I want to get into ah couple of these other projects that I showed you earlier dealing with them in three d space and one is this one with the logo animation I'll play the animation again really quick and will be able tio then reverse engineer it so you can see how it goes so what this wass this's a fake company it's a fake logo but it used some stock imagery uh and then I just pull it apart in illustrator like we did with the other little sign and just animated all the pieces I made the timing go with the audio so the concept was first teo you make this leaf come in make a little water droplets move and what not but they wanted an audio hit for the logos this kind of life you know, at the end of a tv show or whatever the tiara movie they're going tohave okay? The production company was you know you know angry dog films or funny pizza or whatever you know? So you've got all these crazy film companies that come up with these the's things that that ok well let's do something green and so...
anyway that was that was how that was conceptualized so let's look at the first yeah let's look at the illustrator filed first um and I can show you how that was assembled again it's a lot like the uh other other elements that had had layers and it's let me pull this out and some of this came from some of the start ii combined several stock uh illustrations together to kind of create this so this one already had some of these elements it's got this glow in there and it's got this wave gives it like a three d ripple it has this the's different circles to come in so let's play on that because I was given a lot of texture and dimension so let's let's keep those together and pull him out and then all of these elements um have all the different lens flares in there so you can see I've got several elements of the lens flares and starburst and different things in there ah and then I've I added the leaf with the water droplets I had to break this all out so that you know like the droplets their group of course each droplet has all these other pieces in it so you can go right down the rabbit hole here in an illustrator I didn't want to do that I just wanted all the droplets together so I save those out as a group the leaf was separate seeing turn all of those on and off and then this echo logo was just text that I outlined and kept everything clean that way say way exported everything that way um let's go and close that up um and hide illustrator so then let's come into the aftereffects project there you go okay, so now I've got all of these layers in here that brought in that was one that I converted to individual ping files I just made everything look how I did I didn't want to go through the whole photo shop player thing because I wasn't going to keep them all together in the same way for one thing the original logo was square it was an absolute square so and here I needed that to fit the dimensions of video which is sixteen by nine so I needed to spread things out and move things around a bit and animate them so they all fell into place on screen for a wider format so keeping them all in place in in their original context didn't make any sense to me so I just exported pings the way that I needed them so I've got like the echo text the different light layers and flares leaves ah all these different things that their own little layers and I brought them in and was able to move first thing I did is I moved that wave in the background across and then I brought up those three circles so they kind of almost have like an art deco arch look to him there I kind of thought that was neat and then slid in the echo taxing sees a motion blur on those moving objects and then I brought in the leaf on here and I believe with this leave because I don't have any three d cameras or lights I believe that is a layer style like I showed you with the drop shadow so this one I changed the color to this dark green and played a theo pass ity and that way it just kind of gave a nice subtle drop shadow that is able to animate as they landed and got closer to the screen and of course the glow comes there's not going to shadow if there's a light source so the shadow has to go away before the globe reaches its intensity and right is that glow comes in then I also introduce the uh the water droplets that come down and those again we're in another another cop here so you can see by looking at this looking at this icon you can see that's not just a graphic layer you know the graphic layers look like that but this means that's a comp that means if you've got a project somebody gives you project you have to open it up or you do on yourself and you got warm I doing there you just double click that and it opens up the actual comp so now I can use the space key and reposition that and I can see what I did inside that calm you see the animation that drops just move and they appear so the position moves and the transparency our capacity changes here's all the key frames. So I've got scale to simulate the getting bigger thinking a little bigger, and they moved down the leaf so I was able to do all of that is one separate animation by making it a cop and then import that cop into this car. So it's, just a matter of bringing your animations together, just like I did with the guy in the sign bringing it in over the background of the other element is able to do that with this animation. And then, of course, it all had to be timed to this audio track that's down here. So when I do, my ram preview should hear the audio too. So, you know, the birds chirping through the whole thing, but the first piano move gets the logo in there and all those pieces in that's where this marker here is I was easy's markers to how do I get a marker in there? I didn't cover that at all. This'll guy over here on the right. This is a really helpful tool is a little marker you just click it out, click on it and drag it out to where you want it and then. You you know that that's a point where something supposed to happen if you want to say ok what I want that to say do I want to just be one two three doesn't matter or do I wanted to say something uh I can double click it and it opens this up so I can now go in there and say this is uh um you know birds chirping which they're chirping through the whole thing so you know I put that in there and I see oberst chirping now this one here piano on just put in aa piano one because that's when the first one ends um so you khun label those little markers and that really helps you when you're assembling things especially if you're listening to audio you know you'll be sitting here rendering so right there I wanted something to end this is where the second one's starts actually so but that you just hit the space key and that tells you that's where I really want a marker and then I can so the second one is actually here so you can put markers where you want to for audio hits and that gives you a visual cue all along the line is to what needs to happen where and I do a lot of animation that way sometimes I have to animate like a showed with the dna sequences they all had to be time to certain a certain way so they went with the voice over of the video that we're trying to time. That, too. So I had to have that clip of voiceover in my in my file. There actually had the video, too, so I could kind of see where it needed to cut. But I used that as my reference for timing, so I could put a marker on ok there, talking about this particular structure here, this strand here, I can know. You know, I know that I have to move out of there and into here by that amount of time, and that helps you determine how much animation you're going to apply in there, how fast it has to move. So audio is a really huge key. Tio, your timing in your animations.
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Jeff Foster is a published author of several computer technology, animation and video production VFX books. He has been an Adobe® Certified Expert and has served as an instructor and featured speaker at conferences such as Photoshop World, Macworld, Adobe