Intro to Motion Graphic Icons: Camera [1/8] | After Effects Tutorial

Hello everybody and welcome back to tip tart today we’re inside of After Effects taking a look at how to animate these simple travel icons that I’ve created I may or may not do a tutorial on how to make these they’re pretty simple but if you want one just let me know but we’re gonna start from the animation process it’s fairly simple stuff I hesitate to all this beginner tutorial bow because I’m not going to be explaining all the very core basics of art effects if you know a little bit if you opened After Effects before you should be fine in following along though however the very first thing that you’re gonna want to do is make sure that under your preferences in general there is a checkbox called default spatial interpolation to linear and then what that basically means is you don’t get the weird of boomerang effect when you move when you create movement keyframes it’ll make people make more sense let me go in just make sure that’s ticked otherwise you get a lot of unwanted wiggly movement around your keyframes so we’re just gonna dive right in circle these one at a time and I’ll probably split them up into separate episodes okay it’s the first thing you need to do create a new composition whatever size that you want I’m gonna create mine 920 1080 30 frames per second should be fine and it doesn’t need to be 5 minutes long it can be 30 seconds okay that creates a new composition for us and we’re gonna call this travel icons oops now I’ve got my icons here as JPEG images I will put these on my website so you can download them if you want to however if you want to work from your own ones just find the the principles can be applied to anything really I’m gonna tackle these one at a time so I’m just going to drag in the first one here and using my mask tool I’m just gonna drag around the first camera here like so then if you click on the layer and realign the anchor point I’ve got a plug-in which just allows me to do it quickly but you can use the Pan behind tool and just click the anchor point and move it around the screen if you want to then click on your layer and hit P to bring up the position and type in 960 by 540 in that purse in the center of your frame okay let’s add in a white background with layer new solid as control y for the shortcut just that we’ve got something to work with and I’m gonna use control open square bracket to push it down a layer to the bottom of the palette you might as well lock that because we’re not going to be needing it again now if you had these as an illustrator file you could bring them in and separate out their layers into shape layers and you wouldn’t have to do this first step however I recommend doing it anyway because when you’re animating something onto the screen in the way that you saw in the intro you need to understand what shapes the entire image is made up of and that allows you to animate it properly or not properly better I suppose for example this camera is made up of a large rectangle a smaller sort of trapezoid on the top a circle to smaller rectangles in a line now you might struggle to decide what order and how the components of this camera are gonna come into the frame when you animate them however if you create them yourself piece by piece it’s a lot easier to understand how it all works and how you’re going to put it together so using the pen tool I’m just gonna make sure my stroke is about 4 pixels I think that should be just enough you can check just by drawing something in quickly that seems to be okay about the same thickness as the original lines and I’m gonna start creating our elements I’m just going to sample the color here like so and start drawing these in the first one quite simply just start with the line now as you can see on the original image all of the lines have round caps whereas our default in after-effects is a but cap or a square cap I’ve got a plug-in called buck Kappa which is free and funny in which page you can just click them and it creates round ends for you if you don’t have that we need to do is go down into your contents shape stroke and then you can change the line cap and the join line joins here to round bar projecting this just makes it easier and quicker you can find that with a quick google search okay so you’re gonna bring name this one line and we’re going to go through and create all of these different elements I’m gonna fast-forward through this bit it’s quite simple you should know exactly what I’m doing but I’m gonna do the first few so you can see my thought process behind it I’m gonna need then for example this entire shape as one element so I’m gonna get my pen tool out like so and just start clicking along holding shift when I want learning lines to be perfectly straight and just left clicking when I need them at an angle like I say now holding shift allows you to make sure that even if you miss clicks lightly you’re still gonna have a perfect rectangle when you’re done take that round off those ends and if I alt click with this plugin it rounds off any corners as well as you can see we call this one camera main okay now we need just a couple of small rectangles Mazal use a rectangle tool for this rather than the pen tool because it is nice and simple and we can just click and drag these in like so making sure we don’t get any overlap and I might as I round all these off once I’ve done everything otherwise it’s gonna take a long time okay like so that’s fine the last line we’re gonna need then is a ellipse somes going to come in oops I