Illustrator to After Effects: Field Manual Part 2

But wait, there’s more!?!

That’s right, just when you thought there couldn’t possibly be any more information about bringing a file from Illustrator into After Effects; we bring you part two.

This time we’ll be going though a more complicated Illustrator file than in lesson one and how we can set it up in Illlustrator to be animation ready. Along the way we’ll go over some neat little tips and tricks that might make your life easier some day.

Warning: This is not you’re average vector file, it’s full of little traps and things that you didn’t know would break when need to convert to an After Effects shape layer. We’ll tackle blend modes, dashed lines, raster effects, and so much more.

If you liked this series please share it! Thanks for watching!

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.

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    00:00:00,413(techno music)
    00:00:08,702- Hey, guys.
    00:00:09,535This is Amy from School of Motion
    00:00:10,946with part two of our bringing your Illustrator files
    00:00:13,442into After Effects series.
    00:00:15,470This is the final part in the series,
    00:00:16,984and we're gonna go over a bunch of other things
    00:00:19,058that you can encounter
    00:00:19,922when you're bringing those Illustrator files
    00:00:21,506into After Effects that we just didn't have time
    00:00:23,640to get to in part one. (soft, intense music)
    00:00:25,646Don't forget to sign up to be a VIP member
    00:00:27,710at the bottom of this page.
    00:00:29,211We're actually gonna give you all the project files
    00:00:31,357that we use this time in this lesson.
    00:00:34,024Thanks for watching.
    00:00:35,150Let's get started.
    00:00:37,594Alright, guys.
    00:00:38,427Let's get started on part two
    00:00:39,572of bringing your Illustrator files into After Effects.
    00:00:42,730So you might notice that our original file's up right now,
    00:00:46,260and this is not the file we'll be working with.
    00:00:48,527This is actually because we got a little bit of feedback
    00:00:52,199from one of the Animation Bootcamp students, Rene.
    00:00:55,415He pointed out this wonderful feature
    00:00:58,343that I did not notice before in After Effects,
    00:01:01,921when you go to the save as dialog.
    00:01:05,601So if we save as, we can actually save each art board
    00:01:09,396to a separate file.
    00:01:11,874So this will cut down on some time.
    00:01:14,543You just hit okay there,
    00:01:15,813and I'll actually show you what it did.
    00:01:17,738So what it did was it re-saved our original scene
    00:01:20,567in this folder that I named art boards.
    00:01:23,975You're probably going to want to make a new folder
    00:01:25,798for that reason,
    00:01:26,631so you don't confuse yourself.
    00:01:28,775And then actually, if we open up these other files,
    00:01:32,951you will see scene two
    00:01:36,394is now isolated.
    00:01:39,263Scene one, only thing there,
    00:01:42,646and art board three, only thing there.
    00:01:46,631So, perfect.
    00:01:47,927Obviously, you might want to rename these
    00:01:49,415to something that makes more sense to you,
    00:01:51,719but that cuts down on just all that time,
    00:01:54,468having to hit file, save as,
    00:01:56,294and also, on you accidentally screwing up
    00:01:58,657and overwriting a file.
    00:02:00,553So really cool.
    00:02:01,889Thank you, Rene.
    00:02:04,033Awesome tip.
    00:02:05,377Alright, now this is the file that we're actually going
    00:02:09,102to be working with.
    00:02:10,827So this one right here is the one
    00:02:13,230that would be handed off to you,
    00:02:15,521that you're going to have to prep for After Effects
    00:02:18,881to be animated.
    00:02:20,635This is the intermediate file
    00:02:22,529of what we're going to be setting up today,
    00:02:25,195to get this stuff to function right in After Effects.
    00:02:29,249Now it looks a little overkill,
    00:02:31,121but it's actually not
    00:02:32,705for what we're going to be doing with it.
    00:02:35,982Lots of layers.
    00:02:37,796And this is our actual final result in After Effects.
    00:02:44,771So, I'm gonna go through and RAM preview this for you guys.
    00:02:53,843Now, as you can see here, while it's RAM previewing,
    00:02:56,699we have all kinds of little moving parts
    00:02:59,098and pieces going on.
    00:03:01,247We have some trim path effects going on
    00:03:04,687on this type here, on the A and the O.
    00:03:07,855We've got these wavy lines going on in the background
    00:03:12,005that are actually kind of clipping this grainy stuff,
    00:03:14,585as a matte.
    00:03:16,228We've also got all of these circles moving independently.
    00:03:19,817All animated.
    00:03:20,754We've got these dashed lined shooting out
    00:03:23,298from the center point.
    00:03:25,145And if you look down here,
    00:03:26,633there's a little bit of like
    00:03:27,630a flickering kind of effect going on
    00:03:31,594on these lighter areas here.
    00:03:34,223And there's actually some,
    00:03:35,087there's some light paths going across.
    00:03:38,927So there's a bunch of different stuff
    00:03:40,906that needs to be addressed in this file.
    00:03:49,349And this is what it kinda looks like when we're done,
    00:03:52,807so you'll see,
    00:03:54,894we have a mix of things that need to be converted
    00:03:57,249into shape layers,
    00:03:59,025bunch of pre-comps,
    00:04:01,217and then stuff that actually,
    00:04:02,333we are going to leave alone as an Illustrator layer.
    00:04:07,962So let's jump back into Illustrator
    00:04:09,373and start prepping this file.
    00:04:12,889Alright, so here's our original file.
    00:04:16,058Now the first thing is we don't need
    00:04:18,279all this color palette stuff.
    00:04:19,885That's just stuff from the designer that they left over.
    00:04:23,042Same thing with this mask.
    00:04:24,866This is just used so that they can see
    00:04:28,047like what the final product is going to look like cut.
    00:04:33,868So that can go away now.
    00:04:36,002So this is what we are left with here.
    00:04:39,170So we have this upper tone,
    00:04:41,067that's kind of tinting the project.
    00:04:44,053And also, you're going to want to have your appearance
    00:04:46,946and your transparency palettes up and ready,
    00:04:50,812when you're looking through a file
    00:04:52,357with these kinds of raster effects,
    00:04:53,857because this is where you're going to see
    00:04:56,271what is going on with those.
