Kinetic Typography in After Effects | Part 2

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 we're going to pick up where we left off in part one. This time we're going to learn more about animating type, how to maintain sync across a lot of comps, and we'll work on finessing our camera motion.

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

    00:00:00,000(footsteps echoing)
    00:00:02,125- [Boy] Is he a nutcase?
    00:00:03,704- [Boy] No, he's a rock biter!
    00:00:04,930- [Boy] A rock biter.
    00:00:05,763- [Boy] A rock biter!
    00:00:07,009(crumbling) (crashing)
    00:00:11,144(bouncy music)
    00:00:22,053- Howdy, Joey here at School of Motion.
    00:00:24,270That was great.
    00:00:25,131And welcome to day 17 of 30 Days of After Affects.
    00:00:28,510This lesson is part two of a three part series
    00:00:30,727on making a kinetic type video.
    00:00:32,283If you haven't watched part one,
    00:00:33,853definitely go watch that first.
    00:00:35,415This time we're gonna pick up
    00:00:36,695where we left off in the last lesson.
    00:00:38,079We're gonna start to get into camera animation,
    00:00:40,469check out some more animation techniques,
    00:00:42,231and learn more tricks
    00:00:43,485for working with a big piece like this.
    00:00:45,543Don't forget to sign up for a free student account
    00:00:47,625so you can grab the project files from this lesson,
    00:00:50,054as well as assets from any other lesson on the site.
    00:00:53,131Let's hop into After Effects and get started.
    00:00:56,481Here is where we left off
    00:00:57,964with the last video.
    00:00:59,052We animated the footsteps.
    00:01:00,825We did our first couple of moves with the camera.
    00:01:03,340We set up an environment
    00:01:04,638and we've marked out all of the places
    00:01:07,264where our animation needs to go based on the audio.
    00:01:10,954We're just gonna keep moving forward here.
    00:01:13,676If we look at the final render that we're recreating,
    00:01:17,133the next piece of animation is the panting.
    00:01:21,119Little dude's runnin' through the forest
    00:01:23,362and he's out of breath
    00:01:25,118and then he's gonna say his first line.
    00:01:27,588What I did for these,
    00:01:29,376I'll show you how I animated them,
    00:01:30,706but when I listen to the audio for anything I'm animating,
    00:01:36,108I try to pick out little details
    00:01:37,917that I think might be fun to animate.
    00:01:40,413You don't have to animate
    00:01:41,897to every single little noise you hear,
    00:01:43,840that might actually be too much,
    00:01:45,250but anything that's gonna give the animation some character
    00:01:50,141and maybe give it just a little bit
    00:01:52,347of a visual break can help.
    00:01:54,699I knew that I've got this really fast thing happening here.
    00:01:58,611The panting kind of acts as a beat
    00:02:02,218in between that and then the first line of dialogue.
    00:02:05,024It's just a nice little buffer, kind of.
    00:02:08,150Let me show you how I made that.
    00:02:10,024Let's go back into our AudioSetup comp
    00:02:12,422and let's actually rename that to MAIN_COMP.
    00:02:19,447What I'm gonna do is make a precomp
    00:02:21,485that has that panting animation in it
    00:02:23,554and I wanna maintain these nice audio markers
    00:02:27,154that I've already made.
    00:02:29,776The problem is if I just make a new comp,
    00:02:31,719right, Command + N, make a new comp,
    00:02:34,335those markers are not in the new comp.
    00:02:37,196Here's a cool trick.
    00:02:38,246What you can do is hit Command + Y,
    00:02:40,279make a new solid layer.
    00:02:42,248It doesn't even matter what you name it.
    00:02:45,009Then pre-compose that layer.
    00:02:47,309So Shift + Command + C.
    00:02:49,288Make sure that you're moving all the attributes
    00:02:51,509into a new composition
    00:02:52,465and we can call this Panting_Animation.
    00:02:58,404Now if we go into that,
    00:03:00,551all of those markers get copied over.
    00:03:03,305Now even inside this precomp,
    00:03:04,999I have the timing all kind of marked out.
    00:03:07,410Then, of course, I wanna copy the audio clip.
    00:03:10,328So let me copy that, paste it in here.
    00:03:14,677I don't want to hear this audio clip
    00:03:18,414play inside of this comp
    00:03:20,376so I'm gonna Control Click it
    00:03:23,582and make it into a Guide Layer.
    00:03:27,286I'm gonna do this step a bunch during this tutorial
    00:03:30,964because this is super useful.
    00:03:33,258So there we go.
    00:03:34,183Now I've got my audio, I've got my markers,
    00:03:36,497so I know that this, let's see here,
    00:03:41,647this is where the panting is, in here.
    00:03:47,384I can mark it out,
    00:03:48,636but there's only three little pants in there
    00:03:50,829so I'm gonna say pants
    00:03:52,707way more than I intended to during this video.
    00:03:56,137I'm just gonna kind of figure it out as we go.
    00:03:59,812The animation for the word,
    00:04:01,916first let's go to our illustrator file here
    00:04:07,258and let's see.
    00:04:08,141I didn't actually create that artwork.
    00:04:11,546When I was animating it, that was just sort of another idea
    00:04:15,926that I came up with inside of After Effects, which is fine.
    00:04:19,966I am going to just create that artwork
    00:04:22,156inside of After Effects.
    00:04:23,651I'll grab a type layer.
    00:04:25,198I'm gonna type in pant in parentheses like that.
    00:04:31,053It's kinda like sigh or something like that.
    00:04:33,787You put it in parentheses
    00:04:34,769and it becomes almost like an aside from the character.
    00:04:40,942What I'm doing here is I'm kerning the type.
    00:04:45,726This is something I didn't even intend
    00:04:47,168to show you guys in this tutorial,
    00:04:48,840but hey, look at this, a neat little trick.
    00:04:51,319If you guys don't know what kerning is
    00:04:53,215(laughing) let me do it with a font
    00:04:56,367that's really gonna show what's going on here.
    00:04:58,446If I use a font like Gotham, right,
    00:05:02,621Gotham's a great example,
    00:05:05,395and I do something like this, right?
    00:05:09,603Or, actually, it works even better
    00:05:11,845if we type out a longer word.
    00:05:13,719Why don't we type out my last name,
    00:05:17,935which is kind of long and hard to spell.
    00:05:21,607There we go.
    00:05:25,691When I look at this.
    00:05:28,111It's not awful, but looking at it,
    00:05:31,033my eye kind of picks out these visual breaks
    00:05:33,537that shouldn't be there.
    00:05:34,583Like k o looks like it's together,
    00:05:37,152but then that looks like it's separate from the r e n m.
    00:05:41,641And then the a kinda looks like it's separate from that.
    00:05:44,850What's happening is when you type something in,
    00:05:46,789and this is the same in Photoshop, Illustrator,
    00:05:48,940After Effects, any program,
    00:05:52,240the program will do its best
    00:05:54,094to put the letters where they're supposed to go,
    00:05:57,061but it doesn't always do a great job.
    00:05:59,502Sometimes you gotta fix it.
    00:06:00,952What you can do is use your arrow keys
    00:06:03,173to navigate between the letters.
    00:06:05,355Like the o and the r are too far apart.
    00:06:07,849What I wanna do is hold Option on a Mac,
    00:06:11,273and on a PC, I apologize,
    00:06:12,973I don't know which button is Option on a PC.
    00:06:16,368But it's gonna be Control or Alt
    00:06:17,927and then you hit the left arrow.
    00:06:19,975You just tap it.
    00:06:20,917You just nudge it a little closer together.
    00:06:25,993This is one of those things
    00:06:27,944that you just kind of do a whole bunch of times
    00:06:30,043and then you get better at it.
    00:06:33,799That's before.
    00:06:36,087And then this will be after.
    00:06:40,635I just sort of let my eyes go out of focus and see where,
    00:06:44,739you gotta kinda let your brain
    00:06:46,524just break the thing into different pieces.
    00:06:49,928If it's able to, it's wrong.
    00:06:53,545So, before.
    00:06:55,945So, before and after.
    00:07:00,804Generally, to be honest, you should do this
    00:07:03,338on every single piece of type that you set.
    00:07:07,729So there you go.
    00:07:08,854That was a little random bit of information.
    00:07:12,066Alright, so now let's actually do what I set out to do
    00:07:15,876which was to make a panting animation.
    00:07:19,664This font, by the way, is called Duality.
    00:07:22,953I believe it's one of those free DaFont fonts,
    00:07:26,976or I forget where I got it.
    00:07:29,242I will link to it in this tutorial.
    00:07:32,638Here's my panting layer
    00:07:34,876and I just do a quick little kerning job on it,
    00:07:38,462make it a little bit easier to read.
    00:07:42,515Don't worry about the colors yet.
    00:07:43,954The first thing we need to do
    00:07:44,848is just get the animation down.
    00:07:47,863This comp is 1920 by 1080.
    00:07:51,036We're not gonna ever be too too close to these,
    00:07:53,586so that's fine.
    00:07:54,552We're just gonna leave it at the normal size.
    00:07:57,172What I want is basically for this thing to just fade on
    00:08:01,609and kinda rotate and scale up
    00:08:04,264and maybe have one pant go this way
    00:08:06,742and then another pant go clockwise.
    00:08:09,703I'm gonna move the anchor point of pant down below the layer
    00:08:14,209so that way I can rotate it like this
    00:08:17,239and I can scale it like this.
    00:08:20,903Let's just go to the first frame of the comp.
    00:08:24,728We'll animate this from there,
    00:08:26,409and then we'll move it into position.
    00:08:32,252Let's figure out where this thing needs to end.
    00:08:35,111Let's set the end position first.
    00:08:38,812That's a good end position.
    00:08:41,271Let's go forward maybe 10 frames.
    00:08:45,456Shift + Page Down jumps forward 10 frames.
    00:08:48,082That's a quick little shortcut.
    00:08:49,872We'll set a rotation keyframe.
    00:08:51,998We'll set the scale keyframe.
    00:08:55,147Most of the time I set keyframes just holding Option
    00:08:58,463and hitting S for scale, R for rotation.
    00:09:01,267And then go back to the beginning
    00:09:03,532and we'll set the initial values.
    00:09:05,782It's gonna start rotated over this way, and scaled way down.
