Here's how to create kinetic typography masterpieces.
Ready to be a kinetic type master? This three part series will teach you everything you need to know to start creating your own kinetic typography masterpieces. In this tutorial you'll start your kinetic type animation by covering things like precomposing elements for re-use, synching up audio to animation, using layer markers intelligently, and working with complex camera moves.There's a ton of info in this three part series, and by the end of it you'll have your very own kinetic typography video and a TON of new skills in After Effects.Check out the Resources tab for a quick look at MoGraph History with the piece that started it all, MK12's Brazil.
Tutorial Full Transcript Below 👇:
Oh, he's a rock biter! Rock biter?!
Joey Korenman (00:00:22):
Howdy Joey here at school of motion. That was great. And welcome to day 17 of 30 days of after effects. Now this lesson is part two of a three-part series on making a kinetic type video. If you haven't watched part one, definitely go watch that first, this time, we're going to pick up where we left off in the last lesson. We're going to start to get into camera animation, check out some more animation techniques and learn more tricks for working with a big piece like this. Don't forget to sign up for a free student account so you can grab the project files from this lesson as well as assets from any other lesson on the site. Now let's hop into after effects and get started. Well, here is where we left off with the last video we animated the footsteps. We did our first couple of moves with the camera.
Joey Korenman (00:01:03):
We set up an environment and we've marked out all of the places where our animation needs to go based on the audio. Um, and so we're just going to keep, keep moving forward here. So if we look at the final render that we're recreating, uh, the next piece of animation, uh, is the Pantex. So, you know, the little dudes running through the forest and, uh, he's out of breath. And then he's going to say his first line. And so what I did for these I'll show you how I animated them. But, um, you know, when I listened to the audio for anything I'm animating, I, I try to pick out little details that I think might be fun to animate, and you don't have to animate to every single little noise you hear that might actually be too much, but, um, anything that's gonna give the animation some character and maybe give it just a little bit of a visual break can help.
Joey Korenman (00:01:55):
And I knew that I've got this really fast thing happening here. The panting kind of acts as like a beat in between that. And then the first line of dialogue. It's just a nice little buffer kind of all right. So let me show you how I made that. Let's go back into our audio setup comp and let's actually rename that to main comp. All right. Um, so where, what, what I'm going to do is make a pre-com that has that panting animation in it. And I want to maintain these nice audio markers that have already made. Um, and the problem is if I just make a new comp right command and make a new comp, those markers are not in the new comp, but here's a cool trick. What you can do is, uh, hit command Y make a new solid layer, and it doesn't even matter what you name it, and then pre composed that layer.
Joey Korenman (00:02:47):
So shift command C make sure that you're moving all the attributes into a new composition, and we can call this panting animation. Right. And now if we go into that, all of those markers get copied over, okay. So now even inside this pre-camp I have the timing all kind of marked out. And then of course, I want to copy the audio clip. So let me copy that, paste it in here. And I don't want to hear this audio clip play inside of this comp. So I'm going to control, click it and make it into a guide layer. All right. And so I'm going to do this step a bunch during this tutorial, because this is super useful. Um, so there we go. So now I've got my audio, I've got my markers. And so I know that this let's see here. This is where the panting is in here.
Joey Korenman (00:03:45):
Okay. Um, and I, I can mark it out, but it's, there's only three little pants in there. So I'm going to say pants way more than I intended to during this video. Um, so I'm just going to kind of figure it out as we go. So, uh, the animation for the word, all right. First let's, let's go to our illustrator file here and let's see. So I didn't actually create that artwork, but you know, when, when I was animating it, um, that was just sort of like another idea that I came up with inside of after effects, which is fine. So I am going to just create that artwork inside of after effects. So gonna grab a type layer, I'm going to type in pant in parentheses like that, you know, it's kinda like sigh or something like that. You put it in parentheses and it becomes almost like a, an aside the character.
Joey Korenman (00:04:40):
Okay. Um, what I'm doing here is I'm kerning the type, um, and this is something I didn't even intended to show you guys in this tutorial, but Hey, look at this, a neat little trick. Um, if you guys don't know what kerning is, let me, uh, let me do it with a font. That's really gonna show what's going on here. If I use a font, I don't know, like Gotham, right. Uh, Gotham is a great example. Um, and I do something like this, right. Or actually it works even better if we type out like a longer word, like why don't we type out? Um, I don't know my last name, which is, which is kind of long and hard to spell. There we go.
Joey Korenman (00:05:24):
So, you know, when I look at this, right, I mean, it's not awful, but looking at it, my eye kind of picks out these visual breaks that shouldn't be there, like K O it looks like it's together. But then that looks like it's separate from the R E N M and then a kind of looks like it's separate from that. And what's happening is when you type something in, in the S is the same in Photoshop, illustrator, after effects, any program, um, it's going to do the program will do its best to put the letters where they're supposed to go. Um, but it doesn't always do a great job. And so sometimes you got to fix it. So what you can do is use your arrow keys to navigate between the letters and like the own the are too far apart. Okay. So what I want to do is hold option on a Mac and on a PC, I apologize.
Joey Korenman (00:06:13):
I don't know which button is option on a PC, but it's going to be controller all, and then you hit the left arrow and you just tap it and just nudge it a little closer together. Okay. And you know, this is one of those things that you just kind of do a whole bunch of times, and then you get better at it. Um, right. So that's before, right. And then this would be, this would be after. And I just sort of like, let my eyes go out of focus and see where, you know, you got to kind of let your brain just break the thing into different pieces. And, and if it, if it's able to it's wrong. Okay. I started before. Right. So before and after. Okay. And it, you know, generally, I mean, to be honest, you should do this on every single piece of type that you, uh, that you set.
Joey Korenman (00:07:07):
All right. So there you go. So that was, that was a little random bit of information. Um, all right. So now let's actually do what I set out to do, which was to make a panting animation. Okay. So this font, by the way is called duality. Um, and I believe it's a, it's one of those free default fonts, or I forget where I got it. Um, I will link to it, uh, in this tutorial. All right. So here's my painting, uh, layer. Right. And I just do a quick, little quick little kerning job on it and make it a little bit easier to read. Okay. And, uh, don't worry about the colors yet. The first thing we need to do is just get the animation down. Um, so this comp is 1920 by 10 80. And you know, we're not gonna ever be too, too close to these, so that's fine.
Joey Korenman (00:07:54):
We're just gonna leave it at the normal size. And what I want is, is basically for this thing to just fade on and kind of rotate and scale up, um, and maybe have one pant go this way and then another pan go clockwise. So I'm going to move the anchor point of pant down below the layer. So that way I can rotate it like this, and I can scale it like this. And let's just go to, uh, let's just go to the first frame of the comp, animate this from there, and then we'll move it into position. Okay. So we will start, um, let's figure out where this things needs to end. Okay. Let's set the end position first and that's a good end position. Right. Um, and so let's go forward, may be 10 frames, uh, shift page down, jumps forward 10 frames. It's a quick little we'll shortcut.
