Using Stop Motion Animation with After Effects

Welcome to the final installment of our 30 Days of After Effects series! In this lesson we're going to check out how you can combine totally different animation techniques to make a mixed media masterpiece. You’ll get a little peak into the world of Dragon Frame, and then we’ll combine an element I shot with a comp I created in After Effects. We’ll tie the 2 together, add some synthetic motion blur, and be on our merry way.

We want to give one more quick shout-out to the Ringling College of Art and Design who sponsored the 30 Days of After Effects series. You can find out more about their awesome Motion Design Department in the resources tab.

If you have any questions, click over to the Q&A tab to post them. Other students can answer you, and we'll put our team on the case to try and get you a solution ASAP. 

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    00:00:00,148(fun funky music)
    00:00:02,136(paper crumpling)
    00:00:09,479(upbeat drum music)
    00:00:17,717- Oh my gosh!
    00:00:19,022Joey here at School of Motion and welcome to the last day
    00:00:22,051of 30 Days of After Effects.
    00:00:24,100I wanna give a quick shout out
    00:00:25,533to the Department of Motion Design at Ringling College
    00:00:27,942of Art and Design for sponsoring this series.
    00:00:30,462They were an amazing partner to work with throughout
    00:00:32,775this whole process and I really want to thank them.
    00:00:35,064If you haven't already,
    00:00:36,293check out the link in the resource tab
    00:00:38,423where you can get more information about them.
    00:00:41,124This last video is pretty cool.
    00:00:42,971What we're going to talk about
    00:00:44,200is how you can integrate stop motion
    00:00:46,038into your After Effects work.
    00:00:47,832I'm gonna go over some tricks that'll let you sort
    00:00:50,080of setup a template that you can create
    00:00:52,410really neat stop motiony elements with.
    00:00:54,894We're also gonna talk about some compositing tricks
    00:00:57,174that go along with it.
    00:00:58,638This is going to be kind of a unique one
    00:01:00,760and I hope that it's going to be something you want
    00:01:03,017to go out and try and eventually start building
    00:01:05,816your own elements and playing around with it.
    00:01:08,793Don't forget to sign up for a free student account
    00:01:11,074so you can grab the project files from this lesson,
    00:01:13,189as well as assets from any other lesson on the site.
    00:01:16,000Now, once more into After Effects.
    00:01:19,073So, today what I want to show you guys
    00:01:21,820is some interesting ways you can incorporate
    00:01:25,490stop motion into your After Effects toolbox.
    00:01:29,416So, you know, doing stop motion
    00:01:32,470there's a million ways you can do it
    00:01:33,624and so I thought what an interesting example might be
    00:01:36,889is to show you how to do like a paper crumpling transition.
    00:01:40,391Now, I've done this before without using stop motion
    00:01:44,065software because it's really not that hard.
    00:01:46,969Really what you do is you just start with a piece
    00:01:49,703of paper that's folded flat and you just frame
    00:01:52,053by frame slowly crumple it up and take a picture
    00:01:54,677until it gets to a small little ball, okay?
    00:01:57,047Now it's much, much easier to do
    00:01:59,688if you use stop motion software.
    00:02:01,361So I'll show you guys Dragonframe.
    00:02:04,580If you're unfamiliar with Dragonframe,
    00:02:06,413it is one of the most fun programs I've ever used
    00:02:10,533in my entire life and you pretty much can hook up
    00:02:13,380any DSLR camera to it and it can control the camera
    00:02:16,726and take a picture and it can do a lot of things
    00:02:19,491and I don't want to really spend too much time
    00:02:21,024in Dragonframe in this tutorial.
    00:02:22,753But, I used Dragonframe to shoot this piece of paper.
    00:02:27,587I pointed my camera straight down on the desk,
    00:02:29,951I had a ring light on it,
    00:02:31,301and you can see the last frame looks a little bit blue,
    00:02:34,320you don't have to worry about that.
    00:02:35,426The way Dragonframe works is genius.
    00:02:37,453It takes full RES pictures with your camera.
    00:02:41,324So, my T3i takes like,
    00:02:44,051I don't know what the megapixel is,
    00:02:45,234but they're like 5K images.
    00:02:47,272But, it saves a low RES version of that image
    00:02:50,486that it can play back really quickly,
    00:02:52,242literally in real time.
    00:02:53,881So, you can very quickly preview
    00:02:55,836what your animation's looking like
    00:02:57,055and so it took me about ten minutes to do this
    00:02:59,885and I was very happy with it and even at the end I did,
    00:03:03,023you know, I sort of, I mean I'll kind
    00:03:05,155of go frame by frame and show ya.
    00:03:06,493Here's the first frame and then I crumpled up the edges
    00:03:09,837and I taped the paper to the desk so it wouldn't move
    00:03:13,425and I just kept crumpling it and then when I got to the end,
    00:03:16,157I just moved it a little bit just
    00:03:17,314to get a little extra motion at the finish.
