Project 6: Ransom Note

Part 1 Due:  Nov 29 (Week 10)
Part 2 Due: Dec 13 (Week 11)


Description:
Using all techniques we learned in class, create a 30 second animation of a ransom note to the soundtrack of your choice. The ransom note can be anything from an "I stole your cat" letter to a metaphysical concept. It does not have to be a literal "note" but rather a message in animated form. Go wild with it!

You must have: 
3d layers/camera/lights
AE animated text (technique of your choice)

Part 1:
Create 3 – 5 style frames (submit as a pdf)

A Style Frame is a visual guide to the way your final animation will look. Unlike a storyboard, which lays out the animation from beginning to end, style frames illustrate the look and feel (colors, lighting, visual elements, etc) without locking in specific shots. This exercise will help you brainstorm the effects you might end up using before you get into After Effects.

Use Photoshop or Illustratror—NOT After Effects.

Below are links to some style frame references:
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwnBqVDZqWk8re-0PmmbpsvsefoFuPM8rbBxwh5ffnwcKcCGLKhjJCmdfLmXET5MYL-xIWI1VrD1YLA7wJVLBcC_a5LiKJTL_Z5FeRYgDdRkT8Zgi2hN69MfF9hA-3BfZ_KTvYdX3syWY/s1600/style+frames.jpg
http://www.mydbmedia.com/DB_Obama1_Board.jpg
http://www.mydbmedia.com/DB_Marl2_Board.jpg
http://www.gasket.tv/wp-content/uploads/2010/10/bb_recycle_style_frames.png

Part 2:
Final animation

Notes: Nov 8 (week 11)

3D LAYERS (part 3)

3D Photographs—Camera projection technique

Tutorial: http://www.videocopilot.net/tutorial/3d_camera_projection/

Use this file for practice: http://www.parshina.com/ae_class/photo_3d.psd

* The above tutorial will help you build up your projected 3D environment. The second step is to set up your middle and foreground layers (in my case, four individuals) in that environment.
  • Bring in a reference of the image as a flat file (import > footage > merge)
  • In your composition, change the Y position of the 3D layers so they are touching the "ground" plane with their bottoms (they should be almost penetrating the ground layer). THIS IS IMPORTANT: Once you reach that position, don't use the Y position again, even if it looks like you should. 
  • Once you've defined the Y position, the layers will appear like they are still "floating" above the ground. Don't be deceived—it's an illusion caused by the fact that your layers are at an incorrect Z position. DO NOT USE THE Y POSITION TO FIX THE ISSUE. Use the Z position to move the layer closer or farther away, until the layer is aligned with it's proper place. Use the shadow in the ground plane as a reference.
  • If the layers look too big or too small, scale them appropriately. Don't use the Scale transform property of the layer itself (it will scale from the center of the layer, raising it from the ground plane and making it float). Instead:
    • Create a Null object (Layer > New > Null object)
    • Copy the position of your layer and paste it to the Null object
    • Lower the Null object (decrease Y position value) until it is aligned with the bottom of your layer
    • Parent the layer to the Null object
    • Use the Null object to scale down the layer—your layer will scale from the bottom, never leaving the ground plane

Project 5: 3D Photograph

Part 1: Due Nov 8 (week 11)

Find a photograph (or any other artwork) with a simple landscape that reaches from the horizon all the way to the foreground uninterrupted and has one or two simple, standalone elements in the mid or foreground. The standalone elements should be visible from their top to the point where they meet the ground.

Basically your photo or image should look something like these:
http://fc01.deviantart.net/fs14/i/2007/042/9/8/Tree_In_A_Field_by_Its_Only_Stock.jpg
http://www.help2go.com/images/OldPhoto1.jpg

Crop/resize your photo or image to be 1280x720.

Cut out the standalone elements and paint them out of the background layer.

Bring the psd file to class.

Part 2: Due Nov 15 (week 12)

Use the 3d camera projection technique we cover in week 12 class to bring your photo/image to life for 10 - 15 sec (or longer!)



