AE 5/6

Today's aims...

∆ Some additional Key-framing techniques - techniques we can apply to any part of our composition that we have already applied key frames to

∆ Some possibilities as far as simplyfying compositions effectively 'grouping' layers, which allws us to work with multiple layers as if they were as one.

∆ Quick look at how we work with audio, adding sound to compositions.

**cmd+A, selecting all, then press 'U' allows us to see all the animated properties**

Acceleration and decelleration - Easing in and easing out.
- There are some quick and easy ways to apply these settings
    ∆  Select keyframes > annimation menu > ease

 Applying 'Ease Out' to the green box, it accelerates slowly and catches up to finish at the same time

**Think about Ease in and Ease out as a car pulling into a stop or accelerating out of a garage etc**

Easy Ease - Selecting both first and end key frames and applying 'easy ease' accelerates and decelerates at a more realistic speed.

Using graph editor...

Establishing parent - child relationships...


Selecting one layer to act as the 'parent as other layers' - what ever that layer does, the rest will follow.

To set this up > Parent > Select the layer you want to adhere the specific layers to...

Once selecting the parent layer, make sure everything is in the correct place before hand.

To achieve the feel that the car is actually moving over the hill realistically, transfprm > Auto-Orient.

Nesting compositions - involves placing one composition inside another.
Select layers > Precompose > in turn this combines the selected layers into a composition in the properties window.

Double clicking this new composition, allows us to edit the individual layers within the car composition.

One thing to note when working with nested compositions, anything outside the nested composition will nd at the boundary, unless one selects collapse transformations


**when working with sound, you have to 'ram preview' opposed to just hitting the space bar to play through**


**Output Module Settings > Make sure audio output is selected in order to hear sound**

Testers.5

More experimental videos working on the new techniques Mike introduced us to, although these effects could be achieved manually, it was the sheer rapid experimentation through minimal changes/tweaks that that was the essence of the session I felt.

We were asked to work with a singular line of text, of which both Matt and myself worked with the two slogans from our enterprise project; 'A new audio aesthetic' and 'I beg your pardn?'. As simple as these black and white experiments are, I think as a set they come across quite mysterious and intriguing. The only thing they're lacking is a small logo/name to turn them into simple but promotional idents for our proposed company.

Testers

After Effects 3/6

KEYFRAME INTERPOLATION                                                        

To interpolate means to 'insert between fixed points'- in our case, what goes on between key frames
>Using the convert vertex tool (G), to remove any curves.

Select a keyframe and select Animation>Keyframe interpolation OR Right click on a keyframe for the menu...

Options to edit Temporal or Spatial interpolation, these properties may not show much changes however, certain elements will be effected by selections more than others. For example, selecting a linear path and opting to select a bezier interpolation will change from straight paths to a curved, flowing one.

Introducing 'Hold' Keyframes > Selcect all key frames, a=Animation menu//Right click > Toggle hold keyframe (when there ae dots on a motion path - the dots indicate speed, fewer dots - faster movement). 'Holde Key-frames removes dots

Selecting Hold Key frames, the position of the objects is held until the play head reaches the next key-frame. Object jumps around the frame on specific key-frames. > good for making things flash?

In this case using the word blink, we wanted it to appear as though it were blinking, really easy process by setting the specific values of each key-frame > 100% & 0% opacity, opposed to fading in and out as it would by default, selecting 'Hold toggle key-frame'  skips from frame to frame, creating the blinking effect.

Making a whole selection of key frames play out over a shorter or longer period > Select all key frames and hold 'alt' whilst dragging the end point further away or  closer together.


Roving key-frames> Selecting all key-frames between first and last>Key-frame Interpolation> Roving across time. IT equalizes the amount of time between frames, also when moving the end key-frame, the middle frames will adjust accordingly as if holding 'alt'

USING ILLUSTRATOR PATHS                                               

One way to work with position is the position properties, an alternative is to use illustrator artwork to create path. Working in illustrator with the correct page setup allows us to see the frame as it would exist in AE.

Make a path in illustrator and simply copy and paste it in. Make sure the layer, and position key-frame are selected, apply paste and the layer object will apply the path to the object

Animation>Time reverse keyframes. Switching from clockwise to anti clockwise, or playing in reverse, select key frames and apply this option to achieve the reverse of what you currently have.


Layer>Transform>Auto orient. this keeps the object more natural looking along the path opposed to staying in a fixed position as it travels along.

Creating masks> Make sure the layer is selected, select the shape tool and drag a shape over the layer. This makes some of the layer transparent and some opaque, the inside of the shape is transparent the inverse opaque.

Any layer can ave any number of masks applied. Masks work just like objects, able to be manipulated over time using key-frames

Using the 'Track Matte' option, enables working in a mask like manor, using illustrator text files to mask out what is shown underneath, any illustrator paths work in this way...

