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This project-oriented course leads you through the creative and technical process of building an opening title sequence from scratch in Adobe After Effects. Author Chris Meyer shows how to pull together numerous skills you've learned in the other After Effects Apprentice courses, from working in 3D space to creating type and shape layers to writing expressions. Along the way, Chris lets you in on the mental process he uses when creating similar spots for real-world clients, while sharing numerous tips that will help broaden your After Effects skills.
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.
Another very minor detail that bothered me, because I noticed these things, is just the timing of when some of these videos come on and off. For example, this frame on the right, where the nurse is taking the blood pressure of a patient. For a good deal of the time that she comes on screen, we don't get a very attractive look of her, we just see her back instead of seeing more of her face and her actually putting the cuff on the patient. So I think I'm going to slide the timing of that video so we see her in a more attractive light when she comes on screen. I've moved it to a representative frame shortly after she comes on screen and I'm going to slide her layer bar to change her timing so that's she's starting to turn forward as she comes on the screen. Let's see how that looks.
We'll pull back, even though in that pull back, I wouldn't mind her being a little further around like that. Let's make sure I've not hurt my timing later on in this composition. I want to make sure I don't run out of video while her frame is still on screen and looks like we're safe. We still see some image, this last frame that that video is visible, so we're safe. My danger would have been if I had dragged it so far that the video would have finished playing and then suddenly we would have a blank area, but we've got enough, I'll undo. I think that's a mild improvement there.
The other thing which is very minor, but which bothers me a little bit, is we don't get to see a lot of this last pose of this physical therapist helping the range of motion on this patient. By the time the camera has done panning to that person, that video frame is almost entirely off screen. So I think I'd like to slide things in time, so we get a little bit more of that shot. Let me test to see where is the last frame of the master comp, I want to see that video, right around there. Let's start sliding its layer bar to the point to where we run out of video.
It is right around there, so I'll back up a little bit and now we could see much more of that therapist on screen after that camera pan is finished. Now let's make sure we haven't screwed up the start of our video. Here's where we pull back and reveal these frames. The camera pan is hitting that pillar a bit soon, so I may have slid the video too much. I think I would like to see a little bit less that pillar until we've established this girl on screen and the therapist talking to her.
Here's the pull back, we could see that patient, then we land, then we start our pan. I think this can be a little bit less annoying and we still get to see a bit more of the therapist at the end of the video. The other videos are pretty good to me. The Stress Test is the same pose, locked on camera throughout, and actually I do like the timing for when these joggers come on screen. They do come around and make a turn and give me the maximum ability to view them. So I'm pretty happy with the jogger footage. We could try sliding it to see if that help us any, but I'm not sure it does, maybe right around there, no big improvement, probably we don't need to tweak that anymore.
Okay, now that I've made these touchups, now I'm ready to render a proof for the client.
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