    00:09:10,473It doesn't have to be scaled all the way to zero.
    00:09:14,572Don't be afraid to just have things appear on a frame,
    00:09:17,356especially if they're moving on the frame they appear.
    00:09:21,621That's totally fine and it's not gonna look weird.
    00:09:25,708It's gonna let you get away with animation
    00:09:28,142that would be harder to do if you tried
    00:09:29,746to always have the thing be totally disappeared.
    00:09:34,314I'm gonna easy ease all these keyframes.
    00:09:38,002I'm gonna try and easy ease, there we go.
    00:09:40,760Then go to the animation curves.
    00:09:44,845I want it to kind of start by being really quick
    00:09:48,870as it's beginning its animation
    00:09:50,812and then sort of ease at the end.
    00:09:55,065Hopefully if you watch enough of my tutorials,
    00:09:58,159these curves should start to look familiar to you
    00:10:00,392and you may not even need me to tell you what it's doing.
    00:10:04,374Let's take a look at that.
    00:10:05,995That's pretty good.
    00:10:07,873There's one pant.
    00:10:09,574Then what we need it to do
    00:10:11,104is right about here we need to start fading out.
    00:10:14,561I'm gonna put a transparency keyframe.
    00:10:17,466Option + T makes opacity keyframe.
    00:10:20,869Then go to the end and fade it to zero.
    00:10:24,361Now I'm gonna hit Option and the right bracket.
    00:10:28,332It's just to trim my layer.
    00:10:31,190So there's a pant right there.
    00:10:33,688I'm gonna have it start to fade out a couple frames later.
    00:10:37,866Maybe just one frame.
    00:10:39,442Just so you get enough time to read it.
    00:10:42,712There's gonna be three of 'em,
    00:10:44,050so I'm not too worried about it.
    00:10:46,259I can also delete this solid layer that I made
    00:10:49,282that was just the placeholder
    00:10:50,606so we could carry over our markers.
    00:10:55,044That's one kind of pant animation.
    00:10:58,491Another thing that I did
    00:11:00,387was I had kind of the brackets be a different color.
    00:11:05,146Why don't I pick whip the yellow color
    00:11:09,630using the trick I showed you guys in the last video.
    00:11:11,963You can use this little eye dropper over here
    00:11:14,804and then come back to the panting animation.
    00:11:18,862Oh, yes, I need to...
    00:11:21,648See, so here's the problem.
    00:11:22,950I wanna make the brackets yellow.
    00:11:28,145I'm not gonna be able to do that.
    00:11:30,651As soon as I select this type, this color's gonna change.
    00:11:33,619I actually need to transfer this color
    00:11:35,221to something else first.
    00:11:36,723I'm just gonna make a new solid (babbling)
    00:11:39,848a new solid layer.
    00:11:41,353It's very early (chuckling) so if I stumble, that's why.
    00:11:45,797I made a new solid layer
    00:11:47,286where I transferred that color to it
    00:11:49,312so now I can come in here and pick whip to that color.
    00:11:54,226This is kind of a little cheap trick in After Effects
    00:11:58,597to copy and paste colors around really easily
    00:12:02,049if you don't wanna go to the trouble
    00:12:04,524of actually setting up a color preset
    00:12:07,986or creating a color document
    00:12:11,322that you can sort of use between artists.
    00:12:17,046There you go.
    00:12:18,011There's one animation.
    00:12:20,235I'm gonna precomp this.
    00:12:22,630I'm gonna make sure I move all the attributes
    00:12:24,390into the new composition.
    00:12:26,049We'll call this Pant_CCW
    00:12:27,581and this pant is going counter-clockwise.
    00:12:33,951Let me move that into the precomps folder there.
    00:12:36,137Then I'm gonna duplicate that.
    00:12:38,641I'm gonna rename the duplicate to clockwise.
    00:12:42,053I can just come in here and all I need to do
    00:12:44,796to make this a clockwise animation is adjust the rotation.
    00:12:49,214If we look at the animation curve for rotation,
    00:12:51,629it's starting at 28 and it's ending up at negative 17.
    00:12:56,313If we just reverse those values,
    00:12:59,377then it will actually be going clockwise.
    00:13:04,420If we draw a box and select these keyframes,
    00:13:08,767what ya can do is actually scale this.
    00:13:12,780What I wanna do
    00:13:13,846is kinda look at where this keyframe is here.
    00:13:17,010It's in between 25 and 30.
    00:13:20,968I'm gonna hold Command and I'm gonna grab this top box
    00:13:24,546and I'm just gonna go like this.
    00:13:27,873I just inverted the curve.
    00:13:30,560The benefit of doing it this way
    00:13:32,338is that that nice shape of that curve gets maintained.
    00:13:35,703You've just sort of flipped it.
    00:13:38,447It's pretty handy.
    00:13:40,479So now we have a clockwise pant.
    00:13:42,467If we go to the panting animation now,
    00:13:46,381and let's zoom out a little bit
    00:13:48,436and let's figure out where that panting needs to happen.
    00:13:51,071I'm holding Command so I can scrub through.
    00:13:54,309Let me actually select the audio clip and hit L twice
    00:13:56,999like I showed you guys.
    00:13:58,441Let's see if we can see the pants.
    00:14:00,510I don't think you can.
    00:14:03,575Yeah, you can't really see the panting
    00:14:05,272on the waveform very well.
    00:14:07,727It's in here somewhere, but it's kinda tough to see.
    00:14:10,861I think it's gonna be easier to just kind of hold Command
    00:14:14,074and figure out where the first one starts.
    00:14:17,796Right there.
    00:14:18,803Then I'm gonna select that first panting layer
    00:14:21,551and I'm going to hit the left bracket key,
    00:14:24,236which is gonna knock it, it's gonna move it immediately
    00:14:27,239to the time of my playhead.
    00:14:29,682Then I'm gonna duplicate the layer
    00:14:32,121and I'm gonna replace this layer
    00:14:34,413with the clockwise animation.
    00:14:37,161If you don't know, the easy way to replace layers,
    00:14:39,603you select the layer you wanna replace in the timeline,
    00:14:42,220you come up to your project window here,
    00:14:44,960you hold Option and you click and drag like that.
    00:14:49,201Now, I can move this one
    00:14:51,243to where the next pant is happening.
    00:14:53,108Let's scrub through.
    00:14:56,888Right there maybe.
    00:15:01,400There is the last one.
    00:15:03,675The last pant is gonna be another counterclockwise,
    00:15:06,333move it up here, nudge it, there you go.
    00:15:09,003Let's RAM preview that.
    00:15:13,479(footsteps echoing) (panting)
    00:15:15,911Alright, so I think the first pant
    00:15:17,654actually starts a little earlier
    00:15:19,092and then this would be the second one,
    00:15:21,401and this would be the third one.
    00:15:25,603There we go.
    00:15:29,422Now they're overlapping,
    00:15:30,955so what I'm gonna do is I'm just gonna cheat.
    00:15:33,421I'm gonna take this bottom pant
    00:15:35,699and I'm gonna nudge it up like this.
    00:15:38,630I'm gonna keep nudging it up
    00:15:39,906so that it doesn't really overlap very much.
    00:15:43,004Now it's going to the top of the screen,
    00:15:44,815so I'm gonna actually have to move
    00:15:46,799some of these other ones down.
    00:15:51,008I'm just kinda going frame by frame through it
    00:15:54,987and adjusting, there we go.
    00:16:00,155(footsteps echoing) There we go.
    00:16:02,082Cool, so there's our panting animation done.
    00:16:04,679We made it almost the size of the comp,
    00:16:07,688so the good thing is we can use it at a really large size
    00:16:11,888if we ever needed to.
    00:16:14,045Now if we go back into our main comp,
    00:16:16,080here's the panting animation.
    00:16:17,764It should already be timed out.
    00:16:19,866You can see the layer starts at the beginning of the comp,
    00:16:23,319but there's nothing in that until the panting.
    00:16:28,181I'm gonna trim this layer.
    00:16:29,701I'm gonna select it, hold Option,
    00:16:31,189hit the left bracket to trim it.
    00:16:34,957It depends how you like to organize
    00:16:37,194your After Effects projects.
    00:16:39,581I like to try and color code things when I can,
    00:16:44,350just so this won't look as crazy in the end.
    00:16:48,777The footsteps and the panting
    00:16:50,572and the line that's about to follow,
    00:16:52,145those all come from the same character.
    00:16:56,708I'm gonna start color coding them all the same color.
    00:17:00,391Why don't we make them purple
    00:17:02,238since that's kind of the color of his footprints.
    00:17:05,087Anything that happens with this character we'll make purple.
    00:17:07,413It'll be easier to see in the timeline.
    00:17:10,106I need to make this now a 3D layer
    00:17:13,267so the camera can actually see it.
    00:17:15,850Here's an interesting thing,
    00:17:17,206so because we have this camera in here
    00:17:19,908and we're animating the camera as we go,
    00:17:22,326when I make something a 3D layer for the first time,
    00:17:24,834it puts it back at the origin of our scene.
    00:17:28,296If I zoom way out, you can see where it is here.
    00:17:31,603That's not a big deal.
    00:17:33,177A lot of times you can just zoom out
    00:17:34,994and then scoot this over where you can see it,
    00:17:37,412and now you can adjust it's rotation and position
    00:17:39,684and all that stuff.
    00:17:41,005Eventually this is gonna start to get hard to do
    00:17:43,543if the camera moves really far
    00:17:45,894and we'll have to zoom way out here
    00:17:47,993and try and find the layer.
    00:17:51,266One thing that I found helps is if you,
    00:17:55,550normally you're looking
    00:17:56,693through the active camera in your scene,
    00:18:00,085but you can change this and you could set a custom view.
    00:18:06,187The custom view basically gives you control
    00:18:09,893over a totally separate camera.
    00:18:13,556You can zoom out and move around.
    00:18:17,792What I'm doing is I'm hitting the C key,
    00:18:20,007which brings up your camera tool.
    00:18:22,430When you first hit C it brings up an icon
    00:18:24,480that looks like a movie camera.
    00:18:26,237This is cool if you have a three button mouse.
    00:18:28,697You can just click to rotate.
    00:18:31,552You can, I believe, middle click to zoom in and out.
    00:18:36,298Then you can Right Click to move around.
    00:18:38,974I use a Wacom tablet and it's a lot tricker to do that
    00:18:42,463with the buttons on the pen.
    00:18:44,613Normally I just hit C again
    00:18:47,287and that brings up those individual things.
    00:18:51,770In this view it's easy for me to see other cameras here.
    00:18:54,688I can move this over.
    00:18:56,414You might even be able to, let me try this,
    00:18:58,684instead of custom view, let's go to top view.
    00:19:01,791Or not top view, sorry, front view.
    00:19:04,465Then in your front view you can still zoom out
    00:19:08,376and move your sort of virtual camera around
    00:19:11,701and I can see this is where the camera actually sits.
    00:19:15,403If I just grab this layer and move it here.
    00:19:17,735Then I can go back to my active camera
    00:19:20,749and it should be out, now I can see it.
    00:19:23,304Now that I've set up that top camera,
    00:19:25,383if I hit Escape, I can just toggle back and forth
    00:19:29,015between those two cameras.
    00:19:31,538That's pretty cool
    00:19:32,942because now whenever I make a new 3D layer,
    00:19:35,888I can just hop into my top view,
    00:19:37,601or, sorry, my front view.
    00:19:39,964This seems like it should be the top view
    00:19:41,917because in cinema 4D this would be a top view.
    00:19:44,218But it's actually not.
    00:19:45,638It's actually the front view.
    00:19:49,013Just position it so the camera can see it.
    00:19:52,199Here's the panting animation
    00:19:53,951and it's not rotated the right way.
    00:19:56,346It's probably too big
    00:19:57,860and I want it to be over here by the footsteps.
    00:20:01,569Let's just RAM preview the end of this.
    00:20:05,517There we go. (footsteps echoing)
    00:20:07,709Alright, let's move these here.
    00:20:12,884(footsteps echoing)
    00:20:15,121So the pants, they feel a little bit big.
    00:20:20,466Also, they're not moving as much as I'd like
    00:20:22,298so I'm just gonna add one more sort of layer to this.
    00:20:24,757I'm gonna hop back into the panting animation
    00:20:27,627and let's zoom to fit.
    00:20:31,234What I wanna do is as this,
    00:20:34,525I'm gonna shrink 'em all down, first off,
    00:20:36,240'cause they don't need to be as big as they are.
    00:20:37,614So let's scale them down to 50%.
    00:20:41,822I know I'm gonna have to adjust where they are.
    00:20:44,294What I wanna do is open up the position on the first one,
    00:20:49,028Control Click, Separate Dimensions.
    00:20:51,679Let's put a y position keyframe at the beginning
    00:20:54,394and then let's go to the last frame.
    00:20:57,493Now that's disappeared, let's put a keyframe there.
    00:21:00,280What I want this to do
    00:21:01,814is I want it to actually rise as it's animating.
    00:21:07,810I went back to the first keyframe
    00:21:09,497and I just knocked this layer down,
    00:21:10,966so now it will actually move up a little bit.
    00:21:13,374And, of course, I don't want it
    00:21:14,706to just be moving up linearly.
    00:21:16,543I want it to kind of mimic that motion
    00:21:19,165where it starts out fast and it ends slowly.
    00:21:25,990It makes it feel a little bit more like it's bursting up.
    00:21:27,715Then I can just copy and paste
    00:21:32,397the y position to the other two,
    00:21:35,755and then I can just adjust the position like this.
    00:21:41,061Now they're overlapping again.
    00:21:42,102What I wanna do is take the second layer here
    00:21:46,922and select both keyframes,
    00:21:49,279make sure that my playhead is on one of those keyframes,
    00:21:52,258and then if I just use my arrow keys to nudge it down,
    00:21:56,704it's moving both keyframes at the same time.
    00:21:58,920Then I'll do the same thing on this one.
    00:22:03,103I'm just trying to get it so they don't overlap too much.
    00:22:06,959Let's see.
    00:22:08,934That's better.
    00:22:10,390There's still overlapping more than I want,
    00:22:12,006so I'm gonna nudge the first layer up.
    00:22:15,523There we go.
    00:22:16,630Then I'm gonna nudge the last layer down.
    00:22:20,121and now they shouldn't overlap anymore.
    00:22:22,265There we go.
    00:22:28,156Let's see what that looks like.
    00:22:29,105Let me scale this up a little bit.
    00:22:36,414And move this up and there you go.
    00:22:38,662Now we have our panting animation.
    00:22:41,834Now we are ready for the first line of dialogue,
    00:22:45,788that little crazy flash of stuff I just did.
    00:22:49,866It's funny.
    00:22:52,389When you get the hotkeys
    00:22:53,882kind of embedded in your brain in After Effects,
    00:22:56,829you sometimes just do them without even thinking.
    00:22:58,644What I was doing was sometimes
    00:23:01,412you have a bunch of layers open like this.
    00:23:05,493And I wanna sort of look at my timeline as a whole
    00:23:09,100and not see all this stuff anymore.
    00:23:11,588What you can do is you can hit Command + A,
    00:23:13,821Select All, and then you can hit Shift + Tilde
    00:23:17,325and it will close everything up for you.
    00:23:19,735That's what I just did.
    00:23:23,632The next line is is he a nutcase.
    00:23:28,293We can build all of that as one precomp.
    00:23:34,281The reason that that's smart to do
    00:23:36,419is because we're gonna wanna lay out our type, right?
    00:23:42,642And not have to lay this type out,
    00:23:45,874and then lay this type out separately,
    00:23:47,881and then hope they work together.
    00:23:51,960It's good to lay it out in one comp.
    00:23:54,193I also knew that we were gonna zoom in to this.
    00:23:57,540And we were gonna be very close to it,
    00:23:59,411but then zoom out to see all of this.
    00:24:02,603If I made this comp, this is he a nutcase precomp,
    00:24:07,371if I made it 1920 by 1080
    00:24:09,233and then we zoomed in this close,
    00:24:11,261it would get really, really pixelated.
    00:24:13,743I knew I needed to make it bigger than that.
    00:24:16,558What we need to do is let's do the same trick here
    00:24:20,845where we go to the main comp and make a new layer
    00:24:25,087and we pre-compose it and we can call this IsHeANutcase?
    00:24:34,489Then we'll go in there
    00:24:35,774and we'll see that we have our markers
    00:24:37,621that transferred over.
    00:24:39,699Let's also copy over the audio.
    00:24:42,949And Control Click it or Right Click it,
    00:24:44,714make it a guide layer.
    00:24:46,921Then we'll go up to our illustrator file
    00:24:49,392and let's grab this layer, this layer, this layer.
    00:24:54,470Is he a nutcase?
    00:24:56,298Copy 'em.
    00:24:58,273Paste 'em.
    00:24:59,493I'm gonna change the background
    00:25:01,151of this precomp, Command + K.
    00:25:03,654Just make it lighter so I can see.
    00:25:06,607There we go.
    00:25:08,164Now we can lay the type out.
    00:25:11,148First thing I wanna do is actually make this comp bigger.
    00:25:15,105I'm just gonna do that quick little trick
    00:25:17,151I showed you guys last video.
    00:25:19,317You go to the Scripts menu and you do Scale Composition
    00:25:23,041and you say scale factor two.
    00:25:28,258Now if I go back here
    00:25:30,844it has doubled the size of my comp really quickly
    00:25:33,440and it's also maintained the relationship
    00:25:36,565between all the layers,
    00:25:38,590and they're visually in the same place.
    00:25:41,500Let's turn off the nutcase layer for a second.
    00:25:45,829Let's talk about how we wanna animate this.
    00:25:48,782Actually, first thing I wanna do is scale everything up
    00:25:51,833so that it's really big
    00:25:54,142and so we have a lot of resolution to work with.
    00:25:57,050I'm gonna just temporarily
    00:25:59,136parent these two layers to this one,
    00:26:02,592just so I can scale it up really big.
    00:26:06,308I'm not gonna mess with rotation
    00:26:08,380and all that stuff just yet,
    00:26:11,238but we will in a little bit.
    00:26:14,508The first part of this is is he
    00:26:16,604and then there's this little noise he makes like (hissing)
    00:26:19,738like he thinks he's being funny.
    00:26:21,537Let's talk about the first part.
    00:26:25,251He just ran from screen right,
    00:26:28,224or screen left to screen right
    00:26:30,312and he kinda stops short and he says,
    00:26:32,311he kind of spits these words out, "Is he?"
    00:26:35,055So I wanted the motion of those words
    00:26:38,648to kind of reinforce that.
    00:26:40,391I figured it'd be cool if they animated on left to right.
    00:26:46,536I also thought it might be interesting
    00:26:48,744to have those three, the ellipses, to sort of animate on
    00:26:53,402to really animate that little pause
    00:26:56,336before he finishes his sentence.
    00:26:58,346These are all little details I'm sure when you watch this
    00:27:01,726you don't even notice when it's playing.
    00:27:04,155But if you watch,
    00:27:05,152you see that they animate on left to right.
    00:27:06,838There's the ellipses, and then the little (hissing)
    00:27:09,494that just pops on.
    00:27:11,315I'm always trying to animate the words
    00:27:13,509in kind of the character of what it is they're saying
    00:27:16,371and what the character's doing.
    00:27:18,295What I need to do is I need to separate
    00:27:21,344is he and the dots into separate layers.
    00:27:25,463Let's do that real quick.
    00:27:26,887What I'm gonna do is I'm gonna rename this layer Is
    00:27:30,937and I'm gonna duplicate it.
    00:27:32,244I'm gonna rename it He.
    00:27:34,600I'm gonna duplicate it and say Dot01, Dot02, and Dot03.
    00:27:41,513I first make the number of layers I need,
    00:27:43,680which is one, two, three, four, five.
    00:27:47,001Then I'll go back through and I'll mask them.
    00:27:48,762So I'm gonna hit Q, Q brings up your Mask Tool,
    00:27:51,557and I wanna make sure it's on the Rectangle Tool.
    00:27:54,339I'm gonna mask out Is.
    00:27:55,817Then I'm gonna hit Command and the up arrow
    00:27:59,117and Command up and down.
    00:28:01,164It moves between layers in your timeline.
    00:28:04,503So I can then just quickly Command + Up, go to He,
    00:28:08,174draw a mask, and you see this mask
    00:28:11,133is actually hitting one of these ellipses.
    00:28:13,157I don't want that.
    00:28:14,166So I'm gonna hit G really quickly, add a point,
    00:28:17,226hold Command so now I can select a point and then move that.
    00:28:21,822Hopefully you guys can see that green mask
    00:28:24,587on the screen capture.
    00:28:26,788I'll hit Q, Command + Up goes to the next layer.
    00:28:30,832So now I can draw a mask around this dot.
    00:28:34,462Command + Up, do the next one.
    00:28:37,981If you're sloppy, make sure you clean that up
    00:28:40,117and then Command + Up and do the next one.
    00:28:43,975For some reason, I think it's I hit Q too many times,
    00:28:47,529it changed it to a rounded rectangle,
    00:28:49,053which is not what I want, so we'll go like that.
    00:28:51,012There we go.
    00:28:53,316Now, we have very quickly broken that word,
    00:28:56,101or, sorry, that whole phrase up into different layers.
    00:28:58,619I want them to just sort of slide in very quickly
    00:29:03,321and sort of reveal from left to right.
    00:29:06,956First, I need to set up some masks or a matte layer
    00:29:12,018for each one of these.
    00:29:13,868This is an easy trick.
    00:29:15,049I do this constantly.
    00:29:17,947This is one of my go-to moves.
    00:29:19,515If you guys remember back from a few tutorials ago,
    00:29:23,503this is kind of a go-to move and it's really simple.
    00:29:26,395Hopefully this is something you guys can use, too.
    00:29:29,051I'm gonna make a new layer.
    00:29:30,594It's a good idea just to make it a totally different color
    00:29:33,900than something else in your comp so it's easier to see.
    00:29:37,733I'm gonna put it underneath all my layers.
    00:29:41,356I'm just gonna move it like this.
    00:29:47,104You can do it two ways.
    00:29:48,275You can move the layer
    00:29:49,632to the very edge of your layer like this,
    00:29:54,100or you can do the reverse
    00:29:58,956and put it on this side.
    00:30:00,367I think that's what I'm gonna do.
    00:30:03,547This layer is going to be the matte for Is.
    00:30:08,062Then what I can do is I can have is start over here
    00:30:11,425where the layer doesn't exist
    00:30:12,821and slide into the layer and it will reveal.
    00:30:15,744And it'll be beautiful.
    00:30:17,843It'll be gorgeous.
    00:30:22,269To make this easy, I could even,
    00:30:26,167let me do this a better way.
    00:30:28,514This will save time.
    00:30:30,023Let me put this back where it came from.
    00:30:32,445Instead of doing that, I'm just gonna grab my Mask Tool
    00:30:35,359and just drag a mask around it like this.
    00:30:38,997I'm gonna bring this up above Is
    00:30:42,286and I'm gonna set Is,
    00:30:44,384I'm gonna hit F4 so I can swap out this column here
    00:30:47,527so I can see the track mattes,
    00:30:49,893and turn on the Alpha Matte option for Is.
    00:30:53,411So now it's using that layer as the matte
    00:30:55,262and what that means is I can just slide it in like that.
    00:31:00,263I need to set that up for all the other layers.
    00:31:02,605What I can do is just duplicate the matte,
    00:31:05,517bring it above the next layer,
    00:31:07,440and then move this mask over just like this.
    00:31:10,815And then adjust the shape of it.
    00:31:16,522Then duplicate it and do the same thing for the dot.
    00:31:22,524If you double click a mask,
    00:31:23,976it let's you transform the whole mask at the same time.
    00:31:28,979Then I can duplicate it again,
    00:31:31,637move the mask over here, duplicate it,
    00:31:38,089and there we go.
    00:31:39,256Now it's all set up.
    00:31:40,757Then we just need to tell all of these other layers
    00:31:43,243to use whatever layer's above them as an alpha matte.
    00:31:50,232Then we need to have each layer slide from left to right.
    00:31:54,996Now what we can do is open up the position property
    00:31:57,868for each of these layers, select all position properties,
    00:32:01,518Control Click Separate Dimensions,
    00:32:03,751and all we wanna animate is x position.
    00:32:08,296I just turned on a stopwatch for those, hit U.
    00:32:12,173I accidentally turned on y for this, which I don't want.
    00:32:16,285Then this is gonna happen very, very quickly
    00:32:18,625so let's go forward four frames, maybe five,
    00:32:23,338and add a keyframe here.
    00:32:25,523Then we'll go back to the first keyframe
    00:32:27,230and set the initial position.
    00:32:28,629Is, if I move it to the left,
    00:32:30,795I just need to move it until I can't see it anymore.
    00:32:33,279And then the same thing with He, and then the first dot,
    00:32:38,354second dot, and the third dot.
    00:32:41,463There we go.
    00:32:42,864Then I'm gonna easy ease all of these,
    00:32:45,305go into the animation curves,
    00:32:47,825this little button down here, it looks like two squiggles,
    00:32:49,938that fits all of your graphs to the view.
    00:32:52,870It actually does a pretty terrible job of doing it, too.
    00:32:59,370The graph editor in After Effects,
    00:33:03,482it could be better.
    00:33:04,817Let me just leave it at that.
    00:33:07,865What I want, I kinda want that same animation style
    00:33:11,497that I've been doing where things sort of shoot out
    00:33:15,038and then ease at the end.
    00:33:17,138The problem is if I grab all these like this
    00:33:19,258and I try to point them up,
    00:33:21,912I'm gonna run into a problem
    00:33:24,314which is these layers that have more change in their value
    00:33:30,935are not gonna be adjusted the same as these layers
    00:33:33,255that don't have as much change.
    00:33:35,926Unfortunately in this case,
    00:33:37,752I'm gonna have to just do it manually.
    00:33:40,101Or, what might save me some time is go like this,
    00:33:44,445pull these up, grab all these, pull these out,
    00:33:47,934but then quickly go through each one and just take a look.
    00:33:51,497Like this one looks like it's bent a little too much.
    00:33:56,472Just quickly go through and adjust these curves.
    00:33:58,745Like this one isn't bent enough, right?
    00:34:01,526It's always a good idea to just double check,
    00:34:03,921make sure everything's workin'.
    00:34:06,382Let's take a look at the speed of these.
    00:34:11,157Nice, they slide in nicely.
    00:34:12,768And then next thing we gotta do is just stagger them.
    00:34:17,052Is comes out first and then He and then the Dots
    00:34:20,217and I want them to happen in time.
    00:34:23,772So I actually have markers here
    00:34:25,776that tell me when those words happen.
    00:34:28,008If I take the Is layers and move them there.
    00:34:32,457I probably want Is to land on that marker.
    00:34:37,434I'm gonna nudge.
    00:34:38,330I wanna just scoot this back a little bit like this.
    00:34:41,794An easy way to do it is hold Option and hit Page Up
    00:34:46,631and it will nudge layers backwards and forwards
    00:34:49,303in time for you.
    00:34:50,761Then He I'm gonna want to land right here like that.
    00:34:57,565Then the first Dot,
    00:34:58,908the dots, you know,
    00:34:59,936obviously you can't hear the dots in the audio.
    00:35:04,377I'm just gonna kind of wing those
    00:35:06,921and hope that I like where they end up
    00:35:09,250and then adjust them when I don't.
    00:35:11,908Is he dot dot dot and then that (hissing) will happen.
    00:35:16,058Let's listen to this.
    00:35:21,384- [Boy] Is he (hissing)
    00:35:22,442- [Joey] Okay, I like the is he,
    00:35:24,257but the dots, they need to happen faster.
    00:35:27,332So I'm just gonna make sure
    00:35:28,573there's only one frame in between them
    00:35:30,511and I'm gonna have them start a little sooner.
    00:35:36,135- [Boy] Is he?
    00:35:36,968- [Joey] Cool, cool.
    00:35:38,085I'm thrilled with this.
    00:35:41,389All I need to do is precomp this now
    00:35:45,258and then we can start on the next piece.
    00:35:50,040One thing I wanna make sure
    00:35:52,172is that this type is big enough
    00:35:57,695so that when I get very close to it, I'm gonna be happy.
    00:36:02,488You can see I'm zoomed in.
    00:36:04,838Since this comp is basically twice the size
    00:36:07,109of a normal HD comp,
    00:36:09,899if I'm zoomed in at 50%,
    00:36:12,557I mean, this is actually 100% here.
    00:36:15,093This is how big it's gonna be able to be without pixelating.
    00:36:18,895The reason it's pixelated now is 'cause I'm in half res.
    00:36:21,217But if I'm in full res, it'll look nice and crisp.
    00:36:24,808I think this should be big enough.
    00:36:27,503So we don't need to do anything else to that.
    00:36:29,675Then the next piece of the animation is the (hissing)
    00:36:34,899Let me move this up.
    00:36:42,677I was thinking about what I wanted this to be like
    00:36:45,776and it's such a sharp, fast sound
    00:36:49,140that I thought it'd be cool if it just appeared.
    00:36:52,685Sometimes just (snapping fingers)
    00:36:54,148cutting something into existence looks cool,
    00:36:57,365but I wanted a little something extra.
    00:36:59,536I thought he's making this noise
    00:37:01,440and I kind of pictured him spitting,
    00:37:03,332like little bits of spit
    00:37:04,536coming out of his mouth when he said it.
    00:37:06,932I decided to animate some of those
    00:37:08,932and I did it as quickly as I possibly could
    00:37:11,651and this is how I did that.
    00:37:12,948First let me move the (hissing) layer to the right spot.
    00:37:18,951Let's do a quick RAM preview, make sure we like where it is.
    00:37:23,597There we go.
    00:37:25,040Then I'm gonna make a new precomp real quick.
    00:37:31,405Just to save time,
    00:37:32,519so I don't have to then find the precomp and bring it in,
    00:37:34,737I'm gonna make a new solid, I'm gonna pre-compose it.
    00:37:38,440We're gonna call this Spit.
    00:37:42,377We go in here, we can delete that solid.
    00:37:44,581All we need to do,
    00:37:46,063I can also make this comp much smaller.
    00:37:48,916This doesn't need to be a double HD comp.
    00:37:53,528I'm just gonna make a line,
    00:37:55,671I'm gonna put a point here, hold Shift, put a point here.
    00:37:59,312That's it.
    00:38:00,320And then just make sure there's a stroke on it.
    00:38:02,923The stroke by default, let's see, that's 25.
    00:38:07,485What I'm gonna do is I'm gonna make a line,
    00:38:08,944I'm gonna animate it on and off,
    00:38:11,260and then I'm gonna just bring it into here
    00:38:14,781and scale it down.
    00:38:16,461Let me just kind of test fit this and see.
    00:38:22,559I'm gonna move the anchor point to one end of the line
    00:38:24,856and it should probably be the beginning of the line.
    00:38:28,529Let's do it like that.
    00:38:30,441I'm gonna scale it down
    00:38:31,870and I'm just gonna sort of place it like this.
    00:38:36,879The thickness of that stroke looks pretty good to me.
    00:38:42,287What I wanted to check was in this comp
    00:38:44,981it looks super thick.
    00:38:46,923But I knew I was gonna scale it down in this comp,
    00:38:49,632so it looks okay here.
    00:38:52,097I'm glad I checked that.
    00:38:53,448All I need to do is animate that line on and off.
    00:38:56,935You see how it has these hard edges?
    00:38:59,106I don't want it to have the hard edge,
    00:39:01,177I want it to be rounded.
    00:39:02,678If I go into the contents of the shape,
    00:39:06,337look at the stroke options,
    00:39:07,747there is a line cap and you can change it to a Round Cap
    00:39:14,181instead of a Butt Cap.
    00:39:18,897It's 6:30 in the morning.
    00:39:20,725That made me laugh.
    00:39:22,785There's your Round Cap.
    00:39:25,069Then, if you wanna animate the line on and off,
    00:39:27,090the easiest way is to add to your shape layer,
    00:39:29,955add the Trim Paths modifier.
    00:39:32,686Then I can just animate the end and I can animate the start.
    00:39:37,648What I'll do is I'll start at zero zero,
    00:39:41,869and let me go to the beginning of this layer here,
    00:39:46,590and I'm gonna animate first the end.
    00:39:49,041Maybe five frames.
    00:39:53,073Goes all the way to the end.
    00:39:54,813And then I'll animate the start.
    00:39:58,375Goes all the way like that.
    00:40:00,987Then I'll just overlap them a little bit.
    00:40:04,002I'm gonna easy ease both of them.
    00:40:07,119Let's go to the end first.
    00:40:09,973The end, this is what's bringing that line on.
    00:40:13,303What I want it to do is you probably could have guessed,
    00:40:16,978I want it to start fast
    00:40:18,318and then really ease into its last keyframe.
    00:40:21,514Then with start, I want it to do the opposite.
    00:40:25,914I want it to ease out, but then get faster.
    00:40:29,933The combination of doing that is gonna look like this.
    00:40:35,254It's kinda poppin' out a little too fast.
    00:40:39,175I'm gonna adjust that keyframe a little bit.
    00:40:42,826There we go.
    00:40:46,402Cool, wonderful.
    00:40:48,170Then I can overlap them more or less.
    00:40:51,466Basically the more overlap they have,
    00:40:54,274the shorter that line is gonna look.
    00:40:56,884The more overlap, the longer it'll look.
    00:40:59,878Somewhere in the middle is probably good
    00:41:01,200and then we'll come back to this comp
    00:41:04,389and we'll go here.
    00:41:06,567Let me move this spit layer.
    00:41:08,581I just used the left bracket hotkey again
    00:41:10,625to move the end point of the layer here.
    00:41:17,897I have it, actually, backwards.
    00:41:19,855Let me adjust the anchor point.
    00:41:22,925Let me zoom in here.
    00:41:24,315I'm gonna adjust the anchor point
    00:41:25,748so it's on the end of that line,
    00:41:28,278and that way I can easily rotate the line
    00:41:30,387to point where I want
    00:41:32,198and I can position this wherever I want.
    00:41:34,924Let's say I want one line there.
    00:41:38,781Now I can start selecting font colors now if I wanted to.
    00:41:44,674I can use a generate fill effect.
    00:41:48,082So why don't we do that.
    00:41:49,190We'll use Effect, Generate, Fill,
    00:41:52,451and use that yellow color.
    00:41:55,585I'll just copy that effect onto each of my type layers.
    00:42:01,075And that's it.
    00:42:02,616Then I'll copy that same effect onto the spit
    00:42:04,793so it matches with this type.
    00:42:08,227Alright, so that's what it's gonna do.
    00:42:10,909And then what I wanna do,
    00:42:12,877and maybe it's too long so I'm gonna scale this layer
    00:42:17,940just on x a little bit so I can control how long it is.
    00:42:23,486There we go.
    00:42:25,490Then I can just duplicate it, rotate it, and move it.
    00:42:30,830So I can have another one come out of here,
    00:42:34,017kind of along the angle of this k.
    00:42:38,151I can duplicate it again and bring it over here,
    00:42:42,084and they can be going straight up with the t,
    00:42:44,609but then maybe have another one
    00:42:49,339that's a little bit shorter
    00:42:52,625maybe down here, somewhere like that.
    00:42:56,409I'm just sort of trying to randomly place these,
    00:43:00,298but in general have them move outwards, like it's a burst.
    00:43:10,524Now if we RAM preview this.
    00:43:16,938I kinda like what they're doing,
    00:43:18,290but it just feels like the lines get too long.
    00:43:21,679There's not enough variation and then they're too slow.
    00:43:24,486Let's just quickly fix that.
    00:43:25,511I can grab these last two keyframes
    00:43:28,731and move 'em a frame closer
    00:43:31,288and overlap these quite a bit more
    00:43:33,166so we get something that's more like that.
    00:43:39,799Let's double check our animation curves here.
    00:43:45,376I think it might actually work better
    00:43:47,463with my start animation maybe if I tried it like this,
    00:43:52,568tried actually easing on both sides.
    00:43:55,883It's gonna let us see a little bit more of the end there.
    00:44:00,730That's much, much better.
    00:44:03,128- [Boy] Is he (hissing)
    00:44:04,122Is he (hissing)
    00:44:04,955- [Joey] Cool.
    00:44:06,075If I wanted to, just to add a little variation,
    00:44:08,801maybe I could take a couple of these
    00:44:10,278and nudge them forward one frame.
    00:44:14,951There's an expression that a good friend of mine says
    00:44:19,381that it's a sound only a dog can hear.
    00:44:22,839But just that little bit of variation in timing, I like it.
    00:44:26,740I notice it and I know it's there,
    00:44:28,325so that's what we're doin'.
    00:44:32,053So now we've got that.
    00:44:33,621Then the next part is is he (hissing) a nutcase.
    00:44:37,478Let's turn on a nutcase.
    00:44:40,536For this, I sort of had planned this out
    00:44:43,095in my head ahead of time.
    00:44:44,276I knew is he (hissing)
    00:44:46,102was gonna happen very close to camera,
    00:44:47,396and then a nutcase we're gonna zoom back and sort of reveal.
    00:44:51,837I wanted a nutcase to have a lot of movement to it.
    00:44:57,808Here, first thing I'm gonna do
    00:44:58,641is I'm gonna precomp this whole bit up here.
    00:45:02,005This is is he (hissing)
    00:45:08,043And there's that.
    00:45:09,264Then that layer doesn't start until here.
    00:45:12,819So Option + Left Bracket, there we go.
    00:45:18,330Now I'm gonna make a null
    00:45:21,014and I'm gonna call this TypeNull
    00:45:25,393and I'm gonna parent both of these layers to the null,
    00:45:28,961and that way I can just adjust
    00:45:31,083the overall scale and rotation and things like that.
    00:45:36,446Because, if you look at the actual composition
    00:45:39,350that this ends up with,
    00:45:42,023again, the character, if you guys have seen the movie,
    00:45:45,706the person saying this looks like he's completely insane.
    00:45:49,823And so I wanted it to look a little off
    00:45:51,806and I wanted it kind of pointing left to right
    00:45:55,874with things getting bigger, or smaller to bigger.
    00:45:58,474Almost like he's getting louder and louder
    00:46:01,644with each word he's saying like he's losing his mind.
    00:46:04,777This is just a little insight
    00:46:06,443into sort of how you can think about these things.
    00:46:10,760I knew it was gonna be rotated
    00:46:12,166and I kinda wanted to visualize that.
    00:46:15,109Lookin' at this, I know I need to first
    00:46:18,299break up this layer into three layers.
    00:46:21,717Instead of a nutcase, it should be A Nut Case.
    00:46:28,094Then I can do that same trick.
    00:46:30,341Q, grab my Mask Tool
    00:46:33,759and just mask out each piece of that
    00:46:37,536one piece at a time,
    00:46:40,569and move the mask points so that we don't get any overlap.
    00:46:45,200There we go.
    00:46:46,524And then do the same thing here.
    00:46:53,018There we go.
    00:46:54,111We've got those.
    00:46:56,541What I sort of did
    00:46:57,855was I just sort of did a little pred key move,
    00:47:01,462a predkey type move on here
    00:47:03,680and just had them sort of rotate and scale up and land.
    00:47:08,446It worked great because it kind of makes it feel
    00:47:10,703like he's shouting these words.
    00:47:12,774Let's start with a and I'm gonna hit Y
    00:47:16,171and move the anchor point.
    00:47:18,951Maybe we'll try just doing it on the corner of the a.
    00:47:22,544I'll have the a sort of swing up and swing into position.
    00:47:27,072It's gonna start, and I actually have my markers up here
    00:47:29,542so I can see a nutcase.
    00:47:33,333So a is gonna start there.
    00:47:36,088I know I'm gonna animate rotation and scale,
    00:47:40,872so why don't we move forward, let's say, six frames.
    00:47:47,020And I'm just guessing.
    00:47:48,609We'll put keyframes there.
    00:47:51,148When it swings, it's gonna be swinging pretty fast.
    00:47:54,288These are big letters,
    00:47:55,733so I want it to overshoot a little bit.
    00:47:58,264I know it's gonna have to spend a few frames
    00:48:00,801coming back and settling.
    00:48:02,543If this is six frames, why don't we go forward two frames.
    00:48:06,768Alright, and put two more keyframes there.
    00:48:09,192This keyframe, this is actually where it lands.
    00:48:13,392On this keyframe, this is where it starts
    00:48:15,246and I want it to start way down here and smaller.
    00:48:20,379It doesn't have to be all the way shrunk down, remember.
    00:48:23,078It can pop on and it'll look fine.
    00:48:25,405Then when it comes here, I want it to overshoot.
    00:48:28,131So it's gonna rotate a little too far.
    00:48:30,673It's gonna grow a little too big.
    00:48:33,383Then I'll easy ease those.
    00:48:36,497Go into my animation curve,
    00:48:40,231and really yank out these ending keyframes
    00:48:46,206so that it feels like a big kind of bouncy, sticky move.
    00:48:52,774There we go.
    00:48:55,042And it's not big enough.
    00:48:56,465It's not big enough.
    00:48:57,547I really want it overshoot,
    00:48:59,124so it needs to over shoot way more.
    00:49:03,652And maybe it even needs to start smaller
    00:49:06,908so there's more acceleration.
    00:49:09,999I'm just gonna sort of gently, with a soft touch,
    00:49:14,658I'm gonna just sort of
    00:49:16,448get these curves where they need to be.
    00:49:21,858What I'm looking for is I'm lookin' for the animation
    00:49:24,598to feel natural.
    00:49:27,865Right now, it feels like when it comes back,
    00:49:31,790it's happening so fast.
    00:49:35,103It kind of loses the illusion of weight.
    00:49:44,047What that means is that I even could adjust this keyframe,
    00:49:47,775but I actually like this.
    00:49:49,506Or I need to add some overshoot in the opposite direction,
    00:49:52,447so I think that's what I'll do.
    00:49:54,437So just go forward a couple of frames, add another keyframe,
    00:49:58,542and then step back one set of keyframes
    00:50:00,992and just add a little bit of overshoot back the other way,
    00:50:04,765like an overcorrection.
    00:50:07,782That's better.
    00:50:09,819Let me turn the audio off for a minute
    00:50:11,680just so you guys can see
    00:50:13,096that little bit of overshoot coming back down,
    00:50:17,629it sold the whole thing.
    00:50:18,703It was not good before that.
    00:50:20,200Now that feels better to me.
    00:50:22,406And maybe you guys still think it sucks.
    00:50:24,586This actually, looking at it, feels like a good animation.
    00:50:29,604If you're stuck and you're looking at your thing
    00:50:32,093and it doesn't look right,
    00:50:33,320always go back to those animation principles.
    00:50:35,655They make it a lot easier
    00:50:36,838once you start working within a framework like that.
    00:50:40,311There's a nutcase.
    00:50:42,352Now, because I've got that set up,
    00:50:45,647I can just kind of apply that to each layer.
    00:50:48,548A nutcase, or sorry, nut,
    00:50:51,720I'm gonna have it rotate the opposite way.
    00:50:54,200But I've already shown you guys the trick how to do that
    00:50:56,363so that's gonna be easy.
    00:50:57,196We'll copy that.
    00:50:58,721Then nut obviously starts where the nutcase marker is.
    00:51:04,500I'll paste that.
    00:51:06,033Then I'm gonna hit rotation, go to the animation curves,
    00:51:09,265and I need to flip flop this rotation curve.
    00:51:13,091It starts up here in between 40 and 50
    00:51:16,698and it ends at zero.
    00:51:19,121I still want it to end at zero,
    00:51:20,630so what I'm gonna do is select all these keyframes,
    00:51:23,001and I'm gonna move the anchor point of this transform box
    00:51:27,351to this keyframe here.
    00:51:28,999I don't want that keyframe to move.
    00:51:30,824I want everything else to move
    00:51:31,872but I want that ending to stay where it is.
    00:51:34,060Hold Command and then drag this thing down
    00:51:36,988so now when you just go down here
    00:51:39,365so that it begins in between 40 and 50 just like it started.
    00:51:48,953There you go.
    00:51:49,786Then I can just copy the original animation
    00:51:52,776to the case layer.
    00:51:56,393Let's figure out where that needs to go.
    00:51:58,409Let me turn the audio on.
    00:51:59,421I'm gonna hold Command and scrub through.
    00:52:05,068Case, right there.
    00:52:07,811Then I'll just paste those keyframes.
    00:52:12,980Now we've got the whole line.
    00:52:24,444The animation of a nutcase, it looks great
    00:52:27,088and the one little problem, which is easy to fix,
    00:52:30,280is that the animation takes time.
    00:52:33,327So you're hearing the word,
    00:52:35,249but you're not actually seeing it until a few frames later.
    00:52:37,650I'm just gonna nudge these back.
    00:52:39,266Let's try five frames.
    00:52:40,284So Option, page up five times.
    00:52:43,129Just like that.
    00:52:47,967It's better.
    00:52:52,930Now, if you look at the main comp,
    00:52:58,274sorry, not the main comp.
    00:52:59,424If you look at the preview render,
    00:53:02,410you can see that the words a nutcase
    00:53:05,402are all kind of messed up and a little off.
    00:53:08,919To do that, I could just precomp all of these layers
    00:53:16,333and then adjust the precomps.
    00:53:20,796An easy thing I can do is just grab a transform effect.
    00:53:27,158So Distort, Transform.
    00:53:30,579Transform is just gonna let me
    00:53:32,851kind of manipulate these layers and scale 'em and move 'em,
    00:53:38,032but it's not gonna mess up the animation
    00:53:41,163I already have on there.
    00:53:44,108That's kind of a cool trick
    00:53:45,116so I'm just gonna do that.
    00:53:46,299That's kind of like a quick and easy way to do it.
    00:53:48,966You could also give each of these pieces their own null
    00:53:53,960and parent them to that null
    00:53:55,340and then you can use the null to adjust 'em.
    00:53:57,832Actually, as soon as I said that
    00:53:59,320I realized that that's a better option,
    00:54:01,102'cause one of the problems with the transform effect
    00:54:03,055is the anchor point is not in the right spot
    00:54:06,595to make this easy.
    00:54:07,827If you move the anchor point, it moves the letter.
    00:54:11,530You can fix that, but it's kind of a pain
    00:54:13,526so actually I think the null is gonna be the way to go.
    00:54:15,880Let me make a new null real quick
    00:54:17,707and I'll just put one null.
    00:54:21,423Come on, null.
    00:54:23,286Put one by the a.
    00:54:26,466I'll put it above the a.
    00:54:27,451I'm just gonna say ANull, duplicate it.
    00:54:30,933This is gonna be the nut null.
    00:54:33,433This tutorial is just full of funny named layers.
    00:54:37,831I'm having trouble removing it, there you go.
    00:54:39,963A nut null and then a case null.
    00:54:45,664Now I'll just parent a to a null
    00:54:49,691and then nut to nut null
    00:54:52,050and case to case null.
    00:54:53,785I'll parent those nulls to the type null.
    00:54:56,566Now I can grab my a null.
    00:55:00,107Geez, oh my god.
    00:55:02,023I'm so sorry!
    00:55:05,447My a null.
    00:55:07,444Then I'm gonna scale the a down
    00:55:09,399and then I'm gonna grab the nut null, scale that down,
    00:55:12,727and kind of rotate it the opposite way,
    00:55:15,422just to kind of give it this weird little cant.
    00:55:20,650Something maybe like this.
    00:55:22,639This is one of those things
    00:55:23,582that you just play with for a long time.
    00:55:25,359Then the case null may be rotated a little bit back this way
    00:55:28,874and scale it up a little bit.
    00:55:31,150And then scoot it over.
    00:55:34,769Is he a nutcase?
    00:55:42,683Just to see what it looks like,
    00:55:43,943I wanna see what happens if I take the anchor point
    00:55:46,502of some of these layers that we've already animated
    00:55:50,326and just scoot 'em over
    00:55:51,681so the animation isn't happening so far over on the layer.
    00:56:00,326It lets them overlap a little more as they animate on,
    00:56:03,907which is kinda cool.
    00:56:06,758Now I can set the color for a nutcase.
    00:56:09,489This is something I did, actually, much later in the process
    00:56:13,071but I can do it now just to show you guys how.
    00:56:16,020You see how there's kind of
    00:56:17,159like a little yellow highlight on the edge here.
    00:56:19,166All that is is just I duplicated the a nutcase layer
    00:56:23,992and I offset a copy and made the copy a different color.
    00:56:29,061I did that because I wanted a little but more contrast
    00:56:32,446and a more visual interest to the scene.
    00:56:37,259I'm gonna do that right now.
    00:56:38,546The first copy of a nutcase
    00:56:40,243is that yellow color that we already have.
    00:56:43,277I can grab my Generate, Fill effect.
    00:56:48,677Make yellow.
    00:56:50,684And just copy, paste that.
    00:56:54,252Then literally all I did was I duplicated these layers
    00:56:59,131and the copy I made this blue color.
    00:57:02,020Let me pick whip that blue color.
    00:57:04,888Let's come over here.
    00:57:06,447These top copies are gonna have a blue fill color to them.
    00:57:12,562Let me copy that, paste it to these top copies.
    00:57:16,067Then just take these top copies
    00:57:18,205and just knock them over to the right
    00:57:20,844with your arrows a little bit.
    00:57:23,220You can nudge 'em up and down if you want to.
    00:57:26,767Then I just offset them by a frame.
    00:57:29,973Now you get a little something like this.
    00:57:34,692If we now go to our main comp
    00:57:37,980and we scrub through,
    00:57:39,841you can see that these are already timed out perfectly,
    00:57:43,052the words are.
    00:57:44,277Let me trim this layer, make it our nice purple color.
    00:57:49,554Then we need to place this in 3D space.
    00:57:52,609Let's make it a 3D layer,
    00:57:54,919and you can see that now it moved into some weird spot,
    00:57:57,458but I can actually see it so I'm just gonna drag it here
    00:58:00,641and rotate it.
    00:58:06,261Is he a nutcase.
    00:58:09,246What I figured I wanted to do was sort of right here
    00:58:12,442when he says, "Is he,"
    00:58:14,690I wanted is he to be much smaller.
    00:58:17,391Let me move the anchor point here.
    00:58:20,863I wanted is he to be small like this,
    00:58:23,802but then have the camera zoom in.
