Kinetic Typography in After Effects | Part 1

Ready to be a kinetic type master? This three part series will teach you everything you need to know to start creating your own kinetic typography masterpieces. In this tutorial you'll start your kinetic type animation by covering things like precomposing elements for re-use, synching up audio to animation, using layer markers intelligently, and working with complex camera moves.

There's a ton of info in this three part series, and by the end of it you'll have your very own kinetic typography video and a TON of new skills in After Effects.

Check out the Resources tab for a quick look at MoGraph History with the piece that started it all, MK12's Brazil.

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. 

Download Project File

 MK12's Brazil piece

 MK12's website

    00:00:02,358- [Character 1] Is he ...
    00:00:03,480A nutcase?
    00:00:04,313- [Character 2] No, he's a rock biter.
    00:00:05,146- [Character 1] A rock bite--
    00:00:05,979A rock biter!
    00:00:07,358(rocks crashing)
    00:00:11,358(upbeat musical jingle)
    00:00:22,364- Joey here at School of Motion, and welcome to day 16
    00:00:25,058of 39 Days of After Effects.
    00:00:27,055This video is part one of a three-lesson series,
    00:00:29,494and I'm pretty excited about it.
    00:00:31,306I'm gonna walk you through nearly every single step
    00:00:33,666that it takes to create the kinetic type piece
    00:00:35,995that played at the beginning of this video.
    00:00:38,332I wanted to do that because I thought it might
    00:00:40,488be interesting to walk you through an entire project
    00:00:43,395step by step, because there are so many things
    00:00:45,919that have to come together when you're syncing audio,
    00:00:49,098and you're trying to get type to pop up at the right time
    00:00:51,796and you're thinking of how to animate, and then you've got
    00:00:53,754tons of layers and camera moves.
    00:00:55,730There's just a lot of stuff, so I want to show you
    00:00:58,542how I deal with the complexities
    00:01:00,906of a normal motion graphics job.
    00:01:03,376Kinetic type jobs have been around for a long time,
    00:01:05,640and they're probably not going away anytime soon.
    00:01:08,186Now before we get started, don't forget to sign up
    00:01:10,029for a free student account so you can grab the project files
    00:01:12,926from this piece, as well as assets
    00:01:14,713from any other lesson on the site.
    00:01:16,719Alright, let's hop into After Effects and let's get going
    00:01:19,221on the first part of our kinetic type video.
    00:01:23,302So first of all, if you guys don't know what movie
    00:01:25,479this quote is from, then ...
    00:01:28,833Then I feel old.
    00:01:30,622But anyway, what I want to try to do with this video
    00:01:33,901is a little bit of an experiment
    00:01:36,413to see how this is gonna work.
    00:01:39,515When this is all over, if we're all still alive,
    00:01:41,928I'd like to maybe get some feedback from you guys.
    00:01:44,309Let me know if doing tutorials this way works for you,
    00:01:47,652if you learned something from it.
    00:01:49,157And what I want to try to do is literally over the course of
    00:01:52,842I'm guessing, two to three videos, I want to
    00:01:55,592try to recreate this entire thing for you.
    00:01:58,383And I might fast-forward through some parts
    00:02:00,092and gloss over some things, but I want to walk you
    00:02:03,132step by step through it because doing a video like this,
    00:02:07,570especially when you're starting out
    00:02:09,900as an After Effects artist, it can seem kind of daunting
    00:02:12,300'cause there's just so many things happening,
    00:02:14,384there's all these animated pieces,
    00:02:17,895There's a ton of camera movement, there's effects,
    00:02:22,092and how do you manage that and sync it all with the audio
    00:02:26,128and get it to feel the way you want and all that stuff?
    00:02:29,918And really, there's not a trick to it,
    00:02:32,662it just takes a lot of work.
    00:02:34,620But I want to sort of try and let you into my head
    00:02:36,682a little bit, so you can kind of see how I
    00:02:39,463go about setting stuff like this up.
    00:02:43,239So I'm gonna come back to this a lot and reference it
    00:02:46,244but here we go, let's dive in and start doing this.
    00:02:50,609So the first thing I want to show you is
    00:02:55,231the pieces of this that we have.
    00:02:59,110All of the pieces of this animation, the big graphic pieces,
    00:03:04,209they're just black and white Illustrator art.
    00:03:07,957And I just did this real quick, so we
    00:03:10,335had something to work with.
    00:03:13,980I won't go too far into the Illustrator part of this,
    00:03:16,612but just know that doing your artwork in Illustrator
    00:03:21,657is always a good idea, even if you end up
    00:03:24,107bringing it into Photoshop and tweaking it more there.
    00:03:29,214If you create it in Illustrator, you always have the option
    00:03:33,104of making, you know, I've got these tiny little footprints
    00:03:38,544but then if I want to I can turn on the
    00:03:40,854"continuous rasterize" button and I can
    00:03:42,621just make them enormous and they don't pixelate.
    00:03:45,344That's something that almost every little video like this,
    00:03:51,014the artwork is done in Illustrator first.
    00:03:53,911And also I want to take you guys back in time,
    00:03:58,171because I'm sure a lot of you have seen this before,
    00:04:02,098but this type of video is called a kinetic type video.
    00:04:05,745It's one of those things that you'll have to do
    00:04:08,969at some point, and you can thank MK12 for that.
    00:04:12,344So this video came out in 2002, which is
    00:04:16,647very hard to believe that it really was that long ago,
    00:04:19,408but as far as anyone can tell, and this is ...
    00:04:23,847I don't know, maybe I'm wrong, but this is always cited
    00:04:26,961as the first kinetic type video.
    00:04:29,187I just wanna show you guys a little bit of it
    00:04:30,564if you've never seen it.
    00:04:35,411- [Male Voice] Well, uh, machismo is part of the culture
    00:04:39,104in Brazil, it's not just, you know, a male behavior.
    00:04:45,842Actually, it's a whole ...
    00:04:47,675- [Joey] So I mean, it's kind of funny to watch now,
    00:04:50,116because it's got a standard definition frame.
    00:04:58,497The animation's good but it doesn't have that
    00:05:02,513slick, glossy feel that a lot of things have now.
    00:05:07,159But this thing is 12 years old, and it holds up
    00:05:10,690surprisingly well, which is a testament to how good
    00:05:13,823MK12 was and how way ahead of their time they were.
    00:05:17,425But there's a lot of things in this video that are just
    00:05:21,610standard kinetic type sort of cliches now.
    00:05:26,799The camera rotates, and the main gag is that
    00:05:31,363the words are synced up to the voice.
    00:05:34,839And there's little icons and all that kinda stuff.
    00:05:38,761So anyway, if you haven't seen this before,
    00:05:40,728you should probably watch it, because
    00:05:44,321motion design is a very new field,
    00:05:45,932but we're actually at the point where there is
    00:05:48,432some history to it a little bit,
    00:05:50,416and it's kinda interesting to go back and look at
    00:05:52,587the things that sort of came before.
    00:05:57,720It can help you, especially when you're,
    00:05:59,317if you end up working for a motion design studio,
    00:06:02,978and there's people in their 30s and 40s working there.
    00:06:06,910They're gonna remember these things and it helps
    00:06:08,334to have a common history to talk about.
    00:06:11,637So here's our artwork, and on top of that,
    00:06:14,812we have the audio clip that you heard playing.
    00:06:20,155That's the quote from The Neverending Story,
    00:06:23,581which, I don't know, it makes feel like a five-year-old
    00:06:28,351every time I hear that quote.
    00:06:29,841So first thing I want to do, whenever I have
    00:06:33,382a kinetic type thing like this, the first thing I do
    00:06:36,143is I'll bring the audio clip into a new comp
    00:06:40,899and let's bring this down here.
    00:06:43,671And let's just call this "audio setup" for now.
    00:06:49,040And here's what I want to do, I want to play the audio
    00:06:52,992and I wanna basically mark out where the sounds are
    00:06:57,881and where the words are that I want to animate to.
    00:07:01,060So on your keyboard, if you have a full-size keyboard
    00:07:07,491and you have that number pad on the right side of the
    00:07:09,284keyboard, there's a period right next to the zero on there.
    00:07:12,867And if you hit that, After Effects will instantly
    00:07:18,100play your audio without rendering the video
    00:07:21,186so this is a great way to preview audio.
    00:07:23,885Another trick is if you select your audio layer
    00:07:26,153and you hit L twice, it brings up the waveform.
    00:07:30,964So then, the waveform, if you guys aren't familiar,
    00:07:33,677this is sort of a visual representation of your audio file.
    00:07:36,753I can kind of see where words are being spoken.
    00:07:41,291And you obviously can't see, as it gets louder and louder,
    00:07:43,513and things pick up here, you can't really tell
    00:07:47,134what's going on, but it gives you a good starting point.
    00:07:51,727So first I just wanna listen to the whole thing.
    00:07:53,809(audio clip plays)
    00:08:05,180So when I heard this and I thought
    00:08:06,948"Okay, I want to animate to it," I tried to pick out
    00:08:10,251some little details that I thought I might be
    00:08:13,291able to pick up in the animation, and so
    00:08:15,036the first thing I heard was the footsteps.
