Motionographer
www.motionographer.com
Keep up with the latest noteworthy motion work and make sure to thoroughly look at the inspiration and tutorial links.
Creative Cow
www.creativecow.com
Visit this invaluable forum to look for new, innovative techniques, find tutorials and post questions. The Creative Cow community is especially good at answering posts and reaching out with helpful suggestions.
Video Co-Pilot
This is a great source of (often free) tutorials, plug-ins, latest techniques and other video related products.
www.videocopilot.net/
Noteworthy Companies
VFX STUDIOS:
Psyop (New York)
http://www.psyop.tv
ADVERTISING AGENCIES (DIGITAL DEPARTMENTS):
Most advertising agencies don't create broadcast work in-house. Usually, the art direction, style-frames and storyboards are created within the agency and the motion work is outsourced to VFX Studios. Sometimes the VFX studios handle the style frames and boarding as well.
Brand New School (New York)
http://brandnewschool.com/
http://brandnewschool.com/
Stardust (New York)
Framestore (New York)
The Mill (New York)
1st Avenue Machine (New York)
Digital Kitchen (New York)
Click 3X (New York)
Nathan Love (New York)
Buck (New York)
Trollback (New York)
Mechanism Digital (New York)
Blur Studio (Venice, CA)
Bent Image Lab (New York)
Curious Pictures (New York)
Yu+Co (Los Angeles, Hong Kong, Shanghai)
Tendril (Toronto, ON, Canada)
http://studio.tendril.ca/
http://studio.tendril.ca/
Passion Pictures (London, UK)
Studio AKA (London, UK)
http://www.studioaka.co.uk/ADVERTISING AGENCIES (DIGITAL DEPARTMENTS):
Most advertising agencies don't create broadcast work in-house. Usually, the art direction, style-frames and storyboards are created within the agency and the motion work is outsourced to VFX Studios. Sometimes the VFX studios handle the style frames and boarding as well.
The digital departments of these advertising agencies (interactive/web) often do work in-house. After Effects is often utilized in web and other interactive applications. Such projects are often handled by the agency itself.
Euro RSCG (New York)
Grey (New York)
http://www.grey.com/
PROJECTION MEDIA COMPANIES:
Companies that create motion graphics/video work for large-scale projections (in museums, public spaces, corporate offices, etc)
Local Projects (New York)
www.localprojects.net
C&G Partners (New York)
http://www.cgpartnersllc.com/
Batwin and Robin (New York)
http://www.batwinandrobin.com/
Rabbit (New York/Los Angeles)
http://www.rabbitcontent.com/us/
* Production and installations
Ralph Appelbaum Associates (New York/London/Beijing)
www.raany.com
* media production department in early stages
Layman Design (Glenview, IL)
http://laymandesign.com/
Hettema Group (Pasadena, CA)
http://www.thehettemagroup.com/
Dark Matters (Copenhagen, Danmark)
* Motion for projection installations
http://www.darkmatters.dk/
http://www.grey.com/
PROJECTION MEDIA COMPANIES:
Companies that create motion graphics/video work for large-scale projections (in museums, public spaces, corporate offices, etc)
Local Projects (New York)
www.localprojects.net
C&G Partners (New York)
http://www.cgpartnersllc.com/
Batwin and Robin (New York)
http://www.batwinandrobin.com/
Rabbit (New York/Los Angeles)
http://www.rabbitcontent.com/us/
* Production and installations
Ralph Appelbaum Associates (New York/London/Beijing)
www.raany.com
* media production department in early stages
Layman Design (Glenview, IL)
http://laymandesign.com/
Hettema Group (Pasadena, CA)
http://www.thehettemagroup.com/
Dark Matters (Copenhagen, Danmark)
* Motion for projection installations
http://www.darkmatters.dk/
MAKE UP PROJECTS
Due: Dec 16, 2011 (9 am)
I am extending the deadline for make-up projects. Make sure to have them in the class share folder by 9 am Thursday, December 16. I will be stopping by the labs to collect them. If you are running into problems, let me know and we can make other arrangements.
I am extending the deadline for make-up projects. Make sure to have them in the class share folder by 9 am Thursday, December 16. I will be stopping by the labs to collect them. If you are running into problems, let me know and we can make other arrangements.
FINAL PROJECT
Due: Dec 8, 2011
Description:
Using projects you've created for this class as well as any outside work you are proud of, compile a 45 sec–1:30 min video of the best animation highlights to the soundtrack of your choice.
Suggestions:
Use a soundtrack with a strong, fast beat. A faster beat will cheat the viewer's eye into synching all your animation to the song, even if it doesn't match perfectly. Try to avoid lyrics, but if you have to use them, make sure they aren't offensive or leave a negative aftertaste.
Try to make the clips you use as brief as possible while still showing off a particular move or style. Anywhere between 5 sec and 15 sec is acceptable. If you feel you need to use a longer clip in order to display your fullest potential, go for it (but use caution).
Avoid repeating a similar clip in several parts of your reel. This might be difficult, as we only worked on six projects, but try your best. Your goal is to show the diversity of your animation and design skills.
Don't use bad animation just to fill in time. I'd rather see a reel that's too short filled with excellent work than a long reel of mediocre animation.
Description:
Using projects you've created for this class as well as any outside work you are proud of, compile a 45 sec–1:30 min video of the best animation highlights to the soundtrack of your choice.
Suggestions:
Use a soundtrack with a strong, fast beat. A faster beat will cheat the viewer's eye into synching all your animation to the song, even if it doesn't match perfectly. Try to avoid lyrics, but if you have to use them, make sure they aren't offensive or leave a negative aftertaste.
Try to make the clips you use as brief as possible while still showing off a particular move or style. Anywhere between 5 sec and 15 sec is acceptable. If you feel you need to use a longer clip in order to display your fullest potential, go for it (but use caution).
Avoid repeating a similar clip in several parts of your reel. This might be difficult, as we only worked on six projects, but try your best. Your goal is to show the diversity of your animation and design skills.
Don't use bad animation just to fill in time. I'd rather see a reel that's too short filled with excellent work than a long reel of mediocre animation.
PROJECT #6: "Green Screen Composite"
Due: Nov 17, 2011
Description:
Using a clip of green screen footage (Class Share > Class Materials > class11_111011 > any zipped file that includes a person) apply any of the green screen techniques we covered in class to get rid of the background. Put a background image or video behind the keyed footage and color match the footage to feel like it "belongs" with the background.
Description:
Using a clip of green screen footage (Class Share > Class Materials > class11_111011 > any zipped file that includes a person) apply any of the green screen techniques we covered in class to get rid of the background. Put a background image or video behind the keyed footage and color match the footage to feel like it "belongs" with the background.
WEEK 7: Oct 13, 2011
Effects (part 2)
Explore the effects categories we covered in class by applying them to various images/footage and adjusting each property.
Four effect property types:
Note: Not all property types exist on each effect.
Note: Not all property types exist on each effect.
- value box: enter the property value (is sometimes accompanied by a slider)
- effect position: a "bulls-eye" symbol that can be moved across your comp window to adjust the "center" or "origin" of an effect
- effect cycle: a clock-shaped symbol that allows you to control the number of cycles of a particular effect property (usually measured in degrees)
- on/off switch (is sometimes keyable via "toggle hold" keyframes but sometimes not keyable at all)
Effects categories covered in class:
- Distort
- Perspective
- Transition
- Generate
- Time effects
- Simulation
WEEK 8: Oct 20, 2011
Class with Robert Paynter: www.robertpaynter.com
Expressions:
Expressions (written in a scripting language based on Java) can be added to all transform properties of a layer (anchor point, position, scale, rotation, opacity) as well as many of effects properties.
