• Working with Cameras
• How to Use the Camera Tool
• 3D Camera Techniques
• Mastering the Camera

Download Demo file: Lesson 6: Parenting and Nesting

Nesting Multiple Comps and Precomposing

One way to organize your layers in After Effects is to nest comps within comps, also known as Precomps. This will group your layers together and allow you to make changes to all of them at once.

Create a new comp by right clicking in the project panel and selecting New Composition or clicking the new composition bottom at the bottom of the panel.  Change the name and set the resolution to 1920×1080.  You can then animate in this composition. Make a new composition in the same manner and name it master comp.  Other comps can be dragged into this master and arranged like any other layer.

Existing assets can be grouped into a precomp.  Select the layers, right click, select Pre-compose.

To edit the layers, edit the new precomp by double clicking on it.  This method has the added benefit of rendering the composition once instead of re-rendering the layers with each preview.

Parenting w/ Null Objects

Null objects are empty layers used to organize and transform many objects at once. In the top menu bar, select Layer > New > Null Object. If you do not see the Parent column, in the layers panel in the Timeline, right click and turn on the Parent column. Select any layer and set their parent to Null 1. Move Null 1 and the child layers that you parented will move along with it. This allows us to animate a Null layer once instead of every child layer individually.

Suitcase Fusion Software

For this project, you are using fonts that are on the computers in both Design labs. Use Suitcase Fusion to enable/activate these fonts. Specific fonts may not be available outside of the lab.

Character Tool Palette

Show the align panel by switching the workspace to text or selecting Window > Character from the top menu bar. Drag the panels to more convenient locations.

The character palette includes familiar settings for text size, leading, tracking, and kerning.

Align Tool Palette

The align panel is useful for aligning typography when working in many layers.  Show the align panel by switching the workspace to All Panels or selecting Window > Align from the top menu bar.

Animators

Text has its own set of available effects and transformations.  Expand a text layer, then select Animate on the right side. A fly-out menu gives multiple options for animated effects, such as anchor point, position, scale, rotation, opacity, and tracking. For example, select Position. Then it creates an Animator 1 with a Range Selector and Position property. Go ahead and adjust the Position of the Y axis. Then under the Range Selector scrub the Start parameter and you will see the text animate by character. You can then look under the Advanced option and change Characters to Characters without Spaces, Words, or Lines. You can also change the direction shape, smoothness, and randomization of the animation.

Make an animation using rotation and watch how the text responds. The first is number of times to turn, the second is how many additional degrees to turn. Under More Options, Anchor Point Grouping can be adjusted.  By character rotates each character.  The value can be changed to word, line, or all.

Steps are done very similarly for each parameter.

3D text
You can make your text animate around the z-axis as well. In the timeline, click on the 3D cube icon next to the layer to enable 3D. Then open up the Rotation parameter and turn the text around the Y and X axis to see it move in 3D space.

You can also enable 3D per character using Animators like above. Click on Animate next to the layer and then choose Enable Per-Character 3D. Then once you go choose another Animator like Rotation, you will see the Z-axis included.

Text on a Path
With the text layer selected, go up to pen tool and draw a path onto the layer. This will create a Mask Path on the layer. Toggle open Path Options under your text layer. Then choose the newly created Mask as the Path. The text should then conform to the path. You then have a number of other options like reversing the path, perpendicular to the path, and adjusting the margins.

Text Shape Animation

Creating Outlines
Make a new line of text using the text tool.  It may work best to create each letter one at a time.  Right click, then select Create Shapes From Text. Expand the layer in the layer panel.  Under contents, find the path.  This is the outline of your letter.  Letters with counters will have multiple paths.

Working with Points
Click the stopwatch next to path to begin animating. Note that the path as a whole is animated rather than the individual points. If you move the object, the position will animate along with the individual points.

Points can be moved with the typical click and drag method. Add points with the pen tool by clicking anywhere on the path. To add a bezier point with curve handles, click and drag with the pen tool. To convert an existing point to a bezier point, select the pen tool, hold down option, then click and drag.

