How to Create Automatic Follow Through in After Effects

If you're looking to add polish to your animations you're going to want to learn as much as possible about the principles of animation. In this tutorial Joey is going to show you how to animate follow through. You may have already seen one of his lessons on this subject, but this time you'll be doing things a bit differently. Instead of doing everything by hand you'll be learning how to use a very simple expression to get automatic follow though on a lot of your animations.

We want to give a quick shout out to Matt Nabosheck, the very talented Designer / Illustrator and good buddy of Joey's that created the Boston Terrier named Steadman that Joey uses in this tutorial. Check out his work 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.
    00:00:00,875(techno music)
    00:00:07,163(sound of ball bouncing)
    00:00:17,541- Yo, Joey here at School of Motion.
    00:00:20,146And welcome to day 11 of 30 Days of After Affects.
    00:00:22,932What we're going to talk about today is Part Two
    00:00:24,927of the tutorial, which includes a Boston Terrier
    00:00:28,053that my good friend Matt Nabaoshek illustrated.
    00:00:29,321It's name is Stedman by the way.
    00:00:31,249Any way what we're gonna do today is animate Stedman
    00:00:33,596and we're going to talk about the
    00:00:35,646animation principle of Follow Through.
    00:00:37,298We're gonna talk about some strategies to use
    00:00:39,617Follow Through in After Effects.
    00:00:41,036Ant then of course I'm gonna show you
    00:00:42,416an expression that will do it for you.
    00:00:44,194Of course we can only cover so much in just this one lesson.
    00:00:47,431And so if you want a deep dive into animation principles,
    00:00:50,565You're going to want to check out
    00:00:52,520our Animation Bootcamp course.
    00:00:54,161Also don't forget to sign up for a free student account.
    00:00:56,428So you can grab the project files from this lesson
    00:00:58,367as well as assets from any other lesson on the site.
    00:01:01,610Now without further ado, let's hop into
    00:01:03,412After Effects and get started.
    00:01:07,079Welcome back to the room.
    00:01:09,297So in this video, as I said, I'm going to show
    00:01:13,109you guys how to animate the dog that goes in this room.
    00:01:16,278By the way the dog's name is Stedman.
    00:01:20,127Illustrated by the brilliant Matthew Naboshek.
    00:01:22,707Also the haunted Matthew Naboshek.
    00:01:27,077If you guys like the way this dog looks,
    00:01:29,634go to, M-A-T-T-N-A-B-O dot com
    00:01:33,908and check out his illustrations.
    00:01:35,823That man has such a unique way
    00:01:37,501of drawing things, it's amazing.
    00:01:39,481He's also a big Never Ending Story fan.
    00:01:41,370So here we go, we got this cool kinda 3D room
    00:01:45,680that we made from the last tutorial.
    00:01:47,619And we've got a nice little camera move going.
    00:01:50,831And so what I want to show you is how you get this dog
    00:01:54,467to animate and do something interesting.
    00:01:56,507And maybe just a way to think about animation.
    00:01:58,906And then of course I'm going to show you a little trick too.
    00:02:02,112So Why don't we start out by hiding all the stuff
    00:02:05,054we don't really care about right now.
    00:02:06,891I'm gonna of into Full Res here.
    00:02:09,256By the way the hot key to go into Full Res is Command, J.
    00:02:12,636A lot of people don't know that.
    00:02:13,976So we've got our dog and the speech bubble.
    00:02:16,674I'm gonna hid the speech bubble for now.
    00:02:20,249I went into Illustrator and I separated
    00:02:21,746all this stuff out into layers.
    00:02:23,248So it'd be easier to work with.
    00:02:24,780And actually I don't even wanna, I don't even want
    00:02:27,167to see these layers right now.
    00:02:28,975So I'm going to select all of them and I'm gonna Shy them.
    00:02:31,297So then I don't have to worry about them.
    00:02:33,344Alright, cool, so we've got the head and the body.
    00:02:36,591And you know essentially what I want to do
    00:02:38,258is have the head kinda like turn back and forth
    00:02:40,313and have the ears follow and just have it feel pretty good.
    00:02:42,852So I'm gonna click on the head layer.
    00:02:44,899And I'm gonna move the anchor point.
    00:02:47,015So you hit Y, which brings up this tool
    00:02:50,590called the Pan Behind tool or the Anchor Point tool.
    00:02:52,992And then you can click the anchor point and move it
    00:02:55,588about where the dog's neck is.
    00:02:57,730Maybe right in there
    00:02:59,923And just to check it, if I rotate his head on Z,
    00:03:01,751look at that, rotates back and forth.
    00:03:04,684That's wonderful.
    00:03:07,102Now here, let me put a quick rotation on there.
    00:03:09,003Okay so why don't we go forward a few frames,
    00:03:11,597put a key frame on Z, and let's just have it,
    00:03:17,090I don't know, 12 frames, it's gonna go like this.
    00:03:21,022Right, there you go.
    00:03:23,150Alright so here's a quick little recap for you.
    00:03:25,448Why does this look like crap?
    00:03:27,995Okay, I mean there's many reasons.
    00:03:31,011There's no easing, there's no anticipation,
    00:03:36,055there's no overshoot, there's none
    00:03:37,485of the hallmarks of good animation, right,
    00:03:40,011I'm telling you this is the kinda of stuff
    00:03:43,033that really makes you seem like a pro.
    00:03:46,223Like you know what you're doing.
    00:03:47,709Is when you understand animation principles
    00:03:49,787and you know how to apply them.
    00:03:52,682Alright so first things first, I'd say a 100
    00:03:58,579out of a 100 times I don't ever leave linear key frames.
    00:04:01,112Unless I make them Easy E's and then make them back
    00:04:04,794to linear because there is some reason.
    00:04:06,587Most of the time, key frames should be set to Easy E's
    00:04:09,810and then go into your Curve Editor, right.