Adding an expression:
- select the property (click on it and make sure it is highlighted)
- go to Animation > Add Expression
- in the keyframe section of the layer's timeline, a space/window will open for typing. You can either enter an expression or click on any other part of the timeline to "deactivate" the scripting window.
- when the typing area for the expression is deactivated, you retain expression related tools on the property
Removing an expression:
- click on the expression, select it and press delete.
- you can also select the property, and go to Animation > Remove Expression
Expression tools:
Once the "add expression" option has been applied to a layer property, the expression tools will appear to the right of that property.
- Enable expression ( equal sign symbol =) allows you to de-activate/activate an expression
- Show post expression graph enables an object to express a motion path and graph representation of the expression driving it. This may help you visualize the code.
- Expression pick whip (@ symbol–also used for the parenting tool) allows you to reference (and form relationships between) the properties of the object you're affecting and another asset in the comp (see uses in the description below).
- Expression language menu (a drop down menu to the gives you access to a list of pre-made expressions.
Using the Expression Pick Whip:
- Open the desired properties of both layers
- Make sure you have "added expression" to that property of your main layer (the layer that will be driven).
- Click on the Expression Pick Whip of your main layer and drag it down to the desired expression of the driving layer. When you let go, an expression will appear in the "scripting" area of the main layer's timeline.
The Expression Pick Whip allows you to create basic expressions visually. One of the most useful applications is making a target object's property (such as position, scale, rotation, etc) equal to a value of another object's property. You can link same properties (position to position, scale to scale, etc) or mismatched properties (position to scale, rotation to opacity, etc).
Linking a property of one layer to another (vs. parenting the entire layer to another without expressions) is helpful when you only want specific properties to be affected (e.g. only position, but not rotation or scale).
Animating/Offsetting expression-driven properties:
When an object is parented without the use of expressions, you are free to animate all of its transform properties, even though they are driven by the parent object. This is not the case with expression-linked objects. If you have connected the position property of one layer to another, the "driver" and the "dirivee" will appear in the same position of a comp ("on top" of one another). The linked property of the driven layer cannot be animated or offset.
A trick to solving this problem:
- Create a Null Object (Layer > New > Null Object)
- Use an expression to connect the Null Object's property to the driver layer (instead of your main layer)
- Parent your "main" layer to the Null Object
All properties of your "main" layer remain flexible and keyable. The Null Object guarantees that, unlike expression-free parenting, only the specific property of your choice is feeding information into your "main" object.
Noteworthy expressions:
Wiggle:
The Wiggle can be applied to create randomized animation of a property
wiggle (1, 2);
- The first value represents the frequency of the "wiggle". Lower or raise this value to make your "wiggle" slower or faster.
- The second value represents the range. Lower or raise this value to make your "wiggle" subtle or extreme.
For example:
If you apply an expression "wiggle(1, 50);" to opacity (with opacity being equal to 100% before the expression) opacity will randomly fluctuate between 100% and 50% at the frequency of 1.
If you apply an expression "wiggle(5,300);" to position, your object will randomly (and continuously) move 300 around its initial position at the frequency of 5.
Cycle (Loop) Animation:
If you created an animation sequence that you want to loop continuously, add the following expression to the animated property. To affect several properties, add the expression to each.
loopOut(Type="cycle")
Note: To create a seamless loop, make sure that the values of your first and your last keyframes are equal. Check all the transform properties.
Expressions:
Expressions (written in a scripting language based on Java) can be added to all transform properties of a layer (anchor point, position, scale, rotation, opacity) as well as many of effects properties.
Adding an expression:
- select the property (click on it and make sure it is highlighted)
- go to Animation > Add Expression
- in the keyframe section of the layer's timeline, a space/window will open for typing. You can either enter an expression or click on any other part of the timeline to "deactivate" the scripting window.
- when the typing area for the expression is deactivated, you retain expression related tools on the property
Removing an expression:
- click on the expression, select it and press delete.
- you can also select the property, and go to Animation > Remove Expression
Expression tools:
Once the "add expression" option has been applied to a layer property, the expression tools will appear to the right of that property.
- Enable expression ( equal sign symbol =) allows you to de-activate/activate an expression
- Show post expression graph enables an object to express a motion path and graph representation of the expression driving it. This may help you visualize the code.
- Expression pick whip (@ symbol–also used for the parenting tool) allows you to reference (and form relationships between) the properties of the object you're affecting and another asset in the comp (see uses in the description below).
- Expression language menu (a drop down menu to the gives you access to a list of pre-made expressions.
Using the Expression Pick Whip:
- Open the desired properties of both layers
- Make sure you have "added expression" to that property of your main layer (the layer that will be driven).
- Click on the Expression Pick Whip of your main layer and drag it down to the desired expression of the driving layer. When you let go, an expression will appear in the "scripting" area of the main layer's timeline.
The Expression Pick Whip allows you to create basic expressions visually. One of the most useful applications is making a target object's property (such as position, scale, rotation, etc) equal to a value of another object's property. You can link same properties (position to position, scale to scale, etc) or mismatched properties (position to scale, rotation to opacity, etc).
Linking a property of one layer to another (vs. parenting the entire layer to another without expressions) is helpful when you only want specific properties to be affected (e.g. only position, but not rotation or scale).
Animating/Offsetting expression-driven properties:
When an object is parented without the use of expressions, you are free to animate all of its transform properties, even though they are driven by the parent object. This is not the case with expression-linked objects. If you have connected the position property of one layer to another, the "driver" and the "dirivee" will appear in the same position of a comp ("on top" of one another). The linked property of the driven layer cannot be animated or offset.
A trick to solving this problem:
- Create a Null Object (Layer > New > Null Object)
- Use an expression to connect the Null Object's property to the driver layer (instead of your main layer)
- Parent your "main" layer to the Null Object
All properties of your "main" layer remain flexible and keyable. The Null Object guarantees that, unlike expression-free parenting, only the specific property of your choice is feeding information into your "main" object.
Noteworthy expressions:
Wiggle:
The Wiggle can be applied to create randomized animation of a property
wiggle (1, 2);
- The first value represents the frequency of the "wiggle". Lower or raise this value to make your "wiggle" slower or faster.
- The second value represents the range. Lower or raise this value to make your "wiggle" subtle or extreme.
For example:
If you apply an expression "wiggle(1, 50);" to opacity (with opacity being equal to 100% before the expression) opacity will randomly fluctuate between 100% and 50% at the frequency of 1.
If you apply an expression "wiggle(5,300);" to position, your object will randomly (and continuously) move 300 around its initial position at the frequency of 5.
Cycle (Loop) Animation:
If you created an animation sequence that you want to loop continuously, add the following expression to the animated property. To affect several properties, add the expression to each.
loopOut(Type="cycle")
Note: To create a seamless loop, make sure that the values of your first and your last keyframes are equal. Check all the transform properties.
PROJECT #5: "Ransom Note"
Part 1 Due: Oct 27, 2011 (Week 9)
Part 2 Due: Nov 03, 2011 (Week 10)
Part 2 Due: Sep 22, 2011 (Week 11)
Part 2 Due: Nov 03, 2011 (Week 10)
Part 2 Due: Sep 22, 2011 (Week 11)
Description:
Using all techniques we learned in class, create a 30 second animation of a ransom note to the soundtrack of your choice. The ransom note can be anything from an "I stole your cat" letter to a metaphysical concept. It does not have to be a literal "note" but rather a message in animated form. Go wild with it!
