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Tips & Tricks to Become an After Effects Power User with Eran Stern | Adobe Creative Cloud

February 9, 2020


(upbeat music) – Hello. My name is Eran. I’m a motion designer and content creator, I’m based in the UK, I still don’t have an English
accent, I’m working on it, and I’m in love with After
Effects just to be honest. Working with the application
for the last 25 years and teaching it for the last two decades, actually spending more
time with After Effects than with my wife. I’m not sure that I’m allowed to say it but like in two words,
this is what I do in life, I fight ugliness. Not in the real world
but on the screen, right? So I’ll try to do it here as well. And this is an elevator brief just to make sure that
you are in the right room. High expectation or great expectations, this is what we’ll do. In this session, you
will learn how to work faster and smarter and become a power user After Effects, who doesn’t want to be a power user? All of us, right? So yes, you will be. I will make you cry. (audience laughing) It doesn’t matter if you just
met the application today you’re working with it like
for the last four years, maybe? I don’t know more, I promise I will teach
you at least one thing that you didn’t know, maybe two things. We’ll see. Alright, so here are the topics. This is what in the agenda. I’ll start with some shallow waters. We’ll cover some interface customization and keyboard shortcuts, things that everyone can take to the next After
Effects party and brag. And then I’ll show you how to
make After Effects even faster than what it is today. And I will speak with
Photoshop and Illustrator and ask for help. And I’ll show you how well they integrate together
really, really well. And I’m also going to, this is a spoiler, I’m going to use XD to show you something that really you’ll blow mind. I will speak about text animation, and if time allows, hopefully
I’m not too ambitious, I’ll show you some compositing techniques. So these are my slides. Believe it or not, I’m working on air. If you’re not getting my jokes, don’t sweat about it. So this is After Effects. This is After Effects
with an open project. And we are going to start
making some clearance and order. So I know that you’re anxious
to see what I have here. I promise I’m going to show it to you. But for now, let’s just make sure that if you are opening the application, both you and I will be in the same page. Now this is not a lab and just know I am offering some advice when you start working with. So the first thing here is that I’m actually going to double click on the Default workspace. And by workspace, I mean
the arrangements of panels. So we’ve got a couple of panels. This is a cool trick to
just reset it quickly without digging into any other menus. Now it really wants you to press No, but I’m going to say Yes, because I want to reset it. Now, the thing is that, each one of us has his own preferences. So for example, you may
not like the Libraries, you may want to work
with the Character panel, and maybe the Paragraph panel, but look at that, every time that I’m clicking on something, the other one goes away which is so annoying. (audience laughing) So you know what? We will force it to stay, I’m going to click on this option menu and over here, under Panel Group Settings, you have the option to D Solo with a lack of enough
description, the Panel solo stack. So this means that now if I’m going to open other
panels in this arrangement, they will stay, they will not go away. Now, this is just one way to work. Of course, After Effects like
here, is a democratic country. You can do whatever you want. And you can save your
layout and do other stuff. So let’s me show you an example why you want to change this layout, I’m going to go to this marker, where I have like a couple of layers here and let’s say that I want to mess or deal or color correct this castle. So I’ll click on it because I’m a clicker, and doesn’t work. Oh my God, I’ve opened another layer. This is exactly not what I wanted to do. So I can hunt for the layer over here, or I can just hover on
top of it, right click, and under these menu
there’s a Select menu. And this is going to show you
everything under your mouse. So in this case, if you are compulsive like
me and you named your layers, you will be able to just
select whatever you wanted, in this case the lovely castle. And I would like to go to the Effect menu after all it’s After Effects. And I’m going to go to
the Color Correction and I’ll add the Levels effect. And the reason that I’m doing it is not only because I
want to change the gamma, this is it, is because this is really annoying because I can’t see the entire histogram. So I may want to just give
it a little bit more space, and then play with this,
something along those lines. Now, let’s assume that
I like this workspace with everything that I’ve modified. Of course, you can continue
to do whatever you want, and you want to save it as a new one, or maybe just override this one. If this is the case, go Window Workspace, and then you have those options. So you can Edit the Workspace, you can create a new one, you can do basically
whatever you want with this. So I’m going to Save a New Workspace, I’m going to name it Design and say OK, and this way Design, and take a look at the
default of the same thing now. Just because After Effects
is like the bathroom, it remembers how you set
the warm and cold water. So if you don’t want this behavior you already know the answer. Double click, this is going to
reset to the factory default. And now I’ve got my Design workspace, which is different from the default one. Alright, so obviously
I’ve got like script one, which is using couple of
the third party scripts just to show you that
this is not something that I’m doing in front of you. I’m actually using this in my real life. Alright, so I’m just going
to go back to the design, just because we got used
to it and it’s so lovely. And let’s say that I want
to mess with this guy. I’m just going to zoom in and zoom out. And you know what? Let me just run you through some of what I consider to be an important keyboard shortcut. Now you can write
everything that I’m saying but I’m going to give you a slide to summarize it all. So you just prepare your mobile phone and when I’m going to give you the cue, you can just click. All right, for now, the most
important keyboard shortcut at least to my opinion, is the grave or tilde the key. So anytime that I’m hovering on top of one of After Effects panels, and I’m pressing it, and usually an American keyboard
it’s near the digit one, but since I’m using a mobile machine, this is near the Z, or Z, or Z, if you’re coming from a DC Universe. Anyhow, I’m going to press
the grave or tilde key, and this is going to maximize this panel and I can do it to any other panel because space here is precious, and very quickly, things
become very crowded. So it’s more of a custom
to do this once in a while. Now, if you want to get
really close and personal to your layers, then you can of course
zoom in and zoom out. Now everybody here in this room knows that Command + Plus or Ctrl + Plus will do this the same. The opposite will be Ctrl/Command + Minus, depending on your OS. But you can also do it with the period and the comma key, right? So the period or the greater
than will zoom you in and key next to it, which is
the comma, will zoom you out. Now this is great if I want
to deal with the cursor. But let’s say that I really want to give some love to this dragon. So I’m just moving into the castle and not into the dragon. So these tip is actually applicable to any application that
starts with the word Adobe. You need to hold on the Option, and this will be the Alt key, and use your mouse scroller and this will zoom you in to
