Precompose Your Work | The Power of Precomps in After Effects

Precomposing is the most powerful tool in After Effects, and yet a lot of artists don’t use precomps to their full potential. Joey based this video off of a lecture that he gave when he was teaching at Ringling College of Art and Design where he showed just how quickly and easily you can use precomps to build very complex-looking animations that are, in reality, very simple. This technique is really fun to play around with, and can be used in conjunction with other tricks to do some incredibly cool work. Even if you are an advanced After Effects-er you'll probably pick up a new trick or two in this video. 

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. 

15_PreCompPower.zip
    00:00:00,312(electronic music)
    00:00:06,646(balls dropping)
    00:00:09,413(fast electronic music)
    00:00:17,690- What's up?
    00:00:18,523Joey here at School of Motion bringing you Day 15
    00:00:21,421of the 30 Days of After Effects.
    00:00:23,434Today, I'm going to talk about precomps.
    00:00:25,734Now, if you've used After Effects for more than a week,
    00:00:28,302you probably know about precomposing, but in this lesson,
    00:00:31,184I wanna reinforce the power of precomps,
    00:00:34,096and a good way of doing that, I've found,
    00:00:35,743is to show just how quickly you can build very,
    00:00:38,411very complex animations
    00:00:40,104that really don't take that much work
    00:00:42,190and don't have very many key frames,
    00:00:44,287But actually, look really cool and complicated.
    00:00:47,105I'm hoping that along the way,
    00:00:48,334you're gonna pick up some tricks
    00:00:49,592about working with precomps.
    00:00:51,528Now, don't forget to sign up for a free student account
    00:00:53,932so you can grab the project files from this lesson
    00:00:56,248as well as assets from any other lesson on School of Motion.
    00:00:59,233Now, let's hop in and make something cool.
    00:01:03,375So let's talk about precomps,
    00:01:04,952and one thing I wanted to say about precomps
    00:01:06,538is that when I was starting out with After Effects,
    00:01:09,402they sort of freaked me out, because you know,
    00:01:11,847you do all this work and then you precomp it,
    00:01:13,839and all of a sudden you can't see your work anymore,
    00:01:16,046and it feels like you're hiding key frames from yourself,
    00:01:18,303and God forbid you wanna go in and tweak something.
    00:01:21,883Now it's kind of hidden and it's kind of...
    00:01:24,351It makes it trickier, and you have to manage it.
    00:01:27,113This is actually something After Effects artists
    00:01:29,025have been complaining about for years,
    00:01:30,690is the fact that you can't sort of see your key frames
    00:01:33,120while they're in a precomp.
    00:01:34,852Very easily, anyway.
    00:01:36,026So, what I wanna show you is some of the really,
    00:01:38,788really, really, cool things you can do with precomps.
    00:01:41,836This is a little bit more of a beginner tutorial,
    00:01:43,806but I'm just gonna keep pushing
    00:01:45,693and pushing and pushing the precomps
    00:01:47,240until you get something that looks really,
    00:01:49,099really complicated like this,
    00:01:51,424and hopefully what I'll show you guys
    00:01:52,522is that this is actually really easy to make.
    00:01:56,205It's shockingly easy.
    00:01:58,264So, alright.
    00:01:59,495So let's just hop in and get started,
    00:02:01,276and let's talk about precomps.
    00:02:02,612So I'm gonna make a comp.
    00:02:04,736A 1920 by 1080.
    00:02:07,745Alright, and I'm just gonna call this Square, okay?
    00:02:13,106Alright, so first thing I wanna do
    00:02:14,521is just animate something really simple, alright?
    00:02:16,877I'm gonna turn on my guides here by hitting the apostrophe,
    00:02:19,408so I kind of make sure I have things in the center
    00:02:21,895where they need to be,
    00:02:23,427and I'm just gonna make a square.
    00:02:24,563So, an easy way to make a square
    00:02:26,744and make sure it's in the middle of your comp
    00:02:29,226is go to your Shape Layer tool here,
    00:02:31,894grab a Rectangle tool,
    00:02:32,909and just double-click that button.
    00:02:34,886And what that'll do is it'll make a shape layer
    00:02:36,252that's right in the middle of your comp,
    00:02:38,682and then you could come into the Shape Layer settings here
    00:02:41,455and twirl open the rectangle and the rectangle path,
    00:02:44,874and then you can unlock the size property
    00:02:47,515so the width and the height aren't linked anymore,
    00:02:49,575and just make the width and the height the same,
    00:02:52,824and then you can scale that down,
    00:02:53,869and now you have a perfect square
    00:02:55,560right in the middle of your comp.
    00:02:57,010You could do the same thing with a circle, too.
    00:02:58,450It's pretty useful to make sure
    00:02:59,758that if you rotate this thing
    00:03:02,321or you do anything to it, it's right in the middle.
    00:03:04,751And what I wanna do, let me rename this Square.
    00:03:07,921And I don't want a fill on it.
    00:03:09,675I do want a stroke,
    00:03:10,785so what I'm gonna do is maybe have like a two-pixel stroke,
    00:03:15,633and I think I had some nice kind of pink color in there,
    00:03:19,473so let's get rid of the fill.
    00:03:21,271A quick way to do that is you can click on the word Fill,
    00:03:23,663if you have this selected.
    00:03:25,626It brings up this little box,
    00:03:26,727and then you can just hit this guy,
    00:03:28,666and now it gets rid of the fill.
    00:03:30,542It's kind of a neat little shortcut.
    00:03:32,036Okay, so now we have our square,
    00:03:34,254and let's just do a simple little animation with it, okay?
    00:03:37,948So, you know, here's a simple thing.
    00:03:40,510We'll have it start scaled at zero,
    00:03:44,064and then we'll go forward a second
    00:03:48,158and we'll have it go up to 100, okay?
    00:03:50,905And of course, we can't just leave it like that.
    00:03:52,948We have to Easy Ease the key frames,
    00:03:54,973go into the Curves Editor
    00:03:56,319and kind of give it some character,
    00:03:58,996and what I did in the demo,
    00:04:01,438this is something that I'm not sure
    00:04:03,442I've shown you guys before,
    00:04:04,912but it's a pretty cool key framing technique.
    00:04:06,984You know, if I really want this thing to shoot up
    00:04:09,587and then slow down at the end,
    00:04:11,131this is the shape of the curve you wanna create,
    00:04:13,535but if I really want that to be accentuated,
    00:04:16,428then what you can do is kind of go to the halfway mark,
    00:04:20,574hold the Command button on a Mac.
    00:04:23,096On a PC, it's gonna be Control or Alt.
    00:04:25,922I haven't used a PC in a long time, so I'm sorry,
    00:04:27,625I don't actually know what button you push.
    00:04:30,386But you push that button, whatever it is,
    00:04:31,786and you click here on the curve,
    00:04:33,122and now you have an extra key frame
    00:04:34,876and you can not do that.
    00:04:36,408You can just kinda pull it up like this, okay?