think I did those on the same layer yes I did that’s fine there I can take the second rectangle cut it and put it on a new layer instead so it’s important to click off of each shape after you’re done drawing it like so otherwise they do end up on the same layer which in other cases would be fine but here we want them separately just for ease of animation later on so go over to our lips tool make sure no layers are selected find roughly the center and holding ctrl and shift will draw a circle from your center point and make sure it’s a perfect circle like say okay grab all those layers to make them all round and realign all their anchor points to the middle of each shape and now if we hide the layer underneath you realize we’ve got all the lines we need and now we just need some block colors instead so I’m just going to hide all of these we’re gonna need a white shape for the circle so for that one I might as well just duplicate this circle layer I’m just quickly renamed these so that was the shutter button that one was the flash yep and this one is circle line so if i duplicate this one and call it circle white and then i can go up to my stroke here and if I hold alt and click I can click through cycles until I get to no stroke and then with my fill I can just I drop with a background to get a white shape now the white shape is on top of the line which is making you look thinner than the others so we can just hit you to collapse all those properties and then control open square bracket will push it down below our line the last three steps then are the shaded area the main rectangle and this trapezoid here now this is one single shape the rectangle plus the trapezoid but ever we want to think about how we’re going to be animating this if you remember from the intro the main body shape comes out and the little troubles like pushes out we could do that with one shape but it’s making it harden ourselves so we might as well do it with two I can grab my pencil I’m gonna eyedropper this little trapezoid here and I’m gonna go in and choose my two points that I know need to stay the same and then I’m gonna move it a little bit further past this closing point here so we’ve got a bit of extra wiggle room and I’m gonna do the same thing like say and now we’ve got our trapezoid perfect just gonna call this one top of cam and I need my rectangle tool to create this block of color it’s try again like so that seems fine which we can call can color and will push both of those all the way down to the bottom I say then the last thing we need is the piece of shade for that one we might as well take our initial camera body layer realign the anchor point so that’s on the left-hand side and then hit scale and bring it down so that what we’re doing is basically scaling that up rather than redrawing it to do that probably gonna hide all of the above here like so so when I unlink these and scale down horizontally I can see where that darkness starts and just put it like that just quickly move out the way sample that darker color and here okay and now we’ve got exactly what we needed perfect if I now hide this image and show every other layer that we’ve created you can see that I’ve accidentally gotten rid of the camera color layer I didn’t duplicate it that’s fine we can just duplicate this one push it underneath call it cam color main and then we can just put that scale back up to 100% and change the color okay perfect I missed that step there but easy to rectify as you can see now we’ve got all of our shapes of our icon as separate layers easily animatable I’m gonna select them all just going to do a quick double check on all the but capping and I’m gonna align all of the points to its center apart from these two main ones which I’m going to align left’ later when we come to animate this so that’s all there is to it we’ve created it we’re ready to get going with the animation and to do that we need to think about how this cameras off put together so the main part of the camera is probably the first thing we want to come in because you don’t want to start with the sort of extraneous elements because it’s going to make it difficult to see what it is quickly and you don’t want this animation to take more than a couple of seconds really so I’m gonna take my can color and cam color main layers and hit s to bring up their scale parameters and I’m gonna keyframe both of those by clicking the little stopwatch now because this is 30 frames per second I know that if I press ctrl shift and then the right area that moves me along 10 frames so I do it three times it moves me along a second it’s best in these sort of animations to make sure that everything you do has a uniform timescale too and that makes it feel kind of bouncy and nice so if I were to drop in a second keyframe here for example and then move along say 15 frames so control shift right it would be 10 and then just control right 1 2 3 4 5 and then put finishing keyframe what I can do is actually have these animations bounce out further than they need to be and then back in again I do have a plug-in called ease and Wiz that will do that however because this is a beginner level tutorial I’m going to try and use plugins as little as possible so forgive me if this seems longer than it should because I’m trying to work out how to not do it with any plugins so we’ve now got three keyframes in the right places but no animation because we haven’t changed any of their values so what we need to do is work backwards from its finishing point so for example on our last keyframe here we know