Add transcription for: Motion Design School-8.wav

transcriptions/Motion Design School-8_transcription.json

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+{
+  "text": " Hello everyone, this is Motion Design School and in this video we will talk about how to repeat such an animation. You will have to do a lot of uniform actions on this shot, so we will not create the whole animation, we will only consider the main techniques and techniques that you will need. And let's start with the animation of the sword. For simple work and faster rendering, I removed all the elements from the composition except for the shape with the platforms. So, let's create an ellipse. First, we need to take his position. We need to get all the trajectory with jumps, peaks and everything we need. In the future we will focus on the position keys. Now let's set up the graphics. First of all, I will press this button and move the key to such a view, and then to EasyEase. This is necessary to connect the neighboring points to each other. We will correct small details and proceed to the settings of the graphics. The main rule here is to save a small speed and jump, as well as a slight acceleration when landing. In the rest, everything is on your inspection. Ready. The graph looks like this. Let's see what we got. Now we move the anchor point down the ball and we take it with a press and stretch. Here too, it's very simple. I will add light preparations to the movement before each jump, as well as pulling up at the moment of tearing the ground. Ready. Now let's animate the bow, when braking and acceleration. To do this, open the figure layer and move the anchor point from the central position to the bottom. And now let's animate the skew parameter, the figures on this area. Now it remains to give stretching the sword from the press. You probably already guessed what to do, we will use the effect of levels and blur in motion. We turn it here. Now we turn the effect on in the alpha mode and move the controllers in this way. Now the ball stretches in the movement process. But it looks boring and too short stretching. To fix it, we will go to the composition settings and change the settings to these. But this does not suit us either. We need to make the circle stay at the beginning of the line, so that we can fix the parts of the face there. Therefore, we will change this parameter in such a way. Now the vodka around the ball. We cannot use its stroke, as it will blur and get such a look. Instead, we can apply the style of the layer. For this, click the right button, layer styles and select stroke. Ready, the basis for animation is. But before we continue, I wanted to show another way to make even cooler compression and stretching. For this, we need contour and trim pass modifier. We choose the first and form one continuous flow with the trajectory of the movement. Now we add the Trim Pass. We need to animate the End parameter just as we did with the Position. To not to delete the timings again, I take the Reference and already ready the animation position. I copy the same graphics. We made a line display. To make this line turn into a jumping ball, we copy the key parameter and put in start. And now set these two parameters on a couple of frames. Ready. Let's paint the ball. To do this, we will double its stroke and change it like this. Now, by regulating offset parameter start, we can adjust length of the sleeve. To adjust the transformation of the figure, for example, with Q, we can to the layer adjustment. To do this, we need the CREATE MULS from PAS panel. This is the panel of the available After Effects, starting with the version of the CC 2018. Press this button and now we will attach this parameter. Now let's change the effect of the transform. This There are two ways to make such sleeves. As you can see, each of them has its advantages and limitations. Now let's add to the jumping ball face. Face should be able to blink and open the mouth. Let's figure out how it can be implemented. The mouth is a battle of an ordinary polymorph, which has the animated parameters size and roundness. And the outline of the contour has a small shift. We made it with the offset pass. Then we doubled this figure and tied all the parameters of this rectangle to our initial. Now, with the help of offset pass, we have moved the contour a little inward. Thus, animating two parameters, we have a primitive league of rt. Now let's move on to the eyes. Eyes should be able to turn and blink. Each eye consists of three figures. The first one is different from the blink. The second figure is a pupil. The upper anchor point is located in the center of the eye. Thanks to this, we can control the direction of the gaze. Now a little more about the Morgana. The Morgana is essentially the cover of the eye with another figure. We have two circles that are connected with the Merge Pass modifier. When the upper figure is pressed, the lower one is directed. In this case, we have studied the parameters of the Pass. The eye shape is the same, all the animated parameters are attached to the first eye, so there is no need to animate them separately. Also, we made separate layers of eyelashes to animate their rotation. Similarly, we animate one eyelashes, and the second one is just attached to it. Now we can copy this face and attach it to our character. We reduce its size. Now we need to insert in the right moments the animation of the organe, opening the mouth and change the direction of the face. I will do so that the character opened the mouth at the time of the flight, and Margal at the moment is close to the land. We will turn the eyes in the other direction. In principle, it is not