    00:58:26,635Sort of like 'cause he's whispering
    00:58:28,887and it's almost like he thinks he's telling us a secret
    00:58:31,672so I wanted the viewer to lean in to kind of hear this.
    00:58:37,159It's gonna happen like this.
    00:58:39,586Is he (hissing)
    00:58:41,530We zoom into that.
    00:58:42,921Then when a nutcase happens, we're gonna pop way out.
    00:58:47,716One thing I can see happening here
    00:58:49,427is the case is actually animated in such a way
    00:58:53,154that it's hitting the top of the frame.
    00:58:56,780That should, in theory, be an easy solution.
    00:58:59,557All I need to do is because I have a type null
    00:59:02,363that everything's parented to,
    00:59:04,180just move that type null down like this
    00:59:08,778so now nothing is hitting the edge of the frame.
    00:59:15,602Now I'm obviously gonna have to adjust the position
    00:59:17,731of this again, but that's okay.
    00:59:19,708So, is he.
    00:59:21,383Here's the footsteps.
    00:59:22,890The panting ends, and then we see is he (hissing) a nutcase.
    00:59:28,901Now we just need to add that camera move.
    00:59:32,275Let's fit the comp to the window.
    00:59:36,596Right here I want the camera to start zooming in
    00:59:40,740really close to the type.
    00:59:43,994If you guys remember from the last tutorial,
    00:59:45,595you duplicate one of these move nulls
    00:59:49,080and you hit the left bracket key and move it
    00:59:51,520to now where you want the move to start.
    00:59:54,607Then delete any keyframes that are on it.
    00:59:58,465Then you can grab that null
    00:59:59,766and put it somewhere in your scene that makes sense.
    01:00:02,886I know I'm gonna kinda zoom in about here,
    01:00:05,792so I'm gonna put the null there.
    01:00:07,246Then I'm gonna parent, move two to move three.
    01:00:10,618Now I can put keyframes on all of the positions.
    01:00:17,470I'll put it on rotation to z rotation.
    01:00:20,393This is gonna be a very fast move.
    01:00:22,256I want it to feel like a snap zoom.
    01:00:24,285Let's try six frames.
    01:00:28,869Then we'll rotate a little bit,
    01:00:30,897'cause I want it to now be sort of aligned to the type.
    01:00:34,808We'll zoom in like that and we'll scoot over.
    01:00:40,390You can see now, because I've rotated the comp,
    01:00:42,926it gets a little weird when I move on x.
    01:00:46,307We're kind of moving at an angle.
    01:00:47,613That's why it's handy.
    01:00:48,456I can just grab this null and move it visually like this.
    01:00:53,195Just kinda need is he.
    01:00:55,430We zoom in so fast, this isn't something I did
    01:00:58,319in the little demo scene that I rendered out,
    01:01:00,339but let's try it here.
    01:01:01,800Let's zoom in, hang for two frames, and then zoom out.
    01:01:09,845Like a little correction.
    01:01:15,636I just want it, there we go, just zoom out a little bit.
    01:01:21,012That might be cool.
    01:01:22,021Now I'm gonna easy ease all of these.
    01:01:25,907Let's just preview it.
    01:01:35,396- [Boy] Is he?
    01:01:36,229- [Joey] Okay, so the only thing,
    01:01:38,961and this gets into the philosophy of camera moves,
    01:01:42,558but if the camera starts moving before he talks,
    01:01:47,915it's as if we already knew what he was gonna say.
    01:01:51,119I want it to feel a little bit more like a surprise.
    01:01:53,774I want this move to just happen a little bit later.
    01:01:57,269That's gonna be really easy.
    01:01:58,553All I have to do is move the null a little bit later.
    01:02:07,119Now you start to see the type and then we zoom in.
    01:02:10,617It just makes it feel a little bit more natural,
    01:02:13,852like we were surprised.
    01:02:15,989That first part of the camera move can happen quicker.
    01:02:19,884The little zoom out is okay,
    01:02:22,609but I think that could be quicker, too.
    01:02:25,730Let's play that.
    01:02:32,336- [Boy] Is he?
    01:02:33,198- [Joey] Okay.
    01:02:34,597Then, as soon as we see the a start to pop up,
    01:02:39,479I want the camera to then zoom back
    01:02:41,989and sort of take in the whole line.
    01:02:45,120I don't wanna do that with this null.
    01:02:48,059I wanna make a new null.
    01:02:50,139I'm gonna go to where I want that move to start.
    01:02:53,688Maybe right there.
    01:02:56,632I'm gonna duplicate my null.
    01:02:58,980Left bracket, delete all the keyframes on it,
    01:03:02,035and you can see that the move null is in this weird spot
    01:03:05,258and it's rotated so I'm gonna rotate it back
    01:03:08,362and basically just give myself a nice control
    01:03:11,824that I can grab and move around.
    01:03:14,237Parent move three to move four.
    01:03:17,451And then position keyframes and rotation keyframe,
    01:03:22,275and then let's go to where the type is completely out.
    01:03:27,663So now we can zoom out.
    01:03:30,475And we can really put this exactly where we want.
    01:03:34,787I can click and drag the null
    01:03:37,366and then I can rotate it this.
    01:03:41,092We can zoom in a little bit more.
    01:03:44,045I can place that where I want.
    01:03:46,947I knew I was also gonna have
    01:03:48,597this little googly eyes kind of icon
    01:03:51,543just to reinforce how nutty this equally nutty person
    01:03:56,297thinks the rock biter is.
    01:03:58,829So I made sure I left some room up here for that.
    01:04:02,647I obviously don't want the move to take that long.
    01:04:04,712I want it to be really quick.
    01:04:07,128Maybe let's try eight frames.
    01:04:10,695The camera move will actually finish before the type does.
    01:04:14,518But because we came out here to set that last keyframe,
    01:04:17,391it's gonna line up, it's gonna be exactly where we want it.
    01:04:20,706Let's take a look at that.
    01:04:32,408- [Boy] Is he (hissing) a nutcase?
    01:04:34,179- [Joey] Cool.
    01:04:35,702Now looking at this
    01:04:37,553and what I'm realizing is you look at this,
    01:04:39,783look how much smaller I made it here.
    01:04:43,291The is he (hissing)
    01:04:45,284I want that to be smaller.
    01:04:47,145I'm not digging the,
    01:04:48,317and the way I figured this out now
    01:04:50,236is because when we zoom out,
    01:04:51,565it doesn't feel like we zoom out very much.
    01:04:53,741What I wanna do is come into this is he a nutcase animation
    01:04:58,866and scale this down.
    01:05:01,650Let's make it like 50%.
    01:05:02,865I want it to be maybe not that small.
    01:05:04,922But I want it to be much, much smaller than it is
    01:05:10,666so there's a lot more contrast to it.
    01:05:14,778Come back here.
    01:05:15,686What that's gonna do, that's gonna screw up
    01:05:19,395this camera move here.
    01:05:21,211It's gonna screw it up a little bit.
    01:05:24,904Because now I'm gonna need
    01:05:26,189to actually be in closer than I am.
    01:05:30,799Let me adjust it like this.
    01:05:32,568I'm gonna zoom in more.
    01:05:34,374I'm gonna move over like this.
    01:05:38,687Get that where I want it.
    01:05:40,799If I move forward now, this keyframe is messed up
    01:05:45,110so let me copy and paste like this and then zooms out.
    01:05:51,102Let me delete this last keyframe actually.
    01:05:53,014This was the sort of correcting back a little bit.
    01:05:58,363Now I fixed this.
    01:06:00,269In this animation,
    01:06:03,898I have to adjust this keyframe,
    01:06:05,687but the actual kind of overall movement
    01:06:08,819of this move here is still there and it still works
    01:06:11,711because it's on a separate null.
    01:06:13,692I can adjust this null,
    01:06:15,045and then I just have to tweak this one.
    01:06:16,409It doesn't screw everything up completely.
    01:06:21,942Which is nice.
    01:06:23,385What I do need to do is go to end here
    01:06:25,349where the type is kind of in its final position
    01:06:28,337and then figure out where I want it.
    01:06:33,678I seem to have lost my null here.
    01:06:36,729I think what I might do I just redo this move real quick.
    01:06:40,935Let me delete all these keyframes,
    01:06:44,519un-parent this temporarily,
    01:06:46,610and then let's figure out where this null is.
    01:06:51,292One easy thing to do if you can't find a null,
    01:06:54,736parent it to the camera and then zero out everything,
    01:06:59,221and then move it forward in z space a little bit
    01:07:01,764and now you'll see it, then un-parent it.
    01:07:05,133I'll rotate it like this, here we go.
    01:07:08,545Parent three to four.
    01:07:10,725We want position and z rotation.
    01:07:13,664Then we'll go to the end here
    01:07:15,642and we will zoom out like this.
    01:07:22,103We'll rotate like this.
    01:07:24,042Then we'll move over here.
    01:07:27,224Let me make sure I can see my whole comp.
    01:07:30,480I wanna zoom out even more.
    01:07:34,052There we go.
    01:07:34,918Now this should feel a lot better.
    01:07:38,855There we go.
    01:07:41,175This should feel better.
    01:07:43,768Eight frames, go like this.
    01:07:48,349Move it to the playhead.
    01:07:49,182Then we'll select 'em all and we'll easy ease.
    01:07:55,483There we go.
    01:08:02,192- [Boy] Is he (hissing) a nutcase?
    01:08:03,802- [Joey] Cool, so that's what I was looking for.
    01:08:05,493I wanted a big camera move
    01:08:06,967where we're leaning in close, and then zoom out.
    01:08:14,438That's kind of it.
    01:08:18,878There's some little details.
    01:08:20,009I want a nutcase to be over this is he line,
    01:08:24,427but right now it's underneath it.
    01:08:26,359That's pretty easy.
    01:08:27,192I can just pop back into the precomp
    01:08:28,743and move this layer to the bottom.
    01:08:31,973That fixes that.
    01:08:33,709That was easy.
    01:08:35,759We can animate the googly eyes and place them here.
    01:08:39,722If you look at the example,
    01:08:41,769all they're doing is the pupils
    01:08:44,055are kind of rotating a little bit.
    01:08:46,339There's a little trick I did with that,
    01:08:49,376which I will show you.