    00:08:17,843And I thought that would be kinda cool
    00:08:19,300as a way to get into the animation, like you're
    00:08:21,671following these footsteps, and then they kind of stop
    00:08:25,818and then the conversation starts.
    00:08:28,185So there's some footsteps here I knew I wanted to animate to
    00:08:31,045and I want to have a visual reference
    00:08:35,840of where those footsteps happen, so let me
    00:08:38,331zoom in on my timeline here.
    00:08:39,830I'm using the plus and minus keys on the top row,
    00:08:42,731where the numbers are on your keyboard,
    00:08:44,921the plus and minus keys zoom in and out in your timeline.
    00:08:47,534And when you have the waveform open, you can actually
    00:08:49,638zoom in and out of the waveform, which is cool.
    00:08:52,340What I want to do is zoom in, and then I want to put
    00:08:56,107a marker where each of the footprints are,
    00:08:58,677and you can kinda see them here.
    00:09:00,382If I preview this ...
    00:09:03,392You can kinda see there's one there,
    00:09:04,542there, there, there, and there.
    00:09:08,379Now just to be sure, another audio trick you can do,
    00:09:11,019you can hold Command, and then if you click and drag this,
    00:09:16,541you can kind of scrub, this is called scrubbing the audio.
    00:09:20,330So I can sort of grab the play head and pull it forward,
    00:09:24,884and right there, I hear footsteps.
    00:09:27,428So I want to put a marker here, and I don't want to
    00:09:30,481put the marker on the audio layer.
    00:09:32,735You could do that.
    00:09:34,799By the way, the hotkey for that is
    00:09:36,133the asterisk key on your number pad.
    00:09:39,908At least that's what I use, I use the asterisk key
    00:09:41,616on your number pad, and so you just select the layer,
    00:09:45,332you hit it and it adds a marker.
    00:09:47,885But I don't want it on the layer, I want it on the comp,
    00:09:50,980so I'm gonna make sure I don't have anything selected
    00:09:52,917and hit asterisk, and now I have a marker here.
    00:09:56,838The great thing about that is if I accidentally
    00:09:59,202move this out of sync, or if I pre-comp something,
    00:10:03,631I'm still gonna have markers here.
    00:10:05,893So then I'll go to the next one, add a marker.
    00:10:09,704Right there.
    00:10:11,201Add another one, add another one, add another one.
    00:10:18,474And then it's always a good idea to stay organized,
    00:10:21,001especially if you were setting this up and then
    00:10:24,139two other people were gonna help you work on it,
    00:10:27,641they may not know what these markers are,
    00:10:29,322so what you can do is double-click the marker
    00:10:31,836and type in "footstep start" and now you get a little note
    00:10:40,839and you can say "last footstep" or something.
    00:10:48,877And so now, if you zoom out it's gonna start to get
    00:10:51,300a little crowded up here.
    00:10:54,248That's okay, because probably when you're laying out
    00:10:57,108the footsteps and syncing them up,
    00:10:58,691you're gonna be in close like this.
    00:11:02,180Cool, so now we have markers for those.
    00:11:04,724So now let's do the speaking.
    00:11:11,368Now I'll show you one more cool little audio trick, too.
    00:11:14,375It's not really something that,
    00:11:15,960like for this I would probably just manually step through
    00:11:18,545and put a marker up here, but this is a cool trick
    00:11:22,132if you're doing something that goes to music,
    00:11:25,532or if there's just a ton of dialogue
    00:11:28,905and you kinda want to rough out where the words are
    00:11:32,103before you actually go in and sync things up exactly,
    00:11:35,764what you can do is you can hit that period button
    00:11:38,785on your keyboard, the one that's on the number pad,
    00:11:44,235and while it's playing, you can hit the asterisk key
    00:11:49,143to set a marker in real time as the audio's playing.
    00:11:51,367I'll show you what I mean.
    00:11:54,858(dialogue plays)
    00:11:59,058And you can see, as I tap that asterisk key,
    00:12:01,566as the audio's playing it's adding markers for me.
    00:12:04,237So that's pretty cool, but it's much harder to do that
    00:12:08,139with dialogue, 'cause it's hard to remember the timing of it
    00:12:12,090so I'm just gonna step through this and do this real quick.
    00:12:15,894"Is he," and I want to be very specific
    00:12:19,973and have a marker for each word.
    00:12:24,550He starts to say "is" here, so I add a marker,
    00:12:27,493I double-click it, I say "is."
    00:12:33,749"He" is right there.
    00:12:36,315And this is just a tedious process.
    00:12:40,939Right there's that little "tssk."
    00:12:44,091'Cause he's laughing.
    00:12:45,983He thinks it's funny.
    00:12:50,596Alright, so I'm gonna go through and I am going to,
    00:12:53,860I'm gonna set this up, and I won't make you guys watch.
    00:12:58,072When we come back, all of this will be set up.
    00:13:01,008So now I have marked out every single word
    00:13:03,483and sound effect that I want to animate to in here.
    00:13:05,717You can see that everything's synced up nice.
    00:13:08,591(audio plays)
    00:13:18,170I tried to really catch every little word.
    00:13:20,679"No, he's, a, rock, biter."
    00:13:24,097And this will just make it easier to animate.
    00:13:25,604Now that we've got that set up, let's start
    00:13:29,518actually building the comp.
    00:13:32,341If we go back and we look at this, what's going on
    00:13:37,515is there's a world with a camera moving around the world
    00:13:41,999and layers carefully placed so the camera kind of sees them,
    00:13:47,140and makes a nice composition.
    00:13:49,733And there's a lot of different
    00:13:50,937ways to do that in After Effects.
    00:13:54,137What I considered doing was making a giant pre-comp
    00:14:00,290and sort of animating all of this stuff inside of
    00:14:04,046that pre-comp, and then just moving a camera around
    00:14:08,812in a different comp, and you can totally do it that way.
    00:14:12,886I sometimes don't though, and in this case I didn't.
    00:14:15,392I actually just moved the camera around and placed things
    00:14:21,002and just did it all inside of the comp that had
    00:14:24,798everything in it, and the reason I did that was because
    00:14:27,237I like to be very, very specific with compositions.
    00:14:32,802I knew I wanted to zoom in and see this,
    00:14:35,598like we're leaning in, and then zoom way out
    00:14:39,128when he goes, "a nutcase."
    00:14:41,977I wanted this type of composition, but then I wanted to
    00:14:47,373do this rotation and zoom in and see this line.
    00:14:51,700And the problem is if you're trying to place all
    00:14:54,341these things in a giant pre-comp, it's kinda hard to tell
    00:14:58,645how that's gonna look when you
    00:15:00,560eventually put a camera over it.
    00:15:03,536So sometimes it's easier to just kinda do both, to animate
    00:15:05,794the camera and start placing things in the same comp.
    00:15:08,756It can get really really messy.
    00:15:12,264I can show you here, if we dive into this actual thing.
    00:15:18,867And then we come, let's see here ...
    00:15:21,991See, it starts to get a little bit messy,
    00:15:24,462so here's actually the timeline of my animation
    00:15:29,284and I'll talk about what all this stuff is.
    00:15:32,945There's a bunch of layers, a bunch of pre-comps.
    00:15:36,181This actually isn't too bad, I've had comps with
    00:15:38,776hundreds and hundreds of layers in it, so it's actually,
    00:15:42,182actually fine but sometimes I just like to keep
    00:15:45,595everything in the same comp and animate it all.
    00:15:48,656It makes it a little bit easier to make specific framing.
    00:15:54,062So there you go, now we are actually
    00:15:55,777gonna start making pictures.
    00:15:58,708The first thing that I did was I picked my colors,
    00:16:03,064and just to make sure that I use the same colors,
    00:16:05,955I'm just gonna come in here and actually
    00:16:09,059grab my background right out of this.
    00:16:11,289So here's, these are just two, I'm gonna copy them
    00:16:14,776and then I'll explain them.
    00:16:16,604So all these layers are, I have my base color,
    00:16:21,560then I have a highlight color in the middle
    00:16:23,722and there you go, that's it, that's my background.
    00:16:27,727Now I wanna make a point, I wanna make a point to you guys.
    00:16:31,370Let me come back here and let this RAM preview again.
    00:16:35,133One of the things that you sort of learn
    00:16:39,697once you start moving a camera around in After Effects
    00:16:43,038is that in order for your viewer,
    00:16:45,757whoever's watching your piece. To realize,
    00:16:48,832hey, a camera's moving around, in order for that to work,
    00:16:53,726there has to be some kind of reference.
    00:16:56,960What I mean is, look at the texture on the ground.
    00:17:01,002If that wasn't there, it wouldn't feel as grounded.
    00:17:06,384You wouldn't have this visual reference at all times
    00:17:09,281to tell you, hey, the camera's zooming in,
    00:17:11,197the camera's zooming out, the camera's moving.
    00:17:13,687Obviously, we have words and things that pop up
    00:17:18,375that would give you some of that reference,
    00:17:19,938but here's what I mean.
    00:17:21,501Let me make a new comp real quick, I won't even name it.
    00:17:25,695If I put, if I type in "rock biter," like this
    00:17:35,726and I make that a 3D layer and I add a camera ...