where your mouse is located, which is the way you will
zoom from this day onwards. Alright, so this is just
between you and me of course. Now this is zooming into
the Composition panel. What if we want to zoom into the timeline to let’s say the maximum amount, which is frame. So if this is the case, then you can press the semicolon key. So any time that I’m going
to press the semicolon key, I’m going to maximize the
zoom here in the panel so I can really deal with tiny resolutions when I’m working with keyframes et cetera. Now I know that you’re very curious to see what it’s all about. I’m going to play to you in a moment, I’m just going to build for it. So this is what we have. I’m going to click on this pop up menu and I’m going to switch to a working view, which is custom view one. And you will see that since
I’m using 3D in After Effects in its default state, I’m basically using 3D cards in space. So if I’ll press C, which is another common keyboard shortcut, this will activate this tool over here, which is the Unified Camera Tool. This is super quick. This is a super cool tool like they’ve got a couple
of other tools underneath, but I’m going to assume that
you have a brand new mouse with at least three buttons. So, the left one will help you to orbit around the scene, right? The right one is tracking into the scene and the middle one, which
I’m failing to click, because I haven’t bought a new mouse. Anyhow, the middle one
is turned up and down. So another leap of faith here. I’m going to also zoom out by pressing Shift + ?,
or the forward slash. And then if I want to switch back to the camera, and obviously, I can switch tools and go all the way over here, but this is too much work. Instead, I’m going to press the Esc key. So Esc will toggle
between the last two views that were active. How many of you learn
at least one new thing black in all but this is just the first five minutes so great, great, great. It will be much better. All right, couple of other
stuff that are very important is to select and deselect layers, which is super common but I’m just going to show you. You’ve got this option
over here under the Edit to the Deselect All, this is obviously Command + Shift + A but you can also press F2,
very easy function key. This very useful because sometimes we need
to create vectors and stuff inside After Effects. And you need to make sure
that nothing is selected. Another thing which is worth remembering, I’m going to click on this dragon layer, is how can I see what I did to this. So I’ve got obviously
some animation going on. And to see this animation, I can go to the Animation menu and Reveal Properties with Keyframes, or I can tell myself, U, what I did. So U will show you the keyframes that you created. And you can see that those keyframes are linear keyframes, or you need to believe me
because those diamonds keyframes, these are linear keyframes. Which means that if I’m
going to take my playhead, place it over here, then press the letter B for
the beginning of the work area, and then go over here
and press the letter N to define the end of working area, and then press space bar, I will be able to show you
at least part or trailer from this tiny animation and you can get a sense of what I meant by saying that those are linear keyframes, which are for babies. We want some smoothness. So actually smoothness
is for babies, nevermind. Sorry for that, I’m going to
mark here on all of those guys. And one of your dearest friend is F9. Once again, I want to
show you the menu items. So this is almost like
automating After Effects, asking it to go over the Animation menu then go to the Keyframe Assistant, and initiate this command which is Easy Ease. So from this day onwards F9, and you will get different icons here in the timeline that
will hopefully give you a hint that this is what you’re doing. Alright, so enough with keyframes, sorry not keyframes,
keyframes will be there, but enough with keyboard shortcuts. I just want to summarize it and here is the slide. So the key, the most
important one is tilde. I’m going to maximize it. And here are all the things
that I just told you about plus a couple of bonus stuff. All right, I’m going to give
you some few more moments to take a snapshot. And let’s say, just because we
are so intimate in this room, that one of these keyframes
offended you, right? Keyboard shortcuts once again. You don’t agree with the default settings, we’re just going to hide it. You can change wherever you want. So you can go to the Edit menu, and you can go to Keyboard Shortcuts and you can map the entire After
Effects keyboard shortcuts, which is a relatively new feature. These came out couple of years ago, which is super cool, but the thing is how will you know what is being taken and whatnot. For example, I’m going to
cancel out of this for a moment. And I’m going to right
click on this Dragon layer. And from the Reveal options,
this is a context menu. I really want to create a
keyboard shortcut for this one, Reveal Layer Source in the Project, I want to see where it is
buried under all the folders and for some reason, this is not coming with
the keyboard shortcut. So, all I need to do is go back to the same thing that I just showed you. So Keyboard Shortcuts menu
under the Edit command. Over here, you’ve got a search option, just start to type the word reveal. And with any luck, you
will see your options. So in this case, this is it. Now I’m going to highlight
this shortcuts options. And then let’s say that I’m going to hold
down the Alt or Option key. After Effects will tell me what are the available keys
that have not been used. So I can just click on let’s say R, which for me makes sense. So Alt/Option + R, and from this day onwards
until I will do something else this is going to go with me because this is one of those settings that save with your project in
your Creative Cloud account. So this is like a user settings. It’s across the entire
After Effects experience like we are in a theme park. Alright, so let me just
show you what this does. I’m just going to close this and then press Alt/Option + R, and this is one of the
gotchas in After Effects. Believe me I’m pressing
it, nothing happens. After Effects is one of those application which everything is very context. So you need to make sure that the panel that you want to activate
whatever you did is active, and then you can initiate
whatever you want to do. So only then you can right click and see this is the
shortcut that I’ve created but I just want to show you that After Effects also edits to the menu. Makes sense? Perfect sense to me but I just want to make sure. All right, so I’m going to
collapse this guy and this just I don’t want to bore you
with all of my madness here. I’m going to press F2 to the deselect all, double click on this work area, go to the beginning and start to cache those frames. And you will see that After Effects is going to struggle with it because there are tons of stuff here. There’s depth of field, there’s 3D layers, there’s a lot of effects
and what have you. So there is a way to make
After Effects more faster, and it is waiting for you
patiently near this rocket icon. So if you’re coming from Illustrator, this should be familiar. If I’m going to click on this, it’s actually going to
launch the Project Settings, which you can find under
the File of course, and then depending on your OS, you will be able to activate a GPU, Graphics Processor Unit Acceleration. So I’m on the Mac, I’m going to choose the Metal one. If you’re on the PC, you’re probably going to see
something else your CUDA, which is actually better. I’m going to say OK, and then After Effects is going to clear the green things here, which were the cache files. And then I’m going to
