The Predki Animation Trick in After Effects

In this tutorial Joey is going to show you one of his go-to animation tricks that he stole from his buddy Kyle Predki's bag of go-to animation tricks. Kyle was an animator at Toil and Joey would often see him animate things a certain way. It sort of became Kyle's “signature move” and Joey liked it so much that he started trying to replicate it. Now he's going to show you this move that he lovingly calls "The Predki".

Once you're done with this tutorial start thinking about making your own signature move that you can add to your bag of MoGraph tricks for when you need a fast animation solution. Don't forget to check out Kyle's work over in the Resources tab.

If you have any questions, click over to the Q&A tab to post them. Other students can answer you, and we'll put our team on the case to try and get you a solution ASAP.
    00:00:00,453(upbeat music)
    00:00:16,155- Hello friends.
    00:00:17,593Joey here at School of Motion.
    00:00:18,807Welcome to day eight
    00:00:19,737of 30 Days of After Effects.
    00:00:21,448I know you wanna make everything you touch
    00:00:23,994the most amazing thing you've ever done,
    00:00:25,973but at the same time,
    00:00:26,989you're gonna run into small budgets and short schedules.
    00:00:29,890Sometimes, you just gotta get stuff done.
    00:00:32,184In those situations,
    00:00:33,175you've got to reach into your bag of tricks,
    00:00:35,068and pull out something you can execute very quickly,
    00:00:37,554that you know how to do,
    00:00:39,476and that won't take you a long time.
    00:00:41,159What I'm gonna show you today,
    00:00:42,196is one of those tricks.
    00:00:43,202I didn't even come up with this one.
    00:00:45,117My good friend, Kyle Predki,
    00:00:46,506an incredible animator,
    00:00:47,809he came up with this move,
    00:00:49,466which oddly enough,
    00:00:50,384I call the Predki.
    00:00:52,476Now, Kyle and I used to work together,
    00:00:54,423and I saw him do this over and over and over again
    00:00:56,603on different projects.
    00:00:57,934This was just sort of his go to move.
    00:00:59,788Whenever he needed to animate something,
    00:01:01,283and he didn't have time to think about it.
    00:01:03,966I stole it from him,
    00:01:05,694and I'm gonna teach it to you.
    00:01:06,868Which he's actually cool with,
    00:01:08,046because I'm giving him credit,
    00:01:09,125and I posted a link to his website along with this lesson.
    00:01:12,174What I'm hoping it does, though,
    00:01:13,348is give you some ideas about some things you can do
    00:01:16,069that can then go into your bag of tricks.
    00:01:18,162You can pull them out whenever you need.
    00:01:20,063Don't forget.
    00:01:21,194Sign up for a free student account,
    00:01:22,308so you can grab the project files from this lesson,
    00:01:24,805as well as assets from any other lesson on this site.
    00:01:27,875Now, let's hop into After Effects and get started.
    00:01:31,807Like I said,
    00:01:32,980this is just gonna be a tutorial to show you guys one trick.
    00:01:37,701I'm not
    00:01:38,995usually a huge fan of tutorials that just
    00:01:41,072show you one trick,
    00:01:43,307but this is actually a little different.
    00:01:45,919When you're animating stuff,
    00:01:48,427and you're flying,
    00:01:49,487and you gotta get stuff done,
    00:01:50,956sometimes you just gotta pull one of your tricks
    00:01:53,737outta your bag of tricks.
    00:01:55,438This trick,
    00:01:56,271I call it the Predki,
    00:01:57,886and it's named after a good friend of mine,
    00:01:59,422Kyle Predki,
    00:02:01,154who was an animator at Toil,
    00:02:03,602and I saw him do something like this on a few projects,
    00:02:07,895and I really like the way it looks,
    00:02:10,409and I sorta stole it.
    00:02:13,545A wise man once said that,
    00:02:16,137the best artists steal.
    00:02:19,405I stole this from Kyle,
    00:02:20,455but I am giving him credit,
    00:02:21,493so hopefully that's okay.
    00:02:23,181What I'm gonna show you,
    00:02:24,014is first of all,
    00:02:25,230how you can get this bouncy, cool, kooky animation.
    00:02:29,491Then I'll show you of course,
    00:02:30,999a way to customize it and make it your own,
    00:02:34,116and really make it flexible.
    00:02:36,099Let's start out
    00:02:38,149with a new comp,
    00:02:40,801and let's just make this your standard 1920, 1080,
    00:02:46,051and I'm just gonna make a star.
    00:02:48,331We'll just do something really,
    00:02:50,389really simple here,
    00:02:52,083just to show you the concept of this.
    00:02:54,741One of the most common things you're gonna do
    00:02:56,219in motion design is
    00:02:58,061have something,
    00:02:59,448have like a background,
    00:03:00,957or an empty screen and reveal something, right?
    00:03:04,169Type or a logo or whatever it is.
    00:03:06,908There's an infinite number of ways to do that.
    00:03:11,571Some of my favorite ways are just by using
    00:03:13,214good animation and making things move in an interesting way.
    00:03:17,209To use the Predki,
    00:03:18,981if we go back and we just look at this,
    00:03:21,596in slow motion here,
    00:03:23,016you can see that there's rotation happening,
    00:03:26,186these letters are scaling up,
    00:03:27,748each of them, from zero.
    00:03:29,625It's almost like they're on a spring,
    00:03:32,151swinging back and forth like this.
    00:03:35,951The way I set this up,
    00:03:39,129is I first move the anchor point.
    00:03:41,278So I'm gonna hit Y,
    00:03:43,499and Y lets me click the anchor point and move it around.
    00:03:46,244I'm gonna move it so it's down and off to the side
    00:03:49,676a little bit, okay?
    00:03:52,508The reason I do that,
    00:03:53,341is because now when I rotate that layer,
    00:03:55,756it kinda rotates like it's on a spring.
    00:03:58,206All right?
    00:03:59,039The idea is,
    00:03:59,872I wanna have this thing
    00:04:01,345start scaled down,
    00:04:03,937maybe here,
    00:04:04,770and as it scales up,
    00:04:05,603I want it to swing back and then kinda land.