Notes: Nov 1 (week 10)


3D LAYERS (part 2)

Lights:
  • To create a new light, go to Layer > New > Light
  • To adjust light settings, select the light and go to Layer > Light Settings
  • Light types:
    • Spot (most popular)—has the same controls as 3D cameras
    • Parallel—has the Point of Interest control, allowing you to cast it in a certain direction without creating the same light fall-off as with the Spot light
    • Point—allows you to change the position of the light source but does not have a particular direction or light fall-off
    • Ambient—lights the entire scene evenly, allowing you to create base lighting (so that when you use a Spot light, you never have an entirely black area); Keep this light at very low intensity and always combine with another light-source
    • Combine multiple light-sources for a more realistic, dimensional environment
Casting shadows:
  • To cast shadows, select the light source(s) you want to cast the shadows and turn on the "CAst Shadows" option (off by default)
  • Select the object that you want to cast shadows, go to Material Options and turn "Cast Shadows" on
  • Make sure the object that will receive the shadow has "Receive Shadows" turned on in teh Material Options (on by default)
Material Options:
Use Material Options to control the way the object reacts to light sources in the scene (highlights, shadows, surface texture, etc)

Notes: Oct 25 (week 9)

3D LAYERS (part 1)

  • To turn a layer into a 3d layer, turn on the box with the cube symbol (to the right of the layer name)
  • 3D layers have an extra dimension added to the transform properties (Z =  depth)
  • When changing position: 
  • negative numbers move the layer towards the "camera"
  • positive numbers move the layer away from the "camera"
When working with 3D layers, use camera options at the bottom of the composition window to view the scene from different angles


 Note: Make sure to return the setting to your main camera before rendering


Cameras:
  • To create a new camera, go to Layer > New > Camer
  • To adjust camera settings (that appear in the intro menu), select the camera and go to Layer > Camera Settings
  • Note: Only one camera will be active per scene (if you have more than one camera, the top camera layer will be the active one. You can activate a different camera by choosing it from the camera view options in the composition window or turning it on (eye symbol) while turning off all other cameras.
  • Use Point of Interest and Position for most of your camera animations (do not set rotation keys)
  • Point of Interest—orients the camera angle (acts like rotation)
  • Position—moves the entire camera
  • Use "Camera Options" to control Depth of Field and other lens-specific properties
  • Note: Never animate Zoom  unless using it to keep the depth of field blurring constant while zooming in.

Notes: Oct 18 (week 8)

Review:

  • text animators
  • text animation presets

Inspiration: Oct 18 – Oct 25 (week 8 - 9)

3D LAYERS
Terminal Bar
http://www.youtube.com/watch?v=USDCEyHt7rI

 Mixtape Club: My Morning Jacket music video "Touch Me I'm Going To Scream (part 2)"
http://mixtapeclub.com/projects/mymorningjacket
yU+Co (www.yuco.com): 300 title sequencehttp://www.artofthetitle.com/2008/03/17/300/
A52 (www.a52.com): Carnivale title sequence
http://www.artofthetitle.com/2008/04/21/carnivale/

Prologue (prologue.com): The Walking Dead title sequence
http://www.motiongraphics.it/2010/11/the-walking-dead-opening-titles/

Disturbed (www.d-sturbed.com): Pukkelpop
http://www.d-sturbed.com/videos/pukkelpop.mov

Adam Gault and Stefanie Augustine: Gettisburg Address Revised
http://www.cpluv.com/generic/mainitem/36131

Notes: Oct 11 (week 7)

Animating Type

It is best practice to work with text either created directly in After Effects or imported as part of another file and converted to Editable Text. This saves you the trouble of linking assets and opens a world of text-specific animation controls.
Importing text from Photoshop
  • Import your photoshop file as "Composition" (both layer size and document size are acceptable)
  • Enter the imported photoshop composition or pull the imported text layer into an independent comp
  • Right-click on the text layer and select "Convert to Editable Text"
Importing text from Illustrator
  • Text layers imported from an Illustrator file can't be converted to Editable Text
  • To use type from an Illustrator file, export the .ai file as a Photoshop format
Creating text in After Effects
  • Use the T tool to create text directly in After Effects
Character Window Tools
  • Window > Character
  • Select fonts
  • Leading/Kerning
  • Access lower bar of the window for Caps, Small Caps, Superscript, Subscript controls
Paragraph Window Tools
  • Left/Right/Center align
  • Paragraph spacing and indenting
  • Note: Always be aware of your alignment—it will impact text-specific animation controls
Animating Text Manually—back to front
  • Though AE has very sophisticated and flexible text animation tools, it is sometimes worthwhile to select a small portion of your animation for a manual treatment (to achieve a more organic, unique feel).
  • This approach would require to break up your word/line of text into "animatable" layers.
  • Start by creating your main layout as one layer (this will be your "guide" layer)
  • Make it a different color from the actual text (for better visibility)
  • Duplicate the "guide" layer and lock the original
  • Use the duplicated layer to create as many pieces as you want to animate manually
  • Position the resulting layers in original order using the guide layer as reference
  • Set keyframes on all layers for every property you plan to animate: these keyframes will be your "final" state
  • Go to another part of your timeline and start animating with your layers
Text animators

