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One of the cornerstones of motion graphics is creating and animating type. In this course, Trish Meyer shows how to typeset titles professionally and create custom animations, as well as apply and modify the hundreds of text animation presets that After Effects ships with. Additionally, Chris Meyer shows how to add audio to projects, including spotting "hit points" to align keyframes and video action.
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 Online Training Library®.
As you can see in this animation, the characters are changing color, they are also bouncing up and down, and they have a little rotation added-- and this is all thanks to the Wiggly selector, which I'll be covering in this chapter. I'll also be showing you how to work with interlaced footage, as well as how to render just the type animation with an alpha channel. So if you have the exercise files, I am previewing final comp 08-Wiggly. In the next chapter, Chris will be adding audio, as well as showing you how to add layer markers.
(music playing) And yes, that penguin really is that cute. So let's get started! If you have the exercise files, open comp 08-Wiggly*starter. If you don't have the exercise files, just create some type that you like to work with. Here I have a nice chunky font. The font is Poplar, black, and I've added a small stroke and a drop shadow. All of those are optional; however, I would add some color to your text.
I am using blue, but any color will do, except for white or black. That's because in the next movie we'll be changing the hue, so you want to have some color to play with. Before I start adding the Wiggly selector, I'd like to show you how to separate the fields. I am viewing my composition at 100%, so I can see all of the pixels. I can clearly see that I have interlacing in this frame. You're seeing alternating pairs of horizontal lines drawn offset from each other.
If I zoom in, you can see that in some areas you don't see that artifacting, and in other cases, it's very obvious. What this is telling me is that the penguins in the foreground are moving from left to right, or right to left, and each set of alternating lines were captured at two different points in time. And because of that, it's important that I tell After Effects that this footage is interlaced. So I'll return to 100%, and I'll tell After Effects to separate the fields.
To do that, I must select this particular piece of footage in the Project panel. The easiest way to do that is to first select it in the timeline, right-click, and select Reveal Layer Source in Project. Now that it's selected in the Project panel, I can click on the Interpret Footage button, and under Fields and Pulldown, I'll Separate Fields, Lower Field First. Now how did I know it wasn't Upper Field First? It's because I know this is a D1 clip.
I can tell that by the fact that in the Project panel, I can see it's 720 pixels wide x 486 high. In almost all cases, video of this size should be separated Lower Field First. I'll select OK to close the Interpret Footage, and now when I scrub the composition, I don't see any of those ugly artifacts. That's because After Effects has separated the fields into two points in time. It's showing me only the first field, and it's filling in the missing line by interpolating pixels.
Of course, one thing to keep in mind, that if you separate the fields, when you go to render this animation, you should turn on field rendering Lower Field First in the Render Settings. That way you can be sure that both fields are being saved in the final movie.
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