    00:04:58,802So if we hit this little target circle here,
    00:05:01,612you're gonna see this has an opacity of 15%
    00:05:04,732with a soft light,
    00:05:06,255and a grain effect on it.
    00:05:08,166Now that's actually very important,
    00:05:10,358because if we need to take this into After Effects,
    00:05:14,201I will actually show you what's going to happen.
    00:05:19,079We're gonna import that original file,
    00:05:27,171and we don't, well, we didn't save it,
    00:05:29,219but that's okay.
    00:05:30,790We'll just pick any one of these.
    00:05:37,029And see how this is breaking?
    00:05:39,957That's because there are transparencies
    00:05:43,955and blending modes and other effects layered on these.
    00:05:49,728This one will break.
    00:05:51,849See, there's some more transparency breaking.
    00:05:56,246And this one, these gray spots,
    00:05:59,296that's from the effects breaking
    00:06:02,482from Illustrator in After Effects.
    00:06:06,527So no good,
    00:06:08,374can't use it.
    00:06:09,802Let's fix it.
    00:06:12,861Delete these really quick.
    00:06:18,285So what we wanna do with this one
    00:06:21,322is I actually just made a note for myself up top
    00:06:26,349that this is the upper tone,
    00:06:29,594so like almost like an adjustment layer,
    00:06:32,138and I'd have a 15% opacity on it
    00:06:35,907with soft light and grain.
    00:06:40,576So all I'm going to do is rename this.
    00:06:44,019Actually, I'm gonna cheat.
    00:06:47,187I'm gonna copy the name.
    00:06:49,635But I'm gonna rename this with my notes,
    00:06:51,830so I know what's going on with this layer
    00:06:53,510when I get into After Effects.
    00:06:55,376And I'm going to remove those effects from here,
    00:06:59,325because they're just going to break.
    00:07:04,134So delete the effect,
    00:07:06,787and then we're going to move this back to a normal layer
    00:07:11,382with 100% opacity on it,
    00:07:14,645and then we're just gonna shut it off.
    00:07:17,245So this is now ready to bring into After Effects.
    00:07:21,840You could also probably rebuild this in After Effects
    00:07:24,375if you wanted to,
    00:07:25,638using just a solid as long as you know
    00:07:27,654what those things were that you used previously.
    00:07:30,966But I wanna leave it in here.
    00:07:34,146So the next thing that I want to address
    00:07:37,939is gonna be down here, actually.
    00:07:41,011So this was that neat thing
    00:07:42,077that I was talking about last lesson,
    00:07:44,035with the blend mode.
    00:07:45,462Or not blend mode, blend shape.
    00:07:47,059There we go.
    00:07:47,892The blend shape.
    00:07:50,073So here's this kind of cool little trick that you can do.
    00:07:52,988Blend shapes actually stay editable
    00:07:56,013until you expand their appearance.
    00:07:59,673So if you want to quickly get this kind
    00:08:01,725of scaled stepped effect
    00:08:03,753with a nice, even gradient between two colors,
    00:08:07,545you can go in and use the specified steps
    00:08:10,713in the blend shape.
    00:08:12,907And we can still change this, too.
    00:08:14,937So if we don't want four anymore,
    00:08:16,173we can say 10 and there's 10.
    00:08:19,763Or we can go back to four.
    00:08:22,630And hit okay.
    00:08:25,737Now, we could convert this in After Effects,
    00:08:28,595but we're trying to do as much planning ahead of time,
    00:08:31,244instead of bringing something in,
    00:08:33,539and then having to do all that work in another program.
    00:08:37,651So what we're gonna do to convert these blend shapes
    00:08:41,517so that they can be animatable, I guess that's a word,
    00:08:45,446it is today.
    00:08:47,736So that we can get this nice, kind of staggered effect
    00:08:51,047that's going on where they're pushing out.
    00:08:54,470All those have to be separate.
    00:08:58,415Come on now.
    00:09:00,700Alright, we're gonna go up to object and expand,
    00:09:05,561and hit okay.
    00:09:06,394And there you go.
    00:09:07,385Those are ready for us now.
    00:09:10,095Check that out.
    00:09:10,928And we'll do the same thing here.
    00:09:13,061Object, expand, and hit okay.
    00:09:19,625So those are actually ready now,
    00:09:21,916and let's move them onto their own layers.
    00:09:26,173Well, they're mostly ready, actually.
    00:09:28,396I'm kind of a liar about that.
    00:09:31,446So let's move these, actually, onto upper layers,
    00:09:36,438as we discussed last time,
    00:09:38,838where, oh, holy crap.
    00:09:44,489We'll be right back.
    00:09:47,788Alright, so don't forget to save.
    00:09:50,947That's a lesson as why we save our files.
    00:09:54,665Because you never know
    00:09:55,948when the program's just gonna be like,
    00:09:57,426I'm done right now.
    00:10:00,214So, we're back.
    00:10:01,484I moved these onto their own layer.
    00:10:03,846And really quickly, we're actually going to break these out
    00:10:09,484into their own paths ahead of time,
    00:10:11,372instead of using explode shape layer later on
    00:10:13,990in After Effects.
    00:10:16,521So this was another piece of feedback.
    00:10:19,497Somebody finally explained to me what I was doing wrong
    00:10:22,352with my life (chuckles) when it comes to getting
    00:10:26,505this option, the release to layers sequence to work.
    00:10:30,166I didn't think about this,
    00:10:32,060but there's two different ways
    00:10:33,273you can select things in Illustrator.
    00:10:35,072There's actually selecting, like,
    00:10:36,752these subgroups using the target, little circle-y guy,
    00:10:40,304or there's actually selecting the layer name.
    00:10:42,489So what you need to do
    00:10:43,798is select the layer name,
    00:10:46,227and that's going to bring back release to layers sequence.
    00:10:49,434So you don't actually have to add that second layer.
    00:10:52,314That's just some way that I tricked myself
    00:10:54,292into thinking that it was working.
    00:10:56,189So thank you very much to Sean Kimber on Vimeo,
    00:11:00,868and Sam from Animation Bootcamp
    00:11:03,834for helping me figure that one out.
    00:11:06,833Awesome work, guys.
    00:11:09,209Alright, so we want to actually click on the layer,
    00:11:12,772and release to layers sequence.
    00:11:18,362And oh, they're grouped.