    00:04:10,260Let's start by
    00:04:12,468having this shape be here.
    00:04:15,091Let's put a key frame.
    00:04:16,337I'm also gonna put a scale key frame,
    00:04:17,995so option S.
    00:04:20,736The first thing I do when I block these things out,
    00:04:23,972is I just try to figure out
    00:04:25,234how long I want that animation to take, right?
    00:04:31,297What I'm doing,
    00:04:32,130is I'm trying to picture it in my head,
    00:04:33,637and I'm sort of trying to figure out
    00:04:34,836how many frames it's gonna take.
    00:04:36,268So it's gonna bounce out,
    00:04:38,382about like that,
    00:04:39,290and I'm thinking maybe that's a second and half.
    00:04:42,182I'm gonna jump forward to a second and a half,
    00:04:44,737and I'm gonna put the final key frames there.
    00:04:47,143The final key frames,
    00:04:49,110are gonna be this.
    00:04:50,427Then I'll go back in and I'll fill in
    00:04:53,372any other key frames I need,
    00:04:55,890knowing that this is where I want it to end up, okay?
    00:05:00,378Sometimes I'll work backwards,
    00:05:01,716and sometimes I'll work forwards.
    00:05:02,713If I was gonna work backwards for this,
    00:05:04,351the first thing I'm gonna do is,
    00:05:05,246I'm gonna set the scale to zero here.
    00:05:08,602'Cause we know it's gonna start at zero,
    00:05:10,227and it's gonna end there.
    00:05:12,638But before it gets there,
    00:05:13,471I want it to first way overshoot over here.
    00:05:17,996Why don't we go to the middle of this,
    00:05:20,172and let's have it rotate way past where it's supposed to go,
    00:05:26,036and at the same time,
    00:05:26,882I'm gonna have it scale up way past
    00:05:28,953where it's supposed to go.
    00:05:31,023Maybe try and give ourselves some easy numbers here.
    00:05:33,707Why don't we say one 30 on scale.
    00:05:37,628So now it goes back,
    00:05:39,109and then this way.
    00:05:41,670I also want it to feel springy,
    00:05:44,371so it's gonna overshoot this way,
    00:05:47,336but then it's gonna start to come back,
    00:05:48,667and it's gonna overshoot the other way.
    00:05:51,570Let's go forward a few frames here.
    00:05:55,577Maybe six frames.
    00:05:57,852An easy trick is I can just copy these key frames
    00:06:00,861like this,
    00:06:03,373and then overshoot them a little bit.
    00:06:07,099Now, because it overshot on scale,
    00:06:09,386it got too big,
    00:06:10,488on the next frame it's gonna be too small.
    00:06:14,049Let's try 85.
    00:06:17,535When you're doing this,
    00:06:19,584it's kinda hard to just look at key frames,
    00:06:21,473and see what your animation's doing,
    00:06:24,216which is why I am a humongous fan,
    00:06:28,429of the animation curve editor.
    00:06:30,031This makes it so much easier to do stuff like this.
    00:06:35,099I tell people,
    00:06:36,320and I would tell people at Toil and students at Wringling,
    00:06:39,585get in that curve editor,
    00:06:41,019because you can actually see what your animation's doing.
    00:06:46,439I might talk about this in a later video,
    00:06:48,323but what's happening with this type of animation,
    00:06:50,994is it's like a modified pendulum animation.
    00:06:55,029You've got a value that oscillating,
    00:06:58,955which means it's going back and forth
    00:07:01,328between a low value and a high value.
    00:07:05,233The difference between this and a real pendulum animation
    00:07:08,302is that the key frames are gonna get
    00:07:09,950closer and closer together,
    00:07:10,901like it's on a spring.
    00:07:13,218It starts here,
    00:07:15,776over corrects.
    00:07:17,986Now what I can do,
    00:07:18,819I can hold command,
    00:07:20,630and I can click right on that curve,
    00:07:22,192and then I can just pull this up a little bit.
    00:07:25,329Then maybe come forward a little bit here,
    00:07:28,270and over correct a little bit this way.
    00:07:30,926Visually, you can really see what's goin' on,
    00:07:34,403and it makes it so much easier
    00:07:36,516to get the curves.
    00:07:37,608I can see here,
    00:07:39,348you wouldn't be able to see this,
    00:07:41,340if I was just looking at the key frames.
    00:07:44,303If you ever click on the curve editor button,
    00:07:47,768and you don't see your curves,
    00:07:49,536make sure you select the property you wanna look at.
    00:07:53,398We're workin' on scale here,
    00:07:55,431and if I was just looking at key frames,
    00:07:57,250I can't see that there's a problem with this key frame.
    00:08:00,814If I come into the curve editor,
    00:08:02,255and I select that key frame, look.
    00:08:03,869I can see that this bezier handle is not flat.
    00:08:08,186What that means is,
    00:08:11,679the scale property,
    00:08:12,978it never settles,
    00:08:14,211it never stops changing.
    00:08:16,145Sometimes that's what you want,
    00:08:17,236but if you're doing a pendulum animation,
    00:08:20,236when this thing swings this way,
    00:08:21,574it's gonna stop for a second,
    00:08:22,579then it's gonna come back this way,
    00:08:23,641and it's gonna stop for a second,
    00:08:24,578and it's gonna come back.
    00:08:27,748If that ever happens,
    00:08:29,021then what I do is I grab,
    00:08:30,235if this was missed up,
    00:08:31,932I would just hit F9,
    00:08:33,673to easy ease it,
    00:08:34,845that'll reset it,
    00:08:36,585and then I can just adjust the handles.
    00:08:40,745This is where I really like to
    00:08:41,989get in there and think about
    00:08:43,892exactly the speed that I want this thing to have.
    00:08:48,020Do I want the rotation to,
    00:08:50,693what's happening now is it starts not rotating at all,
    00:08:53,810and then it slowly picks up speed,
    00:08:55,760and then, it slows down again.
    00:08:57,944I know I want it to slow down again,
    00:08:59,573and I probably want that to be more extreme,
    00:09:02,202but do I want the star to shoot out,
    00:09:05,789right out of the gate?