    00:04:39,656And you still want it to be below this key frame,
    00:04:42,736but what you're doing is you're really giving yourself
    00:04:45,113an extra handle on that curve to bend the crap out of it.
    00:04:48,494And a cool little shortcut is
    00:04:50,116you can now select that key frame,
    00:04:52,280and you can click this button right here,
    00:04:54,237which basically makes this bezier curve
    00:04:57,406automatically try to smooth itself out.
    00:05:00,300So I click that.
    00:05:01,778It smooths it out a little bit.
    00:05:03,851And then I can just sort of grab this handle
    00:05:06,597and pull it, you know, to shape it how I want.
    00:05:09,148So you can see now, I've got this really hard bend
    00:05:12,488and then it really takes a long time to flatten out,
    00:05:15,354and so this is what that looks like, okay?
    00:05:18,706And then if I want to,
    00:05:19,634I could even play with the timing of that,
    00:05:21,190and have it shoot up and then...
    00:05:24,468It's kind of nice,
    00:05:25,301and maybe we'll just pull this down a little bit.
    00:05:27,781Cool, so you get this nice burst and then a long ease,
    00:05:30,939which is cool.
    00:05:32,588On top of that, why don't we have it rotate a little bit,
    00:05:34,637so I'm gonna put a rotation key frame here.
    00:05:38,478Here's a cool trick.
    00:05:39,508If I wanna see where my scale key frames are,
    00:05:42,651but I wanna work on my rotation curve,
    00:05:44,579so I'm just gonna click this little button
    00:05:46,375just to the left of the scale property.
    00:05:47,895It looks like a little graph.
    00:05:49,122If you click that,
    00:05:49,955it'll keep that scale property on the graph for you.
    00:05:52,914And so now I can see the rotation
    00:05:54,208and the scale at the same time,
    00:05:55,529so I can line up key frames if I want.
    00:05:57,442So I want that square to end at zero degrees,
    00:06:01,551but maybe here, I want it to be rotated 90 degrees
    00:06:04,692backwards that way.
    00:06:08,173And then, you know, I normally don't like to
    00:06:10,767just kind of do linear moves like this.
    00:06:12,471I always like to add a little character to it,
    00:06:15,958so I'm just gonna Easy Ease these key frames real quick.
    00:06:18,652And I'm gonna go backwards.
    00:06:21,572Let's go backwards three frames.
    00:06:23,395Put a rotation key frame there,
    00:06:25,004and so that way, now,
    00:06:25,837it can sort of anticipate a little bit, okay?
    00:06:28,572That's what it's doing when it kind of dips this way first.
    00:06:31,292It's anticipating that it's gonna go up this way,
    00:06:33,311and of course, when it lands,
    00:06:36,692I'm gonna add another key frame here.
    00:06:37,854I'm holding Command and clicking.
    00:06:40,070And I'm just gonna have it overshoot a little bit.
    00:06:43,559Alright, and you know, hopefully,
    00:06:45,457if you guys have watched enough tutorials,
    00:06:46,770this shape is starting to become very familiar to you,
    00:06:50,321because I do it all the time.
    00:06:52,513Cool, so now I've got this cool little scaling up square,
    00:06:55,894and you know, the animation's kind of nice,
    00:06:57,558and maybe just so it's not, you know,
    00:07:00,595it's a little bit more random,
    00:07:02,723why don't I speed up the rotation a little bit.
    00:07:04,448So I'm gonna hold Option.
    00:07:05,682Just scale those key frames a little bit.
    00:07:09,655Remember, you gotta hold Option,
    00:07:10,884grab the last key frame.
    00:07:12,138And then I'm gonna offset it a few frames.
    00:07:14,583Just so it's not happening so much in sync.
    00:07:18,094Alright, so that's kind of cool,
    00:07:19,931and that anticipation move is bugging me.
    00:07:22,795It's a little bit stiff,
    00:07:24,868so I'm just gonna adjust that a little bit.
    00:07:28,157That's better.
    00:07:29,808Subtleties, people.
    00:07:31,236They make a difference.
    00:07:32,582So that's cool.
    00:07:33,613Let's say we love that.
    00:07:36,063So now, you know, what can we do with this
    00:07:40,286that maybe's a little tricky?
    00:07:41,568Well, what's cool is since I animated it in the middle,
    00:07:45,281if I precomposed it, I can do a lot of cool stuff with it.
    00:07:47,656Let's precomp this.
    00:07:49,967So, Shift + Command + C,
    00:07:52,160and I'm gonna start numbering these,
    00:07:54,273and this is gonna come in handy in a little bit, okay?
    00:07:56,372So I'm gonna call this 01_SquarePC,
    00:08:02,237and I'm gonna make sure...
    00:08:03,453It doesn't give me an option in this case,
    00:08:05,260but sometimes, depending on what you're doing,
    00:08:06,966this option will be available to you,
    00:08:08,890and for what we're about to do,
    00:08:10,198you need to make sure you're moving all the attributes
    00:08:12,565of your animated object into the new comp.
    00:08:15,735So now what I wanna do is
    00:08:17,621I want to actually mask out this layer,
    00:08:21,530but I want it to be masked out perfectly, sort of like,
    00:08:26,812I wanna mask it out
    00:08:27,645so I basically have a quadrant of it, right?
    00:08:29,575Like a quarter of it.
    00:08:30,658So what I'm gonna do is
    00:08:31,898I'm gonna put a guide right in the middle here,
    00:08:33,836like this, vertically,
    00:08:35,027and I'm gonna zoom in so I can make sure
    00:08:37,748that it's as close to perfect as possible.
    00:08:41,038Okay, and then I'm gonna do the same thing
    00:08:42,147on the horizontal.
    00:08:43,691Gonna grab one of these guides.
    00:08:45,472If you guys don't see the ruler,
    00:08:47,148Command + R turns that on and off,
    00:08:49,305and then you can grab a guide right out of there.
    00:08:51,762Cool, so now I've got two guides there,
    00:08:53,716and if I go up to my View menu,
    00:08:55,433you'll see I have Snap to Guides turned on.
    00:08:58,813Let me turn off my Title Save here.
    00:09:01,757Apostrophe key turns that off,
    00:09:03,436and what I'm gonna do is select this layer.
    00:09:06,379I'm gonna grab my mask tool,
    00:09:08,439and I'm just gonna start up here,
    00:09:09,654and you'll see that when I get close to these guides,
    00:09:12,161it doesn't snap,
    00:09:15,031and why is it not snapping?
    00:09:16,907'Cause I don't have Snap to Guides turned on.
    00:09:18,608I thought I did, and I didn't,
    00:09:20,152but now I have it turned on, and it snapped.
    00:09:22,676See, that snaps right on there.
    00:09:24,366So now, that mask is perfectly lined up
    00:09:26,731right in the middle of that layer.
    00:09:29,568So now I can turn the guides off,
    00:09:31,577and the hotkey for that is Command + Semicolon.