If you are animating type to voiceover or just want tips on how to animate groups of type, look over the following:

Tutorials
Tutorial 1 (Create type on different layers in AE and skip to 10:25 in the video. Uses a null and parenting method.)
Tutorial 2

Demo File Examples
Short kinetic example with AE file and AI file

1. To Move a layer: Select the layer, put your playhead where you want the beginning of the layer to start, and hit  [  key on the keyboard. To move the end of the layer, do the same thing but hit the  ]  key on the keyboard.
2. To Trim a layer: Select the layer, put your playhead where you want the beginning of the layer to start, and hit  alt  [  key on the keyboard. To trim the end of the layer, do the same thing but hit the  alt  ]  key on the keyboard.
3. Sequence Layers: To put a bunch of layers into a consecutive sequence without having to move each one, Select the layers, Trim them to the desired length, and go to Animation > Keyframe Assistant > Sequence Layers. You can then choose whether you want to have them overlap with a dissolve effect or not.
4. Blending Modes: can allow layers to interact with each other visually, if you don’t see the Modes column in the timeline, click on Toggle Switches/Modes on the bottom of the timeline. Then click on where it says Normal under the Modes column and you can experiment with all of the blending modes to create interesting relationships.
5. Types of Layers: you are already familiar with Shape Layers, you can also use the Pen Tool to create a shape and its own layer.
   a. Adjustment Layers: are invisible layers that you can apply effects to that will affect every layer below it without having to apply effects to individual layers. For example if you would like two layers that are both visible on the timeline at the same time to both have a blur without directly manipulating those layers, you can add go to Layer > New > Adjustment Layer to add an adjustment layer to the timeline and then with it selected go to Effect > Blur & Sharpen > Radial Blur. Now the layers below it take on that effect.
   b. Solids: Another layer type you can bring in and use for isolated effects or as a shape is a Solid. For example, if you would like to add a lens flare effect to your sequence, but will want to be able to move its position and the size without affecting the layer below it, you can add it to a Solid. Go to Layer > New > Solid, then with it selected, go to Effect > Generate > Lens Flare. Now you can adjust the parameters of the lens flare on its own. You will still need to change the Blending Mode of the Solid to Add so you can see the layers below.
6. Timing of Layers: You learned some of this already, but to review, you can adjust the speed of an entire layer by right-clicking on the timeline column header bar to add a column called Stretch. Then you can adjust the percentage speed of the clip duration. You can also change the timing of keyframes relatively by selecting all the keyframes you want to change and holding alt-click-drag on the first or last keyframe. Lastly, you can loop a piece of footage that you import that you would like to repeat without bringing it to the timeline several times. In the project panel, select the footage you would like to loop and click on the Interpret Footage icon in the bottom left of the Project Panel. At the bottom of that panel, type in how many times you would like it to loop.
7. To Split a Layer: into two layers at the playhead: Select the layer, then Edit > Split Layer. This will duplicate the layer and automatically trim both copies so that they meet up at the split. Any keyframes and effects will appear on both layers after splitting.
8. Layer Styles: If you import a file from Photoshop with Layer Styles, you can edit those in After Effects. You can also add Layer Styles to any layer in After Effects. Select the layer and toggle it open to see the layer style properties or to add, go to Layer > Layer Styles > Drop Shadow.
   

1. Masks: masking is a way to cut out sections of a specific layer. To create a mask, select the layer you want to apply the mask to, and draw a shape or a path with the pen tool over it, or copy-paste a path from Illustrator. Anything in the shape or path will show, anything outside will disappear. You draw multiple masks on one layer. You can also feather the edges of a mask, change the opacity, and the mask path itself. This is all found under the toggle arrow of the Mask section of the selected layer in the Timeline.

a. Animate Stroke. You can also apply a stroke to a mask path and animate that stroke. Select the path, go to Effects > Generate > Stroke. Then toggle the effect open in the timeline and keyframe the Start parameter between 0% to 100% and you should see the stroke animate on around the path. Change the Paint Style to On Transparent if you don’t want to see the masked shape, but just the stroke.

