``` I'd like to design the exercises for the After Effects in 5 Weeks course - there is an exercise for each class period, 20 in all. These should be short (10 steps, 30 minutes) practice demonstrations of the topics covered in each skill for the class period and incorporate the material from the free tutorials and reference pages listed in the Lesson Links page. The project for each week should then include all of the skills from that week (and previous weeks), but can be more open-ended as the goals ("must deliver") are already defined. Can you come up with the first 4 and then we can see if those work for what I am thinking? ``` --- Good plan — and since the weekly milestone (the "Kinetic Typography Quote") already integrates the week's skills with defined deliverables, these four exercises just need to be quick, focused drills that ladder up to it. Here are the first four (Week 1). I've kept each to ~10 steps / ~30 minutes, self-contained (no big asset hunts), and tied to the specific resources on the Lesson Links page. --- **Exercise 1 — "Slide, Grow, Settle"** · Period 1 · Keyframes (The Basics) · ~30 min _Practice goal:_ Touch all five transform properties and set your first keyframes. _Set up:_ New project; one new composition (1920×1080, 30 fps, 5 s). No external assets. 1. Make a comp, then draw a shape layer (rounded rectangle or star) with the Shape tool; rename it "Card." 2. Center its anchor point (Layer ▸ Transform ▸ Center Anchor Point in Layer Content, or the pan-behind tool) so it scales and rotates around its middle. 3. Reveal the transform properties one at a time with the shortcuts P, S, R, T — note how each isolates a property. 4. At 0:00, move "Card" off-screen left (Position) and set Opacity to 0%; click the stopwatch on both to set keyframes. 5. At 1:00, drag "Card" to center and set Opacity 100% (keyframes auto-create). 6. Keyframe Scale: 50% at 0:00 → 100% at 1:00. 7. Keyframe Rotation: −15° at 0:00 → 0° at 1:00. 8. Press U to reveal every keyframe you've set and sanity-check them. 9. Press Space / RAM-preview to watch it fade, slide, grow, and straighten in. 10. Save as `wk1_ex1_transforms`. _Links:_ Jake In Motion – "AE Beginners Tutorial 2025" (interface + transforms); the keyboard-shortcuts cards for P/S/R/T/U; Adobe Help – "Animation Basics." _Done when:_ The card animates on using all five transform properties, with keyframes visible via U. --- **Exercise 2 — "Make It Feel Good"** · Period 2 · Keyframes (Easing & Graph Editor) · ~30 min _Practice goal:_ Convert robotic motion into eased motion with anticipation and overshoot. _Set up:_ Open Exercise 1 (or a fresh shape with two Position keyframes, left → center). 1. Select the Position keyframes and apply Easy Ease (F9); preview the difference vs. linear. 2. Open the Graph Editor and switch to the Speed graph; look at the ease curve's shape. 3. Drag the bezier handles to exaggerate a slow arrival (strong ease-out). 4. Add **anticipation**: just before the move, insert a keyframe nudging the shape slightly the _opposite_ way. 5. Add **overshoot/follow-through**: after it arrives, add a keyframe a few px past the target, then settle back. 6. Toggle between the Value graph and Speed graph to see what each shows. 7. In the comp viewer, curve the motion path by dragging its spatial handles (spatial interpolation). 8. Press U, then delete any clashing or redundant keyframes and re-ease. 9. Full-resolution preview; confirm there's no linear, mechanical movement left. 10. Save as `wk1_ex2_easing`. _Links:_ Jake Bartlett – "How To Use the Graph Editor"; Adobe Help – "Animation Basics" (interpolation). _Done when:_ The move reads as eased with a clear anticipation beat and a small overshoot. --- **Exercise 3 — "Title Reveal"** · Period 3 · Text Animation (Type Fundamentals) · ~30 min _Practice goal:_ Create and style a text layer, animate a simple reveal, and try a preset. _Set up:_ New comp or continue the project. 1. With the Type tool, create a text layer — a short title (e.g., a name or "MOTION"). 2. In the Character panel, set font, size, tracking, and fill color. 3. In the Paragraph panel, center-align and position the title in frame. 4. Animate a manual reveal: Opacity 0 → 100 over ~0.5 s, plus Position sliding up ~30 px into place; Easy Ease both. 5. Reveal Source Text, set a Source-Text keyframe, and change the word later in the timeline to see a text swap. 6. Open Effects & Presets ▸ Animation Presets ▸ Text and apply one (e.g., a character fade-up or typewriter). 7. Move the playhead to preview the preset, then press U to see where it placed its keyframes. 8. Drag those keyframes to retime the preset to about 1 s. 9. Add a smaller subtitle line for hierarchy (different size/weight). 10. Add a ~2 s hold so the title is readable; preview; save as `wk1_ex3_title`. _Links:_ the Text Animation cards (Ben Marriott / kinetic-typography walkthroughs) for styling and timing; Adobe Help – "Animation Basics" for keyframing. _Done when:_ A styled, readable title reveals cleanly and you've inspected one applied preset. --- **Exercise 4 — "Kinetic Word"** · Period 4 · Text Animation (Animators & Kinetic Type) · ~30 min _Practice goal:_ Animate per-character with a Text Animator + Range Selector, timed to a beat, with a mask reveal. _Set up:_ New text layer with one word (e.g., "ENERGY"). 1. On the text layer, click **Animate ▸ Position** to add an Animator with a Range Selector. 2. Set the animator's Position offset (e.g., Y = −100) so characters start displaced. 3. Keyframe the Range Selector's Offset across the word so characters animate in sequence. 4. Add a second property to the same animator (Animate ▸ Opacity = 0%) so each character fades as it moves. 5. Open the Range Selector's Advanced options; set Shape to "Ramp Up" and raise Ease High/Low for smoother per-character motion. 6. Time it to a beat: drag the Offset keyframes so the whole word lands by ~1 s; Easy Ease them. 7. Draw a rectangle mask on the text layer and keyframe Mask Path to wipe the word on (a light intro to masking — you'll go deeper in Week 2). 8. Press U to review all keyframes; refine spacing and timing. 