    00:03:20,721Okay, so there you go, that's Dragonframe
    00:03:24,148and then you can export out you image sequence
    00:03:28,058and export it however you want.
    00:03:29,582So, I exported it out and here it is,
    00:03:33,280this is my image sequence.
    00:03:34,513Now, I imported it into After Effects and I made sure,
    00:03:39,054and we talked about this in the last video,
    00:03:41,335to interpret the footage correctly.
    00:03:42,918Now this is stop motion,
    00:03:44,109so I wanted it to go at 12 frames a second, not 24.
    00:03:48,559Now you can do it at whatever you want,
    00:03:50,559but to get that stop motion feel it's better to do it at 12,
    00:03:54,393it just sort of is the look, that's the aesthetic.
    00:03:58,396So 12 frames a second, and so now if I take this
    00:04:03,004and I drop it into a comp,
    00:04:06,035it's gonna make a gigantic comp, right?
    00:04:07,829So this is actually the pixel size of these images.
    00:04:11,352So let me set this to 1920 by 1080
    00:04:16,488and then I'm gonna scale my images way down like that.
    00:04:19,995Okay, and what I want it to do is to have it start
    00:04:23,184where the paper is full frame like this,
    00:04:26,082and then at the end, have like a little ball
    00:04:28,530of paper like that.
    00:04:29,768So, what I'm gonna do is I'm gonna go to the last frame
    00:04:31,330and I'm gonna move my anchor point into the center
    00:04:33,012of the ball, so it will be easier to control,
    00:04:36,424to control it and let's line it up in the center
    00:04:38,220and I'm gonna put a key frame
    00:04:39,123on position, scale, and rotation.
    00:04:41,556Then I'm gonna go to the first frame
    00:04:43,065and I'm gonna scale this thing back up
    00:04:45,391and move it so it's kind of centered, greatness.
    00:04:50,775And I'll put a rotation key frame there,
    00:04:52,260and then I'm gonna go to the end
    00:04:53,320and just have it rotate a little bit further
    00:04:57,845in the direction that it moves.
    00:04:59,438Okay and I'll easy ease those
    00:05:00,861and let's just RAM preview this
    00:05:02,367and see what it looks like, cool.
    00:05:05,105Now, I should also point out that I took
    00:05:09,060and actually I might as well go ahead
    00:05:10,850and show you the original images.
    00:05:14,194The original images looked like this.
    00:05:18,142If I go to the exports,
    00:05:20,409I exported a TIFF sequence out of Dragonframe
    00:05:25,581and you can see that the TIFF sequence,
    00:05:28,763especially on these later shots, you can still see the desk.
    00:05:32,519So there's only 13 frames, right,
    00:05:35,376it wasn't like a million frames, it was only 13.
    00:05:37,309So, all I had to do was open each frame in Photoshop
    00:05:40,838and very quickly use my pen tool and cut out the paper.
    00:05:44,067Okay, that's all I did,
    00:05:45,495so when I imported my Photoshop sequence,
    00:05:48,671it already had the correct alpha channel.
    00:05:51,564Alright, I had already cut away the desk.
    00:05:54,460So, that's gonna be kind of a recurring theme
    00:05:58,009in this tutorial is that sometimes you just have
    00:06:00,696to do the tedious thing.
    00:06:02,950Now, if you have access to a green screen
    00:06:06,906or a surface that can get you a better key with the paper,
    00:06:12,000then you could certainly do that.
    00:06:14,010It's always tricky to do that though
    00:06:15,913because the paper is touching the surface
    00:06:18,728that it's sitting on, it's gonna create really hard shadows,
    00:06:21,300there's gonna be a lot of color spill happening.
    00:06:24,354So, in the end you're probably just
    00:06:26,989gonna have to rotoscope it,
    00:06:28,582but you know if you animate it 12 frames a second
    00:06:31,470and you do this in like one second,
    00:06:33,421it's really not that many frames.
    00:06:34,805Cool, so we've got the piece of paper
    00:06:38,112and you know in general I'm pretty happy
    00:06:40,075with the motion of that.
    00:06:41,293So, now the next part is,
    00:06:43,702we need to put something on the paper
    00:06:46,396and have it sort of crumple up with the paper, right?
    00:06:49,328So, what I did was I made
    00:06:52,805a little precomp here
    00:06:57,041where I just took the 30 Days of After Effects Day 30 badge
    00:07:00,462and I just scaled it up and I used this plug-in
    00:07:03,964that I've been using lately to make the grid
    00:07:07,593because I wanted it to look kind of like graph paper
    00:07:10,120and the built in grid effect in After Effects
    00:07:11,918isn't very good, but my buddy Aharon Rabinowitz
    00:07:17,580talked me into trying out the universe plug-ins,
    00:07:19,990which actually there's some pretty cool ones in there
    00:07:22,435and there's a grid plug-in
    00:07:24,554that is actually like a really legit good grid plug-in.