we’ve got all the elements where they need to bit they’re the right size they’re in the right position on our first one we want them to be invisible not there because they’re animating on we know that this first value is width so we can drop both of those to zero and because I points are aligned to left it pushes them all the way to the left like so meaning that when we scrub along they animate in however these two are exactly the same at the moment so what’s the point of having in there well if you go back to the second one you can push them a little bit further for example you can push to say 30% for this scale here and say 110 for this second one and that means they come in overshoot and bounce back okay it looks kind of boring very PowerPoint because you haven’t added any easing to off keyframes so if we select all of our keyframes right click keyframe assistant easy ease or the shortcut f9 well that does add a little bit of easing in and out to each of our keyframes looks okay but still not great what we want them to do is whip out from fast to slow and then sort of stretch and ping backwards as if they were physically moving applying the sort of physics to these sorts of animations look make some a lot better than just the basics so to do that we need to go to our graph editor I’m gonna click this little button here and we’ll get our speed graph so obviously the higher it is the faster it is the more steep the lines the more faster the movement if you don’t see this if you see something like this for example it just means you’re on the value graph and that means you can change in the same way and when you move elements around here it changes a graph here what you need to just click this little menu button second from the left and choose edit speed graph from there you’re gonna want to zoom right in so you’ve got a lot of control and then just select by clicking dragging these middle key frames now this middle section here each dot represents each key frame that’s all it is and you can see you get these little yellow handles you’re just gonna click and drag these left so that you get more influence so now you can see that these key frames gonna go fast just slow so they’re gonna whip in and then on this back end here we’re gonna want them to go slow back to fast again like this ok now the moving we get should be a lot nicer like so perfect ok whipping in coming back again looks good to me but it is all moving a little bit slowly so what you can do to change that is you can increase the frames per second on your composition or you can reduce the distances between keyframes for example if I were to zoom out like say go to composition settings and change this to 60 frames per second okay and then we could have all these animations so where we had one second before if I pressed ctrl shift right now it would only move me on a sixth of a second rather than a third of a second if that makes sense so what I need to do is come through to these keyframes and just push them all back like so and then push these back so it’s half like so and what this would do its make everything a bit quicker and a bit smoother if you wanted to leave on 30 frames per second depending on what your composition needed to be that’s fine it doesn’t actually affect anything in terms of distance as long as your key framing right but it does affect things like motion blur and house or poppy it makes it feel that’s a very bad way to explain it I’m gonna leave on 34 now it’s just that most of stuff I do works at 60fps so that does still feel a little bit slow so I’m gonna do is reduce all of these distances by half so 30 frames here so once I couldn’t go 15 so one two and then back five like this and then for this one we’re gonna go one and probably should leave it at that actually see what that looks like see how that feels perfect that looks alright so now we know that our slow increment of animation is 15 frames and I’ll pop back is 10 okay so we’re gonna use those values for the rest of these animations I know this is feeling a bit slow I’m just going through everything that I sort of want to talk about and then in the subsequent episodes I’m just gonna be doing it more and talking about it less because hopefully you should be following along and it’ll come easier to you okay so you’ve got our first two elements popping in here probably want to offset that second piece of camera color coming in so I’m going to do is move along three frames and then just press open square bracket to push that layer along a little bit so to start a little bit later okay that looks a bit nicer already perfect next step then is to decide what’s going to animate next I’m thinking that as soon as this gray this green block pushes past where that little trapezoid on the top is I’m gonna want that to start animating up that one’s nice and easy we’re just going to adjust the position on that one so I’m gonna align this anchor point down to the bottom of the shape press P to bring up the position keyframes keyframe it move along 15 frames so that’s control shift right and then control right five times a keyframe there and then control shift right for the final keyframe and this is why we gave it a lot of extra space because when we go back here to do the overshoot we don’t then have a gap because you’ve got plenty of space left over I’m gonna see what that looks like and on our first keyframe I’m gonna push it all the way down so this just inside the edge of the camera block okay like so so now when we animate this it pops out and bounces back in which is perfect