9. Add a short hold, then preview at full resolution. 10. Save as `wk1_ex4_kinetic`. _Links:_ "Fun Kinetic Typography Animation" and "Kinetic Typography #5 (no plugins)" from the Text Animation card. _Done when:_ Characters animate on in sequence with eased, beat-timed motion and a clean reveal. --- Together these four rehearse exactly what the **Week 1 milestone** (the Kinetic Typography Quote) then asks students to combine: eased keyframes + text animators timed to audio. Before I build the remaining 16, does this hit what you had in mind on **scope and difficulty** — same ~10-step/30-minute size, the "Set up / steps / Links / Done when" shape, and roughly this level of hand-holding? --- ``` The naming convention for all Exercises should be LastName_Ex##_ProjectName.aep which would be Pittman_Ex01_SlideGrowSettle.aep for me creating Exercise 01. Since there are 20 exercises, two digit padding is adequate. If a student wants to save versions, they can add a numeric suffixe: Pittman_Ex01_SlideGrowSettle_001.aep Please add this is the directions for saving both AE project files and Rendered movie output. I always start with naming the initial comp as "Main" I've worked through each exercise and I would like to update them. Exercise 1: add an off-screen animation from 9 seconds to 10 second. Then, add some animation from 1 to 9 seconds while the shapes is on-screen. Exercise 2: use a new shape with an animation from left to right of the screen, starting at 2 second and ending at 5 seconds, which will leave time for anticipation and overshoot. There needs to be some work on the anticipation and follow-through keyframes so that the animation is smooth passing through the initial start and stop keyframes. We should change the type of keyframes for those two initial keyframes to auto bezier and adjust the value graph keyframes. I have not yet checked Exercise 3 or 4. ``` --- Got it — those are clean conventions. I'll bake them in globally and apply your two content revisions. Here's how I'm handling the standards, then the four updated exercises. **Conventions (apply to all 20 exercises)** - Name the first composition **`Main`**. - Save the project as **`LastName_Ex##_ProjectName.aep`** → e.g., `Pittman_Ex01_SlideGrowSettle.aep` (two-digit exercise number, PascalCase project name). - Render the movie with the **same base name** → `Pittman_Ex01_SlideGrowSettle.mov` (or `.mp4` via Media Encoder). - For versions, append a numeric suffix: `Pittman_Ex01_SlideGrowSettle_001.aep` (and likewise for renders). I've revised Exercises 1 and 2 per your notes. Exercises 3 and 4 below have the naming/`Main` standards applied but are otherwise unchanged, since you haven't reviewed them yet. --- **Exercise 1 — "Slide, Grow, Settle"** · Period 1 · Keyframes (The Basics) · ~30 min _Practice goal:_ Touch all five transform properties; animate on, move while on-screen, and exit. _Set up:_ New project. No external assets. 1. New composition, 1920×1080, 30 fps, **10 s**; name it **`Main`**. 2. Draw a shape layer (rounded rectangle or star); rename it "Card"; center its anchor point (Layer ▸ Transform ▸ Center Anchor Point in Layer Content). Reveal P / S / R / T to see the transform properties. 3. **On (0–1 s):** at 0:00 set Position off-screen left, Scale 50%, Rotation −15°, Opacity 0% (stopwatch all four); at 1:00 set center, 100%, 0°, 100%. 4. **On-screen journey (1–9 s):** keyframe a path that stays fully in frame — e.g., 3:00 up-right at Scale 115%, 5:00 down-left at Rotation 20°, 7:00 drifting back, 9:00 settled at center. Every keyframe stays on-screen. 5. **Off (9–10 s):** at 9:00 (center) → 10:00 slide off-screen right and Opacity 0%. 6. Select all keyframes and apply Easy Ease (F9). 7. Open the Graph Editor and smooth the 1–9 s journey so it flows continuously instead of dead-stopping at each waypoint. 8. Press U to reveal all keyframes; verify the three phases (on 0–1, journey 1–9, off 9–10). 9. RAM-preview the full 10 s: enters, travels while on-screen, exits. 10. **Save & render:** `LastName_Ex01_SlideGrowSettle.aep`; render the comp to `LastName_Ex01_SlideGrowSettle.mov`. Use `_001`, `_002` … for versions. _Links:_ Jake In Motion – "AE Beginners Tutorial 2025"; keyboard-shortcut cards (P/S/R/T/U); Adobe Help – "Animation Basics." _Done when:_ The card animates on with all five transform properties, does something on-screen from 1–9 s, and exits between 9–10 s. --- **Exercise 2 — "Make It Feel Good"** · Period 2 · Keyframes (Easing & Graph Editor) · ~30 min _Practice goal:_ Build a left→right move with anticipation and follow-through, smoothed with Auto Bezier in the value graph. _Set up:_ New project. No external assets. 1. New composition, 1920×1080, 30 fps, **7 s**; name it **`Main`**. 2. Draw a **new shape** (a circle works well); rename it "Ball"; center its anchor point. 3. **Main move:** at **2:00** set Position near the left edge (X ≈ 300, Y = 540) and click the Position stopwatch; at **5:00** move it near the right edge (X ≈ 1620). Y stays at 540. 4. Preview — note the mechanical dead-stop at both ends. 5. **Anticipation (before 2:00):** add a Position keyframe around 1:15 nudged slightly LEFT of the start (a windup before launching right). 6. **Follow-through (after 5:00):** add a keyframe around 5:15 slightly PAST the right target (overshoot), then one around 6:00 settling back to the final position. 7. Select the two main keyframes at **2:00 and 5:00** and set them to **Auto Bezier** (right-click ▸ Keyframe Interpolation… ▸ Temporal Interpolation: Auto Bezier — or Ctrl/Cmd-click the keyframe) so the motion flows _through_ them instead of stopping. 8. Open the **Graph Editor ▸ Edit Value Graph** and drag the auto-bezier handles at 2:00 and 5:00 so the X curve passes smoothly through both — no flat spots or kinks. _(Optional: right-click Position ▸ Separate Dimensions to shape the X graph on its own.)