Motion graphics manual

introduction............................................. i

Table of contents
Motion graphic tips................................. II

Syllabus.................................................... iii

lesson plan............................................... v

interface layout....................................... xi

tutorials

transformations....................................... 1

Interpolation............................................ 10

rendering.................................................. 19

the wiggler................................................ 22

parenting................................................... 27

animated path............................................ 33

animated mask............................................ 41

precompose................................................ 46

track matte............................................... 53
Welcome to Motion Graphics! You're gonna have a blast in this class. Over the next couple of months

introduction
we're going to explore the tools available in Adobe's After Effects to create several dynamic projects
that should be worthy anchor pieces in your portfolio/demo reel. It's is our hope that your work
represents your full potential in this medium.

In the first month we are going to be working strictly with still images and graphics. You'll create the
motion! In the second month we'll work extensively with video and explore Compositing and special
effects like Time Re-Mapping and Expressions. We can even animate in a 3D space.

Start paying attention to what you see out there in the world. The movie trailers or opening credits,
openings for your favorite T.V. shows, Network bumpers, commercials, music videos etc. You are watching
your contemporaries in the industry demonstrate the potential of the very tools and techniques you
will be learning in the classroom. There are also many websites that showcase the work of different
production companies. Do a search sometime on Broadcast Motion Graphics and see what you
find. There are also websites like creativecow.com or ayatoweb.com that have tutorials for After
Effects that are a nice addition to what we'll be doing in the lab.

The book we'll be using is Chris and Trish Meyer's "CREATING MOTION GRAPHICS WITH AFTER EFFECTS"
It is probably the best book ever written for the program and is a great resource for the program.
Check out all the cool examples in there and use it whenever you need a tidbit about alpha or
matting or other important techniques.

What to expect: Understand that the projects you create document your understanding of
the concepts and techniques covered in class, and will be viewed as evidence as of how well
you responded to the challenges presented to you in class. We set a very high standard in Motion
Graphics because we know you'll need to really distinguish yourself if you want the privilege of working
in this very competitive and dynamic industry.

I honestly don't believe that any of you came to Full Sail to have us accept mediocre work from you.
Student quality work gets you a pat on the back and a few words of encouragement, professional
quality work gets you a job!

On the following 2 page are some simple rules for creating killer motion graphics. I hope you'll continue
to revisit these ideas as you learn more about the program and are creating ever more complex
animations.

i
 Some simple but important rules for creating killer Motion Graphics:

Keep it moving! This is MOTION Graphics

It's not a motion graphic if it's sitting still, and it's not a still image as long as it's moving! If an image
is sitting still it might as well be photoshop. Even if it's just a slow crawl, a small amount of movement
can bring an image to life. Leave it still and it's lifeless. Also, make sure your motion keyframes
(pos, scale, rot, etc) are outside of you opacity keyframes, so as the image fades in it's already in motion.

Get your audio on the timeline first

It's much easier to animate to your audio than it is to get your audio to sync to your animation!
Throw your audio on the timeline first and use layer markers(asterisk key) to mark crucial sounds,
words or beats and then edit or keyframe to your markers. What could be more effective than having
it seem as if your graphics are making the sounds we're hearing.

Never expose the limitations of your resources (assets) to your audience

Your audience doesn't need to know what resolution your image is, or how grainy your video is,
and they won't know unless you show them. Use blur as your footage is getting over scaled, and
always restore or hide ruff or cropped edges. Your assets are just your starting ingredients, it's the
graphics you create with them that we're really interested in! You can't create professional quality
projects with crappy looking assets.

Modulation
As soon as you've established a pattern, break it! People are very good at picking up patterns. If
they think they know what's coming, that's when you start losing their attentiveness. Surprise is a great
way to heighten your audiences sense of awareness, and keep them entertained.

Stylize your Text/ Expressive text

Try to find a way to express the style, atmosphere and attitude of your concept within the letters
of the word. I think a good measure is if your text can communicate that attitude printed alone on
a piece of paper. How could you say ; Hot!, or Fast!, or scary, or goofy, beyond the letters of the
word. So that someone could get it meaning even if they didn't speak the language, or couldn't
read at all.

Avoid default settings

How do you distinguish yourself if everyone is using the same tools you are (Photoshop, Illustrator,
After effects, etc.) ? You've got to take the extra step! If you just accept the default settings of the
effects or presets you are using, you will end up with exactly the same look everyone else is getting.
The more you play around with the settings or parameters of an effect the more unique your result
is going to be. Sometimes it's just that extra little detail you create that people remember.

Start and end on Black(or white if you are using a white background)
An asset or image shouldn't be visible when we open your file. How did it get there? It's like coming
in in the middle of a movie, or buying a book without a cover. Starting on black forces you to
determine how that image or footage would be introduced, and that can even add to it's meaning.

ii
Create some space!
Your work is only ever as deep as you describe it to your audience. If everything is in focus, then
everything must be on the same focal plane. If you hold your hand in front of your face you can
focus either on your hand, or what's behind it, but not both! this is true for our eyes or our camera.
It's called depth of field. By putting a little blur on your background you can make your text layer
seem like it's floating over it. The blur resembles depth of field and makes it seem like there is some
distance between your layers. You can also use a perspective effect called Basic 3D to add some
perspective to your animation. Imagine swinging your layer in like a door rather than just scaling
it up or fading it in.

Show, don't tell...

People sometimes have a habit of coming up short in their projects and then wanting to explain
in a critique environment what they had intended to create. The world is full of people who talk
a good game, or have a million excuses for why their work didn't turn out as well as they wanted.
We'll celebrate the people who do, not say. The doers are the ones that get places, not the ones
who just talk about it. Nobody in the industry will have any patients for that. Be a doer! Show people
what you're capable of, it's the best way to tell them!

Your work is evidence! Mine the ore of your talent!

Each project is an opportunity to document your understanding of the concepts and techniques
we cover in class. You want to be able to show that you understand the tool set well enough to
craft a document which communicates your meaning(message), and documents your potential
in that medium. Be aware that when you bring your work out into the world and ask someone to
hire you based on it, they will view that work as evidence of your understanding of the program,
evidence of you response to the challenges presented to you here at Full Sail, and evidence of
your potential in that medium. So how good does your work need to be? If this project is the only
example of your work that somebody ever sees, is that how you'd want to be known?

You're actually advertising yourself!

Whatever your topic, you are actually advertising yourself. Pick a topic that gives you an opportunity
to document your graphic skills. Topics that include graphically intense assets like anime or video
games might actually camouflage your graphics, or make them seem unnecessary. If you didn't
create those elements, whose work are you actually advertising.

Don't let the limits in your knowledge of the toolset limit your imagination!
Sometimes you need to just push yourself back from the computer, close your eyes, and just picture
what it is you are trying to communicate. Your imagination is limitless! And chances are, you can
get it done in After Effects. Sometimes I'll show a killer animation to my students and they'll ask
"are you going to show us how to do that?" . They're somewhat surprised when I tell them that I
already have! I think they're waiting for me to show them the "killer animation button", when often
the most amazing animations are created with the simplest of tools(S.T.R.A.P.), and a little imagination.
You can build almost anything with just a saw, hammer, pliers and screw driver, as long as you can
imagine it first!

Don't forget to have fun!

