Add transcription for: Motion Design School.wav

transcriptions/Motion Design School_transcription.json

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+{
+  "text": " Hello everyone! In this lesson we will do such a funny animation. And first of all, open the project of the After Effects with a fixed lesson and work will be in the composition Practice One, where the illustration is already in shape. So, first we need to let the blinkers in the glasses. For this, draw two rectangular shapes. The second drawn shape is made thinner than the first. We will place the created blink to the group. The blinks themselves should be tilted, so in the properties of the Transformer group, the skew parameter will set value 37. We will move the blink closer to the glasses. Now we animate the position of the blink. And we need to do so that the blink does not come out of the glasses. To do this, we apply the setmate effect to the layer with the blink. And in this corresponding list of effects, we will indicate a layer that we will use as a mask. It turned out, as we can see, the blink goes strictly in the shape of the glasses. We move the last keyframe position to make the animation a little longer. Great! Let's now animate the hair of the skull on the head. Let them develop in the wind. First of all, add a twist modifier to it. And now we animate the parameter angle of this modifier. Then we change the parameter center to fit the center of the hair twisting. Thus, create an illusion of the hair growing. Let's choose a successful value. Something like that. To make a cycle of the hair growing hair, we will apply the expression alupaut. In the expression, after type, we write the type of animation, ping-pong. Great, but there is not enough wave effect. To do this, we animate the rotation parameter. But first, we move the anchor point closer to the beginning of the growing hair. Copy the keys from the angle parameter and insert them into the rotation parameter. and move the rotation keys in the following way. There are only a few left to turn the copied keys. Click the right button on the selected keys, keyframe assistant, time keyframe reverse. It worked. We have a finished animation of the first hair. And in order not to repeat the work, we simply duplicate the resulting hair and change the shape so that it looks more like the one in illustration. To do this, I will change the animation key from the doubled hair so that between two hair I can observe the offset. The difference in time of animation start. We tie the limbs of the turtle, like 1, 2 and 3, and head, head to her body. And the glasses are tied to the head. Great! Now let's start the animation of the skull body. Open the Scale parameter, the body. Move the Enter Point to the correct lower point. Now put the key on the first second. Go to the 5 frames forward, remove the proportional dependence from the Scale parameter. On the second key, put the value of 90 on the vertical. Go to the 5 frames forward again and return the value to 100. We select all three frames and press the F9 key to make them easy-ease. Then, using the script MotionTools, we make this pattern. Let's see what we got. Now let's set the key to the position parameter. We go over 10 frames forward, raise the frame to 30 pixels, and after 10 frames, return to the initial position. We select all the frames in position, press the F9 key. We go to the speed editing mode and set the next schedule. We see that it came out. We see that the skull spends too much time on the jump. In less time, the jump is moved into the key. Now it's great. We take the skull leg. We open the kept shape with the skull leg and at the 30th frame in each shape we put the key on the pest. Move the key to the 35th frame and move it forward 5 frames. We highlight the points we need for the transformation and make an animation of the leg's fall. I don't like how the legs look at the end of the animation. We align them. We look at the result. Good. But you can make the animation of the leg exit more interesting. Let's try to hide this leg in the panzer, when the skull will land on the ground. On the 40th frame, we will put the key on the position. We will go forward 5 frames, raise the leg of the skull up. So, the raised paw leaves too far away, the panther no longer hides it. We need to fix it. We will remove the keys and apply the easy-ease. To do this, we will draw a shape so that it covers the hidden part of the paw with a panther. Then we move it to the paw itself and rename it as a Clegg-1 mask. And be sure not to forget to tie only the created mask to the body of the skull. After that, we make sure that the tied shape follows the body. A little adjust the pass mask. In the trackmate column, on the layer with the paw, select the alpha inverted mode to hide the mask part of the paw. The animation of the first paw is ready. Now we animate all the others in the same way. It's time to animate the head. Select the layer with the skull. Then click the Y key and move the anchor point to the neck. Put the key on the rotation parameter and transfer it to the second. In advance, copy the key. Go to 5 frames forward and enter the value of about minus 22 degrees. Then we go back to the 5 frames forward and insert the copied frame. Let's see what happened. There are not enough easing, let's fix it. Great, let's put the key on the position parameter on the 40th frame. We go back to the 5 frames forward and change the rotation