[Music] [Luisa Winters] Hello. Hello, and welcome to After Effects 101. So this is how dorky I am. I actually created all of these compositions so that I remember what to talk about next.
That is just sad. Sad. Sad, I tell you. But it is what it is. So let's start with workspaces. Do you guys know how to change workspaces in other Adobe apps? It is the same thing, all right? So I'm going to go over it really quickly. Window, Workspace, change to whatever, reset to whatever, save changes to whatever. See how what a great instructor I am? You got that. And Save as New, edit the workspaces, and there you go. We're done with our lesson.
How cool was that? I mean, come on now.
See? You have learned absolutely nothing. My job here is done.
All righty. So let's talk now about importing files from Photoshop and Illustrator. If you want to import stuff into After Effects, you just go File, Import, File. You can go Multiple File-- By the way, those two are the same thing.
I don't know why they have to, but they have to. They're the same thing. You would think one file, multiple files. Yeah. No. No. Uh-oh. So Libraries, all of this, so blah, blah, blah, blah, blah. But look at the shortcut, Control+I. But I'm willing to bet that most of you are Mac users, right? Right? So forget the Control. Control becomes Command.
I am fully bilingual. I speak Windows and Mac.
Come on now. So we are going to press Command-I, right? Control+I for me. And now the import dialogue comes up. So I'm just going to go to, I don't know, any of these files. It doesn't really matter. And I could import the whole folder. I mean, that's self-explanatory. If I have a hyperlapse, I could just select one of them and then make sure that this is checked. Click on Import, and then you got your hyperlapse...
Right? So that's easy.
The problem happens when you don't want the hyperlapse, right? You have things that are named similarly and you just want that one. This gets selected by default, and it becomes really annoying when it imports it as a sequence of stills. So make sure you deselect it. All right, so let's talk about Illustrator files. So I have a logo here, and I'm going to import it. And now do you see that it gives me choices? It knows that it's a multilayered Illustrator file, so After Effects is just saying, "Hey, Luisa, how you want to import this? Do you want to import everything merged? Just one layer? Do you want to import all the layers and create a composition? And if you want to do that, how big do you want for the layers to be? Do you want for the layers to be the size of the layer or the size of the whole document?" It depends on what you're going to do, right? So what it's really saying is where the anchor point is going to be. So if the footage dimensions are Layer Size, click OK, and then double-click the comp to open it up. Look what happens with the anchor point.
It's in the middle of the layer...
Not the composition. And many times, most of the time, that's what I want. But if I import it the other way...
Document Size...
Then the anchor point is in the middle of the composition, meaning all of the anchor points are in the same place, all right? The Photoshop files work similar to that, that if you select a Photoshop file and you import it, you get a similar dialogue, and you can import as a composition or as footage. You can merge the layer. You can just choose one layer. You can retain the layer sizes or not.
You can have editable layer styles or you can merge. So these are the Photoshop layer styles that turn into After Effects layer styles. Making sense? Excellent. So let's cancel out of this, and let's start animating some things. So you see it says here, 02 create a modified composition and keyframes. So I'm going to start with the keyframes, and then we're going to talk about creating the composition.
The first thing that I want to show you is from this Illustrator file. This is-- Make some noise. Come on.
They can't win.
I am about to use an F-bomb.
Now we have more important things than my ego. Not really.
So this is a vector file. Vector, vector, vector. Meaning, I can make this as big as a blob, and it's not going to look pixelated. Uh-huh. Mm. I'm just saying.
After Effects will rasterize any file, vector or not, at 100% scale. And when you're scaling, you're scaling the raster and not the vector. So do you see this little icon here, sunshine thingy? I am so technical. You know the little sea urchin crappy thingy? That one? Well, that one is for continuously rasterize. I actually call it this little light of mine.
This little light of mine, almost always let it shine.
Making sense? That is going to scale the vector and then rasterize again, so it continuously rasterize. So all of these guys, done.
I've said it in all of my lessons and classes, do the sound effects.
They pay you more money.