    00:04:12,484And massage those curves, make them look nice.
    00:04:14,856Alright, but here let's just take a look at this.
    00:04:17,414That's better, it's a little more natural okay,
    00:04:20,062but it still seems kinda stiff.
    00:04:21,743It's still not working for me.
    00:04:23,244So one thing you can do to help that.
    00:04:26,850Instead of just having the movement just start,
    00:04:29,335like this, right it just kinda goes.
    00:04:31,724Go back a couple of frames and have it first anticipate.
    00:04:37,624Right so let's go back a couple of frames
    00:04:39,862and the head turns counter-clockwise.
    00:04:43,349So let's have it turn clockwise just a little bit, right.
    00:04:45,445And it just kinda helps it, I don't know
    00:04:47,915I might wanna do a little bit more.
    00:04:52,432Oh and I'll tell you what, I did this backwards too.
    00:04:55,395Let me delete that key frame.
    00:04:59,756Back two frames and just copy and paste this key frame.
    00:05:01,427Now go back to the original key frame
    00:05:04,245and have it go clock-wise.
    00:05:05,925There we go.
    00:05:06,893So you see now how it kinda like, errrgh?
    00:05:07,726Imagine the dog making a noise like this, errrgh?
    00:05:12,780Right now it's working a little better.
    00:05:14,375It's not working perfectly though and that's because
    00:05:16,387even though the actual motion kinda works
    00:05:20,238the timing of the motion doesn't work, right.
    00:05:22,719Before we mess with the timing there's
    00:05:26,449one other thing that can help this.
    00:05:27,722Right so you've got little , kinda of preceding movement
    00:05:29,737called an anticipation, then you go back like this.
    00:05:33,238And let's have it go a little too far.
    00:05:35,412Like you know this head, this dog had a big fat head
    00:05:38,217and it turns and once it gets turned,
    00:05:40,385and it kinda can't slow it down fast enough.
    00:05:42,248So it kinda goes too far this way.
    00:05:44,325But then let's go three frames forward.
    00:05:49,548The it kinda comes back and that's kinda where it lands.
    00:05:52,168Right, cool it still feels very stiff though.
    00:05:55,875It just doesn't feel good.
    00:05:57,785This is where you got to get in that animation curve editor.
    00:06:02,155Right watch the Intro to Animation Curves
    00:06:04,772and After Effects video if you're not comfortable with this.
    00:06:07,861And I'm not going to get real crazy and
    00:06:11,543hammer you guys right now with exactly why I'm doing this.
    00:06:15,883You know essentially I want this dog's head
    00:06:18,315to feels like it weighs a little bit more.
    00:06:22,818So I'm messing with the animation curves to get that feel.
    00:06:24,963By the way if anyone is really interested in learning
    00:06:27,318how these animations curves work,
    00:06:28,804let me know because I don't know if anybody actually cares
    00:06:31,282or if you guys really would like to understand these better.
    00:06:34,292So let me just get this motion to feel a little bit better.
    00:06:36,464I just want it happen a little faster.
    00:06:38,575So move this key frame, up one.
    00:06:42,480I'm going to move this key frame back a couple.
    00:06:44,734And then I'm gonna come into my curve editor
    00:06:46,777and really pull these two curves.
    00:06:50,202So now, there we go, that feels a little better.
    00:06:54,117Let me move this key frame over one.
    00:06:56,027Yeah that feels good to me, okay.
    00:06:58,994And I can tweak it more but we're
    00:07:01,835gonna say that's good for now.
    00:07:03,784Now, with a movement like that, okay,
    00:07:07,027that feels okay but it just stiLL kinda feels loosey goosey.
    00:07:11,547And it's just like the whole head moves as one unit.
    00:07:16,714And there's no weight to anything.
    00:07:19,616And this is a rabbit hole you can go down,
    00:07:21,106but I like to try and add a little bit
    00:07:26,072of what is called Follow Through.
    00:07:27,477I have another video called Introduction to Follow Through
    00:07:28,861but this video, I'm just gonna show you
    00:07:31,980what Follow Through means in terms of a Boston Terrier.
    00:07:36,335So if a dog turns his head like this what would happen?
    00:07:40,816Right the jowls would kinda jiggle, but the main thing
    00:07:44,672you'd notice is the ears kinda leaning a little bit.
    00:07:50,221Right, kinda following the head with inertia.
    00:07:53,165So what I need to do is first,
    00:07:56,016I got to separate the ears out.
    00:07:59,398So I didn't do that in Illustrator.
    00:08:00,902So we're gonna do that real quick in After Effects.
    00:08:03,488What I'm gonna do is I'm gonna duplicate the head
    00:08:07,084and I'm gonna call this ear, dash L.
    00:08:10,427So this will be the left ear.
    00:08:14,647I'm just gonna zoom in, and any time something's
    00:08:17,134got to rotate like this, it kinda helps,
    00:08:19,217If you keep the transition point.
    00:08:23,815Right like if you keep this edge
    00:08:26,310a little bit rounded like that.
    00:08:29,511That will help kinda blend the two shapes together.
    00:08:32,224And then I'm going to duplicate the head one more time.
    00:08:35,681And I'm gonna call this ear, dash, not L,
    00:08:39,838I'm gonna call it ear, dash R.
    00:08:42,572And we're gonna do the same thing.
    00:08:44,383We're just gonna kinda draw a rounded mass
    00:08:45,795like this, and there's the ear.
    00:08:47,305Alright, now lets put the anchor points in the right spot.
    00:08:50,184So I'm gonna hit the Y key and I'm gonna move
    00:08:52,472the anchor point for the right ear, right about there.
    00:08:57,483Okay, where the ear rotates from.
    00:08:59,398And then the left ear is there, right.
    00:09:02,093Well you're thinking in terms of where's that ear
    00:09:04,921actually attached to the head, okay.