Pick a subject near and dear to your heart. Chances are if you're really interested in the subject it'll
show in your work. Make something you'd be proud to show your friends.

iii
 syllabus
lecture lab
1. Introductions transformations 1. Transformations
Project examples and criteria Interpolation
Program demonstration

2. Tour of Interface 2. Rendering

Parenting Parenting
Split Layer Wiggler
Marking layers to audio

3. Interpolation 3. Recreate Animation (project 1)

Motion Sketch Production Time for 10-15 sec bumper
Smoother (project 2)
Wiggler
Animate path effect

4. Transparency 4. Animated mask

Animated Masks Track Matte
Key Types Pre-Compose
Transitions Production Time
Track Matte

5. Animating Text 5. Animate word to meaning

Basic Text Path Effect
Path Text Production Time
Animating PS Layer Styles
Convert to Type
Create Outlines/Scrible/Stroke
Animating Type Tool/type animation presets

6. Critique of project 2(bumper) 6. Production Time for PSD layout and animation
Review for Quiz (projects 3-4)
Criteria for next proj & examples (project 3-4)

7. Quiz 7. Production Time

3D Effects

8. Advanced Effects 8. Production Time

9. Review and project assistance 9. Production Time

Misc effects and techniques

10. Final Critique 10. Production Time

Asset and project back-up

mgr projects grading Percentages

1. Recreate animation from assets 10% Professionalism
10% Recreate Anim
2. 10-15 second bumper 20% 10 sec bumper
10% Quiz
3. PSD layout (delivered as jpg) 20% PSD Layout
30% 30 sec anim
4. 30 second animation of layout

iv
 Motion Graphics Lesson Plan

Lecture 1: Introductions and Course Layout

4 hours

Objectives: Introduce students to course goals, projects and requirements. Familiarize students with
After Effects timeline, importing assets, and procedure for simple keyframe animation techniques using
transformation properties.

1. Take Roll
2. Make introductions and layout course and project criteria
3. Show previous student project examples
a. Discuss what makes a good vs bad project
4. After Effects demonstration
a. Demonstrate keyframing transformation properties
5. Assigned reading; Chapter 1, Creating Motion Graphics with After Effects

Lab 1: Introduction to MG Lab, Utilizing Transformations and Keyframes

4 Hours
Required Materials: Students must bring manual to lab.

Objectives: Introduce students to lab environment, outline network access and policies.
Students will begin with Transformations tutorial and continue with Interpolation tutorial if time allows.

1. Take Roll
2. Introductions and Lab policies and Procedures
3. Transformations tutorial
4. 30 minute break at halfway point
5. Take Roll
6. Interpolation tutorial (if finished with transformations)

Lecture 2: Navigating the Interface

4 Hours

Objectives: Familiarize students with After Effects Interface; Composition Window, Project Window and
Layer Switches. Parenting, Split Layer and Motion blur will be demonstrated through simple animation
examples.
1. Take Roll
2. Discuss Project Window
a. Describe import procedures
b. Distinguish linking assets from embedding assets
3. Discuss Composition Window
a. Composition Settings; NTSC DV
b. Understanding Title/Action Safe
4. Continuous Rasterization vs Collapse Transformations
5. 30 minute break at halfway point
6. Take Roll
7. Motion blur to enhance velocity
a. Assigning shutter angle in composition settings
8. Parenting to create animation hierarchy
9. When and why to Split layer

v
Lab 2: Navigating the Interface

lesson plan
4 Hours
Required Materials: students must bring manual to lab.

Objectives: Familiarize students with After Effects Interface; Composition Window, Project Window,
Layer Switches and Rendering Queue through completion of assigned tutorials.

1. Take Roll
2. Complete Interpolation tutorial
3. Rendering tutorial
4. 30 minute break at halfway point
5. Take Roll
6. Parenting Tutorial (if finished with Rendering tutorial)

Lecture 3: Understanding Interpolation

4 Hours

Objectives: Convey an understanding of interpolation methods for customizing animation

properties. Demonstration of value and velocity graph manipulation to create unique and
specialized movement for natural looking animation.

1. Take Roll
2. Using Easy Ease to change default velocity
3. Demonstrate interpolation methods
a. Linear
b. Auto-Bezier
c. Continuous Bezier
d. Bezier
e. Hold
4. Utilizing the Graph Editor for creating customized interpolation paths
5. 30 minute break at halfway point
6. Take Roll
7. Using Motion Sketch
8. Applying the Smoother to simplify interpolation path
9. The Wiggler; randomizing values between keyframes
10. Assigned reading; Chapter 2-3, Creating Motion Graphics with After Effects

Lab 3: Animation Recreation

4 Hours

Objectives: Students will recreate 15 second animation example from assets provided.

1. Take Roll
2. Display animation for students
3. Provide access to animation assets
4. Provide assistance to facilitate task completion
5. 30 minute break at halfway point
6. Take roll
7. Continue animation until complete

vi
 Lecture 4: Methods for Creating Transparency
4 Hours

Objectives: Understanding of the utilization of masking, matting, transitions, blending modes and other
procedures for creating transparency for compositing in After Effects. Students will come to appreci-
ate the historical origin of these techniques in the film and photography fields.

1. Take Roll
2. List and discuss methods for creating transparency
3. Relate tradition(optical) methods to digital
a. matte painting
b. rotoscoping
c. traveling mattes
4. 30 minute break at halfway point
5. Take roll
6. Demonstrate animating masks
7. Keytypes; Chroma vs Luma
8. Transitions
9. Assigned reading; Chapter 4, Creating Motion Graphics with After Effects

Lab 4: Masking and Matting

4 Hours
Required Materials: students must bring manual to lab.

Objectives: Students will become familiar with matting and masking techniques through the assigned
tutorials. Upon completion of assigned tutorials students may begin production on their 10 second
bumper project.

1. Take roll
2. Continue Animation Recreation activity until completed
3. Animated Mask tutorial
4. Track Matte tutorial
5. 30 minute break at halfway point
6. Take roll
7. 10 second bumper project production time

Lecture 5: Creating and Animating Expressive Text

4 Hours

Objective: Demonstrate the many ways to create and animate text in After Effects to convey
meaning.

1. Basic text
a. Composite on original
b. Control effect path in layer window
2. Path text
a. Animated visible characters
b. Animating text along a path
c. Jitter settings
3. Animating Photoshop layer styles
4. 30 minute break at halfway point
5. Take roll
6. Convert to type
7. Create outlines
a. Animate letters to mask shapes
b. Scribble and Stroke effect
8. Animating type tool
9. Applying and controlling text animation presets
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Lab 5: 10 Second Bumper Project

lesson plan
4 Hours

Objective: Students will continue work on 10 second bumper project.

1. Bumper production time

2. 30 minute break at halfway point
3. Take Roll
4. Continue bumper production time

Lecture 6: Presentation and Critique of Bumper Projects

4 Hours

Objective: Students will present their bumper projects to class for critique.

1. Take roll
2. Project presentations and critique
3. 30 minute break at halfway point
4. Take roll
5. Continue critique
6. Present project criteria for PSD layout and animation
7. Review for quiz

Lab 6: Layout and Animation Production Time

4 Hours

Objective: Students may start layout and animation project or spend time improving their bumper
projects for resubmission. Unfinished tutorials should also be completed with this time.

1. Take roll
2. Production time
3. 30 minute break at halfway point
4. Take roll
5. Continue production time

Lecture Seven: 3D Effects

4 Hours

Objective: Demonstrate 3D Effects in After Effects for creating spatial effects in animations.