_ 9. RAM-preview: the ball should wind up, glide across, overshoot, and settle — smooth through both ends. 10. **Save & render:** `LastName_Ex02_MakeItFeelGood.aep`; render to `LastName_Ex02_MakeItFeelGood.mov`. Versions: `_001`, `_002` … _Links:_ Jake Bartlett – "How To Use the Graph Editor"; Adobe Help – "Animation Basics" (interpolation). _Done when:_ The ball travels left→right from 2–5 s with a clear anticipation windup, an overshoot/settle after, and Auto-Bezier-smoothed motion through the start and stop keyframes. --- **Exercise 3 — "Title Reveal"** · Period 3 · Text Animation (Type Fundamentals) · ~30 min _(standards applied; content pending your review)_ _Practice goal:_ Create and style a text layer, animate a simple reveal, and inspect a preset. _Set up:_ New project; new composition, 1920×1080, 30 fps, ~6 s; name it **`Main`**. 1. With the Type tool, create a text layer — a short title (e.g., a name or "MOTION"). 2. In the Character panel, set font, size, tracking, and fill color. 3. In the Paragraph panel, center-align and position the title in frame. 4. Animate a manual reveal: Opacity 0 → 100 over ~0.5 s, plus Position sliding up ~30 px into place; Easy Ease both. 5. Reveal Source Text, set a Source-Text keyframe, and change the word later in the timeline to see a text swap. 6. Open Effects & Presets ▸ Animation Presets ▸ Text and apply one (e.g., a character fade-up or typewriter). 7. Move the playhead to preview the preset, then press U to see where it placed its keyframes. 8. Drag those keyframes to retime the preset to about 1 s. 9. Add a smaller subtitle line for hierarchy (different size/weight). 10. Add a ~2 s readable hold; preview; then **save & render:** `LastName_Ex03_TitleReveal.aep` → `LastName_Ex03_TitleReveal.mov` (versions `_001` …). _Links:_ Text Animation cards (Ben Marriott / kinetic-typography walkthroughs); Adobe Help – "Animation Basics." _Done when:_ A styled, readable title reveals cleanly and you've inspected one applied preset. --- **Exercise 4 — "Kinetic Word"** · Period 4 · Text Animation (Animators & Kinetic Type) · ~30 min _(standards applied; content pending your review)_ _Practice goal:_ Animate per-character with a Text Animator + Range Selector, timed to a beat, with a mask reveal. _Set up:_ New project; new composition, 1920×1080, 30 fps, ~5 s; name it **`Main`**. 1. Create a text layer with one word (e.g., "ENERGY"). 2. On the text layer, click **Animate ▸ Position** to add an Animator with a Range Selector. 3. Set the animator's Position offset (e.g., Y = −100) so characters start displaced. 4. Keyframe the Range Selector's Offset across the word so characters animate in sequence. 5. Add a second property to the same animator (Animate ▸ Opacity = 0%) so each character fades as it moves. 6. Open the Range Selector's Advanced options; set Shape to "Ramp Up" and raise Ease High/Low for smoother per-character motion. 7. Time it to a beat: drag the Offset keyframes so the word lands by ~1 s; Easy Ease them. 8. Draw a rectangle mask on the text layer and keyframe Mask Path to wipe the word on (a light intro to masking — deeper in Week 2). 9. Press U to review all keyframes; refine spacing and timing, then add a short hold. 10. Preview at full resolution; then **save & render:** `LastName_Ex04_KineticWord.aep` → `LastName_Ex04_KineticWord.mov` (versions `_001` …). _Links:_ "Fun Kinetic Typography Animation" and "Kinetic Typography #5 (no plugins)" from the Text Animation card. _Done when:_ Characters animate on in sequence with eased, beat-timed motion and a clean reveal. --- Two quick checks before I continue: do the **Exercise 1 and 2 revisions** match what you had in mind (especially the Auto Bezier + value-graph step in Ex 2)? And once you've run **Ex 3 and 4**, send any changes — then I'll carry all these conventions into Exercises 5–20 and we can decide whether to compile the finished set into a printable PDF. --- ``` Yes, it is Exercise 2. good catch! Exercises 1, 3, and 4 are fine. Please proceed with developing 5 to 20. Output them in batches of 4 (just like they occur during the weeks: 5-8, 9-12, 13-16, 17-20), in case I run out of tokens during the process. I'll finish when the token clock resets! ``` --- Here's **Batch 1 (Week 2 — Masking + Color Correction)**. Same shape as Exercises 1–4, with the conventions baked in: first comp named `Main`, save as `LastName_Ex##_ProjectName.aep`, render to a matching `.mov`, versions get a `_###` suffix. --- **Exercise 5 — "Cut It Out"** · Period 5 · Masking (Mask Mechanics) · ~30 min _Practice goal:_ Draw masks with the Pen tool and control mask modes, feather, expansion, and opacity. _Set up:_ New project. No external assets (solids work fine). 1. New composition, 1920×1080, 30 fps, 5 s; name it `Main`. 2. Add a dark full-frame solid (background). Above it add a bright/colorful solid (or a photo); name it "Reveal." 3. Select "Reveal"; with the Pen tool, click points to draw one closed mask (a rough oval) — only the area inside the mask now shows over the background. 4. Press M to reveal Mask Path; double-click the mask in the viewer to move/scale the whole shape. 5. Draw a second mask on the same layer, overlapping the first. 6. In the timeline, change the second mask's Mode between Add, Subtract, and Intersect — watch how the two combine. 7. Press F for Mask Feather; raise it (≈ 60 px) for a soft edge. 8. Press MM for all mask properties; adjust Mask Expansion (push the edge in/out) and Mask Opacity (≈ 70%). 9. Toggle the mask's "Inverted" checkbox to flip what's hidden vs. shown. 10. Compare your modes/feather; then **Save & render:** `LastName_Ex05_MaskModes.aep` → `LastName_Ex05_MaskModes.mov` (versions `_001` …). _Links:_ Cinecom – "Complete Beginner's Guide to Masking"; "How to Mask in After Effects"; Dansky – "Beginner's Guide to Masking." _Done when:_ Two masks combine via different modes, with feather, expansion, and opacity all adjusted. --- **Exercise 6 — "Write-On Reveal"** · Period 6 · Masking (Animated Masks) · ~30 min _Practice goal:_ Animate the Mask Path for a wipe-on reveal, soften it, and combine masks. _Set up:_ New project. 1. New composition, 1920×1080, 30 fps, 5 s; name it `Main`. 2. Create a text layer with a short word/title — the thing you'll reveal. 3. With the Rectangle/Pen tool, draw a mask on the text layer that fully covers the word (all visible). 