and position values so that the head is hidden in the panzer. We will select only the created keys and make them easy-ease. Let's see. Okay, but I'm not yet satisfied with the results. Let's click on the keys of the positions with the pressed CTRL to remove the EasyEase. Move the crawling closer to the beginning of the animation and move the head left so that it does not start moving so much. Now let's take the scales and put the key on the 40th frame. Exactly 5 frames change the scale parameter to 75%. Now we need to change the head shape when it is tilted to the right. This action will be prepared for movement, before the skull is hidden in the pancer. We are looking for a group with a head pass, put a key in the 45th frame, go back to the 5 frames and put the key again. We highlight the pass point and change the head shape. We highlight the dot of the pass and change the shape of the head. Check. Now you need to hide the head in the panzer. To not draw the mask again, we already double the previously created mask for one of the paws and just edit its shape. Move it to the head. And let's make this layer mask for the head. Select the layer with the head and set the Alpha Invert mode for it. Let's see what happened. Cut the layer with the glasses to disappear when the head is removed in the panzer. We see that the mask and the head's animation are needed in the process. Let's fix it. Now cut the layer from the head and from the blik to remain a half-pancel. For the 45th frame, change the scale value to 50. Check. It's better now, but we still need to work on the details. The position of the head is adjusted so that it fits clearly into the panzer. And we will adjust the contour mask by creating a pair of keys on the parameter repass. Great! Now, let's add the effect of the body of the turtle after landing for more expressive. For this, we will put the key on the rotation on the 35th frame and add another value of 5 degrees after 5 frames. Let's go back to the original position in the 45th frame. We will select the first two frames of the rotation animation and set the easy ease to the only at the end of the animation speed was zero. We need this to work correctly with the expression with the suffocating vibrations. Select all the rotation keys and click on the key elastic. Let's see what happened. Let's increase the effect of pumping a little and set the elastic in control. Parameters are bigger, for example, like this. Not bad. Now it's time to make a night shift. Since the color of the skull body will be changed at night, let's put the keys on the fill parameter for each part of the skull body. All the keys created in the fill parameter will be moved to the 40th frame. Now we have to animate the transition from one color to another. For more convenience, we will take the weight of the skull in the night time. Another composition, before turning off the light from the skull sponsor. To make it easier to take the color pipette. We go to five frames forward and start to color the body of the skull in the corresponding color step by step. Ready! And we will do the rest of the objects of the composition. For example, the sky. We will simply pull out the night sky composition and put it in a separate composition. Then in the main composition, the night sky is placed on the top of the dark sky and we will show it at the right time by the safety parameter. From the 45th frame of the 45th animation of its safety parameter from 0 to 100%. Good! Next, we move on to the animation of the color of our landscape. We do the same as in the case of the skulls. But in this case, pay attention to the stones. Their stroke changes color parameter at night time. So be sure to not forget to animate it. Perfect, it remains to animate the shadow color. To do this, set the key parameter to fill to 45. Let's go to the composition with the night scene. And in it, we copy the color of the shadow. Return to the main composition and in the second key, we insert the copied color. Also, you must animate the scale parameter shadow at the moment of the jump. Go to the 30th frame and set the key. Then change the scale parameter to 105%. Then, again, put the scale to 80%. And after 5 frames, set the original value to 100%. We select all the keys of the parameter scale and apply the EasyEase to it. Good, we're done with the skulls. Now, the sunshade is hidden. Let's delete the night composition and find the sunshade layer. Press Y and move the anchor point closer to the center of the horizon of the Earth. Put the key on the 30th frame in the rotation parameter. Now put the key on the 50th frame and set the rotation parameter to 180 degrees. We enter the mode of editing the graphics in speed, select the right shoulder and pull it to the left side. And lose animation. Let's stop the keys for the best result. And now let's make a splash of the sun. We use the echo effect. Let's remove the bright overlay layer by layer by layer, by switching the echo operator to maximum. Also, in the Eco effect, the time parameter will be set to 005, and the number of copies will be 15. Let's look at the result. Now we need to put the moon in the place of the sun. Copy the moon's composition from the beginning and insert it into the main one. We will make the same animation for the moon. But the moon will follow the sun, so it will start its rotation from minus 180 degrees. After we copied the effect of the sun and applied it to the moon, it became