You must have:
3d layers/camera/lights
AE animated text (technique of your choice)
Handwriting effect
Part 1:
Create 4 style frames (submit as 4 jpegs in a folder or a single pdf)
A Style Frame is a visual guide to the way your final animation will look. Unlike a storyboard, which lays out the animation from beginning to end, style frames illustrate the look and feel (colors, lighting, visual elements, etc) without locking in specific shots. This exercise will help you brainstorm the effects you might end up using before you get into After Effects.
Use Photoshop or Illustratror—NOT After Effects.
Below are links to some style frame references:
http://aftereffectsfall2011.blogspot.com/2011/10/project-5-ransom-note.html
A Style Frame is a visual guide to the way your final animation will look. Unlike a storyboard, which lays out the animation from beginning to end, style frames illustrate the look and feel (colors, lighting, visual elements, etc) without locking in specific shots. This exercise will help you brainstorm the effects you might end up using before you get into After Effects.
Use Photoshop or Illustratror—NOT After Effects.
Below are links to some style frame references:
http://aftereffectsfall2011.blogspot.com/2011/10/project-5-ransom-note.html
Part 2:
Begin animating your piece. Your "rough" animation should be the full length of your piece, but not polished (it's ok if you're missing a few seconds off the end, but try to make it complete)
Part 3:
Final animation
WEEK 6: Oct 6, 2011
Blending modes
- Set a layer's blending mode using the Mode menu (to the right of the layer name)
- To open the Mode column, expand your timeline options by turning on the second (center) button in the bottom-left corner of the Timeline window
- Use a layer with these blending modes to mask multiple layers below
- Silhouette/Stencil Alpha will use a layer's transparency info to create a mask
- Silhouette/Stencil Luma will use a layer's luminance (black & white) values to create a mask
- If you want blending modes of layers within a nested comp to affect the layers within the parent comp, turn on Collapse Transformations
- If you apply a mask, set a track matte or apply an effect to a comp with Collapse Transformations turned on, the Collapse Transformations will be disabled
- You make a layer act as a mask for another layer by using the Track Matte settings
- Place the "mask" layer on top of the layer you want to affect
- Use the Track Matte column and set the lower (affected) layer to an Alpha or Luma matte
- Alpha mattes (like the blending mode options) use the "mask" layer's transparency
- Luma mattes use the luminance (black & white) values
- To adjust the settings of an imported video, right-click on it in the project window and choose Interpret > Main
- To manipulate the speed/duration of your video, right-click on the layer on the timeline and choose Time
- You can apply effects to a layer by selecting it and:
- choosing Effects > ... from the top menu
- right-clicking on the layer in the timeline and choosing Effects > ...
- right-clicking inside the Effects Controls window and choosing the desired effect
- When trying to apply the same effect to multiple layers, create an Adjustment Layer (Layer > New > Adjustment Layer); it must be at the top of the layers you want to affect
- Set keyframes to any property of an effect that has the stop-watch symbol
- You can set keyframes in the Effects Controls window or in the Effects properties of the layer on the timeline
- Effects categories covered in class:
- Color Correction
- Blur-Sharpen
- Stylize
PROJECT #4: "Song Lyrics"
Due: Oct 20, 2011 (Week 8) *deadline extention
Description:
Description:
Select a segment from a song that is at least 20 seconds. Use all the text animation techniques we covered in class to narrate every word of your song segment. Try to make the motion evocative of the lyrics. Play with your composition by varying the number of words in the frame, size, background/text color, etc.
WEEK 5: Sep 29, 2011
Animating Type
Importing text from Photoshop
It is best practice to work with text either created directly in After Effects or imported as part of another file and converted to Editable Text. This saves you the trouble of linking assets and opens a world of text-specific animation controls.
- Import your photoshop file as "Composition" (both layer size and document size are acceptable)
- Enter the imported photoshop composition or pull the imported text layer into an independent comp
- Right-click on the text layer and select "Convert to Editable Text"
Importing text from Illustrator
- Text layers imported from an Illustrator file can't be converted to Editable Text
- To use type from an Illustrator file, export the .ai file as a Photoshop format
Creating text in After Effects
- Use the T tool to create text directly in After Effects
Character Window Tools
- Window > Character
- Select fonts
- Leading/Kerning
- Access lower bar of the window for Caps, Small Caps, Superscript, Subscript controls
Paragraph Window Tools
- Left/Right/Center align
- Paragraph spacing and indenting
- Note: Always be aware of your alignment—it will impact text-specific animation controls
Animating Text Manually—back to front
- Though AE has very sophisticated and flexible text animation tools, it is sometimes worthwhile to select a small portion of your animation for a manual treatment (to achieve a more organic, unique feel).
- This approach would require to break up your word/line of text into "animatable" layers.
- Start by creating your main layout as one layer (this will be your "guide" layer)
- Make it a different color from the actual text (for better visibility)
- Duplicate the "guide" layer and lock the original
- Use the duplicated layer to create as many pieces as you want to animate manually
- Position the resulting layers in original order using the guide layer as reference
- Set keyframes on all layers for every property you plan to animate: these keyframes will be your "final" state
- Go to another part of your timeline and start animating with your layers
Animating text with paths
- Select the text layer and use the geometry or pen tool to add a vector path to the text layer
- This vector path does not have to be closed
- If the path you create is closed, it will turn into a mask—be sure to disable the masking effect by choosing "none" in the mask style menu
- On the timeline, open your text layer's Text properties
- Open Path Options and select the path you created from a drop-down menu
- To animate text along the path, set keys to First Margin or Last Margin (depending on your Paragraph Alignment)
- To adjust your text's relationship to the path, use Reverse Path, Perpendicular to Path and Force Alignment
- To have your text snap to path on character, word or line basis, open More Options and adjust Anchor Point Grouping
- Apply text animators by choosing properties from the Animate drop down menu
- To more than one property to an Animator, use the Add drop-down menu after the initial Animator is created
- To add more Animators, keep using the Animate drop-down menu (make sure no other Animator is selected)
- Most Animator properties are animated using the Range Selector > Offset of each Animator
- When using the Offset technique, set the Animator properties to the "ultimate" amount (the largest or smallest scale value, 0 opacity, etc); do not key the actual property
- For smoother, overlapping Offset animation, use the Ramp Up/Ramp Down properties in Advanced > Shape menu.