bad, but the mouth completely covers the eyes. We don't need it. and we will do the same with the other side. And now we will put the marganha everywhere. Ready. With the character we have disassembled, we move on to the elements of the circle. In the process of the game, the character collects such hearts. Let's animate it in rotation, so that it seems voluminous. To do this, we bring the figure to a separate layer. and remove half of the heart. Now we move the anchor point down to the base. Now we will do the same with the other side. We will edit the contour in this way, so that the symmetrical figure would turn out. Now we will rotate this figure like this. Half of the body is done. We will double this figure inside the layer and we will change the keys in this way Now we need these two parts to be perceived as a single whole For this, we add the Merge Pass modifier. Now let's take the lines around the heart. First, I group all the lines. Then let's draw a line separately, the bottom of the group of contents. Now just scale the group with lines like this. Done. Everything is fine, but in this form we do not understand which side of the heart is spinning. To fix this, I will polish the layer with a figure and remove the modifier and one of the halves. Let's get rid of the fill. We will paint the line in a brighter color, so that it looks better. Now let's add the trim pass modifier and edit it this way. We need to double this layer and start the animation again from this moment. Now just change the color to black. Done. Now the direction of rotation is perfectly calculated. Delete all the extra layers. And now let's place this heart on the field with the game. We drag the composition here. To cycle the composition, I will use Timely Mapping, which I will use Loop Out. Now let's find the moment where the character is about to get into the figure. This is here. And at this moment the figure should explode. The explosion is all to do in a separate composition. To do this, I will double the composition with the heart in the Project panel. Now we move the needle and create this ellipse. Now let's animate its size and position in this way. So that it would fly out. Cut the layers with the heart. The explosion will look like this. Now we will create a bunch of copies of this ellipse and throw them in different directions. Now the lines of the explosion. Draw a line. Add a trim pass to it and take it to the start and end, so that the line is very fast It's just 5-6 frames. about this. We place anchor point in the corner and also we will double it several times. Now we change direction of shots. Done. Remove from the composition all the excess. We leave only the explosion. We rename the composition and then add it to our game. To make sure it is in place, we copy the composition from the composition with the heart and apply it to the explosion. Now we move this layer there, where the layer of the heart ends. It's here. Similarly, we can spread such objects on all other levels. Another interesting moment of this animation is this jump. As you can see, this pile of stones is quite interesting to react to our character. Everything because the contours are not scaled here, but they are. That is, the parameter pass. You can take the pass and all its calibration manually, as I did. Well, you can go for a small catch. We will need to duplicate this layer. We leave two initial positions in it, and the rest are removed. Also, let's add a position when the figure is as high as possible shoots up. That is, we need only three positions. Start position and top position. Now we need script, jostics and sliders. With it we will create animation. But first let's go to the right and remember the order of the position keys. First goes origin or start position, then to the right, left, up and down. Since we do not have position to the right and left, we We will mix our keys like this. And instead of them, we just put our origin in the starting position. For this script it is important that there are 5 positions, so you can't just leave the keys. Also, the order and location of the timeline are important. But as always, there should be the first 5 frames in this composition. So, when we have done this, we will select the keys and click this button. Ok, controller is created. I move it here. And now we will move this layer. And it will control the movement of our contour. But we will not see it immediately. First you need to animate the position. I animate it with three keys. First controller in the center, in the next frame it is below. And in the next frame in the center again. To see the changes of the contour, you need to press this button. Script calculates all the animation and sets the keys to the parameters of the pass. But now, still, the current is not visible anything that happens, since we forgot to apply the suffix on the position of the controllers. Let's apply it. Well, I will put about the same parameters of the suffix. Press this button again and see what happened. Great! Agree, it looks much more interesting than if we just animated the scale. The next interesting element is the animation of these crystals. This is one of the details that is strongly thrown in the eye only when it is not. There are many ways to animate them. We can animate the color of each figure or apply levels and control the average value. But we use another way. I divided each crystal into three layers. The lower layer is the same crystal, but without the vodka and painted in pure white. The upper layer is a crystal with a circuit and a turned-out fill. And the middle one is a crystal with its original colors. Then I simply changed the expression of the needle