    01:08:51,952I'm gonna show it to you really quickly
    01:08:53,558because we've already been recording for over an hour
    01:08:55,819and I have a feeling that's where we're gonna have to end.
    01:08:58,821But really quickly I'll show you the eyeballs.
    01:09:01,174If we go back to our main comp,
    01:09:03,349make a solid, precomp it,
    01:09:04,854move all the attributes to a new composition,
    01:09:07,048jump into the composition.
    01:09:08,519And, of course, I did that so fast
    01:09:09,950I didn't actually name the composition something useful.
    01:09:13,022Let me name this GooglyEyes.
    01:09:17,440Then I can delete that layer.
    01:09:19,064We'll hop into our illustrator file.
    01:09:20,820We'll grab our eyeballs.
    01:09:22,265I also drew this little mouth form, too.
    01:09:26,556I don't know, I was kind of thinking
    01:09:27,836like a Ren and Stimpy looking mouth.
    01:09:30,623But I didn't end up using the mouth,
    01:09:32,611'cause it just kind of looked really bizarre.
    01:09:35,234For the eyes, all we need to do
    01:09:37,003is first separate out the eyes.
    01:09:43,039Actually, what I really wanna do,
    01:09:47,151if I use my brain,
    01:09:48,218is I need to separate this into four pieces.
    01:09:51,629The left eye, the right eye,
    01:09:54,176the left pupil, the right pupil.
    01:09:55,867I've got left eye, right eye.
    01:09:59,688And then I got left pupil and right pupil.
    01:10:05,132For the left eye, what I need is I need this shape,
    01:10:11,572and I need to subtract the pupil from it.
    01:10:13,753So I need to add another mask
    01:10:16,678and then set that second mask to subtract.
    01:10:20,496Then for the right eye, I'm gonna do the same thing.
    01:10:22,443I need this shape, and then I need to subtract this shape.
    01:10:28,688Set that mask to subtract.
    01:10:30,872Then all I need to do is for the left pupil,
    01:10:33,453grab that second mask and paste it, but set this to add.
    01:10:39,870For the right pupil, grab this mask
    01:10:43,526and set it to add.
    01:10:46,120There we go.
    01:10:48,457Then what I did was I also did this,
    01:10:51,956this just reminded me,
    01:10:54,691there's actually nothing,
    01:10:57,033the white part of the eye is actually transparent.
    01:11:00,162And it was lookin' a little weird,
    01:11:01,554so the other thing I did was I made a white solid,
    01:11:05,567put it at the bottom,
    01:11:07,030and then I just really quickly came in,
    01:11:11,115turn off RotoBezier,
    01:11:13,358and I just sort of made this fill layer
    01:11:16,648that goes underneath just like that,
    01:11:21,621and then put it over here.
    01:11:26,853In general, this is how it works.
    01:11:28,712You make your artwork in Illustrator,
    01:11:30,842but you don't really now how it's gonna look
    01:11:32,549when it's all comped up.
    01:11:33,546Unless you board this whole thing out ahead of time,
    01:11:36,445which sometimes you have the luxury of doing that
    01:11:40,009with kinetic type things.
    01:11:42,258Nowadays you probably don't.
    01:11:45,222You can always adjust in After Effects
    01:11:47,450and do stuff like this.
    01:11:49,348I believe I brought the transparency down, too.
    01:11:51,543We'll leave that somewhere in there.
    01:11:53,445For the pupils, what I need to do
    01:11:55,826is create a null for each one.
    01:12:00,048This is LPupilNull.
    01:12:02,867I'm gonna put it in the eye
    01:12:06,077where I want the center of rotation to be for the pupil.
    01:12:09,092Then I'm gonna do the same thing for the right pupil.
    01:12:17,660I'll move this over here like that.
    01:12:20,954Then I'll parent left pupil to left pupil null,
    01:12:23,139right pupil to right pupil null.
    01:12:26,003Here's the little list you're going into.
    01:12:28,509When you rotate this,
    01:12:29,872it's actually gonna rotate the pupil.
    01:12:33,080Pupil's don't rotate (chuckling)
    01:12:34,899They move, they don't rotate.
    01:12:38,067What I need to do is make sure
    01:12:41,445the anchor point of the pupil's in the right spot.
    01:12:45,596The left pupil anchor point should be right in the middle.
    01:12:48,835The right pupil should be right in the middle of the right.
    01:12:51,677Now what I can do is I can make a very simple expression.
    01:12:55,159I'm gonna open up the rotation property for left pupil,
    01:12:57,944hold Option, click stopwatch,
    01:13:00,712and what I wanna do is pick whip
    01:13:03,351to the left pupil null's rotation,
    01:13:06,912and then just type in times negative one.
    01:13:10,625Asterisk is the multiplication symbol in an expression,
    01:13:14,474and then just negative one.
    01:13:16,349What now happens is as I rotate the null,
    01:13:19,943the pupil rotates in the opposite direction
    01:13:21,957so it's always gonna face the same direction.
    01:13:25,485Now I can have it spin around in the eyeball
    01:13:27,348like a crazy person.
    01:13:29,888Let me just nudge that null a little bit so we don't clip.
    01:13:33,278There we go.
    01:13:34,863Then I'm just gonna do a quick
    01:13:38,685time times rotation expression.
    01:13:40,234I'll just say time times 100,
    01:13:44,155and let's see what that looks like.
    01:13:45,710Let's see how fast that moves.
    01:13:47,168That's too slow.
    01:13:48,935Do time times maybe 300.
    01:13:53,021There we go.
    01:13:54,650Then we'll just do the same thing on the right pupil.
    01:13:58,740Pick whip the null's rotation, multiply it by negative one.
    01:14:04,542Then I'll copy this rotation expression.
    01:14:08,207But on the right pupil maybe what I'll do
    01:14:10,391is I'll set it to negative 300.
    01:14:12,718You get these googly eyes.
    01:14:15,435That's what I wanted, and I kinda wanted
    01:14:16,784just something silly and ridiculous looking.
    01:14:19,417In the pupil, you can see
    01:14:21,028it's kind of crossing the boundary of the eye.
    01:14:23,829What I can do is just adjust the position of the pupil,
    01:14:27,443there we go.
    01:14:29,779Now we've got googly eyes.
    01:14:31,654I actually hand placed the googly eyes separately
    01:14:35,538from the is he a nutcase type.
    01:14:37,844So let's make that a 3D layer.
    01:14:40,500Let's go here.
    01:14:41,968I can't see my layer, so I'm gonna hit Escape,
    01:14:44,428so now I have my front view.
    01:14:46,183I can move this in front of the camera.
    01:14:48,485Hit Escape again and then I can just rotate it and scale it.
    01:14:54,582I did some color correction to these
    01:14:56,513so that they'd show up better.
    01:14:58,076If you go look here,
    01:14:59,984oh, and you can see
    01:15:01,189I also ended up clipping out a little piece of the,
    01:15:05,822I forget what that part of the eye is called,
    01:15:07,633but the eyeball, I actually made it a little smaller
    01:15:10,724in this case, too.
    01:15:14,392You can see that I made the outline blue
    01:15:17,785and then I made this part white
    01:15:21,864and then the pupil is sort of the same color
    01:15:24,090as the background.
    01:15:26,673You could just come in here and use your fill effects.
    01:15:30,437So Generate, Fill.
    01:15:34,278Grab the blue color.
    01:15:36,385Copy it to that.
    01:15:38,934Then let me just adjust.
    01:15:42,937What I could do
    01:15:43,770is probably just shrink this mask a little bit,
    01:15:46,740move it over like that.
    01:15:48,789There we go.
    01:15:50,319Then shrink this mask and move it over.
    01:15:56,241It doesn't have to be perfect.
    01:15:59,649Yes it does.
    01:16:00,482There we go.
    01:16:02,953Now we've got our googly eyes
    01:16:04,885and what I should then be able to do
    01:16:07,308is come in here and set this to a Screen mode.
    01:16:13,259Now I'll see through the pupils.
    01:16:17,039We can come up here and rotate these
    01:16:21,265and scale them and place them where we want them.
    01:16:26,813What I did was just as we're zooming out here,
    01:16:29,744I just cut these things on
    01:16:32,644as part of this movement here.
    01:16:38,229Okay, now let's preview our whole thing
    01:16:39,763and see what we got so far.
    01:16:52,290We are in good shape.
    01:16:54,080There's still the second half of the animation to do,
    01:16:56,624and I'm hoping in the next video
    01:16:58,056I can kind of fly through some of it.
    01:17:00,863What I hope you guys are seeing
    01:17:02,725with this kind of tutorial series
    01:17:04,514is a bunch of workflow tricks
    01:17:06,712and just ways to think
    01:17:08,117about doing kinetic typing animations.
    01:17:10,497The principles of what I'm doing for this animation,
    01:17:13,083they work for a lot of other situations,
    01:17:16,089not just kinetic type.
    01:17:18,327It's really just about working smart
    01:17:21,222and giving yourself as much visual help as you can
    01:17:25,956and setting up your camera moves
    01:17:28,496in a way where it's easy to adjust.
    01:17:30,722You're never gonna do this and get it right the first time.
    01:17:34,692You're watching me do it.
    01:17:36,084I've already made this whole thing once before,
    01:17:38,374and I'm still making mistakes.
    01:17:40,643That's the nature of motion design
    01:17:42,574is you're gonna screw up
    01:17:43,756and then you're gonna have to fix it.
    01:17:44,992The easier that you've set things up,
    01:17:48,095or the more efficiently you've set things up,
    01:17:50,724the better time you're gonna have.
    01:17:53,486Thank you guys so much
    01:17:54,617for sitting through another very long,
    01:17:56,753very detailed tutorial.
    01:17:59,310In the next video, we are gonna just keep goin'.
    01:18:02,505One more time, thank you to Ringling,
    01:18:03,674and I will see you guys next time.
    01:18:06,350Thank you so much for watching.
    01:18:07,965We're gonna finish this project in part three
    01:18:10,395where we'll add that final polish to our kinetic type piece.
    01:18:13,707If you have any questions or thoughts on this lesson,
    01:18:15,913definitely let us know.
    01:18:17,259Thanks so much and I'll see you next time.
    01:18:20,238(bouncy music)