I mean it. If you have an explosion or even particles, you just go-- They will name children after you, all right? I'm just saying, make money. All right. I'm going to reset these properties, and you can reset any property by right-clicking and going reset. And now it goes back to the original scale. And now I want to animate this. But before I animate it, I need to change the settings of this composition. So this goes into how to create a new composition. And you can create a new composition in After Effects by going composition, new composition, or using Command-N, Control+N on Windows, or by clicking on this icon here at the bottom of the project panel. So Composition, New Composition. There you go. I'm going to use a 4K Ultra HD preset. And by the way, when you're creating new composition, these presets are amazing, especially the social media ones, so there's no reason not to use them. Don't worry too much about the settings. Use the preset and you got it. About the only thing that you may want to change is the duration. I want to leave it at 30 seconds, but if you just need 10 seconds or whatever, select this and just type 1000. Don't type all the zeros and all the columns and don't do all of that. Just type 1000. So I want to leave it at 3000 and then click OK.
All right, so that's how I create a new composition, which, of course, in here is called Comp 1, but I don't want it anymore. I want to go to the logo, and I just want to change those settings. So with that selected, simply selected, I'm just going to go composition, composition settings, and now I'm going to use that preset. And now I have...
A much bigger composition, all right? So now I can select all of these guys and press S for scale...
And I can make this bigger.
Bigger.
Really? I guess not.
Making me look bad. It's a good thing that I have absolutely zero shame, you know? Even if I mess up in front of all of you, I'm just going to go, "I don't care.
"I just don't care." So this even I turned the cap locks off and it's not happening. So it only did one. So let me do it differently. I'm going to do this to 300, and now I'm going to copy those settings because, obviously, doesn't want to do it all at the same time. And now I'm going to paste.
And now see? Now it worked. That's how it is. That's how it treats me. There is no loyalty on logos anymore.
Anyway, I'm going to put this-- Look, the text remain behind. What the hell? Did I tell you I have absolutely zero shame? I don't. I don't care. I'm like, "Whatever." So let's keyframe this logo, right? We can keyframe anything this exact same way. A keyframe is a moment in time...
When you give After Effects a setting for a particular property. In this case, we are going to keyframe three particular properties, position, rotation, and opacity. Making sense? So we are going to select all of these layers, and we're going to press the letter P for position, then Shift+R, and then Shift+T.
So opacity's shortcut is the letter T because it used to be transparency. And O for opacity would be the out point, all right? So how After Effects works is that the layer stacking order is going to be represented vertically in the timeline, but the time is going to be represented horizontally in the timeline...
Right? So I want, at two seconds, when keyframing, when comes first.
When do I want for the change to occur or to stop? At two seconds exactly. So I can just click on these numbers here and type 200, and the playhead moves there.
So when do I want to change? At two seconds. For what? For position, rotation, and opacity of all of these layers. So I select all those properties. A marquee select will do and keyframe just 1.
So I am literally telling After Effects, at this moment in time...
These layers have these values on these three properties.
Making sense? Now I go backwards.
And I can simply start changing properties.
Position.
I'm just dragging.
Did you see the keyframe was created automatically? Rotation. You go this way. You go this way. You go this way.
Oh, we'll just do a couple more random because who cares, right? And then the opacity, all at 0, and I can simply copy that. Did you see when I clicked on the word Opacity, both keyframes were selected? I could have just selected one, but it doesn't really matter. And now I can paste, right, and paste and paste and paste.
I could have also selected all of them and paste it. So now my animation is done...
And there you have it, right? Any questions with this little bit? There's a mic somewhere that you guys can ask questions if you want, and then we all hear it because we're wearing these things.
All right, the next things that I want to do is I want to start this animation. I don't want for all of these to come in together at the same time. So I want one to come in first, then the other one, then the other one, then the other one. And I want them to be offset by, say, half a second, you know? So I'm going to select everybody. Command-A will do that, and I'm going to collapse everybody at the same time because why not? And I want them to be staggered by half a second.
So I'm going to click here, and I'm going to type 15, as in 15 frames, and that moves the playhead to the 15-frame mark.
I can now select all of my layers, and I am going to shorten those layers...