  • Apply text animators by choosing properties from the Animate drop down menu
  • To more than one property to an Animator, use the Add drop-down menu after the initial Animator is created
  • To add more Animators, keep using the Animate drop-down menu (make sure no other Animator is selected)
  • Most Animator properties are animated using the Range Selector > Offset of each Animator

  • When using the Offset technique, set the Animator properties to the "ultimate" amount (the largest or smallest scale value, 0 opacity, etc); do not key the actual property
  • For smoother, overlapping Offset animation, use the Ramp Up/Ramp Downproperties in Advanced > Shape menu.
  • Adjust Ease High and Ease Low in Advanced settings for different animation overlap
 Browse Text Animation Presets
  • Open the Effects and Presets window
  • Open the menu in the upper-right corner of the window and select Browse Presets
  • Go to the Text folder and look at animation previews
  • To apply a preset, make sure your text layer is selected and double click on the preset in the Browsing window

Project 4: Song Lyrics

Due: Oct 25 (week 9)

Description:
Select a segment from a song that is at least 20 seconds. Use all the text animation techniques we covered in class to narrate every word of your song segment. Try to make the motion evocative of the lyrics. Play with your composition by varying the number of words in the frame, size, background/text color, etc.

Project 3: Ambient Background

Due: End of semester.

Description: 
Use a Shape Layer to create an ambient background animation of any length. Sound is optional.


Notes: Oct 4 (week 6)

Animating Type
It is best practice to work with text either created directly in After Effects or imported as part of another file and converted to Editable Text. This saves you the trouble of linking assets and opens a world of text-specific animation controls.

Importing text from Photoshop
  • Import your photoshop file as "Composition" (both layer size and document size are acceptable)
  • Enter the imported photoshop composition or pull the imported text layer into an independent comp
  • Right-click on the text layer and select "Convert to Editable Text"
Importing text from Illustrator
  • Text layers imported from an Illustrator file can't be converted to Editable Text
  • To use type from an Illustrator file, export the .ai file as a Photoshop format
Creating text in After Effects
  • Use the T tool to create text directly in After Effects
Character Window Tools
  • Window > Character
  • Select fonts
  • Leading/Kerning
  • Access lower bar of the window for Caps, Small Caps, Superscript, Subscript controls
Paragraph Window Tools
  • Left/Right/Center align
  • Paragraph spacing and indenting
  • Note: Always be aware of your alignment—it will impact text-specific animation controls
Animating Text Manually—back to front
  • Though AE has very sophisticated and flexible text animation tools, it is sometimes worthwhile to select a small portion of your animation for a manual treatment (to achieve a more organic, unique feel).
  • This approach would require to break up your word/line of text into "animatable" layers.
  • Start by creating your main layout as one layer (this will be your "guide" layer)
  • Make it a different color from the actual text (for better visibility)
  • Duplicate the "guide" layer and lock the original
  • Use the duplicated layer to create as many pieces as you want to animate manually
  • Position the resulting layers in original order using the guide layer as reference
  • Set keyframes on all layers for every property you plan to animate: these keyframes will be your "final" state
  • Go to another part of your timeline and start animating with your layers

Inspiration: Oct 4 (week 6)

ANIMATING TYPE

Non-Digital/Natural Materials:

Jesse Zanzinger: Refraction—The Alphabet
http://vimeo.com/17509873

Ed Aclerman and Collin Morton: Primiti Too Taa
http://www.youtube.com/watch?v=KcrTzPAUqic&feature=youtube_gdata_player

Lobo: Capitu
http://tdc.org/intro_010/video.html#/video-15

Kinetic Typography:

Clim: Make It Better
http://vimeo.com/18678091

Rogers Creations: Stephen Fry—Kinetic Typography
http://www.youtube.com/watch?v=J7E-aoXLZGY

Curious Pictures: The Girl Effect for the Nike Foundation
http://www.youtube.com/watch?v=C44BOxKhwsQ

Complex type animation:

Sebastian Lange: Flickermood 2.0
http://vimeo.com/3302330

Sehsucht: Mercedes-Benz Bas Child
http://vimeo.com/7522026

Type Immersed in a Video Environment:

ISO Design: A History of Scotland
http://www.artofthetitle.com/2010/02/01/a-history-of-scotland/

Prolog Films: OFFF titles
http://vimeo.com/14434908

Clemens Wirth: Marko Kingdom
part 1: http://vimeo.com/19764519
part 2: vimeo.com/ 12849638
part 3: vimeo.com/ 19764519