- Adjust Ease High and Ease Low in Advanced settings for different animation overlap
Browse Text Animation Presets
- Open the Effects and Presets window
- Open the menu in the upper-right corner of the window and select Browse Presets
- Go to the Text folder and look at animation previews
- To apply a preset, make sure your text layer is selected and double click on the preset in the Browsing window
INSPIRATION: Sep 29, 2011 (Week 5)
Non-Digital/Natural Materials:
Clim: Make It Better
http://vimeo.com/18678091
Rogers Creations: Stephen Fry—Kinetic Typography
http://www.youtube.com/watch?v=J7E-aoXLZGY
Curious Pictures: The Girl Effect for the Nike Foundation
http://www.youtube.com/watch?v=C44BOxKhwsQ
Complex type animation:
Sebastian Lange: Flickermood 2.0
http://vimeo.com/3302330
Prolog Films: OFFF titles
http://vimeo.com/14434908
Clemens Wirth: Marko Kingdom
part 1: http://vimeo.com/19764519
part 2: vimeo.com/12849638
part 3: vimeo.com/19764519
IFC: 50 best title sequences of all tiems
http://www.ifc.com/news/2011/02/the-50-greatest-opening-title.php?page=11
Passion Pictures (typography):
Jesse Zanzinger: Refraction—The Alphabet
http://vimeo.com/17509873
Ed Aclerman and Collin Morton: Primiti Too Taa
http://www.youtube.com/watch?v=KcrTzPAUqic&feature=youtube_gdata_player
Lobo: Capitu
http://tdc.org/intro_010/video.html#/video-15
http://vimeo.com/17509873
Ed Aclerman and Collin Morton: Primiti Too Taa
http://www.youtube.com/watch?v=KcrTzPAUqic&feature=youtube_gdata_player
Lobo: Capitu
http://tdc.org/intro_010/video.html#/video-15
Kinetic Typography:
Clim: Make It Better
http://vimeo.com/18678091
Rogers Creations: Stephen Fry—Kinetic Typography
http://www.youtube.com/watch?v=J7E-aoXLZGY
Curious Pictures: The Girl Effect for the Nike Foundation
http://www.youtube.com/watch?v=C44BOxKhwsQ
Complex type animation:
Sebastian Lange: Flickermood 2.0
http://vimeo.com/3302330
ISO Design: A History of Scotland
http://www.artofthetitle.com/2010/02/01/a-history-of-scotland/
http://www.artofthetitle.com/2010/02/01/a-history-of-scotland/
http://vimeo.com/14434908
part 1: http://vimeo.com/19764519
part 2: vimeo.com/12849638
part 3: vimeo.com/19764519
Interview with Kyle Cooper:
IFC: 50 best title sequences of all tiems
http://www.ifc.com/news/2011/02/the-50-greatest-opening-title.php?page=11
Passion Pictures (typography):
WEEK 4: Sep 22, 2011
3D Layers:
Note: Make sure to return the setting to your main camera before rendering
Cameras:
- To turn a layer into a 3d layer, turn on the box with the cube symbol (to the right of the layer name)
- 3D layers have an extra dimension added to the transform properties (Z = depth)
- When changing position:
- negative numbers move the layer towards the "camera"
- positive numbers move the layer away from the "camera"
Note: Make sure to return the setting to your main camera before rendering
Cameras:
- To create a new camera, go to Layer > New > Camer
- To adjust camera settings (that appear in the intro menu), select the camera and go to Layer > Camera Settings
- Note: Only one camera will be active per scene (if you have more than one camera, the top camera layer will be the active one. You can activate a different camera by choosing it from the camera view options in the composition window or turning it on (eye symbol) while turning off all other cameras.
- Use Point of Interest and Position for most of your camera animations (do not set rotation keys)
- Point of Interest—orients the camera angle (acts like rotation)
- Position—moves the entire camera
- Use "Camera Options" to control Depth of Field and other lens-specific properties
- Note: Never animate Zoom unless using it to keep the depth of field blurring constant while zooming in.
Lights:
- To create a new light, go to Layer > New > Light
- To adjust light settings, select the light and go to Layer > Light Settings
- Light types:
- Spot (most popular)—has the same controls as 3D cameras
- Parallel—has the Point of Interest control, allowing you to cast it in a certain direction without creating the same light fall-off as with the Spot light
- Point—allows you to change the position of the light source but does not have a particular direction or light fall-off
- Ambient—lights the entire scene evenly, allowing you to create base lighting (so that when you use a Spot light, you never have an entirely black area); Keep this light at very low intensity and always combine with another light-source
- Combine multiple light-sources for a more realistic, dimensional environment
Casting shadows:
- To cast shadows, select the light source(s) you want to cast the shadows and turn on the "CAst Shadows" option (off by default)
- Select the object that you want to cast shadows, go to Material Options and turn "Cast Shadows" on
- Make sure the object that will receive the shadow has "Receive Shadows" turned on in teh Material Options (on by default)
Material Options:
Use Material Options to control the way the object reacts to light sources in the scene (highlights, shadows, surface texture, etc)
WEEK 3: Sep 15, 2011
Importing Photoshop layers:
- Footage gives you an option to import the psd file as a flat image or choose a specific layer
- Composition–Document Size will import your photoshop layers as separate AE elements and automatically combine them into a comp, preserving original layer positions. All layers will be the size of your photoshop file and have the same anchor point/position values.
- Composition–Preserve Layer Size will import photoshop layers in the same way as the above option, but will size each layer according to its actual pixel dimensions. With this option, each layer will have a different anchor point/position value. For complex animations, I recommend this import option.
Importing Illustrator layers:
- After Effects does not recognize Illustrator sublayers as individual layers. In order to import separate layers from Illustrator, make sure you create a new layer for every independent element.
- After Effects has a slightly different importing menu for Illustrator files than for Photoshop files, though the options remain the same:
- Choose footage or composition from the top of the menu
- Choose document size or layer size from the bottom of the menu
- You can also choose to import an individual layer
Masks:
- To create a mask, make sure you have a layer selected
- Use the geometric tools or your pen tool to apply the mask shape. Note: When using the pen tool, you must make sure to close the path in order for the mask to work.
- Keep your masks organized by naming them (select mask, hit Return and type) and changing the mask color (click in the color box and choose from the color wheel)
- Use mask modes to hide/reveal different areas of the mask (add, subtract, intersect, etc)
- Use the "Inverted" option when combining multiple masks and mask modes
- To change the shape of your mask, you can:
- Use the selection tool to click on individual vector points. Once the vector point is selected, you can click and drag.
- Shift-click on vector points for a multiple-point selection
- Double-click on any vector point to create a transform box around the entire shape
- Select multiple vector points and press Command+t to create a bounding box around your selection
- Note: When adjusting your mask shape, make sure you have at least one point selected before dragging. If you simply click and drag, you might be moving the layer itself, not the mask.
- Keyable mask properties (click on the "stop watch" symbol next to each property to begin setting keys):
- Mask Path: adjusts the shape of your mask
- Mask Feather: adjusts the feathering (blurring) of the mask edges
- Mask Opacity: control the opacity of an individual mask area (rather than the opacity of the entire layer)
- Mask Expansion: expand/contract the borders of your mask without changing the Mask Path
Solid layers:
- Solid layers are a powerful tool. They are vector based, and can be scaled beyond 100% without pixelation issues. Using AE native elements saves you from having to deal with file-linking issues.
- To create a solid layer in After Effects, go to Layer > New > Solid
- To modify the solid layer you created, select it and go to Layer > Solid Settings
Shape layers:
- Shape layers are great for creating ambient, background animations
- To create a Shape layer, use the geometry or pen tool without having a layer selected.
- Note: The ancor point of a Shape layer is in the center of the comp, not in the center of the shape you create.