    00:09:06,688Or do I want it to slowly ramp up into that rotation?
    00:09:10,998There's not really a right answer,
    00:09:12,165it's not like we're trying to mimic some real world thing.
    00:09:15,489Why don't we try this?
    00:09:17,276You can see now,
    00:09:18,116our scale has this nice,
    00:09:19,991kind of oscillating curve,
    00:09:21,814and then our rotation doesn't yet.
    00:09:25,244What I'm gonna do,
    00:09:28,772I am going to click this button here,
    00:09:32,531right next to scale.
    00:09:34,852What that little button does,
    00:09:36,160is it's just gonna keep this curve onscreen,
    00:09:39,752even when I'm looking at my rotation curve.
    00:09:42,521This is just a nice way so I can keep them
    00:09:44,884in sync with each other.
    00:09:46,916I know I'm gonna need
    00:09:49,181a key frame there.
    00:09:50,252Again, I'm just holding command,
    00:09:52,043on a Mac.
    00:09:53,361On a PC, it's probably control or alt,
    00:09:55,528one of the two.
    00:09:57,134I'm just making sure that I have key frames
    00:09:59,386for rotation,
    00:10:00,472everywhere I put a key frame for scale.
    00:10:03,455I just want them to be in sync.
    00:10:05,272I'm just gonna eyeball this for now.
    00:10:09,824I'm gonna zoom in a little bit.
    00:10:13,490I'm gonna select all of my,
    00:10:17,046all my rotation key frames.
    00:10:18,627A quick way to do that,
    00:10:19,995if you're in the curve editor,
    00:10:21,140and you click rotation,
    00:10:22,827it will show you your curve.
    00:10:24,213If you click it again,
    00:10:25,325it will select every key frame.
    00:10:27,205So then I can hit F9.
    00:10:29,374This big box that you see that it put around
    00:10:31,147my curve,
    00:10:34,449this lets you scale the curve,
    00:10:35,705and this is actually very useful,
    00:10:38,535but right now I don't actually wanna see that box,
    00:10:40,706so I'm gonna click this icon right here,
    00:10:44,009and you'll see the little help thing pops up,
    00:10:45,715show transform box when multiple keys are selected,
    00:10:48,185I'm gonna turn that off for now.
    00:10:50,678'Cause it's just gonna get in the way.
    00:10:51,802Then I'm gonna go through and I'm gonna do the same thing.
    00:10:54,192I'm gonna pull my curves out,
    00:10:57,927so that I get a more extreme acceleration and deceleration.
    00:11:03,935It's not gonna be perfectly symmetrical or identical
    00:11:07,214to the scale curve,
    00:11:08,445but that's okay because
    00:11:09,955those little inconsistencies in the speed
    00:11:13,773can give it a little more life.
    00:11:16,573Let's take a look at this now.
    00:11:18,532I just kind of made all these key frames without
    00:11:19,949actually previewing any animation.
    00:11:24,184Now, if we look at this.
    00:11:27,253That's kinda neat, right?
    00:11:28,649That's essentially,
    00:11:30,295that's a Predki right there, okay?
    00:11:33,649Now one thing I need to make sure,
    00:11:34,704is that the rotation actually ends at zero,
    00:11:37,317which it doesn't right now.
    00:11:38,377Let me fix that.
    00:11:42,983When I play this,
    00:11:44,642there's nothing wrong with it.
    00:11:47,039It actually works pretty well.
    00:11:48,831On that first move right there,
    00:11:51,986where it whips back,
    00:11:53,254it feels a little fast, okay?
    00:11:56,320What I'm gonna do,
    00:11:57,821is, just to show you where that's happening.
    00:12:02,837If you look at the curve,
    00:12:05,989right there.
    00:12:06,888You see how steep that curve is?
    00:12:09,660Right there.
    00:12:10,493That's why it's moving so fast.
    00:12:12,744If I want that to be not so fast,
    00:12:15,154I can make this not as steep.
    00:12:17,687If I push this back this way,
    00:12:19,907that will help.
    00:12:21,415Or if I push this back this way.
    00:12:22,872I might just kind of nudge both of these handles,
    00:12:25,447and let's see ...
    00:12:26,769That feels better.
    00:12:28,390Now it's not as jarring of a move.
    00:12:32,536This type of stuff,
    00:12:33,458it always looks great when you put motion blur on it, too.
    00:12:38,327All right.
    00:12:39,160Let's say we like that.
    00:12:41,751There is one Predki.
    00:12:42,980There is a single Predki move,
    00:12:44,911right there.
    00:12:45,799If I had five different stars,
    00:12:48,965I would just do something like this on each one.
    00:12:53,788The trick I did for this type here,
    00:12:56,831is I actually had each little piece.
    00:13:00,453This quotation mark,
    00:13:01,540this one,
    00:13:02,390the P, the R, the E.
    00:13:03,247I had them all move
    00:13:05,145kind of opposite.
    00:13:07,596So the P would sort of
    00:13:10,668come out from here,
    00:13:11,933it would go counterclockwise.
    00:13:13,706But then the R would animate on clockwise.
    00:13:17,865I would offset the timing of them,
    00:13:20,240and all that kind of stuff,
    00:13:21,468and move the anchor point around a little bit,
    00:13:24,594because the cool thing about an animation like this,
    00:13:27,237is that it's all based on where the anchor point is, right?
    00:13:30,262Just by moving the anchor point
    00:13:33,262up here,
    00:13:36,233now we get a totally different looking animation.
    00:13:39,731It's even ...
    00:13:41,050I had the anchor point on the left side.
    00:13:43,265But if we put it on the right side,
    00:13:45,522then it kinda does a different move.
    00:13:48,988You can really easily get variations,
    00:13:51,695just by moving the anchor point.
    00:13:53,561The anchor point's pretty far off of the object,
    00:13:56,915if I put it just on one corner of it,
    00:14:01,377then you get something a little more subtle.
    00:14:03,970I mean it's still kinda bouncy and goofy,
    00:14:05,953but it's a little bit more subtle.