Interview with Kyle Cooper:
http://vimeo.com/9020112

Visit these sites for good text animation references:

The Art of the Title Sequence:
http://www.artofthetitle.com/

Forget the Film, Watch the Titles:
http://www.watchthetitles.com/

IFC: 50 best title sequences of all tiems
http://www.ifc.com/news/2011/02/the-50-greatest-opening-title.php?page=11

Passion Pictures (typography):
http://www.passion-pictures.com/flash.html#page=k11

Notes: Sep 27 (week 5)


Nesting/Pre-comping review

 Masks:
  • To create a mask, make sure you have a layer selected
  • Use the geometric tools or your pen tool to apply the mask shape. Note: When using the pen tool, you must make sure to close the path in order for the mask to work.
  • Keep your masks organized by naming them (select mask, hit Return and type) and changing the mask color (click in the color box and choose from the color wheel)
  • Use mask modes to hide/reveal different areas of the mask (add, subtract, intersect, etc)
  • Use the "Inverted" option when combining multiple masks and mask modes
  • To change the shape of your mask, you can:
    • Use the selection tool to click on individual vector points. Once the vector point is selected, you can click and drag.
    • Shift-click on vector points for a multiple-point selection
    • Double-click on any vector point to create a transform box around the entire shape
    • Select multiple vector points and press Command+t to create a bounding box around your selection
    • Note: When adjusting your mask shape, make sure you have at least one point  selected before dragging. If you simply click and drag,  you might be moving the layer itself, not the mask. 
  • Keyable mask properties (click on the "stop watch" symbol next to each property to begin setting keys):
    • Mask Path: adjusts the shape of your mask
    • Mask Feather: adjusts the feathering (blurring) of the mask edges
    • Mask Opacity: control the opacity of an individual mask area (rather than the opacity of the entire layer)
    • Mask Expansion: expand/contract the borders of your mask without changing the Mask Path
Shape layers:
  • Shape layers are great for creating ambient, background animations
  • To create a Shape layer, use the geometry or pen tool without having a layer selected.
  • Note: The ancor point of a Shape layer is in the center of the comp, not in the center of the shape you create. 
  • You can apply multiple shapes to one shape layer (once you create a shape layer, make sure you have it selected before using the geometry/pen tool to create a new shape)
  • Note: Having multiple shapes on one shape layer will allow you to apply one set of property keyframes to both shapes, saving you time and creating better layer organization
  • Keep your individual shapes organized by renaming (select the shape name, hit "Return" and type)
  • Shape layers (similar to Illustrator) have an independently adjustable fill and stroke
  • The most powerful way to use a shape layer is to animate "Contents"(not "Transform Properties"):
  • You can explore the basic Contents properties and apply animation to any that have the "stop watch" symbol
  • Shape layers allow you to apply a wide range of deform effects using the "Add" menu to the right of "Contents"
  • You can apply these deform animations to all shapes on the shape layer or to individual shapes
    • All shapes: have "Contents" selected when using the "Add" menu
    • Individual shapes: have the desired shape selected when using the "Add" menu

Notes: Sep 20 (week 4)

Working with the graph editor 

Using illustrator paths as motion paths
  • In Illustrator: 
    • Create an Illustrator file at the same settings as your AE Composition. 
    • Go to Illustrator > Preferences > File Handling and Clipboard and make sure you have “Preserve Paths” turned on. 
    • Create a path using a preset shape or the pen tool (no compound paths) 
    • Turn off both fill and stroke 
    • Select the path and copy it (Edit > Copy/Cmnd + c) 
  • In After Effects: 
    • Open your layer’s position, select the property and paste (Edit > Paste/Cmnd + v) 
    • You should see a set of keyframes appear, with each point on the Illustrator vector path represented by a keyframe. 
    • The keyframes will appear as “Roving” which you can turn off if desired. 
Importing Photoshop layers:

  • Footage gives you an option to import the psd file as a flat image or choose a specific layer
  • Composition–Document Size will import your photoshop layers as separate AE elements and automatically combine them into a comp, preserving original layer positions. All layers will be the size of your photoshop file and have the same anchor point/position values.
  • Composition–Preserve Layer Size will import photoshop layers in the same way as the above option, but will size each layer according to its actual pixel dimensions. With this option, each layer will have a different anchor point/position value. For complex animations, I recommend this import option.
Importing Illustrator layers:
  • After Effects does not recognize Illustrator sublayers as individual layers. In order to import separate layers from Illustrator, make sure you create a new layer for every independent element. 
  • After Effects has a slightly different importing menu for Illustrator files than for Photoshop files, though the options remain the same: 
    • Choose footage or composition from the top of the menu
    • Choose document size or layer size from the bottom of the menu
    • You can also choose to import an individual layer
Pre-composing (precomping) & nesting:
  • Nesting—putting a composition inside another composition
  • Precomping—selecting a layer or multiple layers inside an existing composition that you want to contain in another composition (for organizational or complex animation use)
  • To Precomp, go to Layer > Precompose (Command+Shift+c)
  • When precomping a single layer, you will have two options
  • "Leave all Attributes in current comp": if the layer has any keyframes/effects, they will remain attached to the newly created composition and not be encompassed inside this composition as part of the precomped layer
  • "Move all attributes into the new composition": all keyframes and effects will move into the newly created comp and remain attached to the precomped layer
Collapse transformations:
Use the "continuously rasterize" symbol (*) to insure that After Effects continues to display vector layers inside nested comps as continuously rasterized when scaled beyond 100% (if you don't turn this option on, AE will treat a precomped vector layer as a bitmap and pixelate the edges)

Keeping comps organized:
Always name your comps and put them in appropriate folders inside your project window! ALWAYS

Notes: Sep 13 (week 3)

Setting Keyframes to Audio layers
  • Open the layer
  • Open the "audio" property
  • Set keys to "audio levels" using the stopwatch symbol
  • Note: 0 is the original level of your audio. Negative numbers will lower the volume while positive numbers will make it louder.
  • A shortcut to preview audio only is "." (period) on the numeric pad
  • Audio at a level higher or lower than 0 does not play back correctly in After Effects (it will sound louder or quieter than it actually is). To get a sense of how your keyframes are working out, render it outl
  • To render audio only, go to  Composition > Add to Render Que > Output Module > Format ... and choose AIFF or WAV format.
  Auto-orient to path
Layer > Transform > Auto-orient

 Motion theory
  • Ease in/out of keyframes 
  • Overlapping motion 
  • Anticipation 
  • Follow-through 
Types of keyframes
linear, ease in-out/easy ease, auto bezier, hold, rove

Notes: Sep 6 (week 2)

Reconnecting media
  • Missing media will appear with a “color bars” symbol in the Project window. 
  • To find all missing media, type “Missing” in the search bar of the Project window. 
  • To reconnect media
    • right-click on it in the Project window
    • Replace Footage > File 
Setting Keyframes
  • Transform properties (and shortcuts): 
    • anchor point (a)
    • position (p)
    • scale (s)
    • rotation (r)
    • opacity (t) 
  • Keyframes are set at the position of the time-slider on the timeline. 
  • Turn on the “stop watch” symbol (to the left of the transform property) to set the initial keyframe. Turning it off will remove all keyframes from a layer. 
  • Subsequent keyframes can be set by positioning the time-slider over an empty/un-keyed area on the timeline and: 
    • changing the value of the keyed transform property (left side of the timeline) 
    • using the mouse/keyboard to manipulate the layer in the Composition window 
  • New keyframes can also be added by clicking inside the “diamond” symbol to the left of the “stop watch” symbol. You will have to change the value of the transform property in order to see any results. 
Navigating keyframes
To navigate between keyframes:
  • Use the left/right arrow to the left of the “stop watch” symbol, or 
  • Position the time-slider over the desired keyframe (shift+drag the time slider to snap). 
  • Use the shorcut keys “k” (forward) and “j” (backward) 
Moving keyframes on the timeline
  • To move a keyframe, click and drag it across the timeline (shift+drag to snap to time-slider position) 
  • To select/move multiple keyframes: 
    • click near (not on) a keyframe and drag to expand the bounding box around the desired keyframes, or 
    • shift-select multiple keyframes 
  • To “squeeze” or “expand” a group of keyframes (in order to speed up/slow down the animation), select all keyframes of one or more transform properties, click and drag the first or last keyframe. Note: when selecting keyframes of multiple transform properties (or layers), make sure to click/drag the absolute first or last keyframe of the group
Changing Keyframe Values
  • A value of a keyframe can be changed only when the time-slider is positioned directly over the keyframe. Otherwise, a new keyframe will be created. 
  • Position the time-slider over the keyframe and enter a new value to the transform property, or use your mouse/keyboard to manipulate the layer in the Composition window. 
  • To proportionally increase/decrease the value of multiple keyframes on the same transform property, select all keyframes, snap the time-slider to any of the selected keyframes, use the transform property values or the Composition window to enter changes
Useful keyframe shortcuts 
  • “u” = reveal/close all keyframes 
  • “j” and “k” = navigate between keyframes 
  • “Shift + drag” = snap keyframe to time-slider or time-slider to keyframe 
  • “Opt + a” = set keyframe to Anchor Point 
  • “Opt + p” = set keyframe to Position 
  • “Opt + s” = set keyframe to Scale 
  • “Opt + r” = set keyframe to Rotation 
  • “Opt + t” = set keyframe to Opacity 
Useful layer shortcuts 
  • Select a layer and:
    • “[“ or “]” = snap the beginning or the end of a layer to the time-slider 
    • “Opt + [“ or “Opt + ]” = trim the beginning or end of the layer to the time-slider 
    • “i” = time-slider snaps to the beginning of a selected layer 
    • “o” = time slider snaps to the end of a selected layer 
Motion path
  • A motion path’s controls are similar to a vector path 
  • Use the pen tool to adjust motion path curves/bezier handles
  • Good motion rule: fewer keyframes make better animation

