Adding a transition
Video: Adding a transitionNever assume the client won't have changes. They may legitimately have different opinions than you about how things should work, or they might just want to have to put their fingerprint on something so they can say they are the ones who've guided it to its final brilliance. Either way, always schedule for client changes. And you might even want to put it in the contract how many round of changes they get, just to focus them so they get their changes done earlier rather than later. Anyway, our client has seen this final video and has a list of changes that we are going to implement in this chapter.
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This course pulls together the skills you've been learning in the previous After Effects Apprentice installments to create a real-world video promo. Trish leads you through building the artwork and components used in the final piece, and then Chris shows how to assemble these precompositions into a 3D world, timed to music. Along the way, Trish and Chris also share their thoughts as they design a video project, including unifying the overall look and handling change requests from clients.
The After Effects Apprentice videos on lynda.com were created by Trish and Chris Meyer and are designed to be used on their own and as a companion to their book After Effects Apprentice. We are honored to host these tutorials in the lynda.com library.
- Building a 3D world
- Working with layered Illustrator files
- Synchronizing to music
- Using text animation presets
- Rendering strategies
- Working with widescreen video, including 4:3 center cut and safe area considerations
Adding a transition
Never assume the client won't have changes. They may legitimately have different opinions than you about how things should work, or they might just want to have to put their fingerprint on something so they can say they are the ones who've guided it to its final brilliance. Either way, always schedule for client changes. And you might even want to put it in the contract how many round of changes they get, just to focus them so they get their changes done earlier rather than later. Anyway, our client has seen this final video and has a list of changes that we are going to implement in this chapter.
Let's preview again our final work just to remind ourselves what we are doing. (music playing) Okay, their first comment was the music had a nice gradual swell in through here, and the dirt border is going through a nice gradual arc, but then there's a very sudden cut. They'd like to see that transition smoothed out a little bit.
Well, now we are happy. We build ourselves some handle where we have extra video at the start of Comp 2 and extra video at the end of Comp 1. We have some extra material to build a transition, and that's why you need to build handles whenever you're creating elements that'll be edited together later. Anyway, let's listen to this music and get some thoughts here about how we might put a transition in here. I am going to start a couple of beats before the cut and listen to how it builds. (music playing) So even though there is a strong beat here on marker 2, in reality the music is peaking on this marker.
So a transition between this beat and where we previously had our cut might be a way to go. Of course, you can try other ideas later, like putting it after this big beat, whatever. But let's just run through the process of doing a transition from this beat to this beat. I'll select our Main Comp layer 1, and I am going to use something in Effect > Transition to help reveal Comp 2 underneath. You could just start off with an opacity fade and see how that works, but there's other ideas.
Block Dissolve would echo what you're doing with the few panels already; Card Wipe has a 3D element to it where individual scores flip over. But something I've played around with earlier which I found also to be interesting is believe it or not CC Jaws, it's part of the Cycore Effects that come bundled with After Effects. You won't get this with the trial version, but it will appear with the full installs. Let's play with this just to add a little bit more impact to the transition. So there is CC Jaws. Most transitions have a Completion parameter that you scrub to effected transition.
Right now, I have no layer underneath this layer. That's why it's just revealing the comp's background color. So I need to make sure that I select Comp 2 and trim it by holding on Option or Alt, pressing the left square bracket so that I have material underneath this point of Comp 1. Now when I make a transition, I'm revealing Comp 2. This sawtooth look isn't cutting it for me to be honest, but they do have some other options. They have Robo Jaw which is different.
That's kind of interesting. What else do we have here though? Block, and a Block would echo what we are already doing with our Block Dissolve and the grid pattern on the floor. So that might be a candidate. And what else? Waves, no, it's a bit too soft. I have a very hard edge look here. Let's go back to Block. Block has a Width parameter and I might to try to set it up to match some of the block patterns in the video behind. So I am going to scrub this a little bit until I have something that more or less matches say two blocks in my background, and you can indeed offset where this is centered so that during the transition it more or less equals with two blocks of that background video are.
So that ties in nicely. That's kind of odd. What happens if we reduce the height a little bit? Yeah, I have something a little bit closer to two blocks and height here as well. So I think I am going to stick with something around here. Okay, next is actually keyframing the transition. I'll go back to this beat, this marker in the music, enable keyframing for Completion, put it down to 0 so that we see all of Comp 1. Press the K key to jump to the next marker and move Completion up to 100%.
Now I drag through here, I can see my transition. Let's set up a little bit of a work area to preview here. I am going to press B to begin my work area at this point and go to a beat later and press N to end my work area there, and press 0 on numeric keypad to RAM Preview. (music playing) Honestly, I don't like the direction of that wipe. The way that it's opening up to reveal the underlying layer is removing the skater from the image.
No, that's not what I want. I want to look at the skater during the transition. So let me place the current time indicator in the middle of transition and move the direction of the transition. Oh! Here we go! This is different. Let's try 180 degrees. By doing that, that still hasn't given me the desired look. Well, you know in addition to transitioning off the layer, you can also transition on a layer. So let's temporarily turn off Jaws on Comp 1, put it below Comp 2, and try the same effect on Comp 2.
CC Jaws, at a Height of 9%, a Width of around 8 or 8.3, and I'll set Shape to Block. Transition actually runs in the opposite direction when we are revealing the underlying layer. So I am going to start at 100% Completion, place the keyframe, K to jump to next marker, then put Completion down to 0%. Now during the transition, I'm closing in on layer 1, and I get to see my skater a bit longer.
I think I am going to like this one better. Let's RAM Preview. (music playing) I like that a lot better, because the teeth closing really emphasized that beat and adds a bit of tension to actually have the jaws close in this person, hit the beat, then move on to the next video. Okay, that's the transition for our client.
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