go back to where I was, press space bar, and it’s going to be almost in real time. So it’s going to chew
through the same thing with probably twice as fast as before. So if you just came for one tip, which is just speed, this is it for you. You can go I’m not going to be insulted but I’ve got plenty of
other stuff for you. For example, I’m just
going to pause the playback for a moment. And this is the last thing
that we are going to do here, but I think it is going to
be very appreciated by you. You see these tiny anchor
points of the mask? How many time you’re
trying to like select it and it just select something else? So instead of like selecting
these anchor point, After Effects decided that I
actually wanted both of them. And this is because it’s so tiny and I’m so far away and I can do anything. So actually I can, I can go to the Preferences menu, which on the PC side is under the Edit, go to General and then there is this option over here, the first one that everyone miss, which is Path Point and Handle Size. I’m going to raise it just for the sake of this
demonstration to 10, say OK, and suddenly we are back in business. I can actually see what I’m doing. And once again, this is a free democratic country. So if the yellow it doesn’t work for you, double click on the mask chip and select any color
from the color picture. All right, moving on I’m going to double
click on this composition where I have something which is half baked actually it doesn’t do anything. It’s just a Photoshop layer. So just to give you some context, this is part of a commercial that was created by Prometheus, this is a studio, a post house in Tel Aviv that I used to work with and this is where
commercial for a streamer that can record multiple
channels at the same time. And what we are looking here, obviously is an
illustration of two programs that you can TiVo and save yourself some
fighting with the wife. And this is the good wife, of course. So this is Photoshop document, I’m going to go to the Edit menu. And I’m going to ask After
Effects to edit the original, which is going to launch Photoshop. On my machine, it was already
running in the background, so I was just switched to the application and I know that now you feel
very comfortable and calm. So let’s just watch this for a moment. No, I’m just joking. You can see there are layers here, right? And there are a couple of smart objects. Everybody feel comfortable
with smart objects? And as well as folders, and inside those folders,
there’s live text. and I want control and I want access to everything inside After Effects. So it’s no secret that I
can re-import this file and do the entire thing again, and create a composition out of it. You already knew this I’m sure. But did you know that you can right click, go to the Create menu, and just convert this guy
to a layered composition? So I’m going to do it again. Right click, Create,
Convert to Layered Comp. And this is going to import
everything that you need. I’m just going to close it, I’m going to double click. And there you go. We just created the composition
out of flattened image. And this is true for Illustrator as well, I’m here to prove it
to you, later not now. So see everything survived this journey, blending modes as well as folders, which are now pre-composition. So this is those two text
layers that we’ve just seen. I’m going to return to this in a moment, but I will switch back to Photoshop just so you’ll know. I just want to emphasize this. This guy is a smart objects, right? So if I’m going to double click on it, it will open up another PSB layer, which stands for Photoshop Big file, okay? In case you want to know, and you have access to
all the other stuff here. So these fields is basically collapsed and converted automatically to pixels when you bring them into After Effects. You don’t have access to this, you must have Photoshop
in order to change it. So let’s make this guy a little bit more of a feminine character by polarizing his shirt to pink. I’m going to save this and this is going to
update here in Photoshop, which makes perfect sense, right? So if I’m going to call After
Effects, nothing happened. I’m going to just make sure that the Info panel is on screen, and I’m also going to switch
to the standard workspace, just because I know it
better than everybody else. I just love the standard workspace. Alright, so take a look at the Info panel, nothing is happening. In order for After Effects to understand that something happened, you must save the document. You see this asterisk? This tells you that the
document hasn’t been saved. All right, we save the smart object, but I must save this guy and then it will reread everything and it will update it. So if I’m going to go back to
Photoshop, undo, press Save, and return to After Effects, I’m back at square one. So just know this thing
with the smart object. So I undid the operation meaning that now we’ve
got like two versions, a little bit confusing, but it’s something that
you need to bear in mind. Now let’s go back to those texts. I’m going to actually show you how easy it is to animate this Photoshop multilayered file and why the integration
between those two application is the number one feature when you are reading something
inside the Adobe website. This is always number one, integration between
other Adobe application. I’m here to prove it to you. So let’s switch back to After Effects. So I double click on this Mad Max Comp. And here we are, we have these two layers. Just the recap, those are live texts
here inside Photoshop. Here they are just regular
pixel-based layers, but you can right click on them and from the same Create lovely menu, now you have the option to Convert these to an Editable Text. So assuming you have the
font installed, which I have, then it will be converted
to an editable text but for those of you with a sharp eye, it’s not exactly the same because I’ve manipulated
the text inside Photoshop. I used some of the new
fancy warping tools. So in this case, I skewed the text and After Effects doesn’t
have a clue what I did. So super easy, I need
to just know what I did, which is the human factor
we still need human sorry. I’m going to select one
of them just to show you. And then for every text
layer inside After Effects, you have this Animate menu which will have all the options
that you need in the world. So I’m going to add the
skew thing that I need, I’m going to type in eight and then I’m going to
select this animator, select the other one and paste it. Now why I did the whole number of converting them to live text because I can actually animate or use the pair character text
engine inside After Effects which is super complicated, and way beyond the scale of this session, but I will show you how you can utilize it
thanks to Animation Presets. So here in the Effects & Presets, if I’m going to drill down
this folder you got dozens, if not hundreds, if not thousands, if not ten thousands of presets. Some of them are showing their age but others are very, very useful. For example, if I’m going
to open up the 3D text, I’ve got tons of stuff. Now, how would I know which one to use? Of course, they have descriptive names, Center Spiral, Decoder Fade In, et cetera. But here’s another way to work just in case you want a
visual representation. Select the text that you want
to apply whatever animation, go to the Animation menu, and choose Browse Presets. For a moment it will look
like nothing is happening but actually, a new
application should launch. Let’s see if this is happening. Yes, it is jumping here, which is Adobe Bridge, which is a bridge which is a browser, which means that it now
looks at the same folder inside After Effects. You don’t need to do anything but what I’ve shown you, I’m going to double click on the text, and then double click on one of these, and then you will have
a visual representation. Now if you’re working on the PC, this is also going to be animated. For some reason, Apple is blocking it. I don’t know why, it
doesn’t really matter. We are not here to defend Apple. We’re going to go back to here and I’m actually going to
use some of the presets that I know that works nice here, just because I think
that you got the deal. So let’s just start to type in stretch. Yes, and I’m going to
go with the first one, double click to apply it. Actually, I can undo, select both of them to save me some time and then apply this animation
to both of the layers. This is too slow, but I can tell myself
,U, what I did, right? And reveal the keyframes. I’m going to click here. Press 15 to go to frame number 15. Select these guys, take them over here, select these ones, create some sort of a cascade animation and then I have this thing going on with less than 10 seconds
including my narration. So if I’m going to climb one level up to the main composition, I already have something
that I can write home about. Well, not really. I’m going to go and select
the Tom Hardy layer. And I’m going to show you that if you don’t like to
animate with keyframes, you can also express
keyframe using an expression. And there is great Behavior category here under the Effects & Presets. So for example, I’m going to select this
guy, Drift Over Time. Now, the layer is selected,
the preset is selected, so I can double click and this is going to apply the preset. I’m going to just press the
space bar to see what it does any it drifts over time. So I don’t need to worry about this, everything in parentheses
is just not my concern and not yours is as well. And I’m just going to
look for the magic angle, which I happen to know because I have a sixth sense
when it comes to this project, so 81 one should work, and then I can play with the speed. So let’s take it to, let’s say 15, go to the beginning, and without doing any real wiggling here, we are at the beginning stage of a very quick animation
from a still file. Now, I know that it is very tempting to sit here and continue to watch me work, but I’m going to save your displeasure by double clicking on
this final composition and I’ll show you what we have here. So I did the same thing
for the other layers and I’ve also added some whooshes. I’ll show you in the moment
what they are looking like. And it’s also take this to full screen. So this is something that probably will take
you a bit more work like maybe 10 or 15 minutes. But once again, once you have
a good stationary design, the animation is also
going to look quite nice. And what we’re seeing over here just in case you’re wondering, is just one frame animation like this is the basic of the basic to create those lines. And you can find them by the
way on the internet floor free to get for everyone or you can just buy them if you want premium packages. There are so many presets
for After Effects. It’s just unbelievable. Is everybody still with me? There’s a little bit of a quiet here, so either you get everything
or not getting nothing. I don’t know. Are we good to go? Excellent. Alright, so I’ll double
click on 03 Rappers. Recognize this guy? This is an amazing illustration by my dear friend, Hen Macabi. This is how you should pronounce it. Anyhow, I’m going to select this. This is an Illustrator file, we’re going to do the same number, the same move that we did before, this time from the keyboard. So Command/Ctrl + E, this going to launch Illustrator, this is going to show
you the illustration. Make sure by the way that if you’re working with After Effects, under File, Document Color Mode, you are in the RGB world, right? After Effects is a screen application. You may see a different
colors or different behaviors if you’re bringing CMYK document. This is true for Photoshop as well, but this is not the tip. I’m going to show you that we
have couple of layers here. Let’s just expand them so you’ll see. There are like text and tons of lines. All right, let’s go back to After Effects. Let’s do the same thing
that we did before. Right click on this, Create,
Convert to Layered Comp, double click, here we
have all the three layers. So the same deal with
Illustrator, super cool, but it is not enough for me, right? It’s not enough. I really want to get access
to all the anchor points, to all the vectors inside this file. And since both of them
can talk with each other, there is actually a command here. I’m going to select this
guy just to show you, you know what, let’s
just select everything. I want to be brave or stupid, who knows, let’s see what happens. I’m going to select all three layers and then I’m going to right
click and under Create, you can actually create
native vector files or shape layers as they are known inside After Effects from this Vector Layers. So if I’m going to select this command, After Effects will
switch off the visibility for the previous one and it will give me a poor man’s version of what was a beautiful
illustration a moment ago. Now you can argue that this is better but I’m not going to agree. I also lost the text here for some reason because I didn’t convert it
to outlines, poor me, right? I wanted live text and I just want to show
you why I’m doing this. I’m doing this because if you are working with native shape layers here
inside After Effects, you can actually expand
them and under the add, you can add mathematical operations. This is the correct terminology, which is select let’s go with Trim Path. And this if I’m just going to change it, will create this nice reveals. But of course, this is completely irrelevant because I just destroyed the entire thing. So I’m going to show you something that if you haven’t seen before, you’re going to cry as I promised before, so prepare the tissues, it’s coming. I’m going to ask XD which is the Experience Design for help. I’m going to launch it. Wait for a moment. Now, don’t be alarmed. You don’t need to know anything about XD. The only thing that you need to know is Your Computer, okay? (audience laughing) Click Your Computer, navigate to the same file, this is it. Click Open, to open it in Adobe XD, wait for XD to think about it, let’s just maximize it
so we’ll get a sense. You know what, let’s not maximize it. I hate when this is happening. Alright, so I’m going
to say Command/Ctrl + A, this select all. And then I’m going to go for
File, Export, After Effects, and then the magic is happening. Look at that! Everything, I mean, everything survived, even the locked layers, the textures are here, the text is live. I can do whatever I want. It is such a good day today. (audience laughing) Now the only thing that you need to pay attention is that if I’m going to go
to the Composition Settings, XD really wants you to create
one minute compositions. This is the thing with XD. So I’m just going to highlight this, press three period to create a three seconds composition. And I may or may not want 60
frames per second, I don’t. I’m going to set it to something which is more in the video world, so 24 or something along those lines. And then I’m going to say OK. Now note, this is going to create one of the famous names
inside After Effects, Comp 1. Alright, so you do need to
rename it to something else, unless you’re happy with Comp 1. But let me show you a couple of things that you can do with it
because this is so cool. And of course, I’m going
to show you in a moment, a final version, but just so you’ll see why
we went through the trouble which is not so big of
a trouble to create it. So let’s start with those
texts that we have over here. I’m going to select Mr.
Kendrick Lamar here. Let’s just zoom so we’ll
see what we are doing. I’m going to hold and press the space bar, just to make sure that we see everything, close this, go to the Effects & Presets, starts to type down 3D rein, which should isolate this lovely preset and double click. In order to apply, press space bar. And just like that we have
something which looks very cool, nobody understand what I did, but it still looks very cool. Basically, I applied an animation preset that was included inside After Effects and let me show you what else you can do if you like this workflow. Let’s go back to the beginning, select the name of the album here and I’m going to start to type exposure. Now, here you need to be careful, you’ve got an effect name Exposure but I’m after the
animation preset, Exposure, which belongs to the Lights
and Optical category, double click to apply it, space bar to see what I did. Marvelous! I’m going to select the other layer here to give credit to the Illustrator. And I’m going to use probably my favorite, not over the top preset, which is Word Processor. This is similar thing to typewriter, but for grownups. (audience laughing) So I’ll show you what it does. I’ll make sure that I’m at the
beginning, I’ll double click. And let me see if you can catch it. It gives you this lovely
cursor which is blinking, can you see it? And if this is not good enough for you, you can change the speed of the blink. So, I just think this is amazing. And of course, if you want it to be a little
bit faster or slower, press U. You only need to mess
with those two keyframes and that’s it for the text. But this is not the big deal. The big deal is the thing that I can do with all of those shapes since I meticulously
named them in Illustrator, they actually appear here
with the same naming. So I maximize by the way,
the After Effects timeline, by pressing the tilde or grave key, I think this is safe to
say that everyone knows. And I’m going to use this
index search over here, because I only want to
work on the face features. So this is why you
should name your layers. I’m going to select the Face Control, let’s go to the beginning. Once again, we’ll ask
for the Trim Path help I’m going to trim it down, we get the keyframe for the end value. And when in doubt, let’s just go to one second
and animate the thing. I’m going to preview it and of course it’s
doing the nice animation but the wrong direction which is not so much of a big deal. And you may think that if
you’ll do the other way around like animate the start it will fix it but I’m here to tell you no. What you actually need to do is collapse and expand this and click on this guy. Reverse Path Direction On, for some reason this is not working, but it should work. (audience laughing) So usually it works. If you tried it in your
hotel late at night it works, in front of 1000 people it doesn’t work, but I’ll assume that it is working and you’re happy with this direction, because you’re not really my director. Alright, so I’m just
going to take this one, I’m going to select this stroke, this is just a redundant effect. Let’s go once again over here. And because we can, this
is completely optional. I’m going to use the page turn effect. Cheesy one, but still look at this. All right, I’m not
going to do this really. I’m actually going to
double click on the final because if you invest more time in it, it can actually look like this. Which is very, very easy
to pull off thanks to XD. We all need to thank XD for that. This is the thing. I mean, if you haven’t installed it, do it just for this. And of course you can do it
and other great things with it. It’s an amazing application. I’m just teasing. All right, ready to move on? Yes question. (Audience Member mumbling) The question was, can I import it as a
composition from Illustrator. Well, I actually did and it didn’t work, because I’m only going
to get those three layers which are in the top hierarchy over here in the Layers panel. This is somewhat of a limitation between Illustrator and After Effects. Now, there are third
party tools like Overlord that can save you the trouble. But this, you need to
reach into your pockets. You know what I mean? Not that it’s a bad investment, but this is free, this is built-in. Yes. – [Audience Member]
Sometimes when you convert from an Adobe Illustrator layer to shape, it misses some of your
anchor points in animation. Is there a way to keep it paired in? – Alright I’m going to
repeat the question, the question was when you import something or convert it from Illustrator sometimes when it is reaching
the After Effects stage, the anchor point which is
the middle of the shape, got confused and was
like a complete madness and the answer is yes, XD will respect the same anchor points that you set up inside Illustrator. So this is actually going to solve you this problem as well. – [Audience Member] That’s simple but I meant that you already
imported, you went inside. You did some motion enhancement then you wanted to convert
this Illustrator layer into a shape layer inside that. – Alright, so, I’m sorry, but come see me after. And I’ll expand on this because this is like a
completely different path now. We’re just going to lose our way if we’re going to take this. It’s an interesting question, I’m not ignoring you but I need to make sure that
I’m sticking to the plan. I’ve got some wonderful stuff to show. If there will be time I’ll return to this and answer so. Okay, are we cool? All right, same goes for everyone
else that had a question. So keep it for yourself for now, and then I’ll give you
some time at the end. Alright, next thing
that I want to show you is there was these funny guys and I actually want to show you that you can not only
create them very easily, but also animate them automatically with zero knowledge in animation. You only need After Effects
and Illustrator of course, so Creative Cloud subscription. So I’m going to select one of these and press Command + E just so we will be taken to Illustrator, and I’m going to switch
off the visibility. And let’s start fresh
by creating a new layer. Before actually selecting the Type tool, I’ll go to the Type menu, and I’ll call the Glyphs panel. This is very important. I want the Glyphs panel
to be visible on screen and I’m also going to click, I already did it. So usually it becomes pretty
tiny like microscopic. So I’m just clicking some let’s say several times on this little mountains or big mountains to make sure that I see everything. Now, over here where it
says whatever it says, I’m going to tie Emoji beginning or I start to type the word Emoji and this is going to
launch the EmojiOne font, which is installed without your permission on every computer that
uses Creative Cloud, which is super great. Look at all of these guys. Much better design than
WhatsApp and Facebook. And these are all vector files. Oh my God, let me show
you what you can do. I’m going to take the Text
Tool, click over here, make sure that we’ll start
with, let’s say 200 points and I’ll double click on the robot here, I’ll scroll down. I know that everyone has his favorite, but I have something in mind. So bear with me. Enjoy the show. We are the blowfish. All right, and we’re going to thank and say goodbye to this panel. So now I’m going to hold
Shift and scale them. These are vectors. So I think the bulb is
lighting on top of your head. If not, it should. I want to bring it through After Effects. I can’t copy and paste, I need to actually create
outlines from this. So right click, Create Outlines. Now, it’s vectors. I pressed Command/Ctrl + Y. So I can bring them over to After Effects and I will have access to
all the individual shapes. I can move through XD but I don’t need to, it’s actually going to
work perfect in this case. Now the thing is that if you want access to each one of them on its own, then you need to separate them. So this is what I did here. So right now what we have
is just those two shapes, I need to actually make sure that each one of these
is a layer on its own. So just to show you, it’s a little bit of a housekeeping thing, but you need to do it
otherwise it won’t work. So I’m going to Shift select it, I’m going to make sure that
they are here at the top floor. Then I’m going to select
the layer which hosts them. Okay, so this is just one layer now, go to the Option menu here
inside the Illustrator and take this command, Release
to Layers in (Sequence) because we want to create
a sequence out of it, they don’t have any logical explanation. This is it. Build this for flesh or animate. It looks like nothing has happened, but it’s actually converted
those groups to layers. So now each one of these
can be dragged outside, because it is an independent layer. You can see layer one, layer two? Before it was just groups, it
was path, collections of path. We must have layers if
you want After Effects to be able to extract them, expand them, convert them to vectors, makes sense? All right, this is how it works. Obviously I did all of this before so you know this is just to
show you how you should work. I’m just going to delete it, make sure our dear
friends are still visible and are going to bring back After Effects because they are already here. Okay, and I already took
the time and the liberty and split them to two different layers, which means that now I
can select both of them. And I can right click, and I can choose Create. And I can Create Shapes
from Vector Layers. And this is going to do two things, it’s going to switch off the visibility for the original vector art, which I don’t need but I can
use always as a reference. And it will create native files or native vector files. And I just want to maximize it and show you that even
without the dear help of XD, we still have access to everything here. So think about After Effects
as a mini Illustrator. You can actually have access to all the individual path and
groups that you’ve created. This is for example, this whatever you want to call it on the blowfish head. All right, so what we can do with it, I mean, this is great
that we have it, right? I’m first going to select these two layers and since I don’t want them in my way, I’m going to enable the
shy switch for them. So this means that I can click
on the master shy switch, and they will be gone. They’re still there if I need to reference them in the future, but they’re not bothering me. I’m compulsive, everything bothers me. So they’re not bothering me anymore. Now I can select, let’s
start with the blowfish. And I’m going to expand it. And you don’t need to look
at all of these layers, you just need to make sure
the contents is selected because we want to apply one
of these path operations. And I’m just going to
show you what’s possible but at the end, I’m already going to spoil it for you and tell you this is
what we’re going to use. But just so you see what you have here, let’s go for example with Pucker & Bloat. All right, this is something that you have in Illustrator as well. So you can do this thing. Not so useful but you can. I’m going to go back over
here and ask for Wiggle Path. We need to zoom in to actually see what this guy is doing. And I’m just going to press space bar. And this is going to take each one of the path and wiggle it. And of course, if this is not your taste, then you’ve got a few
options to choose from. So you can do whatever you like here. You can make it bigger,
spikier, scarier, what have you. All right, what else you can do? And I want us to just switch off the visibility for this guy so it won’t be in our way. You can Twist, I think
this is understandable. One of my favorite, you
can repeat the shape. So you can apply a repeater, and for the repeater, you
have its own transformation. So this means that I can
say, let’s say 12 copies, and I’m going to move the entire shape just so you can see it. And of course, now I
can change these things. I can scale them, I can rotate them. And everything that has
a stopwatch near the name can be animated. I can even fade it in or out, can create a completely free
Aquarium of this blowfish. But the real cool things that you can do, in this case, something
which will make more sense. I’m just going to bring it to where it was is to apply the Wiggle Transform. Now, when you apply the Wiggle Transform, at the beginning it won’t do anything. So I’m just moving the timeline, nothing is happening. This can be frustrating but this is just because
you need to understand that the Wiggle Transform
has its own transformation. So you actually need
to drill this one down and then you need to give it some values, how many pixels or degrees or scale values or the
percentage you want it to move. So for example, if I’m
going to do this thing, just for example, very little mild changes will
take you a long way here. And press space bar, it’s actually going to wiggle the shapes which were inside. Now obviously, you can
do it through anything that you are bringing from Illustrator, this is just the lovely
and very happy example. So I’m going to enable this one. And notice that After
Effects is still playing, this is an uninterrupted preview, this is relatively new. And at the same time that it is playing, I can continue to work, I don’t need to pause and wait for it, I can actually add to the
shape if I know what I’m doing the Wiggle Transform, don’t need to stop the preview. I can open the transformation over here, maybe give this guy a
little bit more freedom. And you can do whatever you want. This is a bit crazy, but it’s funny. So almost been there but not really. Alright, cool, warm, just in the middle. Wow, we have plenty of time. Excellent. So I’m going to move on. And this is just me saying we
are doing very good with time, because time is going to end up very soon. So, compositing. Here is something that I
think most of you will do or are doing at some point which is eliminating the
green background, right? So I just want to show
you what we have here. These clips are courtesy of Adobe Stock. So this very lovely girl, and underneath, we have
the particles here, I’m just going to close this. So I want to create a convincing composite and show you how you can also maintain all the fine hair details
that we have here, which is a little bit more
trickier than you may expect. So let’s start with the obvious thing. I’m going to select the girl, go to the Effect category
or window or menu sorry, and under this category under Keying, I’ll start with the Keylight effect. Now Keylight is a plugin which is shipping with After Effects. So it used to be on its own, it used to be very expensive. It is a program inside a program. These days After Effects and Photoshop are basically an operating system that can run our applications inside. So this is one example. But you get it for free and
it’s very, very powerful. Now you don’t need to know
anything about green screen. This is the beauty with Keylight. It’s actually one of the fastest tools that will get you 90% of the way if you are not afraid to take this picture and click on the green color. Already without doing
anything, it looks amazing, but is it? I’m going to check
under these pop up menu, the Screen Matte, which is similar to a
layer mask in Photoshop so you can see, hopefully, I’m not sure if you can that this is not a perfect matte. And if you don’t see it, then take a look over here the Info panel. When I’m moving my mouse it’s telling me that these values are not actually 000, this it should be complete transparency. And over here, where there
should be like complete opaque, we have some leftovers. So we need to switch, or actually expand the
Screen Matte controls. And we have a built in levels effect here. So we can clip the black
and we can clip the white to make the matte, which is another fancy
name to alpha channel. to behave better for us. So I’m going to click and drag, we don’t need to go too far in this case, once again, I’m going to
measure with the mouse, I see that it’s all set to zero, which means I’ve got
full transparency here and then I’m going to take
this guy to the opposite value, or to the opposite direction. Now the secret here or the recipe here is that between these numbers, you should have at least 70 values, right? So if you want to be certain that you’re not cutting
too much from the short, you’re not trimming your talent, you need to subtract
this value from this one or this from this depending
on what you’re doing, and make sure that you have a leverage of 70 units, not pixels. So I’m just going to name it units. Now if I’m going to take a
look at the final result, it looks much better. Maybe you can see the difference, but trust me, it looks much better. The problem here is that we actually losing a
lot of the hair definition. And just to show you this
is what we have before. We had a lot of stuff very
fine details in the hair and I want to show you a very nice method of how to preserve this. And this is almost a recipe. So we are going to bake a
cake inside After Effects so to say, forgive my metaphor, it’s
not funny, it’s not relevant. So I’m going to select the layer, I’m going to press Command/Ctrl + D to duplicate another copy. So now I’ve got two of them. I’m going to select the lower one. And just so you’ll see what I’m doing, I’ll click the solo switch here, which will isolate it in place, right? So we’re just looking at this guy. This is the Transparency Grid, everyone should feel comfortable
with what I’m showing. If not, let me know, I’m here for you. This is not just me talking. But I’m assuming that you’re okay with it. I’m going to go over here, I’m still using Keylight. The Screen Matte is still expanded and I’m actually going to
use this Screen Shrink/Grow as well as Screen Softness. So I’m going to start to expand it until I see that I’m getting all the hair, all the fine details, in my case around 140 should do the trick. So now I’m including everything, it’s gray, but I’m including everything. Now, whatever value you’re getting here, you need to basically
type it one floor down. So where it says Screen Softness, if I get to a 140, just type in 140 over here, and this will create some
sort of a softness of course, a feather like. So now this is what we have. I’m going to unsolo the file. We have this gray extra pixels, and we have what we consider
to be a great matte. So now this is the trick. I’m going to use the blending mode here. In case you can’t see them, this is where they are hiding. This is a little switch here, which will expand or collapse
the transfer controls. It’s not called blending mode because you’ve got a
couple of other options. And if Photoshop blending
mode weren’t enough here, we have much more to choose from, but we are going to go
old school, sorry to say, and we are actually going to go with one of the overlay family blending mode. And in this case, the
winning one in my opinion is Linear Light. So I’m just going to select Linear Light. And I’m going to show
you the before and after just so you see. Now this is just too strong. So I’ll press T for opacity, this is the shortcut. And I’ll turn it down, to let’s say 50%. And once again, let’s just zoom in and I’ll switch it on and off, and you can see that we are preserving all of those fine details that were lost in whatever space or transparency just because we were too
careless with Keylight. So this should work 99% of the time, I’m not going to say every time because every footage is different and you may have different
colors and stuff. But when you have these kind of problems with fine details and fine hair, try this method. Now, the problem that I have with it, it’s really working great, I’m just going to press play
to show you a few frames, is that it’s not really believable yet. Meaning that it doesn’t
really look connected. So I need to create some sort of a match between the foreground and the background. So once again, there are
plenty of ways to do it. Here is my advice. I’m going to pause the playback, take the background, duplicate it, so I have another copy, bring it above all the rest. So now I have one above, one underneath and sandwiched in between the pretty girl. And then I’m going to go to Effect, Blur & Sharpen, Fast Box Blur and I’ll be generous. I’ll start with 25% of
values or whatever it is, so the bigger the value, the more blur you have obviously, and if you want you can
also repeat the Edge Pixels, this is completely optional. So we are blurring the background. Nothing is special. Now, I’m going to go
back to the Effect menu and under the Channel category, I’m going to apply the Set Matte effect, which is another way to take transparency from another layer, right? So this is a compound effect, it asks me here. Let’s just expand it so you can see, these are the layers that I
can seen in your timeline, where do you want to take the
matte or the alpha channel? so I’m going to take it
from the first layer, which was the one without the softness. Now the thing is that
if I’m doing it like so nothing will happen. You will see that it really doesn’t work. And the reason is because this layer has an effect to it, remember Keylight is an effect. So I must use the second pop up menu here and tell the effect that I want to use the Effects & Masks. I don’t have any masks, but I have an effect. So effectively, this is what I’m creating. If I’m just going to solo this layer, I’m creating a silhouette which has the blurred version of the background inside, makes sense? So all I need to do now
after I have this setup is select the layer and