Solid layers:
  • Solid layers are a powerful tool. They are vector based, and can be scaled beyond 100% without pixelation issues. Using AE native elements saves you from having to deal with file-linking issues.
  • To create a solid layer in After Effects, go to Layer > New > Solid
  • To modify the solid layer you created, select it and go to Layer > Solid Settings


Project 2: Geometric Shapes

Part 1 due: Sep 13 (week 3)
Part 2 due:  Sep 20 (week 4)

Description (part 1): 
Create thumbnail sketches for a 20 second abstract animation of geometric shapes to a soundtrack of your choice. Start with creating sketches of compositions (you might have 4 or 5 scenes, depending on the speed you're going for). Then start brainstorming about interesting ways of transitioning between these scenes.

The sketches should be quick, loose and messy.

Bring the sketches to class in pdf or jpeg format.
Description (part 2): 
Create an animation based on your thumbnail sketches. You are welcome to improvise, but try to stay in the ballpark of your original idea.

Inspiration: Sep 6 (week 2)

Len Lye: Kaleidoscope (1935)
http://www.youtube.com/watch?v=EF_ehWEL0Wc

Maurice Binder: James Bond Dr No Title Sequence
http://www.youtube.com/watch?v=VAGXOTUvrB8&feature=fvst

Steffen Bygebjerg: End Scene
http://vimeo.com/5915043

Inspiration: Aug 30 (week 1)

Michel Gondry: "La Tour de Pise" music video
http://www.youtube.com/watch?v=VwhgMGhT-mQ&feature=related


Shoot the Boss (Montreal): "Nature Boy"

Directed by Stefan Nadelman: "Terminal Bar"

Orkestr Che: "Mayakovskiy" music video

Project 1: "A Simple Story"

Due: Sep 06 (Week 2)

Description:
Select a unifying theme (nature, city, weather, family, etc.) and create a 20 second film timed to a soundtrack of your choice. You must use at least 20 images and 3 videos (I will count!)

The purpose of this assignment is to understand rhythm and timing. Practice hitting the beat when bringing images on and off screen. Varying the duration and scale of the images/videos will make your piece more exciting. Play around with composition and use multiple layers (it shouldn't be a "single image after single image" slide show).

Check out the "Inspiration" section of this blog for references (look for the "Week 1" entry) 

Specs:
- 1920 x 1080, square pixels, 29.97fps

- 20 seconds
- h264 or mpeg4 compression

Free Video Sources:
You can download free stock footage (including HD footage) with no watermarks at http://www.stockfootageforfree.com. You will have to register in order to download clips but it is free.

There are some interesting videos in the community video section of www.archive.org
http://www.archive.org/browse.php?field=subject&mediatype=movies&collection=opensource_movies

The video section of Getty Images allows you to download sample videos with watermarks. Click on a video and download the watermarked sample on the right.
http://www.gettyimages.com/footage/frontdoor/istockfootage?isource=usa_Home_ftv_hero_istockfootage_B

Notes: Aug 30 (Week 1)