To where the playhead is, all right? So from the beginning to here. Where? Where the playhead is, which is 15 frames. With all of my layers selected, I'm going to press and hold Alt, which is Option on the Mac, and I'm going to use the right square bracket.
All of my layers now have a length of 15 frames.
And by the way, I don't care if you have 7 layers or 70. This doesn't take any longer. This is this short.
All of my layers are still selected, so I can either right-click or I can go to Animation, Keyframe Assistant, Sequence Layers.
Do not overlap.
Click OK.
The layers are still selected.
Option, right square bracket.
They are delayed exactly by half a second, all of them.
Did that make sense? I have yet to find a faster way to delay action on anything. Literally, just shorten the layer and then elongate it. And that's it.
Now let's talk about the length of the composition.
I made a mistake. I didn't want it to be 30 seconds long. I really only wanted it to be 10.
Okay.
1000. Oops. It helps if I actually type it. 1000.
And now I'm going to shorten the work area bar, which is this guy. See it? I'm going to shorten it by pressing the letter N.
Now I'm going to right-click the work area bar and I'm going to say Trim Comp to Work Area. And now my composition is exactly 10 seconds long.
Did that make sense? I can now put any video under this and then I'll have the logo as a bug or whatever it is, or I can select all of my layers and I can go Layer...
Pre-compose, and I am going to make a composition with all of these layers, all right? So it's going to group them, and now I'm just going to call it Logo Precomp.
Click OK. And now if I want, I can make this smaller or bigger...
And I can position however I want, and the animation is still there.
Did that make sense? I can put any video I want. I can render this out. I can do whatever I want. All right, so let's talk about keyframe interpolation because this is where keyframing becomes a little bit more fun. So I'm going to delete that, and I'm just going to create-- I don't know.
I'm going to create a shape layer with a rectangle tool. I don't want a stroke. Why have a stroke when I'm having one in front of you? And I'm going to move that anchor point here to this side...
Right? So you saw me do the position keyframes. These are just values over time, so it's the same with rotation. I'm going to press R for rotation and say I want to start here. When at the beginning of the composition, I'm going to keyframe it, and now I'm going to move this playhead a little bit, and then I'm going to go up like yay. And I already have interpolation. See it? I can click on the word rotation and copy these. So Control+C, Command-C, and I can paste and paste and paste. I can select all of these and copy and then paste and paste and that's it for good luck. Why not? That's all good.
So a couple of things that I can do now using the Graph Editor. The Graph Editor. If I click on this icon here and my keyframes are selected, do you see these value graphs? And do you see this 0 here? So rotation is measuring degrees.
Zero would be the bar completely horizontally, which is how I drew it.
Okay, if I click on here again, look at the bounding box. Look at this. Faster, slower...
But even more impressive than faster and slower is change the value.
Less and less and less and less and less until it stops. Do you know how long that would have taken me to do manually? And all of this was, was copy and paste and then modify a shape, which you have done in Photoshop and Illustrator a million times already. Same shortcuts even.
All because I can see the interpolation in a graphical way.
Making sense? In addition to that, I can play with the speed of the interpolation. For example, all of my keyframes are still selected. I can go Animation, Keyframe Assistant. I can go Easy Ease, which is going to be an acceleration deceleration. So if I just click here, look what happens to my values. They're no longer lines.
Pen tool, right? Now there are curves, even with the bezier handles, that I can modify however I need to. And this is a different interpolation. Can you see the difference in speed? Very different than what we had before.
Now if I delete this...
And instead, I just do, I don't know, I'll do something really crappy, like a ball. Why not, right? And I'm going to center that anchor point.
There you go. And all I'm going to do is, I'm going to start here, down here.
I'll keyframe position...
And then go up like yay. Now I can copy and paste and paste and paste and paste, right? I can copy all of you and paste and oops. I guess not. Copy, paste, right? I can select this and go to the Graph Editor, and this is showing me something different. This is showing me X and Y values. I can actually click here and show the speed, not the values, but the actual speed of interpolation in between keyframes. And look at all the speeds. The higher the line, the faster the speed. So this is a crappy bouncing ball because it's going slower here than faster here. I mean, what in the world? You can fix that with position keyframes by selecting all of the keyframes and then go Animation, Keyframe Interpolation...