After Effects 2/6

[RECAP]

Project window - all the files used withing the project - still images, audio or video.
Time line - Where assets are arranged in terms of time, deciding what happens at a particular moment in time.
Composition window - Where we see the elements of our movie playing back, arranging elements of the design/spatially
Composition - Every project must contain at least 1 composition,
PAL - 1050 x 576 PIXELS - Specified size by the PAL preset

[TRANSFORM SHORTCUTS]
A - Anchor Point
P - Position
R - Rotation
S - Scale
T - Opacity


                                                                                                 

PHOTOSHOP for AE


RGB // PIXELS // 72DPI



New>Presets>PAL D1/DV WSP (Widescreen Square Pixel)

Action Safe Zone - Is a legacy feature form when TV's had a curved face, it's an area to ensure all the desired imagery/content is visible.


Title Safe Zone - A guide to ensure all text displayed is delivered as desired.

                                                                                                 


To turn these guides on in After Effects its a simple case of using the 3rd button along at the bottom in the Composition window...

When working in photoshop, it is imperative to consider scale first, enlarging in After Effects will cause bad pixelated image. Using the Video preset allows us to have a clear idea of scale before importing.

File>Import>IMPORT FILE AS FOOTAGE

When importing, we're not importing, we're adding links to the document, keeping all elements in one folder, much like InDesign.

                                                                                                        


When adding something to the composition, there are various ways to do it. Simply dragging on onto the workspace is okay, however dragging to the time line places the item exactly in the middle of the workspace, a helpful little tip/time saver.

A simple way to animate text, working in layers in Photoshop, these layers can be transported into AE and work in the same way. Each part of the image that is animated should have its own layer in order to be able to manipulate it correctly.
*When importing layered art work - Import as a composition

In the project window, adding a layered file adds a new composition and a file called '______ Layers' - we will rarely use these files, instead we will use the composition.



*ANY AFTER EFFECTS PROJECT CAN CONTAIN MULTIPLE COMPOSITIONS*


Adding a position key-frame to all layers by selecting all layers, clicking the key-frame button on one transformation - adding the point to all layers...

When importing layers, it is possible to have each and every layer fixed around 1 anchor point, all the text/image will rotate around this point. The is an option when importing to 'retain layer size' - This gives each layer its own anchor point, in turn allowing each glyph/image to be edited with more precision.

                                                                                                     
Working from illustrator, the principles are very much the same. Using a preset document set up for immediate use with video/film.

Layer switch's - These allow you to turn features of a layer on/off, one is very relevant for working with illustrator files

Any layers one has finished with are able to be turned 'shy', basically removing them from the time line but still appearing in the composition window.

Quality switch - Forward slash's indicate the quality is at a high level, its like changing the resolution but it's able to be changed on a layer by layer basis

*COLLECT FILES* - is a handy little way of collating all the files used in a project if one hasn't been particularly organised throughout the production process.

AE1/6 - Experiments

After our induction to Adobe After Effects, we set about using some of the basic functions the software has to offer. Using simple shape and colour we explored; Anchor points, Position, Scale, Rotation and Opacity. I ended up with a few experiments, the first ending up in absolute un-renderable chaos through being slightly over ambitious, but I've attached the two comprehensible experiments that show use of the aforementioned attributes...

After effects 1/6

Active windows are highlighted with a yellow perimeter.

Project window (Top left) - where things live; photoshop, illustrator, sound, image documents
Time line (Bottom panel) - where layers live

Window>Workspace>Reset to standard - after working on a project, messing about with panels, its an easy way to revert back to default.

Opposed to going File>New, to create a new project is Composition>New (cmd+N)

*ALWAYS NAME THINGS*

Presets, various presets. Different regions have different settings, UK standard is PAL while the US uses NTSC as their preferred.
 

PAL = 25 FPS 

PAL D1/DV (digital video) Widescreen Square pixels. (selecting this option automatically fills in other fields)

Can always change the duration throughout project >> HRS:MINS:SECS:FRAMES

Background colour - When dealing with light, black is the absence of colour, opposed to print moving image considers black as blank instead of white.

When creating a new layer, it comes up as the same size as the format of the project, there are different ways to change this, click and drag from the corner. A better way is to click on the yellow box in the menu to respecify the exact dimensions.

A long red block appears after creating a new layer/shape, and extends for the whole duration. When you have a vector file it is possible to simply drag and drop to get things in the project.

To change the amount of time the layer is visible, it is a case of adjusting the red bar in the time line. The time indicator/play head is a frame by frame pin point to specify exactly what frame is being modified.


A layer can only contain one thing at a time.


Back to the layer menu. Create>New>Solid (cmd+Y). Again creates a new layer filling the entire duration of the specified time line.


3 Different playback options. The first is through the Playhead, for a manual playback. The second is by hitting the space key, it works as a play and pause button, sending the red line off at a real time speed down the time line (if project is simple) - the space bar only plays back a limited preview, too many layers can cause the playback to be slow and less accurate. The third way is the preview bar, allows a real time playback regardless of the complexity, better for more complex stuff.

If the video starts to play back slow, we can change this setting to allow the playback to become more responsive.

In the timeline, there is a small slider allowing us to zoom in, working frame by frame for more detailed work.

Using the ~ key, allows the currently selected working panel to become full screen and a quickly toggle between the two.

Only ever saving in project files, all the other media is linked.

Key frames, are specific frames with data/shape/image, the frames in between these key frames can be interpreted by the software. For example A key frame with a square on and a key frame with a circle on, there could be 30 frames in between where the software will automatically merge the two together over equal increments.