    00:09:08,046Then I want to click on these two layers and hit U.
    00:09:13,491I don't want these key frames on there.
    00:09:15,197Okay, I want no key frames on there at the moment.
    00:09:17,695And then I want to parrot those two layers to the head.
    00:09:20,483So now they'll move with the head.
    00:09:22,431And the last thing I want to do.
    00:09:24,350Let me turn these layers off for a minute.
    00:09:25,446I don't want the ears on the original head layer.
    00:09:28,246So an easy thing to do is to take
    00:09:30,280one of these layers and hit M.
    00:09:32,811And bring up the masks, hit Mask 1 and copy it
    00:09:35,410and paste it on to the head.
    00:09:38,438Hit M again and it will show you this mask.
    00:09:41,109Let's rename this 0-1, and instead of add
    00:09:43,399let's set it to subtract, okay.
    00:09:47,985Then, I'm gonna do the same thing on Ear-R.
    00:09:49,807I'm gonna copy the mask, paste it on to the head,
    00:09:51,557hit M, rename this 0-2, and subtract, okay.
    00:09:59,656So now we've got the ears separated from the head.
    00:10:02,590You see these silly little, one pixel lines here.
    00:10:04,688Well that's gonna get even worse when
    00:10:07,355I actually start rotating these ears.
    00:10:08,772Right, if I rotate this ear,
    00:10:10,096oh that doesn't look good at all.
    00:10:13,268So what you also need to do.
    00:10:14,645You know there's a couple ways to do this one.
    00:10:16,906I could sort of reshape these masks on the head
    00:10:20,754to bring back some of the ear I'm cutting off.
    00:10:24,322Right, so it'll leave a little overlap between them.
    00:10:26,732But maybe an easier way to do it
    00:10:28,014because this is such a simple, flat shaded thing.
    00:10:31,472I'm just gonna make a new layer.
    00:10:34,077I'm gonna pick Whip and make sure
    00:10:35,690I use the exact same color.
    00:10:37,006I'm just gonna call this cover.
    00:10:40,551And I've just got this black solid layer behind the head.
    00:10:44,140I'm gonna turn it into an adjustment layer.
    00:10:46,127Just temporarily so it hides it.
    00:10:48,803And then I'm gonna use my pen tool,
    00:10:51,120and I'm just gonna sort of draw a little shape like this.
    00:10:56,850And all I'm trying to do is add
    00:10:58,671a little bit of a rounded shape behind those ears.
    00:11:03,288So that when the ears rotate, you don't see this like,
    00:11:06,673you don't see empty space behind it.
    00:11:09,075Now I'll take that adjustment switch off.
    00:11:12,537Right now you can't tell there's anything there,
    00:11:14,821but when I rotate the ears, it's gonna work a little better.
    00:11:17,962And you're still gonna get a little bit of a,
    00:11:21,691you're still gonna get a little bit of a cutout,
    00:11:24,778so a good thing to do whenever
    00:11:26,607you're doing something like this is first,
    00:11:27,639rotate the ear, than adjust the mask on the ear.
    00:11:32,273And try to make it look good.
    00:11:33,721Okay and just do the best you can, alright.
    00:11:37,633And now rotate it the other direction
    00:11:41,248and adjust the mask, do the best you can.
    00:11:43,747It's not going to be perfect, that's okay.
    00:11:46,440And so now you've got a little bit more of leeway.
    00:11:50,151Right, and you got to watch out for stuff like this.
    00:11:52,052This point here, might intersect one of those spots.
    00:11:55,761So I might just move it up a little bit
    00:11:57,721and I'm gonna zero it out, okay.
    00:11:59,352So I fix that ear, let's do the other one.
    00:12:02,102Rotate a little bit, this is sort of a standard thing you do
    00:12:05,801with any kind of rig you make, even in a 3D program.
    00:12:09,792You sort of, you move layers into extreme positions
    00:12:13,564so that you can see where rig kinda shows you
    00:12:17,053the ugliness and then you fix it.
    00:12:20,051Alright so there you go.
    00:12:21,764I'm gonna move this point so it doesn't have any dots.
    00:12:24,218Alright, so we've got our ears.
    00:12:25,391Now here's the easy way to do Follow Through, okay.
    00:12:29,350I'm gonna get in Follow Through,
    00:12:30,970think about inertia, the ears are gonna keep moving.
    00:12:34,999The easy way is to do this,
    00:12:36,762first make sure everything is parented correctly.
    00:12:38,927So you've got the ear parented to the head.
    00:12:42,021This cover layer needs to be parented to the head also.
    00:12:45,927And then the head needs to be parented to the body.
    00:12:49,890And if you don't know about parenting,
    00:12:52,089I don't know if I have a tutorial about that
    00:12:53,899but that is something you can google.
    00:12:57,005That's not, that's pretty simple.
    00:12:58,894Alright so we've got the head and let's just check it.
    00:13:01,336You know if it rotates, everything goes with it, fantastic.
    00:13:04,437This is how easy Follow Through can be.
    00:13:07,120If you just copy all of these key frames, boom.
    00:13:10,628And make sure your play head is lined up right on those
    00:13:14,926And then just paste that onto both of the ears, right.
    00:13:18,645So here's what this does, right.
    00:13:20,276You see how they kind of move with the head.
    00:13:24,174And it looks better, that's not Follow Through.
    00:13:27,642Follow Through actually it's kind of a lag
    00:13:30,134between different parts of the object.
    00:13:32,461So when the head turns, the ears don't turn right away.
    00:13:36,501And when the head finishes turning,
    00:13:37,796the ears don't finish turning right away.
    00:13:39,744It takes a minute.
    00:13:40,917So I'm gonna grab all these key frames
    00:13:42,522and I'm just gonna move them forward two frames.
    00:13:44,455That's Follow Through, right there, okay.