Rove, To Time.
Now all of them have the same speed...
But look what they look like. Look at this. Diamond, and then on the other side, let me make this a little bit longer so you can see it.
Oh, I'll make it 12 seconds.
See it? The first and the last ones are diamonds, but the middle ones are little balls. So maybe I don't want that. Maybe I did that just so that they all had the same speed. I can select them all again, then go Animation, Keyframe Interpolation, and I can go-- No, you know what? Lock To Time and now they go and they look like hourglasses.
I can give these Easy Ease as well, you know? So that would be F9.
If I can see my F9 I don't see my F9, so I'm just going to go Animation, Keyframe Assistant, Easy Ease.
But look at the interpolation now, right? It's like a yo-yo.
If I wanted for this to really look like a bouncing ball...
I would select all of them and I would go Animation, Keyframe Interpolation, and under Temporal Interpolation, I'm going to change those to Continuous Bezier.
Click OK. And now, in the Graph Editor, I can manually change the speed of these.
The higher the line, the faster the speed. And as the ball goes up, it should go slower, right? Which means it has to start faster.
Did that make sense? I can now select every other keyframe.
Shift will do that.
And bring it up.
Come on.
I can now do a marquee select and select all of these and change the Bezier curves.
Look at that first one. That's crazy. You crazy.
And now start approaching a better bouncing ball. I know I haven't done the squash and none of that, but this is about interpolation. Did this make sense? You are in charge of exactly how things are interpolating, even if it's just going from left...
To right, right? And you want to give it an Easy Ease, for example...
Keyframe Assistant, Easy Ease. And now you can change whatever you want in here. From starting fast and then slowing down...
To going from slow, fast, slow.
To going slow, I mean, fast, slow to the point of stop...
And then keep on going. We still have just two keyframes. Making sense? Again, if you have any questions, there's a mic somewhere in the middle of the room, you can just stand up and ask it, and we will all hear it, and then I can answer it. All right, so that would be related to the temporal interpolation and also the value interpolation, of our keyframes.
If we're doing something, I don't know. I don't know why I erased that ball that I had.
Here we go.
If we do something different, say I want to start here at the beginning and I want the position to be here, I move roughly one second, I go up, move, I come down, move, I go up, boom, I go down. Do you see how all of these are corners, right? Remember the Pen tool that you used in Photoshop and Illustrator? Yeah, it exists here, including the Convert Vertex Tool.
I can make those into curves, and now this follows it perfectly well.
Then I can play around with the speeds, with the interpolation using the Graph Editor, and now I have a more believable animation, as believable as a red ball in the middle of the screen can look, all right? Any questions with that? All right. Let's go on, and let's talk about text animation. Anybody here use text animation in After Effects? A couple of people. Right. So I'm just going to go ahead and type something.
And quite frankly, I'm not going to go over changing fonts, or font size, or blah, blah, blah. I've said this before, I'll say it again. If at this point you don't know how to change fonts, reconsider your life choices.
Okay? So I'm not doing that. Having said that...
I am a Verdana girl.
I know. I'm so boring. Verdana. And you know what? I'll be bold today.
And the easiest way to add an animation to text is by using a preset. And quite frankly, I'm not going to tell you not to use presets. I use presets.
So to use the presets, this is how you do it. Go to the Effects & Presets panel. Boom. Takes a little bit to wake up, right? Go to Animation Presets.
You know what? Let me make it a floating panel so you can see it better. See where it says text? There's a gazillion here. I'm going to go to Animate In, and I'm going to say, Drop In By Character. Whatever, right? When comes first.
Where's the playhead? Oh, I want the animation to start at the beginning. Move the playhead to the beginning, right? So there you go. Boom.
I mean, that was a little lackluster. I mean...
Yeah, it's only going down like a centimeter. I mean, nothing. I mean, come down all the way.
What the heck? It's annoying, really.
Actually, the reason why it doesn't just come the whole way is because these presets have been in the After Effects text animation for a long, long, long, long, long, long time, and these are optimized by much smaller screens. And I made this 4K on purpose.