    00:09:34,640I know it's a weird one.
    00:09:35,511Or you can just go View and hit this.
    00:09:38,088Show Guides turns it on and off.
    00:09:39,764Now, why did I just do that?
    00:09:42,633So, if you look at this...
    00:09:44,270Let me scale this a little bit.
    00:09:45,432If you look at this,
    00:09:46,265now I've got just a quarter of the animation I just did,
    00:09:50,304and what's cool is,
    00:09:51,215what I can do is I can take this layer here
    00:09:55,442and I can duplicate it.
    00:09:57,039I'm gonna hit S to open the scale,
    00:09:59,231and I'm gonna flip it negative 100, just like that.
    00:10:05,095And so now, you can see
    00:10:07,167that it does a much more interesting thing
    00:10:10,139that actually would not be very easy to create
    00:10:12,517in a different way.
    00:10:13,520It's like a little mini-kaleidoscope effect, okay?
    00:10:18,250Cool, and so now, I'm gonna take these.
    00:10:21,691I'm gonna precomp them, and I'm gonna say 02_SquaresPath.
    00:10:27,464Now, a quick note.
    00:10:29,087The reason I'm starting to number these is because,
    00:10:32,386I think when I did the demo,
    00:10:35,124I ended up with 12 layers of these things,
    00:10:37,116and you know, once you've got it built out,
    00:10:40,180what's fun is going back into the earlier layers
    00:10:42,968and tweaking things and if you don't label these things
    00:10:45,753in a way where it's easy to figure out
    00:10:47,602what order things were created in,
    00:10:50,349it's gonna be very hard to know where to dive into.
    00:10:53,360Alright, so now that I've duplicated that,
    00:10:55,541or sorry, precomped that,
    00:10:56,518I'm gonna duplicate it.
    00:10:58,061Hit S, and now I'm gonna do negative 100 scale
    00:11:01,072on the horizontal,
    00:11:02,223so now I get this, okay?
    00:11:04,585So what's awesome is I've got this really neat looking
    00:11:07,611kind of animation here, right?
    00:11:09,683And what's cool is,
    00:11:11,811because I've got this nested setup,
    00:11:13,871I could just go back into this very first precomp here,
    00:11:18,888and let's say I just wanted to duplicate that square.
    00:11:22,535So just grab it, duplicate it.
    00:11:25,869There we go.
    00:11:26,918And maybe scale this one down a little bit,
    00:11:30,330so I don't wanna use the scale property,
    00:11:32,417'cause I've got key frames on that,
    00:11:34,055so what I'm gonna do is hit U twice.
    00:11:35,930Double tap U,
    00:11:37,210and that will bring up all the properties that changed,
    00:11:39,364and so now I can just actually shrink the rectangle down.
    00:11:42,401The benefit of doing it this way
    00:11:44,369is it doesn't shrink the stroke.
    00:11:45,729The stroke is still the same thickness.
    00:11:49,054Maybe we make the stroke a different color.
    00:11:50,735Maybe we kind of make it like a teal color, cool?
    00:11:53,166And then, let's offset that a couple frames.
    00:11:55,963Maybe four frames.
    00:11:56,954Okay, so now you get something like this,
    00:11:59,226and then, if we look at the...
    00:12:01,867Oh, that's my final.
    00:12:02,842If we look at the, you know,
    00:12:05,618sort of the end result of what we've made,
    00:12:07,297now you get something like this, alright?
    00:12:10,466And it's starting to get kind of cool.
    00:12:12,299Now, what happens if I take these
    00:12:14,666and I precomp them?
    00:12:16,488Right, so now this is 03_Squares,
    00:12:20,081and you don't really have to be too creative.
    00:12:21,824As long as you have a number on there,
    00:12:24,001you know, squares again.
    00:12:25,231As long as you have a number on there
    00:12:27,340and you can sort of look here and say,
    00:12:29,785oh, I know this is the first one,
    00:12:31,544then that's all that's important.
    00:12:32,427So now, I can duplicate this,
    00:12:33,401and what if I rotated this,
    00:12:35,18945 degrees, right?
    00:12:36,905So now you get like this kind of crazy, bouncy,
    00:12:39,520sacred geometry-looking thing, right?
    00:12:42,331And now I'm thinking, you know what?
    00:12:43,606The middle of this looks a little bit empty,
    00:12:46,649so maybe what I do is we go back
    00:12:49,898into the initial square here,
    00:12:53,607and we need to just fill in
    00:12:54,954this middle section a little bit, okay?
    00:12:57,833Now, what are some cool ways we could do that?
    00:13:02,620What if we did this, alright?
    00:13:03,662So, what if we take a square, right?
    00:13:06,488Let me just double-tap this real quick,
    00:13:08,853just so I can make sure,
    00:13:10,069and I'm gonna name this little square.
    00:13:12,111Double-tap it to make sure that I get a shape layer
    00:13:14,491with the anchor point right in the middle.
    00:13:17,174I don't want a stroke on this one,
    00:13:18,521so I'm gonna set the stroke to zero,
    00:13:19,800but I do want a fill,
    00:13:21,136so I'm gonna click the Fill button
    00:13:22,600and click this solid color,
    00:13:25,133and I don't want that color.
    00:13:26,577Maybe I want like kind of a grayish color.
    00:13:30,127I'm gonna double-tap U
    00:13:31,527to bring up the rectangle path properties
    00:13:34,445and make that into a perfect square,
    00:13:39,333and then I'm gonna scale that square way down like this.
    00:13:43,771There we go, okay.
    00:13:47,073And I'm gonna try and do this a little differently
    00:13:48,590than the demo for you guys,
    00:13:49,688just so it's not exactly the same.
    00:13:50,978So I'm gonna make a little square here,
    00:13:52,989and what I'm gonna do...
    00:13:55,842So, here's what I wanna point out to you guys
    00:13:57,875before I go any further.
    00:13:58,891What I wanna do is, I wanna kind of remind myself
    00:14:02,192which piece of this comp that I'm working in
    00:14:05,562actually gets used, okay?
    00:14:08,041So, a cool little keyboard thing you can do,
    00:14:11,542if you're in a precomp
    00:14:13,154and you know that this comp is used somewhere else,
    00:14:15,942but you can't remember which comp,
    00:14:17,577you can hit the Tab key,
    00:14:19,715and it's Tab key in Creative Cloud 13 and 14.
    00:14:25,424It's a different key, I forget which key.
    00:14:28,127I think it's the Shift key if you're in Adobe CS 6,
    00:14:30,558so they actually changed that key.
    00:14:32,026But, in an Adobe CC, it's Tab.
    00:14:34,537It shows you the current comp, SquarePC,
    00:14:37,663and then it shows you the next comp
    00:14:39,740that this is being used in.
    00:14:41,639And if it's being used in more than one comp,
    00:14:43,338it'll show you more than one option here.
    00:14:45,834So now I can just click this
    00:14:46,667and it will take me there.