    00:13:46,419And you see all of a sudden the whole thing here
    00:13:48,831has a lot more life, it's kind of cute,
    00:13:51,072feels good, that's follow through.
    00:13:54,412So now we want to animate another head turn, okay.
    00:13:56,925And this is where I want to show you guys a little trick.
    00:13:59,211This is really cool.
    00:14:03,346You know if I'm animating the head
    00:14:04,936and I'm tweaking the animation curves,
    00:14:06,313and I'm trying to get it to feel exactly the way I want.
    00:14:08,599Every time I change it, I'm gonna have to copy
    00:14:10,751key frames for the ears and move things around.
    00:14:14,447There's actually a little short cut.
    00:14:17,359Okay, here's what I'm gonna do.
    00:14:18,471And of course it's an expression, a nudge.
    00:14:20,887I should probably get an expression tattooed
    00:14:23,017on my body somewhere 'cause I use them so much.
    00:14:26,552What I want to do is I basically want each ear
    00:14:30,125to mimic the rotation of the head,
    00:14:33,273but like minus two frames, okay, so two frames later.
    00:14:38,069So what I'm gonna do is I'm gonna
    00:14:39,499put an expression on Z rotation now.
    00:14:41,658First, watch this, if I just put an expression on Z rotation
    00:14:45,471hold option, click the Z rotation stop watch,
    00:14:48,063and I pick Whip from here to here, okay.
    00:14:51,482If I do that it just mimics it, okay.
    00:14:54,475You can see that this is negative 20, this is negative 20.
    00:14:57,191Alright and what I can do though
    00:14:59,734is I can add a little bit to this, okay.
    00:15:03,105What I'm gonna do is I'm gonna add, and this is sort of
    00:15:07,100a common After Effects expression notation here.
    00:15:09,556You can add to expressions by adding a period.
    00:15:13,628So I'm gonna add a period, and I'm gonna add
    00:15:16,211a little function called Value At Time.
    00:15:20,359Spelled just the way I'm spelling it, okay.
    00:15:22,691And in the parentheses, the time you want to look at.
    00:15:26,536And this is named very clearly.
    00:15:29,159I want to look at this comp, the layer called head,
    00:15:33,652the transform property called Z-rotation,
    00:15:35,975and the value at time.
    00:15:39,965Time minus and let's say, I don't know, three frames.
    00:15:45,439Okay now I mentioned this in another tutorial
    00:15:48,244but when you are writing an expression
    00:15:51,229and you are referencing time,
    00:15:52,730you may want to say time minus three frames, just like that.
    00:15:56,443But expressions don't work in frames, they work in seconds.
    00:15:59,676So if you want it to be three frames
    00:16:01,414you actually need to write in parentheses
    00:16:03,883three divided by 24, because we are
    00:16:06,789working at 24 frames per second.
    00:16:08,868Three frames divided by 24 frames a second
    00:16:11,295that's the correct number to use.
    00:16:14,207I hope that makes sense, alright.
    00:16:16,446And now to close the parentheses out,
    00:16:19,172put a semi-colon, and hit return, okay.
    00:16:21,922And now if you look at this, okay,
    00:16:26,414you can that now the values are different.
    00:16:27,888If we go to this first key frame, and this starts moving.
    00:16:32,074Z-rotation is 2.3 but this is still zero,
    00:16:35,203because its looking backwards three frames.
    00:16:38,076If I play this, you just look at this ear
    00:16:40,872because that's the only ear that has the expression on it.
    00:16:43,057All it's doing, is it's doing the exact same motion
    00:16:46,076as the head, just three frames later, that's it.
    00:16:49,038I'm gonna copy, I'm just gonna select Z-rotation,
    00:16:52,376copy, paste it on to this, and there you go.
    00:16:54,178And now both ears are going to follow whatever
    00:16:57,119that head does, minus three frames, it's awesome.
    00:17:00,672I could very easily make this expression
    00:17:03,203a lot more complicated and add controls,
    00:17:05,883so you had a slider, that would actually set the delay.
    00:17:09,435And then maybe a multiplier to multiply it
    00:17:11,498so it doesn't rotate as much.
    00:17:13,503I'm trying to keep this a little bit simpler.
    00:17:15,239So we're gonna leave it there, okay.
    00:17:19,366Then what's cool is then you can
    00:17:20,483just do the same, do another motion.
    00:17:22,034Put a key frame, maybe go forward a couple frames,
    00:17:24,543maybe three frames this time.
    00:17:26,294And we're gonna anticipate this way.
    00:17:29,097We're gonna jump forward, and have the head rotate back.
    00:17:32,090It's gonna overshoot, it's gonna go a little too far.
    00:17:34,503Three frames, and then it's gonna come back here, okay.
    00:17:38,079And we're gonna select those key frames,
    00:17:39,759going to the curves editor, click our little fit graph.
    00:17:43,010And actually I want to click this button,
    00:17:45,822Fit Selection to View.
    00:17:46,986Let's turn off our transform box
    00:17:48,558and let's just adjust these curves.
    00:17:50,553So again the head should feel like it has some mass to it.
    00:17:55,842And let's jump out of the curves editor,
    00:17:58,650come back here, and take a look at that.
    00:18:02,770And the ears will automatically follow through for you.
    00:18:07,031You can see the masks aren't perfect,
    00:18:09,171kinda getting some little jaggy edges there.
    00:18:13,320And normally the anal retentive in me would fix that
    00:18:16,877but I just want to show you guys
    00:18:19,623how you can get automatic follow through in the ears.
    00:18:21,894And I think, hopefully, this is demonstrating that.
    00:18:24,222I want to show you guys a few more tricks,
    00:18:26,043before this tutorial ends.
    00:18:28,398One thing that I like to do a lot, you know,
    00:18:32,014if the head's doing one thing
    00:18:33,539and the ears are doing one thing.