    00:17:42,776Let's not get into this yet, but I just wanna show you,
    00:17:45,099if I have a camera and I move the camera left and right,
    00:17:52,047without any reference, there's just this black background,
    00:17:55,339I don't know if the camera's moving or if the word's moving.
    00:17:58,396As a viewer, I don't know that.
    00:18:01,889So then, it just gets confusing.
    00:18:04,218If you had a ton of these on screen, if you had one here
    00:18:09,875and one here and one here, it might be a little bit better
    00:18:14,288for your viewer, maybe, but it's still impossible to tell.
    00:18:20,111What helps, in this situation, is some kinda texture,
    00:18:23,805just a subtle thing.
    00:18:26,099So I have a couple of textures I got here,
    00:18:29,078I got these off of which I'll link to,
    00:18:32,143which is an incredible free resource for textures.
    00:18:38,115I'll just stick this in here,
    00:18:40,008turn the opacity way down for a minute,
    00:18:41,967and make it a 3D layer, and just by having a little bit of
    00:18:48,296a texture to it, now we can tell that the camera's moving.
    00:18:54,327So I knew I was gonna need a texture,
    00:18:56,838and this is actually the texture I used.
    00:18:59,795Let me just cut that, and now we can delete this comp.
    00:19:05,015So a lot of times when you do a kinetic type piece ...
    00:19:09,782Let's go back and look at that Brazil one again.
    00:19:11,424Now they didn't do that, what they did have was
    00:19:14,933at all times, something onscreen to give you a reference
    00:19:19,764that look, the camera's moving.
    00:19:21,291Their design was super-duper busy, and there was
    00:19:26,227never really a point where you're confused,
    00:19:29,073am I moving or are the words moving?
    00:19:34,032So let me paste that texture in there,
    00:19:36,796and let me scale it down too because one of the things
    00:19:40,998I really don't like it when I can see a ton of detail
    00:19:45,865in a texture that's just supposed to be a background thing.
    00:19:48,724I really want it to be like ...
    00:19:50,759I want it to be this size.
    00:19:54,048Now this texture, let me crank it up for a minute,
    00:19:57,092this texture I actually prepared ahead of time in Photoshop.
    00:20:00,021It didn't look like this when I downloaded it.
    00:20:02,817And what I did was I made it into a seamless texture
    00:20:07,013that you can tile, so if I duplicate this layer
    00:20:11,154and I move this copy here, there shouldn't be any seam
    00:20:16,183if I line it up perfectly, which I didn't really do.
    00:20:19,141So you can see there's no seam, and that also works
    00:20:23,215on the top on the bottom and the left and everything,
    00:20:27,258This is a seamless texture, which is pretty handy
    00:20:31,003because I knew the camera was gonna be zooming in and out
    00:20:33,927and I didn't really know where this texture
    00:20:35,918was gonna have to be at all times
    00:20:38,243so I needed to make it sort of flexible.
    00:20:43,056I don't wanna jump into Photoshop in this tutorial
    00:20:45,095but if you guys don't know how to make a seamless texture,
    00:20:49,240it's very easy to do, actually.
    00:20:51,015I'm sure if you google it, you'll find it but I'm happy
    00:20:53,890to do a video about it if you guys would like to know that.
    00:20:57,621So let me add the camera here,
    00:21:00,542and we can kind of feel what this is looking like.
    00:21:03,274So really quickly, the camera that I use for kinetic type
    00:21:07,542pieces is always a one-node camera and there's really only
    00:21:13,066two options in this type box, one-node and two-node.
    00:21:16,816A two-node camera has a focal point to it,
    00:21:20,709so let me just quickly make a two-node camera.
    00:21:23,854If I look at, let me open up the position settings here.
    00:21:30,884Let's see here ...
    00:21:32,647So the two-node camera has a point of interest
    00:21:36,681and it always looks at that point of interest
    00:21:38,607so if I move the point of interest, the camera turns
    00:21:42,097to rotate and look at it, and if I move the position
    00:21:45,129but I don't move the point of interest,
    00:21:46,725the camera does this weird kind of angling thing.
    00:21:50,122It's always looking at the point of interest.
    00:21:54,546This might actually make a little more sense if I
    00:21:56,772go into a custom view and zoom out.
    00:21:59,277You can see that this point here,
    00:22:01,844that's the point of interest and here's the camera.
    00:22:04,970If I move the camera without moving the point of interest,
    00:22:07,555it always looks at it.
    00:22:08,986Sometimes that's useful, but when I want a camera
    00:22:12,027that's gonna be moving around really quickly
    00:22:14,273and doing tons and tons of camera moves
    00:22:16,446and looking at different places all the time,
    00:22:20,035a two-node camera is much harder to control,
    00:22:22,516so I'm gonna use a one-node camera.
    00:22:28,431The one-node camera does not use a point of interest.
    00:22:31,025If I move this camera left and right,
    00:22:33,423it just moves left and right and it doesn't rotate.
    00:22:36,453So if I zoom in and out and move left and right,
    00:22:39,444obviously we're seeing the seam, we're seeing the edge
    00:22:42,931to this texture which is no good.
    00:22:46,495There's a bunch of different ways to deal with this
    00:22:48,968and what I did in this case doesn't always work
    00:22:53,169and I'll talk a little bit about why.
    00:22:55,192I use an effect called CC Repetile,
    00:22:58,608this comes with After Effects, and all it does
    00:23:02,371is it lets you easily repeat your layer.
    00:23:06,865So this expand right property, if I crank that up,
    00:23:12,772it just literally copies the texture off to the right
    00:23:15,567and it does it perfectly.
    00:23:18,219Now since I made this a seamless texture in Photoshop,
    00:23:22,450it is now gonna be a seamless tile in After Effects.
    00:23:26,788And there's different ways to tile.
    00:23:29,064Repeat is what I want, I just want it to copy and make
    00:23:31,864another one, but you can switch this,
    00:23:33,558in some cases it works better if it's unfold,
    00:23:36,415which basically mirrors the layer.
    00:23:40,341The texture goes this way, and then it sort of
    00:23:42,791happens again backwards, like a Rorschach test.
    00:23:46,672But I'll set it to repeat, and I'm gonna expand it
    00:23:49,087to the left, I'm gonna expand it up and down.
    00:23:52,755You can crank these settings really really high and it'll
    00:23:57,249start to bog down After Effects, so you gotta be careful.
    00:24:00,601This is one of the problems I ran into
    00:24:02,490when I was animating this, and this is kind of
    00:24:05,607the only big issue with using CC Repetile
    00:24:08,679is if you have a massive, massive comp and you need to
    00:24:13,729set this up to 15, 20,000, eventually
    00:24:20,927After Effects is not gonna like this layer anymore,
    00:24:23,073it's gonna start chugging, so what I actually ended up doing
    00:24:27,621was I moved my camera out, animated, and then
    00:24:31,507I would duplicate this layer and sort of hand line up
    00:24:38,359just where I needed it, so I would sort of
    00:24:41,338build this patchwork of textures that were only
    00:24:44,745really existing where the camera was looking, so I
    00:24:48,036didn't have to have some massive, massive numbers up here.
    00:24:52,899You set up the CC Repetile, this is not what I want
    00:24:56,158the texture to look like.
    00:24:57,719If you come look at the final render here, you can see that
    00:25:00,763you basically just get little white specks.
    00:25:04,160You're just seeing just a little bit of detail in this
    00:25:08,131comp here, so the way I did that was
    00:25:13,646I did some color correction.
    00:25:15,203I first inverted this, so now all of the details turn white
    00:25:23,513and the rest of it turns black, and then you can
    00:25:27,097just use a transfer mode, so you can use add or screen.
    00:25:32,467Then I'm gonna use a Levels effect.
    00:25:36,595What screen is doing is it's basically knocking out
    00:25:40,194the dark pixels and it's only showing me the lighter pixels,
    00:25:43,870so if I use a Levels effect here, you can see that
    00:25:46,030where we're seeing the big spike in the histogram,
    00:25:50,558that is all of these very dark pixels, but what this
    00:25:54,612is telling me is that those pixels are not black,
    00:25:56,971so that's why we're seeing all this muddiness.
    00:25:59,856But if I move this input arrow to the right,
    00:26:02,011it makes them black, and if I just push, push, push,
    00:26:05,430there we go.
    00:26:06,263So now I've stripped out everything except
    00:26:11,102the harshest details of this texture.
    00:26:15,165And then you can just play with the opacity.
    00:26:17,771I don't remember exactly what I
    00:26:18,854had it, but that's all you need.
    00:26:20,545You don't need a big honking texture, all you need
    00:26:24,423is a little bit so that when you zoom in and out,
    00:26:26,332your eye has something to look at.
    00:26:28,908I kinda like not seeing very much of it because
    00:26:32,001one danger that you can easily have with something like this
    00:26:35,576is that you'll start to see a pattern to the texture.
    00:26:41,126Your eye is very good at picking up patterns
    00:26:43,277and then that'll give it away, that you've used
    00:26:45,995a little texture and copied it a bunch of times.
    00:26:48,974So now we've got this kind of a set up,
    00:26:51,862and now we're actually ready to start animating stuff.