    00:14:47,946And what I can do is I can click one of these
    00:14:50,404and I can see, okay.
    00:14:51,566It's using the top right kind of portion of that comp.
    00:14:56,924So, what I could do is, I could take that little square
    00:15:00,641and maybe, let me just nudge it up five and over five.
    00:15:05,922I was holding Shift and using the arrow keys there.
    00:15:08,264Let me do like three more.
    00:15:10,507Okay, so it's kind of in the corner of the cube like that,
    00:15:13,701and what I wanna do is
    00:15:15,297I'm gonna put a position key frame here,
    00:15:18,774and then I'm gonna jump back 10 frames,
    00:15:21,635and I'm gonna move this.
    00:15:23,222So it actually moves back through the origin like this.
    00:15:27,389And the reason I'm doing that is because, if you remember,
    00:15:31,477the precomp, this comp here,
    00:15:32,832we're only actually gonna end up seeing
    00:15:34,385the top right piece of it, 'cause we masked it,
    00:15:36,356so when this cube is here,
    00:15:38,275it's actually gonna be hidden in the final result,
    00:15:40,851and what it's gonna do is
    00:15:41,850it's gonna look like it kind of comes out of the middle.
    00:15:46,581And let me just add a little bit of overshoot to this, too.
    00:15:50,140So, what I need to do first, to make this easier,
    00:15:52,017is Control + Click Opposition and Separate Dimensions,
    00:15:56,685and then let me go forward maybe three frames.
    00:16:01,049Put key frames here, go back here,
    00:16:03,086and then this is gonna be a little bit trickier,
    00:16:05,218'cause this is a diagonal move.
    00:16:08,962But I'm sort of moving it past its end point,
    00:16:12,849and then we will just grab these.
    00:16:14,521We'll go into Graph Editor.
    00:16:17,494I'm still seeing my scale key frames here,
    00:16:19,349so I need to make sure I turn off that little graph button
    00:16:23,894on the scale of these two so I don't see it anymore,
    00:16:26,980and now I can select both of these properties.
    00:16:29,585Select all the key frames, hit F9, Easy Ease them.
    00:16:33,719I'm gonna hit the plus key to zoom in here.
    00:16:36,781The plus and minus key on the top row of your keyboard,
    00:16:40,424the number pad, that zooms in
    00:16:41,901and out on your animation curve editor,
    00:16:45,018and so now I can do what I always like to do
    00:16:47,421and just sort of stretch out the curves here.
    00:16:51,239Make this a little bit funkier, right?
    00:16:53,332There we go.
    00:16:54,905Okay, and that is awful.
    00:16:56,357That should be moving a lot faster,
    00:16:58,726and I don't like the timing.
    00:17:00,850I hate this, you guys.
    00:17:01,823I hate it.
    00:17:03,095So, these things rotate up, and maybe right about there,
    00:17:06,701that's where this thing starts to shoot out,
    00:17:08,979and I want it to happen fast, so maybe like five frames?
    00:17:12,225Yeah, let's see what that one feels like.
    00:17:14,922There we go.
    00:17:16,559Cool, alright.
    00:17:17,392So now, if I hit that Tab key and we go up to SquaresHalf,
    00:17:21,112and I hit Tab again, I go up to this one.
    00:17:23,112I hit Tab again,
    00:17:24,168you see how I can keep following it
    00:17:26,061sort of down the line to the end, right?
    00:17:29,423And now, this is what we have, okay?
    00:17:33,068And what would be cool, too,
    00:17:34,030is if I offset maybe this top copy, right?
    00:17:36,207So it's like a little bit, you know,
    00:17:38,392there's like a little bit of a springiness to it.
    00:17:41,366And what's amazing, and I'm gonna keep harping on this,
    00:17:44,136'cause this is why I think precomps are so cool
    00:17:46,523and so useful and fun to play with
    00:17:48,223and you shouldn't be afraid of them,
    00:17:49,430is look, there's not a lot going on here.
    00:17:51,476That's really it.
    00:17:52,655Those are our key frames, right?
    00:17:55,026But if you look at the end result...
    00:17:57,021Let me close this so I quit opening in Assets.
    00:17:59,046Now, if you look at that, look how complicated that looks.
    00:18:02,366It didn't really take that much.
    00:18:04,113Alright, so now, let's just keep going, okay?
    00:18:06,147So now, I'm gonna precomp that 04,
    00:18:09,008and this is gonna be called SacredGeo,
    00:18:11,491because sacred geometry is so hot right now.
    00:18:14,351So let's duplicate that,
    00:18:15,664and let's shrink a copy of it down like that,
    00:18:19,660and maybe, I don't know, maybe rotate that copy 45 degrees,
    00:18:23,482and let's see what that looks like.
    00:18:26,106It's pretty interesting.
    00:18:26,973And we're gonna offcourse,
    00:18:28,241offset that inner copy a few frames
    00:18:30,776so you get this crazy looking thing like that.
    00:18:35,399That is pretty neat.
    00:18:36,602Okay, cool.
    00:18:38,463And then, why don't we go back
    00:18:40,494to the very first precomp here,
    00:18:43,296and why don't we actually allow this inner square
    00:18:45,945to get filled in by the end of this animation.
    00:18:49,038So what I did to do that on the demo is...
    00:18:52,207So, here's my inner square.
    00:18:53,752Let me rename this InnerSquare.
    00:18:55,959And what I'm gonna do is, let's see,
    00:18:58,072right about there I want it to sort of start flashing
    00:19:00,764and filling in.
    00:19:01,597So what I'm gonna do is
    00:19:02,430I'm gonna duplicate the inner square,
    00:19:04,156but I'm gonna call this -Fill.
    00:19:06,481InnerSquare-Fill.
    00:19:12,148Oops, -Fill.
    00:19:14,261I'm gonna hit U.
    00:19:15,094I'm gonna get rid of all the key frames on it,
    00:19:17,419and I'm just gonna parent it to this one
    00:19:19,876in case I change this one.
    00:19:21,047This one will still move with it,
    00:19:23,098and what I'm gonna do is go up here,
    00:19:25,132set the stroke to zero,
    00:19:27,168turn the fill on to a solid color,
    00:19:31,810and let's pick like kind of in that teal zone,
    00:19:35,882but then we'll make it not 100%.
    00:19:39,342We'll make it maybe 20%, okay?
    00:19:41,545And what we'll do is we'll figure out
    00:19:42,802where do we want that to start showing up.
    00:19:44,443Maybe here?
    00:19:46,809Cool?
    00:19:47,703And I'm gonna put a key frame on the opacity.
    00:19:50,148I'm gonna hold Option and Command and click the key frame,
    00:19:52,684so now it's a whole key frame.
    00:19:54,593Go forward a couple frames and set that to zero.