    00:18:34,756I might want to add like a little bit
    00:18:36,504of a secondary motion to this, right.
    00:18:38,640Just to give it a little bit more of life,
    00:18:40,712especially when you're using a
    00:18:41,8182D piece of artwork like this.
    00:18:42,970And you don't have it all broken up into legs,
    00:18:45,997and it's not rigged, and you don't have joints.
    00:18:48,119So you really just have to do a lot
    00:18:50,229of faking to give the animation life.
    00:18:52,682But you can still use the principle follow through.
    00:18:55,380So what I mean by that is, have a motion
    00:18:57,167sort of precede this motion, right.
    00:19:01,131What we have is the head rotating
    00:19:03,811followed by the ears rotating.
    00:19:05,147What if something preceded the head rotating?
    00:19:07,241For example, we could grab the body.
    00:19:09,193Let's move the anchor point down here, to the foot, okay.
    00:19:13,630Because that's where the dog is standing.
    00:19:16,510And I'm gonna open up the scale property
    00:19:19,181and for now I'm gonna line the scale key frames
    00:19:22,154up with the rotation key frames.
    00:19:24,180Just to make sure it's happening at the same speed.
    00:19:26,281So I'm gonna put a key frame here.
    00:19:27,512I'm gonna move forward and I'm gonna
    00:19:28,999unlink the properties of X, Y, Z.
    00:19:32,349And let's have that dog shrink down a little bit.
    00:19:35,171Then I'm gonna go forward to this key frame.
    00:19:37,090By the way, J and K, also very useful
    00:19:38,665keyboard short cuts, jumps between key frames.
    00:19:45,069So it shrinks, then it scales up.
    00:19:48,972Okay, it kind of overshoots and it comes back down, right.
    00:19:53,524And I'm actually gonna have it overshoot
    00:19:55,213a little bit on the way down too.
    00:19:58,454Just 'cause, then it's going to go back down to 100.
    00:20:02,235Let's select all these key frames, Easy E's them,
    00:20:05,606hop into our handy dandy animation graph,
    00:20:10,889and make sure that this really feels
    00:20:12,966like there's some mass behind it.
    00:20:18,386Let's see, alright and now let's set
    00:20:21,601our outpoint here and take a look, okay.
    00:20:24,186So that's kinda nice, right, it's not bad.
    00:20:25,464But it's really gonna help some of the animation
    00:20:28,427if I move these back three frames, right.
    00:20:30,580So now, it feels like the scale is kind of
    00:20:32,877helping the dog get momentum to turn its head.
    00:20:37,115Which in turn is helping the ears turn, right.
    00:20:39,755And that's what Follow Through is.
    00:20:41,367It's sort of a chain of motion traveling
    00:20:43,411through whatever object is moving, alright.
    00:20:45,849And it's pretty simple, and you can use an expression
    00:20:49,679to kinda automate pieces of it, right.
    00:20:51,677An ear or a tail, or something else.
    00:20:54,330But really it's just sort of, you know,
    00:20:57,798preceding or continuing motion.
    00:21:00,402And that's about it and what's cool is now
    00:21:02,601that I've got that scale set up.
    00:21:03,698I can just come up here to the next head turn
    00:21:05,809and go back three frames and just
    00:21:08,387copy and paste those key frames.
    00:21:09,668Beautiful, right.
    00:21:12,520Now, I've got the dog doing two nice little moves, okay.
    00:21:17,430And for the animation that you saw
    00:21:20,126at the beginning of this demo.
    00:21:22,493Let me unshy all my layers.
    00:21:24,607All I did, was I kinda did the same thing to all of these.
    00:21:29,714I parented the hello words to the bubble, the bubble
    00:21:34,843to this dot, this dot to this dot, this dot to this dot.
    00:21:36,704All these little dots to the bubble
    00:21:39,139and I offset everything and just do
    00:21:40,633Follow Through with it, and that's basically it.
    00:21:43,909And so the last thing I'll show you, because the tutorial,
    00:21:47,299let's check the time, 20 minutes already.
    00:21:51,125The last thing I want to show you is.
    00:21:53,720I just kinda want to get you guys used to seeing
    00:21:56,314like how fast you can do things,
    00:21:57,833because when you have a bunch of layers like this,
    00:22:00,582by the way, this isn't a ton of layers, but it is you know
    00:22:04,348it's a good amount, you've got 20 layers here.
    00:22:06,617You can very easily talk yourself out of
    00:22:08,936doing things that might look really cool,
    00:22:12,093because they're going to take a long time to set up.
    00:22:14,521Okay, and I've fallen victim to that.
    00:22:15,957I understand it, but I want that same sort of
    00:22:19,046overlapping animation with Follow Through.
    00:22:24,120I want the same kind of thing, put a speech bubble
    00:22:26,990and all those little dots, okay.
    00:22:28,494So here's what I'm gonna do, I'm gonna hide the dog.
    00:22:31,398Right, I'm gonna visually simplify it.
    00:22:34,571And what I want to do is first just parent things correctly.
    00:22:39,304So this is the first dot, that's the very first one
    00:22:41,625that should actually pop out.
    00:22:43,561So I'm gonna move that to the bottom, alright.
    00:22:46,289And then the orange, this orange dot here,
    00:22:49,846I'm guessing that's B1 and B3, those should be next.
    00:22:53,254I'm just trying to visually help myself out here.
    00:22:57,960The speech bubble, that's the big kinda teal speech bubble.
    00:23:00,699There's the hello layer, and then all of these dots
    00:23:03,425are just the dots that are sprinkled though out that okay.
    00:23:06,424So let's parent these things together correctly.
    00:23:10,361Hello parented to the speech bubble.
    00:23:13,415Speech bubble, parented to this orange dot
    00:23:16,942which is B1, okay.
    00:23:20,811Cool, all of these little dots can be parented
    00:23:24,340to the speech bubble, right.