- You can apply multiple shapes to one shape layer (once you create a shape layer, make sure you have it selected before using the geometry/pen tool to create a new shape)
- Note: Having multiple shapes on one shape layer will allow you to apply one set of property keyframes to both shapes, saving you time and creating better layer organization
- Keep your individual shapes organized by renaming (select the shape name, hit "Return" and type)
- Shape layers (similar to Illustrator) have an independently adjustable fill and stroke
- The most powerful way to use a shape layer is to animate "Contents"(not "Transform Properties"):
- You can explore the basic Contents properties and apply animation to any that have the "stop watch" symbol
- Shape layers allow you to apply a wide range of deform effects using the "Add" menu to the right of "Contents"
- You can apply these deform animations to all shapes on the shape layer or to individual shapes
- All shapes: have "Contents" selected when using the "Add" menu
- Individual shapes: have the desired shape selected when using the "Add" menu
Pre-composing (precomping) & nesting:
- Nesting—putting a composition inside another composition
- Precomping—selecting a layer or multiple layers inside an existing composition that you want to contain in another composition (for organizational or complex animation use)
- To Precomp, go to Layer > Precompose (Command+Shift+c)
- When precomping a single layer, you will have two options
- "Leave all Attributes in current comp": if the layer has any keyframes/effects, they will remain attached to the newly created composition and not be encompassed inside this composition as part of the precomped layer
- "Move all attributes into the new composition": all keyframes and effects will move into the newly created comp and remain attached to the precomped layer
Collapse transformations:
Use the "continuously rasterize" symbol (*) to insure that After Effects continues to display vector layers inside nested comps as continuously rasterized when scaled beyond 100% (if you don't turn this option on, AE will treat a precomped vector layer as a bitmap and pixelate the edges)
Keeping comps organized:
Always name your comps and put them in appropriate folders inside your project window! ALWAYS
PROJECT #3: "Bringing Images to Life"
Due: Sep 29, 2011 (Week 5)
Description:
Select a photograph or illustration with a clearly defined foreground, middle and background. For best results use images that don't show the "base" of any of your planes touching the ground (ideally, the foreground objects/people would have the bottom area outside of the frame, the middle bottom would be blocked by the foreground and the background bottom blocked by the middle). Cut up this image into 3d layers, painting out redundant elements (paint out the foreground elements out of the middle and background, etc).
Import the assets you created in photoshop into AE and space them out in the z axis while preserving their visual relationship to one another (space foreground, middle and background at least 2000 pixels apart but use the scale attribute to increase the size of the middle and background elements until they look as large as they did in the original, flat image).
Create a 15 - 20 second animation of the composition you set up using a 3d camera. Add lights, shadows and play with the camera's depth of field.
Description:
Select a photograph or illustration with a clearly defined foreground, middle and background. For best results use images that don't show the "base" of any of your planes touching the ground (ideally, the foreground objects/people would have the bottom area outside of the frame, the middle bottom would be blocked by the foreground and the background bottom blocked by the middle). Cut up this image into 3d layers, painting out redundant elements (paint out the foreground elements out of the middle and background, etc).
Import the assets you created in photoshop into AE and space them out in the z axis while preserving their visual relationship to one another (space foreground, middle and background at least 2000 pixels apart but use the scale attribute to increase the size of the middle and background elements until they look as large as they did in the original, flat image).
Create a 15 - 20 second animation of the composition you set up using a 3d camera. Add lights, shadows and play with the camera's depth of field.
INSPIRATION: Sep 22, 2011 (Week 4)
3D Layers:
yU+Co (www.yuco.com): 300 title sequence
http://www.artofthetitle.com/2008/03/17/300/
yU+Co (www.yuco.com): Cirque Du Freak title sequence
http://www.yuco.com/projects/cirque-du-freak
A52 (www.a52.com): Carnivale title sequence
http://www.artofthetitle.com/2008/04/21/carnivale/
Prologue (prologue.com): The Walking Dead title sequence
http://www.motiongraphics.it/2010/11/the-walking-dead-opening-titles/
Disturbed (www.d-sturbed.com): Pukkelpop
http://www.d-sturbed.com/videos/pukkelpop.mov
Adam Gault and Stefanie Augustine: Gettisburg Address Revised
http://www.cpluv.com/generic/mainitem/36131
Animating photographs with 3D Layers:
"Motalko"
http://vimeo.com/25392699
"Terminal Bar"
http://www.youtube.com/watch?v=USDCEyHt7rI&feature=relmfu
http://www.youtube.com/watch?v=AdyZ9LOXmZA
"The Kid Stays in the Picture"
http://www.youtube.com/watch?v=WuVTyGzBo2c
http://www.artofthetitle.com/2008/03/17/300/
yU+Co (www.yuco.com): Cirque Du Freak title sequence
http://www.yuco.com/projects/cirque-du-freak
A52 (www.a52.com): Carnivale title sequence
http://www.artofthetitle.com/2008/04/21/carnivale/
Prologue (prologue.com): The Walking Dead title sequence
http://www.motiongraphics.it/2010/11/the-walking-dead-opening-titles/
Disturbed (www.d-sturbed.com): Pukkelpop
http://www.d-sturbed.com/videos/pukkelpop.mov
Adam Gault and Stefanie Augustine: Gettisburg Address Revised
http://www.cpluv.com/generic/mainitem/36131
Animating photographs with 3D Layers:
"Motalko"
http://vimeo.com/25392699
"Terminal Bar"
http://www.youtube.com/watch?v=USDCEyHt7rI&feature=relmfu
http://www.youtube.com/watch?v=AdyZ9LOXmZA
"The Kid Stays in the Picture"
http://www.youtube.com/watch?v=WuVTyGzBo2c
INSPIRATION: Sep 15, 2011 (Week 3)
Inspiration for a creative use of After Effects masks:
Edouard Salier & Fred Pruchon: "User" a music video for The Replicants
http://www.youtube.com/watch?v=t3fuzwY6Jd4
Paranoid US (http://www.paranoidus.com/): “After the Rain” a music video for Little Dragon
http://vimeo.com/groups/25222/videos/13020836
Jane Aaron: Set in Motion (1987)
http://www.youtube.com/watch?v=0efertdbm2I
http://www.youtube.com/watch?v=0efertdbm2I
Pre-Comping/Nesting and Masking inspiration:
http://www.youtube.com/watch?v=t3fuzwY6Jd4
Paranoid US (http://www.paranoidus.com/): “After the Rain” a music video for Little Dragon
http://vimeo.com/groups/25222/videos/13020836
PROJECT #2: "Geometric Shapes" (Part 1 & 2)
Part 1 Due: Sep 15, 2011 (Week 3)
Part 2 Due: Sep 22, 2011 (Week 2)
Description:
Create a 20 second abstract animation of geometric shapes to the soundtrack of your choice. Feel free to use any palette of colors and textures. Your can work with computer generated graphics or digitized images of physical objects—whatever inspires you.
Part 1: Thumbnails
Submit:
Trimmed soundtrack and a scan of thumbnail sketches.
Details:
Import your soundtrack into AE, put it inside a composition and trim the layer and Composition settings to the desired animation time. Make sure to add an extra second to the beginning and end of the audio track for "safety". Export the re-sized soundtrack with the following settings:
Output module > Format = AIFF
* Video output is automatically turned off and your file exports as audio only.
Use the new clip as reference for the thumbnail sketches (include timing details in your sketches)
Part 2: Animation
Animate the thumbnails from last week using the trimmed soundtrack.
Project #1: A Simple Story
Bike B
http://vimeo.com/28794847
http://vimeo.com/28794847
Charles H
http://vimeo.com/28797296
Christina J
http://vimeo.com/28794919
David S
http://vimeo.com/28794957
Jack L
http://vimeo.com/28797586
Morgan S
http://vimeo.com/28797323
Nora G
http://vimeo.com/28797397
Olivia R
http://vimeo.com/28797560
Robert B
http://vimeo.com/28797421
Ross G
http://vimeo.com/28797469
Online Class Critique:
Please comment on each other's work in a constructive, respectful manner.