    00:19:57,456And so then what I'll do is
    00:19:58,289I'll just sort of go forward a couple frames,
    00:19:59,981copy both of these,
    00:20:01,128and then I'll just sort of randomly
    00:20:02,458spread them out like this,
    00:20:06,913and what I'm doing is,
    00:20:08,101by kind of randomizing the time of these,
    00:20:10,356I'm kind of creating a little flicker,
    00:20:12,180and then at the end,
    00:20:14,293I wanna make sure that it does go back to 20%.
    00:20:17,636So now if we play that,
    00:20:19,696see, you get like a little kind of flashing flicker.
    00:20:22,455And maybe that could start a little bit sooner,
    00:20:24,556and maybe these don't need to be so far apart,
    00:20:26,669and you can sort of play with the timing of that.
    00:20:30,075Cool.
    00:20:31,012Okay, and now, let's go to our end result
    00:20:33,178and see what we got.
    00:20:34,011And look how much more complicated that made it look,
    00:20:36,427and there's like this crazy flickering
    00:20:38,380and flashing going on and there's really nothing to it.
    00:20:41,989That was pretty easy.
    00:20:43,098Another trick I like to do,
    00:20:45,000because I've got these precomped this way,
    00:20:47,852so this top copy here,
    00:20:49,764and I'm not doing a good job of naming these things,
    00:20:51,920but this is the InnerCopy, right?
    00:20:56,056And that is on the top,
    00:20:57,429and so we're gonna kinda see that over this one,
    00:21:00,467which is gonna be helpful,
    00:21:01,352'cause what I wanna do is
    00:21:02,185go to the Color Correction effects,
    00:21:04,312add a hue and saturation effect,
    00:21:06,081and I can just kind of roll the hue around.
    00:21:09,288If I want, I could just make it 180 degrees
    00:21:11,495and now it's sort of the complete opposite.
    00:21:14,641You can see now I've got all this color variation happening,
    00:21:18,179too, which is cool.
    00:21:20,716Awesome.
    00:21:21,549Alright, well, why don't we just keep going?
    00:21:24,080So let's precomp these, as you do.
    00:21:27,002So now we're at 05.
    00:21:29,602We'll call this CrazyGeo.
    00:21:32,100Now what I wanna do is I wanna scale this down a little bit,
    00:21:37,311and I wanna have some copies of it,
    00:21:40,167so what I'm gonna do...
    00:21:42,016Let's think about this for a minute.
    00:21:43,246Let's turn on our guides.
    00:21:45,648So I'm gonna hit apostrophe,
    00:21:48,766and I'm gonna duplicate,
    00:21:50,985and I'm just gonna move one over, duplicate,
    00:21:52,766move one over maybe one more.
    00:21:55,694Okay, so we got three copies on this side,
    00:21:58,946and then I'm just gonna go back to this middle one here,
    00:22:04,191and I'm gonna duplicate it again.
    00:22:05,812Duplicate it again.
    00:22:06,645You can see I'm being very imprecise here,
    00:22:09,101but that's okay.
    00:22:09,934So then, what I wanna do is I wanna look at these two.
    00:22:11,798This copy and this copy.
    00:22:14,439Let me zoom in here.
    00:22:15,625And what I wanna do...
    00:22:16,975By the way, period and comma zoom in and out of your comp.
    00:22:20,313Very handy.
    00:22:21,146I'm gonna line up this little point here with Title Safe.
    00:22:25,887Then, I'm gonna go over to this side
    00:22:28,612and I'm gonna grab this one
    00:22:31,315and I'm gonna line that point up with...
    00:22:34,196And sorry, that's Action Safe.
    00:22:35,532That's not Title Safe.
    00:22:37,618If you guys don't know about Action Safe and Title Safe,
    00:22:39,399maybe that's another topic for another day,
    00:22:41,921but all I'm doing is I'm using this outer line,
    00:22:45,092which is Action Safe,
    00:22:46,150just as a guide to make sure that the beginning
    00:22:48,855and the end of this chain
    00:22:50,798are sort of in exactly the same spot onscreen,
    00:22:54,192just on the opposite side.
    00:22:55,779The reason I'm doing that is so now I can select them all.
    00:22:58,603I have my Align menu open here.
    00:23:00,650If you don't see that, I go up to Window and pick Align,
    00:23:03,344and I'm gonna distribute the layers
    00:23:04,823with their vertical axis like this,
    00:23:08,039and so now I've got everything...
    00:23:12,029I still have a perfectly centered composition,
    00:23:15,680but these are all distributed evenly, right?
    00:23:17,929And so if I play this,
    00:23:19,285you now get this crazy thing like this,
    00:23:22,330and what I like to do whenever I have things
    00:23:24,456that look the same but they're all in a row like this
    00:23:26,718is I like to offset them.
    00:23:29,504Now, I kind of did this a silly way,
    00:23:31,107and so it's not gonna be as easy.
    00:23:33,356It would be easier if I knew that the left-most layer
    00:23:35,648was the top one and the right-most layer was this one,
    00:23:38,062but I didn't set it up that way.
    00:23:39,240So what I'm gonna do is I'm gonna click this layer.
    00:23:41,945I know that this is the left-most layer.
    00:23:43,822So that's gonna be...
    00:23:45,657Let's think about this.
    00:23:46,663Why don't we have the middle one open up
    00:23:48,457and then it will expand outwards.
    00:23:50,174Okay, so where's the middle one?
    00:23:51,874If I'm not sure, what I'm gonna do is just select any layer.
    00:23:54,820I'm gonna hold Command and use the up and down arrow keys,
    00:23:57,716and you can see that it selects the layer above
    00:24:00,459and below whichever one I have selected,
    00:24:02,774and so all I gotta do is find the middle one, right?
    00:24:07,013Let's see, there it is.
    00:24:07,848There's the middle one,
    00:24:08,745so that's gonna be the first one to animate on.
    00:24:13,200Now, let's go forward two frames.
    00:24:15,328Actually, let's go to the end here
    00:24:16,477so we can actually see these things.
    00:24:19,012What I wanna do is offset each of these two frames,
    00:24:20,934so now I need to figure out which layer is this one
    00:24:23,129and this one.
    00:24:25,175Alright, so there's one.
    00:24:26,089So I'm gonna move that forward two frames,
    00:24:27,847which is Option Page Down twice.
    00:24:31,303See, just nudges that layer two frames forward,
    00:24:34,183and then I can find on the other side,
    00:24:36,695it's that one.
    00:24:37,528Let's nudge that two frames forward.
    00:24:39,120Now I need the next one in the line,
    00:24:41,028so let's find that one.
    00:24:43,552There it is on the right side.
    00:24:44,990That one's gonna be four frames forward.
    00:24:46,553So, one, two, three, four.
    00:24:49,257And then on this side.
    00:24:50,090There it is.
    00:24:50,923One, two, three, four.
    00:24:51,817And then, the last ones in line, right?
    00:24:56,372One, two, three, four, five, six,
    00:24:58,238and let's find that last one on the right side.
    00:25:01,433There it it.
    00:25:02,266One, two, three, four, five, six.