    00:11:21,249They're grouped.
    00:11:23,194Un-group these things.
    00:11:26,301We don't want them grouped.
    00:11:27,777We just want our layer,
    00:11:32,041release to layers, sequence, there it goes.
    00:11:34,154Don't leave things in groups
    00:11:35,210if you're using release to layers,
    00:11:36,625because it will just kind of group the layer.
    00:11:40,825It does that.
    00:11:44,138And there we go.
    00:11:45,313We don't even have to pull 'em out one by one.
    00:11:48,335Easy peasy.
    00:11:50,042Now, I'm gonna actually go in and rename these properly.
    00:11:58,621Alright, so those are all renamed
    00:12:00,766and broken out onto their own layers now,
    00:12:03,073and ready to bring into After Effects.
    00:12:05,485So the next thing we're gonna address
    00:12:06,625is actually the stuff that's kinda left over
    00:12:08,581in this sun layer right now.
    00:12:10,858So these things back here,
    00:12:13,912let's take a closer look at 'em.
    00:12:16,059Actually, we need to bring them up above
    00:12:17,812where they belong, again.
    00:12:19,556Mind your layer order.
    00:12:22,254So if we look at these,
    00:12:23,502we can see that
    00:12:27,930there's this like, wavy line going on here,
    00:12:30,356but when we're actually highlighting this,
    00:12:32,574they're all circles.
    00:12:34,218Now, you might be wondering why this is happening.
    00:12:38,215And there's an easy explanation for this.
    00:12:41,492If you look under appearance,
    00:12:44,382and we actually select one of these,
    00:12:47,396we will take you.
    00:12:50,526What's happening is there's a warp effect put onto it.
    00:12:55,364So if we turn off that warp,
    00:13:00,680and actually, we'll turn it off on all of these.
    00:13:07,147You can see they're snapping back
    00:13:09,342to what they were before, circles.
    00:13:13,038They were just rings that were done in Illustrator,
    00:13:17,204and then an effect was put on them to get them to bend
    00:13:20,135in that certain way.
    00:13:22,103So if we actually bring these into After Effects,
    00:13:26,353they will completely break,
    00:13:27,731and that's where you're getting that gray box.
    00:13:31,031It's because After Effects does not like these types
    00:13:34,103of old-fashioned raster effects,
    00:13:36,695or any of the raster effects, actually,
    00:13:38,484from Illustrator will not come over.
    00:13:42,785So the way that I dealt with this
    00:13:47,225to be able to animate,
    00:13:51,267just give her a second.
    00:13:52,878She's gotta think about things.
    00:13:56,441To be able to get that movement,
    00:14:02,862we're gonna go to quarter res.
    00:14:05,009There we go.
    00:14:05,842You can see those lines back there moving.
    00:14:09,212Now what I actually had to do
    00:14:12,489was go in
    00:14:14,418and rebuild those paths,
    00:14:17,213so that I could use them later on
    00:14:21,176in After Effects
    00:14:23,721to turn them into mattes like this.
    00:14:27,801So there it is moving along.
    00:14:30,703But we need a path to be able to move first.
    00:14:34,735So let's go back into Illustrator,
    00:14:37,106and we'll set that up really quick.
    00:14:40,479We're just gonna use ye olde pen tool
    00:14:44,595and draw these out.
    00:14:54,291Now, I am going to put a stroke on these, whoa.
    00:15:01,022We've lost our path.
    00:15:03,278Come back here.
    00:15:08,027Okay, there he is.
    00:15:09,592We are in the sun layer, good, good.
    00:15:13,192There's our path.
    00:15:14,025I am going to kind of bump this stroke up,
    00:15:17,198so I can see it.
    00:15:18,520So that I know that it's there,
    00:15:19,864and I'm gonna touch it up a little bit, too.
    00:15:22,058'Cause this is slightly off.
    00:15:27,145And then we do the same thing for all three of those paths.
    00:15:33,619Now because of the way that this is going to be animated,
    00:15:35,946we don't have to be super, super precise or anything.
    00:15:40,039We just have to get the general shape down.
    00:15:44,250And actually follow along things.
    00:15:48,012Alright, and with a couple last touch-ups here and there,
    00:15:51,063I'm gonna knock these strokes back a few points,
    00:15:57,941'cause they're all pretty big.
    00:16:01,183One, two, three.
    00:16:06,773we'll just knock 'em back
    00:16:07,841to like a two-point stroke right now.
    00:16:10,600So that works.
    00:16:11,944Alright, so now we have those paths.
    00:16:15,999And we are gonna bring those three out
    00:16:18,194onto their own layers.
    00:16:21,775And we're actually gonna do this just real quick this way,
    00:16:28,761instead of using release.
    00:16:34,833So the next thing that we need
    00:16:36,034is we actually need that grainy kinda look
    00:16:40,991so that we can cut that as a matte in After Effects,
    00:16:45,983using an alpha.
    00:16:48,120So if you're curious as to exactly how I built it
    00:16:51,599in After Effects,
    00:16:52,432I'm not going to get too much into that.
    00:16:54,267The project file is included with this.
    00:16:56,809All the Illustrator assets and that After Effects project,
    00:17:00,485so you can dig more into that on your own,
    00:17:03,279but I just know that I need this grainy stuff
    00:17:06,808as a flat layer now.
    00:17:08,309And I'm going to leave it as a flat layer
    00:17:10,581as an Illustrator layer,
    00:17:11,732and I'm not going to turn that into a shape layer ever
    00:17:14,779when it's in After Effects.
    00:17:16,100It's just going to stay the same.
    00:17:18,872So what I wanted to do with this
    00:17:21,547is I need to go in and I need to find just this warp effect.
    00:17:26,210And delete that off of there.
    00:17:29,099And now,
    00:17:31,826I should have just a circle with that effect in it.
    00:17:36,350Now I don't really want this to actually be a circle.
    00:17:39,493I want this to cover my whole art board,
    00:17:42,626just in case this thing gets a little bit crazy
    00:17:45,421and comes all the way out to like the other edges.
    00:17:49,407So I don't want this to just be limited
    00:17:51,397within a certain range.
    00:17:54,290So what I'm going to do is actually make a new box,
    00:18:03,656I don't actually need this.