    00:07:28,307So, actually some pretty useful utilities in there,
    00:07:31,929something to think about.
    00:07:33,515So, that's what I made,
    00:07:36,011I made it 12 frames a second,
    00:07:37,447it's super simple.
    00:07:38,631So, that is a precomp called paper image,
    00:07:40,812I'm just gonna copy and paste this
    00:07:43,553right over my image, okay?
    00:07:46,818And I've got a bunch of stuff on here,
    00:07:49,710so let me just delete all this junk,
    00:07:51,588we'll start from scratch.
    00:07:52,421So, here is my image, okay?
    00:07:54,870First thing I'm gonna do is I'm gonna go to the first frame,
    00:07:57,030I'm gonna parent it to the paper crumple, okay?
    00:08:01,251So now it will at least sort of move
    00:08:03,370with the crumpling paper.
    00:08:05,693Alright, so that's step one
    00:08:08,096and I'm gonna turn the opacity down
    00:08:09,767so we can kinda see what's going on,
    00:08:11,032there's also a mask on here I'm gonna delete.
    00:08:14,344Okay, cool, so you know, as this thing is crumpling up,
    00:08:17,576two things are gonna happen.
    00:08:18,593One is the image needs to distort
    00:08:20,678as though it's being crumpled up.
    00:08:22,547The other thing is parts of the image need to disappear.
    00:08:24,869You can see that if the paper's folded over here,
    00:08:27,719you're not gonna see what's on that part of the paper,
    00:08:30,364you're only gonna see what's in the middle.
    00:08:32,280And then as it gets more and more crumpled up,
    00:08:33,668you might see pieces of the image kind of poking through,
    00:08:36,355but then some parts are gonna be gone.
    00:08:39,165So you need to do a combination
    00:08:40,958of distorting and masking, okay?
    00:08:43,820So, here's basically how I approach this.
    00:08:48,193I'm gonna set this to like 50 percent opacity just so we
    00:08:50,761can always see the paper through it a little bit.
    00:08:53,657So, the first thing I'm gonna do is,
    00:08:55,006I'm actually going to animate the scale
    00:08:57,850of the paper just so that you know,
    00:09:02,240up until this frame the paper's actually bigger
    00:09:04,932than this image so that's not gonna work all that well.
    00:09:08,675So I'm just gonna scale it up a little bit right
    00:09:10,862at the beginning and it's happening so fast
    00:09:15,427that you're probably not even gonna notice
    00:09:16,692it once it's all done.
    00:09:18,015The next thing I wanna do is make my comp longer.
    00:09:20,008So, let's make it like six seconds,
    00:09:23,184and I don't want the paper crumple to start right away,
    00:09:25,839I wanna see these things pop up
    00:09:28,408and then I want it to crumple.
    00:09:30,157So, I'm gonna go forward to like a little bit
    00:09:32,945after a second so it pops up and then it crumples.
    00:09:36,253So that's what's gonna happen, cool.
    00:09:38,668So, once this thing starts to crumple,
    00:09:43,449we've agreed we need to have some sort of mask
    00:09:47,048to sort of only show parts of the image,
    00:09:48,924but the big thing is how do you make a layer crumple?
    00:09:52,430And it's actually pretty simple,
    00:09:53,654here's what you do,
    00:09:54,862you use the mesh warp effect
    00:09:58,912and this effect it's kind of,
    00:10:04,965I don't know,
    00:10:06,553oh and it's on the wrong layer,
    00:10:07,736let me actually put it on the right layer.
    00:10:10,871I feel like this effect needs to be updated,
    00:10:13,967the interface is very simple, right?
    00:10:15,701You put the effect on, you define how many rows
    00:10:18,721and columns you want to have control over,
    00:10:20,959and then you just move control points around
    00:10:23,002and it warps your layer.
    00:10:25,560But, the interface for this hasn't been updated
    00:10:27,961in a long time and it would be nice if you
    00:10:29,475had a little bit more control over these control points
    00:10:33,302and maybe some way to access them individually,
    00:10:35,504but you don't at this point,
    00:10:36,520so what you're gonna do is you're just gonna come
    00:10:38,870to the first frame of this paper crumple
    00:10:41,318and you're gonna put a key frame on the distortion mesh.
    00:10:43,849This is what key frames the actual shape of the distortion.
    00:10:48,499And then I'm gonna go forward to like the middle
    00:10:51,434and here's what I'm gonna do,
    00:10:52,696I'm gonna grab some of these points
    00:10:56,320and I'm going to just sort of roughly eyeball
    00:11:01,986what I think this should be doing, okay?