4. Press M to reveal Mask Path; at 1:00 click the stopwatch to set a keyframe with the mask fully covering the word. 5. Go to 0:00 and drag the mask's right edge left, past the start of the word, so nothing shows — this creates the left→right wipe-on. 6. Easy Ease both Mask Path keyframes (F9); press F and add a little Mask Feather so the wipe edge is soft. 7. Add a second mask on the same layer to reveal a different region, and offset its timing slightly (combining masks). 8. _Optional write-on:_ duplicate the text as a shape/solid, apply Effect ▸ Generate ▸ Stroke to a mask path, and check "Paint on Transparent" for a drawn-line look. 9. Press U to verify all mask keyframes; add a ~2 s readable hold. 10. Preview; then **Save & render:** `LastName_Ex06_WriteOn.aep` → `LastName_Ex06_WriteOn.mov`. _Links:_ "How to Mask in After Effects"; Cinecom – "Complete Beginner's Guide to Masking." _Done when:_ The title wipes on via an animated, feathered Mask Path, with a second combined mask. --- **Exercise 7 — "Fix the Footage"** · Period 7 · Color Correction (Correct First) · ~30 min _Practice goal:_ Balance exposure, white balance, and contrast with Lumetri on an adjustment layer, reading the scopes. _Set up:_ New project. Grab one flat/under- or over-exposed clip or photo (a free clip from Pexels/Pixabay, or your own). 1. New composition from the footage (or 1920×1080, 30 fps); name the comp `Main` and add the footage. 2. Add an Adjustment Layer above it (Layer ▸ New ▸ Adjustment Layer). 3. Apply Effect ▸ Color Correction ▸ Lumetri Color to the adjustment layer. 4. Open Window ▸ Lumetri Scopes; set it to Waveform (or Parade) to read levels objectively. 5. In Lumetri ▸ Basic Correction, set White Balance (use the WB eyedropper on something neutral, or adjust Temperature/Tint). 6. Adjust Exposure and Contrast so the waveform spreads from near-black to near-white without clipping off either end. 7. Use Highlights/Shadows/Whites/Blacks to recover detail; keep watching the scope. 8. Toggle the effect on/off to compare before/after. 9. Self-check: neutrals/skin look natural and nothing is hard-clipping on the scope. 10. **Save & render:** `LastName_Ex07_CorrectFirst.aep` → `LastName_Ex07_CorrectFirst.mov`. _Links:_ "How To Color Correct In After Effects"; Adobe Help – "Using Color Correction effects." _Done when:_ The shot is balanced (WB, exposure, contrast) on an adjustment layer and verified on the scopes. --- **Exercise 8 — "Build a Look"** · Period 8 · Color Correction (Then Grade) · ~30 min _Practice goal:_ Create a cohesive look with creative color, an HSL secondary, and a vignette — then match a second shot. _Set up:_ Continue from Exercise 7 (or a corrected clip) plus a second clip/photo to match. 1. Open your corrected shot, or set up a new comp `Main` with a corrected clip and its Lumetri adjustment layer. 2. In Lumetri ▸ Creative, choose a Look/LUT and dial Intensity to taste. 3. Use the Color Wheels (Shadows/Midtones/Highlights) to split-tone — e.g., cool shadows, warm highlights. 4. Open HSL Secondary; key one color (sky, a shirt) and shift only that range. 5. Refine the secondary's selection (Denoise/Blur the key) so the adjustment looks clean. 6. Add a Vignette (Lumetri ▸ Vignette) to draw the eye inward. 7. Bring in a second clip/photo; copy the Lumetri effect (or the whole adjustment layer) onto it and tweak to match. 8. Use Lumetri Scopes to confirm both shots sit at similar levels (shot matching). 9. Toggle before/after; make sure the grade isn't crushed or over-saturated. 10. **Save & render:** `LastName_Ex08_BuildALook.aep` → `LastName_Ex08_BuildALook.mov`. _Links:_ "Cinematic Color Grade"; Adobe Help – "Using Color Correction effects." _Done when:_ A deliberate look with a secondary adjustment and vignette is applied, and a second shot is matched to it. --- Together these rehearse what the **Week 2 milestone ("Cinematic Reveal")** asks students to combine — a masked title/logo reveal over color-graded footage with one cohesive look — while also carrying forward Week 1's keyframing. A couple of notes before you run them: Exercises 7–8 need one or two pieces of footage, so I leaned on the free sources already in the course (Pexels/Pixabay), and Exercise 8 is built to chain directly off Exercise 7's corrected shot. If you'd rather every exercise be 100% asset-free, I can swap the color clips for AE-generated content (a gradient + Fractal Noise still grades fine), though correcting real footage is the more authentic rep. Ready for **Batch 2 (9–12: Compositing + Track Mattes)** whenever you are — just say continue. --- ``` Using free source footage is fine. I will verify before I assign these to students. Please proceed with the rest of the exercises! ``` --- Here are the remaining three batches. Same shape and conventions throughout: first comp named `Main`, save as `LastName_Ex##_ProjectName.aep`, render to a matching `.mov`, versions get a `_###` suffix. Free source footage where noted (Pexels/Pixabay; "free green screen" for keying). ## Batch 2 — Week 3 (Compositing + Track Mattes) **Exercise 9 — "Layer It Up"** · Period 9 · Compositing (Layering & Blend) · ~30 min _Practice goal:_ Combine elements with blend modes, layer order, a pre-comp, and an adjustment layer; add a glow. _Set up:_ New project. A background clip/photo plus one light/texture element (free stock light leak or smoke — or an AE Fractal Noise solid). 1. New composition, 1920×1080, 30 fps, 5 s; name it `Main`; add the background. 2. Add a light/texture element on top (stock light leak, smoke, or a Fractal Noise solid). 3. Cycle the top layer's Blend Mode (Screen, Add, Overlay) — note how blacks drop out with Screen/Add. 4. Reorder the layers to see stacking; lower the top layer's Opacity to taste. 5. Select the related layers and Pre-compose (Ctrl/Cmd+Shift+C); rename the pre-comp. 6. Add an Adjustment Layer on top; apply a subtle Lumetri or Curves to unify everything beneath it. 7. Add a glow: on a bright element apply Effect ▸ Stylize ▸ Glow; tune Threshold / Radius / Intensity. 8. Animate the top element's Opacity or Position for a little life; Easy Ease. 9. Toggle the adjustment layer to confirm the composite reads as a single image. 