Add transcription for: Motion Design School-3.wav

transcriptions/Motion Design School-3_transcription.json

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+{
+  "text": " Hello everyone! In today's tutorial we will make an interesting animation in the emitter. Open the project After Effects, it already has an illustration in shape. Let's start working with this character. This is a convenient, creative object that we will attach to it. So we save the number of keys and time. Let's start with the position animation. The character will jump from step to step. We put the first key on the place, on the second key we raise it higher, and on the third we lower it to the next step. We change the trajectory of our game with the help of the pen tool for smooth movement. We correct the trajectory, move our keys to the easy ease and start the graphic settings. In order for our character not to hang in the air, we make a double click on the second key and move it to continuous. Lift the key from zero and move the graphics so that it took the acceleration at the beginning and when landing. Everything looks good. We double the keys and set them, transfer the position to the new step. We adjust the trajectory of the movement. And then copy these keys to all the other steps. After finishing the animation of the position, it looks too static so far. Add the deformation of the form to the scale. So that it is flattened and dragged during the movement. We must keep the proportions and keep the total volume, so by expanding it to 120% we will have a smaller height to 80%. After jumping through a couple of frames, it will start to stretch. We will set the height of 120% and go down to 80%. We copy the keys to the moment of the fall on the step. We set the settings in the same way as in the position. Add the acceleration at the beginning and at the end of the animation. There is. We duplicate the keys with the help of our script until the end of the animation with the same interval of time as the alt key. Let's check our animation. Looks good, but everything happens chronically. We need to add a small end to the movement of the body and the head. Add the starting position. To not duplicate the key many times, use the expression. We will detach the layers from the null object, open the position scale. Let's start with the body. It will completely repeat the movement of the null object. Through ALT-CLICK on the timer, we take the position value from the null object. Only instead of the name of the layer, we will write this layer by filling in plus one. So that we tie a specific layer with it. And the next one. We copy the expression scale and change the name to position on scale. Okay, first expression from the body to the head. Add a little delay in the time at the end of the expression. value of time in the brackets time-0.05 This will add our animation a little delay in time. Our head took the position of the body. A little bit of delay by writing it at the beginning of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of value of the value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of on the layer with the hat. In the same way, we return it to its position. Copy the expression scale to the hat and check our animation. Now it looks much more interesting. We make a small path to the body, add the echo effect to it and change the parameters. Time to minus 0, 0.02, two thirds, three copies and the mode of the layout to the maximum. It looks cool and now the animation is already complete and interconnected. Now I will show you an interesting technique how to transfer our trajectory from the jump to another character. We double the object, We select all the keys of the position and move it to the side, for example, at the middle of the step. On the position parameter, with the right click, select the Zeperate Dimensions. Select the value graph, select the keys of the red axis X, turn it over and move it to the height, While our trajectory will not be like on the formula of the stairs. We need to play a little with these graphics, find the exact combination and we will get what we need. Next, we will combine our coordinates into one parameter. Now, in our settings, the speed has been reduced, we copy them through the script EasyCopy from the first trajectory. We select the keys of the first new object, click copy in the script, go to the keys of the new trajectory and click easy. Looks good. Now it remains a little under the correct trajectory in the upper keys. We added movement at the beginning and at the end, exit from the platform and exit into the tunnel. To do this, it was necessary to speed up the animation in general, it is done easily. By dividing all the keys with the ALT tab, we pull the key from the left or from the right. Now let's see what we need to add. The character should go out of the platform at the beginning. At this point, he needs to turn his head so that he looks to the right. And here the head changes direction again and at the end the character is hidden inside the tunnel. Let's start with the face. In the layer there is a group of eyes. In it we will rename the scale and position. With the scale we invert the direction of the gaze, set the minus 100 and with the position we correct the eye position. Next, by changing the direction of the head, we have hidden figures here and back. We will select the first three figures, open them in the transform and any of them will be put a key on the opacity. It will automatically create on all selected figures. Click on the U to open all the keys to the layer. We will set 100 on opacity, and the eyes will be hidden by setting 0. Now we will