noticeable how the moon is slanted on the copy. and its sharp edges begin to be pulled out. To fix this phenomenon, we will apply the effect of Simple Choker to the moon layer, thereby hiding the sharp edges of the moon. But there is a problem, due to the round effect of Simple Choker, the layer visually decreases. It can be fixed very easily. At the end of the rotation animation of the moon, the Simple Choker is reduced to 0. But it's still empty on the sky. Let's add a star. Select the Ellipse Tool tool. Draw a small dot on the screen. Perhaps we will stop at three pixels in width. Now let's multiply our particle by adding the Peter modifier. We increase the number of particles to 100. Position repeater to 0. Now we need to spread particles all over the sky. Add the next modifier, Vigil Transform. Place it below the group so that it works not with one particle, but with a massive particle created by the repeater. The Correlation parameter is set to 0 to get a more random result. Now set the modifier parameter so that it covers the particles of the sky. With the need, we will change the position of the entire layer. And do not forget the parameter ViglSecond set to 0, since every second will be produced free changes. I want to make a free mesh of particles. To do this, we add another ViglTransform. But this time we increase the value of the parameter ViglSecond to 4. And in the transform tab we change the value of scale to 50. As you can see, our star sky has changed. It started to shrink. We rename the layer with particles in the stars and rename it to the bottom of the composition to cover it with a layer with landscape. It remains to animate the appearance of the particles. We go to the 40th frame, set the value of the opacity to 0, and set the value of the 5 frames to 100%. Ready! But wait, why when we look at the preview, we notice that the particles of the star sky are sharply changing their position? As we can see, after rendering the current frame. To get rid of this bug, we can change the value of special phase, for example, so that it reads everything again. Now everything is fine. Cut off the Starsh Slot so that the star is not visible on the day in the sky. Check. And before moving on, let's apply the texture to the starry sky. Take a separate composition with the texture. Transfer it to the composition below. Then, let's move the half-bottom to the timeline to start the animation and the appearance of the star through the opacity. Let's copy the keys of the opacity with layers with particles and insert them into the composition and texture. Let's see. Everything is fine. It's time to make the skulls of the light rays from the panther when night comes. Let's go back to the composition with textures and light rays, and copy them separately. After that, insert them to the main composition and drag the rays up. Let's attach them to the layer of the body. The appearance of the glow is the same as the appearance of the stylized texture. That is, just copy the keys of the opacity and insert them into the glow layer. Good. The brightness row looks a bit oppressive. Let's animate it in the mirror. Set the opacity key with the following values, from 50% to 100%. Let's see what came out. At the moment of the night, the clouds disappear. Select the layers with clouds and animate their positions. Put the key on the first frame, and on the 20th frame, move the clouds as follows. We move the clouds from left to left. Similarly, move the clouds to the right. We select all the keys of the clouds position, press the key F9, and go to the graphics editor. We select all the first keys of the clouds position and pull them to the right. And now these keys move the moment when night comes. To the 30th frame. Great! But let's make the appearance of clouds more interesting. To do this, apply the Slant effect on the clouds. It bends the object relatively here at this point. Let's immediately write the expression to com value to the floor point. During the movement of the object on the composition, the point followed it. We correct the floor point. Now you can start animating from the press. We put the key to the Slant parameter in the 30th frame. And change the value to minus 100 by 50. We see that when approaching the area of ​​the composition, the area is cut off. Let's try to change the floor point. This still does not help. In such cases, you should use the effect of grow bounds. Move it over all the effects. And set approximately this value. Great, the problem disappeared. But let's move a little further around the cloud in the second key, since it has become a little bit of a slant effect. Move on. We need a texture on the sky. To do this, drag the composition with the texture from the source project. Okay, now we have a texture for the day sky. Let's go back to the shadow and try to stylize it. Put it on the table. Now, open the content of the shape and fill fill. Find the parameters of the table and set its value to 100. Then add the effect Gaussian Blur. And blur our shadow. Select the mode of the application in this drop-down list, Dancing the Soul. And make its color a little darker than the Earth's color. The texture is too fast to move. Let's put a Post-Rise Time effect on it and set the frame rate 12 frames per second. Good. There is only one moment left to change the color of the day and night. Great! That's what we got as a result. We hope that the principle is clear to you and you can animate the transition from night to day. Good luck to everyone!",