10. **Save & render:** `LastName_Ex09_LayerItUp.aep` → `LastName_Ex09_LayerItUp.mov` (versions `_001` …). _Links:_ Video Copilot – free tutorial library; Cinecom.net. _Done when:_ Multiple elements blend via modes, are organized in a pre-comp, unified by an adjustment layer, with a glow. --- **Exercise 10 — "Pull the Key"** · Period 10 · Compositing (Keying & Integration) · ~30 min _Practice goal:_ Key green-screen footage with Keylight, suppress spill, and ground the subject in a new plate. _Set up:_ New project. A free green-screen clip plus a background plate (clip/photo). 1. New composition, 1920×1080, 30 fps; name it `Main`; add the background plate. 2. Add the green-screen clip above it. 3. On the green-screen layer apply Effect ▸ Keying ▸ Keylight (1.2); use the Screen Colour eyedropper on the green. 4. Set View to "Screen Matte"; adjust Clip Black / Clip White until the matte is solid (no gray holes or fringe). 5. Set View back to "Final Result"; add a garbage mask to crop out any rig or edges outside the subject. 6. Reduce green spill (Keylight's despill, or add Advanced Spill Suppressor). 7. Scale/position the subject so it sits believably in the plate. 8. Add a contact shadow: duplicate the subject, fill black, flip/squash it beneath the feet, blur, lower opacity. 9. Add an adjustment layer with Lumetri to color-match subject to background; check the edges. 10. **Save & render:** `LastName_Ex10_PullTheKey.aep` → `LastName_Ex10_PullTheKey.mov`. _Links:_ "Green Screen Keying with Keylight"; "Pull a Green Key Like a Boss"; Adobe Help – "Keying." _Done when:_ A clean, spill-free key sits in the plate, grounded with a contact shadow and color-matched. --- **Exercise 11 — "Through the Shape"** · Period 11 · Track Mattes (Alpha & Luma) · ~30 min _Practice goal:_ Reveal a fill through alpha and luma mattes using the track-matte dropdown. _Set up:_ New project. One footage/photo "fill," plus shapes/text/gradient you make in AE. 1. New composition, 1920×1080, 30 fps, 5 s; name it `Main`; add a footage/photo "fill" layer. 2. Above it, draw a shape layer (ellipse) — the matte. 3. Enable the Track Matte column; set the fill's TrkMat to "Alpha Matte" of the shape — footage shows only inside the shape. 4. Switch to "Alpha Inverted Matte" to flip it; compare. 5. Make a grayscale gradient layer as a matte and set a fill to "Luma Matte" — brightness now drives transparency. 6. Try "Luma Inverted Matte" to compare. 7. Add a bold text layer as a matte over a different fill (text-shaped reveal). 8. Animate one matte (Scale or Position the shape); Easy Ease. 9. Note that the matte layer's own visibility auto-switches off (it's used, not shown). 10. **Save & render:** `LastName_Ex11_ThroughTheShape.aep` → `LastName_Ex11_ThroughTheShape.mov`. _Links:_ ActionVFX – "Beginner's Guide to Alpha & Luma Mattes"; Motion Array – "Alpha & Luma Track Mattes." _Done when:_ A fill is revealed through both an alpha (shape/text) and a luma (gradient) matte, with one animated. --- **Exercise 12 — "Footage in Type"** · Period 12 · Track Mattes (Creative Mattes) · ~30 min _Practice goal:_ Put footage inside type, animate the matte, stack mattes, and compare with Set Matte. _Set up:_ New project. A footage clip plus bold text. 1. New composition, 1920×1080, 30 fps, 5 s; name it `Main`; add a footage clip (the fill). 2. Above it, create bold, large text (one word) — the matte. 3. Set the footage's TrkMat to "Alpha Matte" of the text — footage now plays inside the letters. 4. Add a contrasting background layer below. 5. Animate the text (Scale up or a Position drift); the footage-in-type follows; Easy Ease. 6. Stack a second matte: pre-compose footage + text, then add a wipe-shape track matte over the pre-comp for a reveal. 7. Compare Set Matte: on a separate fill, apply Effect ▸ Channel ▸ Set Matte and pick the text as the matte source — note it needn't be directly above. 8. Talk through when each is better (track matte = adjacency/simple; Set Matte = reuse one matte on many layers). 9. Press U to check keyframes; add a readable hold. 10. **Save & render:** `LastName_Ex12_FootageInType.aep` → `LastName_Ex12_FootageInType.mov`. _Links:_ Envato Tuts+ (David Bode) – "Alpha and Luma Mattes"; ActionVFX – "Alpha & Luma Mattes." _Done when:_ Footage plays inside animated type via a track matte, with a stacked matte and a Set Matte comparison. _These four feed the Week 3 milestone, "Composite Shot" — a keyed subject in a new environment with a footage-in-type title, sold with color._ ## Batch 3 — Week 4 (3D Layers + Motion Tracking) **Exercise 13 — "Into Z Space"** · Period 13 · 3D Layers (Into the Z-Axis) · ~30 min _Practice goal:_ Push layers into Z, add a camera, and create parallax with a null-driven rig. _Set up:_ New project. 3–4 solids/photos/shape layers as "cards." 1. New composition, 1920×1080, 30 fps, 6 s; name it `Main`; add 3–4 "card" layers. 2. Confirm the renderer (Classic 3D is fine here); enable the 3D switch on each card. 3. Give each card a different Z Position so they sit at different depths. 4. Add a Camera (Layer ▸ New ▸ Camera); choose Two-Node. 5. Use the Orbit / Track camera tools to look around and see parallax. 6. Animate the camera from one angle to another over ~3 s; Easy Ease. 7. Add a Null, make it 3D, parent the camera to it, and animate the null instead (a cleaner rig). 8. Exaggerate a card's Z to strengthen parallax during the move. 9. Duplicate to a One-Node camera and note how its aiming differs. 10. **Save & render:** `LastName_Ex13_IntoZSpace.aep` → `LastName_Ex13_IntoZSpace.mov`. _Links:_ "3D Camera: Complete Guide"; School of Motion – "Working with Cameras"; Video Copilot tutorials. _Done when:_ Layers sit at different Z depths and a null-rigged camera move reveals clear parallax. --- **Exercise 14 — "Light the Scene"** · Period 14 · 3D Layers (Light & Depth) · ~30 min _Practice goal:_ Add lights and shadows, set material options, and deepen the parallax. _Set up:_ Continue Exercise 13, or a quick 3D card/text scene. 1. Open a 3D scene (cards + camera) or build one; ensure layers are 3D; name the comp `Main`. 