maybe we can give it a little bit more on that second keyframe against electoral votes you can hit f9 to give them easy ease or you can go right click keyframe assistant easy ease and then go into a graph editor and do the same timing that you did on the previous one fast to slow for the first keyframe like so and then slow to fast for the second one and let’s take a look perfect apart from you can see that it’s still there when before the other two shapes are started animating in so all you need to do in that case it’s fine point where it overlaps it completely ie the first keyframe and then press alt open square bracket and that cuts that layer to be the new end point if we just pressed open square bracket without the alt it would push our keyframes further along which is why we hold alt to snip off the end of the layer and let’s look at that perfect okay let’s have a little bit of an extra look maybe we want sort of before that starts to pop up we want some of the lines to start coming in that’s really easy we can do that no problem I’m gonna choose the line layer here I’m gonna realign its anchor point to the top not that it really matters and I’m gonna choose add on the 12 down menu of line and then trim paths underneath the trim paths we have a start and end point which correlates to the start and the end of the line so if I were to drag this down you’ll notice that our line simply starts to disappear so you probably guess what we’re gonna do we’re gonna have a keyframe that starts at 0 we’re gonna move along 15 frames and we’re gonna drag that all the way up to 100 now we can’t really have this one back out because it’s 100% you won’t go further than that you can drag the start point if you wanted to but we’re gonna leave it just as it is we don’t need a nice or backing out of this animation just a straight 15 frame easy ease line is just fine so we’re gonna do exactly what we did on the last ones and give that a bit of motion let’s see what it looks like let’s trim that layer so we know and where we’re starting with alt open square bracket and take a look perfect ok you can see that it’s getting a little bit difficult to see all of our layers if you hit you that collapses everything apart from the keyframes that you’ve got and to be honest we can probably reduce this because we don’t need much space to work with they’re only using a small icon we’ve then got the main camera animation I’m gonna do the rest of these pretty much with trim paths so I’m gonna add another trim path here and I’m going to drag 1but you can see that I probably don’t want the line to start up there in the top right I might want the line to start over in the top left corner that’s easy enough to do you can adjust that with the offset and you can see that I can start pushing around where my line starts till I get it somewhere that I want I strike that down to zero but this time I’m gonna do something a bit different I’m gonna keep throwing both start and end move along 15 frames and move along 10 frames and keyframe morning so but the last frames you know that we want that to be on a hundred and start to be on zero so this finished ho before that I might have end go to 100 still but have the start come up to about 20 and that sort of will make it look like the light overshoots and then backs into where it needs to be maybe not 20 maybe just 15 so it’s just around that corner that means when the first one starts it’s gonna drag itself out like this you can see the tail end starts to follow it then it bounces back in a little bit but still that looks like by keyframe assistant easy ease and let’s just have both of these go faster slow and slow to fast see what that looks like okay she got a nice little push back on that first bit nice little bouncing in like I say yeah I like that that’s good let’s trim our layer with old open square bracket collapse it so we can see what we’re working with give ourselves a bit of breathing room and see what we’ve got so far yeah not too bad happy with that let’s see what we can do about some of these buttons then I think we’ll look good this isn’t gonna be exactly the same as the one you saw in the beginning because obviously I’m working them over again but you should be able to sort of interpret what I’ve done with them I could just trim paths both of these but you’ve seen that twice now it’s gonna be boring if I do that again so instead let’s do something a bit more fun and adjust the path manually so we get like a nice sort of growth let’s have it start maybe round here once it’s covered by the green and I’m going to 12 down go to contents rectangle rectangle path and I’m gonna keyframe its size now you might think this is the same as scale but it’s not because scale would affect the thickness and rounded corners of the lines whereas position a path size sorry will physically affect only the path size meaning if I go we still see a little dot whereas if I went all way down to zero with scale it would disappear entirely okay we’re gonna unlink these first of all we’re gonna move along 15 frames gonna keyframe again and then 10 frames and keyframe again but this time maybe we’ll move that along five more frames that’s more even and I’ll tell you what in a minute so now if we hit alt and right rather than controlling right that will move a keyframe rather than moving the playhead so 1 2 3 4 5 we’ve now got 15 frames in between each animation here so let’s have our final position be the rectangle that we want and let’s have the one before that be the same height but zero width so bring that down