    00:25:03,099So now, if we play this,
    00:25:06,102you see how it's sort of like this nice
    00:25:08,143kind of bursting open thing.
    00:25:10,749And now I could even sort of
    00:25:14,389line these up like this
    00:25:16,963so that it's a little bit easier
    00:25:18,554to see which ones go together,
    00:25:20,692'cause I feel like the offset's nice,
    00:25:22,696but it's not really as much as I'd like,
    00:25:24,095so I'm gonna offset it another two frames each.
    00:25:26,563So I'm gonna grab these two and go two frames forward.
    00:25:29,571Four frames forward.
    00:25:32,561Six frames forward.
    00:25:34,397Cool, now you get this crazy...
    00:25:36,345Look at that.
    00:25:37,178It's great.
    00:25:38,011What are we gonna do with this?
    00:25:39,127We're gonna precomp this.
    00:25:41,253Let's precomp it.
    00:25:42,297So now, look, we're up to 06 already.
    00:25:44,997So this is 06.
    00:25:46,615We'll call it GeoCascade.
    00:25:49,797Sure, why not.
    00:25:51,512Cool, so now, why don't we...
    00:25:54,964Why don't we have this whole thing move, right,
    00:25:57,162so it animates on
    00:25:59,192and then why don't we have the whole thing rotate,
    00:26:02,964so I'm gonna have it anticipate,
    00:26:07,912and then let's go 10 frames forward.
    00:26:10,847Shift Page Down jumps forward 10 frame,
    00:26:12,410and let's have it rotate,
    00:26:14,154and what I'm gonna do is
    00:26:14,987I'm gonna have it rotate to 45 degrees,
    00:26:17,624so I'm gonna have it overshoot a little bit
    00:26:19,118and then four frames, fall back to 45 degrees.
    00:26:24,455Cool?
    00:26:25,288I'll Easy Ease those,
    00:26:26,121hop into the Graph Editor,
    00:26:27,852do a quick little yanky here.
    00:26:30,912Just yank it.
    00:26:33,589A yanky.
    00:26:34,478That doesn't sound right.
    00:26:36,440Don't use that term.
    00:26:38,030Don't use that term, everybody.
    00:26:41,198Cool.
    00:26:42,460Alright, and I like the way that's working,
    00:26:44,545but I want that rotation to happen a little faster
    00:26:47,589and I want it to start earlier, too.
    00:26:51,224So it's sort of like
    00:26:52,057as this thing's about to finish opening,
    00:26:54,666it's starting to rotate.
    00:26:56,053There we go.
    00:26:58,256Cool.
    00:26:59,846Alright, and now, what do you think we're gonna do?
    00:27:03,224We are going to grab this
    00:27:05,077and we're gonna precomp it
    00:27:06,021and this is gonna be 07_GeoRotate.
    00:27:10,547And then, you can just duplicate it,
    00:27:13,507and on this copy, just rotate it 45 degrees.
    00:27:16,472Or sorry, 90 degrees.
    00:27:18,309Or 45 degrees, whatever you want, right?
    00:27:21,518But maybe this one is offset a couple of frames
    00:27:24,165so you get a little bit of that lag to it.
    00:27:28,172That's pretty cool.
    00:27:29,829I like that.
    00:27:31,079Alright, now you've seen,
    00:27:31,969you're getting a little bit of cut-off edge here.
    00:27:35,312If you see that.
    00:27:37,537And so, let's think about how we might be able to fix that.
    00:27:42,940Let's see what we could do.
    00:27:45,973What if...
    00:27:48,523Well, first, I'm gonna grab both of these
    00:27:49,594and I'm gonna precomp them.
    00:27:50,483So this will be 08, we'll call this GeoCross.
    00:27:55,186And let me fit this,
    00:27:57,136and so maybe what I'll do is
    00:27:58,343I'll just scoot this whole thing over like this.
    00:28:03,950And then I'll duplicate it.
    00:28:05,502And I'll scoot this whole thing over,
    00:28:07,638and what I'm gonna try to do is
    00:28:09,095line these up with each other, like this.
    00:28:12,140Now, I want this to be kind of in the middle,
    00:28:14,032'cause it's really just kind of
    00:28:14,865in this weird spot right now.
    00:28:16,019So I'm gonna grab both of these
    00:28:18,064and what I'm gonna do is I'm gonna hit Command + Semicolon.
    00:28:21,998If you remember, this square comp that we've been in,
    00:28:24,274we've been in this comp the whole time,
    00:28:25,564so our guides are still there.
    00:28:27,747Let me turn off the Title Safe.
    00:28:29,059And so what I can do is, with those guides on,
    00:28:31,888I can kind of zoom in here and grab both of these,
    00:28:34,851and I can make sure that I line up
    00:28:37,601the center point with the guide.
    00:28:40,693Turn those guides off,
    00:28:41,526and let's see what that looks like now.
    00:28:44,353So, it looks cool
    00:28:45,447except where it overlaps in the middle there,
    00:28:49,110and so let me see if I can
    00:28:50,305sort of maybe help that a little bit,
    00:28:52,060'cause I don't really like the overlap as much.
    00:28:56,159But it is kind of interesting, what it's doing.
    00:28:58,040Look at that.
    00:28:58,972And then it ends up lining up with itself,
    00:29:01,166which is cool.
    00:29:06,156You know what, actually, it doesn't bother me too much.
    00:29:08,802There's so much going on that it's just sort of...
    00:29:12,314I'm okay kind of letting it go.
    00:29:14,947Alright, so now we've got this crazy, crazy looking thing,
    00:29:18,184and so far, I don't know,
    00:29:19,352we maybe have a dozen key frames in total.
    00:29:23,408There's just not a lot going on,
    00:29:25,054but with precomping, look how quickly it gets crazy.
    00:29:27,416Let's precomp this.
    00:29:28,249Let's call this 09_GeoMerge.
    00:29:33,492I dunno, I'm just making stuff up now,
    00:29:35,578and let's try this, too.
    00:29:37,059There's a neat little trick, and sometimes it works,
    00:29:39,457sometimes it doesn't, but let's try it.
    00:29:41,725I'm not sure how well it's gonna work in this case,
    00:29:43,245but I'm gonna scale this down,
    00:29:45,318and actually, I'm not gonna scale it down.
    00:29:46,964I'm gonna make it a 3D layer.
    00:29:49,733And I'm gonna just push it back in Z space, like this.
    00:29:54,323And then, I'm gonna put an effect on it.
    00:29:57,038Stylize, it's called Repetile.
    00:30:00,988CC Repetile, there it is.
    00:30:02,606This comes with After Effects,
    00:30:04,127and what it does is it basically repeats your image for you,
    00:30:08,037but there's a lot of different ways you can do it.
    00:30:10,188By default, it repeats, so it literally just sort of,
    00:30:13,809it takes the left side of this
    00:30:15,306and it starts over.
    00:30:16,852You can switch the tiling to Unfold,
    00:30:19,761and then what it does is
    00:30:20,760it actually mirrors the image on the right side,
    00:30:24,122and then I can also do it on the top, and on the left,
    00:30:29,044and on the bottom, and depending on what you have,
    00:30:33,213look at that.
    00:30:34,046That's nuts.
    00:30:34,879Depending on what you have,
    00:30:36,559you can get away with kind of just cloning
    00:30:41,083essentially your comp,
    00:30:42,307and making it bigger really easily.
    00:30:45,418So that's cool.
    00:30:46,251So the reason I pushed that back in Z space
    00:30:48,436was so that I could duplicate it
    00:30:50,740and have a closer copy of it.
    00:30:53,234So, we got this.
    00:30:55,841Cool?
    00:30:57,420Let's hit the transparency down a little bit,
    00:31:00,449and then we'll duplicate it.
    00:31:03,162Turn the transparency all the way back up,
    00:31:05,469and let's lose the Repetile now.
    00:31:07,377We don't need it, and let's leave it as a 3D layer,
    00:31:10,678but put the Z value back at zero.
    00:31:14,700And let's have the background, which is, remember,
    00:31:16,840this is the background layer?
    00:31:18,047I'm actually gonna name it for myself.
    00:31:20,521This background layer,
    00:31:21,504let's have this start maybe 10 frames
    00:31:24,281before the foreground does.
    00:31:28,495And we can up the opacity, 'cause it's pretty hard to see.
    00:31:32,857There we go.
    00:31:37,081Cool, it's pretty interesting.
    00:31:39,095Alright, and now I feel like the middle of this
    00:31:40,917is just screaming for something, right?
    00:31:43,468So, what would be cool is
    00:31:45,047if one of these cool sacred geometry things
    00:31:46,787could be really big right there in the middle.
    00:31:49,640Why don't we do this?
    00:31:51,548What I can do is I can just double-click these precomps
    00:31:53,797and kinda keep diving lower and lower and lower into it
    00:31:57,923until I find 05_CrazyGeo
    00:32:01,653is the comp that has that in it, okay?
    00:32:04,396So now I can hop back here
    00:32:06,085and I can just grab 05_CrazyGeo,
    00:32:09,924and look at that.
    00:32:11,680Right, and we can offset that,
    00:32:13,283so maybe we'll just sort of offset
    00:32:15,848these layers a little bit.
    00:32:18,510Maybe that could start a little bit later.
    00:32:20,373There we go.
    00:32:22,499Cool.
    00:32:24,968Alright, so let's preview this.
    00:32:28,673And I think as far as making crazy, repetitive layers goes,
    00:32:32,333I think I've shown you guys enough.
    00:32:35,975If you look here, we've got nine precomp layers,
    00:32:38,767so we're 10 layers deep of just sort of tweaking
    00:32:42,372and, you know, just offsetting things,
    00:32:47,141and scaling and copying layers,
    00:32:48,650and really everything, remember, is based on this.
    00:32:53,407This little thing,
    00:32:54,970when you go through the trouble to precomp everything
    00:32:58,081and just tweak a few things,
    00:32:59,084now you get this insane looking kaleidoscope thing.
    00:33:03,981And because, you know,
    00:33:05,050this whole thing is now just three layers
    00:33:08,506in this kind of main comp,
    00:33:11,042it's really easy to add hue saturation effects.
    00:33:16,790Offset the saturation of this one,
    00:33:19,106or sorry, offset the hue of this one a little bit.
    00:33:22,093Get a warmer color like that,
    00:33:23,195so now you can sort of start working
    00:33:26,208on your comp a little bit.
    00:33:29,213And then, the next layer of craziness
    00:33:32,132as you precomp all this, and now, we're up to 10,
    00:33:35,655and we're gonna call this...
    00:33:37,591I dunno, that was GeoMerge.
    00:33:38,590Why don't we call this Composite,
    00:33:41,496'cause now we'll actually start compositing it.
    00:33:43,406And what you could do is you could duplicate it.
    00:33:46,078You could add a fast blur to it.
    00:33:49,369That's kind of my go-to thing.
    00:33:50,699Add a fast blur, set this to Add mode.
    00:33:55,815Play with the opacity a little bit.
    00:33:58,436And now you've got a nice glow on it.
    00:34:04,236But now, because this is all precomped,
    00:34:06,073you can sort of decide, okay,
    00:34:07,506what other things do I want here, right?
    00:34:11,105And in the demo, one of the things I did
    00:34:12,558was I went into, you know...
    00:34:15,373I'm sort of just kind of walking through these here.
    00:34:17,195Look at that.
    00:34:18,028Okay, that's cool.
    00:34:18,966So, what if, in this precomp here,
    00:34:22,541I add like a little glitch, right?
    00:34:24,479And the way I did that...
    00:34:27,249Let me make a new layer here.
    00:34:28,385I'm gonna make it the comp size.
    00:34:30,494I'm gonna make it an adjustment layer
    00:34:31,676and we'll just call this Glitch.
    00:34:33,267There are a million ways to make glitches in After Effects.
    00:34:36,825I'm just gonna do this kind of a quirky way
    00:34:39,486that I like to do it.
    00:34:40,446I'm gonna use the Distort Magnify effect,
    00:34:44,890and what you could do is
    00:34:47,510you can crank the size of the magnification effect up,
    00:34:51,883like this, okay,
    00:34:52,716so now you can actually see the whole layer,
    00:34:55,437and if I move this point around
    00:34:57,095you can kind of see that it acts
    00:34:58,409almost like a magnifying glass.
    00:34:59,811Kind of shifts things around.
    00:35:02,389And this edge, it's making like a round edge,
    00:35:04,556which I don't want,
    00:35:05,389so I'm gonna change the shape to square.
    00:35:08,339And I'll change the blending mode to Add,
    00:35:12,398and maybe the opacity,
    00:35:14,309I'll turn down a little bit, like this.
    00:35:16,201And so now what I'm gonna do,
    00:35:17,436I'm gonna make this adjustment layer start right here.
    00:35:22,975A good hotkey for that.
    00:35:24,320The left and right bracket, they actually move the endpoint
    00:35:26,926and the outpoint.
    00:35:28,500Or sorry, they actually move the layer,
    00:35:30,245so that the endpoint is where your play head is,
    00:35:32,137or the outpoint, depending on which bracket you hit,
    00:35:35,276and what I'm gonna do is,
    00:35:36,109I'm gonna put a key frame on this center property,
    00:35:38,387so let's hit U to bring that up.
    00:35:40,595I'm gonna make that a whole key frame,
    00:35:42,643so Command + Option, click it.
    00:35:45,025Go forward two frames, and then I'm just gonna move it.
    00:35:48,769Somewhere else.
    00:35:49,772I'm gonna go forward two frames.
    00:35:51,125I'm gonna move it somewhere else.
    00:35:53,404Maybe like there, okay?