2. Add a Light (Layer ▸ New ▸ Light); choose Spot; turn on Casts Shadows on the light. 3. On each 3D layer open Material Options; set Casts Shadows = On and tune Accepts Lights / Shadows. 4. Position the light to throw visible shadows between the depth-separated cards. 5. Add an Ambient light to lift the shadows so they aren't pure black. 6. Adjust material Specular / Shininess for a subtle highlight. 7. Spread the layers further in Z and do a slow camera push to feel depth. 8. _(Advanced 3D renderer, optional)_ enable the camera's Depth of Field for a soft background. 9. Tune light intensity and color for mood; preview. 10. **Save & render:** `LastName_Ex14_LightTheScene.aep` → `LastName_Ex14_LightTheScene.mov`. _Links:_ School of Motion – "Working with Cameras"; Video Copilot tutorials. _Done when:_ Lights cast real shadows across depth-separated 3D layers with a parallax camera move. --- **Exercise 15 — "Lock It On"** · Period 15 · Motion Tracking (Tracking Basics) · ~30 min _Practice goal:_ Track a moving feature to attach a graphic, and stabilize a shaky clip. _Set up:_ New project. A clip with a clear high-contrast feature to track, plus a graphic to attach (free stock). 1. New composition from a tracking clip; name the comp `Main`. 2. Window ▸ Tracker; select the footage; click Track Motion. 3. Place the track point on a high-contrast feature; size the feature and search regions. 4. Track forward; scrub to verify the point sticks (reposition if it drifts). 5. Add a text/graphic layer; set the Tracker's "Edit Target" to that layer; Apply (X and Y). 6. Confirm the graphic follows the moving feature. 7. Duplicate the clip (or use a shaky one); apply Effect ▸ Distort ▸ Warp Stabilizer. 8. Set method to Subspace Warp and tune Smoothness; let it analyze. 9. Compare stabilized vs. original; lower smoothness if you see warping. 10. **Save & render:** `LastName_Ex15_LockItOn.aep` → `LastName_Ex15_LockItOn.mov`. _Links:_ Surfaced Studio – "Motion Tracking basics"; School of Motion – "6 Ways to Motion Track." _Done when:_ A graphic is tracked onto a moving feature, and a shaky clip is stabilized without obvious warping. --- **Exercise 16 — "Stick to the Scene"** · Period 16 · Motion Tracking (Match-Moving) · ~30 min _Practice goal:_ Match-move text into a moving shot with the 3D Camera Tracker, and compare with Mocha. _Set up:_ New project. A handheld clip with parallax (free stock). 1. New composition from a handheld clip with camera movement; name it `Main`. 2. Apply Effect ▸ Perspective ▸ 3D Camera Tracker; let it analyze and solve. 3. Hover the solved points to find a ground plane; right-click ▸ Create Text and Camera. 4. Position/scale the new (track-parented) text so it sits on a surface in the scene. 5. Scrub through — the text should lock to the scene as the camera moves. 6. Adjust the text's orientation to lie on the ground (or onto a wall). 7. Alternative tool: Animation ▸ Track in Boris FX Mocha; track a planar surface and paste its transform/corner-pin to a layer. 8. Compare the 3D Camera Tracker (full 3D) with Mocha (planar) on this shot. 9. Add a subtle shadow/grade so the element sits in the plate. 10. **Save & render:** `LastName_Ex16_StickToTheScene.aep` → `LastName_Ex16_StickToTheScene.mov`. _Links:_ Surfaced Studio – "Mocha AE for Absolute Beginners"; Surfaced Studio – "Motion Tracking basics." _Done when:_ Text is match-moved into a moving shot via the 3D Camera Tracker, with a Mocha comparison. _These feed the Week 4 milestone, "Tracked 3D Title" — a tracked clip with attached 3D text/graphic and at least one camera or light interaction._ ## Batch 4 — Week 5 (Rotoscoping + Expressions) **Exercise 17 — "Brush It Out"** · Period 17 · Rotoscoping (Roto Brush 2) · ~30 min _Practice goal:_ Isolate a moving subject with Roto Brush 2, refine edges, freeze, and re-background it. _Set up:_ New project. A clip of a person/object moving against a busy background (free stock). 1. New composition from a clip with a clear moving subject; name it `Main`. 2. Double-click the layer to open the Layer panel; select the Roto Brush tool. 3. Paint a stroke down the center of the subject to define foreground; AE generates a boundary. 4. Add/subtract strokes (Alt/Option to subtract) until the boundary hugs the subject on the current frame. 5. Propagate forward (Page Down / spacebar); let AE track the matte across frames. 6. Fix drift with small corrective strokes where the edge slips. 7. Open Refine Edge; brush hair/soft edges; tune the matte (Feather / Shift Edge). 8. _(AE 2026 option)_ note the AI Object Matte for faster one-click selection. 9. Freeze the matte to lock the work; add a new background behind the cutout. 10. **Save & render:** `LastName_Ex17_BrushItOut.aep` → `LastName_Ex17_BrushItOut.mov`. _Links:_ "Roto Brush – Easy Background Removal"; "Remove Your Background with Rotobrush"; Adobe Help – "Roto Brush and Refine Matte." _Done when:_ The subject is isolated, refined, frozen, and placed on a new background. --- **Exercise 18 — "Behind the Subject"** · Period 18 · Rotoscoping (Manual & Mocha) · ~30 min _Practice goal:_ Hand-roto with masks (or Mocha) so an element passes behind a subject. _Set up:_ Continue Exercise 17's footage or a new clip, plus an element to place behind. 1. Open the roto clip (or a new clip with a moving subject); name the comp `Main`. 2. Duplicate the subject layer; on the top copy, draw a Pen mask around the subject. 3. Animate the Mask Path frame-by-frame (or every few frames) to follow the subject — rough pass, then refine. 4. Add Mask Feather and a touch of Shift Edge for clean edges (hair, motion blur). 5. _Alternative:_ apply Mocha AE, track a planar region, and use Mocha's matte to roto more efficiently. 6. Place a new element (graphic/text/solid) on a layer BETWEEN the background and the masked subject copy. 7. Confirm the subject covers the element where they overlap — the element reads as behind. 8. Animate the in-between element so it clearly passes behind the subject. 9. Clean up edge chatter; lower the element's opacity/grade to integrate. 