    00:18:08,788Alright, so we have our box.
    00:18:10,590What I'm going to do is
    00:18:11,423I'm just going to grab this right here.
    00:18:13,490It says click to target, drag to move appearance,
    00:18:19,627if we hover over it.
    00:18:22,060So we are just going to grab this, come on.
    00:18:28,469Didn't go according to plan, did it?
    00:18:31,418Alright, we want this one.
    00:18:32,488Grab it and move it.
    00:18:33,964You can see it kinda popping there
    00:18:36,067up to our rectangle.
    00:18:37,479And now, our rectangle has inherited
    00:18:41,868all of the appearance properties.
    00:18:43,417You can kinda see this edge over the top here.
    00:18:46,824That's the appearance properties of that circle
    00:18:50,389that is now just an orange circle.
    00:18:52,860And we can delete that.
    00:18:54,997And now we're gonna wanna do the same thing
    00:18:56,991for our other warp paths
    00:18:58,313to get those prepped.
    00:19:03,877Alright, so now all of those are ready
    00:19:07,717to be used as mattes for this particular effect
    00:19:12,037that we had going on.
    00:19:14,245So now let's just do
    00:19:15,928that release to layer sequence,
    00:19:21,135and bring these out.
    00:19:22,934And if I renamed them when they were in there,
    00:19:25,790just to save myself the trouble,
    00:19:28,004so I know okay, this is the outer matte,
    00:19:31,770instead of scratching my head later going
    00:19:33,607what was that supposed to be?
    00:19:37,220Alright, and then let's just get these
    00:19:38,730in some sort of order,
    00:19:40,088so that they're hanging out next to each other.
    00:19:42,750So we want our path above each one,
    00:19:46,184we have them just be kind of buddies right now.
    00:19:51,342So there you go.
    00:19:52,328That portion is ready to go into After Effects.
    00:19:57,340Now, the next thing that we are going to address
    00:20:05,335the white sun.
    00:20:07,749And the white sun has these transparencies on them.
    00:20:12,974Now we don't have to worry about that too much.
    00:20:15,528We just want to actually get these onto their own layers
    00:20:20,448to be animated.
    00:20:22,046So if you look into our prepped file,
    00:20:26,162here's our white sun.
    00:20:27,890And I actually did notate the transparencies on there,
    00:20:32,581just in case I need that information later.
    00:20:35,653It's always better to be a little bit
    00:20:36,852overly prepared than under prepared.
    00:20:40,613So we're gonna go through, break those out,
    00:20:43,960and rename them.
    00:20:47,163And this is where you're gonna find your opacity.
    00:20:50,082It's down here in that appearance tab again.
    00:20:56,379And actually what I'm gonna do,
    00:20:57,589I'm gonna bring these out, these light dash lines.
    00:21:00,391Those are gonna go onto their own layer
    00:21:01,360while I deal with these.
    00:21:03,485Now I've kind of developed my own shorthand
    00:21:06,447with renaming things over time.
    00:21:09,883It's not always the most consistent thing.
    00:21:12,907It makes sense to me.
    00:21:16,581It may not make the most sense to other people,
    00:21:18,511so just do what works for you,
    00:21:20,383and remember that you may be handing this file off
    00:21:24,379to somebody later on.
    00:21:25,880So try and be courteous, too,
    00:21:28,639when you're doing these things.
    00:21:30,920Alright, so that's taken care of.
    00:21:32,724Now the next thing that I want to mention
    00:21:35,615is actually this layer 26 with the dashed lines.
    00:21:41,241So what I'm gonna do
    00:21:42,386is I'm gonna jump back into After Effects really quickly,
    00:21:44,822so I can demonstrate something,
    00:21:46,322and then we'll come back to this layer.
    00:21:49,919So back here in After Effects.
    00:21:52,766If we actually go
    00:21:55,768down to, you see those dashed lines layer here?
    00:22:01,336Let's just pre-comp this really quick.
    00:22:04,059Come into here.
    00:22:08,595There they are.
    00:22:10,403So here's our dashed lines.
    00:22:12,219Now you would think that you could just
    00:22:14,309hit this button up here,
    00:22:16,035and have these strokes be preserved.
    00:22:18,747Because that's actually what these are,
    00:22:21,426are strokes from Illustrator.
    00:22:25,749Well, when we hit this button,
    00:22:29,711you can see it's thinking just a little bit too hard
    00:22:34,018for comfort right now.
    00:22:36,981So we'll let it go for couple more seconds
    00:22:39,525for demonstration's sake.
    00:22:41,567And then we're gonna hit skip,
    00:22:43,592and we're gonna check out what it did
    00:22:46,834and look at that.
    00:22:49,652See that, see that little, this little guy?
    00:22:52,184Watch him move,
    00:22:53,229slowly up the chain.
    00:22:54,978What's happening is After Effects,
    00:22:57,202instead of reading this in as oh, that's a stroke,
    00:23:00,824it's just making a path
    00:23:05,114or a new shape out of every single dash,
    00:23:07,837is what's happening.
    00:23:09,361So this is clearly terrible news.
    00:23:12,612We don't wanna do that.
    00:23:13,728It's completely unmanageable.
    00:23:16,478So this is something where you're going to want
    00:23:20,823to either expand the appearance,
    00:23:24,695depending on what you're gonna be animating.
    00:23:27,146You can expand the appearance over in Illustrator,
    00:23:29,726you can leave them all in their own layer,
    00:23:31,466or if you're doing this kind of effect that I was doing,
    00:23:34,513where you just have them shooting out,
    00:23:36,865I just rebuilt these strokes inside of After Effects
    00:23:42,174as a new stroke with a dashed line.
    00:23:45,271So just do a rebuild on it,
    00:23:46,842if you're doing something like this.
    00:23:47,992Otherwise, plan ahead and know that those
    00:23:50,442will not come in nicely into After Effects.
    00:23:57,342So, what I did was I actually just left this layer alone,
    00:24:02,753due to the fact that they don't play nicely,
    00:24:05,274and then I rebuilt them because of, as I stated before,
    00:24:08,318that effect that I was using.
    00:24:10,327So this is just now a template layer,
    00:24:12,823and we're going to leave it here.
    00:24:16,721Alright, so we've made a fair amount of progress
    00:24:19,697in breaking this file down already.
    00:24:23,670So the next part of this
    00:24:26,407that we want to deal with
    00:24:28,326is actually these main shapes here.
    00:24:30,967And there's a lot going on inside of these groups.
    00:24:34,302There's all kinds of dashed lines here,
    00:24:37,434we have all these different paths.
    00:24:39,041Here's more groups.
    00:24:41,095It's kind of a little bit messy in here,
    00:24:42,702but it's not too bad.
    00:24:44,359It's manageable.
    00:24:45,559We can work through this.
    00:24:48,439So to get it
    00:24:52,325to look
    00:24:55,062like this,
    00:24:57,377where that kind of flash happens,
    00:25:00,426and then each one of these just kind of drops
    00:25:04,913in transparency on its own.
    00:25:07,601We need all these shapes separated out
    00:25:09,955into their own layers,
    00:25:12,692which is what I did.
    00:25:13,714So you can see this light left here.
    00:25:16,222And this has
    00:25:18,286all of those as a matte.
    00:25:20,843And actually, if we go into here,
    00:25:23,557we can see it all broken out.
    00:25:28,565So we are gonna go into Illustrator
    00:25:31,563and take care of that stuff,
    00:25:34,229so that we can use these paths.
    00:25:36,732Now if we actually tried to do that with this layer
    00:25:41,115in After Effects right now as is,
    00:25:45,710where are you?
    00:25:48,341Well, you know what?
    00:25:49,174Let's save our file and try it.
    00:25:54,795So radio example, composition retain layer styles.
    00:25:59,237Retain layer sizes, something like that.
    00:26:01,336Retain the layers.
    00:26:04,594Radio example.
    00:26:08,626we're actually going to take this purple base.
    00:26:14,133Believe this is the layer.
    00:26:17,445Now you can already see how things
    00:26:18,514have kind of broken in here.
    00:26:25,094None of our blend modes came over.
    00:26:26,373So, if we actually try and divide up, not this one.
    00:26:32,277Yep, those two.
    00:26:33,790So we'll just take the purple screen.
    00:26:36,488And we'll convert it.
    00:26:42,174Everything broke,
    00:26:43,186and there's just a ton of paths here
    00:26:45,611to deal with.
    00:26:47,589This is not the most efficient way to work with things.
    00:26:54,261So, we don't wanna do this now.
    00:26:58,114We'll go forward in time and break all these up.
    00:27:01,725And as I said before,
    00:27:02,590make sure you watch out down here,
    00:27:04,523'cause there's hidden opacities in here.
    00:27:11,193Alright, we have a rogue light layer.
    00:27:15,001So first thing we're gonna do is get organized.
    00:27:17,599We're gonna find all these light layers,
    00:27:19,362and we're just gonna drop them into one spot.
    00:27:23,248So there's another light layer,
    00:27:25,038and we're gonna drop that in.
    00:27:30,186This is just one shape that's kind of underneath.
    00:27:33,703You can see what it's doing.
    00:27:34,724It's creating that highlight again
    00:27:36,378on this side and this side.
    00:27:38,501So those are gonna stay on their own.
    00:27:41,383The base is going to be on its own.
    00:27:44,935Now let's think about this.
    00:27:46,004We want our darks together.
    00:27:53,713And then this is actually a copy of the base,
    00:27:57,589and it's got a 60% overlay with some grain on it.
    00:28:00,926So this is kind of another adjustment layer,
    00:28:04,369so we wanna put that on its own layer.
    00:28:07,258Our dashed lines again.
    00:28:09,268We're gonna keep those guys on a layer.
    00:28:16,446Where do you belong?
    00:28:17,393Yup, you are that and you are that, okay.
    00:28:20,013So here's another thing that I noticed about this.
    00:28:23,913This path here,
    00:28:26,099it's not separate.
    00:28:29,312So we have to do a little bit of Illustrator work,
    00:28:31,472'cause we wanna keep flexibility in our file,
    00:28:33,763and we need to cut this guy really quick.
    00:28:38,275So to do that,
    00:28:40,339we need to find our path.
    00:28:42,823And we can actually, literally go in and cut it.
    00:28:46,963Alright, so I wanna cut this path apart.
    00:28:50,288So I'm gonna isolate it,
    00:28:52,208which I turned double click to isolate back on.
    00:28:56,010I could never grab the path.
    00:28:57,220I will isolate it.
    00:28:58,944Double click.
    00:28:59,777So you can see this path's kinda screwy,
    00:29:01,540and I don't wanna deal with that,
    00:29:02,991so I'm just going to come in and fix it.
    00:29:07,687One way or another.
    00:29:12,317Oh, there we go.
    00:29:21,793Alright, scissor tool worked, it looks like.
    00:29:24,436Did it work?
    00:29:25,269Oh, it did work.
    00:29:26,102Look at that, beautiful.
    00:29:27,172Two paths, no longer one path.
    00:29:29,704That's why it was yelling at me.
    00:29:31,158It just worked before I could notice it did work.
    00:29:34,063Cool, so those are now separate.
    00:29:36,294So we don't ever have to worry about that again.
    00:29:39,270So now we're gonna actually take our darks out
    00:29:44,825and put them into left and right.
    00:29:48,643And then rename them.
    00:29:50,020This is a whole lot of renaming,
    00:29:51,651but I cannot stress how important good organization is.
    00:29:55,760If you don't organize and think ahead,
    00:29:57,942you'll end up having to go back and redo a lot of stuff,
    00:30:00,966and it can become a big headache.
    00:30:03,669And nobody likes to redo work.
    00:30:06,153Or have to reopen files.
    00:30:19,126When you're working in Illustrator, especially,
    00:30:21,635it helps to kinda lock off layers that you're not using.
    00:30:25,606So that way, you can actually grab things a lot easier.
    00:30:30,048Like this purple screen layer keeps getting in my way,
    00:30:32,176so I'm just gonna lock that off.
    00:30:35,270And we group those.
    00:30:37,168Grouping is a great way to use, like,
    00:30:40,131use it as a temporary container almost.
    00:30:43,360So I'm just grabbing all of my little components,
    00:30:46,611and hopefully not moving them in the process.
    00:30:51,209Wacom pen's a bit sensitive, there we go.