    00:35:54,842Then I'm gonna go forward one frame
    00:35:57,393and I'm gonna hit Option + right bracket,
    00:35:59,685and all that's gonna do is
    00:36:00,518it's gonna trim that layer for me.
    00:36:02,028And so now, we get this little thing like that.
    00:36:04,814And what's cool is because it's on an adjustment layer,
    00:36:07,101I can just move it wherever I want it, right?
    00:36:10,695And then, maybe have it happen again.
    00:36:12,384I'll just duplicate the layer and have it start here.
    00:36:14,782And so now you get two little kind of glitches happening.
    00:36:19,379And it's really easy to move them around wherever you want.
    00:36:27,386Let's scoot this one back a little bit to maybe there.
    00:36:33,568Cool, that was easy.
    00:36:34,401And then, let's go all the way to our final comp
    00:36:36,794and let's see what the effect of that was,
    00:36:38,633and you can see, it just kind of,
    00:36:40,661it adds like a little, just crazy,
    00:36:43,198jittery, computery thing to it.
    00:36:45,201Now, there's a lot of...
    00:36:47,081There's some issues with the composition here
    00:36:50,055in terms of where my eye is going and stuff like that,
    00:36:53,551and the good thing is, that's all pretty easy to fix now,
    00:36:56,270because I have set this up with precomps, right?
    00:37:00,055I don't have 50 layers I have to deal with at the same time.
    00:37:02,577I only have three.
    00:37:04,898One problem I'm having is that this layer here,
    00:37:08,820if I solo it, right?
    00:37:09,653This layer?
    00:37:10,875It's drawing attention away from this big middle one.
    00:37:14,126So what I might do is just,
    00:37:15,851I'm gonna grab my Ellipse Tool,
    00:37:17,816and I'm just gonna put a mask on it like this,
    00:37:21,764and I'm gonna feather that mask,
    00:37:23,287so you do see the edges,
    00:37:25,097and then I'll just turn the opacity down a little bit, too.
    00:37:29,529And actually, I'm not gonna turn the opacity down.
    00:37:31,571What I'm gonna do,
    00:37:32,656I have this hue saturation effect on there,
    00:37:34,878and I'm just gonna turn the lightness down a little bit,
    00:37:37,483just like that.
    00:37:38,509And then this background one,
    00:37:41,295I'm actually gonna...
    00:37:43,545Oopsie daisy.
    00:37:44,975Let's go back here.
    00:37:46,310On the background,
    00:37:47,143I'm gonna turn the opacity down a little bit more.
    00:37:50,672There we go.
    00:37:52,056And then we'll go to the end here,
    00:37:53,141and now we can see.
    00:37:53,974There we go.
    00:37:54,807That's a little bit better.
    00:37:55,640A little bit easier to look at.
    00:37:57,103Cool.
    00:37:58,227The other thing, you know,
    00:37:59,187I did some other stuff in the demo.
    00:38:00,504I added like a little camera move to it.
    00:38:02,714That's why I pushed the background back in Z space,
    00:38:06,223so I could actually add a camera,
    00:38:09,116and let's just do a simple little move here.
    00:38:12,912Put a key frame on position.
    00:38:15,348Put a key frame on zero rotation.
    00:38:17,255We'll go to the end here
    00:38:18,174and we'll kind of zoom in a little bit,
    00:38:21,329and you can see that one problem is
    00:38:23,474this main piece here is not a 3D layer,
    00:38:25,726so let's fix that,
    00:38:27,198and then we'll also have this rotate a little bit.
    00:38:30,252Cool.
    00:38:32,446And why don't we, since this is now a 3D layer,
    00:38:35,296why don't we actually bring this forward,
    00:38:37,588closer to the camera.
    00:38:39,154But then, shrink it down so it's the right size.
    00:38:42,281And so now, you've got this cool, kind of 3D feel to it,
    00:38:48,135and if we go back to the final comp,
    00:38:50,000you've got your glow and all this stuff,
    00:38:53,253and we haven't even color corrected it yet.
    00:38:58,220Of course, another thing that I kind of just do a lot,
    00:39:02,872probably I overdo it,
    00:39:04,193is I'll add an adjustment layer, like this.
    00:39:10,044And I like, I love, actually,
    00:39:12,070the Optics Compensation effect.
    00:39:14,723Reverse lens distortion, just crank that up a little bit,
    00:39:16,905and it just gives you a little bit of that,
    00:39:19,211you know, the edges kind of warping a little bit.
    00:39:21,196It kind of helps it feel a little bit more 3D,
    00:39:23,403which is kind of nice.
    00:39:25,659I mean, gosh,
    00:39:26,492I haven't even put a vignette on this thing yet,
    00:39:27,798but you know, the point I was trying to make this tutorial
    00:39:30,496is look at the final comp.
    00:39:32,202It's three layers,
    00:39:34,996and it looks like there's just a ton of stuff going on,
    00:39:39,179but key frame-wise, there's not.
    00:39:40,337There's really not that many key frames to this thing,
    00:39:43,234and it's just all precomping and duplicating layers
    00:39:46,528and creating these neat, unique patterns.
    00:39:49,287So, I hope you guys like this tutorial,
    00:39:52,905and I hope that if you're a beginner,
    00:39:55,684I hope maybe some of the things you learned here
    00:39:58,768will help you navigate precomps a little bit better.
    00:40:02,775Using the Tab key and kind of naming your precomps
    00:40:05,978so it's easy to find out where you came from,
    00:40:08,408and for those of you that are a little bit more advanced,
    00:40:11,950it's not that often in a paying job
    00:40:14,043that you actually get asked to do something like this,
    00:40:17,932and so, I don't know, I find that a lot of artists
    00:40:19,274actually haven't done something like this before,
    00:40:22,451so if you haven't, just do it.
    00:40:23,332Just try it.
    00:40:24,165I mean, it's pretty amazing.
    00:40:25,492This looks super busy.
    00:40:27,061It's crazy how busy this looks with such a little,
    00:40:31,251such a tiny little seed we planted to make all that stuff.
    00:40:34,487So, anyway, I hope this was helpful.
    00:40:37,734I hope you guys dug it, and thank you guys so much.
    00:40:39,614I really appreciate it, and I'll see you guys next time.
    00:40:42,394Thank you so much for hanging around
    00:40:43,679and watching this video.
    00:40:44,512I hope you learned something new
    00:40:45,421about how powerful precomps can be,
    00:40:47,885and we would love to hear from you
    00:40:49,626if you use this technique on a project,
    00:40:51,530so give us a shout on Twitter, @SchoolOfMotion,
    00:40:54,605and show us your work.
    00:40:55,438Also, if you learned something valuable from this video,
    00:40:58,053please share it around.
    00:40:59,104It really helps us spread the word about School of Motion,
    00:41:01,487and we really appreciate it.
    00:41:03,800So, thank you for taking the time to hang out,
    00:41:05,691and I will see you on Day 16.
    00:41:08,472(balls dropping)
    00:41:09,991(electronic music)