    00:14:09,050That's essentially it.
    00:14:10,573If you look at ...
    00:14:12,780This is animation 101 here.
    00:14:13,954You've got
    00:14:15,572kinda signed wave looking move here,
    00:14:18,619and it's oscillating between two extremes,
    00:14:21,422and there's some rules that you need to follow
    00:14:24,331to make these,
    00:14:26,286to really make these work well,
    00:14:28,084and that's kind of an animation class
    00:14:30,330maybe to come in the future.
    00:14:33,215In general, if you can get a nice, smooth looking curve
    00:14:37,111like this,
    00:14:38,421your animation's gonna feel pretty good.
    00:14:40,347The key is again,
    00:14:41,672to understand what you're looking at here.
    00:14:44,516An easy way to remember it,
    00:14:45,803is the steeper the curve,
    00:14:47,513the faster it's moving.
    00:14:49,648By the way,
    00:14:50,542if you're looking at your curve,
    00:14:51,398and it doesn't look like this,
    00:14:52,961click this button here,
    00:14:54,467it looks like a little menu.
    00:14:56,228Make sure you're looking at the value graph.
    00:14:59,030If you haven't watched Intro to Animation Curves,
    00:15:01,693that would be a great one to watch.
    00:15:03,241If it looks like this,
    00:15:04,342this is the speed graph.
    00:15:05,803I don't like this graph.
    00:15:07,373Every once in a while,
    00:15:08,369you're forced to use it,
    00:15:10,740but this does not really make any sense to me.
    00:15:14,074Looking at this,
    00:15:14,907I have no idea what my object is doing.
    00:15:17,380When I look at the value graph,
    00:15:20,341that's when you can really see
    00:15:22,237what the animation's doing.
    00:15:24,992Let's talk about
    00:15:27,322how we can make this a little bit easier to manage,
    00:15:31,100and to customize.
    00:15:33,304Let's hop into this comp here.
    00:15:35,256This is the ...
    00:15:36,320I just made a Photoshop file,
    00:15:38,105with these letters in it.
    00:15:39,117I made them really goofy looking,
    00:15:40,357because this animation is pretty goofy.
    00:15:43,326You wanna match your animation style
    00:15:46,934to your art direction.
    00:15:48,662If you're animating something that looks like
    00:15:51,249really techy and robotic,
    00:15:53,898then the Predki is not something you're gonna wanna use.
    00:15:57,170It just doesn't fit the character of the style.
    00:16:01,680For really fun, bouncy, cartoony, goofy stuff,
    00:16:04,321it works perfectly.
    00:16:06,185All I've done here,
    00:16:08,724is I have each letter,
    00:16:11,203is on its own layer.
    00:16:13,565This is gonna make it really easy for us
    00:16:16,794to apply a little Predki move to each one.
    00:16:21,558My buddy Kyle's gonna ...
    00:16:23,029He's gonna be tickled.
    00:16:23,972He's gonna hear his name so many times in this video.
    00:16:26,724Let's start with the P.
    00:16:29,272I'm just gonna solo everything.
    00:16:32,502I'm gonna solo all the letters in the background.
    00:16:34,782Let's start with this P.
    00:16:35,950The way I just did the Predki on that star was by,
    00:16:40,058selecting the layer,
    00:16:41,705hitting Y,
    00:16:42,669moving the anchor point over here.
    00:16:46,343That's great.
    00:16:51,064The problem is,
    00:16:51,897if I have to do this for every single letter,
    00:16:54,776and some I wanna go clockwise,
    00:16:56,329and some I wanna go counterclockwise.
    00:16:59,756It can get annoying to have to constantly
    00:17:03,147set things up,
    00:17:05,025copy and paste curves,
    00:17:06,310but then adjust them.
    00:17:07,976Also, if you have any key frames on your position
    00:17:12,144of these layers,
    00:17:13,210and you move the anchor point,
    00:17:14,564it's gonna throw off your position key frames.
    00:17:18,449I actually
    00:17:20,039figured out a different way to do this
    00:17:21,558that makes it a little bit easier to customize.
    00:17:24,254Here's what we're gonna do.
    00:17:25,107We're gonna use
    00:17:27,557an effect to actually do the Predki.
    00:17:31,325The effect is
    00:17:32,500in the distort menu,
    00:17:33,629and it's transform.
    00:17:36,050Transform effect,
    00:17:36,891it pretty much just gives you another set of controls for
    00:17:39,865position, scale, rotation, right?
    00:17:45,324It just duplicates the functionality of your normal
    00:17:49,648position scale rotation.
    00:17:51,256What's cool about it though,
    00:17:52,130is that it's an effect.
    00:17:53,361On top of whatever key frame here,
    00:17:56,401you can still rotate and scale and position the layer
    00:17:59,710as you normally would,
    00:18:00,571but it won't mess this up.
    00:18:02,799First thing I wanna do,
    00:18:04,074is move the anchor point of this layer.
    00:18:08,851There's an anchor point position here.
    00:18:11,009Sorry, anchor point property.
    00:18:13,220One thing that kinda stinks about this effect,
    00:18:15,688is when you move the anchor point,
    00:18:17,758you see what happens to the letter?
    00:18:21,026It moves in relation to the anchor point.
    00:18:23,611So then, you'd have to go back
    00:18:25,610and move the position as well,
    00:18:27,643to get it back where it was supposed to be.
    00:18:30,019That's kind of a pain.
    00:18:31,114What I do,
    00:18:33,351is I do a really, really, really, really simple expression.
    00:18:38,472What I want is the position to match the anchor point.
    00:18:44,922What I'm gonna do,
    00:18:46,617is I'm gonna hold option,
    00:18:47,488and I'm gonna click the stopwatch next to position.
    00:18:50,268I'm just gonna pick whip to anchor point,
    00:18:52,987and hit enter.
    00:18:53,892Now, when I move the anchor point,
    00:18:56,572it automatically adjusts the position,
    00:18:59,719so it matches the anchor point.
    00:19:00,858The effect is, the letter doesn't move.
    00:19:04,382Now I can put the anchor point wherever I want.