    00:30:54,137So now I have all my temporary containers,
    00:30:56,009so now I know okay, this is going to my right,
    00:30:59,501and this one's going to my left.
    00:31:02,614And same thing here.
    00:31:04,739This one's on my right.
    00:31:06,576And this one's on my left.
    00:31:09,689And now, when I actually go in,
    00:31:13,601and sometimes it's just easier
    00:31:17,012to just kinda make your own layers here.
    00:31:20,817Temporarily, and just keep breaking them out like that,
    00:31:24,513where you're staying organized at the same time.
    00:31:28,903'Cause otherwise, you're gonna have 30-some odd layers
    00:31:31,674if you un-group all of these at the same time,
    00:31:34,293and then do a release layers sequence,
    00:31:37,054and then you're gonna have like layer one, two, three,
    00:31:38,562four, five, six, you know, so on,
    00:31:40,578through like whatever it might be,
    00:31:42,572and then just turns into a big headache.
    00:31:46,171Some of you may be wondering why I use so many underscores
    00:31:50,540in my naming conventions.
    00:31:51,795And that's because I was actually originally trained
    00:31:54,462to use Maya,
    00:31:56,191and Maya does not accept spaces,
    00:31:58,940so it's just kind of an old holdover habit.
    00:32:01,039You don't actually have to do that.
    00:32:03,474That's just something that I do.
    00:32:05,935I've just gotten used to it.
    00:32:09,740And if you watch while I'm working on this,
    00:32:13,583I'm actually sorting them kind of in numerical order
    00:32:18,105from like, top to bottom.
    00:32:20,258'Cause I found that was easiest for me to remember.
    00:32:25,154And it's that sort of just little organizational things
    00:32:27,858that are going to make everything
    00:32:31,122that much easier at the end of the day.
    00:32:35,978I mean, I know this is moving in quite fast motion.
    00:32:40,701But you can probably see a little bit of what I'm doing.
    00:32:45,098Alright, so all of those little pieces
    00:32:47,255are now on their own individual layers,
    00:32:51,303which definitely did happen
    00:32:56,282in this final project here.
    00:32:58,012You can see them all.
    00:33:00,122Here it is.
    00:33:01,553LO one, LO two, so on and so forth.
    00:33:06,568Hangin' out, just waiting.
    00:33:10,133And some of these, as I said, did get pre-comped,
    00:33:12,866so that's why you want them separated.
    00:33:19,455Alright, so back to this layer here.
    00:33:21,928Now we have two bases,
    00:33:24,760and when I did this the first time,
    00:33:27,256I did separate those out.
    00:33:29,128We have our top overlay,
    00:33:30,890our dashed lines did go onto their own layer,
    00:33:33,781and our base ended up on its own layer.
    00:33:36,939And that's, again,
    00:33:37,772so that we have that flexibility that we might need later on
    00:33:40,709down the line.
    00:33:42,040So we're going to rename this one to top,
    00:33:46,395and it has a 60% overlay on it.
    00:33:50,65560% overlay for our blend mode,
    00:33:55,567and we are just going to hopefully drag this out.
    00:33:59,503Nope, needs to be on its own layer.
    00:34:06,395Okay, so this overlay is just that.
    00:34:09,801It's an overlay.
    00:34:11,093Now we wanna try and keep everything in order
    00:34:12,738as much as possible,
    00:34:13,666so that's just gonna get bumped right up
    00:34:15,803to the top right now.
    00:34:18,203And our dashed lines are gonna come up to the top, also.
    00:34:23,532'Cause those belong above those paths.
    00:34:26,543These belong below,
    00:34:27,972so we're just gonna grab those out.
    00:34:32,670Now this purple base actually did have a opacity
    00:34:38,931of 85%,
    00:34:40,287so, and that's uniformly over the whole thing here.
    00:34:45,727Now when I rebuilt this file,
    00:34:47,386depending on what I had to move over,
    00:34:49,665I adjusted the transparency or opacity,
    00:34:53,338however you wanna say it, as needed.
    00:34:55,390So this sucker's almost done.
    00:34:57,069Finally, at long last.
    00:34:58,885We are almost finished separating this file out.
    00:35:03,086And then we can actually go in After Effects
    00:35:04,971and start having fun with it,
    00:35:06,983instead of just all this tedious setup work.
    00:35:13,057Alright, so now we've got some type to address,
    00:35:15,441and we already know from our previous lesson
    00:35:17,144that type just completely blows up,
    00:35:19,569as soon as we try to bring it
    00:35:20,804into After Effects from Illustrator.
    00:35:24,238The two just don't like each other.
    00:35:26,350So we are gonna outline all of this type.
    00:35:29,985These two were already outlined, conveniently,
    00:35:33,217and they're broken down into their own individual paths.
    00:35:36,699It's just this one up here that's the stroke
    00:35:40,168that's a trap.
    00:35:41,481So you are going to want to control shift O,
    00:35:45,155and that will outline your type for you.
    00:35:48,516And then, again, make note of these appearances.
    00:35:52,201So that when stuff breaks on the other side,
    00:35:54,540we can bring it back.
    00:35:58,764So this one, 75%.
    00:36:08,401And I'm actually gonna leave these grouped together
    00:36:16,203on their own layers.
    00:36:18,983Liar right now.
    00:36:22,132Just gonna undo what I did.
    00:36:25,371I only need one layer.
    00:36:30,056Alright, red, type.
    00:36:34,720Orange type.
    00:36:36,819These ones I'm actually gonna leave together,
    00:36:38,377just because they're pretty easy to break apart.
    00:36:41,152Like I don't have to worry about something blowing up
    00:36:42,902in my face when I get into After Effects,
    00:36:45,904if I do need to separate this type out.
    00:36:48,024So I'm actually gonna just leave these together,
    00:36:50,704and then use explode shape layers if I need them.
    00:36:55,216This has hard light on it.
    00:36:57,755And this one has something, I thought.
    00:37:02,386Yes it does.
    00:37:03,26952% overlay.
    00:37:09,229Alright, so that's that.
    00:37:11,333We have a file completely prepped
    00:37:14,631and ready for After Effects now.
    00:37:17,333And we shouldn't run into any issues
    00:37:20,015with rebuilding this once we get into that program.
    00:37:23,634So I'm going to quickly take you into After Effects.
    00:37:26,776Now with that file that we just built,
    00:37:31,142we're going to import this guy back in,
    00:37:34,073composition, retain layer sizes.
    00:37:38,691Wait a moment, and there it is, ready to go.
    00:37:45,701It takes a second to RAM preview.
    00:37:48,764But wait,
    00:37:50,277I believe there is something I forgot to tell you guys
    00:37:52,594about this file.
    00:37:53,769So because we're using raster effects,
    00:37:57,452I actually doubled the size of the file as a safety.
    00:38:03,273Instead of going with that minimum resolution
    00:38:06,476of, we'll say the client wanted 1200 by 1200, I believe.
    00:38:13,868See what our art board says.
    00:38:15,305Yes, 1200 by 1200.
    00:38:18,522So that was the dimension that the client specified,
    00:38:21,250because that's what actually needs to be delivered.
    00:38:23,744But because these raster effects just do not hold up
    00:38:27,260inside of After Effects,
    00:38:29,865I like to make the file bigger than the bare minimum,
    00:38:33,942just in case I need to zoom in on something,
    00:38:37,266or have something, you know, get closer to the camera
    00:38:40,604or the screen or scale.
    00:38:42,633'Cause that will mess a bunch of stuff up.
    00:38:48,546what we can do
    00:38:51,258is make our art board twice as big,
    00:38:55,629so that's 2400.
    00:39:00,057Mm, I forgot that that does that.
    00:39:02,992Easy enough, okay.
    00:39:05,571So that's taken care of.
    00:39:09,734Select it all,
    00:39:11,389and you can hit
    00:39:13,214alt to scale from the center of an object,
    00:39:18,559so alt and shift,
    00:39:19,971and that'll constrain it.
    00:39:22,015So we can easily just drag it out to its new dimensions.
    00:39:28,879And it's gonna think about everything,
    00:39:30,424because it's gotta go through
    00:39:31,444and redo all these raster effects.
    00:39:35,093And if you notice,
    00:39:37,211we have something that got left behind.
    00:39:40,427So we're gonna go back really quick
    00:39:42,468and control Z that.
    00:39:45,538Alright, so let's go find that guy that got left behind.
    00:39:50,091Now a good way to do this
    00:39:52,704is that when you select everything,
    00:39:55,754go up to object and hit unlock all.
    00:39:58,347So this means something did get left behind.
    00:40:00,139It was locked up.
    00:40:01,339So you hit unlock all,
    00:40:02,433and there's the offending circle right there.
    00:40:05,182So that's unlocked now,
    00:40:07,128grab it all, alt shift,
    00:40:10,005click and drag,
    00:40:12,513and let's look at us.
    00:40:13,774Pretty dang close.
    00:40:20,158And then wait for everything to move along again.
    00:40:24,497We can recenter it back up again.
    00:40:27,976Look at that.
    00:40:30,270Perfect, wonderful.
    00:40:32,213So save that.
    00:40:34,024So now that it's at double its previous size,
    00:40:36,286we don't have to worry about any of those raster effects
    00:40:38,242getting all messed up,
    00:40:40,005if we do have to make it bigger in After Effects later on,
    00:40:43,845or zoom into something.
    00:40:48,894So let's import this again.
    00:40:53,337That's the example.
    00:40:55,761Composition retain set layer sizes.
    00:41:01,102And it'll import it.
    00:41:03,454And here's everything as planned.
    00:41:08,948So now you can get in there
    00:41:10,401and actually start animating your project.
    00:41:13,748Very exciting, congratulations, you've survived.
    00:41:17,713But wait.
    00:41:19,334There's still some stuff that's not quite right,
    00:41:21,376and I'm actually gonna walk you through that
    00:41:22,633on the finished file here.
    00:41:25,107So in this finished file,
    00:41:29,831I'm gonna actually bring up our switches here.
    00:41:32,486If you notice,
    00:41:33,319I had to rebuild these blend modes here.
    00:41:37,841let's actually bring this up to full.
    00:41:41,501Give it a second to think, alright.
    00:41:43,901So what it's gonna do is it's going to bring everything in
    00:41:48,269as normal, 'cause none of that stuff's gonna read over.
    00:41:51,951So this is why we made those notes,
    00:41:54,077you're just gonna end up going through
    00:41:56,356and looking for what gets you the closes rebuild to this,
    00:41:59,799'cause some of these aren't gonna be an exact, 100% match.
    00:42:03,197But they're gonna be pretty darn close.
    00:42:05,415And I know some of 'em I actually ended up changing
    00:42:07,575a little bit just because
    00:42:09,543I thought they looked a little bit better in the end.
    00:42:15,700if you kind go through,
    00:42:17,607I hate it when it clicks like that.
    00:42:19,178So you can see on like,
    00:42:20,011a normal,
    00:42:20,844and then I changed the opacity here.
    00:42:24,680Or there's a dark end,
    00:42:26,120or whatever you happen to want to use.
    00:42:28,725There's add,
    00:42:30,958I believe I said this was a hard light, originally.
    00:42:35,124Okay, so I just kinda want to elaborate
    00:42:36,974on something really quickly
    00:42:39,156about how After Effects is going to be handling these files.
    00:42:42,891Now when I say stuff breaks,
    00:42:44,763I'm typically talking about that it breaks
    00:42:47,761when you convert it to a shape layer
    00:42:50,475to be used in After Effects.
    00:42:52,875So if you needed to do something like a trim path
    00:42:55,476or, I don't know, there's probably other examples out there.
    00:42:58,644I just can't think of any right now.
    00:43:00,672But there's numerous reasons why you would convert something
    00:43:03,121to a shape layer instead of leaving it
    00:43:05,436as your Illustrator artwork.
    00:43:07,454That's what's actually breaking
    00:43:08,462all the transparencies and stuff.
    00:43:10,011So you'll see it did a really good job preserving
    00:43:12,481all of these things,
    00:43:13,899but if you look,
    00:43:16,548the opacity's reading at 100%,
    00:43:19,995even though we know in Illustrator,
    00:43:22,051some of this stuff was set up
    00:43:24,343with different transparencies on it.
    00:43:28,077So, it's just treating these kind of as solids,
    00:43:32,554like solid shapes.