to transparency of each figure and removed the control of the needle on a separate controller. It is much more convenient to choose the necessary parameters of the immersion. Well, that's all. The same technique is applied to all other crystals. Now let's figure out how to create such textures. It's actually quite easy to do it. Initially, in illustration file we have this gradient layer. I put it down and applied turbulent displays to it with these parameters. As a result, we got this floating effect. Next step we need this texture to be in places with dirtiness and places without it. To achieve this, I doubled this layer and added several effects to it. The first is Scatter. It just made all the greenery, but the texture is drawn in each frame and it does not look very good. Therefore, the next thing to do is to apply the second time. With this effect, I lowered the filaments to 10. Now I want the textures to be a little larger. Unfortunately, this cannot be done with the Scatter settings. However, we can lower the distance of this layer with the Mosaic effect. The pixel is larger and we get the desired effect. I have a resolution of 800x600 composition, and in the effect I indicated 600x400. It seems good, but along with this there was an unpleasant blur effect. To get rid of it, we use the Sharpen effect. After 10 values, the picture becomes even more tiny. All we have to do is to make this zernistice appear with spots, they were visible as they are now. To do this, we need to create solid and with the help of the Turbulent Noise effect achieve this result. And if we still take the evolution parameter, these spots will be moved. This layer we will use as a mask. Just place it above the layer with a greenery, and apply a Luma Mate to the layer below. Thus, the greenery will disappear in those places where there are dark particles on the solid. As a result, we get this effect. The second important element of the design is such greenery spots. They are often seen near the plant or see it. This spot is made exactly the same principle. But now we have not a layer from the illustrator, but a shape with a gradient fill. As you can see, the gradient has a clear state, and its shape is radial. The same set of effects was applied to this layer. Scatter, pasteurize, time, mosaic, sharpen, and in the end I added a fill to make it more convenient to change the color. And I had to go to the gradient every time. To give the desired shape to the canvas, I used a mask. As a result, we get this effect. To change this figure to shadow, we need to change its color, and then change the direction of the mask. Now we move it here. It remains only to cut the shadow in the shape of the object. object. Ready. Well, that's all. Now you know how to animate all the basic elements of this animation, and to create it completely no longer makes any effort. Good luck and see you in the next lesson!",
+  "segments": [
+    {
+      "text": " Hello everyone, this is Motion Design School and in this video we will talk about how to repeat such an animation. You will have to do a lot of uniform actions on this shot, so we will not create the whole animation, we will only consider the main techniques and techniques that you will need. And let's start with the animation of the sword. For simple work and faster rendering, I removed all the elements from the composition except for the shape with the platforms. So, let's create an ellipse. First, we need to take his position. We need to get all the trajectory with jumps, peaks and everything we need. In the future we will focus on the position keys. Now let's set up the graphics. First of all, I will press this button and move the key to such a view, and then to EasyEase. This is necessary to connect the neighboring points to each other. We will correct small details and proceed to the settings of the graphics. The main rule here is to save a small speed and jump, as well as a slight acceleration when landing. In the rest, everything is on your inspection. Ready. The graph looks like this. Let's see what we got. Now we move the anchor point down the ball and we take it with a press and stretch. Here too, it's very simple. I will add light preparations to the movement before each jump, as well as pulling up at the moment of tearing the ground. Ready. Now let's animate the bow, when braking and acceleration. To do this, open the figure layer and move the anchor point from the central position to the bottom. And now let's animate the skew parameter, the figures on this area. Now it remains to give stretching the sword from the press. You probably already guessed what to do, we will use the effect of levels and blur in motion. We turn it here. Now we turn the effect on in the alpha mode and move the controllers in this way. Now the ball stretches in the movement process. But it looks boring and too short stretching. To fix it, we will go to the composition settings and change the settings to these. But this does not suit us either. We need to make the circle stay at the beginning of the line, so that we can fix the parts of the face there. Therefore, we will change this parameter in such a way. Now the vodka around the ball. We cannot use its stroke, as it will blur and get such a look. Instead, we can apply the style of the layer. For this, click the right button, layer styles and select stroke. Ready, the basis for animation is. But before we continue, I wanted to show another way to make even cooler compression and stretching. For this, we need contour and trim pass modifier. We choose the first and form one continuous flow with the trajectory of the movement. Now we add the Trim Pass. We need to animate the End parameter just as we did with the Position. To not to delete the timings again, I take the Reference and already ready the animation position. I copy the same graphics. We made a line display. To make this line turn into a jumping ball, we copy the key parameter and put in start. And now set these two parameters on a couple of frames. Ready. Let's paint the ball. To do this, we will double its stroke and change it like this. Now, by regulating offset parameter start, we can adjust length of the sleeve. To adjust the transformation of the figure, for example, with Q, we can to the layer adjustment. To do this, we need the CREATE MULS from PAS panel. This is the panel of the available After Effects, starting with the version of the CC 2018. Press this button and now we will attach this parameter. Now let's change the effect of the transform. This There are two ways to make such sleeves. As you can see, each of them has its advantages and limitations. Now let's add to the jumping ball face. Face should be able to blink and open the mouth. Let's figure out how it can be implemented. The mouth is a battle of an ordinary polymorph, which has the animated parameters size and roundness. And the outline of the contour has a small shift. We made it with the offset pass. Then we doubled this figure and tied all the parameters of this rectangle to our initial. Now, with the help of offset pass, we have moved the contour a little inward. Thus, animating two parameters, we have a primitive league of rt. Now let's move on to the eyes. Eyes should be able to turn and blink. Each eye consists of three figures. The first one is different from the blink. The second figure is a pupil. The upper anchor point is located in the center of the eye. Thanks to this, we can control the direction of the gaze. Now a little more about the Morgana. The Morgana is essentially the cover of the eye with another figure. We have two circles that are connected with the Merge Pass modifier. When the upper figure is pressed, the lower one is directed. In this case, we have studied the parameters of the Pass. The eye shape is the same, all the animated parameters are attached to the first eye, so there is no need to animate them separately. Also, we made separate layers of eyelashes to animate their rotation. Similarly, we animate one eyelashes, and the second one is just attached to it. Now we can copy this face and attach it to our character. We reduce its size. Now we need to insert in the right moments the animation of the organe, opening the mouth and change the direction of the face. I will do so that the character opened the mouth at the time of the flight, and Margal at the moment is close to the land. We will turn the eyes in the other direction. In principle, it is not bad, but the mouth completely covers the eyes. We don't need it. and we will do the same with the other side. And now we will put the marganha everywhere. Ready. With the character we have disassembled, we move on to the elements of the circle. In the process of the game, the character collects such hearts. Let's animate it in rotation, so that it seems voluminous. To do this, we bring the figure to a separate layer. and remove half of the heart. Now we move the anchor point down to the base. Now we will do the same with the other side. We will edit the contour in this way, so that the symmetrical figure would turn out. Now we will rotate this figure like this. Half of the body is done. We will double this figure inside the layer and we will change the keys in this way Now we need these two parts to be perceived as a single whole For this, we add the Merge Pass modifier. Now let's take the lines around the heart. First, I group all the lines. Then let's draw a line separately, the bottom of the group of contents. Now just scale the group with lines like this. Done. Everything is fine, but in this form we do not understand which side of the heart is spinning. To fix this, I will polish the layer with a figure and remove the modifier and one of the halves. Let's get rid of the fill. We will paint the line in a brighter color, so that it looks better. Now let's add the trim pass modifier and edit it this way. We need to double this layer and start the animation again from this moment. Now just change the color to black. Done. Now the direction of rotation is perfectly calculated. Delete all the extra layers. And now let's place this heart on the field with the game. We drag the composition here. To cycle the composition, I will use Timely Mapping, which I will use Loop Out. Now let's find the moment where the character is about to get into the figure. This is here. And at this moment the figure should explode. The explosion is all to do in a separate composition. To do this, I will double the composition with the heart in the Project panel. Now we move the needle and create this ellipse. Now let's animate its size and position in this way. So that it would fly out. Cut the layers with the heart. The explosion will look like this. Now we will create a bunch of copies of this ellipse and throw them in different directions. Now the lines of the explosion. Draw a line. Add a trim pass to it and take it to the start and end, so that the line is very fast It's just 5-6 frames. about this. We place anchor point in the corner and also we will double it several times. Now we change direction of shots. Done. Remove from the composition all the excess. We leave only the explosion. We rename the composition and then add it to our game. To make sure it is in place, we copy the composition from the composition with the heart and apply it to the explosion. Now we move this layer there, where the layer of the heart ends. It's here. Similarly, we can spread such objects on all other levels. Another interesting moment of this animation is this jump. As you can see, this pile of stones is quite interesting to react to our character. Everything because the contours are not scaled here, but they are. That is, the parameter pass. You can take the pass and all its calibration manually, as I did. Well, you can go for a small catch. We will need to duplicate this layer. We leave two initial positions in it, and the rest are removed. Also, let's add a position when the figure is as high as possible shoots up. That is, we need only three positions. Start position and top position. Now we need script, jostics and sliders. With it we will create animation. But first let's go to the right and remember the order of the position keys. First goes origin or start position, then to the right, left, up and down. Since we do not have position to the right and left, we We will mix our keys like this. And instead of them, we just put our origin in the starting position. For this script it is important that there are 5 positions, so you can't just leave the keys. Also, the order and location of the timeline are important. But as always, there should be the first 5 frames in this composition. So, when we have done this, we will select the keys and click this button. Ok, controller is created. I move it here. And now we will move this layer. And it will control the movement of our contour. But we will not see it immediately. First you need to animate the position. I animate it with three keys. First controller in the center, in the next frame it is below. And in the next frame in the center again. To see the changes of the contour, you need to press this button. Script calculates all the animation and sets the keys to the parameters of the pass. But now, still, the current is not visible anything that happens, since we forgot to apply the suffix on the position of the controllers. Let's apply it. Well, I will put about the same parameters of the suffix. Press this button again and see what happened. Great! Agree, it looks much more interesting than if we just animated the scale. The next interesting element is the animation of these crystals. This is one of the details that is strongly thrown in the eye only when it is not. There are many ways to animate them. We can animate the color of each figure or apply levels and control the average value. But we use another way. I divided each crystal into three layers. The lower layer is the same crystal, but without the vodka and painted in pure white. The upper layer is a crystal with a circuit and a turned-out fill. And the middle one is a crystal with its original colors. Then I simply changed the expression of the needle to transparency of each figure and removed the control of the needle on a separate controller. It is much more convenient to choose the necessary parameters of the immersion. Well, that's all. The same technique is applied to all other crystals. Now let's figure out how to create such textures. It's actually quite easy to do it. Initially, in illustration file we have this gradient layer. I put it down and applied turbulent displays to it with these parameters. As a result, we got this floating effect. Next step we need this texture to be in places with dirtiness and places without it. To achieve this, I doubled this layer and added several effects to it. The first is Scatter. It just made all the greenery, but the texture is drawn in each frame and it does not look very good. Therefore, the next thing to do is to apply the second time. With this effect, I lowered the filaments to 10. Now I want the textures to be a little larger. Unfortunately, this cannot be done with the Scatter settings. However, we can lower the distance of this layer with the Mosaic effect. The pixel is larger and we get the desired effect. I have a resolution of 800x600 composition, and in the effect I indicated 600x400. It seems good, but along with this there was an unpleasant blur effect. To get rid of it, we use the Sharpen effect. After 10 values, the picture becomes even more tiny. All we have to do is to make this zernistice appear with spots, they were visible as they are now. To do this, we need to create solid and with the help of the Turbulent Noise effect achieve this result. And if we still take the evolution parameter, these spots will be moved. This layer we will use as a mask. Just place it above the layer with a greenery, and apply a Luma Mate to the layer below. Thus, the greenery will disappear in those places where there are dark particles on the solid. As a result, we get this effect. The second important element of the design is such greenery spots. They are often seen near the plant or see it. This spot is made exactly the same principle. But now we have not a layer from the illustrator, but a shape with a gradient fill. As you can see, the gradient has a clear state, and its shape is radial. The same set of effects was applied to this layer. Scatter, pasteurize, time, mosaic, sharpen, and in the end I added a fill to make it more convenient to change the color. And I had to go to the gradient every time. To give the desired shape to the canvas, I used a mask. As a result, we get this effect. To change this figure to shadow, we need to change its color, and then change the direction of the mask. Now we move it here. It remains only to cut the shadow in the shape of the object. object. Ready. Well, that's all. Now you know how to animate all the basic elements of this animation, and to create it completely no longer makes any effort. Good luck and see you in the next lesson!"
+    }
+  ]
+}