We will create a **bouncing ball animation** in After Effects and learn about **solids**, **masks**, **attributes**, **setting keyframes**, and adjusting **keys and tangents** in the **curve editor**. Then we will use **nested compositions** to create faux "texture" and "lighting" for the ball to make our 2D composition appear to be 3D. | | | | --- | ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- | | | | | | Though this is a very basic tutorial, you will likely have a similar workflow in most of your projects: setting up a main composition, breaking down each element and motion into separate layers or nested comps, and animating one attribute at a time, then editing and adjusting the animation curves to perfect the performance.<br><br>**Thinking systematically** may seem at first to be too detailed, but this way of building a project **maintains control** of the animation and allows for **building complex animations** by **focusing on one attribute at a time**.<br><br>As we go along, this tutorial points out **important concepts** to consider with the **tools** that **After Effects** uses to **create motion**. | | | | | | | # **Creating the "Ball"** ## **New Composition** - Go to **Composition** > **New Composition** or hit the **New Composition button** if you've just started After Effects. ![[NewComposition.png|400]] ***Mouse on the New Composition button in After Effects*** - Use the **"HD - 1920x1080 - 29.97 fps" Preset**. ![[HD-1920x1080.png|800]] - Set the **width** to **1920** and the **height** to **1080**. - We use a **Pixel Aspect Ratio** of "**Square Pixels**" so that transformations do not produce deformations. - The **29.97 frames per second** rate is a broadcast standard. You could also use **30 fps**. - We start with the **Resolution** set to **Full** (you can change this in the Composition panel). - The Start Timecode should remain **0;00;00;00** (hours;minutes;seconds;frames) and, initially, we can start with a Duration of **0;00;30;00** (30 seconds). ![[CompositionSettingsWindow.png|800]] ## **Using Solids and Masks (and not Shapes)** - Select **Layer** > **New** > **Solid** to open the **Solid Settings** window. ![[New Solid.png|800]] - **Name** the solid "**Ball**" and make it a **square** by _**unlocking**_ the **Aspect Ratio** and setting **Width** to **1080** and **Height** to **1080**. - Make sure the **Pixel Aspect Ratio** is **Square Pixel** and chose an initial _**color**_ for your ball. (We will create a texture later.) ![[Solid Settings Window.png|800]] - Hit "OK" to create the solid layer. | | | | | --- | --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- | --- | | | | | | | A **Solid** is a special type of **Layer** where After Effects **generates a color** (_**Red, Green, Blue, Alpha**_) signal. A **Solid** has all the attributes of an imported movie footage layer. Because AE creates the layers, we can resample it at various resolutions. Solids are good starting layers for **Generative Effects**. You can also use **Shape Layers** for vector shapes like those from Adobe Illustrator. We are using **Solids** here because they have fewer **Attributes** than **Shapes**, making them easier to start with. **Shapes** can be as complex as entire **Composition!** | | | | | | | | Alternatively, you can **right-click in the Project Panel** and choose **Import > Solid** to open the **Solid Settings window** and create a Solid. It is _**a bit odd to "import"**_ something that After Effects _**generates**_ itself, but since a **Solid layer** is essentially the same as an imported file that is an image or a movie, it is shown in the usable assets lists and folders that you can bring into Compositions. You are importing these objects into your Project that you can then use in your Composition. | | | | | | - The new **Solid layer** is put into your **Composition** to run the full length of the comp. - _**Twirl down**_ the **">"** on the **Ball** layer to reveal the **"Transform" group** and _**twirl down**_ the **">"** on the **Transform** to reveal the **Attributes**. ![[Attributes Display.png|800]]  | | | |---|---| ||| ||**Attributes** are the numbers that control how each element is displayed and how it moves. Most programs have the concepts of **Objects**, **Components**, and **Attributes** listed in a hierarchical order of detail. Attributes use keyframes that anchor a control curve to time. We will **set some keyframes** and then look at the **shape of the curve** in the **curve editor.** These curves look similar to the vectors you are used to drawing with, except time curves do not overlap themselves (except later, we will see a way to Remap Time).| ||| ## **Add the Circular Mask to create the "Ball"** - Select the **Ball layer** from the **Main Composition** window. - Select the **Ellipse Tool** from the mask shapes drop-down icons menu. ![[Ellipse Tool.png|800]] *The mouse selects the Ellipse Tool from the Mask Tool icon drop-down* - _**Double-click the Ellipse Tool**_ to create a mask that fills the **Ball Solid** bounding box. This will be a **circle** since the Ball Solid is **square**. ![[DoubleClickCircularMask.png|600]] *The circular mask created to fill the square "Ball" Solid layer.* ## **Adjusting the Anchor Point for correct action** - Select the **Pan Behind Tool** to adjust the **Anchor Point,** which also adjusts the **Position** attribute. ![[PanBehindTool.png|800]] *The Pan Behind (Anchor Point) Tool icon selected by the mouse.* - Make sure **Snapping** is turned on (it is shown in the option boxes next to the tool icons) - _**Drag**_ to _**Anchor Point Bullseye**_ down to the **center bottom** of the Ball. ![[EditAnchorPoint.png|600]] *The mouse drags the Anchor Point Bullseye to the Center Bottom snap point of the Ball Solid layer.* - This will be the **point** where the ball **bounces** on and **scales** for **squash and stretch.** | | | | --- | ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- | | | | | | The **Position attribute** represents where the **Layer** is in the **Composition space**. The **Origin of the Composition** is usually at **0,0** in the **Upper Left-Hand Corner** of the screen. **X** gets **larger** going to the **right.** **Y** gets **larger** going **down**.<br><br>The **Anchor Point** **attribute** represents where the layer's origin is relative to the **space of the Layer.