hide the character in the tunnel. The animation of the character is ready, place it in the precompose. We will transfer the layers of the characters' faces to the layer and cut off the excess mask. You can do this with two masks. On the second mask, select the mode on the abstract. We cut the beginning of the word at exactly that moment when the character will go inside. As you can see, we are covering the plants, we will combine them with the composition. And we will do the same, cut them at the same time through the control sheet D and put the beginning under the character. In the same way, hide the character under the platform itself. Find the moment in which the character crosses this border. Find all the layers from which the platform consists. Divide them and place them at the beginning over the character. Great. Now we will add the platform movement from above to the bottom. Let's start from the end. Create a new object, in which we will tie our platform and character. Find all layers and attach them to the null. About 5-6 seconds, add keys to position null. On the second key, we enter the platform down. Change its path, add smoothness and now we make the movement from top to bottom with an additional null. It is necessary for convenience that our character, flying over the top together with the platform, does not start going down together with it. We double-click the null, remove the extra keys from it, attach the first null to it and add two keys. First, we enter our platform up. It remains to attach characters to it. Let's check that everything works. If we attach all the layers to the first leg, then as we see, the character will fly down. Therefore, we did it with the help of two null objects. We return the tie and add smooth easing at the beginning. Now our character comes out of the platform, turns his head, It is hidden in the tunnel. Great. Further, in illustration we have a lot of plants, which will be animated in the same way. Let's start with the composition of the flower 1. We will make an animation on the example of one flower. We set the anchor point exactly at the base of the stable. Add the effect of the bandit for a beautiful deformation of the object. Start and End. Put the first key on it and add the keys to the rotation. Make a loop animation in 2 seconds. With a rotation, set from minus 2 to 2, and the band from minus 5 to 5. Add easing to it and loop out Pin Pong. We copy it to the band and we will replace the keys a little bit by little, so that our animation becomes more natural. Let's check that the pumping has become much better. Our effects keys remain, they are doubled on all other petals. Next, we will replace our layers by a random image, where in the area of ​​20 frames. At the beginning there were empty, we transfer the layers to the beginning and expand to the end of the position. and check if everything works. Yes, everything is fine. Then, with the same technique, we set the animation on the other plants. So, we did more work, added similar characters, another platform and a list movement. It remains to add animation on the rays and particles for the portal. Let's start with the ray animation. To not look for all the compositions, We enter the text in the slide, turn on the image of the only found layers, go to the pass, put the keys on them. And for the second second, we will make a regular pass animation with the movement of two top dots. Yes, we add the easy key and we will cycle the animation with such an expression. Note that there is a switch on the PinPunk mode, like in the loop out, to turn off the animation with only two keys. Let's check that the animation is off. Yes. Let's add the same animation to two upper keys. Let's move the keys a little to the side to remove the security. Check the cycle. What you need. We hide the extra keys. Now we will do animations and particles for the portal. We put them in a new composition. Let's see how they look in general. Note that they have a feature. At first they are long and end up being narrowed. Copy the tunnel to the guide layer. Start drawing the window with the Pen Tool. Move it down a bit. Add the Trimpass modifier. Cut the DAW 18% parameter end and set the first key. For the second second, set 3% so that it gradually cools down. To animate the movement, we rename Offset until it disappears from the upper screen. For the expression cycle, we have loop out. Note the top of the beam a little higher circle with which it will come out. We transfer the lower point a little lower. To make the animation more interesting, we add easing and add parameters to the set constant acceleration. Looks great. We rename the line 1 and duplicate the layer 4 times. We will change each other to 15 frames. We will first shift the layers, stretch the layers to the end of the composition and check the zacycleness. We will set the limit in 12 seconds, the English button N. Now as needed. To make it easier, change the color of the layers and add a new object. It will be easier to move all the layers. Reduce it 3 times and move it relatively by hand. Add a random position of the rays. Now we need to cover the part of the beam that should come out of the tunnel. Copy this layer to the main composition. Remove the excess figures. Turn it back from the guide layer to the usual one. Change the figure of the hand so that it covers the excess part of the layer with particles. We will use it as a mask. We will apply inverted matte. I will slightly correct the mask so that it does not overlap the lying layers. Let's see what we got in the final animation. Try to experiment, come up with interesting characters and maybe some movement of the architecture itself. Good luck to everyone!",
+  "segments": [
+    {
+      "text": " Hello everyone! In today's tutorial we will make an interesting animation in the emitter. Open the project After Effects, it already has an illustration in shape. Let's start working with this character. This is a convenient, creative object that we will attach to it. So we save the number of keys and time. Let's start with the position animation. The character will jump from step to step. We put the first key on the place, on the second key we raise it higher, and on the third we lower it to the next step. We change the trajectory of our game with the help of the pen tool for smooth movement. We correct the trajectory, move our keys to the easy ease and start the graphic settings. In order for our character not to hang in the air, we make a double click on the second key and move it to continuous. Lift the key from zero and move the graphics so that it took the acceleration at the beginning and when landing. Everything looks good. We double the keys and set them, transfer the position to the new step. We adjust the trajectory of the movement. And then copy these keys to all the other steps. After finishing the animation of the position, it looks too static so far. Add the deformation of the form to the scale. So that it is flattened and dragged during the movement. We must keep the proportions and keep the total volume, so by expanding it to 120% we will have a smaller height to 80%. After jumping through a couple of frames, it will start to stretch. We will set the height of 120% and go down to 80%. We copy the keys to the moment of the fall on the step. We set the settings in the same way as in the position. Add the acceleration at the beginning and at the end of the animation. There is. We duplicate the keys with the help of our script until the end of the animation with the same interval of time as the alt key. Let's check our animation. Looks good, but everything happens chronically. We need to add a small end to the movement of the body and the head. Add the starting position. To not duplicate the key many times, use the expression. We will detach the layers from the null object, open the position scale. Let's start with the body. It will completely repeat the movement of the null object. Through ALT-CLICK on the timer, we take the position value from the null object. Only instead of the name of the layer, we will write this layer by filling in plus one. So that we tie a specific layer with it. And the next one. We copy the expression scale and change the name to position on scale. Okay, first expression from the body to the head. Add a little delay in the time at the end of the expression. value of time in the brackets time-0.05 This will add our animation a little delay in time. Our head took the position of the body. A little bit of delay by writing it at the beginning of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of the value of value of the value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of value of on the layer with the hat. In the same way, we return it to its position. Copy the expression scale to the hat and check our animation. Now it looks much more interesting. We make a small path to the body, add the echo effect to it and change the parameters. Time to minus 0, 0.02, two thirds, three copies and the mode of the layout to the maximum. It looks cool and now the animation is already complete and interconnected. Now I will show you an interesting technique how to transfer our trajectory from the jump to another character. We double the object, We select all the keys of the position and move it to the side, for example, at the middle of the step. On the position parameter, with the right click, select the Zeperate Dimensions. Select the value graph, select the keys of the red axis X, turn it over and move it to the height, While our trajectory will not be like on the formula of the stairs. We need to play a little with these graphics, find the exact combination and we will get what we need. Next, we will combine our coordinates into one parameter. Now, in our settings, the speed has been reduced, we copy them through the script EasyCopy from the first trajectory. We select the keys of the first new object, click copy in the script, go to the keys of the new trajectory and click easy. Looks good. Now it remains a little under the correct trajectory in the upper keys. We added movement at the beginning and at the end, exit from the platform and exit into the tunnel. To do this, it was necessary to speed up the animation in general, it is done easily. By dividing all the keys with the ALT tab, we pull the key from the left or from the right. Now let's see what we need to add. The character should go out of the platform at the beginning. At this point, he needs to turn his head so that he looks to the right. And here the head changes direction again and at the end the character is hidden inside the tunnel. Let's start with the face. In the layer there is a group of eyes. In it we will rename the scale and position. With the scale we invert the direction of the gaze, set the minus 100 and with the position we correct the eye position. Next, by changing the direction of the head, we have hidden figures here and back. We will select the first three figures, open them in the transform and any of them will be put a key on the opacity. It will automatically create on all selected figures. Click on the U to open all the keys to the layer. We will set 100 on opacity, and the eyes will be hidden by setting 0. Now we will hide the character in the tunnel. The animation of the character is ready, place it in the precompose. We will transfer the layers of the characters' faces to the layer and cut off the excess mask. You can do this with two masks. On the second mask, select the mode on the abstract. We cut the beginning of the word at exactly that moment when the character will go inside. As you can see, we are covering the plants, we will combine them with the composition. And we will do the same, cut them at the same time through the control sheet D and put the beginning under the character. In the same way, hide the character under the platform itself. Find the moment in which the character crosses this border. Find all the layers from which the platform consists. Divide them and place them at the beginning over the character. Great. Now we will add the platform movement from above to the bottom. Let's start from the end. Create a new object, in which we will tie our platform and character. Find all layers and attach them to the null. About 5-6 seconds, add keys to position null. On the second key, we enter the platform down. Change its path, add smoothness and now we make the movement from top to bottom with an additional null. It is necessary for convenience that our character, flying over the top together with the platform, does not start going down together with it. We double-click the null, remove the extra keys from it, attach the first null to it and add two keys. First, we enter our platform up. It remains to attach characters to it. Let's check that everything works. If we attach all the layers to the first leg, then as we see, the character will fly down. Therefore, we did it with the help of two null objects. We return the tie and add smooth easing at the beginning. Now our character comes out of the platform, turns his head, It is hidden in the tunnel. Great. Further, in illustration we have a lot of plants, which will be animated in the same way. Let's start with the composition of the flower 1. We will make an animation on the example of one flower. We set the anchor point exactly at the base of the stable. Add the effect of the bandit for a beautiful deformation of the object. Start and End. Put the first key on it and add the keys to the rotation. Make a loop animation in 2 seconds. With a rotation, set from minus 2 to 2, and the band from minus 5 to 5. Add easing to it and loop out Pin Pong. We copy it to the band and we will replace the keys a little bit by little, so that our animation becomes more natural. Let's check that the pumping has become much better. Our effects keys remain, they are doubled on all other petals. Next, we will replace our layers by a random image, where in the area of ​​20 frames. At the beginning there were empty, we transfer the layers to the beginning and expand to the end of the position. and check if everything works. Yes, everything is fine. Then, with the same technique, we set the animation on the other plants. So, we did more work, added similar characters, another platform and a list movement. It remains to add animation on the rays and particles for the portal. Let's start with the ray animation. To not look for all the compositions, We enter the text in the slide, turn on the image of the only found layers, go to the pass, put the keys on them. And for the second second, we will make a regular pass animation with the movement of two top dots. Yes, we add the easy key and we will cycle the animation with such an expression. Note that there is a switch on the PinPunk mode, like in the loop out, to turn off the animation with only two keys. Let's check that the animation is off. Yes. Let's add the same animation to two upper keys. Let's move the keys a little to the side to remove the security. Check the cycle. What you need. We hide the extra keys. Now we will do animations and particles for the portal. We put them in a new composition. Let's see how they look in general. Note that they have a feature. At first they are long and end up being narrowed. Copy the tunnel to the guide layer. Start drawing the window with the Pen Tool. Move it down a bit. Add the Trimpass modifier. Cut the DAW 18% parameter end and set the first key. For the second second, set 3% so that it gradually cools down. To animate the movement, we rename Offset until it disappears from the upper screen. For the expression cycle, we have loop out. Note the top of the beam a little higher circle with which it will come out. We transfer the lower point a little lower. To make the animation more interesting, we add easing and add parameters to the set constant acceleration. Looks great. We rename the line 1 and duplicate the layer 4 times. We will change each other to 15 frames. We will first shift the layers, stretch the layers to the end of the composition and check the zacycleness. We will set the limit in 12 seconds, the English button N. Now as needed. To make it easier, change the color of the layers and add a new object. It will be easier to move all the layers. Reduce it 3 times and move it relatively by hand. Add a random position of the rays. Now we need to cover the part of the beam that should come out of the tunnel. Copy this layer to the main composition. Remove the excess figures. Turn it back from the guide layer to the usual one. Change the figure of the hand so that it covers the excess part of the layer with particles. We will use it as a mask. We will apply inverted matte. I will slightly correct the mask so that it does not overlap the lying layers. Let's see what we got in the final animation. Try to experiment, come up with interesting characters and maybe some movement of the architecture itself. Good luck to everyone!"
+    }
+  ]
+}