    00:11:04,279And you'll notice that I keep missing these control points,
    00:11:06,682that is something all of you will do too,
    00:11:09,505you're gonna try to click a control point
    00:11:12,104and you're gonna miss and if you do, you just hit undo,
    00:11:16,015and it'll bring the grid back up for you.
    00:11:20,106So, one thing that sort of throwing me off here
    00:11:22,791is I can see the entire layer outside
    00:11:26,498the boundaries of the paper.
    00:11:28,896So, one easy trick is you just hit
    00:11:31,221this little box here, right?
    00:11:32,571This is the transparency checkbox,
    00:11:34,280if you don't see it, hit F4
    00:11:36,406or hit this toggle switches modes button down here
    00:11:39,093and make sure you bring up this column
    00:11:40,704and then you can check it
    00:11:41,930and now it's gonna matte out this layer based
    00:11:44,641on every layer underneath it, okay?
    00:11:47,494So this doesn't work if you have a background
    00:11:50,097back here because then this background
    00:11:52,911is not gonna allow this to be matted out.
    00:11:55,314So, if you wanna preview this over like that yellow color
    00:11:58,126for example, you can hit Command+K
    00:12:01,668and bring up your composition settings
    00:12:03,931and set a background color in there,
    00:12:08,094and that background color is actually non-existent, okay?
    00:12:11,640There is no alpha there so you can still use this trick,
    00:12:14,368the little checkbox.
    00:12:15,519And so now I can, let me go back to my distortion mesh
    00:12:20,369and now I get a much better sense
    00:12:22,365of what this is actually gonna look like
    00:12:24,197when it's all crumpled up.
    00:12:26,721Alright, and you know, there's not,
    00:12:29,045you don't really have to be that exact.
    00:12:30,836I mean that's the beauty of this
    00:12:33,068and that's one of the points I wanted
    00:12:34,341to stress with this video, when you're animating stuff
    00:12:37,399and it's happening really quickly,
    00:12:38,703especially in a situation like with stop motion,
    00:12:42,412it's not as important that every frame looks perfect.
    00:12:45,390It's way more important that the animated thing looks good.
    00:12:49,196And I've actually heard animation described as,
    00:12:52,371I think it was described as crummy drawings
    00:12:54,858animated beautifully or something like that.
    00:12:57,177Alright, so you're starting to get this nice
    00:12:59,639crumpling effect using that mesh warp, okay?
    00:13:02,462And you know if at the beginning I feel like,
    00:13:04,703oh I want a little bit more of it.
    00:13:06,991Oh, by the way, now that I've got this check,
    00:13:08,971this transparency little checkbox turned on,
    00:13:13,166I can't see my paper image at the beginning here.
    00:13:16,447So, I need to time re-map, so Command+Option+T,
    00:13:19,622time re-map that layer and drag it all the way back
    00:13:21,904to the beginning, so now I'll see it.
    00:13:24,102Cool, alright.
    00:13:25,208And you can see already it's starting
    00:13:26,842to look like it's gettin' crumpled up
    00:13:28,986and then at the end I want it to get really crumpled up,
    00:13:31,313so I'm just gonna put another bunch of key frames on here.
    00:13:35,097And you can go as crazy as you want with this
    00:13:37,461and you can try to be really accurate
    00:13:40,356and actually follow contours of the folds
    00:13:42,882of the paper and stuff.
    00:13:44,187One of the things that's cool with the mesh warp
    00:13:45,612is if you cross, if I take this point
    00:13:48,017and cross over some other points,
    00:13:50,295you can really mess up the image
    00:13:52,575and get it really kind of distorted and janky lookin',
    00:13:58,004which you know if you're going
    00:13:58,837for crumpled paper is what you want.
    00:14:01,849Alright, and so I'm just sort of messing around here
    00:14:04,379and I know that in the end I'm gonna mask some
    00:14:06,309of this stuff out, so I'm not gonna see the whole thing.
    00:14:09,367Alright, at the end here I want to make sure
    00:14:12,282that I can still see all my layers.
    00:14:16,815So let's do a little RAM preview and see what we got.
    00:14:19,098So you can see really quickly just kind
    00:14:20,570of key framing that mesh warp,
    00:14:21,996we've already got a nice little crumple happening.
    00:14:27,049Alright, and I think for now we can probably stop
    00:14:31,006because I believe by this point I'm not gonna want
    00:14:33,817to see this paper image anymore.
    00:14:35,444So I'm actually gonna trim the layer right there,
    00:14:37,272Option+], that'll set the out point
    00:14:39,695of that layer right there.
    00:14:41,815And now let me turn the transparency back up
    00:14:44,266and let's just do a quick little preview
    00:14:46,672and see what we got, cool.
    00:14:49,579So, the other thing that you're not seeing
    00:14:51,859is you're not seeing any of the shading of the paper,
    00:14:54,142I mean that's what's kind of cool
    00:14:55,776about using this crumpled paper is that you
    00:14:57,710get all this texture to it, right?