+  "segments": [
+    {
+      "text": " Hello everyone! In this lesson we will do such a funny animation. And first of all, open the project of the After Effects with a fixed lesson and work will be in the composition Practice One, where the illustration is already in shape. So, first we need to let the blinkers in the glasses. For this, draw two rectangular shapes. The second drawn shape is made thinner than the first. We will place the created blink to the group. The blinks themselves should be tilted, so in the properties of the Transformer group, the skew parameter will set value 37. We will move the blink closer to the glasses. Now we animate the position of the blink. And we need to do so that the blink does not come out of the glasses. To do this, we apply the setmate effect to the layer with the blink. And in this corresponding list of effects, we will indicate a layer that we will use as a mask. It turned out, as we can see, the blink goes strictly in the shape of the glasses. We move the last keyframe position to make the animation a little longer. Great! Let's now animate the hair of the skull on the head. Let them develop in the wind. First of all, add a twist modifier to it. And now we animate the parameter angle of this modifier. Then we change the parameter center to fit the center of the hair twisting. Thus, create an illusion of the hair growing. Let's choose a successful value. Something like that. To make a cycle of the hair growing hair, we will apply the expression alupaut. In the expression, after type, we write the type of animation, ping-pong. Great, but there is not enough wave effect. To do this, we animate the rotation parameter. But first, we move the anchor point closer to the beginning of the growing hair. Copy the keys from the angle parameter and insert them into the rotation parameter. and move the rotation keys in the following way. There are only a few left to turn the copied keys. Click the right button on the selected keys, keyframe assistant, time keyframe reverse. It worked. We have a finished animation of the first hair. And in order not to repeat the work, we simply duplicate the resulting hair and change the shape so that it looks more like the one in illustration. To do this, I will change the animation key from the doubled hair so that between two hair I can observe the offset. The difference in time of animation start. We tie the limbs of the turtle, like 1, 2 and 3, and head, head to her body. And the glasses are tied to the head. Great! Now let's start the animation of the skull body. Open the Scale parameter, the body. Move the Enter Point to the correct lower point. Now put the key on the first second. Go to the 5 frames forward, remove the proportional dependence from the Scale parameter. On the second key, put the value of 90 on the vertical. Go to the 5 frames forward again and return the value to 100. We select all three frames and press the F9 key to make them easy-ease. Then, using the script MotionTools, we make this pattern. Let's see what we got. Now let's set the key to the position parameter. We go over 10 frames forward, raise the frame to 30 pixels, and after 10 frames, return to the initial position. We select all the frames in position, press the F9 key. We go to the speed editing mode and set the next schedule. We see that it came out. We see that the skull spends too much time on the jump. In less time, the jump is moved into the key. Now it's great. We take the skull leg. We open the kept shape with the skull leg and at the 30th frame in each shape we put the key on the pest. Move the key to the 35th frame and move it forward 5 frames. We highlight the points we need for the transformation and make an animation of the leg's fall. I don't like how the legs look at the end of the animation. We align them. We look at the result. Good. But you can make the animation of the leg exit more interesting. Let's try to hide this leg in the panzer, when the skull will land on the ground. On the 40th frame, we will put the key on the position. We will go forward 5 frames, raise the leg of the skull up. So, the raised paw leaves too far away, the panther no longer hides it. We need to fix it. We will remove the keys and apply the easy-ease. To do this, we will draw a shape so that it covers the hidden part of the paw with a panther. Then we move it to the paw itself and rename it as a Clegg-1 mask. And be sure not to forget to tie only the created mask to the body of the skull. After that, we make sure that the tied shape follows the body. A little adjust the pass mask. In the trackmate column, on the layer with the paw, select the alpha inverted mode to hide the mask part of the paw. The animation of the first paw is ready. Now we animate all the others in the same way. It's time to animate the head. Select the layer with the skull. Then click the Y key and move the anchor point to the neck. Put the key on the rotation parameter and transfer it to the second. In advance, copy the key. Go to 5 frames forward and enter the value of about minus 22 degrees. Then we go back to the 5 frames forward and insert the copied frame. Let's see what happened. There are not enough easing, let's fix it. Great, let's put the key on the position parameter on the 40th frame. We go back to the 5 frames forward and change the rotation and position values so that the head is hidden in the panzer. We will