2. Mattes: Track Mattes involve the combination of two layers. One layer is the matte used just to define transparency. It decides what portions of the layer immediately below it are visible. There are two types, Alpha and Luma Mattes.
a. Alpha. Use the matte’s alpha channel to define transparency of the second layer. How to apply an alpha matte: Import a simple black shape from Illustrator for example. Import a piece of footage or a photo. Then drag them both to the timeline with the Illustrator layer on top. If you do not see a Track Matte column in the timeline, click on the Toggle Switches/Modes button on the bottom of the timeline. Now under Track Matte column, change the None button next to the second video/photo layer to Alpha Matte. Then the video/photo layer should cut through the upper matte layer.

b. Luma. Use the luminance (grayscale values or brightness) of the matte layer to define the transparency of the second layer. To use a luma matte, follow the same steps above, but you will use a upper matte layer that uses grayscale values instead of pure transparency. And you will obviously choose Luma Matte instead of Alpha Matte under the Track Matte column.

5. Stencils: Rather than define transparency of the next layer below, a stencil layer defines the transparency of all the layers below, cutting a hole through the entire layer stack. They are also based around alpha and luma. To use a stencil, you need to put your alpha or luma stencil layer on top, so again, something like text or a simple shape from Illustrator can work. Then place several layers below it that are interacting through blending modes, so they are all visible. On the top layer that is to be our stencil, click Normal under the Modes column and scroll all the way down til you see Stencil Alpha or Stencil Luma and choose that as a blending mode. This will cut through all the layers below it.

1. Different ways to interact with audio in After Effects:

• Command/Click-drag on playhead to scrub sound
• Hit L to see audio level/decibels. (You can then keyframe audio levels to fade if needed.)
• Hit LL on keyboard to see waveforms.
• You can set markers on layers or the timeline to mark spots of what you are hearing at that time to help you organize. Go to Layer > Add Marker with either a layer selected for a layer or no layers selected to put one on the timeline. You can right-click it to give it a name in the comments box.
  

• File > Import > Composition – Retain Layer Sizes. This will import the file keeping all the layers the correct size and not the size of the entire composition for each layer.
• A composition and a folder of your layers are created and added to your Project Panel.
• You can open the folder and now drag the Illustrator layers into your existing composition or you can drag the new Illustrator composition into your existing composition and it will be treated as a nested group essentially. You can double click that comp to see the layers.
• To see the best quality of the layer, you need to click the continuous rasterization starburst icon * in the timeline next to the appropriate layers. You also need to make sure there is a solid diagonal line icon / for the best quality column.
  

1. Go to File > Export > Add to Adobe Media Encoder Queue
2. Media Encoder will launch with the file loaded into the Queue. (it will take a couple minutes)
3. In the bottom left Presets Panel, scroll down to Web Video > Social Media and then choose Vimeo1080p HD or YouTube1080p HD and drag and drop the preset onto the file in the queue.
4. Then click on the Output File in the Queue to choose the location of where you Save and Name the file.
5. Finally click the top right green arrow to render.

Graph Editor 

• Intro to Animation Curves in AE (bouncing ball at 13:20)
• Using Speed Graph (13:00-18:00)(18-25:00 adds squash and stretch. he says umm a lot.)
• Using Value Graph (1:00-7:00 / adds follow-through at 3:50)
• Animation Principles AE Quick Tips / Downloadable Files for some of these Tutorials
• Basic Easing Tutorial

Basic Easing

1. From an existing animation, Right-Click on a keyframe.
2. Click Keyframe Assistant from the menu, then Easy Ease, Ease In, or Ease Out. Play around with the different ones and see what they do. Learn by experimenting.
3. This changes from a linear transition to a curved transition. The motion will appear more natural.

1. You can track something in a video and attach/animate a graphic that follows it.
Tutorials that can guide you:
a. Video Copilot Basic Training
or
b. Creative Cow Part 1 and Part 2

1. Rotobrush is an intelligent paint tool that helps automate the time-consuming process of separating a foreground object (such as an actor) from its background, allowing new imagery to be placed behind it.
2. Tutorial from After Effects Apprentice. 
3. Video Tutorial on Adobe TV

1. First you need to separate your photo into different layers in Photoshop. Consider the depth of the photo and the foreground, middle ground, background. Each of these need to be on their own layer and I would use a little clone tool/content fill on the background so you don’t see complete empty negative space when things in the foreground are being animated around.
2. The next step is to Import the Photoshop file into After Effects and choose Composition: Retain Layer Sizes.
3. Drag those layers into the timeline. Enable 3D for each layer by clicking on the 3D cube icon next to the layer in the timeline.
4. Now you can move their Position on the Z-axis, this will push the background further back and bring the foreground more forward and so on.
5. You can then animate the Rotation of each layer on the Y-axis or X-axis and the layers will appear to rotate in space.