    00:14:59,748So, one way you can do it is you can just set
    00:15:03,308the transfer mode of this to multiply
    00:15:05,182and now you're gonna see through that paper,
    00:15:07,143but it's gonna make it,
    00:15:09,181it's gonna really darken this image.
    00:15:12,563So actually, maybe a better way to do it,
    00:15:15,350and this is very similar to the last tutorial
    00:15:17,103where we did something kind of like this,
    00:15:19,466but with a 3D phone instead of a stop motion piece of paper.
    00:15:23,853You can duplicate this layer
    00:15:25,851and put it back on top of your paper image,
    00:15:29,680use a copy of your paper image as a alpha matte,
    00:15:34,239and there you go.
    00:15:35,712And so now you get a copy of this back on top
    00:15:40,153of itself that you can multiply.
    00:15:43,259Multiply, multiply, there we go.
    00:15:46,027You can multiply over the image and we're not,
    00:15:51,447oh that's because I did the wrong layer.
    00:15:54,116This layer, this is the layer that should be multiplied.
    00:15:57,543And let me name this,
    00:15:58,640so this is now the shading layer, right?
    00:16:02,344And this is the paper image matte, okay?
    00:16:07,231And what I wanna make sure is that any effects
    00:16:09,599I have on this paper image matte always match up
    00:16:12,609to what's going on with this layer
    00:16:14,320and I'm actually gonna parent this to this layer, okay?
    00:16:18,103And get rid of any key frames that are on here
    00:16:20,714so that all I have to do is control this layer
    00:16:22,911and this one will be updated.
    00:16:24,014Now, I want the mesh warp of this layer
    00:16:26,015to match the mesh warp of this one.
    00:16:28,053So, an easy way to do that is open up the effects
    00:16:31,469on both layers on your timeline like this,
    00:16:34,273and hold Option, click the stopwatch
    00:16:36,814for the distortion mesh on your matte,
    00:16:38,889and then you can pick whip to this distortion mesh.
    00:16:42,482So there you go, that's all you have to do.
    00:16:43,500So now this mesh warp is always gonna be in sync
    00:16:46,544with this mesh warp, this one.
    00:16:48,741Cool, so now I've got this matte setup
    00:16:51,472and the reason that is a better way to do it is
    00:16:53,963because now you can color correct the shading layer.
    00:16:57,712You can put a levels effect on it and brighten it,
    00:17:00,972but also bring back more of that gritty paper texture
    00:17:04,726if you want, right?
    00:17:06,805And that's probably too much,
    00:17:09,296and then you can just kind of adjust the black alpha
    00:17:11,691to control how much of that you're seeing through it, right?
    00:17:14,632So now I still have that nice bright lookin' layer,
    00:17:16,732but I can still see all the folding happening.
    00:17:19,852So let's go to these frames,
    00:17:22,217cause these frames here I wanna make sure
    00:17:25,310that I'm still getting that nice grid texture on there.
    00:17:30,933So maybe what I need to do is actually go
    00:17:32,441to my paper image comp and make it a little bit taller.
    00:17:37,007So let's make that actually 1300 in height.
    00:17:40,795And then I'm going to hit Shift+Command+Y
    00:17:44,725to bring up my solid options for my grid layer.
    00:17:47,757I've got two of them, I'm just gonna hit make comp size,
    00:17:52,120and so now the grid extends all the way,
    00:17:55,910and this grid I've got two copies of it,
    00:17:58,634one has a little bit of a blur on it just
    00:18:01,574to give it that fuzzy kind of papery look.
    00:18:05,021And so now we should be all good,
    00:18:08,834yeah there we go, cool.
    00:18:11,728Alright, so now that that image extends all the way
    00:18:14,291to the top of the crumpled paper
    00:18:15,721and it's crumpling up and it's looking fantastic.
    00:18:17,513Okay, so now let's deal with the masking part of this.
    00:18:20,690So I'm gonna turn the paper image opacity down again
    00:18:23,503for a second and I'm just gonna go to a frame
    00:18:26,968where there's kind of a complex shape, right,
    00:18:29,369like this is a good one.
    00:18:30,854Every frame is so different from the previous frame
    00:18:33,699that you're not gonna be able
    00:18:35,361to just easily do a quick tweened mask shape here.
    00:18:39,596But, if you pick a shape
    00:18:40,804that's relatively complicated like this,
    00:18:42,637you'll know that at least you probably
    00:18:44,221have enough mask points
    00:18:48,837to get the shape correct
    00:18:51,688and it doesn't have to be perfect.
    00:18:53,850Okay, so now we turn this back up.
    00:18:55,603One thing that's gonna throw you off is
    00:18:57,566because you have a mesh warp on there,
    00:19:00,023your mask is not going to work exactly the way you want,
    00:19:03,938which is kind of annoying.
