Making Content for Jumbotrons | How To Animate for Multiple Screens

These days it's hard to go anywhere without seeing some kind of screen, and a lot of those screens are huge, especially if you have to do work for some sort of a conference or trade show. You might even have to manage an animation over multiple giant screens. So how exactly do you handle all of that? In this lesson Joey is going to show you exactly how to keep your big screen animations under control. By the end of this lesson you'll know how to work with non-standard screen sizes, deliver the right specs, and make sure that everything looks great and is ready for prime time when you deliver.

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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    00:00:00,000(upbeat electronic music)
    00:00:09,194(energetic electronic music)
    00:00:17,363- Hey there, Joey here at School of Motion,
    00:00:19,151and welcome to the 23 of 30 Days of After Effects.
    00:00:22,566In this video, what we're going to talk about
    00:00:24,345are strategies you can use
    00:00:25,760when you have to design something
    00:00:27,448that's going to go on multiple screens.
    00:00:29,993This is sort of a motion graphics job
    00:00:32,228that's becoming more and more common,
    00:00:34,067because every single screen,
    00:00:35,588phone, televisions, computers, digital billboards,
    00:00:38,765all of these things need motion-designed content
    00:00:40,891created for them.
    00:00:42,093Sometimes there's multiple screens,
    00:00:43,765and you need content to go across them,
    00:00:46,101or be in sync across multiple screens,
    00:00:48,759there's a lot of situations that you might find yourself in
    00:00:51,085where this type of thing is useful,
    00:00:52,998and it can be tricky if you don't have some good strategies.
    00:00:55,991Don't forget to sign up for a free student account
    00:00:58,461so you can grab the project files from this lesson
    00:01:00,683as well as assets from any other lesson on the site.
    00:01:03,626Let's hop into After Effects and get started.
    00:01:06,501This is the main building where all of the motion design
    00:01:09,061classes take place at Ringling,
    00:01:11,032and there's been talk, rumors for years
    00:01:14,514of getting some really cool screens
    00:01:16,286to put on the front of the building,
    00:01:18,390and it'd kinda be nice advertisement of the school,
    00:01:22,870it'd also be really cool venue for student work,
    00:01:25,454but it hasn't happened yet, so I took it upon myself
    00:01:28,147to create this little mock-up,
    00:01:30,535and what I wanna walk you guys through
    00:01:32,143is how to set up an After Effects project
    00:01:34,907if you're ever doing something like this,
    00:01:37,238which is becoming more and more common,
    00:01:39,785so that you can animate it very easily,
    00:01:42,038get your deliverables very easily,
    00:01:43,861and be able to show a client
    00:01:45,181what the heck it's gonna look like very easily.
    00:01:47,531So let's start by pretending that this is actually
    00:01:51,282just footage of the building at Ringling,
    00:01:54,787these screens are not really there, I tracked them on,
    00:01:58,781but this is the building, and if these screens were there,
    00:02:01,656you'd be able to go and take footage of them,
    00:02:04,351and the reason you'd wanna do that,
    00:02:06,349if, for example, Ringling was your client,
    00:02:09,200they came and they said, "Hey, we want you to create
    00:02:12,274"some content, like a cool five-second loop or something
    00:02:16,218"for the screens," well, here's how it's gonna work.
    00:02:20,435You're gonna get something like this from your client,
    00:02:23,970and in general, it looks something like this,
    00:02:27,178and really what it does is it just tells you the specs
    00:02:29,560of each screen.
    00:02:31,079So now, if you're looking at this,
    00:02:32,630you can see there's one, two, three, four screens, okay?
    00:02:36,695But looking at the specs that we were given,
    00:02:39,869you can see that there's actually only three files
    00:02:43,183that you're gonna end up delivering,
    00:02:45,536and they all have different resolutions,
    00:02:48,176and the third screen has this extra little wrinkle to it,
    00:02:51,909which is, you're gonna actually give Ringling
    00:02:55,889basically a 2k, almost, by 2k file,
    00:03:00,551but only certain portions of the image in that render
    00:03:03,917are going to show up on the screens.
    00:03:06,435And this is actually very common
    00:03:08,418when you have weird-shaped screens,
    00:03:11,289if you go to Times Square and you see,
    00:03:13,057there's probably more video screens there
    00:03:15,007than anywhere else in the world,
    00:03:16,389and a lot of them are weird shapes, like this.