    00:19:06,472I can just click and drag it and move it here.
    00:19:08,500Like that.
    00:19:11,564So now,
    00:19:13,027what I wanna do is,
    00:19:14,291animate the Predki.
    00:19:16,707Why don't we put a key frame ...
    00:19:20,491Actually, let me just see if I can copy and paste this.
    00:19:23,448This scale value here.
    00:19:27,479Let's see if a can copy and paste this.
    00:19:29,917'Cause that would be pretty slick.
    00:19:35,375This transform effect.
    00:19:37,167The scale property only has one number,
    00:19:41,737and unfortunately, the scale property here has two,
    00:19:44,555it has an X and a Y.
    00:19:51,073You can't just copy and paste it.
    00:19:52,847If I select the scale key frames and I copy,
    00:19:55,900and I come over here,
    00:19:57,505and I put a key frame on the scale property,
    00:19:59,741on my transform effect,
    00:20:01,903let's hit U,
    00:20:02,736so we can see it.
    00:20:03,569If I try to paste it,
    00:20:04,524it won't work,
    00:20:05,357because you can't paste from three dimensions to one,
    00:20:09,238because scale is a two or three dimensional property.
    00:20:13,023On this effect it's not.
    00:20:15,755What I can do,
    00:20:17,282is open up the actual scale for this layer,
    00:20:20,845and hit paste,
    00:20:22,474and then I could just really quickly go through like this.
    00:20:26,907I can look at the value here,
    00:20:28,485it's 1.5,
    00:20:30,422and then I can go forward, it's 130.
    00:20:32,379I'm just basically typing in
    00:20:36,146the value
    00:20:37,896that I pasted in from the star.
    00:20:43,323That way, I don't have to totally rebuild this thing.
    00:20:47,675Now let me
    00:20:48,892turn off the actual scale property.
    00:20:51,406Let's easy ease these.
    00:20:52,686Hop into the curve editor.
    00:20:55,916We'll do our same kind of adjustment here.
    00:20:58,310So we get some more extreme moves,
    00:21:02,388more extreme eases,
    00:21:04,788which kinda makes it feel a little bit springier,
    00:21:07,018and bouncier.
    00:21:09,644Okay cool.
    00:21:10,930So that's the scale,
    00:21:11,858and then we need to do the rotation as well.
    00:21:13,496Rotation, if I copy that,
    00:21:16,719I believe,
    00:21:17,885if I put a key frame
    00:21:20,929on rotation,
    00:21:22,631I believe I can paste those values,
    00:21:25,272so let's try that.
    00:21:27,309Yep, that worked.
    00:21:28,177The reason the rotation values could paste,
    00:21:30,020is because there's only one value for rotation.
    00:21:33,035There's not two.
    00:21:34,745If we look at that,
    00:21:36,719there's our Predki.
    00:21:39,385On the P.
    00:21:42,746Let's just preview that a few times.
    00:21:45,598Now it feels a little
    00:21:47,830slow to me now, for some reason.
    00:21:49,522What I might do,
    00:21:51,551is just take this,
    00:21:53,575and compress ...
    00:21:54,761Sorry, I'm gonna select all of these key frames.
    00:21:57,581I'm gonna hold option.
    00:21:58,956If you don't know this trick,
    00:22:00,073this is very useful.
    00:22:01,455If you hold option,
    00:22:02,724and you have to select one of the most extreme key frames.
    00:22:06,653So either this key frame,
    00:22:07,855or one of these.
    00:22:10,088You can actually scale the key frames.
    00:22:12,407We could say,
    00:22:13,240okay now, it's only gonna take a second.
    00:22:15,702Maybe, these are actually
    00:22:16,980gonna move a little closer together.
    00:22:19,636There we go.
    00:22:20,989So now it's a lot bouncier.
    00:22:23,229It feels like ...
    00:22:25,110it feels a little weird at the end here now
    00:22:26,700for some reason.
    00:22:27,769It feels like it overshoots this way very nicely,
    00:22:30,674but then it kinda doesn't overshoot back far enough,
    00:22:34,009maybe here.
    00:22:35,580I'm just gonna adjust that key frame a little bit.
    00:22:40,245Let's see what that looks like.
    00:22:43,243I'm startin' to nitpick here.
    00:22:45,798I always do this.
    00:22:47,286I always do this.
    00:22:49,935The curve just doesn't feel quite right to me.
    00:22:55,126I'm just gonna sort of ...
    00:22:56,108What I'm tryin' to get is
    00:22:57,693a little bit more of a gradual finish to it.
    00:23:03,777I had a key frame way up here,
    00:23:05,944but I want it to feel like it's getting closer and closer
    00:23:08,687to this value
    00:23:10,540every single time it oscillates.
    00:23:13,884That's better.
    00:23:15,670Still a little bit extreme
    00:23:18,356when it comes back here.
    00:23:20,113I think it may be going too far.
    00:23:21,537Definitely when it goes here.
    00:23:24,118It needs to be a little bit closer.
    00:23:31,014Guys, I literally could sit here and do this for
    00:23:32,96015, 20 minutes,
    00:23:35,261but I won't.
    00:23:36,125So let's say we're happy with that,
    00:23:37,474that's great.
    00:23:38,437This Predki
    00:23:40,839is a counterclockwise move,
    00:23:42,444so the P starts
    00:23:45,141going counterclockwise.
    00:23:47,484To make this easier to remember,
    00:23:49,464I'm gonna actually name this CCW,
    00:23:53,116Let's say,
    00:23:54,673that I wanted the next letter to go clockwise,
    00:23:57,408then I wanted the E to go counterclockwise,
    00:23:59,325and then the D to go clockwise.
    00:24:02,546I could have a different ...
    00:24:06,412I could basically copy and paste this effect,
    00:24:09,667put it on the R,
    00:24:11,147and then adjust the values.
    00:24:12,523Then copy and paste it,
    00:24:13,403put it on the E,
    00:24:14,322and keep the values,
    00:24:16,303but when you're adjusting animations,
    00:24:19,666I like to always make it as easy as possible,
    00:24:22,976especially Predki is a short word,
    00:24:24,531but what if you had to do this to 30 layers,
    00:24:27,589and you want to easily be able to tweak
    00:24:29,261which layers are clockwise,
    00:24:30,508which ones are counterclockwise,
    00:24:31,492and all that kind of stuff.