    00:19:05,975But, that's okay, you could precomp this whole layer
    00:19:10,415and including the mesh warp
    00:19:12,498and then the mask will work correctly,
    00:19:14,836but it doesn't bother me too much
    00:19:16,927that you're seeing sort of pieces
    00:19:19,802of the image that you weren't expecting to
    00:19:21,977because I don't just totally want to lose,
    00:19:26,582I don't want to lose all of the image
    00:19:28,015on these folded parts of this crumpled paper.
    00:19:30,219I want to keep some of that
    00:19:32,132and I want it to look a little bit random
    00:19:34,167and I want it to just happen very quickly
    00:19:37,256so that it feels like you're just, you know,
    00:19:39,906it just happened so fast that the whole thing
    00:19:41,864just kind of disappears.
    00:19:42,697So I've got this interesting mask shape on there,
    00:19:45,121I'm gonna hit Option+M, set a key frame,
    00:19:47,972and then I'm gonna go backwards
    00:19:49,933and I'm gonna go to the first frame
    00:19:52,826where I see the full thing
    00:19:55,602and I'm just gonna quickly make
    00:19:58,130a roughly rectangular shape like this.
    00:20:02,685And one quick tip with working with masks,
    00:20:04,234you can select a bunch of points, double-click them,
    00:20:07,174and then you can scale them like this,
    00:20:10,233and it's a really easy way to sort of align points
    00:20:12,279up on a mask really quickly.
    00:20:15,228And then I can select all the points
    00:20:16,651and double-click them and rotate them, and scale them,
    00:20:19,262and make roughly a rectangle,
    00:20:20,766so I don't have to grab every single point individually,
    00:20:23,929you can do it pretty quickly.
    00:20:25,967And now moving forward I can just sort of go forward
    00:20:30,839a few frames, fix the mask in this frame,
    00:20:34,587and I'm just trying to get roughly where I want it.
    00:20:39,728Now in the end I'm gonna apply motion blur
    00:20:41,723to this whole thing and that's gonna sort
    00:20:44,639of help cover up some of the sin too,
    00:20:46,512some of these hard edges where you can see
    00:20:51,099that the image maybe shouldn't be showing there, but it is.
    00:20:54,687Alright and let's go forward and backwards on this frame,
    00:20:57,905I'd like to see a little more there,
    00:20:59,289maybe a little less there, right?
    00:21:02,675And then by the end, by this frame,
    00:21:05,360this mask should be pretty small
    00:21:07,925and kind of in the middle here,
    00:21:10,167and you should only see a little bit of it,
    00:21:12,937but I still want it to be a little random so on some
    00:21:14,811of these frames I'm gonna pull some
    00:21:16,144of this back and reveal a little bit more
    00:21:19,220maybe so it really just feels random.
    00:21:22,276Okay, and then this, maybe this is the last frame
    00:21:25,572that we actually see the image,
    00:21:26,915so I'm gonna trim the layer there,
    00:21:28,144and let's do a quick RAM preview.
    00:21:31,692And it crumples and goes away, cool.
    00:21:36,004Alright, so that's lookin' pretty good,
    00:21:38,038I feel like it doesn't crumple enough.
    00:21:39,814Like right in there,
    00:21:40,711it should start to be really really crumpled.
    00:21:42,927So I'm gonna grab the mesh warp
    00:21:44,839and I'm really gonna mess with this key frame,
    00:21:49,112I'm gonna just distort the mess out of it
    00:21:53,356and really try to mess the image up
    00:21:57,978so it looks like it's really getting smooshed at this point.
    00:22:02,955And you can see I've kind of made a mess in here
    00:22:05,237and it's kind of hard to see what's going on.
    00:22:08,093So I'm just trying to do my best here, there we go, okay,
    00:22:12,647and so now it's like crumple, crumple,
    00:22:14,786gets really crumpled, and then that last frame,
    00:22:17,232I mean that's the last frame that we see this on
    00:22:20,452and it really needs to be messed up.
    00:22:22,287So let's just almost invert some stuff like this.
    00:22:26,483Okay, let's see, so now we preview this
    00:22:30,331and that works pretty good, that works better.
    00:22:31,856Okay, so now how can we add motion blur to this?
    00:22:34,318Cause this was shot stop motion so there is no motion blur,
    00:22:37,835this wasn't a 3D render,
    00:22:39,753so there's no motion vector pass or anything like that.
    00:22:44,529So, what I wanna do is just precomp,
    00:22:47,752first I wanna make sure everything's set correctly,
    00:22:49,504is 100% opacity, I'm gonna select this whole thing
    00:22:53,256and I'm gonna precompose it and just call it Paper ball.
    00:22:58,264Cool, there it is.
    00:22:59,328Now, a bunch of stuff disappeared
    00:23:01,734and let's figure out why that happened.
    00:23:05,040That happened because it didn't precompose this layer too,
    00:23:07,535so I precompose everything, paper ball, go.
    00:23:13,400And so what you can do is you can use,
    00:23:18,272there's a plug-in you can get
    00:23:19,577and I mentioned it in the last tutorial actually,
    00:23:22,306reelsmart motion blur.
    00:23:24,018Now, in the last tutorial we used this effect,
    00:23:26,224the pro vectors, in this one we can
    00:23:28,098just use the plain old reelsmart motion blur.
    00:23:30,587This effect is incredible.
    00:23:31,685What is does is it looks at each frame, right?
    00:23:35,724And between one frame and the next frame
    00:23:37,316it figures out which pixels are moving
    00:23:39,989and in what direction and it blurs them.
    00:23:41,559And you can see that if you look at it too closely
    00:23:44,700you're gonna see some weird artifacts,
    00:23:46,737but again, that's okay.
    00:23:48,897When you play it, it looks like motion blur.
    00:23:52,809Now there's way too much blur on here right now,
    00:23:55,167so I'm gonna turn the blur amount down to like 0.1.
    00:23:58,633So there's just a little bit of blur on it, okay?
    00:24:02,383And look at that, it motion blurs the stop motion.
    00:24:05,770This is actually a very common technique
    00:24:08,220with stop motion animators,
    00:24:09,483to apply motion blur after they shoot their stop motion
    00:24:13,227because it gives it a smoother more natural look
    00:24:16,482and it's you know when you shoot stop motion
    00:24:18,480it's impossible to get motion blur
    00:24:19,987because you know, the stuffs not moving, alright?
    00:24:23,269So this reelsmart motion blur effect is really handy
    00:24:26,291and I know again it's a plug-in that you have to buy,
    00:24:28,333but you know there are certain plug-ins
    00:24:29,924that if you're serious about being a motion graphics artist
    00:24:33,384you should own, you really should,
    00:24:35,060and you're talking about like 100 bucks, 200 bucks,
    00:24:38,648it's really a small investment.
    00:24:41,055Alright, so let's talk about finishing up this animation.
    00:24:43,460This was the bulk of this tutorial,
    00:24:45,339figuring out how you can use something like this
    00:24:48,070and incorporate it into your After Effects.
    00:24:51,778Another thing I did too by the way,
    00:24:53,217is I color corrected the paper ball a little bit,
    00:24:56,429just doing some levels on it, I brightened it a little bit,
    00:25:00,096and I pushed the black outputs up a little bit
    00:25:02,498so it wasn't so stark.
    00:25:05,163Like I didn't want those shadows to be so dark.
    00:25:08,336Another thing you can try too,
    00:25:09,973I didn't do this on the example,
    00:25:11,852but just seeing some of these hard edges with the image,
    00:25:15,122I wonder if it would help to feather the mask a little bit,
    00:25:18,705I suspect it's gonna look weird,
    00:25:20,169but why don't we just preview it just to see
    00:25:23,680if that helps at all, I mean I don't know, I don't know.
    00:25:26,457And then we can look at it with the motion blur
    00:25:29,188and see what we're getting,
    00:25:30,497see if that does anything interesting for us.
    00:25:32,824Eh, it looks a little funky,
    00:25:34,619I don't know if I dig it.
    00:25:36,329I don't know if I'm in to that, so let's turn that,
    00:25:40,283let's undo the feather on that,
    00:25:42,727set that back to zero, there we go.
    00:25:46,716And now at the very end here we need to make sure,
    00:25:51,116oh I see what's going on,
    00:25:52,074you see how the paper turns white there?
    00:25:53,799I was trying to figure out why,
    00:25:54,974that's because this shading layer
    00:25:56,721is using this layer as a matte
    00:25:58,032and that layer ends too early, so now there you go.
    00:26:01,992Excellent, so what I also did was I added
    00:26:06,473a little extra motion to this ball,
    00:26:08,754of this rolling little paper ball here so it stops, right?
    00:26:12,824And then once it stops, I animated the position,
    00:26:17,109so Y position I had it just for like two frames,
    00:26:21,223maybe three frames it just dips down a little bit
    00:26:23,428in anticipation of being chucked up in the air.
    00:26:26,324So now were gonna go forward like six, seven frames
    00:26:29,662and we'll have this ball go up in the air like this
    00:26:32,469and then maybe another ten, maybe eight frames,
    00:26:36,093gonna fall down to the bottom of the screen.
    00:26:39,101Let's easy ease all these.
    00:26:40,936Let's go into the animation curves
    00:26:42,729and again this is were understanding animation curves
    00:26:45,440is so crucial because you can just look at this
    00:26:48,372and figure out what's wrong, right?
    00:26:50,039It should not be easing into this last key frame,
    00:26:52,851if it's falling it should be pointed like that.
    00:26:56,011Alright, and we can extend this and then we can,
    00:27:00,639let's just preview this.