1. Take Roll
2. Give After Effects quiz
3. Show project 3-4 examples and discuss criteria
4. Basic 3D for perspective
5. 30 minute break at halfway point
6. Take Roll
7. 3D Sphere effect
a. Create convex or concave with front/back option
b. Using panoramas
c. Track matted maps for alpha spheres with interior shadows
8. 3d Stroke
9. Shatter for extruding text
10. Assign reading; Chapter 9, Creating Motion Graphics with After Effects

viii
 Lab 7: Layout and Animation Production Time
4 Hours

Objective: Students will continue production on their layout and animation.

1. Take roll
2. Production time
3. 30 minute break at halfway point
4. Take roll
5. Production time

Lecture 8: Fractal Effects and Ambient Backgrounds

4 Hours

Objective: Discuss techniques for using fractals in creating ambient backgrounds or polymorphic
effects for matting and transitions.

1. Take roll
2. Fractal noise
a. As ambient background
b. As gradient wipe
c. As track matte
3. Turbulent Displace
4. Roughen edges
5. Mosiac on noise

Lab 8: Layout and Animation Production Time

4 Hours

Objective: Students will continue production on their layout and animation.

1. Take roll
2. Production time
3. 30 minute break at halfway point
4. Take roll
5. Production time

Lecture 9: Obscuration layers, Vector Paint and Project Assistance

4 Hours

Objective: Using advanced effects such as obscuration layers and vector paint will be covered,
leaving time for project assistance and review.

1. Take roll
2. Shatter with shine
3. Vector paint
4. Sequence layers
5. 30 minute break at halfway point
6. Take roll
7. Project assistance and review

x
Lab 9: Layout and Animation Production Time

lesson plan
4 Hours

Required materials: Pickup DVDs for handout to students.

Objective: Students will continue production on their layout and animation. DVDs will be handed
out to students (one per) to back up their assets and projects from the network.

1. Take roll
2. Backup assets and projects from network
3. Production time
4. 30 minute break at halfway point
5. Take roll
6. Production time

Lecture Ten: Final Critique

4 Hours

Objective: Students will present their projects to class for critique.

1. Take roll
2. Project presentations and critique
3. 30 minute break at halfway point
4. Take roll
5. Continue critique

Lab 10: Layout and Animation Production Time

4 Hours

Objective: Students will complete production on their layout and animation. Upon completion
projects should be uploaded to project submission folder on server.

1. Take roll
2. Production time
3. 30 minute break at halfway point
4. Take roll
5. Complete project and submit to project folder on server

xi
 comp setting window tool bar
Selection Rectangular Mask Local Axis
Hand Pentool World Axis
Zoom Type View Axis

Pan Behind Eraser

Orbit Camera Clone Stamp
Rotation Paintbrush

project window
Selected Item Footage Information

Selected Footage
Item Thumbnail
Preview Show Flowchart

Footage Items

Find a Project Item

New Composition

Comp Window Menu

comp window

Camera View Show Flowchart

Resolution
Show Time Layout
Channels

iv Display Snapshot
 after effects 7.0 interface
time layout window
Layer Name
Wireframe Interaction
Composition Tab
Draft 3D
Hide/Show Shy Layers Time Marker
Enable Frame Blending
Enable Motion Blur Work Area Marker
Graph Editor
View Area Marker

Current Time

Visibility Switch

Audio Switch
Parent Pickwhip Current Time Marker
Solo Switch

Keyframe Keyframe
Navigation

Time Vary Stopwatch Switches and Modes <Hit F4> Zoom Slider

Shy Layers Continous Rasterization/ Quality Effects Frame Motion Adjustment 3d Switch
Colapse Transformations Blending Blur Layer

time controls
Ram Preview
First Frame

Frame Reverse

Play
Frame Advance

Last Frame

Click and drag Open Audio

For More Options
Loop

v
 After Effects
new solid settings .0 effect window

Layer Tab

Effect Switch

Effect Name

Effect Value

layer window

In Point
Out Point

Length of Comp
Zoom
Region of Interest
Action/
Title Safe Red, Green, Blue
Channels
Current Time
Take Snapshot Display Snapshot

vi
lecture 1: Introduction and Course Layout

lecture notes:
tutorial 1
 purpose:theory behind it all

The basis of all animation in After Effects is Keyframes and Transformations. In this tutorial you will
learn how to keyframe the Transform Properties to create a simple animation. You will realize that
with some well made images you can achieve a quality animation in no time. Before you begin
there are some core concepts that you must understand.

1. After Effects does not embed your footage into the After Effects project file. What does this
mean? All your footage (pictures, sound, video) are linked to your project and must always be
saved in the same folder as our After Effects project file (.aep).

2. A keyframe is created to hold a value for a layer property thats going to change over time in
your animation. You must have 2 keyframes to create an animation.

3. There are 5 transformation properties that you can keyframe. They are:

a. Anchor Point modifies axis of rotation, pin point for scale etc.
b. Position X & Y coordinates
c. Scale size
d. Rotation spin
e. Opacity transparency

The hotkeys for the transformation properties are S-T-R-A-P.

S Scale
T Transparency (Opacity)
R Rotation
A Anchor Point
P - Position

4. After Effects must render everything you do. It wont play your project in real time unless you
render it. The quickest way to render part of your project is to Preview to RAM. This is when you
use your computers memory to play back part of an After Effects project.

practice step by step

step 1. Download the Transformations 6 folder from the assets folder on the server and start
After Effects.

step 2. Select File > Import > File. Import ASSETS1.psd. Next to Import As and pick
Composition Cropped Layers.

01
step 3. Select File > Import > File. Import ASSETS2.ai. This time next to Import As and

transformations
pick Footage.

attention! Footage v. Composition

Importing as a composition will create a new After Effects Composition and bring
in each layer of the Photoshop document separately. Importing as footage will
import the psd. as a single layer.

step 4. Select File > Import > File. Import BUMPER.mov and choose Footage next to
Import As.

step 5. Double click on BUMPER.mov in the Project Window. This will open the Footage
Window. Press Play in the Footage Window to watch the movie. This is what you
will re-create.

step 6. Select Composition > New Composition.

Name: Bumper
Frame Size: 320 X 240
Framerate: 30 fps
Duration: 0:00:05:00

02
 step 7. Change Background Color Select Composition > Background Color and pick a neon
green color.

step 8. Drag the Photoshop layer prism/ASSETS1.psd from the Project Window onto the Timeline.

Click and drag

step 9. Click on the small Triangle on the prism/ASSETS1.psd layer to reveal the
layers Properties.

03
step 10. Currently the length of the composition is 5 seconds. Select Composition > Comp

transformations
Settings. Change the length of the composition from 5 seconds to 10 seconds
(0:00:10:00)

step 11. Click on the Small Mountain (bottom of timeline) to zoom out to show the entire
10 second timeline.

step 12. Notice that the Timeline is 10 seconds long but that the Prism layer is only 5 seconds.
Click and drag on the Prism layer to extend its duration.

Click and drag

04
 step 13. Drag the Current Time Marker to 0 seconds on the Timeline. Click on the
Stopwatch next to Position. This sets the first Keyframe. The Diamond in
the Timeline is a Keyframe.

attention! Info Stopwatches

To change a property over time you must always start out with an initial keyframe
created with the stopwatch. Checking the stopwatch again will remove all
keyframes.

step 14. The numbers next to Position are Coordinates. Click on the Coordinates and change
the first value X to 675 and the second value Y to 120.

Position Values

attention! You dont have to enter numbers into the keyframes.

You can also click and drag on the number or click and drag on the image in the
Comp Window.