When commenting on a video, begin your post with the name of the person you are addressing (e.g. "John D: I thought...")
When responding to a comment, begin your post with the name of the person you are responding to and add Re: "your name" in brackets (e.g. "Jane S [Re: John D]: Actually..." )
If this becomes too confusing I'll figure out a better system!
http://vimeo.com/28797296
Christina J
http://vimeo.com/28794919
David S
http://vimeo.com/28794957
Jack L
http://vimeo.com/28797586
Morgan S
http://vimeo.com/28797323
Nora G
http://vimeo.com/28797397
Olivia R
http://vimeo.com/28797560
Robert B
http://vimeo.com/28797421
Ross G
http://vimeo.com/28797469
Online Class Critique:
Please comment on each other's work in a constructive, respectful manner.
When commenting on a video, begin your post with the name of the person you are addressing (e.g. "John D: I thought...")
When responding to a comment, begin your post with the name of the person you are responding to and add Re: "your name" in brackets (e.g. "Jane S [Re: John D]: Actually..." )
If this becomes too confusing I'll figure out a better system!
WEEK 2: Sep 08, 2011
Reconnecting media
Setting Keyframes
Tansform properties (and shortcuts): anchor point (a), position (p), scale (s), rotation (r), opacity (t).
A value of a keyframe can be changed only when the time-slider is positioned directly over the keyframe.
Auto-orient
Planning your animation—creating thumbnail sketches
TUTORIALS
Keyframes:
- Missing media will appear with a “color bars” symbol in the Project window.
- To find all missing media, type “Missing” in the search bar of the Project window.
- To reconnect media, right-click on it in the Project window and choose
- Replace Footage > File
Setting Keyframes
Tansform properties (and shortcuts): anchor point (a), position (p), scale (s), rotation (r), opacity (t).
- Keyframes are set at the position of the time-slider on the timeline.
- Turn on the “stop watch” symbol (to the left of the transform property) to set the initial keyframe. Turning it off will remove all keyframes from a layer.
- Subsequent keyframes can be set by positioning the time-slider over an empty/un-keyed area on the timeline and
- changing the value of the keyed transform property, or
- using the mouse/keyboard to manipulate the layer in the Composition window.
- New keyframes can also be added by clicking inside the “diamond” symbol to the left of the “stop watch” symbol.
A value of a keyframe can be changed only when the time-slider is positioned directly over the keyframe.
- Use the left/right arrow to the left of the “stop watch” symbol, or
- Position the time-slider over the desired keyframe (shift+drag the time slider to snap).
- Use the shorcut keys “k” (forward) and “j” (backward) .
- To move a keyframe, click and drag it across the timeline (shift+drag to snap to time-slider position)
- To select/move multiple keyframes
- click near (not on) a keyframe and drag to expand the bounding box around the desired keyframes, or
- shift-select multiple keyframes
- To “squeeze” or “expand” a group of keyframes (in order to speed up/slow down the animation), select all keyframes of one or more transform properties, click and drag the first or last keyframe. Note: when selecting keyframes of multiple transform properties (or layers), make sure to click/drag the absolute first or last keyframe of the group.
- Position the time-slider over the keyframe and
- enter a new value to the transform property, or
- use your mouse/keyboard to manipulate the layer in the Composition window.
- To proportionally increase/decrease the value of multiple keyframes on the same transform property, select all keyframes, snap the time-slider to any of the selected keyframes, use the transform property values or the Composition window to enter changes.
- “u” = reveal/close all keyframes
- “j” and “k” = navigate between keyframes
- “Shift + drag” = snap keyframe to time-slider or time-slider to keyframe
- “Opt + a” = set keyframe to Anchor Point
- “Opt + p” = set keyframe to Position
- “Opt + s” = set keyframe to Scale
- “Opt + r” = set keyframe to Rotation
- “Opt + t” = set keyframe to Opacity
- Select a layer and
- “[“ or “]” = snap the beginning or the end of a layer to the time-slider
- “Opt + [“ or “Opt + ]” = trim the beginning or end of the layer to the time-slider
- “i” = time-slider snaps to the beginning of a selected layer
- “o” = time slider snaps to the end of a selected layer
- A motion path’s controls are similar to a vector path.
- Use the pen tool to adjust motion path curves/bezier handles.
- Good motion rule: fewer keyframes make better animation.
Auto-orient
- Layer > Transform > Auto-orient
- Ease in/out of keyframes
- Overlapping motion
- Anticipation
- Follow-through
Types of keyframes: linear, ease in-out/easy ease, auto bezier, hold, rove
Working with the graph editor
Using illustrator paths as motion paths
Working with the graph editor
Using illustrator paths as motion paths
- In Illustrator:
- Create an Illustrator file at the same settings as your AE Composition.
- Go to Illustrator > Preferences > File Handling and Clipboard and make sure you have “Preserve Paths” turned on.
- Create a path using a preset shape or the pen tool (no compound paths)
- Turn off both fill and stroke
- Select the path and copy it (Edit > Copy/Cmnd + c)
- In After Effects:
- Open your layer’s position, select the property and paste (Edit > Paste/Cmnd + v)
- You should see a set of keyframes appear, with each point on the Illustrator vector path represented by a keyframe.
- The keyframes will appear as “Roving” which you can turn off if desired.
Planning your animation—creating thumbnail sketches
TUTORIALS
Keyframes:
INSPIRATION: Sep 08, 2011 (Week 2)
Len Lye: Kaleidoscope (1935)
http://www.youtube.com/watch?v=EF_ehWEL0Wc
Maurice Binder: James Bond Dr No Title Sequence
http://www.youtube.com/watch?v=VAGXOTUvrB8&feature=fvst
Steffen Bygebjerg: End Scene
http://vimeo.com/5915043
http://www.youtube.com/watch?v=EF_ehWEL0Wc
Maurice Binder: James Bond Dr No Title Sequence
http://www.youtube.com/watch?v=VAGXOTUvrB8&feature=fvst
Steffen Bygebjerg: End Scene
http://vimeo.com/5915043
INSPIRATION: Sep 01, 2011 (Week 1)
Use these films as a reference for timing of images and videos to the soundtrack. Pay attention not only to the duration and ins/outs of the still images but also to how the action within videos corresponds to the music. Notice the composition choices.
Michel Gondry: "La Tour de Pise" music video
http://www.youtube.com/watch?v=VwhgMGhT-mQ&feature=related
Shoot the Boss (Montreal): "Nature Boy"
Michel Gondry: "La Tour de Pise" music video
http://www.youtube.com/watch?v=VwhgMGhT-mQ&feature=related
Stefan Nadelman: "Terminal Bar" clips
clip 1:
http://www.youtube.com/watch?v=SqLNXH62Nbw
clip 2:
http://www.youtube.com/watch?v=AdyZ9LOXmZA&feature=related
http://www.youtube.com/watch?v=SqLNXH62Nbw
clip 2:
http://www.youtube.com/watch?v=AdyZ9LOXmZA&feature=related
Shoot the Boss (Montreal): "Nature Boy"
Orkestr Che: "Mayakovskiy" music video
PROJECT #1: A Simple Story
Due: Sep 08, 2011 (Week 2)
Description:
Select a unifying theme (nature, city, weather, family, etc.) and create a 20 second film timed to a soundtrack of your choice. You must use at least 20 images and 3 videos (I will count!)