I didn't want it to work because I am sick and tired of going to classes and demos in which everything works great. And then I go to my studio and I try it and nothing works.
I got tired of that. So I want something that when I show it to you, it's not going to work at all.
That way we all learn. Because right now I don't know how to fix it. No, I'm kidding.
So here we go. How to fix it. See this little wedgie thingy, carrot thingy? Again, I am so technical. This thingy majiggy right here next to the other thingy, click on it, then click on the one that says Text. Click on the one that says Animator 1, and then we have this position, which is not the same as this position, right? And now I move that all the way up.
So the thing is, to learn how to modify a preset...
We need to learn to create the animation without the preset, all right? So let's go ahead and do that. So Animator 1-- So we are going to add an animator, all right? I'm going to leave everything like this, and I want the animation to start at the beginning, so I am going to move this all the way left. Look in the Properties panel under Text Animation, Add Animator. Boom. One for Position.
And now, I want you to notice that this layer has two positions. The one for the animator and the one for transform. And the Animator 1 has a value of 0,0.
The animator position is given to you in relationship to the transform position. So if the animator is 0,0 it means that it's in the same place as the transform position. If I were to change this a little bit on the Y, see how it says minus 31? It means that my text is 31 pixels above what this transform position is.
So I am going to change this value a little bit more to about yay...
And now I'm going to show you how it works.
How animators in After Effects work is that the characters that are being affected by the animator are in a range that is determined by two lines. One on the left of the word or, actually, I forget I'm backwards. One on the left of the word and one on the right of the word, or words, plural, right? That's the default value. So if you go to the range selector, you're going to see three values. The start value is set at 0.
The end value is set at 100%, meaning that the start line is all the way left and the end line is all the way right. So all the characters are in between the lines. Did that make sense? To see the lines, I'm going to zoom in.
Do you see how you don't see them now and then you click on one of these and there's a line right there? This line is the line on the left represented by the start value. This line is the line on the right represented by the end value. They animate.
I want you to be 0 here and at two seconds be 100.
As the line moves, the characters fall down because they are no longer being affected by the animator. Did that make sense? So you can do other things. For example, we could add an animator for rotation, and we can just go to town here, rotating this like, woo-hoo, yippee.
This is going to be like a geriatric motion, you know? I mean, they are rotating, but they're like nursing home dancing.
But let's say that my client loves that. I love it.
This is the most beautiful animation I've ever seen in my life. And you go, well, thank you very much. Always pretend that it was really hard for you to do.
Put a sad face. It works better if you do this. Put a hand on your forehead.
Shake your head a little bit. Again, you get more money.
So now my client says, "Luisa, I absolutely love it, but can you only make the letter M do that?" And you go, "Yeah. Sure." If you're like me, I always say sure. And then I go home and I go, how the hell am I going to do that, you know? But, anyway, here we go. Look at my mouse cursor. Arrow, arrow, arrow, arrow, arrow, arrow, arrow. Oops. It changed. Click. Oh, no. Be nice. Be nice. There you go. Click and drag.
Click and drag.
Did that make sense? Oh, can you also make the letter N do that? Yeah, sure. Of course.
How the hell am I going to do that? Add another range selector.
Now you have two range selectors, one around the M and one around the N, and they are being affected by the same animator.
So you can have more than one range selector. You can have more than one property. You can have more than one animator. You can animate each and every character differently, and I have yet to find that in any other text animation program, period. This is 100% flexible to what you want to do...
Right? So, "Oh, Luisa, can you make the letters turn purple and whatever?" Add, Property, Fill Color, RGB. Click on the swatch.
Purple. There you go.
Same range selector. Did that make sense? All text animations and animators work like that.
Now I'm going to delete Animator 1, and now I'm going to have text on a path.
In Photoshop and Illustrator, the path doesn't quite belong to the layer, but in After Effects, it does. So if you want text on a path, you need to type first and then select the layer and draw your path.
That path belongs to that layer, and it has to.
Expand the thingy, expand Path Options, Path None, click choose Mask 1. Boom. Done.
You can now animate the first margin, however you want.