    00:23:26,904B3 should be parented to this black dot which is B2.
    00:23:33,113B1 should be parented to B2 and
    00:23:34,821B2 should be parented to the head, okay.
    00:23:38,729When you're doing Follow Through you need to have
    00:23:41,312whatever is actually going to actually
    00:23:43,688be doing the Follow Through parented to
    00:23:45,172the initial thing that's creating a motion.
    00:23:47,341Otherwise it's not as easy to get that motion to work right.
    00:23:51,343Alright, so here's the trick, you can already see
    00:23:53,848that things are parented to the head.
    00:23:55,854But lets not worry about that for the moment.
    00:23:57,704Alright, I'm gonna try and show you guys
    00:24:00,707a very fast way to do this, okay.
    00:24:03,041So here's what we're going to do.
    00:24:05,665Let's figure out where we want
    00:24:06,822that speech bubble to open up, okay.
    00:24:08,261So it goes like this, and then right there
    00:24:11,120that's where we want it to open.
    00:24:13,512We don't want it to open like, you know, that.
    00:24:15,487It's all kinda funkily rotated.
    00:24:18,161Let me turn the dog on for one second.
    00:24:20,222Let's just set up the position of this thing, right.
    00:24:22,712Everything in this speech bubble chain is parented to B2
    00:24:25,308So, I'm going to rotate B2 back up like this
    00:24:30,867and I'm gonna move it where I want it.
    00:24:34,967Let's say right there, like that, okay.
    00:24:37,819And let's rotate it, kinda like that.
    00:24:41,145Cool, lovely right, I kinda like that.
    00:24:43,243The head's, the dog is angled this way,
    00:24:45,255and this is kinda angled against it, it feels good.
    00:24:48,791Excellent, okay, so what we need to do
    00:24:51,748is select all these layers, alright.
    00:24:56,189And I'm gonna hit the left bracket
    00:24:57,965and that's gonna line them all up for me.
    00:24:59,987Then I know I know I'm gonna want to animate them on scale.
    00:25:03,161So I hit Option, S.
    00:25:04,571I'm gonna want to animate them on rotation
    00:25:06,356so I hit Option, R, right.
    00:25:08,975But I don't want all those rotations,
    00:25:10,604so let me hit undo for a minute, I only want Z-rotation.
    00:25:13,876So what I'm gonna do, is I'm first gonna hit the Tilde key,
    00:25:16,883I'm gonna make sure my mouse is
    00:25:19,107over the timeline and hit Tilde.
    00:25:20,837So it's gonna scale just my timeline up temporarily.
    00:25:24,398And I'm gonna hold Spacebar, and I'm gonna use my hand icon
    00:25:27,766to kinda move down, and I'm gonna select
    00:25:29,959all my speech bubble layers, come back up here.
    00:25:35,042In the search box I'm gonna type z-ro,
    00:25:37,420I'm gonna start typing Z-rotation.
    00:25:39,517Doing that it's gonna just reveal Z-rotation for me,
    00:25:42,199select it, and activate animation on all of them, okay.
    00:25:45,765So just trying to show you guys some short cuts.
    00:25:48,036Next thing I want to do is have it animate on Y position.
    00:25:49,718So if I hit P, on all of these you can see
    00:25:52,979that the position property, it's still all
    00:25:56,470linked together X, Y, and Z.
    00:25:58,307And I don't like that, so now I'm gonna click it,
    00:26:01,443this little area, right here, where there's nothing.
    00:26:03,953And I'm gonna click and drag so I can get all the positions
    00:26:06,803and then I'm gonna Control click those
    00:26:08,444and say separate dimension.
    00:26:09,740Then with everything selected I'm gonna come up
    00:26:11,902to the search box and start typing Y position.
    00:26:14,446So now I automatically hides everything except Y position.
    00:26:18,080I can hit the stopwatch for it.
    00:26:20,326I can then hit U, and I can see all of my properties, right.
    00:26:24,546Y position, scale, and Z-rotation
    00:26:26,791have all been key framed for me, alright.
    00:26:28,767Now what do I want to do, I want
    00:26:30,493to basically do the same thing.
    00:26:32,361I want this thing to maybe start rotated down here
    00:26:35,662and swing up this way and then overshoot
    00:26:38,856a little bit and bounce back, okay.
    00:26:40,883So to do that, let me get out of m graphing there mode.
    00:26:45,109Let's go forward 10 frames, right maybe 12.
    00:26:49,239And then I'm just gonna click up here
    00:26:51,342and drag my mouse right down this line like this,
    00:26:54,327old Spacebar drag up and then put key frames there.
    00:26:58,406The I'm gonna go forward four key frames
    00:27:02,431and literally do the same thing backwards, okay.
    00:27:04,790So just really quickly adding key frames here,
    00:27:05,837getting it all set up nice.
    00:27:07,757I'm gonna then go down and select every key frame
    00:27:10,001and I'm gonna hit F-9, so they're Easy E's.
    00:27:14,108Then I'm gonna go into my graph editor, okay.
    00:27:18,345And actually before I do that let's think about
    00:27:20,010the initial value of this thing okay.
    00:27:22,163And what I'm gonna want to do is, I'm gonna want to
    00:27:28,439let me think about this for a minute.
    00:27:30,702I'm gonna want all of these Z-rotations to be, here we go.
    00:27:36,240I want the Z-rotation of all these to kind of
    00:27:39,360rotate this thing down at the beginning, so clock wise.
    00:27:44,430So what I'm gonna do is I'm gonna
    00:27:45,802select all these layers again, alright.
    00:27:48,329Here's a cool keyboard short cut for you.
    00:27:50,278Command A selects everything, Shift, Tilde
    00:27:53,665will close everything down for you.
    00:27:55,314So that way I can just quickly grab the layers I want.
    00:27:59,066And I'm gonna make them all a different color
    00:28:01,968so it's easy to see what's what.
    00:28:03,316And then I'm gonna hit, I'm gonna go up to the search box
    00:28:05,783and hit Z, start typing Z-rotation.
    00:28:09,399So that I can just grab my Z-rotations, like this.
    00:28:13,979And on that first key frame right here.
    00:28:16,056I'm just gonna select every layer and I just
    00:28:18,310want the Z-rotations to change, okay.
    00:28:21,769And now if I hit Tilde again,
    00:28:23,765I can kinda see what I'm doing, okay.
    00:28:25,990And I just want it to kinda be like that, okay.
    00:28:29,285And then on this frame, I want it to overshoot a little bit.
    00:28:34,581Okay, cool, so let's come back here.
    00:28:37,691Let's hit S on these now.
    00:28:40,039I want them all to start scale at zero, okay.
    00:28:43,840Let's go to the next key frame.
    00:28:46,700I want them all to overshoot a little bit.
    00:28:47,939Okay let's come back.
    00:28:49,963Let's start typing Y position, okay.
    00:28:53,663I want all of them to start a little bit lower
    00:28:59,270and then overshoot a little bit, okay.
    00:29:01,626So just like that, with all those things selected
    00:29:04,357I've set all the key frame,
    00:29:05,564now let's go to the graph editor.
    00:29:07,042So I'm gonna hit Tilde, so I have
    00:29:09,241more room, select all my layers.
    00:29:11,166The X here in the search box, get rid of that.
    00:29:16,370Hit U on all of these, so I can see every single property.
    00:29:19,909That's probably going to give me trouble,
    00:29:22,483but let's take a look.
    00:29:23,334If I select everything and go to the graph editor
    00:29:25,006what a mess, so let's not do it that way.
    00:29:28,229Let's hit R, so we just see the rotations, okay.
    00:29:32,422I'm just gonna select all of the rotations like this.
    00:29:35,680I'm just holding shift, and clicking and dragging a box,
    00:29:40,196And what that's letting me do is it's
    00:29:42,098letting me just select al the rotations.
    00:29:44,752So now I can really easily see in my graph editor.
    00:29:47,762These are all of my rotation curves
    00:29:49,368and I can select them and edit them all at the same time.
    00:29:51,472Okay, so if I don't want any
    00:29:54,289easing out that first key frame.
    00:29:58,754I can just select everything and change it, alright.
    00:30:02,521And I think that is how I want to do it.
    00:30:04,907Then I'm gonna hit S, select all the scales,
    00:30:09,310I'm gonna click this button here so I can zoom in.
    00:30:12,298Let's do the same thing, select all the key frames.
    00:30:15,881Point that up so there's no E's.
    00:30:17,518I screwed these up, so I'm gonna select them all and hit F9.
    00:30:23,274Alright come here, and because I have
    00:30:26,569so many selected it's giving me a little lag.
    00:30:29,049So that's why it keeps screwing it up.
    00:30:32,040There we go, and then the last thing is the position,
    00:30:33,719so I'm gonna hit P and select all these.
    00:30:38,329And now the problem is when you select
    00:30:39,945more properties than you need, you're gonna see
    00:30:42,419graphs that you don't want to see.
    00:30:43,818So actually what I should probably do
    00:30:46,590is select all they layers, start typing in Y Position
    00:30:49,609and then I can just select all the Y-positions like that.
    00:30:53,113Alright and then I'll do the same thing,
    00:30:55,729select the beginning here, move these down,
    00:30:58,807grab this, pull this out, by the way.
    00:31:01,050This is why I really, I really prefer
    00:31:05,125to use the Curves Editor, I'm not a huge fan of
    00:31:07,554scripts and plug-ins that try to make you not do this.
    00:31:11,097Because this is how you know how things are moving.
    00:31:14,677This is the only way, to really understand
    00:31:16,977what the motion is that's happening.
    00:31:19,384Look at this, okay.
    00:31:24,928Do a little Ran Preview here.
    00:31:26,290So the dog turns his head again
    00:31:28,741and this nice little animation pops out,
    00:31:30,855but there's no follow through because
    00:31:32,301it's all happening at the same time, okay.
    00:31:35,606So now you've got all these layers,
    00:31:37,278there's not that many, but sometimes
    00:31:39,131you might have 100's of layers that you want to do this to.
    00:31:41,313And I want them all offset by two frames.
    00:31:43,899There's a really simple trick to do that.
    00:31:46,072What you do is you select all
    00:31:49,591the layers that you want to overlap.
    00:31:52,934And I'm gonna hold Option, on the first
    00:31:55,633I'm gonna go forward two frames, one, two.
    00:31:57,657Then I'm gonna hold Option and hit the right bracket.
    00:32:00,149All that does is it moves the outpoint of all the layers.
    00:32:03,234Now this layer is only three frames long.
    00:32:10,349Okay, one, two, three.
    00:32:11,182If I want them to by two frames it
    00:32:12,017actually needs to be two frames long.
    00:32:13,814So let me jump forward one frame,
    00:32:14,948hit Option, Right Bracket, now it's only two frames long.
    00:32:18,095Okay, then this is important.
    00:32:21,661You need to select the layers in the order
    00:32:23,710you want them sequenced.
    00:32:25,073I want the B2 to pop out first.
    00:32:28,604So I'm gonna select that first
    00:32:29,437and then Shift, Select, hello.
    00:32:31,817So it selects in this order.
    00:32:34,530Next step is you go to Animation Key Frame
    00:32:37,596Assistance Sequence Layers, okay.
    00:32:39,810And you leave overlap off and hit okay.
    00:32:43,536It sequences it for you, alright.
    00:32:45,578It's like this little known thing
    00:32:48,008in After Effects that's super handy.
    00:32:49,308And then I can just go to the end of my comp,
    00:32:51,703hold Option, and hit the right Bracket again
    00:32:54,608and now it sends the outpoints all the way to the end.