The purpose of this assignment is to understand rhythm and timing. Practice hitting the beat when bringing images on and off screen. Varying the duration of the images will make your piece more exciting—experiment with a succession of quick shots followed by a longer one. Play around with composition and use multiple layers (it shouldn't be a "single image after single image" slide show).
Check out the "Inspiration" section of this blog for references (look for the "Week 1" entry)
Specs:
1280 x 720, square pixels, 29.97fps, 20 seconds
Description:
Select a unifying theme (nature, city, weather, family, etc.) and create a 20 second film timed to a soundtrack of your choice. You must use at least 20 images and 3 videos (I will count!)
The purpose of this assignment is to understand rhythm and timing. Practice hitting the beat when bringing images on and off screen. Varying the duration of the images will make your piece more exciting—experiment with a succession of quick shots followed by a longer one. Play around with composition and use multiple layers (it shouldn't be a "single image after single image" slide show).
Check out the "Inspiration" section of this blog for references (look for the "Week 1" entry)
Specs:
1280 x 720, square pixels, 29.97fps, 20 seconds
WEEK 1: Sep 01, 2011
Project organization
- When media is imported into After Effects, it does not become part of the AE file but rather “links” to the AE file from its location on the hard-drive. For this reason, it is very important to maintain a consistent folder structure for every project you work on, or you will lose the links to your imported assets.
- Create an organized folder structure for each project you work on.
- Never re-name or move your folders and imported assets.
- To close an unnecessary window, highlight it by clicking inside it (make sure you see a yellow outline around the window you selected) and click the “x” symbol in the upper right corner.
- To open a window, select it from “Windows” in the main AE menu bar (top of screen).
- Zoom in/out of Composition Window: Cmnd +/-
- When beginning a new project, be aware of your final output requirements (web, broadcast, projection, etc).
- Some important specs to be aware of are: resolution, pixel aspect ratio, frame rate, duration
- In this class, your composition settings will always be:
- HDV/HDTV 720 29.97 fps Progressive
- resolution: 1280 x 720
- pixel aspect ration: square pixels
- frame rate: 29.97 frames per second
- Progressive (non-interlaced)
- File > Import > File
- Right-click in the Project window; Import > File
- Select Project window; Cmnd + i
- You can bring images, videos and audio files from the project window into your composition by
- dropping them into the composition window (this will give you the option of positioning the asset freely by eye)
- dropping them into the left side of your timeline window (this will place your asset in the center of the composition and at the beginning of your timeline)
- dropping them into the right side of your timeline window (this will place your asset at the center of the composition but will give you an option of choosing the desired place on the timeline)
- duplicating a layer: select layer; Cmnd + D
- copying a layer: select layer; Cmnd + C
- pasting a layer: select layer; Cmnd + V
- zoom in/out of the timeline: + /-
- anchor point (“a”)
- position (“p”)
- scale (“s”)
- rotation (“r”)
- opacity (“t”)
- Use waveform of your audio file to help you find rhythm cues for animation timing
- Thinner parts of the waveform means a lull in the sound while high peaks usually indicate a beat
- To access the waveform open the layer (by clicking on the arrow symbol to the left of the layer name); open Audio; open Waveform; roll over the thin grey line below the waveform and pull down to expand the waveform size.
- To export your animation, make sure to select the animation timeline and go to Composition > Make Movie
- Make sure the work area of your timeline is set to what you want to render (to adjust the work area, pull on the front or back handles of the “work area” bar at the top of the right side of the timeline)
- Render Settings:
- Output To:
- make sure to set the correct output location and name your file
- Render Settings:
- make sure to set the appropriate Quality, Resolution and Time Span
- Output Module:
- Format: Quick Time Movie
- Format Options > Compression Type: H264
- Audio Output: make sure to turn it on!
Syllabus Fall 2011
After Effects 1 (COMD 411-01)
Engineering Bldng: Room 215C
Thur 6:30pm–9:20pm
(with Robert Paynter: www.robertpaynter.com)
Lesson: Effects (part 3)
Simulation category
Stroke effect (generate)—animating handwriting
Lesson: Organic effects
Using footage of organic materials to create stylized effects
Creating mattes with smoke footage for transitions
Creating stylized spatter effect using footage
Faking a spatter effect with stills
Engineering Bldng: Room 215C
Thur 6:30pm–9:20pm
Instructor Contact Info:
yparshin@pratt.edu | yparshina@gmail.com | 646-733-6502
Course Description:
In this class we will cover the basics of After Effects animation and dive into more complex motion graphics techniques. You will develop an understanding of timing, rhythm and composition; learn to create unique effects and apply them with taste; master various methods of animating text and manipulating videos; explore After Effects 3d tools... And watch lots of animation!
Materials:
I prefer online tutorials over printed textbooks due to the constantly changing nature of motion graphics software. However, if you feel more comfortable with a textbook, I am including several print recommendations.
Online:
www.lynda.com (paid subscription)
www.creativecow.com
www.adobe.com/support/aftereffects
www.motionographer.com
Print:
Creating Motion Graphics with After Effects (CS5 edition) by Chris and Trish Meyer
Adobe After Effects CS5 Classroom in a Book by the Adobe Creative Team
Grading policy:
Weekly projects = 60%
Final project = 20%
Attendance & Participation = 20%
yparshin@pratt.edu | yparshina@gmail.com | 646-733-6502
Course Description:
In this class we will cover the basics of After Effects animation and dive into more complex motion graphics techniques. You will develop an understanding of timing, rhythm and composition; learn to create unique effects and apply them with taste; master various methods of animating text and manipulating videos; explore After Effects 3d tools... And watch lots of animation!
Materials:
I prefer online tutorials over printed textbooks due to the constantly changing nature of motion graphics software. However, if you feel more comfortable with a textbook, I am including several print recommendations.
Online:
www.lynda.com (paid subscription)
www.creativecow.com
www.adobe.com/support/aftereffects
www.motionographer.com
Print:
Creating Motion Graphics with After Effects (CS5 edition) by Chris and Trish Meyer
Adobe After Effects CS5 Classroom in a Book by the Adobe Creative Team
Grading policy:
Weekly projects = 60%
Final project = 20%
Attendance & Participation = 20%
Tutoring:
If you are having trouble with any aspect of After Effects or related software, please let me know ASAP and I will arrange an in-person or on-line tutoring session.