Joey Korenman (00:08:50):
We'll set a rotation, key frame, we'll set a scale key frame. Um, and most of the time I said key frames, just upholding option and hitting S for scale R for rotation, and then go back to the beginning and we'll set the initial values. So it's going to start rotate it over this way and scale away down, and it doesn't have to be scaled all the way to zero. Um, don't, don't be afraid to just have things appear on a frame, especially if they're moving on the frame they appear. Um, that's, you know, that's totally fine and it's not going to look weird. Um, and it's gonna, it's going to let you get away with animation that will be harder to do if you tried to always have the thing, be totally disappeared. All right. Um, an easy ease, all these key frames, I'm gonna try an easily.
Joey Korenman (00:09:40):
There we go. Okay. And then go to the animation curves. And I want it to kind of like start by being really quick as it's, as it's beginning it's animation and then sort of ease at the end. Right. And hopefully if you, uh, if you watch enough of my tutorials, these curves should start to look familiar to you. And, you know, you may not even need me to tell you what it's doing. All right. So let's take a look at that. Right. So that's pretty good. Right? So there's one pant. And then what we needed to do is right about here. We need it to start fading out. So I'm going to put, uh, uh, transparency, key frames. So option T right. It makes opacity key frame and then go to the end and fade it to zero. Now I'm going to hit option and the right bracket just to trim my layer.
Joey Korenman (00:10:31):
Okay. So there's a pant right there. All right. And I'm going to have it start to fade out a couple frames later, maybe just one frame, just so you get enough time to read it. Okay. And there's going to be three of them, so I'm not too worried about it. Um, I can also delete this solid layer that I made. That was just the placeholder, so we could carry over our, uh, our markers. And so that's one kind of pant animation. Okay. Um, and another thing that, uh, that I did was I, I had kind of the brackets be different color. Um, so why don't I pick whip that yellow color using the trick I showed you guys in the last video, you can use this little eyedropper over here and then come back to the panting animation. Oh, yes. I need to see, so here's the problem.
Joey Korenman (00:11:23):
I want to make the, uh, I want to make the brackets yellow, and I'm not going to be able to do that. Uh, if, as soon as I select this type, this color is going to change. So I actually needed to transfer this color to something else first. So I'm just going to make a new solid Layla SU the, the new solid layer it's very early. So if I stumble, that's why, um, I made a new solid layer where I transferred that color to it. So now I can come in here and pick wimp to that color. All right. So this is, this is kind of a little cheap trick, um, and after effects to, to copy and paste colors around really easily, if, um, you know, if you don't want to go to the trouble of actually setting up, you know, a color preset or, um, or creating a color document, you know, that you can sort of use between artists.
Joey Korenman (00:12:15):
Okay. So there you go. There's one animation I'm going to pre-com this. All right. And I'm gonna make sure I move all the attributes into the new composition. We'll call this pant and this pan is going counterclockwise. Okay. And let me move that into pre comps folder there. And then I'm going to duplicate that and I'm going to rename the duplicate to clockwise. And I can just come in here and all I need to do to make this a clockwise animation is adjust the rotation. Okay. So if we look at the animation curve for rotation, it's starting at 28 and it's ending up at negative 17. So if we just reversed those values, um, then it will actually be going, um, it will be going clockwise. So if we draw a box and select these key frames, um, what you can do is actually scale this, right?
Joey Korenman (00:13:12):
And so what I want to do is kind of look at where this key frame is here, right? It's, it's in between 25 and 30, and I'm going to grab, I'm going to hold command and I'm going to grab this top box and I'm just going to go like this. Okay. And I just inverted the curve and the benefit of doing it this way is that that nice shape of that curve gets maintained. You've just sort of flipped it. Okay. It's pretty handy. Cool. So now we have a clockwise pant, and if we go to the panting animation now, um, and let's zoom out a little bit and let's figure out where that panting needs to happen. So I'm holding command so I can scrub through and let me actually select the audio clip and hit L twice. Like I showed you guys, see if we can see the pants. I don't think you can.
Joey Korenman (00:14:03):
Yeah. You can't really see the panting on the wave form very well. It's in here somewhere, but it's kind of tough to see. So I think it's going to be easier to just kind of hold, come in and figure out where the first one starts right there. Uh, and then I'm gonna select that first panting layer. And I'm going to hit the left bracket key, which is going to knock it. It's going to move it immediately to the time of my play head. All right. Then I'm going to duplicate the layer and I'm going to replace this layer with the clockwise animation. And so if you don't know the easy way to, to replace layers, you select the layer you want to replace in the timeline. You come up to your, your project window here, you hold option and you click and drag like that. And so now I can move this one to where the next pant is happening. So let's scrub through right there, maybe.
Joey Korenman (00:15:01):
And there's the last one. So the last pant is going to be another counterclockwise, move it up here, nudge it. There you go. Unless Ram preview that. All right. So I think the first pan actually starts a little earlier and then this would be the second one. And this would be the third one. There we go. Okay. Um, and now they're overlapping. So what I'm going to do is just, I'm just going to cheat. I'm going to take this bottom pant and I'm going to nudge it up like this, and I'm going to keep nudging it up so that it doesn't really overlap very much. All right. Now it's going to the top of the screen. So I'm going to actually have to move some of these other ones down and I'm just kind of going frame by frame through it and adjusting. There we go.
Joey Korenman (00:16:00):
There we go. Cool. So there's our painting animation done. Uh, and we made it, you know, almost the size of the comp. So the good thing is, you know, we can use it at a really large size if we ever needed to. Um, so now if we go back into our main comp, here's the panting animation, and it should already be timed out. Okay. And you can see the layer starts at the beginning of the comp, but there's nothing in that until the panting. Okay. So I'm going to trim this layer. I'm going to select it, hold option, hit the left bracket, trim it. Um, and you know, it depends how you like to organize your, your after effects projects. You know, I like to try and color code things when I can just, so this won't look as crazy in the end. Um, and so, you know, the footsteps and the panting and the line, that's about to follow those all come from the same character.
Joey Korenman (00:16:56):
So I'm going to start color, coding them all the same color. So, you know, why don't we make them purple since that's kind of the color of his footprints. Okay. So anything that happens with this character, it will make purple. It'll be easier to see in the timeline. All right. So I need to make this now a 3d layer, so the camera can actually see it. And so now here's an interesting thing. So because we have this camera in here and we're animating the camera as we go, when I make something, a 3d layer for the first time, it puts it back at the, at the origin of our scene. And if I zoom way out, you can see where it is here. Um, and that's not a big deal. I mean, a lot of times you can just zoom out and then scoot this over, where you can see it, and now you can adjust its rotation and position and all that stuff.
Joey Korenman (00:17:41):
Eventually this is going to start to get hard to do if you know, the camera moves really far and, you know, we'll have to zoom way out here and, and try and find the layer. Um, so one thing, one thing that I found helps is if you, you know, normally you're looking through the active camera in your scene, but you can change this and you could set a custom view. Okay. Um, and you know, the custom view basically gives you control over a totally separate camera, right? And you can zoom out and move around and what I'm doing as I'm hitting the C key, which brings up your camera tool, um, when you first hit, see, it brings up an icon that looks like a movie camera, and this is cool. If you, if you have a three button mouse, you can, you can just click to rotate.