10. **Save & render:** `LastName_Ex18_BehindTheSubject.aep` → `LastName_Ex18_BehindTheSubject.mov`. _Links:_ Surfaced Studio – "Mocha AE for Absolute Beginners"; Adobe Help – "Roto Brush and Refine Matte." _Done when:_ An element convincingly passes behind a hand-rotoscoped (or Mocha-tracked) subject. --- **Exercise 19 — "Wiggle & Loop"** · Period 19 · Expressions (Speaking JavaScript-lite) · ~30 min _Practice goal:_ Use the pick whip with wiggle(), time, and loopOut(), and drive a value with a Slider Control. _Set up:_ New project. A few shape layers. 1. New composition, 1920×1080, 30 fps, 5 s; name it `Main`; add a shape layer ("Bug"). 2. Alt/Option-click the Position stopwatch to add an expression; type `wiggle(2,30)`; preview the jitter. 3. On a second shape's Rotation, Alt-click and type `time*60` for a continuous spin; preview. 4. On a third layer, set two Position keyframes, then Alt-click Position and add `loopOut()` to repeat the motion. 5. Use the pick whip: Alt-click a property, then drag the pick whip to another layer's property to link them. 6. Add Effect ▸ Expression Controls ▸ Slider Control to a null; pick-whip the wiggle amount to the slider to dial it. 7. Add an Angle Control and drive a Rotation with it. 8. Combine a keyframed property with `loopOut("pingpong")` to bounce it. 9. Fix any red expression errors (watch semicolons and exact, case-sensitive names). 10. **Save & render:** `LastName_Ex19_WiggleAndLoop.aep` → `LastName_Ex19_WiggleAndLoop.mov`. _Links:_ "LoopOut + Wiggle Expression"; School of Motion – "Getting Started with the Wiggle Expression"; Adobe Help – "Expression examples." _Done when:_ wiggle, time, and loopOut all drive layers, with at least one property linked to a slider. --- **Exercise 20 — "Rig It Up"** · Period 20 · Expressions (Rigs & Portfolio Day) · ~30 min _Practice goal:_ Build a one-null control rig with useful production expressions, then plan the final reel. _Set up:_ New project. A simple icon/shape to rig, plus your strongest earlier exercise outputs. 1. New composition; name it `Main`; add a control Null named "CTRL" with Slider Controls (e.g., "Bounce," "Fade"). 2. Inertial bounce: keyframe a layer's Position, then add an inertial-bounce expression (from the references) so it overshoots and settles automatically. 3. Auto-fade: link a layer's Opacity to the "Fade" slider so one control fades it in/out. 4. Counter: add a text layer; Alt-click Source Text and drive a number with an expression (e.g., `Math.round(time)`) or a slider. 5. Pick-whip several layers to CTRL so one panel drives the whole rig. 6. Combine keyframes + expressions on the same property (keyframed base + wiggle/loop for life). 7. Name and comment the controls so the rig is reusable. 8. Test by dragging the sliders — the rig should respond predictably. 9. Portfolio prep: gather your best exercise outputs and note which ≥6 skills you'll combine for the Week-5 reel. 10. **Save & render:** `LastName_Ex20_RigItUp.aep` → `LastName_Ex20_RigItUp.mov`. _Links:_ "LoopOut + Wiggle Expression"; Adobe Help – "Expression examples" (copy-paste rigs). _Done when:_ A one-null rig drives multiple layers via sliders, combining expressions with keyframes, and your final-reel plan is outlined. _These close out into the FINAL milestone, the "Motion Reel / Brand Spot," which asks students to combine at least six of the ten skills._ --- That's all 20. A few notes for your review pass: Exercises 8, 14, and 18 are written to chain off the previous exercise's file, so they reinforce continuity (you can make them standalone if you'd rather each be independent). The Mocha steps (16, 18) and the AI Object Matte mention (17) assume those tools are present — Mocha AE ships with After Effects, and Object Matte is AE 2026, which I flagged as optional. Once you've run through 9–20 and sent any edits, I can compile the full, finalized set of 20 into a printable exercise booklet PDF in the same house style as the roadmaps — with a cover, the naming-convention page, and one exercise per page. ---- ``` compile the full, finalized set of 20 into a printable exercise booklet PDF in the same house style as the roadmaps — with a cover, the naming-convention page, and one exercise per page. ``` --- I'll compile all 20 into a printable booklet in the same house style. Let me build the generator with the cover, a naming-convention page, and one exercise per page.23 pages (one spilled — likely the 16-step Exercise 2 or the contents). Let me QA the key pages.The Week 5 contents spilled to a second page. Let me tighten the naming/contents page so it all fits on one.22 pages now — exactly cover + naming/contents + 20 exercises, so the long Exercise 2 fit too. Let me verify the contents page and the densest exercise.Exercise 2 (the densest) fits cleanly. Let me spot-check Exercise 1 and a Week 5 page (amber badge).The whole booklet renders cleanly. Let me copy it to outputs and present.Here's the finished Exercise Booklet — 22 pages in the same house style as the roadmaps. **Structure:** - **Cover** — "Exercise Booklet," with the at-a-glance stats (20 exercises / 5 weeks / ~30 min / 10 steps each). - **Before You Start — File Naming + Contents** (one page) — a highlighted `LastName_Ex##_ProjectName.aep` example with its parts broken out, the four naming rules (first comp `Main`, matching `.mov` render, `_001` version suffix), and a full clickable-style contents list grouped by week (Week 5 in amber to match the milestone styling). - **20 exercise pages, one per period** — each with a numbered badge (amber for Week 5), the week/period/skill/time line, a Practice goal and Set up box, the numbered steps in the circular-step layout, then a two-column footer (Free tutorials & references / Done when), and a dashed **Files** box showing the exact filenames for that exercise (e.g., `Pittman_Ex02_MakeItFeelGood.aep → .mov → _001.aep`). Everything incorporates your edits: Exercise 1's three-phase on/journey/off, Exercise 2's full Auto-Bezier + Speed-Graph bell-curve sequence (all 16 steps fit on one page), the `Main` comp convention, and your `Pittman_Ex##` naming on every page. The "Done when" lines double as quick grading checks, and each exercise's references point back to the same channels/docs on the Lesson Links page. Two small notes: I used **Pittman** in the filename examples since these are your authored masters — students would substitute their own last name (the naming page says "LastName — yours"). And the booklet is built to pair with the student roadmap, so the exercises ladder straight into each week's milestone. You now have the full set in outputs: the two student roadmaps, two instructor guides, and this exercise booklet. If you'd like, I can make a student-facing version of the booklet with the filename examples shown generically as `LastName_Ex##_...