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So we are continuing on with our animation that we've been working on in this chapter. Now, let's go ahead and see where we are, and it looks like everything is kind of happening all at once, and my line transition, I don't know, we are going to have to investigate. But now that we have more than one graphic element, let's actually start working on timing out a rough animatic of this. Now to do that, let's select our brush transition. First thing, I don't want it to start right at the head of the composition; I wanted to actually kind of come in after the title has built itself in.
So, why don't we start it at 1 second, because this is actually when the background is 100% built in. So, let's move our brush transition back. We will just click on it in the mini timeline, and I'm going to press Shift as I get towards the end, and it will snap right to 1 second. Now, I want to expand our Brush Transition layer, so we can see everything that's going on here. And as you can see, I have a Bezier path, and if we open that, we have a Write On effect. So, the paths actually draw on, and then the sequence should start flipping.
So, what's happening, the sequence has actually started flipping a little bit early. So let's go ahead and check out our Sequence settings. That's actually have the Sequence start flipping right here. So, with the Sequence behavior selected, let's go ahead and press I, and now you notice the lines are straight up and down, which is a little bit more what I've been envisioning. Yeah, so, here let me deselect the layer and you can see the lines draw it down, intersecting the title, and then they start flipping towards the camera.
So, now we need to actually start manipulating the camera. So let's reposition our playhead back at the beginning here and just select our camera. Now, in this first part of the animation, I definitely don't want there to be any move on the camera, so we will just leave that alone. And right about when the lines start to flip is when we want to start actually having our camera move, so let's do it right around 206. So, we want to push in, so if we go up under Add Behavior, we can go to Camera, and to physically move the camera in, you want to do a Dolly behavior.
So with Dolly selected, to preview where the animation goes, you want to adjust the Distance setting. But remember how I said I did want the Dolly to start until around 206? Well, look at the behavior. It started at the beginning of the Timeline. So just press I to go ahead and trim that in point. Now, we can drag it to the right, and as we drag, we are not going to see anything until we actually start moving our playhead down the Timeline, and this is definitely the move that I was going for. So, let's go ahead and drag down the Timeline and decide where we want to move to stop.
So, I'd like to actually get pretty darn close to the title. We will make it look like we're flying right next to it. Let's get to right around there. So, we can press O on the keyboard to trim the out point for the dolly. Now that may be too long, but we'll just have to wait and see when we preview the animation. Now, this is kind of cool. It's flying right through our Type layer, but I actually want to kind of move to the side. So if you want to move to the side, we need to add another camera behavior. So let's reselect the camera, go up to Add Behavior, and this time, under Camera settings, let's do a Sweep.
And 30 degrees should be perfectly fine. Let's make sure we have our in point set here. So I don't want the sweep obviously to start at the beginning of the comp, so I'm just going to move until I get relatively close to the logo and press I to set my in point for the sweep. Now, when we get close, yeah, I'm still moving a little too fast. So let's go back to the Dolly setting. I think, let's set this around half that, so we can set it to around 1,200.
Okay, now I think we'll have a little bit better-- So, let's preview this in real time here. Now obviously it's playing at 10 frames per second, so it's not quite real time, but you'll get the idea. Yeah, so, I think that's looking pretty good. I mean, we have a little bit of a hitch here, but I think we can deal with that in the future. So, we have our first graphic going into our second graphic. Now we need to actually build another transition, because at the end of this move, what's going to happen? Well, I want some dots to come in from the right, and then later on after those build themselves onto the screen, we will go ahead and have the title reappear with the building graphics.
So, this is the last build of a graphic element that we will be doing. So open up the Spots Transition group, and you will notice nothing is in the scene. Well, it's because the spot is set right at the beginning of the comp. So, let's start by positioning our playhead down the Timeline here to where we want the spots to actually start. And just so we have a little bit of overlap--here we go-- we will set it right around 4. So, just click on the Spots Transition group and drag it down and hold Shift as you are dragging.
Okay, so we want these elements to build from the right and move in towards the left. Now, I don't know if you noticed, but as I'm scrubbing here, you can see that the spot is moving with the camera, and we definitely don't want that. So, what I am going to do is actually move the spot transition up out of the layer hierarchy, and let's see what's going on here. There we go. Now, it's a happy-go-lucky 2D layer. See, since we just are using this as a flat transitional element, moving from right to left, we can actually just animate this in 2D space.
So first thing, if we want a bunch of spots, you guessed it; we have to go back up to the Replicator. Once we click Replicate, let's go ahead and size this to the entire size of the screen. This way, we will have them kind of going off, and I definitely want more in the scene, so let's up our Columns to 7 and we will up our Rows to 7. So, now that we have that set, take a look at the mini timeline here, and notice the replicator is set to the entire length of the comp.
And if we select our Spots Transition layer, its set to the length of the comp, but when we select our circle, its actually trimmed to its in point. So, let's move our playhead back here in the Timeline, again, holding Shift to snap the playhead, and we will go ahead and just trim in the replicator. I will just select that. Press I. Okay. So, we have our spots on the screen, and now I want them actually to start moving from the right all the way to the left. So, when we are talking about position, you want to go ahead and add another Sequence Replicator behavior.
Now, with that selected, instead of adding rotation or opacity, this time obviously, we will add position. Now, when we animate the Position, we want it to go to a specific area. We can leave the Unit Size set to Object, but let's up the Spread to 3. Now since we are animating this into the scene, before we adjust our position, we might as well just position the replicator off the right side of the page. So, if you select the replicator, we can go ahead and position it off the side.
So, just click and drag, and I am holding Shift as I drag, and I will just zoom out on the canvas, Command+Minus, and we will just position that right off the edge of the page. Now, reselect your Sequence behavior, and now you want to click and drag to re-position on the X. Now, I can keep clicking and dragging here, but you notice we haven't set the out point for this replicator yet. So unless my playhead is all the way at the end, I don't know exactly where I am positioning it. Now, I know this is also going to be a transition, so let me go ahead and just sort of time this out a little bit here. We can see, okay, 4 seconds.
I want to build this to be roughly 3 seconds. So let's go ahead and move our playhead down to the 7-second mark. There we go. And if we press O, we can trim our sequence out and then definitely go up and select the replicator and trim its out point. Now, you notice as I am dragging, I'm actually seeing the final placement of each one of these circles. So, let's go ahead and keep dragging it here. We will drag it to around 1,340. That looks pretty good. It's, again, just positioning itself on the screen, so we won't really know until we see the final animation. But, all in all, I think we are looking relatively okay.
Let's go ahead and scrub through, and yeah, we can see the dots moving in the scene here. So, that's actually looking pretty darn good. So, if we scrub through the entire scene--let me go ahead and reframe this-- you can see, we have our initial build, we have our graphic lines coming in, we have our camera move, and then our dots. Now obviously, we are going to want to tweak this and build our transition into the title, but we have another movie to go on to finish that.
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