Joey Korenman (00:18:31):
You can, I believe, uh, middle click to zoom in and out, and then you can right. Click to move around. I use a Wacom tablet, and it's a lot trickier to do that with the buttons on the pen. Um, so normally I just hit see again, and then it brings up those individual, um, those individual things. And so in this view, it's easy for me to like, see how the camera's here. I can move this over. Um, and you might even be able to, let me try this instead of custom view, let's go to top view or not top view, sorry, front view. And then in your front view, you can still zoom out and move your sort of virtual camera around. And I can see this is where the camera actually sits. So if I just grabbed this layer and move it here, and then I can go back to my active camera and it should be, now I can see it.
Joey Korenman (00:19:23):
Um, and now that I've set up that top camera, if I hit escape, I can just toggle back and forth between those two cameras. Um, so that's pretty cool because now whenever I make a new 3d layer, I can just hop into my top view or, sorry, my front view. Um, this seems like it should be the top view because in cinema 4d, this would be a top view, but it's actually not, it's actually the front view, uh, and, and, and just positioned. So the camera can see it. So here's the painting animation, and it's not rotated the right way. It's probably too big and I want it to be over here by the footsteps, right. So let's just Ram preview the end of this. There we go. All right, let's move these here.
Joey Korenman (00:20:14):
Cool. So the pants, they feel a little bit, um, they feel a little bit big. Um, and also they're not moving as much as I'd like, so I'm just going to add one more sort of layer to this. I'm going to hop back into the painting animation and let's zoom to fit. Um, and what I want to do is as this, I'm going to shrink them all down first off, cause they don't need to be as big as they are. So let's scale them down to 50%. Okay. And I know I'm going to have to adjust where they, where they are, but what I want to do is, um, open the position on the first one control, click, separate dimensions, let's put a white position, key frame at the beginning, and then let's go to the last frame, right? So now that's disappeared. Let's put a key frame there.
Joey Korenman (00:21:00):
And what I want this to do is I want it to actually rise as it's animating. So I went back to the first key frame and I just knocked this layer down. So now I'll actually move up a little bit. And of course, I don't want it to just be moving up linearly. I want it to kind of mimic that motion where it starts out fast and it ends slowly cool. It makes it feel a little bit more like it's bursting up and then I can just copy and paste the Y position to the other two. And then, you know, and then I can just adjust the position like this. Okay. That now they're overlapping again. What I want to do is take the, um, take the second layer here and select both key frames. Make sure that my play head is on one of those key frames. And then if I just use my arrow keys to nudge it down, it's moving both key frames at the same time. And then I'll do the same thing on this one and I'm just trying to get it so they don't overlap too much. So let's see. That's better. All right. And they're still overlapping more than I want. So I'm going to, I'm going to nudge the first layer up. There we go. And then I'm going to nudge the last layer down and now that shouldn't overlap anymore. There we go.
Joey Korenman (00:22:25):
Cool. All right. And let's see what that looks like. Let me scale this up a little bit. Cool. And move this up. And there you go. Now we have our painting animation. So now we are ready for the first line of dialogue. Okay. Then a little crazy flash of stuff I just did. Um, it's funny when, when you get, when you, when you get the hot keys kind of embedded in your brain and after effects, uh, you sometimes just do them without even thinking. And what I was doing was, uh, you know, sometimes you have a bunch of layers open like this, right? And I want to, you know, sort of look at my timeline as a whole and not see all this stuff anymore. So what you can do is you can hit command a select all, and then you can hit shift Tilda and it will close everything up for you.
Joey Korenman (00:23:19):
So that's what I just did. Um, so the next line is, is he a nutcase? And we can build all of that as one pre comp. Um, and the reason that that's smart to do is because, you know, we want, we're going to want to lay out our type, right. And, and not have to like lay this type out and then lay this type out separately and then hope they work together. Right. So, um, so it's good to lay it out in one comp. And I also knew that we were going to zoom into this and we were going to be very close to it, but then zoom out to see all of this. So if I made this comp this, this is he a nutcase pre comp. If I made it 1920 by 10 80, and then we zoomed in this close, it would get really, really pixelated.
Joey Korenman (00:24:13):
So I knew I needed to make it bigger than that. So what we need to do is let's do this same trick here, where we'd go to the main comp and make a new layer and we pre compose it and we can call this, uh, is he a nut case? Okay. Um, and then we'll go in there and we'll see that we have our markers that transferred over. Um, let's also copy over the audio and right. And control, click it, or right. Click it, make it a guide layer. Then we'll go up to our illustrator file and let's grab this layer, this layer, this layer, is he a nutcase, copy them, paste them. Uh, and I'm gonna change the background of this pre comp uh, command. K just make it lighter so I can see, there we go. Uh, and now we can lay the type out. And, um, you know, I, first thing I want to do is actually make this comp bigger. So I'm going to, I'm just going to do that quick little trick. I showed you guys last video. Um, you go to the script's menu and you do scale composition and you say scale factor two.
Joey Korenman (00:25:28):
Okay. And now if I go back here, it has doubled the size of my comp really quickly. And it's also maintained the relationship between all the layers and they're visually in the same place. Um, all right. So let's turn off the nutcase layer for a second. And let's talk about how we want to animate this. Um, actually first thing I want to do is scale everything up, so that it's really big. Um, and, and so we have a lot of resolution to work with. So I'm going to just temporarily parent these two layers to this one, just so I can scale it up really big. Um, and I'm not going to mess with rotation and all that stuff just yet. Um, but we will in a little bit, all right. So the first, the first part of this is is he, and then there's this little noisy makes like, you know, like he thinks he's being funny.
Joey Korenman (00:26:21):
So let's talk about the first part, you know, he just ran from screen right. To screen, left to screen. Right. And he kind of stopped short and he says, he kind of spits these words out, is he? And so I wanted the motion of those words to kind of reinforce that. So I figured it'd be cool if they animated left to. Right. Um, and I also thought it might be interesting to have those three, the ellipsis to sort of animate on, like, to really, you know, animate that little pause before he finishes his sentence. Um, and these are a whole little details. I'm sure when you watch this, you don't even notice when it's playing, but if you watch, you see that they animate on left to right. There's the ellipsis. And then the little just pops on. So I'm always trying to animate the words in kind of the character of what it is they're saying and what the character is doing.
Joey Korenman (00:27:18):
So what I need to do is, um, I need to separate is he and the dots into separate layers. Okay. So let's do that real quick. So what I'm gonna do is I'm going to rename this layer is, and I'm gonna duplicate it. I'm gonna rename it. He I'm going to duplicate it and say dot oh one dot oh two dot oh three. So I first make the number of layers I need, which is 1, 2, 3, 4, 5, then I'll go back through and I'll mask them. So I'm gonna hit Q who brings up your mass tool. And I want to make sure it's on the rectangle tool and I'm going to mask out is then I'm going to hit command and the up arrow, all right. And command up and down. It moves between layers in your timeline. So I can then just quickly command up, go to he draw mask.
Joey Korenman (00:28:09):
Right. And you see this mask is actually hitting one of these ellipsis. I don't want that. So I'm gonna hit G really quickly at a point hold command. So now I can select a point and then move that. Okay. And hopefully you guys can see that, that green mask on the screen capture. All right, I'll hit cue, command up, goes to the next layer. So now I can draw a mask around this dot command up, do the next one. And if you're sloppy, make sure you clean that up and then command up and do the next one. And for some reason, I think it's just, I hit Q too many times. It changed it to a rounded rectangle, which is not what I want. So we'll go like that. There we go. Okay. So now we have very quickly broken that word or sorry, the old phrase up into different layers.
Joey Korenman (00:28:59):
And I want them to just sort of slide in very quickly, um, and, and sort of reveal from left to, right. So, uh, first I need to set up some masks, uh, or, or a matte layer for each one of these. Um, so this is an easy trick. I do this constantly, um, because it's very, this is one of my go-to moves, right? If you guys remember, um, back, you know, from a few tutorials ago, um, this is kind of a go-to move and it's really simple. So hopefully this is something you guys can use to, um, I'm gonna make a new layer and it's a good idea just to make it like a totally different color than something else in your comp. So it's easier to see, and I'm going to put it underneath my, all of my layers and I'm just going to move it like this.
Joey Korenman (00:29:44):
Okay. And you can do it two ways. You can move the layer, like to the very edge of, of your layer like this, or you can do the reverse and put it on this side. And I think that's what I'm gonna do. Okay. So this layer is going to be the mat for is, and then what I can do is I can have, is start over here where the layer doesn't exist and slide into the layer and it will reveal, and it it'll be beautiful. It'll be gorgeous. Um, so what I could do is, um, and then to make this easy, I could even, you know, I could even let me do this a better way. This'll save time. Uh, let me put this back where it came from. And instead of doing that, I'm just going to grab my mask tool and just drag a mask around like this.
Joey Korenman (00:30:38):
Okay. And I'm going to bring this up above is, and I'm going to set is I'm going to hit F four so I can swap out this column here so I can see the track mats and turn on the alpha matte option four is, so now it's using that layer as the mat. And what that means is I can just slide it in like that. Um, and I wanna, I need to set that up for all the other layers. So what I can do is just duplicate the mat, bring it above the next layer, and then move this mask over, just like this, and then adjust the, adjust the shape of it.
Joey Korenman (00:31:16):
Okay. And then duplicate it, do the same thing for the dot. And if you double-click a mask, it lets you transform the whole mask at the same time. All right. Then I can duplicate it again, move the mask over here, duplicate it. And there we go. No, that's all set up. And then we just need to tell all of these other layers to use the whatever layers above them as an alpha matte. Fantastic. All right. So then we need to have each layer slide from left to, right. So now what we can do is open up the position property for each of these layers, select all the position, properties control, click, separate dimensions, and all we want to animate is exposition. Okay. So I just put a, I just turned on the stopwatch for those hit, you accidentally turned on why for this one she don't want.
Joey Korenman (00:32:16):
Um, and then, you know, this is going to happen very, very quickly. So let's go forward like four frames, maybe five, um, and add a key frame here. And then we'll go back to the first key frame and set the initial position. So is if I move it to the left, I just need to move it until I can't see it anymore. And then the same thing with he, and then the first dot second and the third dot go. Uh, and then I'm going to easy ease all of these, go into the animation curves, right? This little button down here, it looks like two squiggles that fits all of your graphs to the view. And it actually does a pretty terrible job of doing it too. So, uh, yeah, that's one of the graph editor and after effects really it's, it could be better. So let me just leave it at that.
Joey Korenman (00:33:06):
All right. So, um, you know what I want, I kind of want that, that same animation style that I've been doing, um, where things sort of shoot out and then he is at the end. Um, the problem is if I grab all these like this and I try to point them up, um, I'm gonna run into a problem, which is this, you know, these layers that have more change in their value are not going to be adjusted the same as these layers that don't have as much change. So, um, unfortunately in this case, I'm going to have to just do it, do it manually, or what might save me some time is go like this, pull these up, grab all these, pull these out, but then quickly go through each one and just take a look like this one looks like it's bent a little too much, right? Just, just quickly go through and adjust these curves. Like this one isn't meant enough. Right. Um, so it's always a good idea to just double-check make sure everything is working. Um, let's take a look at the speed of these.
Joey Korenman (00:34:10):
Alright, nice. They slide in nicely. And then next thing we gotta do is just stagger them. So it comes out first. Uh, and then he, and then the dots and I want them to happen in time. And so I actually have markers here, but tell me when those words happen. So if I take the, his layers and move them there, and I probably want is to land on that, on that marker. So I'm going to nudge, I want to just scoot this back a little bit like this and an easy way to do it is hold option and hit page up, and it will nudge layers backwards and forwards in time for you. Then he, I'm going to want to land great here like that. And then the first dot and then the dots, you know, obviously you can't hear the dots in the audio. Um, so I'm just going to kind of wing those and hope that I like where they end up and then adjust them when I don't is he dot, dot dot, and then that will happen. All right. So let's, let's listen to this.
Joey Korenman (00:35:22):
Okay. So I like to, is he, but the dots are, they need to happen faster. So I'm just going to make sure there's only one frame in between them and I'm gonna have them start a little sooner. Okay, cool. Cool. I'm, I'm thrilled with this. And, uh, and so, you know, all I need to do is, um, it's, pre-com this now, and then we can start on the next piece. So, you know, one thing I want to make sure is that this, this type is big enough, um, so that when I get very close to it, I'm going to be happy. Right. Um, and you can see I'm zoomed in, um, since this comp is basically twice the size of a normal HD comp. Um, if I'm zoomed in at 50%, I mean, this is actually a hundred percent here. This is how big it's going to be able to be without pixelating.
Joey Korenman (00:36:19):
And the reason it's pixelated now is cause I'm in half razz. But, um, if I'm in full Raz, it'll look nice and crisp. So I think this should be big enough, so you don't need to do anything else to that. Alright. So then the next piece of the animation is this right. Um, let me move this up. Cool. So, um, what, you know, w I was thinking about what I wanted this to be like, and it's such a sharp, fast sound that I thought it'd be cool if it just appeared. Um, and sometimes just cutting something into existence looks cool, but I wanted a little something extra. I thought, you know, he's, he's making this noise. And I kind of pictured him spitting like little bits of spit coming out of his mouth when he said it. So I decided to animate some of those.
Joey Korenman (00:37:09):
Uh, and I did it as quickly as I possibly could. And this is how I did that. So first let me move the, the layer to the right spot. Um, let's do a quick round preview, make sure we like where it is. Yep. Here we go. And then I'm going to make a, um, I'm going to make a new pre-camp real quick and I'm gonna, and, and just to save time, like, so I don't have to then find the pre-camp and bring it in. I'm going to make a new solid, I'm going to pre compose it. We're going to call this spit. We go in here, we can delete that solid and all we need to do. Um, I can also make this comp much smaller. This doesn't need to be a double HD comp. Um, I'm just gonna make a line. I'm going to put a point here, hold shift, put a point here.
Joey Korenman (00:37:59):
That's it. Uh, and then just make sure there's a stroke on it. Okay. And the stroke by default, uh, let's see. That's 25. So what I'm gonna do is I'm gonna make a line, I'm going to animate it on and off, and then I'm going to just bring it into here and scale it down. Right. So let me just kind of test fit this and see I'm going to move the anchor point to one end of the line. And it should probably be the beginning of the line. Let's do it like that. Um, and so I'm going to scale it down and I'm just going to sort of place it like this. Uh, and so that the, the thickness of that stroke looks pretty good to me. Um, and I that's, what I wanted to check was in this comp, it looks super thick, but I knew I was going to scale it down in this comp, so it, so it looks okay here.
Joey Korenman (00:38:51):
So, um, I'm glad I checked that. And then all I need to do is, uh, animate that line on and off. And you see how it has these hard edges. Um, I don't want it to have the hard edge. I want it to be rounded. So if I go into the contents of the shape, look at the stroke options, there is a, um, a line cap, and you can change it to around a cap instead of a, instead of a butt cap. Uh, it's six 30 in the morning, and that made me laugh. All right. So, uh, so there's your round cap, right? And then if you want to animate the line on and off easiest way is to add to your shape layer, add the trim paths, modifier, and then I can just animate the end. Right. And I can animate the start. And so what I'll do is I'll start at zero zero.
Joey Korenman (00:39:42):
Um, and let me go to the beginning of this layer here. Um, and I'm going to animate first, the end, maybe five Rams goes all the way to the end, and then I'll animate, the start goes all the way like that. And then I'll just overlap them a little bit. Right. And I'm gonna easy ease both of them. Uh, and let's go to the end first. And so the end, this is, what's bringing that line on and what I want it to do is you probably could have guessed. I wanted to start fast and then really ease into his last key frame. And then with start, I wanted to do the opposite. I want it to ease out, but then get faster. Okay. And so the combination of, of doing that, it's going to look like this. Okay. Uh, it's kind of popping out a little too fast, right. So I'm gonna adjust that key frame a little bit. There we go.
Joey Korenman (00:40:46):
Cool. Wonderful. Um, and then I can overlap the more or less, you know, if I, if I basically, the more overlap they have, the shorter, that line is gonna look more relaxed, the longer to look. All right. So somewhere in the middle is probably good. And then we'll come back to this comp, um, and we'll go here and let me move this spit layer. I just use the left bracket, hot key again, to move the end point of the layer here. Um, and I'm going to, and I have it actually backwards. So let me adjust the anchor point. Zoom in here. I'm gonna adjust the anchor point. So it's on the end of that line. And that way I can easily rotate the line to point where I want, and I can position this, like wherever I want. So let's say, I want one line there and I'm going to G I'm going to, now I can start selecting, um, font colors.
Joey Korenman (00:41:43):
Now, if I wanted to, so I can use a generate fill effect. So why don't we do that? Well, they use effect generate, fill, and use that yellow color. Then I'll just copy that effect onto each of my type layers. And that's it. And then I'll copy that same effect onto the spit. So it matches with this type. Um, all right. So that's what it's going to do, and then what I want to do, and maybe, maybe it's too long. So I'm going to, I'm going to scale this layer just on X a little bit, so I can control how long it is. There we go. Cool. Uh, and then I can just duplicate it, rotate it and move it. Right. So I can have, have another one come out of here kind of along the angle of this. K. Um, I could duplicate it again and bring it over here and it can be going straight up with fatigue, but then maybe have, maybe have another one that's a little bit shorter, maybe down here, somewhere like that. Um, and I'm just sort of trying to randomly place these, but, but in general, have them move outwards, you know, like it's like, it's a burst.
Joey Korenman (00:43:09):
Cool. And so now if we ran preview this, all right. And, uh, I, you know, I kinda like what they're doing, but they, it just feels like the lines get too long. Uh, there's not enough variation in them and they're too slow. So let's just quickly fix that. I can grab these last two key frames and move them a frame closer and overlap these quite a bit more. So we get something that's more like that. Okay. Um, and let's double check our animation curves here, and I think it might actually work better with my start animation. If maybe if I tried it like this, try to try to actually easing on both sides, it's going to let us see a little bit more of the end. There that's much, much better.
Joey Korenman (00:44:05):
Cool. Um, and if I wanted to just to add a little variation, maybe I could take a couple of these and nudge them forward. One frame, let me, you can barely cause there's an expression that good friend of mine says that it's a sound only a dog can hear, but just that little bit of variation in timing. I like it. And I noticed it and I know it's there. So, so that's what we're doing. Um, cool. So now we've got that. And then the next part is, is he a nutcase let's turn on a nutcase. And now for this, you know, I sort of had planned this out in my head ahead of time. I knew is he was going to happen very close to camera and then a nutcase we're going to zoom back and sort of reveal. So I wanted a nutcase to have a lot of movement to it.
Joey Korenman (00:44:56):
Um, and so here, first thing I'm gonna do is I'm going to pre-com this whole bit up here, right? So this is, is he okay? And there's that. So, and then that layer doesn't start until here. So option left bracket there, go, and now I'm going to make a null and I'm going to call this type. No, and I'm going to parent both of these layers to the nail. And that way I can just adjust the overall scale and rotation and things like that. Um, because if you look at the actual composition that this ends up with, right, again, like the character in, um, if you guys have seen the movie, the person saying this looks like he's completely insane. And so I wanted it to look a little off and I wanted it kind of pointing left to right, with things, getting bigger or smaller to bigger, almost like he's, you know, he's getting louder and louder with each word he's saying like, he's losing his mind.
Joey Korenman (00:46:04):
So, um, this is just a little insight into sort of, you know, how you can think about these things. Um, so, you know, I knew it was going to be rotated and I kind of wanted to visualize that. So, um, so looking at this, uh, I, I know I need to first break up this layer into three layers. So instead of a nutcase, it should be a nut case. And then I can do that same trick cue, grab my mask tool and just mask out each piece of that one piece at a time and move, you know, move the mass points so that we don't get any overlap. There you go. Uh, and then do the same thing here.
Joey Korenman (00:46:53):
There we go. All right. So we've got those and what, you know, what I sort of did was, um, I just sort of did a little, little pred key move Prentky type, move on here, um, and just had them sort of rotate and scale up and land. Um, and, and it worked great because it kind of makes it feel like he's shouting these words. So let's start with a, um, and I'm going to hit Y and move the anchor point. You know, maybe we'll try just doing it on the corner of the EA and we'll have the ACE sort of swing up and swing into position. Okay. So it's going to start, and I actually have my markers up here so I can see a nutcase, right. So a is going to start there. Um, I know I'm going to animate rotation and scale. Um, so why don't we move forward?
Joey Korenman (00:47:43):
Let's say six frames. Uh, and I'm just guessing, uh, so we'll put key frames there and then when it swings, it's going to be swinging pretty fast and these are big letters. So I want it to overshoot a little bit. So I know it's going to have to spend a few frames coming back and settling. So if this is six frames, why don't we go forward two frames? All right. And put two more key frames there. So the, this key frame, this is actually where it lands on this key frame. This is where it starts, and I want it to start way down here and smaller, and it doesn't have to be all the way shrunk down. Remember it can, it can pop on and it'll look fine. And then when it comes here, I want it to overshoot. So it's going to rotate a little too far. It's going to grow a little too big. All right. And then I'll easy, ease those go into my, uh, animation curve and really yank out these ending key frames so that it feels like a big, like a big kind of bouncy sticky move. There we go. All right. And it's not big enough, not big enough. I really want it to overshoot. So it needs to overshoot way more.
Joey Korenman (00:49:04):
Right. And maybe even needs to start smaller. So there's more acceleration. And I'm going to, I'm just going to sort of gently with a soft touch. I'm going to just sort of get these curves where they need to be. And what I, what I'm looking for is I'm looking for the animation to feel natural. Like you're right now, it feels like when it comes back, it's it's happening so fast and there's no, it kind of loses the illusion of wait. All right. So w you know, what, what that means is that I either need to adjust this key frame, but actually like this, I need to, or I need to add some overshoot in the opposite direction. So I think that's what I'll do is we'll just go forward a couple of frames, add another key frame, uh, and have, and then, you know, step back one set of key frames and just add a little bit of overshoot back the other way, like an overcorrection.
Joey Korenman (00:50:07):
That's better. All right. Let me turn the audio off for a minute. Just so you guys can see that little bit of overshoot coming back down. It's sold the whole thing. It was not good before that. Now that feels better to me. Um, I'm gonna move you guys still think it sucks, but it, you know, this actually looking at it, it feels like a good animation. And, you know, if you're stuck and you're looking at your thing and it doesn't look right, go always go back to those animation principles. They make it a lot easier. Once you start working within a framework like that. So there's an nutcase. And now, because I've got that set up, um, I can, I can just kind of apply that to each layer. So, uh, nutcase or sorry, nut, uh, I'm going to have it rotate the opposite way, but I've already shown you guys the trick, how to do that.
Joey Korenman (00:50:56):
So that's gonna be easy. So we'll copy that. Um, and then nut obviously starts where the nutcase marker is, and I'll paste that. And then I'm gonna hit rotation, go to the animation curves, and I need to flip flop this rotation curve. So it starts, um, up here in between 40 and 50, and it ends at zero and I still want it to end as zero. So I'm going to do a select all of these key frames, and I'm going to move the anchor point of this transform box to this key frame here. Cause they don't want that key frame to move. I want everything else to move, but I want that ending to stay where it is, hold command, and then drag this thing down. So now we need to just go down here so that it begins in between 40 and 50, just like it started.
Joey Korenman (00:51:47):
Cool. And there you go. And then I can just copy the original animation to the case layer and let's figure out where that needs to go. So let me turn the audio on, I'm going to hold command and scrub through case right there. Okay. And then I'll just paste those key frames. All right. And now we've got the whole, we've got the whole line. All right. And so the animation of a nutcase, it looks great. And the, you know, one little problem which is easy to fix is that the animation takes time. And so you're hearing the word, but you're not actually seeing it until a few frames later. So I'm just going to nudge these back. Let's try five frames. So option, page up five times, just like that.
Joey Korenman (00:52:48):
It's better. Cool. Okay. And, um, and so now if you look at the main comp, right, sorry, not the main column. If you look at the, uh, at the, at the preview render, um, you can see that the, that the words on that case are all kind of messed up and the little off. Um, and so to do that, um, you know, I could, I could just, pre-camp all of these layers and, uh, and then adjust the pre comps. Um, an easy thing I can do is, is just grab a, um, a transform effect. So distort, transform, and transform is just going to let me kind of manipulate these layers and scale them and move them. Um, but I, it's not going to mess up the animation I already have on there. Right. Um, so that's kind of a cool trick. So I'm just going to do that.
Joey Korenman (00:53:46):
That's kind of like a Quicken quick and easy way to do it. You could also give each of these pieces, their own Knoll and parent them to that null, and then you can use the null to adjust them. And actually, as soon as I said that, I realized that that's a better option because one of the problems with the transform effect is the anchor point is not in the right spot to make this easy. And if you move the anchor point, it moves the letter and you can fix that, but it's kind of a pain. So actually I think the Knoll is going to be the way to go. So let me make a new Knoll real quick. And I'll just put one, no, come on. No, put one by the AE, put it above the AME. Just going to say a no, duplicate it.
Joey Korenman (00:54:31):
This is going to be the nut. No, this tutorial is just full of funny named layers and I'm having trouble moving it. There you go. A nut Knoll and then a case. No, and now just parent a to anal and then nut to not know and case to case now, and an apparent those NOLs to the type now. And so now I can, uh, I can grab my anal, my cheese. Oh my God. I'm so sorry, my anal. And then, uh, and then I'm going to scale the aid down and then we grab the nut, no scale that down and kind of rotate it the opposite way, just to kind of give it this weird little cant, um, something maybe like this, you know, this is one of those things that you just, you just play with for a long time. And then the case now maybe rotate it a little bit back this way and scale it up a little bit and then scoot it over. Is he a nutcase?
Joey Korenman (00:55:42):
Cool. Um, and just to see what it looks like, I want to see what happens if I take the anchor point of some of these layers that we've already animated and just scoot them over. So the animation isn't happening so far over on the layer, right. Let's them overlap a little more as they animate on, um, which is kind of cool. All right. And, uh, and so now I can set the color for a nutcase in, this is something I did actually much later in the process, but I can do it now just to show you guys how that you see how there's kind of like a little yellow highlight on the edge here. All that is is just, I duplicated the nutcase layer and I offset a copy and made the copy a different color. Um, and I did that because I wanted a little bit more contrast and more visual interest to the scene.
Joey Korenman (00:56:35):
Um, and so I'm going to do that right now. So the first copy of a nutcase is that yellow color that we already have. So I can, uh, grab my generate, fill effect, make yellow and just copy paste that. Uh, and then literally all I did was, um, I duplicated these layers and the copy I made this blue colors. Let me pick what that blue color let's come over here. And these top copies are going to have, um, a blue fill color to them. So copy that, paste it to these top copies. And then just take these top copies and just knock them over to the right with your arrows a little bit, you know, and you can nudge them up and down if you want to. And then, uh, and then I just offset them by a frame, right? So now you get a little something like this. Cool. Uh, if we now go to our main comp and we scrub through, you can see that these are already timed out perfectly. The, the words are, uh, let me trim this layer, make it our nice purple color. And then we need to place this in 3d space. So let's make it 3d layer and you can see that now it moved into some weird spot, but I can actually see it. So I'm just gonna drag it here and rotate it.