` instead of `Pittman`, or bundle the whole 5-week course (roadmap + instructor guide + booklet) into a single combined PDF. --- ``` Can you add the URL links to the Free Tutorial References box on each Exercise page? Each resource should be on its own line (there is enough room on the page) I'd also like to have directions on how to render from AE and from Media Encoder. I prefer Quicktime H.264 for final output. You can address using "workarea only" versus entire comp, full resolution, and using the YouTube (or Vimeo) preset in Media Encoder. ``` --- Both good additions. I'll add per-exercise clickable links (one per line) and a dedicated "Rendering Your Movie" reference page covering the AE Render Queue and Media Encoder, with your QuickTime H.264 preference, work-area-vs-comp, full resolution, and the YouTube/Vimeo presets. Let me update the booklet generator.Now build the rendering page, insert it, and add the CSS:23 pages (added the rendering page), 46 clickable links. Let me QA the rendering page and a link-heavy exercise.Both look great. Let me confirm the densest page (Exercise 2, 16 steps) still fits with the link list.Even the 16-step page fits with the link list. Let me finalize and present.Both additions are in — the booklet is now 23 pages. **Per-exercise links** — every exercise's "Free tutorials & references" box now lists its resources as clickable links, each on its own line (46 live links across the booklet). They use the same verified URLs as the roadmap's Lesson Links page, matched to each skill, so a student can tap straight from the drill to the relevant video or Adobe doc. **New "Rendering Your Movie" page** (right after the naming/contents page) covers both paths side by side: - **From After Effects (Render Queue):** add to queue → Render Settings (Best, **Full** resolution, **Time Span: Length of Comp** or **Work Area Only**) → Output Module (**Format: QuickTime → Video Codec: H.264**) → Output To (named to convention) → Render. - **From Adobe Media Encoder:** send the comp to AME → set Format (QuickTime for an H.264 `.mov`, or H.264 for `.mp4`) → pick a **YouTube or Vimeo preset** (e.g., "YouTube 1080p Full HD") → name the output file → Start Queue. - A callout on **work area vs. entire comp** (the `B` / `N` keys and the Render Settings Time Span dropdown), always exporting at **Full resolution**, how range works when sending to Media Encoder, and your stated preference that **QuickTime · H.264** is the final handoff format (with the note that the YouTube/Vimeo presets also produce H.264, as `.mp4`, sized for upload). One small accuracy note worth flagging for your verification pass: QuickTime with the H.264 codec is available in AE's Output Module on most installs, but on some systems the cleanest route to an H.264 file is the H.264 format (`.mp4`) via Media Encoder — so the booklet gives both, and your students will land on a correct H.264 export either way. The full course set in your outputs is now: the 5-week student roadmap, the 5-week instructor guide, this exercise booklet, and the advanced 16-week roadmap + instructor guide. Happy to bundle the three 5-week pieces into one combined PDF, or make a student-facing booklet variant with generic `LastName_Ex##` filenames, whenever you'd like. --- ``` I'd like to get rid of "orphans" on the Rendering Your Movie page, like the "M )." in 1. of the Render Queue box, and the "previews." in the Full Resolution point of the Work area... box. You can move the keyboard shortcut down to the next line (do not straddle a keyboard shortcut through a line break). There are a few other orphans (widows?) as single words on a line. Either re-wording or changing the overall font size could fix this. ``` --- Good eye — those are line-break widows. I'll keep keyboard shortcuts from splitting across lines and apply widow-prevention to the prose on that page (with a little rewording as backup). Let me update the generator.Now keep the keyboard shortcut intact and lightly reword the prose to avoid trailing single words:All the orphans are resolved — the `(Ctrl/Cmd + M)` shortcut now sits intact on its own line instead of splitting, "previews." is gone (the bullet ends "…a faster test preview."), and the other bullets now end with multi-word lines. Page count held at 23, so nothing else reflowed. Let me finalize.Fixed. Here's what changed on the Rendering Your Movie page: - **Keyboard shortcuts no longer straddle a line break.** `(Ctrl/Cmd + M)` is wrapped so the whole parenthetical shortcut stays together — it now drops cleanly to the next line as a unit instead of leaving "M )." dangling. The `B` and `N` work-area keys got the same no-break treatment. - **The "previews." widow is gone.** That bullet now reads "…drop to a lower resolution only when you need a faster test preview," so the last line carries several words. - **Widow prevention applied to the prose.** I turned on automatic last-line balancing for the render-card steps, the callout bullets, and section intros, and reworded the four work-area bullets and the "Output To" step so each ends on a multi-word line rather than a lone word. Page count stayed at 23, so none of the exercise pages reflowed. If you spot any remaining single-word line when you read through at full size, point me to it and I'll reword that specific sentence — that's the most reliable fix, since exact wrapping depends on the viewer, though the balancing should hold in most PDF readers. ---