05
step 15. Drag the Current Time Marker

transformations
to the end of the Timeline.

step 16. In the Comp Window drag the Prism to the left. Hold down SHIFT to constrain it
horizontally. Drag the Prism so it lines up with the right edge of the Composition.

attention! Takes 2 to Tango

Notice that another keyframe (diamond) was created at 10 seconds for the position
property. You must have at least 2 keyframes to animate a layer.

attention! Previewing your Movie To view your animation, press the space bar. This
will NOT play back in real time. If you want to see your animation you must Preview to
RAM by pressing the 0 key on the keypad. This will often not preview the entire timeline
because it runs out of RAM. In this case press Shift + 0 to preview every other frame to RAM.

step 17. Click on the Position Stopwatch. Notice that all your Keyframes have been
erased. Undo your last action (Command/Cntl + Z) to get your Keyframes back.

step 18. Collapse the Triangle for the Prism layer to hide the properties and lock the layer.

Lock layer

06
 step 19. Drag the Current Time Marker to 0 seconds (or press the HOME key).

step 20. Drag grid/ASSETS1.psd from the Project Window onto the Timeline. Make sure the Grid
layer is above the Prism layer so you can see the grid.

step 21. Click the Triangle to show the properties of the Grid layer. For the Position values set
X to 675 and Y to 120.

step 22. Go to 10 seconds on the Timeline. Change the X position to -355.

Watch your movie. The Prism and Grid should be moving in the same direction.

07
step 23. We want the grid to move in the opposite direction. Drag the Keyframe at 10

transformations
seconds to 0 seconds and drag the beginning Keyframe to 10 seconds.
(We are just switching our keyframes right to left.)

step 24. Lock the Grid layer.

step 25. Set the Current Time Marker to 0 seconds.

step 26. Drag gear/ASSETS1.psd from the Project Window onto the Timeline. Make sure it is
above the Grid and Prism layers. Select the Gear layer and press R on the
keyboard to show the Rotation transformation property.

step 27. Go to 2 seconds on the Timeline and click on the Stopwatch for Rotation.
This will set a Keyframe of 0 degrees of rotation.

step 28. Go to 8 seconds, click on the Degrees of Rotation and enter 1 for revolutions.

Preview your animation. The gear should be spinning.

08
 step 29. Go to 0 seconds on the Timeline. Select the Gear layer and press T on the
keyboard to bring up Opacity. Set an initial Keyframe with the Stopwatch.
Enter 0% for Transparency. Move the Timeline to 1 second and change the
Opacity to 100%.

step 30. Go to 9 seconds, set another Keyframe for Opacity at 100%. You can set a
Keyframe with the existing value by clicking on the empty box at the far left of
the Time Layout Window.

step 31. Go to 10 seconds on the Timeline and change the Opacity value to 0%.

step 32. Move to 1 second on the Timeline. Select the Gear layer and press S to bring up the
Scale transformation property.

to get checked off:

On your own animate the Scale of the Gear so it scales up to 100% at 2 seconds. Stays the same
size until 8 seconds and then is 50% at 9 seconds.

09
tutorial 2
 purpose:theory behind it all
After Effects lets you add additional keyframes in either the Time Layout Window or the Comp Window.
You can change the shape of a path by dragging an element or its Bezier Handles around the Comp
Window. When you do this you are affecting the Spatial Interpolation. When you change a property over
time from within the Time Layout Window you are affecting the Temporal Interpolation.

things to remember
1. The type of Interpolation controls how a property changes over time.

2. Temporal Interpolation - Keyframes that you make in the Timeline are Temporal Keyframes. They control
how a property changes over time. The default interpolation for Temporal Keyframes is Linear. This
means values will change at a constant rate, leading to very mechanical looking animations.

3. Spatial Interpolation - Paths and Keyframes that you see in the Comp Window are Spatial Keyframes.
You affect these Keyframes by using the Pen Tool and Convert Anchor Point Tool right in your Comp
Window. Instead of laying down Keyframes on the Timeline you are laying them down in the Comp
Window, the actual space where your objects lie.(X,Y & Z) The default Spatial Interpolation is Auto-Bezier.

4. Applying no Interpolation prevents a layers property from changing over time.

5. Auto Bezier Interpolation and Continuous Bezier Interpolation both maintain smooth transitions at keyframes.
Auto Bezier Interpolation maintains the transitions automatically as the keyframes are moved.

6. Linear Interpolation results in steady changes between keyframes, with sharp changes occuring at the
keyframes.
screen shot

7. Bezier Interpolation lets you draw any motion path that you want.

8. Hold Interpolation results in sudden value changes with no transition.

10
step by step procedure

interpolation
step 1. Open up After Effects. Create a new Composition.
Preset: NTSC DV 720 x 480
Frame Rate: 29.97 fps
Duration: 15 seconds

step 2. Select the Text Tool T from the tool palette. Click in the Comp Window and type
your name.

11
 step 3. Select the new Text layer in the Timeline Window and press P to display the Position
property. Drag the text in the Comp Window off the left side of the screen.

Drag to here

step 4. Click on the Stopwatch next to Position to set the first Keyframe.

step 5. Move the Current Time Marker to 4 seconds.

12
 interpolation
step 6. Drag the text in the Comp Window from the left to the right. Drag it off the right
side of the Comp Window. Start dragging then hold down SHIFT while dragging
to constrain it to a straight path.

Drag to here

step 7. Go back to 0 seconds and play your composition (SHIFT + 0).

step 8. Select the Pen Tool from the Tool Palette. Add five Keyframes evenly spaced
out on the Motion Path in the Comp Window. Use the Selection Tool to push the
points up and down. Preview your animation.

13
 attention! The Pen Tool in After Effects is different
than Photoshop or Illustrator. Notice that you only have one
selection tool rather than a selection and a direct selection.

step 9. Use the Pen Tool and click on a Keyframe. It will turn from an Auto Bezier to a Linear
Keyframe.

Preview the movie to see the difference between Auto Bezier and Linear.

step10. Click on the Keyframe again. It turns back to Auto Bezier. Click and drag on the
Control Handle. Once the Control Handles are broken it becomes a Bezier Keyframe.

attention! All the different Beziers can be confusing. Just remember

the default is Auto Bezier. If you change the length of a control handle it become
a Continuous Bezier and if you break the control handles it becomes true Bezier.

step 11. Notice how the word stays horizontal. Make sure the Text layer is selected and choose
choose Layer > Transform > Auto Orient. Select Auto Orient to Path. Preview the
animation to see how it changed.

14
step 12. Click on Positionin the Timeline. This will select all Position Keyframes.

interpolation
attention! There are 3 ways to select more than one Keyframe in
the Timeline. 1.Click on the Property Name. 2. SHIFT + click on the Keyframes.
3. Click and drag a marquee box around the keyframes.

step 13. In the Menu Bar select Animation > Keyframe InterpolationIn the dialog box
select Bezier.

15
 Notice that the Keyframe icons in the Timeline have changed shape.
Press (SHIFT + 0) to preview.

step 14. Now for color. Drag the Current Time Marker to 0 seconds.

step 15. With the Text layer selected choose Effect > Color Correction > Color Balance H,L,S.

step 16. Press E on the keyboard to bring up the Effect Property. Press SHIFT + P to show
the Position Property as well. Click the Triangle next to Color Balance to
show the Effect Parameters.