And you get text animation on a path. Making sense? You can have text navigating on the edges of your logo because you can copy and paste paths from Illustrator. Yes, you can. And that's a powerful thing. You can have the text be inside, right? Inside, outside. The characters be perpendicular to the path or not. You can force a line or not.
So all of those things really important. The first margin works because the First Margin is the left margin and we are left aligned.
The Last Margin doesn't work because we are not left aligned.
If we were center aligned, both of the margins work, all right? Any questions, guys? How are we doing? That's what I'm talking about. All right, let me just go over one more thing because this is cool, and I enjoy doing this, and you will be able to do it too. I am going to go to my Illustrator file, and I'm going to bring my Doggy. I'm going to bring it as Footage merging the layers. And this Doggy, I call rat dog.
You guys remember cat dog? I remember cat dog. Cat dog. Cat dog. This is rat dog.
You, sir, look like a rat.
So rat dog, I want you to imagine that rat dog is made out of rubber, you know? And I am going to put a pin on him and pin him to a cork board. And then if I move the pin...
Rat dog moves, right? If I pin him in two places...
And then I move just one...
Now I torture rat dog.
If I have yet another pin, rat dog can snip.
That starts becoming interesting. Now, if I pin the top of each leg...
And the bottom of each leg...
I can give rat dog seizures.
Look at this. The Pin tool is selected. This is not hard, folks. You will be able to do this, especially with vector files, but it works with anything, you know? Look at this. I'm going to press-- So I still have that tool selected. I'm going to press and hold Control, Command on the Mac. Do you see the little stopwatch? I'm going to move my playhead to the beginning because that's where I want the keyframes, and now the keyframes are being created.
On the nose, on each leg because why wouldn't I want for rat dog to have seizures? That's just crazy.
That's just being mean to that poor dog.
And there you go. I should've coordinated this a little bit better, but I'm to the point in which I just don't care. Okay, go up and down. Woo-hoo! And now, rat dog is convulsing.
See there at the end, he just did this with the leg and then died.
Poor rat dog. To make rat dog even funny, as if he weren't already, I'm going to make him smaller, and I'm going to keyframe him in position from right...
To left.
I mean, seriously, it's just too silly.
Guys, if we can't have fun with After Effects, what can we have fun with? Come on now. Let's be a little irreverent. All right, let's talk about masks, all right? Masks. So we already know what masks do. I'm going to import a video file. Just this one video file.
And I'm going to create a composition for it. And this is what I have.
It's just this, you know? I am going to track it in 3D. So listen, guys. Simple, easy. I just imported it, put it in a Composition. Now I'm going to right-click. No. No. Right-click. Right-click.
Track & Stabilize, Track Camera. I don't have to do anything else. I haven't clicked anywhere. I'm not doing anything like that. See here where it says initializing, it's doing its thing, happiness and joy. It's all great.
Now Certification Test. Go away.
It's going to track it in 3D very, very quickly and it's going to give me tracking points.
This is really cool. You have seen it a million times. You just didn't know how it was done. This is how this is done. See the tracking points? I'm going to make them bigger so that you can see them. See it? By the way, if you are doing this and you happen to click outside of the layer, the points disappear. And then at this point, you're going to track it again or do whatever. No. No. No need to do that. Select the layer. Make sure the layer is selected, and then click on the name of the effect, which is called the 3D Camera Tracker, and the points come back.
I need to select three of these points that will give me the perspective that I am looking for, right? Let's say it's this. Click on it, and then maybe you go, no, that wasn't it. You can click on one point, press and hold Shift, click on another point, and then on another point, you need three points to establish the plane or the perspective that you need. You can now right-click and create text on camera. And I know the text doesn't look like what we need, but it is attached to that branch.
Did that make sense? I'm thinking that's a little bit on the cool side. So now I can double-click this. I can change the text. Come on. I'll type spring.
I can change the font, the size, the whatever, you know? About the only thing that is bothering me is that it's not quite on the branch.
So with that layer selected, I'm going to make the layer invisible. And now I'm going to draw a path...
That follows the branch on that text layer.
I can now go to Text, Path Options, and I can go like that.