    00:26:54,347The first thing that needs to animate are the footsteps,
    00:26:58,849so let's go take a look at the footsteps.
    00:27:02,869These are really simple kinda doodles I did.
    00:27:07,456So let me copy those, I'm just gonna grab them,
    00:27:10,360and I'm gonna copy them.
    00:27:11,823Come back to our audio setup now.
    00:27:15,575The way I was thinking about this was,
    00:27:16,985I want to just animate one footstep, and then
    00:27:20,322be able to just copy it and put it where I want it
    00:27:23,955and adjust the timing of it.
    00:27:27,931The easiest way to do that would be to make a new comp,
    00:27:30,878animate a footstep in that comp, and then I can just
    00:27:34,996sort of hand-place them.
    00:27:37,051So let's do that, let's make a new comp.
    00:27:39,755Let me close this up, I'm gonna
    00:27:41,082try to keep this organized as we go.
    00:27:44,067So I'm gonna make a new folder in my comps folder.
    00:27:47,145This little underscore PC stands for pre-comp.
    00:27:49,852That's how I just keep my After Effects projects clean
    00:27:54,069is I throw all the pre-comps in there.
    00:27:55,855So let me make ...
    00:27:57,529I'm gonna make a PC demo folder.
    00:28:01,075So now with that highlighted, if I make a new pre-comp,
    00:28:04,588and let's call this "footstep single,"
    00:28:10,566it sticks the pre-comp in there for me.
    00:28:13,265That's a cool little trick.
    00:28:15,189So I'm gonna paste the footsteps in there,
    00:28:19,034and you can't see them 'cause they're black
    00:28:20,395so let me hit Command+K, brings up your composition settings
    00:28:24,401and just change the background color to something.
    00:28:27,018I'll be able to see these.
    00:28:28,482And I don't need to animate both of them,
    00:28:30,605I can just animate one, 'cause they're mirror images
    00:28:32,806of each other, they're no different.
    00:28:34,474Let me delete that one, and I'll
    00:28:36,622grab this one and I'll scale it up.
    00:28:39,487And because I don't know exactly how close I'm gonna be
    00:28:43,245to the footprint and I don't know, I don't really know
    00:28:47,932how big I need this to be, I'm just gonna make it bigger
    00:28:51,889than it probably is ever gonna be on screen,
    00:28:54,068and that way I can always scale it down
    00:28:56,509and still have all that nice detail.
    00:28:59,243If I animated it at this size, and then in the next comp we
    00:29:02,662were zoomed in this close, it would look really pixelated.
    00:29:06,755So here's my footstep, let's make it about this big,
    00:29:09,908and what I wanted to do was actually make it feel like
    00:29:14,172the foot was landing.
    00:29:15,870If you think about the way a foot lands, you sort of land
    00:29:18,815when you're walking, especially if you're barefoot,
    00:29:20,536you land on the forefoot, and your toes kinda come down
    00:29:25,833and then kind of at the same time the toes are coming down,
    00:29:30,160the outer part of your foot rolls around
    00:29:32,893and your heel hits last.
    00:29:35,492So I kinda wanted to mimic that, and I want to do it quickly
    00:29:40,028so I just did it with a mask.
    00:29:43,106Let me select the layer, and
    00:29:45,684I'm going to grab the ellipse tool.
    00:29:49,079Actually, let me duplicate this, and the reason
    00:29:52,391I'm duplicating it, let me show you what happens
    00:29:54,600if I don't duplicate it.
    00:29:55,619I want to draw a mask around a bunch of different pieces
    00:29:58,119of this foot, and if I draw a mask around it, that's great.
    00:30:02,408Now I want to draw a mask around the big toe.
    00:30:04,411Well, I can't see the big toe anymore.
    00:30:06,324So it's easier if I just have a copy sitting underneath it
    00:30:09,432and maybe turn the opacity down a little bit,
    00:30:11,939and I'll lock that copy, and that can be my reference.
    00:30:15,722So now on this copy I'm gonna use the ellipse tool.
    00:30:21,458And that's the first part of the foot that's gonna ...
    00:30:26,123Oh boy, here we go.
    00:30:27,845That's the first part of the foot that's gonna appear
    00:30:30,097so let me adjust that.
    00:30:32,440And now I want a mask around each toe, so I'm gonna hit Q,
    00:30:36,584Q is the hotkey for the mask tool.
    00:30:39,785Make sure it's in ellipse mode, and what I want to do
    00:30:43,853is just draw a mask around each toe and adjust it,
    00:30:49,769and make sure that the mask is pretty precise,
    00:30:53,225like it's not accidentally overlapping this toe
    00:30:55,379or something like that.
    00:30:58,100And I can easily now just duplicate this mask,
    00:31:02,208move it over, double-click it so I can transform it
    00:31:07,002and just line that up.
    00:31:08,924Duplicate it, move it over.
    00:31:12,907Double-click it.
    00:31:16,653And we'll do it again, and then one more time.
    00:31:25,563There we go, okay.
    00:31:26,898And now I need the heel, so I'll hit Q,
    00:31:31,917and now I need the mid-foot, so I'll just
    00:31:34,856draw another ellipse like this.
    00:31:36,522Now why did I just draw a whole bunch of masks?
    00:31:38,929When you have a bunch of masks like this,
    00:31:41,147you can actually animate them on and off.
    00:31:45,274There's some cool mask settings.
    00:31:47,811For example, if I open up this mask,
    00:31:50,325this mask expansion is what I'm gonna be animating,
    00:31:52,559and you can see if I just animate it,
    00:31:55,203it eats the mask away and then I can reveal it.
    00:32:00,160And I can do that in sequence for each piece of this foot.
    00:32:05,059If you wanted to you could even add more pieces,
    00:32:07,223I just did it in very broad strokes
    00:32:09,296'cause it's gonna happen very quickly.
    00:32:12,298Then I can delete the little reference footprint back there.
    00:32:16,088Let me hit M and open up all these masks.
    00:32:18,672What I want to see is the mask expansion for all of these.
    00:32:23,029By default, when you hit M, it only brings up
    00:32:25,160the mask path property, so if you double-tap M
    00:32:28,453it brings up all the mask properties.
    00:32:31,443So now what I'm gonna do is I'm gonna use my tilde key.
    00:32:36,141If you guys don't remember, tilde is to the left of the One
    00:32:39,788on the top of your keyboard, it's a little squiggle
    00:32:42,167and when you hit it, whatever window your mouse is over
    00:32:46,092will temporarily take up the whole screen.
    00:32:49,208So I use it all the time when I want to turn on
    00:32:52,721the stopwatch for a bunch of properties but I can't see them
    00:32:55,320'cause the screen isn't big enough.
    00:32:57,071So if I temporarily do that ...
    00:32:59,161I'm gonna hit mask expansion on each of these, and now I
    00:33:07,739can just hit U and now I can just see those keyframes.
    00:33:13,596And I want this to happen pretty quickly, let's say
    00:33:15,425maybe four frames, I'm gonna go forward four frames.
    00:33:20,248I'm just using Page Down to do that.
    00:33:22,996I'm gonna move those keyframes to that point in time,
    00:33:26,279then I'm gonna go back to the beginning
    00:33:28,095and one by one, I'm going to change the mask expansion
    00:33:33,124'til that piece of the foot goes away.
    00:33:41,387So I'm erasing the foot using the mask expansion.
    00:33:48,086And I want this to have a little bit of a sequence to it.
    00:33:52,016Like I said, I want the forefoot, the top meaty part
    00:33:55,298of the foot to animate on first, so that's this mask.
    00:34:00,143That's gonna happen first.
    00:34:03,149That'll start to happen, as that happens
    00:34:07,203the pinky toe's gonna land first,
    00:34:09,724and then each toe's gonna land a split-second later
    00:34:12,213going from right to left, so let's
    00:34:14,283figure out which mask is which.
    00:34:16,316Mask 6 is the pinky toe, I can tell 'cause when
    00:34:18,572I selected it, the points got a little bit thicker.
    00:34:25,812So that's first.
    00:34:27,714I'm gonna grab those keyframes and just
    00:34:28,884nudge it forward a couple frames.
    00:34:31,319Then I'm just gonna go to the next toe and move it
    00:34:34,992one frame further than the pinky toe,
    00:34:36,866and I'm just gonna do that for all of the toes real quick.
    00:34:43,234This might seem like a cheap animation trick,
    00:34:45,572and I assure you it is.
    00:34:48,175When you're animating something like this, a lot of times
    00:34:54,923you're trying to go really fast.
    00:34:56,670I a lot of times look for ways to animate
    00:34:58,834that don't take a ton of manual labor.
    00:35:04,347A lot of that is because I'm a freelancer,
    00:35:06,301I don't generally work with a huge team.
    00:35:10,099If you did, you could have one person spend all day
    00:35:12,239on this footprint, make it look amazing,
    00:35:15,269and do some really cool stuff, but in general
    00:35:17,317that's not the situation I'm in.
    00:35:19,630So you see how this mask here, I may have expanded it
    00:35:24,960too much and it's sort of showing the toes off
    00:35:29,243before I want them to appear, so I need to go back
    00:35:33,331and adjust that a little bit, there we go.