    00:27:01,472So it goes, it anticipates down
    00:27:03,827and then pops up a little bit,
    00:27:05,456maybe we want it to go a little bit further down,
    00:27:11,084and let's preview this.
    00:27:12,679Let's set our in and out point here.
    00:27:15,814So it gets tossed up and then it falls,
    00:27:17,687and it's way too slow.
    00:27:19,604So I want it to get tossed up really quickly,
    00:27:21,679so maybe let's try five frames, and then it's gonna fall.
    00:27:26,563See one of the things I forgot is I'm animating
    00:27:28,605at 12 frames a second, so six frames is half a second,
    00:27:32,275so really it should probably only anticipate like two frames
    00:27:36,834and then maybe four frames up in the air,
    00:27:39,660and then maybe another four frames back down.
    00:27:44,225Let's see how that looks,
    00:27:45,167so it gets tossed up and then it falls.
    00:27:47,265Alright, and it doesn't need to fall that fast,
    00:27:49,341so we'll give it one more frame and that's pretty good,
    00:27:51,951and then once it starts to go up I want it to rotate also.
    00:27:56,595So I'm also gonna have it sort
    00:27:58,182of rotate backwards like this, and I'm just gonna put
    00:28:02,388an easy ease key frame on this so it will just sort
    00:28:04,264of start to roll as it gets thrown.
    00:28:07,316So there you go, so now it's like (tongue clicking)
    00:28:08,628tossed up in the air and thrown away, right?
    00:28:10,43530 Days of After Effects finished.
    00:28:13,437Day 30 good riddance, right?
    00:28:16,004Nah, just kidding,
    00:28:16,837so you know other than that all I did
    00:28:20,094was reveal the little School of Motion logo
    00:28:22,952and the thanks for watching, right?
    00:28:27,727Thank you guys so much for watching,
    00:28:29,278I really can't tell you how thankful
    00:28:31,517I am that you guys have been so supportive
    00:28:34,291and you've been such an amazing audience
    00:28:35,879throughout this whole thing.
    00:28:38,362And I hope that this was an interesting one to end on.
    00:28:40,726I know it seems a little bit random,
    00:28:42,430but this is one of those topics that I just don't see
    00:28:46,093a lot of information out there about,
    00:28:47,520you know using stop motion
    00:28:49,274in conjunction with After Effects.
    00:28:51,317After Effects is just a tool, it's a compositing tool,
    00:28:53,965you can use absolutely anything.
    00:28:55,596You can use footage, you can use drawings,
    00:28:57,188you can make stuff, you can use shape layers and whatever.
    00:29:00,320You can also use Dragonframe and create stop motion,
    00:29:03,071and you can get such an interesting unique look
    00:29:06,113by doing that.
    00:29:06,946Look at some of Buck's stuff from like three
    00:29:09,343and four years ago when they big
    00:29:10,810into their stop motion phase.
    00:29:12,563They did all that with Dragonframe
    00:29:13,991and they did amazing stop motion and it looks so unique,
    00:29:16,926and it's a great tool to have,
    00:29:19,046and Dragonframe I believe is only 300 bucks,
    00:29:21,861which as far as an awesome tool like that goes,
    00:29:25,371I can't believe it's that inexpensive.
    00:29:27,720So, as it says here, thank you guys so much
    00:29:30,835for watching 30 Days of After Effects.
    00:29:32,545I hope you learned more than you can possibly remember
    00:29:35,483and you have to come back and watch all these
    00:29:37,117all over again, and once, twice a year
    00:29:39,382you have to watch all 30 of these.
    00:29:41,416Thank you guys so much,
    00:29:43,538I will see ya on the next one.
    00:29:46,722Thank you so much for watching.
    00:29:48,312I hope you learned a lot about creating
    00:29:50,392unique stop motion animation.
    00:29:52,086It's a really cool technique that you can use
    00:29:54,244in a variety of ways and I hope you go out
    00:29:56,809and create your own stop motion video sometime.
    00:29:59,378If you have any questions or thoughts about this lesson,
    00:30:01,458definitely let us know,
    00:30:02,720and we would love to hear from you of course
    00:30:04,842if you use this on a project.
    00:30:06,787So give us a shout on Twitter @schoolofmotion
    00:30:09,148and show us your work.
    00:30:10,546And if you learned something valuable from this video,
    00:30:12,743it means so much if you could share it,
    00:30:14,576it really helps us spread the word, thank you.
    00:30:17,386Don't forget, sign up for a free student account
    00:30:20,237to access project files from the lesson you just watched,
    00:30:23,410plus a whole bunch of other awesome things.
    00:30:25,892I want to thank Ringling one more time
    00:30:27,765for sponsoring this series and thank you for watching.
    00:30:30,860I'll see you on the other side.
    00:30:35,995(upbeat drum music)