Project organization 
  • When media is imported into After Effects, it does not become part of the AE file but rather “links” to the AE file from its location on the hard-drive. It is very important to maintain a consistent folder structure for every project, or you will lose the links to your imported assets. 
  • Create an organized folder structure for each project you work on. 
  • Never re-name or move your folders and imported assets. 
Basic Interface: Project, Compositions, Timeline, Preview and Tools 
  • To close a window, highlight it by clicking inside it (make sure you see a yellow outline around the window you selected) and click the “x” symbol in the upper right corner. 
  • To open a window, select it from “Windows” in the main AE menu bar (top of screen).
Composition settings 
  • When beginning a new project, be aware of your final output requirements (web, broadcast, projection, etc). 
  • Some important specs to be aware of are: resolution, pixel aspect ratio, frame rate, duration 
  • In this class, your composition settings will be: 
    • HDV/HDTV 1080 29.97 fps Progressive 
    • resolution: 1920 x 1080 
    • pixel aspect ration: square pixels 
    • frame rate: 29.97 frames per second 
    • Progressive (non-interlaced) 
  • Zoom in/out of Composition Window: Cmnd & + or -
Importing media: still images, video, audio 
  • option 1: File > Import > File 
  • option 2: Right-click in the Project window; Import > File 
  • option 3: Select Project window; Cmnd & i
Working with layers on a timeline 
  • To bring images, videos and audio files from the project window into the composition:
    • click-drag an asset from the project window and drop it into the composition window (this will give you the option of positioning the asset using the mouse) 
    • click-drag an asset from the project window and drop it into the left side of the timeline (the asset will appear in the center of the composition and at the beginning of the timeline) 
    • click-drag an asset from the project window and drop it into the right side of the timeline (the asset will appear at the center of the composition but will give you an option of choosing the desired place on the timeline using the mouse) 
  • duplicating a layer: select layer; Cmnd & D 
  • copying a layer: select layer; Cmnd & C 
  • pasting a layer: select layer; Cmnd & V 
  • zoom in/out of the timeline: + or -
Preview


Transform properties 
  • anchor point (a) 
  • position (p) 
  • scale (s) 
  • rotation (r) 
  • opacity (t) 
Using audio waveforms as a rhythm guide 
  • Use the waveform of an audio file to help you find rhythm cues for animation timing 
  • Thinner parts of the waveform represent a lull in the sound while high peaks usually indicate a beat 
  • To access the waveform open the sound layer (by clicking on the arrow symbol to the left of the layer name); open Audio; open Waveform; roll over the thin grey line below the waveform and pull down to expand the waveform size. 
Rendering
  • To export your animation, select the animation timeline and go to Composition > Make Movie 
  • Make sure the work area of your timeline is set correctly (to adjust the work area, pull on the front or back handles of the “work area” bar at the top of the right side of the timeline) 
  • Render Settings: 
    • Output To: 
      • make sure to set the correct output location and name your file 
    • Render Settings: 
      • set the appropriate Quality, Resolution and Time Span 
    • Output Module: 
      • Format: Quick Time Movie 
      • Format Options > Compression Type: H264 
      • Audio Output: make sure to turn it on!

Syllabus Fall 2012


Instructor Contact Info:
yparshin@pratt.edu | yparshina@gmail.com | 646-733-6502

Course Description:
In this class we will cover the basics of After Effects animation and dive into more complex motion graphics techniques. You will develop an understanding of timing, rhythm and composition; learn to create unique effects and apply them with taste; master various methods of animating text and manipulating videos; explore After Effects 3d tools... and watch a lot of animation!

Online Resources:
www.creativecow.com
www.adobe.com/support/aftereffects
www.motionographer.com
http://www.videocopilot.net
www.lynda.com (paid subscription)

Requirements:
External hard drive:
You must own an external hard drive large enough to contain all your projects (around 500 gigs). Bbring it to every class with your latest work.

Vimeo account:
If you haven’t already, please sign up for a free Vimeo account (www.vimeo.com). You will upload all your projects to Vimeo and send me the links (and passwords if you wish to keep your work private).

Grading policy:
Weekly projects = 70%
Final Reel = 20%
Attendance & Participation = 10%

Tutoring:
If you are having trouble with any aspect of After Effects or related software, please let me know ASAP and I will arrange an in-person or on-line tutoring session.