16
step 17. Click the Stopwatch

interpolation
next to Hue to set the first Keyframe.

step 18. Now we want to line up our color changes to the Position Keyframes. Click the
Keyframe Navigators to move between Keyframes. Drag the Current Time
Marker to line up with the 2nd Keyframe.

step 19. In the Effects Control palette, change the Hue of the text by rotating the wheel.
the text should change color. Make sure that your text is not black, white or gray
those are shades which have no Hue to change.

step 20. Repeat this process so there is a new color for every Position Keyframe. Play the
animation and see that the colors are changing at a constant rate.

step 21. In the Time Layout Window click Hue to select all the Hue Keyframes.
step 22. In the menu bar select Animation > Keyframe Interpolation. Change the Temporal
Interpolation to Hold.

17
 attention! Hold keyframes prevent a property from changing until the
Current Time Marker hits that keyframe. All keyframes have two sides. The left side
describes the motion coming into the keyframe. The right side describes the motion
going out to the keyframe.

Play your animation and notice how the color changes.

step 23. Change the Position Keyframes to Hold interpolation. (Hint: You Must first select
the keyframes)

step 23. Render your composition into a Quicktime movie. Follow the steps in the Rendering
Your Project tutorial in your lab manual.

Make the Quicktime:

15 fps
360 x 240
Millions of Colors + Alpha
Animation Compression

18
lecture 2: Navigating the Interface

lecture notes:
animation recreation quiz description:
Your first project in MG will be to re-create a 10 second animation that we will show you in the lab. All the

assets needed to create the animation will be provided for you, as well as a list of the possible techniques

you will need to use to create it. This is strictly an in-lab assignment and will be graded as a quiz.

project requirements:
 animation recreation quiz
project specs:

dos and donts:

tutorial 3
 purpose:theory behind it all
Once you have finished your project you must Render out your work into a movie. Once your
project is rendered it can be played back outside of After Effects in a program such as Quicktime
or Media Player.

practice step by step

step 1. To start go to Composition > Make Movie (Command or Control + M). It will ask you to
name your movie and where to save the file.

step 2. The next window is the Render Queue. The Render Queue displays all the information
about how your movie will be rendered. You can even set up multiple renders.

19
step 3. Click on the words next to Render Settings:

rendering
The Render Settings controls how
your movie is rendered (such as quality and duration). The settings will change
depending on the needs of each project. Below are the settings for Project 1
and 2.

step 4. Click OK. Back at the Render Queue, click on the words next to Output Settings.
The Output Module Settings controls the format of your movie and the quality
of the audio.

Click on the box next to Format: and select Quicktime Movie. If nothing has been
selected for a default the Quicktime Options window will appear. If it doesnt then click
on Format Options under Video Options.

20
 step 5. The Format Options give you control over the type and quality of the compression.
Select Sorenson compression for your projects. Compression will reduce the size of
your movie but also can effect the quality.

step 6. Click the check box for Audio Output if you have audio in your project. Click OK.
step 7. Once you have set your settings the way you want them you can click Render. It is
a good idea to put your Caps Lock on while rendering. This will prevent your Comp
Window from playing the movie as it renders. It is also a good idea to purge your RAM
before your render. (Edit > Purge > All)

attention! Sometimes if you are using high resolution images After Effects will
crash in the middle of a render. If this happens you will may want to resave your images at
smaller sizes (if youre not using the entire image) or render your movie out in sections and
then paste the parts together in Quicktime, Premiere or After Effects. In the Render Settings
window you can set the length of a render instead of the default work area.

21
lecture 3: Understanding Interpolation

lecture notes:
tutorial 4
 purpose:theory behind it all
There are 2 features in this tutorial. They are explained below.

The Wiggler-The wiggler creates a series of random keyframes between 2 or more existing keyframes.

Motion Blur- After Effects motion blur is not an effect, but a switch on the timeline that you turn on
and off. When it is turned on After Effects will apply a blur in the direction of the motion
on a layer. Things that are moving, rotating, or scaling will have a blur.

practice step by step

step 1. Open After Effects, make sure the pulldown for the workspace in the top right says
Animation.

step 2. Import the file hamster.psd as Composition - Cropped Layers.

22
 the wiggler
step 3. In the Project Window, double click on the hamster composition icon.

The photoshop document was created at

720 x 480 D1/DV pixel, so this composition
will have the same size.

23
 step 4. You should see the Hamster Composition. Each solid you see on the Timeline is a Layer
of the Photoshop document.

step 5. Twirl open the extreme text layer. Hit the Stopwatch to make a Keyframe for
Position at 0 seconds.

Move your Current Time Marker to 9 seconds and 29 frames. Click the
Keyframe Icon in the Keyframe Navigator Box, this will let us make a keyframe
without changing the value. This is helpful when you need to make the same
keyframe twice.

hint: You can zoom in and out of your timeline with the slider on the bottom of the timeline.

24
step 6. Select both of the Position Keyframes. Lets look at the Wiggler. Its over on the

the wiggler
right side.

The two values we see are Frequency

(how often per second)
and Magnitude
(how much)

for Frequency enter 12

for Magnitude enter 10
and hit APPLY

Now you should see the keyframes, preview you timeline. (SHIFT + 0) you should
see the text moving around.

step 7. Twirl open the hamster layer, set 2 Keyframes for Scale, at 0 seconds and 9 seconds
and 29 frames. Select the 2 Scale Keyframes.

In The Wiggler window

for Frequency enter 15
for Magnitude enter 100
and hit APPLY

Preview your timeline. The hamster should now be scaling. As well as changing position.

step 8. Okay now Twirl open the blue thingie layer, set 2 Keyframes for Rotation, at 0 seconds
and 9 seconds and 29 frames. Select the 2 Rotation Keyframes.

In The Wiggler Window

for Frequency enter 9
for Magnitude enter 360
and hit APPLY

Preview your timeline the blue thingie should be scaling.

attention! To get the most out of the wiggler think about the number
you need to create. For position if you use a number like 10 this will make it shake
10 pixels. For scale use a number like 100, it will scale from 0-100. For rotation if you
use a number like 360, because there is 360 degrees in a full rotation. You can use
bigger and smaller numbers if you need different values.

25
 step 9. Okay, your Composition should be moving around now so let's add some Motion Blur.
On your Timeline you will see a Motion Blur switch for each layer, turn them on for solids
1,2,& 3. There is also a main Motion Blur on/off for the whole Timeline above the layers.

Motion Blur Switch

Motion Blur is a great way to add some life to your project but it does take longer to
render and preview. Remember you can disable motion blur with the master switch in
After Effects starts running to slowly.

Make sure to back up your work, it will be part of your grade later, if your not sure how ask your
Lab Instructor.

26
tutorial 5
 purpose:theory behind it all
Basically, Parenting allows you to link layers together. This means you can animate one layer and
then parent other layers to that layer that will move in the same fashion. The Position and Rotation
& Scale of the first layer will affect the parented layers.

This linking establishes what is called the PARENT/CHILD relationship. You can animate the CHILD
any way you like, but as soon as you animate a transform property of the PARENT layer, all children
MUST follow. Kind of like when you went to the store with your mom as a kid.

First, were going to view a simple example movie.

1. Open 1_2_3_Parent.mov from the PARENTING folder.

2. Here, boxes 2 and 3 are parented to box 1. You will see that Boxes 2 & 3 have their
own independent animations but are following the Scale, Position and Rotation of
their parent layer 1. This makes boxes 2 & 3 children of their parent layer box 1.

