Viewers: in countries Watching now:
Explore how to create complex physical animations inside After Effects using Newton (a third-party plugin) and the Connect Layers (a free script). This project-based course covers a few specific and popular types of effects, such as letters suspended from strings and connected, randomized spheres. Artist Eran Stern shows how to connect any type of element together in a complex 3D array of strings and work with different dynamic simulations in order to create Dormant and Collision as well as Staggering and Kinematic animation types.
These lessons are perfect for motion graphics artists who want to create earthy physics simulations and add realistic motion to their projects.
In the previous movies, we worked on this animation, which consists of spheres and lines. We've connected these spheres using the connected layers free script. And now we need to time the animation to the appearance of these little spheres, and also match it to the audio guide, which I currently turned off, but it is present in this timeline. So, I am going to scroll down and I am going to do it while I'm holding down my mouse and pressing on the eye for the visibility of the layer.
And this will allow me to quickly turn off a couple of layers at the same time. Now I don't want to turn off the spheres, I just wanted the yellow layers to be turned off. And then let's turn on the first layer, and also, let's move our time indicator to around two seconds where we have a couple of sphere on the screen already moving. Now, we need to time it and we need to find the place where we can see sphere number 15 and sphere number 12.
Now, of course you can do it using the name of the layers, over here. But I'm just going to eyeball it. So, what I'm looking is actually for the spot where I can see both of the sphere at the same time, and then I'm just going to drag the start of the layer over here. So, when the animation will begin it will have two layers, or two spheres that are connected, and this makes more sense. Then I'm going to turn on the eye for the other one.
Sometimes, by the way, you will not see this sphere until a very last point. So, in this case, I'm just going to guess that, you know, this place in time is a good starting place because the other sphere is obviously outside of the frame. Now, let's turn on the next one. We are looking for the second sphere, which happens to be over here. And then we can just nudge it until this point in time.
And now I'm looking for spheres that will appear at the end of these lines, so I'm just going to drag it until I see this is it, this is the point. So, I'm just going to drag it over here. So, it will have something to connect to. Once again let's do it for couple of more layers and then I'm going to pause the recording and continue to work. So first we need to identify where the stroke is and this is it.
And then we are looking for the place in time where we can see both of the spheres, and in this case, I think that it should be somewhere over here because until the end of the timeline we actually don't see the other sphere. Okay, let's do it one more time. So, this is the first sphere, and then we are looking for the second one, here is the second one. So, we can drive it over here.
So, now I'm going to go on and continue to do the same for the other lines. I'm going to pause the recording, and I'm going to meet you after all of this labor work is done. And so, after working on it a couple of minutes, this is what I came up with. And you can see that it is working quite nicely, so their ropes are going like spider-webs from each one of the spheres, and there are connecting each one of them.
And this will make more sense when we hear it with the narration. But before doing so I just want to share with you that this is once again a dynamically update composition which means that, let's just place our time indicator over here just to show you. Remember that wiggle is basing its random values upon the index number that the layer have. So, if I'm going to just change one of the layers.
Let's just drop the 28 sphere underneath 27. Everything will change, because they are going to switch places. And you can see it on the screen that when I'm moving it, it still keep all the relations of everything that I've built before, so nothing is going to be destroyed if you're going to change your mind. Same is true for our null controller. So, I just want to remind that we have an effect with a slider that controls the distance between them.
And now it's time to animate it. So all the spheres will be joining themselves in the middle of the screen. This is the initial position. So this is why, we have this number one marker over here. I'm just going to go to this marker by pressing 1 on the regular keyboard. And set the key frame for this slider. I'm going to set it to zero and show you that everything is now being drawn to the middle.
And then let's move back maybe 20 frames, so Shift+Page Up twice, and set it back to 600. I'm also going to select both of them and press F9 in order to easy ease the animation. Now let's turn on the audio, and go to the beginning of the composition and create a run preview to check it in action. >> We slip into thinking that always being connected is going to make us feel less alone.
But we are at risk, because the opposite is true. If we are not able to be alone, we're only going to know, how to be lonely. >> Very nice, it's working very well. The only thing that needs our attention is at this point, where all those spheres are joining one on top of the other, after effects is trying to analyze the results and it looks kind of weird. I'm just going to press Cmd clause to zoom in and so we can see that we have too crispy result due to the fact that we have thirty copies one on top of the other.
I'm going to solve it by cheating a little bit, and this means that I'm going to open the contents for the upper sphere under ellipse number one, under the ellipse path. I'm just going to raise the radius to 33 pixels. And this will render this shape on top of everyone, because it will be a little bit bigger than the others. But in such tiny numbers, it doesn't really affect anything in terms of our design decisions.
Okay, let's go to full screen now. And of course if you want, you can also enable motion blur. So this is up to you. I'm going to choose to live without motion blur here because I think that, it's actually working nicely. And I'm going to render our final run preview. So we can take a look at what we've been able to achieve. >> We slip into thinking that always being connected is going to make us feel less alone. But we are at risk, because the opposite is true. If we are not able to be alone, we're only going to know how to be lonely.
>> And there you go. This is a very easy and fast way to create a complex grid of spheres and lines. All done using couple of expressions, a free script, and few mathematical operations. This system can be updated dynamically, using the slider that we've created. And can easily be fitted to any narration or motion graphic piece that you will create.
There are currently no FAQs about Mograph Techniques: Physics Simulations in After Effects.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.