    00:03:18,810And when you deliver files to play on those screens,
    00:03:22,306you're generally delivering something
    00:03:23,935like a square QuickTime or a rectangular QuickTime,
    00:03:26,615but there's a portion of that image
    00:03:29,933that will play on the screen,
    00:03:31,467and the rest will just be ignored.
    00:03:33,720So if you were given something like this, okay,
    00:03:36,545and there's another wrinkle too which I'll talk about
    00:03:38,657once we get into After Effects a little bit more,
    00:03:40,363but I want you to just keep this in mind,
    00:03:42,591these two screens here, these are easy,
    00:03:44,3191920 by 1080, 1200 by 1080, this is pretty easy, okay,
    00:03:51,566and by the way, this is not drawn to scale,
    00:03:54,284I made all this up, so this isn't totally accurate.
    00:03:58,136But these two screens would be really easy to set up
    00:04:01,620in After Effects, because they're based
    00:04:03,462on the same resolution, right?
    00:04:05,5331080.
    00:04:08,069This screen here is based on a different resolution, 2040,
    00:04:13,542and so it's quite possible that the density of the pixels
    00:04:16,907in this area are gonna be different
    00:04:18,860than on these two screens, which means
    00:04:21,570you're gonna have to do some fancy footwork
    00:04:23,135to make sure that you could seamlessly have
    00:04:25,953a line draw across all three of these screens,
    00:04:30,050and still be able to deliver the correct dimensions
    00:04:32,955to your client, so it gets a little bit tricky,
    00:04:35,079and so that's hwy I wanted to walk you guys
    00:04:36,679through something like this.
    00:04:38,427So how do we start?
    00:04:39,605Well, first thing we need to do
    00:04:42,392is create our deliverable comps, okay,
    00:04:45,136so I'm gonna copy our shot, I'm gonna make a new,
    00:04:48,123let's make a new comp here, and we'll just do 1920 by 1080,
    00:04:52,478and this is gonna be RinglingShot.
    00:04:56,671Cool, so now we've got our clean plate in there.
    00:04:59,792First thing I'm gonna do is I'm gonna make a new pre-comp,
    00:05:02,351and I'm gonna make it the dimensions of the first screen,
    00:05:04,991so this would be Screen01_DELIVERY, 1920 by 1080, okay?
    00:05:12,281And what I wanna do is I want to bring in
    00:05:15,978this Photoshop file, or whatever it is they gave you,
    00:05:19,553an Illustrator file, Photoshop, sometimes it's a PDF,
    00:05:22,682but you wanna import it into After Effects.
    00:05:26,389Now, you are assuming, whenever you get specs like this,
    00:05:32,020that the specs you are given are correct
    00:05:34,699and they're drawn to scale and stuff like that,
    00:05:36,660and so, this is a good way to check.
    00:05:40,356Alright, so I've got a 1920 by 1080 screen,
    00:05:43,097so what I wanna do is take this portion of the design
    00:05:46,961and I'm gonna scale it up
    00:05:49,691to fill an actual 1920 by 1080 frame.
    00:05:54,642Alright?
    00:05:55,911Just like that.
    00:05:57,106And so now this tells me, okay, this actually was accurate,
    00:05:59,844take a look at that, that's fantastic.
    00:06:01,884So the next thing I'm gonna do is I'm going to track,
    00:06:08,941so here's the comp we just made,
    00:06:12,222I wanna track this onto this screen,
    00:06:14,061and see if it looks right.
    00:06:15,830So I've already gone to the trouble
    00:06:17,279of tracking all of these screens in Mocha,
    00:06:21,180and if you're not familiar with Mocha,
    00:06:23,023if you'd like to learn more,
    00:06:24,669there's a tutorial in the 30 Days of After Effects series
    00:06:28,089that deals with tracking in Mocha,
    00:06:30,684it's an amazing tool that comes with After Effects,
    00:06:33,540so check it out, and I tracked three surfaces,
    00:06:36,670the back, which is this, the side, which is this part here,
    00:06:40,138and the front over here.
    00:06:42,334So let's start with the back, okay?
    00:06:45,255So what I'm gonna do is just click on the back,
    00:06:49,081go down here and say export tracking data,
    00:06:51,300and I want the corner pin data,
    00:06:53,384so I'll copy that to my clipboard, come back in here,
    00:06:56,199and hit paste, and there we go.
    00:07:01,381Alright now, something's a little bit off,
    00:07:05,285and I think I know what it is,
    00:07:08,641my shot was actually 23.976 frames per second,
    00:07:13,108and when I set up this comp,
    00:07:15,600I actually made it 24 frames a second,
    00:07:17,707so let me delete these keyframes for a minute,
    00:07:20,269and let me change this to 23.976,
    00:07:24,013and then paste the keyframes,
    00:07:25,535and now it should stick perfectly, there we go.
    00:07:28,754That's a little gotcha whenever you're dealing with video,
    00:07:32,826if you shoot with a video camera,
    00:07:34,172like I'm using a Canon T3i,
    00:07:36,381they do not shoot at 24 frames a second,
    00:07:38,755they shoot at 23.976 frames a second,
    00:07:42,446and your tracking will happen at that speed as well,
    00:07:44,803so make sure you have everything synced up.
    00:07:47,141Alright, so there you go, so there's Screen01,
    00:07:48,878now, what's cool about this,
    00:07:51,234here's a 1920 by 1080 comp, so whatever I animate in here,
    00:07:56,293I could then just render this comp out
    00:07:57,864and it's the right size for the delivery specs,
    00:08:00,615but in this comp, I can see a preview
    00:08:02,960of what it looks like on the side of the building,
    00:08:04,705so that's kinda handy.
    00:08:05,875So let's do the same thing with Screen02.
    00:08:08,484So make a new comp, we'll call it Screen02_DELIVERY,
    00:08:12,068and this screen, we know from the specs, is 1200 by 1080,
    00:08:17,964so I'll make it 1200 by 1080,
    00:08:21,612and we're gonna do the same thing,
    00:08:23,910we're gonna copy the screen specs into it,
    00:08:25,935and since I've already scaled it up on Screen01,
    00:08:28,644I'm just gonna copy it out of this comp and paste it,
    00:08:32,114and then I'm just gonna scoot this over like this,
    00:08:36,215there we go.
    00:08:38,069You just kinda wanna line it up as best you can.
    00:08:41,662Alright, so there's Screen02,
    00:08:43,840so we'll bring Screen02 into this comp,
    00:08:46,845go into Mocha and I'm gonna grab that layer,
    00:08:50,787export the tracking data, copy the clipboard,
    00:08:53,747go to the first frame and paste it.
    00:08:55,835Alright now, here's the thing,
    00:08:57,437when you track something in Mocha,
    00:09:01,635this shot is 1920 by 1080,
    00:09:04,295so all of these surfaces that I'm tracking
    00:09:07,172are also going to come through as 1920 by 1080 surfaces.
    00:09:12,554This is a problem because this layer
    00:09:14,876is not actually 1920 by 1080, it's 1200 by 1080.
    00:09:18,666So the only problem that creates
    00:09:20,066is that the corner pin is correct,
    00:09:22,039it's just in the wrong spot.
    00:09:23,748So you just have to manually move that layer over
    00:09:26,771and put it in the right spot, and now you're good,
    00:09:28,854so that's just something you need to be aware of.
    00:09:32,167Alright, so now you've got Screen01 and 02
    00:09:34,012tracked in there, it looks correct,
    00:09:36,816and what's great is you've got,
    00:09:37,896you've already got your deliverables set up
    00:09:40,030for both screens.
    00:09:42,482Alright, so now let's move on to Screen03,
    00:09:44,269and this one's gonna be a little bit trickier,
    00:09:46,100just because this is a weird shape.
    00:09:49,519And we wanna make sure that we're previewing it accurately,
    00:09:53,651and that we're able to, we're actually able
    00:09:56,402to manipulate this thing accurately, and animate to it.
    00:10:00,484So here's what I wanna do, I'm gonna take
    00:10:01,668one step back here.
    00:10:03,800Now, one thing that would be an issue,
    00:10:06,201if I wanted to animate something
    00:10:08,641that went from this screen seamlessly into this screen,
    00:10:12,262it would be a pain right now,
    00:10:13,471because I've got this comp, I can animate something in it,
    00:10:16,900and then when it gets to this side of the screen,
    00:10:18,760I have to jump into this comp now,
    00:10:22,386and have it come over from the left side of the screen,
    00:10:24,652and that's kind of a pain, so what I actually wanna do
    00:10:28,724is create a gigantic comp that I can animate
    00:10:32,400every single thing in, and then, I can just place that comp
    00:10:37,937within each of these delivery comps,
    00:10:39,898so here's what I mean, I'm gonna make a new comp,
    00:10:41,895and I'm gonna call this BIG_ANIMATE.
    00:10:46,994Alright, and the size of it, I'm gonna sort of guess,
    00:10:51,072but you can sorta figure out at least
    00:10:53,571a ballpark of what you need.
    00:10:55,599You got Screen01 is 1920 in width.
    00:10:58,700Screen02 is 1200 in width,
    00:11:00,652and Screen03 is 2000 in width.
    00:11:03,681So you know at a minimum, you're gonna need
    00:11:05,116like a 5,000 pixel-wide comp.
    00:11:08,075So I'm just gonna make it 6,000, just to be safe,
    00:11:11,294and then for height, I'm just gonna put 4,000.
    00:11:14,318Alright, and here's what we're gonna do.
    00:11:15,882We're gonna drag our screen specs layer into it,
    00:11:18,902and scale it up really, really big,
    00:11:22,308try to maximize our screen real estate here.
    00:11:25,865Alright, there we go.
    00:11:28,812Great.
    00:11:29,645Okay, so this is actually gonna be the comp we animate in.
    00:11:34,486And you can crop now, because I don't need
    00:11:36,781all this extra space up here and down here,
    00:11:39,134so I'm gonna hit this button, region of interest.
    00:11:42,385I'm gonna hit that, and I'm gonna draw a box like this,
    00:11:48,336and then I'm gonna go up to composition
    00:11:50,665and crop comp to region of interest.
    00:11:53,537Okay, so now we've ended up with a 6,000-by-2,500 comp.
    00:11:58,781So why did we just do this?
    00:12:00,096Well, now what we can do, let's go back
    00:12:01,390to our Screen01_DELIVERY comp,
    00:12:03,730and instead of using the actual screen specs,
    00:12:06,861let's delete this, let's grab our BIG_ANIMATE comp,
    00:12:11,020let me stick it in here.
    00:12:13,054Here's our BIG_ANIMATE comp, and now we can line up
    00:12:17,357doing the exact same thing we just did,
    00:12:19,734we move the anchor point of the layer to here,
    00:12:26,112and then just scale it until it's the right size.
    00:12:29,232And the key is that you wanna make sure
    00:12:31,329that you made your BIG_ANIMATE comp big enough
    00:12:35,474so that once you drag it into your Screen01_DELIVERY file,
    00:12:40,594you don't wanna have to scale it past 100%,
    00:12:43,798because then you're gonna get, it's gonna lose quality.
    00:12:47,551So I actually made it bigger than it needed to be
    00:12:49,546and scaled it down, and that's okay.
    00:12:51,629So now you've got Screen01_DELIVERY,
    00:12:54,043and if we go back and we look at our preview here,
    00:12:56,073you can see it looks the same, okay?
    00:12:58,826And so nothing's changed yet, but we've actually
    00:13:00,745done something really smart,
    00:13:01,907let's do the same thing with Screen02.
    00:13:04,734Just let me copy that BIG_ANIMATE comp and paste it in here
    00:13:08,027and scoot this over.
    00:13:11,850Okay.
    00:13:13,722Alright, so if we come back here and look,
    00:13:15,199again, nothing's really changed yet,
    00:13:18,473but we're building a system for ourselves
    00:13:21,530that's gonna be very, very handy,
    00:13:22,871so let's do the last screen now.
    00:13:25,037So let's make a new comp, and this is gonna be
    00:13:28,306Screen03_DELIVERY,
    00:13:31,389and this one is gonna be 2,040 by 2,040.
    00:13:37,641And let's drag our BIG_ANIMATE comp into this,
    00:13:42,259and now we need to line up the Screen03.
    00:13:46,071Alright, so, I'm moving my anchor point
    00:13:47,999to the top left just to make it easy to scale
    00:13:52,022and then match the right size, there we go.
    00:13:59,838Okay, cool, so now I've got Screen03,
    00:14:01,804so let's bring Screen03 in here,
    00:14:05,238and let's go to Mocha, and let's grab that layer,
    00:14:10,480export the tracking data, copy the clipboard,
    00:14:12,758and go to the first screen and paste it.
    00:14:15,294Alright, now, again, because this is not
    00:14:16,780a 1920-by-1080 comp, it's not gonna be in the right spot,
    00:14:20,379so we're gonna have to drag it down,
    00:14:24,254and line it up.
    00:14:25,087Okay, now you'll see that this doesn't line up perfectly.
    00:14:29,580The reason it's not lining up perfectly
    00:14:30,829is because this is a much trickier thing to track,
    00:14:34,850and if you look at the actual,
    00:14:37,851let me turn this off for a minute,
    00:14:40,667let me turn off this grid of a minute,
    00:14:43,720you can see that where I actually pretended the screen was,
    00:14:48,674there's nothing there, really, to tell me
    00:14:50,758what the screen is gonna look like,
    00:14:52,544and how big it's actually gonna be,
    00:14:54,269I sort of just eyeballed it,
    00:14:56,404so what I'm gonna need to do
    00:14:57,951is adjust my track a little bit.
    00:15:00,848You can see the bottom-right corner here,
    00:15:02,971it doesn't quite line up where it needs to.
    00:15:06,181So what I'm gonna do is I'm gonna just turn the opacity down
    00:15:09,447on this layer a little bit, and you can see
    00:15:11,311that it just doesn't line up very well yet.
    00:15:14,612And so what I wanna do is just adjust the corner pin,
    00:15:19,028and I may actually have to adjust the scale too,
    00:15:21,090because again, this is not a 1920-by-1080 layer,
    00:15:25,466and so the corner pin is not actually,
    00:15:28,566it's not working correctly, so the first thing I'm gonna do
    00:15:31,816is just scale this down a little bit,
    00:15:33,618and see if I can get it a little closer
    00:15:35,894before I start messing with the corner pin, alright?
    00:15:39,546And this is, if you look at this edge here
    00:15:43,106where the yellow part of the design
    00:15:45,824sort of starts to come up,
    00:15:47,040it still looks too big, too tall,
    00:15:49,679so I'm just gonna scale it down a little bit more,
    00:15:54,008okay, it's starting to feel a little bit closer,
    00:15:57,114let me nudge it down just a little bit more.
    00:16:00,058Okay, and now, I'm gonna adjust the corner pin a little bit,
    00:16:03,842and the way you can do this, there's a bunch of ways,
    00:16:05,504here's a really easy way, so hit U,
    00:16:08,033bring up all your keyframes,
    00:16:09,567and I'm gonna start by adjusting the bottom right,
    00:16:12,005so if I just click on lower right here,
    00:16:13,973it's gonna select every single keyframe.
    00:16:16,515With every keyframe selected,
    00:16:18,124if you adjust one of these numbers,
    00:16:19,919it actually adjusts that number on every keyframe,
    00:16:23,737so you can adjust every keyframe sort of equally.
    00:16:27,420Then I can do the upper right, and do the same thing.
    00:16:31,612And you can see already, we're getting a lot closer, okay?
    00:16:36,640And now, let me lower this a little bit, right,
    00:16:41,480and if you look at this, the upper left,
    00:16:45,401a lot of this is just kinda eyeballing,
    00:16:49,919but that looks pretty good, and here's the key.
    00:16:53,664The key is this comp that you're looking at
    00:16:56,968is really only to show your client
    00:17:00,399the context of the animation that you're making,
    00:17:02,739and for you to be able to see the context of it.
    00:17:05,253You're not actually gonna deliver this,
    00:17:07,081what you're going to deliver is this.
    00:17:09,799So this is really the important thing,
    00:17:12,644and so if you can get it to look right here,
    00:17:15,695and now you can see it's tracking much better,
    00:17:18,602I may still wanna adjust this a little bit more.
    00:17:24,797There we go, alright, but as long as you can get it
    00:17:28,490to look right here, then you know this is gonna be okay,
    00:17:32,265and this is the key, this is what you're going to give
    00:17:34,494to your client.
    00:17:36,222Cool, so now we've got this kind of thing, alright?
    00:17:39,350We've basically taken our screen spec's document,
    00:17:43,496and we've scaled it up to the size of each of these screen's
    00:17:46,526delivery formats, and then we've corner pinned it,
    00:17:49,590and tracked it onto the building.
    00:17:52,022Now, remember, the way we have this set up is you have,
    00:17:55,152here's your preview comp.
    00:17:57,426Inside the preview comp, you have three
    00:17:59,206screen delivery comps, and inside of each of those
    00:18:01,412is this BIG_ANIMATE comp, where we've sort of cropped in
    00:18:05,284to just one of these screens,
    00:18:07,903here's the cool thing you can do now.
    00:18:10,080Inside of this BIG_ANIMATE comp,
    00:18:12,103you can make this a guide layer,
    00:18:15,299and you can turn the opacity down
    00:18:16,876so it's not so distracting, okay,
    00:18:18,472but you just wanna see where the screens are,
    00:18:21,253and I'm gonna lock that,
    00:18:22,274so now if we go back to our preview comp,
    00:18:24,102you'll see there's nothing on the screens.
    00:18:26,058But what's awesome is now anything I animate in here, right,
    00:18:30,096so if I just draw like a line, goes up like this,
    00:18:37,940if we pop back here, that line is gonna now go
    00:18:40,874perfectly across all three screens, okay,
    00:18:43,904and if I wanna put something in this screen,
    00:18:47,754I can just put whatever I want there, and there it is, okay?
    00:18:53,264This is the power of this, because what you have now
    00:18:56,363is you have this one comp with some guides
    00:18:58,765showing you exactly where the screens are,
    00:19:01,457and it doesn't matter what you do in here,
    00:19:04,174everything's already set up so that when you're done,
    00:19:08,532all you have to do is render out these three comps
    00:19:11,681and deliver them, alright?
    00:19:13,609So let's just do something really simple,
    00:19:16,261so let's say that we did, I don't know,
    00:19:19,097if we made a little star here,
    00:19:22,612alright, and that's a very weird-looking star,
    00:19:29,322we should probably make that look a little nicer,
    00:19:31,150let me delete that.
    00:19:34,999There we go, okay, so here's a star,
    00:19:38,544and all we're gonna do is have it rotate a little bit,
    00:19:44,860and it's gonna move to here,
    00:19:51,454and then it's gonna move up here,
    00:19:54,238and I don't want it to curve like that,
    00:19:56,286so I'm gonna go to my keyframe interpolation
    00:19:58,234and set that to linear.
    00:20:01,611And there you go, so now you've got
    00:20:05,479this gorgeous animation, it really is breathtaking,
    00:20:09,917but what's cool is you can see
    00:20:12,292exactly what it's gonna look like in context.
    00:20:14,572Now, one thing that we do need to do still,
    00:20:17,747you can see that on Screen03, on this big section,
    00:20:22,466the screens are not cropped yet,
    00:20:24,067so you're seeing the star outside of the screen,
    00:20:26,048so let's deal with that real quick.
    00:20:27,748Let's go to our Screen03_DELIVERY,
    00:20:29,834let's go into BIG_ANIMATE for a second
    00:20:31,942and temporarily make this a normal layer, not a guide layer.
    00:20:38,037So in our Screen03_DELIVERY,
    00:20:39,474what we need to do is we need to mask our comp here,
    00:20:43,918so I'm gonna make a new layer, I'm just gonna call it mask,
    00:20:49,456I'm gonna make an adjustment layer
    00:20:50,599just so we can see through it,
    00:20:53,013and then I'm going to, very precisely,
    00:20:59,537(chuckles) that was sarcasm, I'm going to make a mask,
    00:21:06,747so we can crop out and only keep the part
    00:21:09,337of the image that we want, okay,
    00:21:10,965and then I'll make another mask here.
    00:21:17,083'Kay, and you do need to be precise with that,
    00:21:18,711and then I'll just set this to be alpha matted by that.
    00:21:23,979Pop back into BIG_ANIMATE, set this
    00:21:25,818to be a guide layer again, and so now,
    00:21:28,839you can see that the screens are nice and cropped.
    00:21:32,660Okay, and frankly, you guys can stop
    00:21:36,458watching this tutorial now, I mean, that is really like,
    00:21:38,757that's kinda the whole deal, and what's cool is,
    00:21:41,513you know, Screen01 and Screen02 are seamlessly linked,
    00:21:46,859and if we now look at the Screen01_DELIVERY,
    00:21:48,815you'll see this part of the star,
    00:21:50,364and if you look at Screen02_DELIVERY,
    00:21:52,817you'll see the other part of the star,
    00:21:54,659and because we set it up in this kind of clever way,
    00:21:58,598we now have perfect deliverables
    00:22:00,178and a perfect comp to show our client,
    00:22:04,191and let them see what it's gonna look like.
    00:22:06,653So I'll talk you through a little bit of what I did here,
    00:22:10,296I mean, really, this preview animation is set up
    00:22:14,131this exact way, if you hop into each of these screens,
    00:22:17,322you'll see here's Screen01, and then here's Screen02,
    00:22:21,462and then here's Screen03, and that's it, really simple.
    00:22:27,256And if we go into our preview comp, let's see here,
    00:22:33,468our animate comp, you can see it's the exact same setup
    00:22:37,661you guys have, there's a guide layer down here,
    00:22:42,188and then I've got, I made some little kind of
    00:22:47,305Space Invader-y, '80s-looking stars, and just did, you know,
    00:22:52,770what I tried to do was have a combination of elements that,
    00:22:57,725some elements sort of work in sync
    00:23:02,683across all the screens, like the colors change
    00:23:04,572at the same time.
    00:23:07,137But this sort of laser blast, that actually
    00:23:11,034travels seamlessly across all three screens.
    00:23:13,563And the stars travel across all three screens,
    00:23:15,529so that's what's awesome about having a setup like this,
    00:23:18,297is it becomes very easy to mess around
    00:23:22,663with having this screen and this screen
    00:23:24,850be perfectly in sync, because you can see
    00:23:26,742both of them while you're animating,
    00:23:28,504but you can also have things that travel seamlessly
    00:23:30,677across all the screens.
    00:23:33,189And then when you're done, you just render out,
    00:23:36,175you just render out your delivery comps,
    00:23:38,452you got, here's Screen01_DELIVERY,
    00:23:41,303here's Screen02_DELIVERY, right here,
    00:23:43,913and here's Screen03_DELIVERY,
    00:23:45,566and that's it, you are good to go.
    00:23:49,145So, that's it, this was, I guess, kind of a quick one,
    00:23:53,405but super important when, and I have to say
    00:23:56,698that this type of motion graphics job
    00:23:59,453is becoming a lot more common,
    00:24:01,767it really is, because there's just screens everywhere,
    00:24:06,404like everything's covered in screens,
    00:24:08,420and I've done stuff for the Times Square billboards
    00:24:12,144where literally, one of the screens
    00:24:13,312was a giant five-story diagonal screen,
    00:24:17,330but it needed to integrate and be in sync
    00:24:20,234with some other screens that were just sort of rectangular
    00:24:22,428that were on a different building,
    00:24:23,648and so it's very good to be able to set up
    00:24:27,153a chain of pre-comps that's gonna let you animate
    00:24:30,196whatever you want inside of a big pre-comp,
    00:24:33,274transfer that into a delivery comp,
    00:24:36,094which then gets put onto a preview comp.
    00:24:39,254So that is the deal, and that is what I hope
    00:24:43,983you guys take away from this, I hope this was informative,
    00:24:48,700I hope you guys learned something,
    00:24:50,325thank you guys so much, and I will see you next time.
    00:24:53,350Thank you so much for watching,
    00:24:54,710I hope you learned some cool stuff.
    00:24:56,474This is really a useful sort of thing to understand,
    00:24:58,991it may not be the sexiest thing,
    00:25:00,602but if you're a working motion designer,
    00:25:02,164then there's a very good chance
    00:25:03,446you're gonna find yourself one day
    00:25:05,087in the situation of having to design for multiple screens,
    00:25:08,439and hopefully, you learned some strategies
    00:25:10,202to help you with that.
    00:25:11,817We would love to hear from you if you use this technique
    00:25:14,204on a project, so give us a shout on Twitter
    00:25:16,464at @schoolofmotion and show us your work.
    00:25:18,807And if you learned something valuable from this video,
    00:25:20,698please share it around.
    00:25:22,007It really helps us spread the word about School of Motion,
    00:25:24,736and we truly appreciate it.
    00:25:26,756Don't forget to sign up for a free student account
    00:25:28,850to access project files from this lesson,
    00:25:31,328plus other amazing stuff.
    00:25:33,091Thank you so much, an I'll see you next time.
    00:25:39,312(energetic electronic music)