introductions
Lesson: After Effects basics
Project organization
Composition settings: resolution, aspect ratio, frame rate, duration
Understanding different formats for various project types
Interface: Project, Compositions, Timeline and Tool windows
Importing media: still images, video, audio
Reloading media
Working with layers on a timeline: duplicating, cutting/pasting, duration
Understanding frames
Transform properties: anchor point, position, scale, rotation, opacity
Using audio waveforms as a rhythm guide
Exporting
Compression
Project #1: “A Simple Story” (Due: Sep 08)
WEEK 2: SEP 08, 2011
Submit: Project #1 “A Simple Story”
Troubleshooting /reloading media
Lesson: Animating—theory and keyframes
Working with keyframes
Motion path
Auto-orient
Using illustrator paths as motion paths
Motion theory
Types of keyframes: linear, ease in-out/easy ease, hold, rove
Working with the graph editor
Parenting: objects, null objects
Planning your animation—creating thumbnail sketches
Project #2 (part 1): “Geometric Shapes” thumbnail sketches and trimmed soundtrack (Due: Sep 15)
Lesson: Imported and AE native media
Importing Photoshop layers and Illustrator layers
Masks
Solid layers
Shape layers
Lesson: Precomping and Nesting
Precoming/nesting
Collapse transformations
Keeping comps organized
Project #2 (part 2): “Geometric Shapes” animation (Due: Sep 22)
Lesson: 3D Layers
3D layers: z dimension in transform properties
Using 3D cameras
Pre-comping/nesting with 3D layers
Using 3D lights
Casting shadows
Material options
Bringing 2D images to life using 3D layers
Project #3: “Travel Through a Photograph” (Due: Sep 29)
Lesson: Type
Importing text from Photoshop and Illustrator
Converting to editable text
Creating text in After Effects
Character and paragraph tools
Manual text animation: text guides; animating back to front
Animating text with paths
Text animators
Lesson: Blending modes—creating manual effects
Using and combining blending modes
Working with organic materials
Collapsing transformations
Silhouette Alpha/Luma & Stensil Alpha/Luma
Lesson: Track mattes
Alpha vs Luma mattes
Lesson: Working with video footage
Import settings in detail (interpret footage)
Manipulating speed: time stretch, time reverse, time remapping
Lesson: Effects (part 1)
Applying effects to a layer
Effects controls/setting keyframes
Working with adjustment layers
Effects categories:
Color Correction
Blur-Sharpen
Stylize
Project #4: “Song Lyrics” (Due: Oct 20)
Lesson: Effects (part 2)
Effects Categories:
Distort
Perspective
Transition
Generate
Time effects
Simulation
If you are having trouble with any aspect of After Effects or related software, please let me know ASAP and I will arrange an in-person or on-line tutoring session.
WEEK 1: SEP 1, 2011
review syllabus introductions
Lesson: After Effects basics
Project organization
Composition settings: resolution, aspect ratio, frame rate, duration
Understanding different formats for various project types
Interface: Project, Compositions, Timeline and Tool windows
Importing media: still images, video, audio
Reloading media
Working with layers on a timeline: duplicating, cutting/pasting, duration
Understanding frames
Transform properties: anchor point, position, scale, rotation, opacity
Using audio waveforms as a rhythm guide
Exporting
Compression
Project #1: “A Simple Story” (Due: Sep 08)
WEEK 2: SEP 08, 2011
Submit: Project #1 “A Simple Story”
Troubleshooting /reloading media
Lesson: Animating—theory and keyframes
Working with keyframes
Motion path
Auto-orient
Using illustrator paths as motion paths
Motion theory
Types of keyframes: linear, ease in-out/easy ease, hold, rove
Working with the graph editor
Parenting: objects, null objects
Planning your animation—creating thumbnail sketches
Project #2 (part 1): “Geometric Shapes” thumbnail sketches and trimmed soundtrack (Due: Sep 15)
WEEK 3: SEP 15, 2011
Submit: “Geometric Shapes” thumbnail sketches and trimmed soundtrack Lesson: Imported and AE native media
Importing Photoshop layers and Illustrator layers
Masks
Solid layers
Shape layers
Lesson: Precomping and Nesting
Precoming/nesting
Collapse transformations
Keeping comps organized
Project #2 (part 2): “Geometric Shapes” animation (Due: Sep 22)
WEEK 4: SEP 22, 2011
Submit: “Geometric Shapes” animationLesson: 3D Layers
3D layers: z dimension in transform properties
Using 3D cameras
Pre-comping/nesting with 3D layers
Using 3D lights
Casting shadows
Material options
Bringing 2D images to life using 3D layers
Project #3: “Travel Through a Photograph” (Due: Sep 29)
WEEK 5: SEP 29, 2011
Submit: “Travel Through a Photograph”Lesson: Type
Importing text from Photoshop and Illustrator
Converting to editable text
Creating text in After Effects
Character and paragraph tools
Manual text animation: text guides; animating back to front
Animating text with paths
Text animators
WEEK 6: OCT 6, 2011
Review Type animation toolsLesson: Blending modes—creating manual effects
Using and combining blending modes
Working with organic materials
Collapsing transformations
Silhouette Alpha/Luma & Stensil Alpha/Luma
Lesson: Track mattes
Alpha vs Luma mattes
Lesson: Working with video footage
Import settings in detail (interpret footage)
Manipulating speed: time stretch, time reverse, time remapping
Lesson: Effects (part 1)
Applying effects to a layer
Effects controls/setting keyframes
Working with adjustment layers
Effects categories:
Color Correction
Blur-Sharpen
Stylize
Project #4: “Song Lyrics” (Due: Oct 20)
WEEK 7: OCT 13, 2011
Submit: “Song Lyrics” Lesson: Effects (part 2)
Effects Categories:
Distort
Perspective
Transition
Generate
Time effects
Simulation
Project #5 (part 1): “Ransom Note” style frames (Due: Oct 27)
WEEK 8: OCT 20, 2011
Lesson: Introduction to Expressions(with Robert Paynter: www.robertpaynter.com)
WEEK 9: OCT 27, 2011
Submit: “Ransom Note” style framesLesson: Effects (part 3)
Simulation category
Stroke effect (generate)—animating handwriting
Lesson: Organic effects
Using footage of organic materials to create stylized effects
Creating mattes with smoke footage for transitions
Creating stylized spatter effect using footage
Faking a spatter effect with stills
Using Roughen Edges effect to fake an ink-stain
Project #5 (part 2): “Ransom Note” rough animation (Due: Nov3)
Lesson: Stop-motion with After Effects
Using stills to create interesting stop-motion effects
Transforming video into stop-motion
Introduction to the "digital puppeting" technique
Lesson: Paint tool
Frame by frame animation
Animating Paint Effect strokes
Project #5 (part 3): “Ransom Note” final animation (Due: Nov10)
Lesson: Rotoscoping
Manual techniques
CS5 roto brush tool
Rotoscoping a human shape
Masking hair
Lesson: Green screen
Using various Keying techniques
Blending keyed footage with the new background
Keying hair
Project #6: "Green Screen Composite" (Due: Nov 17)
Lesson: Tracker tool
Motion tracking
Stabilizing footage
Project #5 (part 2): “Ransom Note” rough animation (Due: Nov3)
WEEK 10: NOV 3, 2011
Submit: “Ransom Note” rough animationLesson: Stop-motion with After Effects
Using stills to create interesting stop-motion effects
Transforming video into stop-motion
Introduction to the "digital puppeting" technique
Lesson: Paint tool
Frame by frame animation
Animating Paint Effect strokes
Project #5 (part 3): “Ransom Note” final animation (Due: Nov10)
WEEK 11: NOV 10, 2011
Submit: “Ransom Note” final animationLesson: Rotoscoping
Manual techniques
CS5 roto brush tool
Rotoscoping a human shape
Masking hair
Lesson: Green screen
Using various Keying techniques
Blending keyed footage with the new background
Keying hair
Project #6: "Green Screen Composite" (Due: Nov 17)
WEEK 12: NOV 17, 2011
Submit: "Green Screen Composite"Lesson: Tracker tool
Motion tracking
Stabilizing footage
Lesson: Motion Sketch
Final Project: Begin working on your final reel (Due: Dec 8)
Final Project: Begin working on your final reel (Due: Dec 8)
WEEK 13: NOV 24, 2011
Thanksgiving Break–no class WEEK 14: DEC 1, 2011
In-class work sessionWEEK 15: DEC 8, 2011
Submit: Final ProjectLesson: Plug-ins
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