3. Take a look at the timeline for this animation:

Now, well create our own animation using Parenting to drop donuts into homers drooling
mouth. Mmmmmmm.Parenting.

step 1. Open up After Effects and create a new composition:

NTSC - 720 x 480
29.97 fps
0:00:30:00

27
step 2. Import the file ROBOT_ARM.ai. Be sure to import the file as Composition (not

parenting
Cropped Layers). We need all our Illustrator layers to have the same registration
point so they will be aligned when they import into After Effects.

step 3. In the Project Window look in the folder called ROBOT_ARM.ai. Here you will see
all the layers of our Illustrator file. Now we are going to assemble them and parent
the individual parts so it can be easily animated.

step 4. Drag the 5 parts of the robot arm onto the Timeline. Arrange them in the order
show below:
1. ARM_2/ARM_2.ai
2. ARM_1/ARM_2.ai
3. PINCHER_R/ARM_2.ai
4. PINCHER_L/ARM_2.ai
5. BASEMOUNT/ARM_2.ai

28
 step 5. Parenting is a nice feature but it takes up a lot of real estate in the timeline. You can
easily show and hide Parenting by right clicking at the top of the timeline. Under the
Columns menu you can choose what switches to add to your timeline.

step 6. Parent the ARM_1 layer to the BASEMOUNT layer. To do this, click on the word
None in the Parent column for the ARM_1 layer. In the menu that pops up are the
names of the other layers. Select BASEMOUNT.

step 7. The Spiral symbol in the Parent Column is called the Pickwhip . Click and drag on a
Pickwhip to parent one layer to another. Parent ARM_2 to ARM_1. (This is just
another way to parent layers).

29
step 8. Parent the following layers together:

parenting
ARM_1 to BASEMOUNT
ARM_2 to ARM_1
PINCHER_R to ARM_2
PINCHER_L to ARM_2
BASEMOUNT to None (This will be our Master parent layer)

step 9. Now you only have to move the BASEMOUNT layer and all the other layers will
follow because each layer is parented to a layer that is eventually parented to
BASEMOUNT. However, there is one more step before you can rotate each layer
to animate the robot arm.

step 10. Move the BASEMOUNT layer to the left edge of the Comp Window.
step 11. Select the ARM_1 layer and press R to bring up that layers Rotation property.
Scrub (click and drag left or right) over the degrees and watch the ARM_1
layer rotate.

30
 step 12. Return the Rotation setting to 0. Notice that the ARM_1 layer is rotating around
the center of the comp. We need to change its center of rotation so that it
animates correctly.

step 13. Select the Pan Behind tool from the tool palette. Use it to move the Anchor
Point for ARM_1 to the left joint so it will rotate but stay attached to the base.

step 14. Rotate the ARM_1 layer. It will rotate around the Anchor Point.
step 15. You need to change the Anchor Point for each layer so it will pivot
appropriately. The image below shows all the pivot points for the arm. Select
each layer and move the Anchor Point to the appropriate location.

step 16. Now animate the robot arm by creating Rotation keyframes.

31
practice-to be checked off

parenting
step 1. Import DONUT_HOMER.psd file as a Composition (same as before). The file
contains 2 layers: a Background and a Donut. Arrange these 2 layers below
all the robot pieces. Also, make sure the Donut layer sits above the
Background layer in the timeline.

step 2. Use what you have learned to create a movie where the arm picks up the donut
and drops it into homers mouth. Be as creative here as you wish! Use the
HOMER_DONUT.mov to see an example.

attention! Once an object is parented to a layer you can not

un-parent it. To get the robot arm to release the object, you need to use the
Split Layer command. The Split Layer command (Edit>Split Layer) will cut the
parented layer into 2 separate layers at the time marker. Now you can set
Parenting to None in the layer you no longer want parented.

step 3. Render out this movie as:

NTSC
720x480
15 fps
Quicktime
Sorenson 3

32
lecture 4: Methods for creating Transparency

lecture notes:
bumper project description:
Project 2 is a 10 second bumper. It can be for yourself or a fictional or real company. Eventually, before

you leave the two months of MG you will need your own bumper. So if you decide to make this one for

or about someone else remember you'll need your own before you leave. It will need to start and end

on black(or white) and have audio. A bumper is the short credit for the production company that created

what you just saw(or will see). you see them every time you turn on the tv or watch a movie. Keep in mind

that you will use this for every time based project you create from this point on so, yeah you can always

change it, but why not make it what it should be now! How can you use some imagery and audio and

text to tell people about yourself in just 10 seconds.. that's the challenge!

project requirements:
 bumper project
project specs:

dos and donts:

tutorial 6
 purpose:theory behind it all
In this tutorial you will be creating paths to use with different effects. A path is created by
drawing with the Pen Tool in the Comp Window. The difference between a Path and a Mask
is that a Path is not closed. When you use the Pen Tool to create a Mask you always need to
close shape before it can function as a mask.

You can use paths to visually draw a line. Then use that line to control the animation of an
effect. In the following example you will draw a path and then use it with effects like Stroke
and Lens Flare.

practice step by step

step 1. Open up After Effects and create a new Composition.
Name: Animated Path
Size: DV NTSC 720 X 480
Duration: 5 seconds
fps: 29.97

step 2. Drag starrynight.jpg to the Timeline.

step 3. In the Timeline select the starrynight.jpg were going to add
an effect. Effect > Color Correction > Hue and Saturation.

step 4. Duplicate the selected layer on the Timeline. (Command D)

step 5. Select the 1.starrynight.jpg layer in the Timeline. In the Effect Controls Window
pull the Master Saturatin Slider to +20. Turn off the Eyeball Icon for the top layer,
so we can see the bottom one.

step 6. Select the 2.starrynight.jpg layer in the Timeline. In the Effect Controls Window pull the
Master Saturatin Slider to -100 you should have a black and white image now.
Lock the bottom layer.

33
 animated path
step 7. Okay now lets turn on the Eyeball for the top layer. Select the top layer.
Grab the Pen Tool from the Tools Palate on the top left.

step 8. Use the Pen Tool to make a Path that covers the image. Make it look something
like the example below.

34
 step 9. Now were going to apply the Stroke Effect. Effect > Generate > Stroke.
Set the Brush Size to 30.

step 10. Make sure your Time Indicator 0;00;00;00 is at 0 seconds. Set the End value to 0.
Keyframe the Start value at 0.

step 11. Set the Time Indicator 0;00;00;00 to 4 seconds and set the Start value to 100.

step 12. Preview your Timeline you should see a Stroke animating out.

step 13. The Stoke Effect has a setting called Paint Style on the bottom, set it to Reveal
Original Image.

35
step 14. We going to apply 2 effects.

animated path
Effect > Perspective > Bevel Alpha
Set the Edge Thickness to 12. Set the Light Intensity to .60.

Effect > Perspective > Drop Shadow

Set the Drop Shadow Opacity to 90%. Set the Direction to 120.

36
 attention! Info The Uber hotkey
One of the most useful keys in After Effects is the letter U. If you have a layer selected
and press U it will show all keyframed properties. Press U twice and you will see all
properties that have been changed. The letter U will quickly become your best friend.

step 15. Okay we have some color being "painted on" now were going to add a brush. Set
the Time Indicator 0;00;00;00 to 0 seconds.

step 16. Drag the paintbrush.png from the Project Window to the Timeline and on top of the
other Layers.

37
step 17. For the next part we need to reset the Anchor Point

animated path
of the paint brush. On the
Timeline, double click on the paintbrush.png. This will open the layer in a window
by itself. Grab the Pan Behind Tool from the Tool Bar on the top left. Now
move the Anchor Point to the tip of the brush.

Pan Behind Tool

step 18. Click on the Animated Path Comp Tab to bring that window back to the front.