    00:33:00,049So now all the layers exist all the way to the end.
    00:33:04,137Now you've got follow through all the way through.
    00:33:07,618Now, you know these little dots that are supposed
    00:33:09,471to be showing up inside the speech bubble
    00:33:11,735but are actually underneath it.
    00:33:15,465I want those to happen after the
    00:33:16,903speech bubble actually it appears.
    00:33:18,586So now I can actually go in and manually tweak it,
    00:33:20,121but I didn't have to do all that setup, okay.
    00:33:23,188And I'm gonna scrub through and figure out
    00:33:25,177where I want those dots to start appearing,
    00:33:27,420and then we'll just Ran Preview that
    00:33:30,061little part and see what we've got.
    00:33:33,247But hopefully, and it looks okay,
    00:33:36,350I'm not totally in love with it.
    00:33:38,097I would probably speed up a lot of that animation.
    00:33:42,844It feels a little bit slow.
    00:33:47,456But what I would definitely do is try to figure out
    00:33:50,395when I want that speech bubble to pop out.
    00:33:52,513Which is probably right when the dog
    00:33:54,194starts to move into its second movement.
    00:33:56,034So we'll scoot that over like that, move these outpoints.
    00:34:01,930And I want it to feel like the
    00:34:03,009dog's movement is kinda tiggering that.
    00:34:04,745Yeah there we go, okay,
    00:34:06,087But I want it to have Follow Through,
    00:34:08,403which means it should be delayed.
    00:34:09,889So I'm gonna nudge these layers forward
    00:34:12,616maybe two, three, four frames.
    00:34:14,493Easy way to do that hold Option, page down,
    00:34:18,529and just nudge it in a few frames.
    00:34:21,541Right, maybe a few more, right.
    00:34:24,245So I wanted to feel kinda like it's throwing
    00:34:28,285that thought bubble out of its head with the momentum there.
    00:34:31,178Okay, let's try a few more frames.
    00:34:34,523Yeah, it's starting to feel nice, okay.
    00:34:36,516So we've got a lot of Follow Through on this animation.
    00:34:38,927Some of it is automated by expressions.
    00:34:44,105Some of it is hand key framed
    00:34:45,784and then for the speech bubble with all these
    00:34:51,028you know different pieces in it.
    00:34:51,899We used a cool trick in After Effects
    00:34:52,732to sequence everything for us.
    00:34:53,565The we used the search bar to make it really easy
    00:34:55,640to put key frames on everything at the same time.
    00:34:57,552So I tried to jam pack this tutorial for you guys
    00:35:00,344to hopefully show you a lot of different ways
    00:35:02,291and tricks of making your animations
    00:35:04,728feel better and save you some time.
    00:35:07,840Once you're done it's literally, you know,
    00:35:09,588you take your layer, and you adjust your anchor point
    00:35:14,390so that it's on the foot of the dog.
    00:35:16,273Make it a 3D layer, parent it to your null.
    00:35:20,291And just like I showed you in the last video
    00:35:23,832you set the position of the dog to 50-50-0.
    00:35:27,362One thing I did forget to do right away
    00:35:29,250is select all these layers and
    00:35:32,360turn on continuously rasterize.
    00:35:33,818They are all 3D layers, already
    00:35:37,656but if I have this button on now.
    00:35:39,489I can go back in here and hit the button here
    00:35:41,527and now my dog won't get pixelated, alright.
    00:35:43,889So that's a very important step too.
    00:35:46,433And then we'll just scale that dog down
    00:35:49,025and you know we need to move him a little bit.
    00:35:50,615I think he needs to be a little bit closer to the camera.
    00:35:52,973But there you go.
    00:35:54,878Now the dog is in the room, and can't see
    00:35:56,701the hello which is, which is a shame.
    00:35:59,602So let me scale it down a little bit like that.
    00:36:03,348But there you go, there is Stedman in his 3D room
    00:36:05,774with some personality and some Follow Through.
    00:36:07,901If you look at the photoshop file there
    00:36:10,309were some other nice details like a little shaft of light.
    00:36:12,597I added a shadow to him, but you guys
    00:36:14,552can take this as far as you want to.
    00:36:18,271I hope you really learned some cool techniques
    00:36:22,090and this is just an example of using After Effects
    00:36:24,521in a way that, I don't know, I haven't seen
    00:36:26,807too many people use it this way.
    00:36:28,677And maybe it's just the people I hang out with
    00:36:31,317but I think the combination of scene aware
    00:36:35,037and a few expressions, and just understanding
    00:36:37,541some animation principles, very quickly
    00:36:40,831you can get something pretty cool
    00:36:43,007and interesting looking like this.
    00:36:44,988It also helps if you have a friend
    00:36:45,821that can draw interesting looking dogs.
    00:36:47,310But I hope everyone enjoyed this.
    00:36:49,852Thank you so muc, and I'll see you next time
    00:36:52,665on 30 days of After Effects.
    00:36:55,064Thank you so much for watching.
    00:36:56,175I hope you enjoyed learning a little bit
    00:36:57,865about the animation principle of Follow Through
    00:37:00,395and how it can really help bring your animations to life.
    00:37:02,326And remember check out our Animation Bootcamp course
    00:37:05,822if you want an in depth, interactive learning experience,
    00:37:08,533focused on the principles of animation.
    00:37:10,631You get weeks of intense trainin, along with access to
    00:37:13,899podcasts featuring industry leaders,
    00:37:17,426critiques from our amazing teaching assistants.
    00:37:19,398Tons of project files for you to pick apart.
    00:37:21,366And a whole new network of motion designers
    00:37:23,324from all over the world, for you to learn and grow in.
    00:37:25,019That's it, thank you so much, I'll see you next time.
    00:37:27,543(sound of ball bouncing)
    00:37:31,510(techno music)