choose the color blending mode to match the colors. Now, I took it too far. So as before, press T for opacity, and just play with it until it looks good. So let’s go with 40 or 41%. So this is the before and this after. Before and after, you may not see a big difference. So I’m here to show you another great tip. You can replace the footage. Now I’m certain that you know
how to replace the footage in After Effects. I’m just going to show you two ways; one that you know, one that
you may never seen before. So I can dig here inside the project or I can use the keyboard
shortcuts, remember? That I’ve defined before,
Reveal Layer in Project, I just want to show you this is so useful, ’cause now I can actually see this is Particle Yellow, Particles, this is Particle Blue. So one way to work is to select the layer
here in the timeline, hold on the Alt/Option
key and then swap it. But this means that they need sorry, this one, I need to swap this guy and then I need to select this layer, and I need to swap the
other layer as well. I’m going to undo twice. I don’t want to work so hard, and maybe I have this clip in
other places in the project. So if I want to replace all the instances, regardless of how many
times I’ve used them, what I can do is do the same
number in the Project panel. So in the Project panel, I’m going to select the Particles Blue, hold on the Alt/Option and drag it on top of Particles Yellow, and just like that I’ve
replaced every instance in the entire project. So cool! (audience laughing) And this is really a cool
version of the same effect. So this is without the color treatment and this is with, looks much better I think. Do you agree? Nod your head if you agree. Yeah I want you to do it in
the same space, everyone. All right, you don’t need to. All right, but I’m here to show it to you. So I’m just going to
take it to the beginning and here it is. And of course After Effects needs to chew through the entire thing because this is a little
bit of a heavy compositing, but still it was worth the process. We have time to one more thing
which wasn’t in my slide. I’m going to show you if
you want, if you like, it’s optional, I think that you will enjoy it. How to create an infinite zoom effect. It will do something with your mind, I’m not sure if it’s safe but let’s try. Alright, so here I’ve got this layer that I’ve named My Camera and this is of course, can be your camera as well. This is just the shape layer, nothing really exciting here. What I would like to do is create some sort of a loop animation like I’m diving into
it over and over again. So I might as well show you instead of talk about it. So I’ll start by pressing S and this is going to isolate
the scale for the layer. I’ll start by changing the scale to 50%, create a keyframe at the first frame, go to the last frame, you can also press end on your keyboard and just make it disappear. So let’s go with nice,
round number of 1000%. Now if your going to
take through the start and press space bar. It kind of works but not really. See that from this point
onward it just disappear. So the thing is that the
animation is linear, right? And this is why this is happening. So you may think, Well, you know what? You already told me that
if I’m going to press F9, it’s going to be much smoother and you are correct, but the thing is that if
I’m going to create a loop, it will look very weird because it will almost
pause and then start again, it will not really be infinite, it will not have this continuous feeling. So instead, I’m going to
return to what I had before, two linear keyframes, and I’m going to make sure
that both of them are selected by clicking on the word scale, and then click on one of them. And from the keyframe Assistant menu, I’m going to choose this
command, Exponential Scale. Which is another way to scale a layer. So this is a different kind of formula. Now After Effects created keyframes at every frame of the animation, but look at this, this is now exactly
what I was looking for. This is what I expected in
my mind when I created it. So if this is not working for you, always remember you’ve got
the exponential scale formula, which in this case is just a godsend. Alright, so let’s move on. I’m going to take this camera, which is layer number one, and I’m going to duplicate it once again, by pressing Command + D, the menu is over here if you
are a menu person, Duplicate. Now what I would like to do is use parenting to create the animation. So I’m first going to press U, making sure to delete all the keyframes. Then I’ll go to the end of the timeline and this is super important because parenting is
sensitive to the timing. So if I’m going to parent in
the beginning of the timeline, it will yield different results and parenting is basically
going to do this thing, it’s going to take all
of the geometry options, which are all of the transform option except of opacity, opacity is not a transformation. It is here for you to not
have an avert really, right? So it’s just to save some room. But it will take everything
that the father is doing, and it will inherit it
to the children, right? So now, the second
camera is actually doing the same thing as the first
camera, it almost works. It’s just that we have this
weird hole in the middle. So the way to fix it, and once again, this is a formula, this will work with every footage. What I’m showing you now
is to duplicate it again. So I’m going to press Command/Ctrl + D to duplicate it again. And then I’m going make
sure to go to the beginning and remove the parenting. So I don’t need the parenting
in this case over here. But I will go, I know
it doesn’t make sense, but trust me, this is how it works to the end and I re-establish the
parenting over here. So if you didn’t really get it, it doesn’t really matter. What matters is that it is working. (audience laughing) So three layers exponential
scale, this is the takeaway and parenting sometimes at the beginning, sometimes at the end, this is what will get you through this endless looping behavior. And this also brings us to
the end of this session. So before I’ll take your questions, I just want to make sure that you’ll see the
rest of my presentation which is very boring, but very useful. If you want more of me, you can take a snapshot of this website, which used to be Lynda.com, it still is but now it is under the
LinkedIn Learning umbrella and I’ve got more than two
dozen courses over there for After Effects as well as
Cinema for the Illustrator and other good stuff. I want to thank you. You are the flesh. (audience applauding) And if you enjoyed this
session, make sure to rate me, give me good rates so
they will invite me again. And maybe you will also win an e-book or a ViewSonic monitor, who knows? Thank you so much. If you have any questions come see me. (audience applauding) (upbeat music)

5 Comments

  • Reply List of amazing February 7, 2020 at 3:02 pm

    Loving from Nepal. thanks a lot for your contributions.

  • Reply Dror Shabo February 7, 2020 at 3:34 pm

    The Best of the Best!

  • Reply Manuel Arias February 7, 2020 at 5:38 pm

    ✨👌😎😉👍

  • Reply Erfan Alimohammadi February 7, 2020 at 9:02 pm

    that was so good

  • Reply Asibi.S February 8, 2020 at 12:01 am

    טוב תודה

  • Leave a Reply