    00:24:33,373What I'm gonna do,
    00:24:35,778is I'm gonna just duplicate this counterclockwise
    00:24:39,353transform effect,
    00:24:41,754and I'm gonna turn off the original one.
    00:24:43,992The copy, I'm now gonna call clockwise.
    00:24:48,541All I wanna do on this one,
    00:24:51,030is I'm gonna hit U.
    00:24:52,722I only wanna adjust this clockwise one.
    00:24:55,998The only difference,
    00:24:57,251is I want the rotation to
    00:24:59,588basically be backwards from what it is now.
    00:25:01,522Right now,
    00:25:02,646it starts at 45 degrees,
    00:25:04,623I want it to start at negative 45 degrees.
    00:25:07,502When it's here,
    00:25:08,629at negative 76.7,
    00:25:10,633I want it to be at 76.7.
    00:25:12,901I just wanna reverse this,
    00:25:14,174but I want it to end up at zero,
    00:25:16,787same as it does currently.
    00:25:20,988You could manually do this,
    00:25:22,170but this is where,
    00:25:23,718if I select all these key frames,
    00:25:26,093this is where this box comes in really handy,
    00:25:28,984the transform box.
    00:25:30,037Because this transform box,
    00:25:31,311it lets you scale,
    00:25:33,564and if you hold,
    00:25:35,377is it command or option?
    00:25:38,390If you hold command,
    00:25:39,324and you drag,
    00:25:40,157it lets you do things like this.
    00:25:42,696You can symmetrically change the curve.
    00:25:46,215What I wanna do,
    00:25:48,023is I wanna make sure that this point,
    00:25:49,633this zero points,
    00:25:50,466stays at zero.
    00:25:51,500This is very cool.
    00:25:52,501There's an anchor point to this transform box,
    00:25:55,104and you can just click it,
    00:25:56,265and move it over here.
    00:25:58,993So now,
    00:25:59,826if I hold command,
    00:26:00,860and click and drag,
    00:26:01,762it's gonna transform with this as the anchor point.
    00:26:04,218What I'm gonna do,
    00:26:05,180is I'm gonna come over here,
    00:26:07,636and I'm gonna look at this value.
    00:26:09,118It is
    00:26:10,500starting at 27.7.
    00:26:15,394What I need to make sure is ...
    00:26:17,762I need to make sure that when I'm done transforming this,
    00:26:20,436this is negative 27.7.
    00:26:22,969I'm gonna hold command,
    00:26:24,538and I'm gonna pull this down,
    00:26:27,210until that value is negative 27.7.
    00:26:33,828Let's take a look at that.
    00:26:36,624I think that actually I may have done that wrong.
    00:26:39,080Let me think about this one more time.
    00:26:40,595Because this is not the most extreme key,
    00:26:45,078this is here.
    00:26:48,430This is negative 76.7.
    00:26:52,452Actually, I'm gonna do that one more time,
    00:26:54,773except now I'm gonna keep my play head here.
    00:26:57,214Let me move that anchor point here.
    00:26:59,429Hold command,
    00:27:00,735and make that 76.7.
    00:27:06,148Or as close as I can get,
    00:27:07,318it doesn't have to be exact.
    00:27:08,682Then, just make sure that that last key frame,
    00:27:11,452is actually on zero.
    00:27:17,070It looks like I screwed up some of this stuff,
    00:27:18,832so I'm just gonna grab these,
    00:27:20,135and move them.
    00:27:22,919There we go.
    00:27:24,659Let's check that out.
    00:27:27,697So that is the clockwise one.
    00:27:30,009It starts here,
    00:27:32,204at negative 58.2,
    00:27:33,690and goes this way.
    00:27:34,523Now it looks a little strange,
    00:27:36,219and it looks like it's going really extreme.
    00:27:38,496Part of that is because the anchor point,
    00:27:40,909if I move this anchor point over here,
    00:27:43,155for example.
    00:27:43,988You can see another problem we're having here.
    00:27:46,725This position on this clockwise effect,
    00:27:50,591it's actually not linked to this anchor point,
    00:27:53,725it's linked to the original anchor point.
    00:27:56,826What I need to do,
    00:27:58,162is ...
    00:28:00,244Let me turn off this key frame for a minute.
    00:28:02,707I'm gonna hold option,
    00:28:04,640I'm gonna click position,
    00:28:07,758and I'm just gonna make sure,
    00:28:09,069let me open this up,
    00:28:10,046I'm gonna make sure that this position
    00:28:13,334expression is actually
    00:28:14,368pick whipped to the correct anchor point.
    00:28:20,942Now, when I adjust this anchor point,
    00:28:23,140it should work out fine.
    00:28:24,302Now, when we have a clockwise movement,
    00:28:28,039it helps if the anchor point's a little bit to the right
    00:28:30,875of the object.
    00:28:32,327If I do that,
    00:28:34,673it works a little bit better.
    00:28:36,865I think I am gonna tweak this a little bit,
    00:28:38,665'cause that does feel like it's goin' a little bit too far,
    00:28:41,673and maybe just have it start a little bit further out.
    00:28:47,323There's your clockwise Predki.
    00:28:49,205Then, what's great is,
    00:28:50,574we can just turn that off,
    00:28:51,641and just turn this back on,
    00:28:53,243and have a counterclockwise Predki.
    00:28:55,706What you can do,
    00:28:56,661is you can copy both of these effects
    00:28:58,615to every letter,
    00:28:59,619and then just turn on the move that you like.
    00:29:02,462That's a really cool way to give yourself options
    00:29:04,788with different moves,
    00:29:06,004and then just turn this on,
    00:29:07,095turn it off,
    00:29:07,928turn this one on,
    00:29:08,761turn it off.
    00:29:09,594There's one other thing that we need to do
    00:29:13,161to make this really really easy to adjust.