Joey Korenman (00:58:05):
Okay. So is he on nutcase? So what I figured I wanted to do was sort of right here when he says is he, I wanted his, he to be much smaller, let me move the move. The anchor point here. I wanted his he to, to be small like this, but then have the camera zoom in, um, you know, sorta like, cause he's whispering and it's almost like he, he thinks he's telling us a secret. So I wanted the viewer to lean in to, to kind of hear this. So, um, so it's going to happen like this is he right? We zoom into that. And then when a nutcase happens, we're going to pop, we're going to pop way out. Now, one thing I can see happening here is, uh, the case is actually animated in such a way that it's hitting the top of the frame. Um, and that should in theory be an easy solution. All I need to do is because I have a type Knoll that everything's parented to just move that type Knoll down like this. So now nothing is hitting, nothing's hitting the edge of the frame.
Joey Korenman (00:59:15):
Okay. And now I'm obviously going to have to adjust the position of this again, but that's okay. So is he, here's the footsteps, the panting ends and then we see his heats a nutcase. Cool. Um, so now we just need to add that camera move, right? So let's fill, let's fit the, the comps, the window, and right here, I want the camera to start zooming in really close to the, to the type. So if you guys remember from the last tutorial you duplicate one of these move Knowles, um, and you hit the left bracket key and move it to now where you want the move to start, um, and then delete any key frames that are on it. Then you can grab that Knoll and put it somewhere in your, in your scene. That makes sense. Like, I know I'm going to kind of zoom in about here, so I'm gonna put the all there.
Joey Korenman (01:00:07):
Then I'm going to parent move to two to move three. So now I can, I can put, uh, key frames on all of the positions and I'll put it on rotation to zero rotation and this is going to be a very fast move. I want it to feel like a snap zoom. So let's try, you know, six frames. Okay. And then we'll, we'll rotate a little bit, cause I want it to, to now be sort of aligned to the type and we'll zoom in like that and we'll scoot over and you can see now because I've rotated the comp. It gets a little weird when I move on X, you know, we're kind of moving an angle, so that's why it's handy. I can, I can just grab this Knoll and move it visually. Like this just kind of neat is he and we zoom in so fast. This isn't something I did in the little demo scene that I rendered out, but let's try it here. Um, let's zoom in, hang for two frames and then zoom out like, like a little correction, right?
Joey Korenman (01:01:15):
Just one. It, there we go. Just zoom out a little bit. Let's see what that, that might be cool. All right. So now I'm an easy ease, all of these and let's just preview it. Okay. So the only thing, you know, the, and this gets into like, you know, the philosophy of camera moves. Um, but if, um, you know, if the camera starts moving before he talks it's as if we already knew what he was going to say. And so I want it to feel a little bit more like a surprise. So I want this move to just happen a little bit later and that's going to be really easy. I'll have to do is move the needle a little bit later C so now you start to see the type and then we zoom in and it just makes it feel a little bit more natural, like, like we were surprised. Um, and that first part of the camera move can happen quicker. Uh, and the little zoom out is okay, but I think that could be quicker to play that.
Joey Korenman (01:02:33):
Okay. Um, and then as soon as we see the EI start to pop up, I want the camera to then zoom back and sort of take in the whole line. Um, and so I don't want to do that with this snowball. I want to make a new note. So I'm going to go to where I want that move to start maybe right there. And I'm going to duplicate my Knoll left bracket, delete all the key frames on it. And you can see that the move null is in this weird spot and it's rotated. So I'm gonna, I'm going to rotate it back and basically just give myself a nice control that I can grab and move around. Um, parents move three to move four and then position key frames and rotation, key frame. And then let's go to where the type is completely completely out.
Joey Korenman (01:03:28):
So now we can zoom out and we can really put this exactly where we want. Okay. So I can click and drag the Knoll and then I can rotate it this, and we can zoom in a little bit more. Um, and I can place that where I want, okay. Now I knew I was also going to have this little googly eyes kind of icon, um, you know, just to reinforce how nutty, um, this, this equally nutty person thinks the rock biter is. And so, um, so I made sure I left some room up here for that. Um, and now I obviously don't want the move to take that long. I want it to be really quick. So maybe let's try eight frames. Okay. So the, the camera move will actually finish before the type does, but because we came out here to set that last key frame, it's gonna line up, it's gonna be exactly where we want it. So let's take a look at that.
Joey Korenman (01:04:34):
Cool. Um, now looking at this, right. And what I'm, what I'm realizing is if you look at this, look how much smaller I made it here that is heats, right? So I want that to be smaller that I'm not, I'm not digging the, and the way I figured this out now is because when we zoom out, it doesn't feel like we zoom out very much. So what I want to do is, uh, come into this, is he a nutcase animation and scale this down let's make like 50%. I want it to be maybe not that small, but I want it to be much, much smaller than it is.
Joey Korenman (01:05:10):
So this is a lot more contrast to it. All right, come back here. And so what that's going to do, that's gonna screw up this camera move here. Right? It's going to screw it up a little bit. Okay. Because now I'm going to need to actually be in closer than I am. So let me adjust it like this. I'm going to zoom in more and I'm going to move over like this. Okay. I get that where I want it. Uh, and then if I move forward, now this key frames messed up. Um, so let me copy and paste this and then zooms out. Let me delete this last key frame. Actually, this was the sort of correcting back a little bit, right? So now I fix this in this animation.
Joey Korenman (01:06:04):
I have to adjust this key frame, but the actual kind of overall movement of this move here is still there. And it still works because it's on a separate Knoll, so I can adjust this Knoll. And then I just have to tweak this one. It doesn't screw everything up completely. Um, which is nice. All right. So now what I do need to do is go to the end here where the type is kind of in its final position, and then figure out where I want it's. Um, and I seem to have lost my Knoll here. So I think what I might do is just redo this move real quick. So let me delete all these key frames on parent this temporarily. Um, and then let's figure out where this knowledge is. Um, and one, one easy thing to do. If you, if you can't find a null parents into the camera and then zero out everything, and then move it forward in Z space a little bit, and now you'll see it then unparented.
Joey Korenman (01:07:05):
Okay. And I'll rotate it like this. Here we go. So parent three to four, and we want position and Z rotation, and then we'll go to the end here and we will, uh, we will zoom out like this and we'll rotate like this. And then we'll move over here and let me make sure I can see my whole comp. I want to zoom out even more. There we go. Now this should feel a lot better. There we go. This should feel better. So eight frames go like this, move it to the play head, and then we'll select them on what easy ease.
Joey Korenman (01:07:55):
There you go. Cool. So that's what I was looking for. I wanted a big camera move where we're leaning in close and then zoom out. Okay. And that's, that's kind of it. Um, cool. So, you know, there's like some little details. I want a nutcase to be over. This is he line, but right now it's underneath it. So that's pretty easy. I can just pop back into the pre-com and move this layer to the bottom fixes that was easy. Um, and then we can animate the googly eyes and place them here. Um, and if you look at, at the, uh, at the example, all they're doing is like the pupils are kind of rotating a little bit. Um, and there's a little trick I did with that, um, which I will show you. Um, and I'm gonna show it to you really quickly because we've already been recording for over an hour.