So your text can go anywhere on the logo, on the video. It doesn't matter, you know? Now I need to straighten this a little bit. So I am going to add an animator for this text. Well, in fact, I'm going to make it a little bit smaller, and I'm going to add an animator for this text.
And the animator is going to be Enable Per-character 3D.
Now I'm going to add another animator for rotation, and now I have X, Y, and Z rotation. And I'm going to change the X to yay so that these characters stand up better on that branch.
All right? I'm going to make this a little bit smaller.
And now...
I need to type, something more. Spring has sprung, for example.
Because I want to really show you that that leaf is bothering me. That leaf has to be above the text.
Did that make sense? I mean, it has to be. And it ain't that bad leaf...
You know? So how to fix it? Well, we cannot have the text under the leaf, but we can have the leaf above the text.
Not quite the same, right? Duplicate the layer. Command-D does that.
Now I'm going to make the text invisible and I'm talking to this top layer and with it selected, I'm going to grab the Pen tool and I'm going to mask that leaf.
So that really, that's what I have.
Making sense? So Pen tool, Pen tool. I'm even going to feather this a tiny little bit, say 10 pixels. Something like that. Doesn't really matter. The important thing is this.
Whoops.
The video is moving but the mask ain't. That's a problem, right? Right-click the mask and track it.
The Tracker panel opens up and I'm going to track Position, Scale & Rotation.
So as it tracks, and I'm going to do so by clicking on this little analyze forward button, so it's just a play button, I'm going to watch this like a hawk. And even if it's a little bit off here, that's okay. There's no text there, so we're good.
And this is tracking it so well and so easily. Let me tell you a couple of versions ago, this would have never happened.
All right, I lost the tracking there, right? Let me see if that's still I need it. Yes, I do. So this is what I do. M for mask. To fix that, go to the last properly tracked keyframe and delete the rest, and then go frame by frame.
As it moves, we should lose the track, right? Just going frame by frame. Once we start losing the track, fix it.
Just fix it like that. Go a couple of times more on a one by one, one frame, one frame, one frame basis until it catches and then continue analyzing forward, and you'll be done in no time, right? I know I lost it there a little bit, but all I have to do now is put this above, and I didn't finish tracking it because we're running out of time, but this is what we have.
And I don't know about you, but that is cool no matter where you see it, all right? Very easy to do if you just track things. See? I lost the tracking there, so I'm going to cheat now. I'm going to end this here.
Oops.
That's how you fix something really quickly. Oh, you messed up? Cut it right there.
I told you I had no shame.
All right, so it's really cool. Imagine putting, text on cars, on streets, and then when a car goes by, it covers the text like it really was there. I did a video that was just like that. People love it. It pays fairly well. I'm a freelance motion graphics artist, so I'm just saying, easy-peasy. All right, let's talk about one last thing before it's time for us to leave, and that is exporting these things. So you created your masterpiece, right? And now it's time to deliver it to your client. With the composition selected, go to Composition, Add to Render Queue, and use these presets. If this is the final render, make sure best settings are selected, and then High Quality is really good. If you need the transparency, High Quality with Alpha is what you want or Lossless with Alpha. I tell you High Quality with Alpha is perfect and it's going to work really, really well. And then you click where it says not yet specified and then go to where you want to save it. Blah, blah, blah. And then finally, click on the Render button. If you want to use a ton of presets that are available for you to use, go to Composition, Add to Adobe Media Encoder Queue, and that opens Adobe Media Encoder, the app. That just opens it for you. And by the way, all of these got released an hour and a half ago.
And the first time you launch an Adobe app takes a little bit longer, right? I just didn't have to-- Oh, no-- I'm a liar. Look at this. It's right there. Anyway, eventually, this populates and you'll be able to choose format and the preset, and there are many. And then, if you want QuickTime...
You can then select, say, Apple ProRes 4444 with alpha. Click here so that you select where you want to save it, and then finally, click on the play button, and then it renders out, all right? If you guys have any questions, I mean, this is it.
Come on down after I'm done, but in the meantime, make more noise than them.
Thank you. Thank you, guys. You are the best. I can't see you, but you are the best. Thank you.
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