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SS_MotionGraphicsKurzgesagt_DownloadPirate.com_02. Setting up your Project.json

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+        "file": "02. Setting up your Project.wav",
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+            "audio_file": "02.%20Setting%20up%20your%20Project.wav",
+            "text": "Just as a note, this class is not for complete beginners. We will be building on the knowledge from part one and two of this course. Just a few notes on Illustrator. We will be focusing on animation within After Effects. I just wanted to give you a few notes over here. You can download all of the assets from Skillshare. This includes the Illustrator file and the After Effects file for animation. As I mentioned before, naming is crucial. And especially when we have a lot of layers with a character, we want to use group naming. This can help with keeping track of layers and character parts. Like here, we have a breast left and a shadow that goes with that. Now we'll jump over to After Effects. And this is the scene we'll be animating today. You can download all of the assets from Skillshare. I would like to point out again that a clean folder structure is quite important here. We have our assets over here and our animation comps over here. The downloadable assets also include the project file with the finished animation, which you can use to create your animation or check anything that wasn't clear before. As you can see, we have a main scene and separate character comps. It's not always necessary to separate your characters into separate pre-coms or even files. Sometimes this is not advisable as characters need to interact and their layers have to interlace. However, I would like to show you some cross-linking you can do between comps and After Effects when you want to apply an effect to multiple layers or multiple comps. So this is why we have separated the comps for each character here. Of course, you could also have all the layers in one Illustrator file and pre-comp them in After Effects later. But this way, we already have the comps and the comp names prepped. So we have all of our characters in separate Illustrator files, which we then import into After Effects and have separate comps. We are never animating in our original comp. We want to keep that as a failsafe in case we accidentally delete a layer or we want to set the position or rotation properties back to how they were in the original. So we course, so I will skip this part. We'll be animating in the main comp over here. We want to set a start marker at zero and we'll check our comp settings. As mentioned in my previous classes, our start time code is 59 minutes with a duration of 11 minutes. This gives us one minute leeway before the start of our animation. In case you want to add some keyframes or a pause beforehand, this saves us having to shift layers and keyframes forward when making these edits. You can shorten the duration of the comp if this is too long for you, I just like round numbers. We'll be animating in 60 frames per second and we'll drag our main comp in here. We will add a comp trim marker and trim the comp. This is a visual aid in case any mistakes happen. We drag the comp and then the beginning doesn't line up with where we trimmed the comp. We have start marker at one hour or our theoretical point zero. We will set our end marker once we have finished our animation. This will help us set our workspace for rendering. Inside our comp, we have our layers trimmed. We will set a start marker here also, and we'll drag in our character comps. I have already set some markers here. You can ignore those for now. It will become clear later why I've set these. Now we want to reposition our characters according to our reference layers over here that I've already set to guide layer and turned gray. We can ignore these later. We don't want them to render, so that's why we set them to guide layers. Now we'll move our patient and position this character where our guide layer is and our doc as well. We'll jump into our patient comp. We've already discussed parenting characters in part two of this course, so I will skip this part. I will note a few things regarding some specifics of this character, and then I will jump right into creating our rubber hoses. I've already colored in all of our layers and parented everything that belongs together. For now, you don't need to parent the feet, the legs, or the arms as we'll be treating hoses for those. Let's just jump back for a second. You want to make sure that your scene is aligned and continuously rasterize is turned on. If this is not ticked, you might get a transparent frame around the edge of your layer. This can happen sometimes and when you have overlapping scenes, the scenes can shine through. You want to avoid this. We want these dots to be on the entire gown, but because we have separate parts to the body, like the belly, the breasts and the gown itself, we need to duplicate these dots. And we'll be using the layers that the dots will appear on as masks themselves. So we'll duplicate these, shift it over here. We can even change the naming to make it clear that this is a mask. We can also change the color. I like to use brown. And then we'll change the track matte to alpha matte. And then as you can see, the dots only appear on that gown. Now we'll duplicate the dots and we'll duplicate the belly. And since the dots are already set to alpha, this now applies to the belly. We can't see it because the eye is still on. So we'll turn that off and then it appears on the belly as well. I have already parented all of the layers that need to be parented to each other. So what you want to do is do the same and you want to parent from the outside in. So you want the head to be parented to the neck, the neck to be parented to the body and so on. As I said, the arms and legs don't need to be parented just now as we'll be creating hoses and we'll be parenting them later. You want to make sure that the shadow of each corresponding part is parented to its part. So the breast left shadow is parented to the breast, the breast right shadow is parented to the breast right, the belly shadow is parented to the belly and so on. For this character, we want the anchors to be positioned at the very top most of the layer because of the resizing we'll be doing in this animation. This goes for the gown. The breasts will be resizing from the center of the body outward. So we want the right breast's anchor to be at the top left and the left breast anchor to be at the top right of the layer. We kept the next anchor at the center of the layer. The sleeve anchors are at a natural rotation point of the sleeves, so towards the center of the body and in a similar position as the breast anchors right around there. I've also created null controllers for the face and the body. It doesn't really matter where the controllers sit, but you might want to position them in a place where it makes sense. So the face controller is in the center of the face. The body controller is kind of at the top of the body. You could even put it where you put your gown anchor. That would work also. You want to make sure that your gown dots are parented to your body controller, not to the gown, because we'll be resizing the gown and we want the dock character for a second. We also have a face controller here. We have a body controller and the body controller is in the same position as the body anchor and the body anchor is where you would have the hip. We'll be adding a rotation keyframe in this animation, so we want the body to rotate from kind of like a hip position. Again, no need to parent the legs or the arms. We'll be creating hoses for those. We can now turn off these guide layers. We don't need them anymore. As you can see, I've already set the dock layers to guide layers. That's why we can't see them in the scene. But they're still there, don't worry about that. Right, now we'll jump into creating our hoses.",
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