Joey Korenman (01:08:56):
And, uh, I have a feeling that's where we're going to have to end. Um, but really quickly I'll show you the eyeballs. Um, so if we go back to our main comp, make a solid, pre-competition move all the attributes to new composition, jump into the composition. And of course I did that so fast. They didn't actually name the composition something useful. So let me name this googly eyes. And then I can delete that layer. We'll hop into our illustrator file, we'll grab our eyeballs. And I also, I drew this little mouth forum to like, I don't know, it was kind of thinking like a Renon, Stimpy looking mouth, but, um, I didn't end up using the mouth cause it just kind of looked really bizarre. Um, but for the eyes, uh, all we need to do is first separate out the eyes.
Joey Korenman (01:09:43):
Um, and actually what I really want to do if I use my brain is I need to separate this into four pieces, right. The left eye, the right eye, the left pupil, the right people. All right. So I've got left eye right eye. And then I got left pupil and right. Pupil. Right. And so for the left eye, um, what I need is I need this shape and, and I need to subtract the people from it. So I need to add another mask. Right. And then set that second mask to subtract then for the right. I am gonna do the same thing. I need this shape. And then I need to subtract this shape. So set that mass to subtract. And then all I need to do is for the left people, grab that second mask and paste it, but set this to add, okay.
Joey Korenman (01:10:40):
And then for the right pupil, grab this mask and set it to add. And there we go. Um, so then what I did was I, um, I also did this, um, just, just reminded me, um, there's actually nothing in that scent. You know, the, the white part of the eye actually transparent and it was looking a little weird. So the other thing I did was I made a white solid, put it at the bottom, and then I just really quickly came in, turn off Frodo Bezier and I just sort of made this fill layer that goes underneath,
Joey Korenman (01:11:20):
Just like that, and then put it over here. Right. And so, you know, in general, this is how it works to you. You make your artwork and illustrator, but you don't really know how it's going to look when it's all comped up. I mean, unless you board this whole thing out ahead of time, um, which sometimes you have the luxury of doing that, um, with kinetic type things nowadays, you probably don't. So, um, so you can always adjust in after effects and do stuff like this. And, and I believe I brought the transparency down to, so we'll leave that somewhere in there. So for the pupils, what I need to do is, uh, create a Knoll for each one. So we have, this is El pupil. No. Right. And I'm going to put it in the eye where I want the center of rotation before the pupil, and then I'm going to do the same thing for the right people, right.
Joey Korenman (01:12:16):
Pupil, no, move this over here like that. And then I'll parent left people to let people know right. People too. Right. People know, and here's the, here's a little issue you run into when you rotate this actually going to rotate the pupil, right. Peoples don't rotate, rotate, they move, they don't rotate. So, um, so what I need to do is have the, uh, make sure that the, the, the anchor point of the pupils in the right spot. So the left people, ankle, anchor points should be right in the middle. The right pupil should be right in the middle of the right. And now what I can do is I can make a very simple expression. I'm gonna open up the rotation property for left pupil hold, option clicked stopwatch. And what I want to do is pick whip to, uh, the left pupil Knoll's rotation, and then just type in times negative one.
Joey Korenman (01:13:10):
So asterisk is the multiplication symbol and an in an expression, and then just negative one. And what now happens is as I rotate the null, the pupil rotates in the opposite direction. So it's always going to face the same direction. Okay. So now I can have it spin around in the eyeball, like a crazy person. Okay. And let me just nudge that note a little bit. So we don't clip. There we go. All right. And then, um, I'm just gonna do a quick time times rotation expressions. I'll just say time times, I don't know, a hundred and let's see what that looks like. Let's see how fast that moves. That's too slow. Do time times, maybe 300. There we go. All right. And then, uh, we'll just do the same thing on the right people. So P so pick whip, the Knoll's rotation, multiply by negative one.
Joey Korenman (01:14:05):
Uh, and then I'll copy this rotation expression. And, but on the right people, maybe what I'll do is set it to negative 300. So you get these googly eyes. Right. And that's what I wanted. I kind of wanted like, just something silly and ridiculous looking, um, in the pupil, you can see it's kind of crossing the boundary of the eye. So what I can do is just adjust the position of the people. Here we go. Beautiful. And now we've got googly eyes. Um, and I, I actually hand placed the googly eyes separately from the, is he in that case type? So let's make that a 3d layer. Let's go here. Um, I can't see my layer, so I'm gonna hit escape. So now I have, my front view can move this in front of the camera, hit escape again, and then I can just rotate it and scale it.
Joey Korenman (01:14:54):
Right. And I did some color correction to these, so that they'd show up better if you go look here. Um, oh, and you can see, I also ended up clipping out a little piece of the, uh, I forget what, what that part of the eye is called, but the eyeball, um, I actually made it a little smaller in this case too. Um, but if I, uh, you can see that I made the, I made the outline blue, and then, um, I made the, this part white and then the pupil is sort of the same color as the background. Um, so, you know, you could just come in here and use your fill effect, so generate, fill, grab the blue color, copy it to that. Um, and then let me just adjust. What I could do is probably just shrink this mask a little bit, move it over like that. There we go. And then shriek this mask and move it over.
Joey Korenman (01:15:56):
It doesn't have to be perfect. Yes, it does. There we go. Uh, and now we've got our googly eyes and what I should then be able to do is come in here and set this to like a screen mode. Right. And so now I'll see through the pupils and we can come up here and rotate these and scale them and place them where we want them. And what I, you know, what I did was just, as we're zooming out here, I just cut these things on as part of this movement here. Great. Okay. Now let's preview our whole thing. See, we got so far.
Joey Korenman (01:16:51):
Cool. So we are, uh, we are in good shape. I mean, there's still the second half of the animation to do, and I'm hoping in the next video and kind of fly through some of it. Um, but what I hope you guys are seeing with this kind of tutorial series is a bunch of workflow tricks, and just ways to think about doing kinetic type animations, um, you know, the principles of what I'm doing for this animation they work for, for a lot of other situations, not just kinetic type. Um, but you know, it's really just about working smart, um, and giving yourself, you know, as much visual help as you can. And, you know, setting up your camera moves in a way where it's easy to adjust. You know, you're never going to do this and get it right the first time. I mean, you just, you've seen, you're watching me do it.
Joey Korenman (01:17:36):
I've already made this whole thing once before, and I'm still like making mistakes. It's just, that's the nature of motion designers you're going to screw up and then you're gonna have to fix it. And the easier that you've, you've set things up, you know, or the more efficiently you've set things up the better time you're going to have. Um, so thank you guys so much for sitting through another very long, very detailed tutorial. Um, in the next video we are going to just keep going one more time. Thank you to Ringling. And I will see you guys next time. Thank you so much for watching. We're going to finish this project in part three, where we'll add that final Polish to our kinetic type piece. If you have any questions or thoughts on this lesson, definitely let us know. Thanks so much. And I'll see you next time.