to 0 so you can see the one we do we’ve then got a line yeah it’s still a rectangle but because the width of it is zero it looks like it’s just a straight line much like this line over here and then on the previous keyframe to that we’ll bring both of these values down to zero and that means it starts with the dot so we want to clip our layer so that before this there’s nothing at all okay but then it’s gonna grow in vertically and then grow in horizontally so once we are easing to it with f9 and our speed graph like so let’s have this go faster slow and then faster slow again that seems fine so rather than slow too fast on the second one I stick a look at what that looks like perfect nice and simple so let’s see from a zoomed out point view looks good I’m happy with that let’s have the button then just push up as if it was growing out of this as if the button was being released to do that that’s nice and simple let’s just collapse these layers go to our button we could do scale but again it’s going to mess the thickness in the corners so instead we’ll go to rectangle path and we’ll just have it go 15 frames like say 10 frames like so and this time we’re gonna align it so it’s on the bottom okay well anchor point and then on our second one we’re gonna push it just a little bit further in terms of height use a link together still yeah see there’s the difference even though our size is anchored to the center our main shape is anchored to the bottom we can need to anchor our size point to the bottom as well to separate anchor points so then we adjust the size oh I still not working okay in this case let’s do it with scale then instead let’s have the shape do nothing and edit the scale this is gonna affect our line thickness a little bit but that’s okay it’s gonna move so quickly probably not going to be able to tell so let’s have it scale up just a little bit in height like that and on our first keyframe have that scale down to zero so that when we animate this with f9 and adjusting us be graphs like so we should get a nice little pop-up button okay perfect so you can see even though because we animated this one with scale it’s got a little bit flat there but when you’re sort of this far out you don’t be able to see it anyway yeah it’s gonna look pretty much the same so there’s a little bit of a quirk fully there that I didn’t quite realize myself yeah something new every day brilliant let’s trim that layer so there’s nothing there until it needs to start and the last thing we need to animate now is this lens now if I remember rightly in the previous on this scaled up and then sort of dance left and right back into position we can do that no problem at all let’s decide when we want it to happen they I think I wanted to scale up pretty much at the beginning so let’s move in a little bit grab both of these and hit scale keyframe them both let’s have them move on say 15 frames and keyframe them both and then go back to the first one and drop them down to zero so got both of them scaling up like so then we want the position to change with the scale to remain the same so that’s easy if we hold shift and P what that will do is bring up position keyframe so while still keeping the scale ones on-screen we keep rowing both of those positions 15 frames like so and then 10 frames back like so so we move back to those first keyframe positions here we can shift them all the way to the right and we go to here we know that they’re in the individual position so that’s going to go to the right and then back again just in time for the button to finish settling which is nice let’s grab all of these keyframes and let’s easy ease them oops I clicked the wrong button nice to use the shortcut instead go to your graph editor with all of these shapes and start easing them into a way that you think looks good let’s have them scale up faster slow let’s go the first position faster slow on both of those a zoom in it’ll be a bit easier to see like that and then let’s have the last positions go from slow to fast say perfect it looks good to me however it looks a bit too uniform still that’s what I’m going to do is go to the first keyframe trim both of these with bolt open square bracket and then move on say three frames and push the white circle over a little bit just so that we get the scale up scale up shifting and shifting like that and let’s watch the whole thing not bad do that yeah a battle okay so in the original animation it sort of burst on the screen a little bit as well with a few shapes darting across it that’s easy enough to do it’s just adding additional shapes now let me know that the actual camera animation is finished so we’re done with that so we can just select all the layers and hit u that will collapse them all and now we just need to draw in some extra shades so you go out to our pencil I’m gonna get rid of the fill and choose a stroke which is the dark blue for pixels is fine and I’m just gonna draw over the top of it like this one shape like that one shape next to it a bit smaller another shape maybe coming from the other way top to bottom down there now let’s get these perfect lines I was just holding shift while I did that show you again like so and what we can do with these selecting all of them of course is give them a round cap like so and apply a chimp after them so we go to the first shape add trim path keyframe the end position move along 15 frames and that was that 16 of it like so and then choose to animate the end position however they gonna stay on the screen if we only animate the end position so therefore