select only the created keys and make them easy-ease. Let's see. Okay, but I'm not yet satisfied with the results. Let's click on the keys of the positions with the pressed CTRL to remove the EasyEase. Move the crawling closer to the beginning of the animation and move the head left so that it does not start moving so much. Now let's take the scales and put the key on the 40th frame. Exactly 5 frames change the scale parameter to 75%. Now we need to change the head shape when it is tilted to the right. This action will be prepared for movement, before the skull is hidden in the pancer. We are looking for a group with a head pass, put a key in the 45th frame, go back to the 5 frames and put the key again. We highlight the pass point and change the head shape. We highlight the dot of the pass and change the shape of the head. Check. Now you need to hide the head in the panzer. To not draw the mask again, we already double the previously created mask for one of the paws and just edit its shape. Move it to the head. And let's make this layer mask for the head. Select the layer with the head and set the Alpha Invert mode for it. Let's see what happened. Cut the layer with the glasses to disappear when the head is removed in the panzer. We see that the mask and the head's animation are needed in the process. Let's fix it. Now cut the layer from the head and from the blik to remain a half-pancel. For the 45th frame, change the scale value to 50. Check. It's better now, but we still need to work on the details. The position of the head is adjusted so that it fits clearly into the panzer. And we will adjust the contour mask by creating a pair of keys on the parameter repass. Great! Now, let's add the effect of the body of the turtle after landing for more expressive. For this, we will put the key on the rotation on the 35th frame and add another value of 5 degrees after 5 frames. Let's go back to the original position in the 45th frame. We will select the first two frames of the rotation animation and set the easy ease to the only at the end of the animation speed was zero. We need this to work correctly with the expression with the suffocating vibrations. Select all the rotation keys and click on the key elastic. Let's see what happened. Let's increase the effect of pumping a little and set the elastic in control. Parameters are bigger, for example, like this. Not bad. Now it's time to make a night shift. Since the color of the skull body will be changed at night, let's put the keys on the fill parameter for each part of the skull body. All the keys created in the fill parameter will be moved to the 40th frame. Now we have to animate the transition from one color to another. For more convenience, we will take the weight of the skull in the night time. Another composition, before turning off the light from the skull sponsor. To make it easier to take the color pipette. We go to five frames forward and start to color the body of the skull in the corresponding color step by step. Ready! And we will do the rest of the objects of the composition. For example, the sky. We will simply pull out the night sky composition and put it in a separate composition. Then in the main composition, the night sky is placed on the top of the dark sky and we will show it at the right time by the safety parameter. From the 45th frame of the 45th animation of its safety parameter from 0 to 100%. Good! Next, we move on to the animation of the color of our landscape. We do the same as in the case of the skulls. But in this case, pay attention to the stones. Their stroke changes color parameter at night time. So be sure to not forget to animate it. Perfect, it remains to animate the shadow color. To do this, set the key parameter to fill to 45. Let's go to the composition with the night scene. And in it, we copy the color of the shadow. Return to the main composition and in the second key, we insert the copied color. Also, you must animate the scale parameter shadow at the moment of the jump. Go to the 30th frame and set the key. Then change the scale parameter to 105%. Then, again, put the scale to 80%. And after 5 frames, set the original value to 100%. We select all the keys of the parameter scale and apply the EasyEase to it. Good, we're done with the skulls. Now, the sunshade is hidden. Let's delete the night composition and find the sunshade layer. Press Y and move the anchor point closer to the center of the horizon of the Earth. Put the key on the 30th frame in the rotation parameter. Now put the key on the 50th frame and set the rotation parameter to 180 degrees. We enter the mode of editing the graphics in speed, select the right shoulder and pull it to the left side. And lose animation. Let's stop the keys for the best result. And now let's make a splash of the sun. We use the echo effect. Let's remove the bright overlay layer by layer by layer, by switching the echo operator to maximum. Also, in the Eco effect, the time parameter will be set to 005, and the number of copies will be 15. Let's look at the result. Now we need to put the moon in the place of the sun. Copy the moon's composition from the beginning and insert it into the main one. We will make the same animation for the moon. But the moon will follow the sun, so it will start its rotation from minus 180 degrees. After we copied the effect of the sun and applied it to the moon, it became noticeable how the moon is slanted on the copy. and its sharp edges begin