38
 step 19. Okay, this part is a little tricky so follow along closely for this step. Twirl open
layer 2 starrynight.jpg, Twirl open Masks , and Twirl open Mask 1.
Click on the word "Mask Shape" and Copy (Command + C)

step 20. Make sure your Time Indicator 0;00;00;00 is at 0. Select the paintbrush layer. Hit
the P key. Select Position, and Paste (Command + V).

step 21. Our Stroke is writing out over 4 seconds, So we need our Keyframes to stretch out.
If all the Keyframes for Position are selected click on the Timeline to deselect.
Drag the last Keyframe to 4 seconds.

attention! Info Rove Across Time Keyframes- The reason why all the keyframes
moved when you changed the last keyframe is because they are Rove Across Time
Keyframes. The 2 outside keyframes are normal keyframes and all the center keyframes
are Rove Across Time. This means they will stay proportionally spaced between the 2 outside
keyframes. You can tell they are Rove Across Time because of the different keyframe icon.

Okay preview your animation. The brush should be painting color into your painting now.

39
step 22. Make sure your Time Indicator 0;00;00;00 is at 0. Make a new Solid

animated path
(Command + Y) name it Flare, make the color black. Place it above the other
layers. With the layer selected were going to apply an effect. Effect > Generate
> Lens Flare. Twirl open the effect, on the layer and select Flare Center,
and Paste. (Command + V).

step 23. We cant see through this layer so we need to put it in Add Mode. Add mode
will make the solids black disappear and brighten the underlying layers. If you
don't see the modes hit F4, or right click on the layer.

step 24. Our stroke is writing out over 4 seconds, So we need our Flare Center Keyframes to
stretch out. If all the keyframes for Flare Center are selected click on the Timeline to
deselect. Drag the last keyframe to 4 seconds.

Preview your animation

step 25. Render out a Quicktime Movie of your animation. Use the same settings you will
use for your MG projects.

40
tutorial 7
project 3-4 description:

project requirements:
 project 3-4
project specs:

dos and donts:

 purpose:theory behind it all
Animated Masks are an extremely powerful part of After Effects. The term Mask refers to hiding (or
revealing) parts of an image. In After Effects you create Paths with the Pen Tool that can crop an
image (like clipping masks in Illustrator) or cut holes in an image (like a layer mask in Photoshop).
Basically, a closed path is referred to as a 'Mask' in After Effects. An Animated Mask refers to the
fact that you can change the shape of a Mask over time.

Masks can be used with solids to create simple shapes or used on video layers to cut an image out
from the background. Want to reveal parts of an asset over time? Draw a Path with the Pen Tool ,
close the shape and animate it over time.

In this tutorial you will master Animated Masks by morphing letters of water and then use them to
reveal an image over time.

step by step procedure

step 1. Import WATER.mov to your new project as Footage.

step 2. Drag WATER.mov to the Create New Composition icon at the bottom of the
Project Window (next to the folder icon).

This will make a composition that is not only the dimensions of you original asset (in this case
400x400) but will also make the comp the same pixel aspect ratio, the frames per second,
the same color depth and even the exact length of the original asset ( 0:00:08:00 in this case).
A nice feature if you need to create a composition rather quickly.

41
step 3. Use the Pen Tool

animated mask
and draw the outline for the letter A directly in the Comp
Window. Change your Background Color to Black.

step 4. Use the Pen Tool again and draw a new Path for the center of the letter.

42
 step 5. Make sure the layer WATER.mov is selected and Twirl down the Mask Properties
for that layer. Highlight 'Mask 1' and press RETURN on the keyboard. Change the
name to Outside Mask and press RETURN again.

step 6. Change the name of Mask 2 to Mask Hole.

step 7. Pull down on the Mask Holes mode menu and change it to Subtract.

step 8. Make sure the Current Time Marker is at 0 seconds. Click the Stopwatch for
Mask Shape for both masks.

43
 animated mask
attention! When you create a keyframe for 'Mask Shape'
you are saving the position of ALL the points of the mask. You do not
have keyframes for each point but one keyframe for all points.

step 9. Move the Current Time Marker to 2 seconds.

step10. Using the Selection Tool and the Pen Tool drag the points of the Masks to
create the letter P. Notice that a new keyframe is made automatically for
both masks.

attention! It is sometimes easier to manipulate your mask shape in the

Layer Window instead of in the Comp window. To edit inside the Layer window, double
click on the name of your layer in the Timeline. It will pop open a window (usually where
your comp window was) with a clear view of ONLY that image and its mask points.
REMEMBER: you must close your Layer Window to return back to your Comp Window.

step11. Preview your animation to see the letter morph from A to P.

step12. With your Mask Properties still open, set the 'Mask Feather' for both masks to
25. This creates a soft edge around your mask. NOTE - You can feather the X
or Y independently if you uncheck the Link Button .

44
 step13. Finally, move the Current Time Marker to 4 seconds. Move the Outside Mask
Path to form the letter E. The letter E does not have a hole in it so you will have to
Keyframe the 'Mask Opacity' for the Mask Hole.

attention! You may have to add more points on your mask using the
Add Anchor Point Tool (which shows itself automatically if you're currently using
the Pen Tool and run over the edge of your mask). Do not be alarmed. It will
add these extra mask points for the entire duration of that layer, but they will
interpolate just as they had before. Scrub through your animation to see this at work.

to get checked off

step 1. Import: 'QUICKSILVER.ai' & 'DARK_WATER.mov'.

step 2. Drag the 'DARK_WATER.mov' to the Create New Comp Button at the bottom of
your Project Window (same as before). This will make a new Comp with the specs
of the movie file. Note the Comp is now 5 seconds long.

step 3. Drag the 'QUICKSILVER.ai' to the Timeline above the Water Background.

step 4. Your goal is to use an animated mask to reveal the logo over 5 seconds. You will
have to make a small mask set to Add Mode to the left of the logo. Then, animate
the mask across the image.

extra:
1. Add some effects to the logo such as Glow (Effect>Stylize>Glow) or maybe a soft Drop
Shadow (Effect>Perspective>Drop Shadow).
2. Feather your mask to give it that soft, transparent edge.
3. Throw the logo into a Blending Mode. (try Add Mode)
4. Add a faded reflection below the logo using the Basic 3D Effect
(Effect>Perspective>Basic 3D).
5. Play around! That's the only true way you're ever going to get comfortable with all the
effects AE has to offer.

45
tutorial 8
 purpose:theory behind it all
The purpose of this tutorial is to demonstrate the need to Pre-Compose layers to create advanced
animations and effects. The number one reason to Pre-Compose layers is organization. You only
have a limited amount of screen space and the Timeline can get unmanageable. It also allows you
to apply an effect to many layers at one time.

The second reason you will need to Pre-Compose layers is due to After Effects Render order. When
After Effects Renders a movie it first renders the text, then the layers mask, then what effects have
been applied and finally the transformations (scale, opacity, rotation.). By Pre-Composing layers
you can in effect change the Render order so effects are applied after transformations.
Text - Masks Effects - Transformations

step by step procedure

step 1. 1. Open up After Effects and create a new Composition.
Size: NTSC DV 720 X 480
Duration: 15 seconds
fps: 29.97

step 2. Make sure the Background Color is black.

step 3. Use the Type Tool T to create your name. Use a thick font. Make the Fill a bright
yellow and the Stroke gray. Set the Stroke width to 10 pixels.

step 4. Create Position Keyframes so that the word starts in the top left corner and creates
a W across the screen. Animate the word between 0 and 6 seconds.

46
 precompose
step 5. Preview the animation. The text should evenly move across the screen.
step 6. The animation is too Linear. Select the middle 3 Keyframes and apply Easy Ease
(Animation > Keyframe Assistants > Easy Ease).