    00:35:37,444So now the toes land, and as the toes are landing,
    00:35:41,631I want the heel and this mid-foot to land.
    00:35:44,853That's these masks down here, so I'm just gonna
    00:35:48,094scoot these forward and maybe, maybe have
    00:35:51,049the mid-foot be the last part.
    00:35:57,366And I'll just easy ease these so it's not such a
    00:35:59,628linear-looking thing, it won't really make a huge difference
    00:36:02,344but we'll just RAM preview that.
    00:36:04,921So there's our foot landing.
    00:36:07,608Okay, pretty simple.
    00:36:09,300It's got this hard edge to it, which is fine.
    00:36:15,757So now looking at this, I'm thinking,
    00:36:18,975and I'm doing this in a specific order 'cause I want to show
    00:36:21,982you guys what happens if you change your mind.
    00:36:23,919So I did this, and then I realized, hey, you know what,
    00:36:26,537it'd be really cool if instead of having these super-hard
    00:36:33,629linear edges, I could actually give this a little bit more
    00:36:38,747of an organic edge, organic.
    00:36:43,000And so what will be helpful is if I could actually adjust
    00:36:46,798the contour of those masks and it's not gonna be
    00:36:48,555very easy to do the way I've set this up.
    00:36:51,329So what I'm going to do, I'm gonna make a new layer.
    00:36:55,422Command+Y, and I'll just call this matte.
    00:36:59,325And it's actually the same color as my background
    00:37:01,228so I can't see it, yeah.
    00:37:03,518Let me just make it a different color.
    00:37:04,908There we go, cool.
    00:37:06,310And I'm gonna temporarily make it an adjustment layer
    00:37:09,373and then I'm going to copy all of these masks.
    00:37:15,879I'm just gonna grab all of them and copy them
    00:37:18,344and paste them onto this layer.
    00:37:21,285I'm gonna zoom out and see where those masks end up.
    00:37:26,854They're super-duper small, way up here in the corner because
    00:37:32,456I masked these things out on an Illustrator layer
    00:37:38,457and so you can see that I basically get
    00:37:41,231useless mask information here.
    00:37:44,347I ran into this problem, so what I ended up doing was ...
    00:37:50,170This is just sort of, necessity breeds invention,
    00:37:56,607so here's my foot.
    00:37:58,803I'm just gonna duplicate it, and I'm gonna have
    00:38:02,257the bottom copy, I'm gonna turn all these masks off.
    00:38:04,677I'm just gonna delete them all,
    00:38:07,967'cause I don't need them.
    00:38:10,109And I'm gonna have this bottom copy use the top copy
    00:38:12,479as an alpha matte, so this is gonna be my foot
    00:38:17,615and then this is gonna be the matte,
    00:38:20,784and by doing that, wonderful, now I can
    00:38:25,786actually manipulate the matte and mess with those edges
    00:38:29,295and I just use an effect called Roughen Edges.
    00:38:34,525It's sort of like a Turbulent Displace for edges.
    00:38:38,865You can see it just kind of messes up the edges a little bit
    00:38:41,524and you can mess with the settings if you want it to be
    00:38:43,365more or less eaten away like that.
    00:38:48,399Then the only problem is that if you roughen the edges
    00:38:53,146too much, then you actually don't get
    00:38:56,101your whole image back at the end.
    00:38:58,139So I may have to keyframe something, or what you can do
    00:39:04,329is with this matte object selected I could use an effect
    00:39:08,262like a Simple Choker, and I could actually
    00:39:12,829expand that output a little bit like this.
    00:39:16,167So by going negative with the choke matte, it's exp--
    00:39:20,070Actually, let me turn this layer on
    00:39:21,408so you can see what it's doing.
    00:39:24,113I'm actually expanding that matte out like this,
    00:39:26,369and I probably want to do that before the Roughen Edges.
    00:39:30,616There we go.
    00:39:32,451And now let's use that as an alpha matte, turn that back on,
    00:39:36,503and you can see that this is still probably
    00:39:39,169the border's set too high, there we go.
    00:39:44,328Take a look at that, cool.
    00:39:47,568It's not the most amazing thing in the world,
    00:39:49,091but it's more interesting than just cutting the foot on.
    00:39:55,658I might play with these and see what other little,
    00:40:00,511what other kind of little effects you can get
    00:40:02,464just by messing with the settings.
    00:40:04,176That's kinda cool looking.
    00:40:06,729And then, just so it's not ...
    00:40:10,685The problem is that it happens so fast
    00:40:12,938that my eye really notices this gap in between the forefoot
    00:40:18,647and the heel and it's just a little bit too harsh.
    00:40:22,117So what I'm gonna do is grab both these layers,
    00:40:25,425pre-comp them and say "footstep pre-comp,"
    00:40:30,750and I'm gonna duplicate it,
    00:40:33,181I'm gonna offset one copy, let's try two frames,
    00:40:36,999and then the bottom copy I'm just gonna set to 50%.
    00:40:41,383So now you get kind of this ghosted sort of version
    00:40:45,884of the footstep that happens just a few frames before,
    00:40:49,258and I think it might even be cooler if I
    00:40:50,614duplicated that again and had another one,
    00:40:54,246so I basically have a 50% transparent footstep here
    00:40:58,551and then one frame later, another 50%,
    00:41:00,914and then one frame later, 100%.
    00:41:03,514And it's just gonna very quickly build that footstep on.
    00:41:09,212That's actually what I did for the test,
    00:41:12,139but now looking at this, I'm always curious
    00:41:14,796what would happen if I then just blurred one of these
    00:41:19,841a little bit, maybe only blurred it vertically?
    00:41:22,799What if I blurred the middle one?
    00:41:27,440But I need to get rid of this and take the blur away
    00:41:32,047by the time this thing finishes,
    00:41:34,353otherwise you're gonna notice it.
    00:41:36,943That's kinda interesting, right?
    00:41:39,898I don't know, I don't like it, I'm gonna get rid of it.
    00:41:41,461So there's our footstep.
    00:41:44,672Cool, and again, keep in mind that's it's gonna be,
    00:41:48,217most of the time it's gonna be very small on screen.
    00:41:51,666But there's your footstep, and then I thought to myself,
    00:41:54,882well, it's a footstep, and it looks super vector-y,
    00:41:58,202so why not throw a little texture on it
    00:42:00,791and give it a little grit?
    00:42:04,033So to do that I used one of these texture images.
    00:42:08,883I think used this one, the dry earth texture
    00:42:12,260from CGtextures, and what you can do if you're gonna
    00:42:16,585make a pre-comp and just use the pre-comp somewhere else,
    00:42:19,843you can put a texture on the very top of the comp like this
    00:42:23,609and set the mode to silhouette luma.
    00:42:29,045And that will sort of knock out pieces
    00:42:31,298of whatever's underneath it.
    00:42:35,246So what I can then do is I can put levels on that texture,
    00:42:39,348I can put a color correction Levels effect on the texture
    00:42:42,586and I can just push it and the further black I push it,
    00:42:45,752the more foot you see, and then the more white
    00:42:49,563that I sort of crank into it, the less foot you see.
    00:42:54,319So what I can do is sort of eat away some of that foot,
    00:42:57,292and I can play with the scale of that texture too,
    00:43:00,738something in there.
    00:43:02,579That's kinda cool, 'cause you see how there's like a pebble
    00:43:04,549in here, and it's eating away a little chunk of the foot.
    00:43:09,111It's kinda cool, I like to play with stuff like that.
    00:43:10,764It's always kinda nice when you can
    00:43:12,131get the edge not to be so perfect.
    00:43:15,517And then, I'm gonna push, here
    00:43:19,300we go, this output white arrow.
    00:43:22,048This sort of is the maximum brightness that
    00:43:25,056this texture will be allowed to be,
    00:43:27,970and if I make that lower, I can still see the texture
    00:43:30,845but it's just bringing back some of the opacity of the foot.
    00:43:34,760Let me turn on the transparency grid
    00:43:36,087so you can really see what it's doing.
    00:43:39,075I'm just bringing back a little bit of the foot
    00:43:41,974by pushing this arrow.
    00:43:43,982Cool, so now that foot has got some texture to it
    00:43:46,249and it's actually transparent, which is cool
    00:43:48,886because if I put it on top of my nice purple color here,
    00:43:52,260I'll be able to see that purple through it.
    00:43:54,654So here's my single footstep, and that's in
    00:43:57,983my PC demo folder there, so, got a single footstep
    00:44:02,702and what I want to do is now line up a bunch of those
    00:44:06,550footsteps and have them in sync with the audio.
    00:44:11,573What I could do is I could just take my footstep single
    00:44:15,171and place it here, and then line it up to that nice marker.
    00:44:21,475I could do that.
    00:44:23,895And you can see, I have to change the color of the footstep
    00:44:26,081but you can still see through it a little bit.
    00:44:29,817It's kind of nice, and I might adjust thAt a little bit
    00:44:32,390so you can see through it a little bit more.
    00:44:37,666Yeah, that's a little better.
    00:44:40,109But what I thought would be cool
    00:44:42,438is if they animated in an arc.
    00:44:46,068When you're animating stuff, a lot of times,
    00:44:49,349things moving in a straight line doesn't look right
    00:44:51,256and it helps if they're moving in an arc.
    00:44:53,643It's one of the animation principles, and so
    00:44:55,898I figured that would be easier to do if I pre-comped
    00:44:58,635all of the footsteps together.
    00:45:00,985I put one footstep in this comp, so why don't I just
    00:45:04,543pre-comp that one footstep and we'll call this
    00:45:06,921"footsteps arc," and there it is.
    00:45:13,027I'm gonna stick it up here in PC demo, and let's dive in.
    00:45:16,944Here's the problem, the problem is
    00:45:17,999here I don't actually have ...
    00:45:21,103I don't actually have any audio to sync this up to,
    00:45:24,908so there's a trick I do constantly when I'm doing
    00:45:29,099kinetic type stuff, is I will grab this audio clip here
    00:45:35,461and the first thing I wanna do is just transfer
    00:45:37,161just the footstep markers onto it, so I'm gonna hold shift
    00:45:40,773and when you hold shift and you move your play head,
    00:45:43,133it sort of snaps to your markers, so I'll snap here
    00:45:48,254and I'll make sure this is selected and
    00:45:50,251hit my asterisk, snap to the next one, and I'm just
    00:45:52,613gonna quickly transfer footsteps on there.
    00:45:59,713And then I'm gonna copy the audio clip,
    00:46:02,526jump in here and paste it.
    00:46:04,523Now one thing you've gotta be careful of is when
    00:46:06,739you copy and paste an audio clip and it's in a pre-comp,
    00:46:09,760and that pre-comp is being used in a comp
    00:46:12,659that has audio in it also.
    00:46:14,748What's gonna happen is, you can
    00:46:15,814see how there's two speaker icons now.
    00:46:18,135In my footsteps arc pre-comp, I have audio,
    00:46:21,132I've copied this, so it's actually gonna play this
    00:46:23,543audio clip twice, which is gonna make it twice as loud.
    00:46:26,766So there's two solutions, one is you just
    00:46:28,303make sure you turn that off, but I always forget to
    00:46:32,101so what I do is if I copy and paste an audio clip,
    00:46:35,898I Control-click it and I set it to be a guide layer.
    00:46:39,312If you've never used guide layers, they are super useful.
    00:46:42,914A guide layer has this little icon next to it,
    00:46:44,832and what it means is, in this comp when I'm working on
    00:46:47,725this comp, this layer exists.
    00:46:49,632I can hear the audio, you can put it on a layer
    00:46:53,256you're looking at too, and while you're working on it,
    00:46:56,612it will show up, but once you use that pre-comp,
    00:47:00,133that audio doesn't exist any more, so even though you see
    00:47:03,496the speaker icon, no audio will play on this layer
    00:47:06,736because I've made the audio a guide layer.
    00:47:09,932And now I've got my markers for the footsteps,
    00:47:13,326so let's grab a single footstep, place it in here,
    00:47:18,041change the background to something.
    00:47:22,037That was Command+K, by the way.
    00:47:24,864I accidentally dragged two in there.
    00:47:28,710Here, here's another cool example
    00:47:30,353of how to use a guide layer.
    00:47:33,059I want to line up, you're gonna have one, two, three,
    00:47:36,785four, five footsteps, and I want them to kind of arc.
    00:47:41,947I could just sort of eyeball that, but why eyeball it?
    00:47:44,399Why not give myself a reference?
    00:47:45,996I'm gonna grab my pen tool and I'm just gonna draw
    00:47:50,742the path that I want these things,
    00:47:53,298I'm in roto-bezier mode, which is fine, we can use that,
    00:47:58,866and maybe just give myself a little bit of a reference path.
    00:48:02,860So I made a shape layer, and I don't want a fill,
    00:48:06,224so I'm gonna click on the word "fill" up here
    00:48:08,366and turn off the fill.
    00:48:11,276And I'm just using this as a reference
    00:48:13,684so it doesn't have to be perfect.
    00:48:15,789That's gonna be the path that I
    00:48:17,227want those footsteps to follow.
    00:48:20,673And I obviously don't wanna see that, when we
    00:48:22,893come back here I don't wanna see that line,
    00:48:26,090so I'll just turn it into a guide layer.
    00:48:29,903So I can see it here, but when we go back, now it's gone.
    00:48:34,953That's the beauty of the guide layer.
    00:48:36,839So now what I'll do is, let me scale it down a little bit.
    00:48:42,926Oh, and here's something good to think about.
    00:48:45,638At this point I'm already starting to think about
    00:48:47,843how I might want the camera to follow this movement,
    00:48:51,959and I'm thinking, I probably want to start zoomed in,
    00:48:58,657and then the footsteps begin and
    00:49:00,851I sort of pull back and follow them.
    00:49:03,323So how close am I gonna be
    00:49:05,657to the footsteps when this comp starts?
    00:49:08,904And I didn't know, I might be this close.
    00:49:12,859And if I'm this close, but in this comp
    00:49:15,909I'm animating them very small like this,
    00:49:17,392well then I'm gonna lose detail.
    00:49:19,791So what I'm actually gonna do is
    00:49:21,431I'm gonna make my comp twice normal size.
    00:49:26,391You could just hit Command+K and
    00:49:29,115adjust your width and height and do that,
    00:49:32,253but the problem is I've already kind of set down
    00:49:34,807this shape layer as my guide, and
    00:49:38,872what if I want to keep it where it is?
    00:49:41,385Well, After Effects has some built in scripts,
    00:49:44,007if you go to the File - Scripts menu
    00:49:45,493and one of them is Scale Composition.
    00:49:48,393If you select that, you get this cool little box
    00:49:51,357and you can just say "new scale factor two,"
    00:49:54,591and it just doubles the height and width of your comp ...
    00:50:00,710Let me go back in here.
    00:50:02,001So now if I hit Command+K, you can see it's double HD
    00:50:05,427but as it scales it it keeps everything in exactly
    00:50:08,320the same spot, so it's just a cool shortcut to scale
    00:50:11,927your comp up, and so now I can scale my footstep down
    00:50:19,616and animate a bunch of footsteps here, but this footstep
    00:50:23,515is actually pretty big, 'cause the comp is so big.
    00:50:28,317So let's rotate this one, and let's start
    00:50:31,890lining these up with the audio.
    00:50:34,145So there's one footstep, and then I'll duplicate it
    00:50:39,843and I'll move this layer so it lines up with the marker.
    00:50:44,291And I'm gonna scale it, I'm just gonna add
    00:50:47,972a negative sign on the X-scale.
    00:50:50,560So it just flips it.
    00:50:51,932And then I'm gonna hit W, W brings up your rotate tool.
    00:50:56,319I'm just gonna click and rotate it.
    00:50:58,071And I'm gonna Command+D, duplicate it.
    00:51:01,371Sorry, no I'm not, I'm gonna click this one ...
    00:51:04,872(clears throat)
    00:51:06,391When I'm moving really fast and I'm trying to just
    00:51:09,316click and duplicate and rotate, I want to make sure that
    00:51:11,852I don't accidentally do what I just did
    00:51:13,703and select that shape layer, so I'm gonna lock it.
    00:51:16,680And I can click this, duplicate, move it here,
    00:51:19,730hit W, rotate it a little bit.
    00:51:22,187Grab this one, duplicate it, move it here,
    00:51:25,180rotate it a little bit.
    00:51:29,011And make sure that I'm lining these up too,
    00:51:30,986so this is the third footstep, this is the fourth footstep,
    00:51:35,952and then this last one here is gonna be this one.
    00:51:42,825We'll put it over here,
    00:51:45,338rotate it a little bit,
    00:51:47,139and then what I want it to do is once that last foot lands,
    00:51:52,906I then want the other foot to sort of stand next to it.
    00:51:58,712So then a few frames later we'll have
    00:52:04,128two feet standing next to each other.
    00:52:07,649And let's turn off that shape layer for a minute
    00:52:09,262so we can see, you can see that now we've got this
    00:52:11,530nice kind of arc, and I might even want to
    00:52:13,431cheat this a little bit more and really give it,
    00:52:19,905give it some curve.
    00:52:22,105So let's play this real quick with the audio.
    00:52:25,671(footsteps play)
    00:52:29,219Cool, so it's in sync, but I've actually synced up
    00:52:31,989the beginning of the animation with each footfall sound,
    00:52:36,120so this might visually look more in sync if I take
    00:52:39,186all of these and just nudge them back two or three frames.
    00:52:41,954I'm gonna hold Option and hit Page Up,
    00:52:44,032and just nudge them all.
    00:52:46,663There we go, RAM preview that.
    00:52:48,899That's better.
    00:52:53,191Cool, so that's looking okay, but I feel like
    00:52:55,813the animation of the footsteps takes too long,
    00:52:59,533and I kinda want them to disappear once they ...
    00:53:03,990I want that first one to land, and by the time
    00:53:06,332this one's starting I want this one to be fading off.
    00:53:09,625So I'm just gonna now go back into my pre-comp here
    00:53:14,161and let's go back into this pre-comp and let's do this.
    00:53:20,020Let's select the matte and hit U to bring up
    00:53:22,835all the keyframes, and let me hit the tilde key.
    00:53:26,848I'm just gonna select all of these, and I'm gonna look for
    00:53:30,717the last keyframe, which looks like this one
    00:53:33,301is the one that's furthest to the right.
    00:53:35,490I'm gonna hold Option and click and just nudge these in.
    00:53:38,905So the footsteps happen about twice as fast now.
    00:53:44,571And then I want them animate off, so let's go back to
    00:53:49,478our footsteps arc, so they animate on, and then here
    00:53:53,160this one starts to fade off.
    00:53:55,644So if I want that one to fade off,
    00:53:56,907maybe what I'll do is I'll ...
    00:54:00,498Let's think, what would be a neat way to do this?
    00:54:03,964What we can do is, ah, got an idea.
    00:54:07,136I'm gonna use an adjustment layer here,
    00:54:10,339we'll call this "fade off."
    00:54:14,177And make an adjustment layer.
    00:54:15,773What I'm gonna do is I'm gonna actually use an effect
    00:54:19,109to get rid of this foot so it doesn't just fade out,
    00:54:21,992it'll do something slightly neater than that.
    00:54:24,504And we'll go up to Effects, and then in Transition
    00:54:26,595there's this effect called Gradient Wipe.
    00:54:31,072Which sounds kinda lame but what it actually does is
    00:54:33,522the gradient wipe takes another layer's brightness values
    00:54:38,327and it can then basically fade off
    00:54:42,088the darker or lighter parts first.
    00:54:44,550It looks a little neater, so if I set the gradient layer
    00:54:48,950to this cool dry earth texture, fade off dry earth,
    00:54:56,396and when I animate this, you see how it sort of
    00:54:59,125animates in this kind of neater way,
    00:55:02,141and you can play with the softness so it's not
    00:55:03,951a total hard edge like that.
    00:55:06,631It can be a little bit soft.
    00:55:09,574A little bit more, maybe
    00:55:11,504Yeah, let's look at that.
    00:55:12,653So now it'll sort of dissolve off,
    00:55:14,889and it'll look a little bit cooler.
    00:55:17,066And you can play with inverting the gradient
    00:55:19,137and see if that looks any better.
    00:55:20,736Actually I do like the way that looks better.
    00:55:22,807'Cause you get a little bit of that foot left at the end.
    00:55:27,207Right there, that's where that fade-off's gonna begin,
    00:55:29,313so I'm gonna put a keyframe on transition completeness,
    00:55:32,815make sure it's at zero, and then let's just jump forward
    00:55:37,587eight frames, and we'll animate this.
    00:55:41,911It looks like I only need to animate it to about there.
    00:55:44,990Oh, 100%, how about that, who would've guessed.
    00:55:48,156Sometimes it depends on the image, if it doesn't have
    00:55:52,559any true black in it or true white, sometimes you don't
    00:55:55,250have to go all the way to 100%.
    00:55:57,605In this case we do, so 100%, and then
    00:56:00,538I'm just gonna easy ease the keyframes.
    00:56:03,608Then I'm gonna go into the curves editor
    00:56:05,071and I'm gonna take this last keyframe
    00:56:07,958and pull the bezier handle out like this.
    00:56:11,327The reason I'm doing that is because I want it to sort of
    00:56:14,008start fading out but then linger.
    00:56:17,351It's happening so quickly you can't even see it
    00:56:19,439so let me pull that out a little bit further.
    00:56:23,746There you go.
    00:56:24,867I just want the last bits of that foot
    00:56:27,365to just take a little bit longer.
    00:56:30,338Let's see what happens if I pull this bezier handle out too.
    00:56:37,436Cool, that's a little bit neater
    00:56:40,000than just fading the thing off.
    00:56:41,246Now if you go to footsteps arc and we play this ...
    00:56:47,418(audio playing)
    00:56:52,981Now these last two footsteps, if I didn't want them
    00:56:56,549to fade off, I could just put a time remap keyframe
    00:56:59,768on them so they don't fade off but the rest of them do.
    00:57:01,896So there we go, there's our footsteps.
    00:57:06,516Cool, and now we can actually use the footsteps arc pre-comp
    00:57:11,689in our main comp here, and it's already in there.
    00:57:14,151You can see how big it is.
    00:57:16,624So let's kinda line this up here, where it's gonna start.
    00:57:21,382Let's pick a different color for it.
    00:57:24,373I actually used the Adobe color tab over here
    00:57:30,799to pick out some colors for this.
    00:57:33,828So I'm just actually gonna sort of cheat
    00:57:36,589and just pull the colors right off of this.
    00:57:38,297Here's a trick I like to use, I want to grab
    00:57:42,064this purple color, but this layer is actually buried
    00:57:45,901a few pre-comps deep and I don't really feel like going in
    00:57:48,635and trying to find it, so what I'm gonna do
    00:57:50,145is I have my character tab open, this is your text settings,
    00:57:54,354and there's a color picker that hangs out there,
    00:57:56,869and sometimes I'll use it just as a storage,
    00:58:02,125way of remembering a color.
    00:58:04,520So now what I'm gonna do is put a fill effect
    00:58:09,655on those footsteps and now I can use this color picker
    00:58:12,347to pick this color right over here, so now I've got that.
    00:58:16,002And I think I need to make it a little bit brighter.
    00:58:19,115There we go, cool.
    00:58:20,922So looking at this, you see you get all this nice
    00:58:24,150texture to it and now I need to start animating the camera.
    00:58:31,606This is one of those ...
    00:58:33,630Did not mean to open Nuke.
    00:58:35,726Hey guys, this is what Nuke looks like if you didn't know.
    00:58:42,258This is where I need to really start framing things
    00:58:45,904and it's actually, I find, easier to do this
    00:58:50,434kind of all at the same time.
    00:58:52,157So I've got my camera, and I'm gonna start diving into
    00:58:57,095the camera animation a little bit here.
    00:58:59,933Let me rename this "Camera" so it's not Camera 1.
    00:59:04,804I generally, unless there's just one camera move happening,
    00:59:08,695I generally don't put the keyframes right on the camera.
    00:59:13,680And you'll start to see why, but what I do is I make a null,
    00:59:18,117a null object, and I'm gonna call this "Cam 01."
    00:59:22,597Or actually, maybe more appropriately, "Move 01,"
    00:59:27,017And the general trick is, you use the nulls
    00:59:30,186to move the camera, and every time there's a different move,
    00:59:33,794you make a new null, and that null does that move.
    00:59:37,079So let's figure out where we want the camera to start,
    00:59:40,229so we'll put the camera in the start position.
    00:59:43,131I'm gonna select the camera, I'm gonna hit P
    00:59:44,858and I'm gonna move up and of course the footsteps
    00:59:48,154need to be a 3D layer or none of this will work.
    00:59:51,794There we go.
    00:59:52,845So we're gonna start kinda zoomed
    00:59:56,349in like this, and there you go.
    01:00:01,969We're gonna be sitting here and this footstep's gonna happen
    01:00:05,131and the camera's gonna zip off and follow the footsteps
    01:00:07,778around, so maybe we'll be a little bit further away.
    01:00:10,926Cool, so this first null, I need to make it a 3D layer
    01:00:14,906and I'm gonna parent the camera to it.
    01:00:17,958And then I'm gonna figure out, okay, here's where I
    01:00:21,781kinda want it to start moving, so I'm gonna hit P
    01:00:25,178on the null, I'm going to separate the dimensions.
    01:00:29,938This is something I pretty much always do
    01:00:31,749when I'm animating positions so I can adjust
    01:00:34,554those animation curves individually.
    01:00:37,228And I'll just put keyframes on all of these for now.
    01:00:40,401I'm also gonna put a keyframe on Z-rotation, 'cause I'm
    01:00:42,961gonna wanna probably rotate that camera a little bit.
    01:00:46,793And now I'm gonna go forward to where that last,
    01:00:51,198where the marker is for the last footprint
    01:00:53,236and I'm gonna adjust the Z-position of my null.
    01:00:57,149And here's what's cool, if you parent a camera to a null
    01:01:01,179and the null is visible, you can click and drag that null
    01:01:03,667and actually use it to move the camera.
    01:01:05,863It's just kind of a neat little handy shortcut there.
    01:01:09,964And one thing I'm already seeing is my texture
    01:01:12,192is now not extending far enough, so I need to
    01:01:15,425extend that out with the Repetile effect.
    01:01:20,397Cool, there we go.
    01:01:22,494That needs to come down and you can see that
    01:01:23,841the numbers are getting humongous already.
    01:01:25,859So I probably need to make those numbers a little smaller.
    01:01:33,223I don't want them to get too big, and then actually
    01:01:35,139scale the layer up a little bit.
    01:01:37,310I'm making the texture a little bit bigger overall,
    01:01:40,870but since the camera just did a big zoom out move,
    01:01:43,158I think that's gonna be okay.
    01:01:46,317Cool, and then I'm just gonna put easy ease on these
    01:01:50,471and let's just take a look at that.
    01:01:53,517Let's just kinda see what's happening.
    01:01:56,432(audio plays)
    01:02:00,129So timing-wise it's sort of doing what I want,
    01:02:02,632but movement-wise it doesn't feel very good at all.
    01:02:06,560What I may want to do is actually have that null
    01:02:10,329rotate at the same time so that we're
    01:02:13,889sort of turning with the footsteps.
    01:02:18,023The next thing that happens is there's this line of dialogue
    01:02:22,244so I kinda need to leave some room in the comp
    01:02:25,838for that dialogue, so if I center the footsteps here,
    01:02:28,742there's no room for the type, so why don't we
    01:02:30,998land somewhere like here, and you can see now
    01:02:33,863it's kind of neat how we rotate over it.
    01:02:36,843But we kind of need that camera to go in an arc around it,
    01:02:40,258so what I'm gonna do is I'm gonna use my ...
    01:02:44,035Let's see here.
    01:02:46,354I want the camera to actually in the middle of this move,
    01:02:50,545kind of be up here, I want it to arc around like that.
    01:02:54,257Now I can select all these and Control-click them
    01:02:58,631and say keyframe interpolation,
    01:03:01,072that's good, it's already bezier,
    01:03:02,609and I need to now, because it's defaulting to a
    01:03:05,530easy ease keyframe, so what'll happen is it'll get there ...
    01:03:13,181Well, it's actually looking okay but if you have an
    01:03:15,551easy ease keyframe in between two other keyframes
    01:03:18,078that are easy ease, it can sometimes add
    01:03:19,890a little hitch in your animation, so I'm just gonna go
    01:03:22,407into my animation curves and make sure that it's
    01:03:24,476not doing that, and it actually looks pretty good right now.
    01:03:28,222Let me just look at the X.
    01:03:29,846You see what I was worried it was gonna do, is this.
    01:03:34,553And it didn't, which is awesome.
    01:03:38,157So now I've added a nice arc to my camera move
    01:03:41,860but it ends really abruptly, so this is where
    01:03:47,774you've gotta get to know the animation curves and just
    01:03:50,646tweak them to make them do what you want.
    01:03:52,332What I'm gonna do is grab this last keyframe here
    01:03:55,009and I'm gonna pull it out a little ways
    01:03:57,580and I'm gonna go kinda one by one with my properties.
    01:04:01,803I can try to do them all at once, let's see if this works.
    01:04:04,874I'm gonna select all of the animated properties,
    01:04:06,422and I'm gonna grab all of the end keyframes
    01:04:08,843and I'm gonna pull those bezier handles out.
    01:04:11,518That's just gonna make that last ease in take longer.
    01:04:19,304Now this feels a little bit different than the example
    01:04:22,025animation, but I don't mind it, it's kinda interesting.
    01:04:26,109And I might want to end a little bit more in this area.
    01:04:33,300Yeah, maybe like that, that's kinda cool.
    01:04:35,700Have it be kinda lower, let's play that.
    01:04:40,654Interesting, cool.
    01:04:42,835Now one thing that I feel like we are starting to miss
    01:04:45,439is that nice animation of the footstep,
    01:04:50,174'cause it's going so fast, so what I might
    01:04:51,892wanna do is slow down the animation by
    01:04:54,844pulling these keyframes out this way.
    01:04:59,240And doing the same thing, having that animation
    01:05:01,615ease out a little bit longer.
    01:05:06,599When you adjust all the curves at the same time,
    01:05:09,165you gotta be careful because sometimes,
    01:05:11,285yep, you can get stuff like this,
    01:05:13,699where I've actually pulled this bezier handle out
    01:05:17,692and it's going down below.
    01:05:19,844What you don't want, you don't want this bezier handle
    01:05:22,974to be below this keyframe, because now
    01:05:25,699the values are doing things you don't want them to do.
    01:05:29,726So that's why sometimes you have to go in and check
    01:05:32,431each little property, anyway, but that looks good.
    01:05:35,647There we go, that's better.
    01:05:37,831And there's a little weird hitch, something's doing
    01:05:40,422something funny, animation-wise,
    01:05:43,069so let me use my tilde key for a minute
    01:05:46,743so I can really check these values and make sure
    01:05:50,492we're not getting something ...
    01:05:54,558Let's see here.
    01:05:59,123Yeah, these all look pretty good, so what's probably
    01:06:00,766happening is you've got a value that's
    01:06:03,531out of sync with another value.
    01:06:08,650Like if the speed that the X-position is changing
    01:06:12,193is different than the Y-position
    01:06:14,398and different from the Z-position, then you can
    01:06:16,329start to get little hitches in your animation.
    01:06:20,636Let's see if that adjustment made any difference.
    01:06:23,797There's a little bit of a wiggle to it, but
    01:06:26,251I might not worry about that for now
    01:06:27,731'cause I don't wanna torture you guys.
    01:06:30,421Cool, so that's our first camera move, and then
    01:06:31,956once we land, I want that camera to slowly zoom out.
    01:06:37,478I kinda want to hang there.
    01:06:40,053And this is when you're gonna see the power
    01:06:42,061of using nulls like this, so Move 1 is this big arcing move.
    01:06:48,353I then want the camera to slowly zoom out,
    01:06:51,057and I've animated four things on this null.
    01:06:54,066If I then want to smoothly transition into a slow pull-out,
    01:06:58,683that's gonna be kinda tricky to do on this layer,
    01:07:01,194but what's gonna be easy to do is duplicate that null,
    01:07:05,833and I'm gonna use the left bracket key just to quickly,
    01:07:09,552if I was doing it with my mouse I would do this,
    01:07:12,517but I use the left bracket key, it just brings it forward.
    01:07:16,835And actually before I do that, what I'm gonna do
    01:07:18,856is hit U and remove all the keyframes from it.
    01:07:22,464So now that second null is in exactly the same spot
    01:07:25,864as the first null, it has no keyframes on it,
    01:07:29,048and so what I'm gonna do is parent the first move
    01:07:33,075to the second move, and then the second move,
    01:07:37,694I'm only gonna animate the Z-position,
    01:07:40,395and I'm gonna just do a slight pull-out,
    01:07:43,488let me move forward in time a little bit
    01:07:45,313and do a slight pull-out like that.
    01:07:50,018And it stretches that, now here's why this is awesome.
    01:07:52,555It's awesome because, let's see
    01:07:54,377what it looks like, first off.
    01:08:00,758It's really interesting, I wanna know why this is happening.
    01:08:04,284It's like this weird ...
    01:08:07,922It's right there, you can see it,
    01:08:09,091you can actually see what's going on there.
    01:08:12,015It's awful, let's fix it.
    01:08:13,354It's gotta be the Y-position, I think that's what that is.
    01:08:17,379I think that Y-position is doing something really funky.
    01:08:22,598Let's set that to auto-bezier, see if that fixes it.
    01:08:27,316There we go, much better.
    01:08:31,927This auto-bezier button down here, it sort of attempts to
    01:08:34,936smooth out a keyframe that's in between two other keyframes.
    01:08:40,137Sometimes when you have little hitches like that,
    01:08:42,147it can help figure it out.
    01:08:45,212But now look how that zoom sort of just happens right there
    01:08:49,885and it's not really that smooth of a transition yet,
    01:08:53,131so what I'm gonna do is I'm gonna set that first keyframe
    01:08:55,057to easy ease on this second move, and I'm gonna
    01:08:57,819scoot it back a little bit, and I sort of like to keep
    01:09:01,548these move nulls trimmed, so I know
    01:09:04,251where the move begins and ends.
    01:09:07,074There we go, and what's cool is, okay, I want that zoom to
    01:09:12,434start a few frames earlier, I can literally just
    01:09:15,009grab this null and move it over a little bit.
    01:09:17,598And what's happening is this move is now
    01:09:20,053overlapping with this move and sort of ...
    01:09:22,816You're sort of blending between them.
    01:09:28,107So you've got this complex moving, rotating camera
    01:09:32,562and then you've got a slight zoom-out happening, and
    01:09:36,421because they're on separate nulls, it's so easy to control.
    01:09:39,511If I need to make the zoom quicker, I can just go like this,
    01:09:44,608I can just move that keyframe, and then the next move
    01:09:47,998is just gonna be on another null that's over here.
    01:09:51,221And we're basically gonna stagger all of the moves,
    01:09:54,453and when they're on nulls, you can move them
    01:09:56,933just by sliding the null, it makes it so much easier.
    01:10:01,471That's a really good little trick.
    01:10:03,361Alright, so now we've built up an environment,
    01:10:06,409we've built our first animated piece, and we have
    01:10:09,592the camera animated and we've actually got
    01:10:12,837a couple of moves happening, we're off to a great start.
    01:10:17,569So why don't we stop here, and in the next segment of this,
    01:10:21,930in the next video, we're actually gonna start animating
    01:10:24,187the type, and I'm gonna show you guys some type tricks.
    01:10:27,574So thank you guys so much for watching this.
    01:10:30,047I'll see you next time.
    01:10:31,712Thank you so much for watching, we will continue this
    01:10:34,110in part two, and then in part three,
    01:10:36,615we will finish up the animation.
    01:10:38,342I hope you learned a lot from this lesson on how to start
    01:10:41,051a more complicated After Effects project
    01:10:43,360like this kinetic type piece.
    01:10:45,017Don't forget to sign up for a free student account to access
    01:10:47,574the project files from the lesson you just watched.
    01:10:50,228Thank you so much and I will see you next time.
    01:10:56,895(upbeat musical jingle)