    00:43:34,304Now I actually ran into an instance with this,
    00:43:37,075where I use the fact that it was,
    00:43:39,536or After Effects will break these things to my advantage,
    00:43:42,635and that was when I was actually setting up
    00:43:45,386that kind of flickering effect
    00:43:47,655that we're getting here.
    00:43:52,836This shouldn't be on full at all.
    00:43:54,133It should be on auto.
    00:43:55,527There we go, look at how much quicker that works.
    00:43:58,851Alright, so that kind of flickering effect there,
    00:44:01,468with the light coming up
    00:44:02,643on these light-colored squares here,
    00:44:06,352that was actually because
    00:44:10,147when I converted them to shape layers,
    00:44:12,512they went back up to a complete solid like that
    00:44:15,187at 100%,
    00:44:17,370so I was actually able to go in
    00:44:19,917and key all of these values,
    00:44:22,559so that I could get that nice, bright white,
    00:44:24,936without having to go and rebuild a whole shape or something.
    00:44:28,460So that was kind of a neat instance where
    00:44:31,270it wasn't actually infuriating
    00:44:33,310that After Effects doesn't respect these transparencies
    00:44:36,719and pull them over.
    00:44:38,232No, it would be nice if it did do that,
    00:44:40,655when you convert it into a shape layer
    00:44:42,169and it could pull all that data.
    00:44:43,820That would be awesome too,
    00:44:45,419'cause I'm sure I could just crank it back
    00:44:46,471up to 100 and everything would be fine,
    00:44:51,596I guess for once,
    00:44:52,738I was like oh, that's a little bit cool that it did that.
    00:44:58,699that's my story about how we got that flickering effect
    00:45:01,832by using the breaking.
    00:45:05,116Alright, now I wanna mention one more thing.
    00:45:09,614I'm gonna actually bring this up full screen one more time.
    00:45:14,655So you see this?
    00:45:16,191This little cut here?
    00:45:17,775That was my bad.
    00:45:19,347I completely forgot to convert these,
    00:45:24,099or to make them shape layers
    00:45:26,220so that these wouldn't get cut
    00:45:28,719when I was working with them.
    00:45:33,097So that was my fault.
    00:45:37,478Now, if I can find my pre-comp really quick.
    00:45:39,939There it is, the sun.
    00:45:41,798You're going into the sun.
    00:45:44,236And we'll go into the outer sun.
    00:45:47,667So this is where I screwed up.
    00:45:51,386You can see that clipping up there
    00:45:53,773from the edge
    00:45:55,274of the layer.
    00:45:57,654Wee, there it is.
    00:46:00,136It's getting cut off.
    00:46:01,286That looks silly.
    00:46:02,992So this is kind of a cool little bonus thing
    00:46:06,089about the way that After Effects handles things.
    00:46:08,982You would think that I'd be screwed
    00:46:10,587because I already keyed this stuff,
    00:46:12,077but I'm actually not.
    00:46:13,878So if we select all of our layers,
    00:46:17,225and we bring up our buddy explode shape layers,
    00:46:22,976I'm gonna fix that window size,
    00:46:25,270and we convert them.
    00:46:31,842all of these guys are now turned off,
    00:46:33,917and these guys are turned on,
    00:46:35,037so I'm actually gonna drop them
    00:46:37,231down to the bottom.
    00:46:41,360Bottom, not top, okay.
    00:46:43,222They've been dropped to the bottom.
    00:46:44,483So those guys are all shut off,
    00:46:46,813and everything is still moving.
    00:46:49,791So After Effects actually preserved my keys, thankfully.
    00:46:53,801So it wasn't a huge nightmare to fix this.
    00:46:56,549Now it's still cut,
    00:46:58,621and that's because we need
    00:46:59,879to just hit this remove art board button again,
    00:47:03,449which we went through last time.
    00:47:07,078There we go.
    00:47:08,121So now our art board is removed,
    00:47:10,617and our circles
    00:47:13,715are nice and continuous.
    00:47:15,825We don't get that cut anymore.
    00:47:18,180And everything is good.
    00:47:21,129Now there's one more thing
    00:47:22,398that I almost completely forgot to mention.
    00:47:24,838And that was you know how we set those paths up back there
    00:47:28,016so that we could cut that matte out?
    00:47:30,128I actually want to kind of show you that really quick.
    00:47:33,728I was using this path or some of the other paths,
    00:47:38,121and what you do is when you convert them
    00:47:41,804to a shape layer,
    00:47:44,028all of those points that we did
    00:47:47,514that we like drew out in Illustrator,
    00:47:49,843those came over.
    00:47:51,449So this
    00:47:54,088is fully editable,
    00:47:55,363and this is exactly what we wanted from Illustrator.
    00:47:59,454Now if we had brought in that raster effect,
    00:48:01,399we would've just gotten that big, ugly gray thing.
    00:48:04,457So that's why we rebuilt this
    00:48:05,815was so that we could retain
    00:48:07,060this full, editable movement here
    00:48:10,938that we need to actually build that effect
    00:48:13,422that I did over here with our fancy mattes.
    00:48:19,604Where are our fancy mattes?
    00:48:21,332There we go.
    00:48:23,655There's all kinds of stuff going on with those.
    00:48:26,564We actually go into one of them.
    00:48:29,312There you go.
    00:48:31,463And not be in negative time,
    00:48:32,642so you can see that kind of moving independently there.
    00:48:36,636And cutting stuff out.
    00:48:38,294So that's super important
    00:48:40,622that we needed that editable capability there,
    00:48:43,346and After Effects will read paths in that way,
    00:48:46,704when you convert it to a shape layer.
    00:48:48,783That is the last thing that I wanna mention this time.
    00:48:51,650Thank you so much for watching.
    00:48:54,912Hey guys, thanks so much for watching this series.
    00:48:57,462I hope you learned a ton of new tips and tricks
    00:48:59,561about bringing your Illustrator files
    00:49:01,376into After Effects.
    00:49:02,793As always, please leave us your feedback.
    00:49:05,110And if you liked this series,
    00:49:06,561share it with everybody on Facebook, Twitter,
    00:49:08,831wherever it is that you hang out on the internet.
    00:49:11,446Thanks so much for watching.
    00:49:12,719See you next time.
    00:49:14,086(techno music)