Easy Ease Keyframes

attention! Easy Ease-Keyframe Assistants are used to easily change the

behavior of keyframes. Easy Ease changes the interpolation of the keyframe so the layer
will slow down going into and out of the keyframe. This makes the text layer pause at the
keyframes so you can read the text. You can recreate this animation without Easy Ease by
manipulating the keyframes manually.

step 7. Preview the animation. The text should pause at the middle keyframes.
step 8. Duplicate the text layer. Select the layer and press (Command + D).

47
 step 9. Change the Fill of the new text layer to white. Notice that the name of the text
layer changes because it is no longer the exact copy of the first text layer. Change the layer
name back to Text Name 2 in this example it is Hermes 2.

step 10. Move the text layer so it starts about 5 frames after the 1st layer. Drag the 2nd
text layer below the 1st layer so the yellow text is on top.

step 11. Preview the animation. The 2 text layers should move across the screen and catch
up with each other at the Anchor Points .

48
step 12. Duplicate the 2nd text layer (Hermes 2 in this example) 4 more times. Start

precompose
each copy about 5 frames after each other.

step 13. Reorder the Layers as shown below.

step 14. Now we want to affect all the layers at one time. Select all the Layers and choose
Layer > Pre-Compose. Name the Pre-Comp Text Precomp 1.

49
 attention! Reason #1 to Pre-Compose-When you have many layers it
can be difficult to keep the timeline organized. Pre-composing layers will free up space
in the timeline. You can also apply the effects to the pre-comp and it will affect all the
layers at once. The layers are not merged. You can always go into a pre-comp and
change the layers. You open a pre-comp by double clicking on it in the Footage window.

step 15. Duplicate the Pre-Comp layer.

step 16. Select Text Precomp 1 and apply the Mosaic Effect (Effect > Stylize > Mosaic) as
well as Sharpen (Effect > Blur & Sharpen > Sharpen)

50
step 17. Pre-Compose both layers. Select both layers and choose Layer > Pre-Compose.

precompose
Rename the new Pre-Comp Precomps Together.

step 18. Apply Basic 3D (Effect > Perspective > Basic 3D). Use the settings seen below
or experiment with your own.

51
 step 19. Apply Basic 3D (Effect > Perspective > Basic 3D). Use the settings seen below
or experiment with you own. Double click on first pre-comp Text-Precomp 1 to
open it.

step 20. Click the Motion Blur switch for the text layers as well as the main Master Motion
Blur switch.

step 21. Go back to the Precomps Together composition and preview the animation.

practice-to be checked off

step 1. Open the Precomps Together composition.

step 2. Apply a Hue/Saturation effect to the bottom text layer (the mosaic blocks). Change
the color of the layer to blue. Effect > Color Correction > Hue and Saturation.

step 3. Go back to Comp 1 and preview the changes.

52
tutorial 9
 purpose:theory behind it all
There are many ways to control the opacity of a layer in After Effects. One way is called a Track
Matte. A track matte uses one layer to control the opacity of the layer beneath it. You have already
used such a technique in Illustrator and Photoshop. In Illustrator it would be called a clipping mask
and in Photoshop it would be called a clipping group (clipping mask in Photoshop CS).

In After Effects it takes 2 layers to set up a track matte. The top layer creates transparency of the
bottom layer. There are 2 types of track mattes: Alpha & Luma. In an Alpha Track Matte the alpha
channel of the top layer affects the bottom layer. In a Luma Track Matte the luma values (brightness)
effects the bottom layer.

step by step procedure

step 1. Open up After Effects. Create a new Composition.
Preset: NTSC DV 720 x 480
Frame Rate: 29.97 fps
Duration: 15 seconds

step 2. Choose File > Import > File. Import any of the files in the Textures folder found in
the Track Matte Assets.

step 3. Drag the picture you imported from the Project Window into the Time Layout
Window (Timeline). After Effects will automatically center the image in the Comp
Window.

step 4. Press R to show the Rotation property for the layer. Click the Stopwatch to set an
initial Keyframe at 0 seconds.

step 5. Move the Current Time Marker to 3 seconds.

step 6. Click on the Rotation Value (currently 0) and enter 2.

step 7. Move the Current Time Marker back to 0 seconds and preview your animation.
Thimage should rotate 2 times.

53
step 8. Use the Type Tool

track matte
T to type a 5 letter word on the screen. Use a big and thick
font that will show up well on video. Size the word to fit the image as seen below.

step 9. Hit F4 to toggle between Switches and Modes. Make sure you see the Blending
Modes and Track Matte Options.

step 10. Now press the TrkMat pop-up menu for the Texture layer and select Alpha
Matte.

54
 Info What just happened?
Several things have now taken place. In the Time Layout window, a symbol has been added to the
text layer and its visibility icon is off. The texture image is now visible only in the text. The alpha
(transparency) of the text layer is affecting the texture.

step 11. Preview the animation. The texture should rotate within the text.

step 12. Select both layers and choose Layer > Pre-Compose. Name it Textured Word
and click OK.

55
 track matte
attention! Info Why Pre-compose
There are many reasons why you might pre-compose layers. In this case we want
to apply effects to both layers at the same time. Pre-composing the two layers
together makes them act like one merged layer. However, each layer is still
editable. They are just in their own composition.

step 13. Change the Background Color to white if it isnt already. (Composition >
Background Color)

step 14. Add the Bevel Alpha Effect to the Textured Word layer. (Effect > Perspective >
Bevel Alpha). Experiment with the settings or use the ones below.

step 15. Now add the Drop Shadow Effect (Effect > Perspective > Drop Shadow). Again,
experiment with the settings.

56
 step 16. Add the Rough Edges Effect (Effect > Stylize > Rough Edges). Experiment with
the settings.

step 17. You can get different results by re-ordering effects. In the Effects Palette drag the
Roughen Edges Effect to the top of the list. Now the Bevel Edges will bevel the
result of the Rough Edges.

project 3-4

step 18. Finally, from the Project Window drag the same texture that you used earlier into
the Timeline.

step 19. Preview the animation.

57
lecture 5: Creating and Animating
Expressive Text

lecture notes:
lecture 6: Presentation and Critique of
Bumper Project

critique notes:
lecture 7: 3D Effects

lecture notes:
project 3-4 description:
Projects 3 and 4 are related; 2 parts of a campaign for a product, service, concept, etc. Project 3 is the

layout, poster/magazine ad, project 4 is the motion graphic or animation of that layout. These projects

must reflect a relationship to eachother; using the same colors, fonts, style, etc(i.e. branding). Both projects

must have several image layers(photos, vector layers, etc.) of the product that have been cleanly

composited together to create the ad. The more original graphic elements the better since the graphic

elements will be animated in the motion graphic(and this is a graphics class!). It is permissible to have

additional image elements in the animation that didn't make it into the layout (given the animations time

frame) as long as there is still a strong visual relationship between the two. Both projects must have 2

elements of text; a Logo or product name, and slogan or tag-line. Project 4 will include audio(music,

voiceover, sound effects, etc.) and should relate well to that audio, both in terms of attitude and timing.

In other words, pick the right music for your topic, get it on the timeline first, and animate to it!

project requirements:
 project 3-4
project specs:

dos and donts:

lecture 8: Fractal Effects and
Ambient Backgrounds

lecture notes:
lecture 9: Obscuration layers, Vector Paint and
Project Assistance

lecture notes:
lecture 10: Final Critique

critique notes: