're not great here anymore either there's very few places you can get actually really destructive fireworks anymore Mexican fireworks it is no way to go south of the border absolutely absolutely so yeah thank ya well thank you yeah I want to thank Evan thank you for being such a fun host to be I mean on screen with this is great this first time we've ever been able to interact in person and I have had a blast thank you guys for tuning in I mean we've had eight hundred thirty-five years right now that's incredible so I mean the the activity in the chat has been great the submissions all the challenges participation is great and again it cannot stress the the be participating the challenges enough I don't know of other places that you can regularly win prizes like a year of Creative Cloud so it at no cost to you yeah I was always liking it to to be like if like a welding torch company was giving away free welding it's work that doesn't happen a lot and you're still probably get one of those in years you need to put a TIG in there if you want probably yeah it's a tiny one but you could do it but yeah just like it's the it's the tool that does so much you know it's it's a garage being grafted onto your house so there we go so I guess we'll listen yeah well we did it bad yeah so thank you thank you thank you for thanking me everyone thanks enjoy the rest of your days or nights depending why you want yeah and yeah wherever you are in the world bye-bye [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music]

Channel: Adobe Creative Cloud

Views: 3,267

Keywords: Photoshop, animation, motion design, Adobe, Adobelive, Adobe Live, how to design, how to draw, motion graphics, youtube creators, motion graphics template, video editing, how to use after effects, getting started in premiere pro, Evan Abrams, Jake in Motion

Id: THSYTM1kZks

Length: 117min 47sec (7067 seconds)

Published: Thu Mar 29 2018