to be pulled out. To fix this phenomenon, we will apply the effect of Simple Choker to the moon layer, thereby hiding the sharp edges of the moon. But there is a problem, due to the round effect of Simple Choker, the layer visually decreases. It can be fixed very easily. At the end of the rotation animation of the moon, the Simple Choker is reduced to 0. But it's still empty on the sky. Let's add a star. Select the Ellipse Tool tool. Draw a small dot on the screen. Perhaps we will stop at three pixels in width. Now let's multiply our particle by adding the Peter modifier. We increase the number of particles to 100. Position repeater to 0. Now we need to spread particles all over the sky. Add the next modifier, Vigil Transform. Place it below the group so that it works not with one particle, but with a massive particle created by the repeater. The Correlation parameter is set to 0 to get a more random result. Now set the modifier parameter so that it covers the particles of the sky. With the need, we will change the position of the entire layer. And do not forget the parameter ViglSecond set to 0, since every second will be produced free changes. I want to make a free mesh of particles. To do this, we add another ViglTransform. But this time we increase the value of the parameter ViglSecond to 4. And in the transform tab we change the value of scale to 50. As you can see, our star sky has changed. It started to shrink. We rename the layer with particles in the stars and rename it to the bottom of the composition to cover it with a layer with landscape. It remains to animate the appearance of the particles. We go to the 40th frame, set the value of the opacity to 0, and set the value of the 5 frames to 100%. Ready! But wait, why when we look at the preview, we notice that the particles of the star sky are sharply changing their position? As we can see, after rendering the current frame. To get rid of this bug, we can change the value of special phase, for example, so that it reads everything again. Now everything is fine. Cut off the Starsh Slot so that the star is not visible on the day in the sky. Check. And before moving on, let's apply the texture to the starry sky. Take a separate composition with the texture. Transfer it to the composition below. Then, let's move the half-bottom to the timeline to start the animation and the appearance of the star through the opacity. Let's copy the keys of the opacity with layers with particles and insert them into the composition and texture. Let's see. Everything is fine. It's time to make the skulls of the light rays from the panther when night comes. Let's go back to the composition with textures and light rays, and copy them separately. After that, insert them to the main composition and drag the rays up. Let's attach them to the layer of the body. The appearance of the glow is the same as the appearance of the stylized texture. That is, just copy the keys of the opacity and insert them into the glow layer. Good. The brightness row looks a bit oppressive. Let's animate it in the mirror. Set the opacity key with the following values, from 50% to 100%. Let's see what came out. At the moment of the night, the clouds disappear. Select the layers with clouds and animate their positions. Put the key on the first frame, and on the 20th frame, move the clouds as follows. We move the clouds from left to left. Similarly, move the clouds to the right. We select all the keys of the clouds position, press the key F9, and go to the graphics editor. We select all the first keys of the clouds position and pull them to the right. And now these keys move the moment when night comes. To the 30th frame. Great! But let's make the appearance of clouds more interesting. To do this, apply the Slant effect on the clouds. It bends the object relatively here at this point. Let's immediately write the expression to com value to the floor point. During the movement of the object on the composition, the point followed it. We correct the floor point. Now you can start animating from the press. We put the key to the Slant parameter in the 30th frame. And change the value to minus 100 by 50. We see that when approaching the area of ​​the composition, the area is cut off. Let's try to change the floor point. This still does not help. In such cases, you should use the effect of grow bounds. Move it over all the effects. And set approximately this value. Great, the problem disappeared. But let's move a little further around the cloud in the second key, since it has become a little bit of a slant effect. Move on. We need a texture on the sky. To do this, drag the composition with the texture from the source project. Okay, now we have a texture for the day sky. Let's go back to the shadow and try to stylize it. Put it on the table. Now, open the content of the shape and fill fill. Find the parameters of the table and set its value to 100. Then add the effect Gaussian Blur. And blur our shadow. Select the mode of the application in this drop-down list, Dancing the Soul. And make its color a little darker than the Earth's color. The texture is too fast to move. Let's put a Post-Rise Time effect on it and set the frame rate 12 frames per second. Good. There is only one moment left to change the color of the day and night. Great! That's what we got as a result. We hope that the principle is clear to you and you can animate the transition from night to day. Good luck to everyone!"
+    }
+  ]
+}