    00:29:16,841Because when I copy this to every letter,
    00:29:20,079I'm gonna have to adjust the anchor point on every letter.
    00:29:22,825It's kind of a pain,
    00:29:24,083if every time I want to adjust an anchor point,
    00:29:26,028I have to come in here,
    00:29:27,199open this effect,
    00:29:28,117and adjust the anchor point.
    00:29:31,073What would be great,
    00:29:31,966is if I just had a quick and easy control
    00:29:34,649to set the anchor point of each object.
    00:29:38,118What I'm gonna do,
    00:29:39,794is I'm gonna grab the handy dandy expression control effect
    00:29:45,346called a point control.
    00:29:48,544I'm gonna move this up to the top,
    00:29:49,556and I'm just gonna call this
    00:29:51,410anchor point.
    00:29:56,930What I'm gonna do is,
    00:29:58,462I'm just gonna use this effect,
    00:30:00,325to set the anchor point for the layer,
    00:30:02,050and then I'm gonna set both of these,
    00:30:03,978the counterclockwise and the clockwise effect,
    00:30:06,425to grab the anchor point value from this.
    00:30:09,985That way,
    00:30:10,853all I have to do is set the anchor point,
    00:30:12,307and then turn on the effect that I want.
    00:30:14,539That's it.
    00:30:15,412Really simple.
    00:30:16,409Let's set that up real quick.
    00:30:18,577I need to open the counterclockwise effect.
    00:30:21,484I'm gonna hold option,
    00:30:23,025and click anchor point.
    00:30:26,043For the expression,
    00:30:27,163I'm gonna grab the pick whip,
    00:30:29,323and I'm gonna go all the way up,
    00:30:30,231and grab this.
    00:30:32,298Then, I'm going to come to the clockwise effect,
    00:30:36,374and do the same thing.
    00:30:37,754Hold option,
    00:30:38,793click anchor point,
    00:30:40,571and pick whip to this.
    00:30:44,032There you go.
    00:30:45,477Close this stuff down.
    00:30:47,309Now, if I select the anchor point effect,
    00:30:52,086I can move this point to wherever I want the anchor point,
    00:30:55,351and it will update both of these effects,
    00:30:57,023and then I just turn on counterclockwise,
    00:30:58,983and there you go.
    00:31:01,231This is gonna be great.
    00:31:03,568Let me turn this effect off for a minute.
    00:31:07,025Let me copy and paste
    00:31:09,320all of these effects.
    00:31:10,218Grab 'em all, command C.
    00:31:12,000I'm gonna copy them to these letters.
    00:31:15,051Command V.
    00:31:16,585Now every letter has that same setup.
    00:31:18,995Let's go to the R,
    00:31:20,079select anchor point,
    00:31:21,620and let's move that.
    00:31:23,352Let's start actually turning on the animations
    00:31:26,154for each of these.
    00:31:27,352For the P,
    00:31:28,238I'm gonna do counterclockwise.
    00:31:29,942For the R,
    00:31:31,649I'm gonna do clockwise.
    00:31:35,168The anchor point
    00:31:36,996is gonna be off to the right.
    00:31:38,006I did screw one thing up.
    00:31:40,532I kinda like lettin' you guys see these screw ups,
    00:31:42,239because I screw up all the time,
    00:31:45,416and it's good to know how to troubleshoot stuff.
    00:31:48,878When I hit paste,
    00:31:50,210to paste those effects,
    00:31:51,260it also pasted the key frames.
    00:31:53,263It pasted them where my play head was.
    00:31:55,689I actually need to move those back to the beginning.
    00:31:59,697I'm gonna hit the tilde key,
    00:32:01,100over my timeline,
    00:32:01,946just to maximize it,
    00:32:03,821grab them all,
    00:32:05,198and then scoot them back to the beginning.
    00:32:07,874There we go.
    00:32:11,040Another hot key I just did.
    00:32:12,094If I have all of these layers open and I wanna close them,
    00:32:16,638I can hold shift,
    00:32:17,759and hit the tilde key.
    00:32:18,837That actually closes the layers up for you.
    00:32:21,141It's kinda cool.
    00:32:22,319We've got the P with the counterclockwise Predki.
    00:32:25,425The R with the clockwise Predki.
    00:32:27,326Now, I'm just gonna alternate.
    00:32:28,801The E is gonna be counterclockwise.
    00:32:31,317The D is gonna be clockwise.
    00:32:33,447The K will be counterclockwise.
    00:32:35,336The I will be clockwise.
    00:32:37,549Then I just need to set anchor points for all these.
    00:32:39,415The E will be on the left side.
    00:32:41,942The D
    00:32:44,264will be
    00:32:45,389on the right side.
    00:32:48,116The K
    00:32:49,831will be on the left side.
    00:32:51,408The I
    00:32:53,283will be on the right side.
    00:32:55,489That's it.
    00:32:56,898You saw how quick that was,
    00:32:57,937and if I play these now,
    00:32:59,186they all bounce up at the same time.
    00:33:03,671Now, all I gotta do is offset them, right?
    00:33:05,947Let's say there's two frame offset between each of 'em.
    00:33:08,770I'm gonna select R,
    00:33:11,447and I'm gonna nudge it two frames forward.
    00:33:15,340Then I'm gonna do the E four frames forward.
    00:33:18,126I do this with the keyboard,
    00:33:19,297I just find it's faster.
    00:33:21,714If you guys don't know all the keyboard shortcuts,
    00:33:25,232the ones I'm using now,
    00:33:27,220these are some of the most amazing time savers.
    00:33:30,919I wanna go from this layer,
    00:33:32,853and select the one below it.
    00:33:34,060That's command, down arrow.
    00:33:36,554Then I wanna nudge this one forward six frames.
    00:33:39,326That's option, page down, six times.
    00:33:41,921Hold option,
    00:33:42,802hit page down six times.
    00:33:44,422One two three four five six.
    00:33:45,762That quick.
    00:33:48,140This one, I wanna move forward 10 frames.
    00:33:50,569That's option, shift, page down.
    00:33:53,702Once you get the hang of that,
    00:33:54,770and you develop some muscle memory,
    00:33:56,265you can do this stuff so quick.