we need to animate both okay so we can animate both the start and end by key framing both of them and putting them both at the zero and then going to the end keyframe and playing both the starting into a hundred now if you look to it now it looks like it’s just disappeared and if you think about it that’s because the start and end are moving along the line at the same time meaning you never see anything if you select the end keyframes and holding alt click write a couple of times about three that seems to work that’s gonna offset them a little bit so this starts gonna start to move like say at the end sorry it’s gonna start to move and then this starts gonna catch up with it and it’s just gonna dash across the screen looks a bit boring in a moment not too great but once we add in our easy ease it should look pretty good – lean cross cooking on that nice nice nice now what we could do is go through and do that individually for each one but that’s gonna take forever so what we’ll actually do is select one of these keyframes and then paste them all onto those layers and because we drew them the opposite way hopefully they should come in the opposite ways like that perfect one thing just for neatness is sake it’s probably best to cap your layers so you know that their layers that sort of start on the screen and end off the screen so you know that they’re going to be finished and it wasn’t means you can quickly take these later on as well that looks pretty good we’ll leave it at that we don’t want them to start at the end there we wanted to start right at the beginning so we could move these manually like so but if you just press open square bracket it will push them all back to the beginning of the frame and we can take a look at our finished product yeah not too bad like that however in the other one you saw it came sort of span on whilst we did it that was really easy to do if you think about it animating all of these individually with rotations and things would take a long time and be overly complicated for no reason it’s what you’re going to want to do is just apply all of these to a null and animate that null object and the best way to do that is to pre comp all of these so select all of your layers and right-click pre-compose and make sure that you move all attributes into the new composition we’ll call this one camera 1 hit OK and it will pre comp that’s the mummy see it is still in a meeting like so but it’s nice and neat and easy to work with we now need a null object with ctrl shift alt and Y or layer new null and well this is basically an object that does not show up in render is just something you can pin other objects to like for example our camera composition so the first thing we need to do before we pin that though is actually give this null some animation now I’m gonna give a scale animation and a rotation animation and I’m gonna move along say one second like this and keyframe again then when I go back to the beginning I’m gonna rotate negatively by 45 degrees which shifts that and I’m gonna scale it down to I don’t know let’s say 90 not a lot just a little bit then if we ease these thank you so you can’t see it because it’s a null but if we move to our last keyframe and then select our camera layer and pick whip clicking and dragging to our null what that basically means is this should follow this layer our shape then will scale and rotate in like so because it’s following the path of the null so let’s watch that okay you could do something even more crazy to this you could add bouncing back like we did before all those are the sort of things I’ve got a cool plug in like I said called ease and Wis entirely optional step here I’m gonna select all these keyframes choose elastic out steel that looks like okay it’s a lot more sort of just bounce it’s got a little bit of feedback to it as well you can see that it’s the same as the animation we were doing manually before okay it spins out overshoots a little bit and then Nestle’s back in fold short on these key frames in this particular plugin it makes it a bit more a bit less of intense take same amount of time to do it but it’s less intensity you can do that manually if you want to just a little bit of an added extra so that’s it for the camera then nice and easy let’s look at that on loop a couple of times give it a bit of time to rest call it maybe two second composition I’m pretty happy with that looks alright one thing I’ll probably say is that the lens animates a little bit late so let’s go inside our camera here find the lens like so circle one circle maybe we can just speed that up a little bit see when that comes in that scales up like that and then pushes over like this maybe what we can do is that you just have that start at the beginning perfect there you go lines up a little bit better now so good that’s it for the camera the rest of these tutorials are gonna come one by one and they’re just gonna be exploring and looking at the other icons in the pack however very similar sort of stuff it just be explaining different processes and things like that so feel free to watch those when they come out I’m gonna be releasing them bi-weekly hopefully for this series just to see how that goes so hopefully I’ll see you all next time when we’ll be tackling one of the other icons probably the photograph why not I’ll see you next time for animating a photograph in After Effects thanks for watching everybody see you next episode subscribe for more tips tricks and tutorials thanks for watching

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