WEEK 1: AUG 30, 2011
Introductions
Syllabus review

Lesson: After Effects basics (part 1)
Project organization
Composition settings: resolution, aspect ratio, frame rate, duration
Understanding different formats for various project types
Interface: Project, Composition, Timeline, Tools and Preview windows
Importing media: still images, video, audio
Reloading media
Working with layers on a timeline: duplicating, cutting/pasting, duration
Understanding frames
Transform properties: anchor point, position, scale, rotation, opacity
Using audio waveforms as a rhythm guide
Project #1: “A Simple Story” (Due: Sep 06)

WEEK 2: SEP 06, 2011
Submit: Project #1 “A Simple Story”

Lesson: After Effects basics (part 2)
Working with keyframes
Motion path
Working with keyframes
Motion path
Troubleshooting /reloading media

Lesson: Animating—theory and keyframes
Working with keyframes
Motion path
Auto-orient
Using illustrator paths as motion paths
Motion theory
Types of keyframes: linear, ease in-out/easy ease, hold, rove
Working with the graph editor
Parenting: layers, null objects

Planning your animation—creating thumbnail sketches and prepping a soundtrack

Project #2 (part 1): “Geometric Shapes” thumbnail sketches and trimmed soundtrack (Due: Sep 15)

WEEK 3: SEP 13, 2011
Submit: “Geometric Shapes” thumbnail sketches and a trimmed soundtrack

Lesson: Imported and AE native media
Importing Photoshop layers
Bitmaps vs. Vectors: Continuously Rasterize
Importing Illustrator layers
Solid layers
Masks
Shape Layers

Lesson: Precomping and Nesting
Precomping/nesting
Collapse transformations
Keeping comps organized

In-Class Work: Unfold a logo

Project #2 (part 2): “Geometric Shapes” animation (Due: Sep 20)

WEEK 4: SEP 20, 2011
Submit: “Geometric Shapes” animation

Lesson: Type (part 1)
Importing text from Photoshop and Illustrator
Converting to editable text
Creating text in After Effects
Character and paragraph tools
Manual text animation: text guides; animating back to front

In-class Work: Begin Project #3: “10 Letter Word” (you should have a soundtrack to work with)

Project #3: “10 Letter Word” (Due: Sep 27)

WEEK 5: SEP 27, 2011
Submit: “10 Letter Word”

Lesson: Type (part 2)
Animating source text
Animating text with paths
Text animators

Project #4: “Song Lyrics” (Due: Oct 4)

WEEK 6: OCT 4, 2011
Lesson: 3D Layers (part 1)
3D layers: z dimension in transform properties
Using 3D cameras
Pre-comping/nesting with 3D layers
Using 3D lights
Casting shadows
Material options

WEEK 7: OCT 11, 2011
Lesson: 3D Layers (part 2)
Bringing 2D images to life using 3D layers
Projection mapping

Project #5: “Bringing a Still to Life” (Due: Oct 18)

WEEK 8: OCT 18, 2011
Submit: “Bringing a Still to Life”

Lesson: Blending modes—creating manual effects
Using and combining blending modes
Working with organic materials
Collapsing transformations and blending modes

Lesson: Working with video footage
Import settings in detail (interpret footage)
Manipulating speed: time stretch, time reverse, time remapping

Lesson: Effects Categories (part 1)
Overview of all effects categories
Applying effects: working with adjustment layers
Effect controls/setting keyframes
In depth:
Color Correction
Blur/Sharpen
Stylize
Distort
Time Effects

Project #6: “Abstract Video” (Due: Oct 25)

WEEK 9: OCT 25, 2011
Submit: “Abstract Video”

Lesson: Masking with Alpha and Luma
Blending modes: Stencil and Silhouette
Track Mattes

Lesson: Organic effects—Ink, smoke, spatter
Videos as FX and textures
Building a transition
Creating spatter using AE generated effects
Creating ink bleeds using AE generated effects

In-class Work: 
Build a transition using videos
Build an “ink” transition using AE generated effects

Lesson: Style frames

Project #7 (part 1): “Ransom Note” style frames (Due: Nov 1)

WEEK 10: Nov 1, 2011
Submit: “Ransom Note” style frames

Lesson: Effects Categories (part 2)
Generate
Perspective
Transition
Simulation
Using the write-on effect

In-class Work: animate handwriting

Project #6 (part 2): “Ransom Note” rough animation (Due: Nov 8)

WEEK 11: NOV 8, 2011
Submit: “Ransom Note” rough animation

Lesson: Rotoscoping
Manual technique
Roto brush tool
Rotoscoping  a human figure

In-class Work: “Ransom Note”
* Bring renders of all your projects to our next class

WEEK 12: NOV 15, 2011
Submit: “Ransom Note” final animation

Lesson: Keying
Lesson: Motion tracking / Stabilizing

In-class Work: Animals in outer space

FINAL REEL: rough draft (Due: Nov 29)

WEEK 13: NOV 29, 2011
Submit:  FINAL REEL rough draft

Lesson: AE scripting basics
Lesson: Experimental techniques

WEEK 14: DEC 6, 2011
Survey

WEEK 15: DEC 13, 2011
Submit: FINAL REEL and makeup projects
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