    00:34:00,708Let's set this preview.
    00:34:04,158Set the out point there.
    00:34:05,710Let's turn on
    00:34:09,632motion blur.
    00:34:11,640Oh, and then this is another interesting thing
    00:34:13,254I'll teach you guys about,
    00:34:14,286if you don't know.
    00:34:15,615I turned motion blur on,
    00:34:16,637'cause motion blur
    00:34:18,191is great when you have really bouncy, funny moves like this.
    00:34:21,231It just makes it feel a little more fluid.
    00:34:24,025There's some weird stuff goin' on with this motion blur.
    00:34:27,081The reason for that,
    00:34:28,649is because I made this in Photoshop,
    00:34:32,141and I used some layer styles to get
    00:34:34,509this fake 3D balloony look.
    00:34:38,018The problem with doing that,
    00:34:39,245is that motion blur gets really screwy
    00:34:42,805when you do that.
    00:34:45,034I actually use this hacky work around
    00:34:46,882that worked pretty well.
    00:34:48,857I was actually kind of surprised that it did work.
    00:34:51,557I'm gonna add an adjustment layer.
    00:34:54,498We'll just call this motion blur.
    00:34:58,758If I can type correctly, there we go.
    00:35:00,146Motion blur.
    00:35:01,857I'm gonna use an effect on that layer,
    00:35:04,041in the time group,
    00:35:06,424it's called CC force motion blur.
    00:35:10,002What this basically does,
    00:35:11,049it just forces after effects to render sub frames.
    00:35:14,809In between frame one and two,
    00:35:17,137it's gonna render however many frames is in here,
    00:35:20,106and it's gonna composite them together,
    00:35:22,331pretty much the same way after effects does motion blur.
    00:35:25,582When you do this,
    00:35:26,783you can actually get motion blur on your comp,
    00:35:30,688even when you have layer styles and things that
    00:35:33,238normally don't support motion blur.
    00:35:35,712It's a slower render.
    00:35:37,717So it doesn't render quite as fast
    00:35:39,396as the native motion blur,
    00:35:41,319but for stuff like this,
    00:35:42,327it's fine.
    00:35:43,822It's a good work around.
    00:35:45,482There is the Predki.
    00:35:46,991The key I want you to take away from this is:
    00:35:49,777It's good to start developing a bag of tricks.
    00:35:52,198If you don't have your own bag of tricks,
    00:35:53,633or if you've been using the same three tricks
    00:35:56,289for a bunch of years,
    00:35:58,609just look across at your buddy Kyle,
    00:36:00,861and see what he's doing,
    00:36:01,988and use it.
    00:36:04,731It's cool.
    00:36:06,018We're motion designers,
    00:36:06,866we like to share our tricks.
    00:36:09,234Change it, modify it, make it your own,
    00:36:12,033but just sometimes,
    00:36:13,527someone else's brain works differently.
    00:36:17,178I don't know if I ever would've
    00:36:18,310come up with this kind of motion,
    00:36:20,517but that kind of stuff is what he's great at
    00:36:23,678and what he likes to do.
    00:36:26,027He showed me this,
    00:36:27,689I've shown him other tricks.
    00:36:28,991It's great.
    00:36:29,824Now we both have kind of a go to thing,
    00:36:32,133if we're animating something that's kind of fun and bouncy,
    00:36:35,292we have a trick.
    00:36:36,275The other thing I want you to take away,
    00:36:38,510is even with a simple simple thing like this,
    00:36:41,275just a simple animation,
    00:36:44,023you can always take a little bit of time up front,
    00:36:46,911and set it up,
    00:36:47,838so that you can save yourself hours down the road.
    00:36:50,521If I had to do this for 20 titles.
    00:36:53,872Each title maybe has 20, 24 letters in it, right?
    00:36:59,956Hand animating each letter is clearly out of the question.
    00:37:03,146Even copying, and pasting,
    00:37:04,897and trying to modify things on the fly
    00:37:06,895can take a lot of time.
    00:37:09,376If you set up a simple little rig like this,
    00:37:11,911you saw how quickly.
    00:37:12,758Once it was set up,
    00:37:13,663it took me less than probably 30 seconds,
    00:37:16,839to apply the motion to every letter.
    00:37:18,742I seem to use expressions a lot.
    00:37:22,522I have a feeling there's gonna be a lot of expressions
    00:37:24,249in this 30 Days of After Effects.
    00:37:25,983Hopefully, these are simple expressions,
    00:37:28,362and they just kinda get you used to it.
    00:37:30,892Later on,
    00:37:31,835we'll do some deep diving,
    00:37:33,185we'll really get into expressions.
    00:37:35,549I hope everybody learned something,
    00:37:37,313and thank you guys so much.
    00:37:38,487I really appreciate it.
    00:37:39,654Stay tuned
    00:37:40,487for the next episode of
    00:37:41,32030 Days of After Effects.
    00:37:44,492Thank you so much for watching,
    00:37:45,333and thank you Kyle Predki,
    00:37:46,935for coming up with this move,
    00:37:48,547or stealing it,
    00:37:49,890and then letting me steal it,
    00:37:51,026and teaching the entire internet how to do it.
    00:37:53,632Hopefully, you learned some things
    00:37:55,155about animation principles.
    00:37:56,302and how to make things feel kinda bouncy,
    00:37:58,301and have interesting character to them.
    00:38:00,394Now, you'll start developing your own little tricks.
    00:38:03,373If truly honing your animation skills is something
    00:38:05,745that you wanna dive deep into,
    00:38:07,841check out our animation boot camp course.
    00:38:09,999It's several weeks of intense animation training,
    00:38:12,784that will give you an edge in every single thing you create
    00:38:15,376as a motion designer.
    00:38:17,262If you learned something valuable from this video,
    00:38:19,687please share it around.
    00:38:20,837It really helps us spread the word about
    00:38:22,424School of Motion,
    00:38:23,309and we appreciate it.
    00:38:24,416Thank you so much.
    00:38:25,727I will see you next time.
    00:38:28,450(upbeat music)