1. Set keyframes for the Position parameter under your layer on the timeline. Once you animate the position, you should see a motion path created on the composition. You should see a couple of larger points with handles on the path that you can click and adjust the curve like you would a pen tool.

1. Click a shape in the comp panel to select its layer.
2. To the left of a layer, click the triangle to display its properties.
3. Click the stopwatch next to color under Contents > Fill.  This creates a keyframe at the current time.
4. Move the playhead to another time in the future.
5. In the layers panel, click the color swatch and change it to another color.  This automatically creates a new keyframe at the current time.
6. Click and drag the keyframes to adjust timing of color transitions.

1. Click a shape in the comp panel to select its layer.
2. To the left of a layer, click the triangle to display its properties.
3. Click the stopwatch next to opacity under Transform.  This creates a keyframe at the current time.
4. Move the playhead to another time in the future.
5. In the layers panel, click the yellow 100% link next to opacity and change it to a lower percent.  This automatically creates a new keyframe at the current time.
6. Click and drag the keyframes to adjust timing of opacity transitions.

1. Click a shape in the comp panel to select its layer.
2. To the left of a layer, click the triangle to display its properties.
3. Click the stopwatch next to scale under Transform.  This creates a keyframe at the current time.
4. Move the playhead to another time in the future.
5. In the layers panel, click the yellow 100% link next to scale and change it to a lower or higher percent.  This automatically creates a new keyframe at the current time.
6. Click and drag the keyframes to adjust timing of scale transitions.
7. In addition to scaling from the center of the square, you can also scale from any point by moving the Anchor Point. To move the Anchor Point, select the Pan Behind Tool from the top menu tool bar. Then you will see crosshairs on the center of your square appear and with this tool you can select the crosshairs and move them to any side or corner that you want to scale from.

1. Click a shape in the comp panel to select its layer.
2. Toggle down Contents and then Rectangle
3. You can then change the Roundness to go from a square to a circle.
4. Click and drag the keyframes to adjust timing of transitions.
5. Under Contents and then Transform:Rectangle 1 you can change the Skew or Rotation to get different shapes as well.

1. Click a shape in the comp panel to select its layer.
2. To the right of the Contents, click on the black arrow next to Add.
3. You can change the shape by choosing any number of the following: Pucker & Bloat, Rounded Corners, Twist, Trim Paths, Zig Zag
4. When you choose one, it will appear below the layer and you can keyframe/adjust the appropriate properties across the timeline to change the shape.
5. Click and drag the keyframes to adjust timing of scale transitions.

1. Go to Illustrator, draw a 220px perfect square.
2. Copy the path in Illustrator.
3. Return to After Effects and select a Shape Layer, Paste the path you copied in Illustrator. (This created a Mask)
4. Toggle the arrow next to the Shape Layer and then toggle the Mask layer open.
5. Enable the stopwatch next to Mask Path. (This set the beginning state of the transition as a square shape)
6. Return to Illustrator and draw a new path that fits within the 220px box. (This is your new shape that the first will transform into)
7. Copy the path in Illustrator.
8. Return to After Effects and move your playhead down the timeline.
9. Select the Mask Path in the Shape Layer and paste the path from Illustrator.
10. Now play the animation. If it plays back with a less than smooth morph, you may need to move the First Vertex Point.
11. The First Vertex Point is visible on one of the Mask points as a larger square. If this square isn’t the same on the two paths, then you need to make them match up. (For example, the bottom right point of the square and the bottom right point of a star should both visually have a larger point than the others and match up)
12. To do this, identify the larger square point in the first path, then move to the second path with the playhead and right-click the point that you want to be the First Vertex Point and go to Mask and Shape Path and choose Set First Vertex.