** The **Anchor Point** of the **Layer** is placed at the **Position coordinates in the Comp**.<br><br>If you change the **Anchor Point** values without changing the P**osition**, you will find that the **Layer moves** so that its **Anchor Point** remains at the **Position relative to the Composition**.<br><br>The **Pan Behind Tool** adjusts _**both**_ the **Anchor Point** and the **Position s**o that _**the Layer will not move**_ when you are changing its **Anchor Point**.<br><br>This is very helpful in creating **new origins** for controlling animation. We want the bottom of the ball to hit the "ground" and for the ball to **Squash and Stretch** from the point of contact with the ground. | | | | After this, please **save your project** to an After Effects project directory or to a separate **project directory for Exercise 1**. Even though we are creating all of our elements in AE for this project, we will still have a rendered movie in the end. In future projects, you will have source files (movies and images) and even test renders. _**File > Save As > Save As...**_ (or _**Ctrl + Shift + s**_)  # **Animating the bounces one element at a time** ## **Resize the Ball to fit the scene** - Adjust the Scale to 20% -- Both axes will adjust since the chain link icon locks them together. - _**Click on the 100**_ number in either of the Scale attributes and _**type "20"**_  ## **X-axis Start Point** - First, pull the **Current Time Indicator** in the **Main composition window** all the way to the left, or **0;00;00;00.** - On the **Ball layer**, _**click and drag**_ on the **Position X attribute** to move the ball to the left side of the composition. - Alternatively, you can _**click on Position X**_ and _**type "150"**_ to move the ball. Leave **Position Y** at **1080**.  - To start animating an Attribute, _**click on the Stop Watch icon next to the Attribute Name**_.  | | | |---|---| ||| ||After Effects **creates a keyframe** on the attribute **at the position** of the **Current Time Indicator_._** The interface also displays a **keyframe navigation** to the **left of the attribute**, so you can easily **move between keyframes** and **set keyframes** based on the current value of the attribute. We will use this feature later!| ||| This position keyframe will be the **Start Point** of the bouncing animation. ## **X-axis End Points** Now, we will set the **End Point**. | | | |---|---| ||| ||When setting a new keyframe, always **_move the_ Current Time Indicator _to the time where you want to create the key_**. After Effects is an automatic keyframer, so when you change the value of an animated attribute, it automatically creates a keyframe.| ||| - Pull the **Current Time Indicator** in the **Main composition window** all the way to the right, or **0;30;00;00.** - We will adjust this timing later by moving keyframes across time, but for now, we will use the whole duration. - Next, on the **Ball layer**, _**click and drag**_ on the **Position X attribute** to move the ball to the right side of the composition. - Alternatively, you can _**click on Position X**_ and _**type "1800"**_ to move the ball. Leave **Position Y** at **1080**.  ## **X-axis Ground Contact Points** | | | |---|---| ||| ||We will use the **animation curve _interpolation_** to help us determine the bounces' timing. As the ball travels, it loses energy to **floor friction**, **air resistance**, and **gravity**. It recovers some of this energy, but each bounce gets _**lower**_ and _**lower**_ as the ball travels _**shorter**_ and _**shorter**_ **distances** over _**shorter**_ and _**shorter**_ **times**. We will start by setting the **X-axis** points of contact with the floor. Then, we will animate the bounce height with the **Y-axis** and later animate the **squash and stretch** using the **scale attribute**. We will adjust the _**overall timing**_ of the bounces after all the animation keys are set.| ||| - Move the Current Time Indicator to **7 seconds (0;00;07;00),** and the ball moves part way across the composition X-axis. - To the left of the **Position attribute** on the **Ball layer**, click on the **keyframe diamond** to _**set a key**_ at the current attribute value.  - Move the **Current Time Indicator** to **13 seconds (0:00;13;00),** and the ball moves not quite as far for the second bounce. - _**Click on the keyframe diamond**_ to **set a key** at the current ball position. - Move the **Current Time Indicator** to **0;00;18;00** and **set a keyframe** with the diamond. - Move the **Current Time Indicator** and **set a keyframe** at **0;00;22;00**. - Set additional keyframes at 0;00;25;00 and 0;00;27;00 and then 0;00;28;00. - You can **delete** the very last keyframe at 30 seconds since it is beyond our patterned timing of 7 seconds, 6 seconds, 5 seconds, 4 seconds, 3 seconds, 2 seconds, then 1 second: _**Select the diamond keyframe**_ at 0;00;30;00 on the Position attribute and _**hit the backspace key**_ or _**Edit > Clear**_.  - To preview the motion, go to **Composition > Preview > Play Current Preview** or simply **Hit the Space Bar**.  | | | |---|---| ||| ||The ball will move _**very slowly**_ but steadily across the screen. We wanted to gain this steady motion by letting the _**curve animation interpolation**_ determine our keyframe timing. Again, we will speed up the motion later after we attend to some animation details.| ||| - To stop the preview, _**hit the Space Bar**_ again. - Go to **File > Save** or hit **Ctrl + s** to save your progress. ## **Y-axis travel (and its Decline)** | | | |---|---| ||| ||We will add in-between frames to create the apex of each bounce. We will use breakdown keys to keep the bounce apex position keys centered in between the floor contact keys. **Breakdown keys** automatically center themselves between their **previous** and **next** keyframes.| ||| - Move the **Current Time Indicator** to **0;00;03;15** (half-way in-between the first two keyframes). - **Select** the **Ball Layer** and **click-drag to the le**ft on the Position Y number. - This will raise the Ball to the first bounce apex. _**Eyeball a height**_ just under the top of the composition frame. - You can continue _**dragging off the edge of the screen,**_ and the value will keep going down. - _**Drag to the right**_ to **raise the number** and **lower the ball** (**0,0** is in the **upper left-hand corner** of the **screen**) - Since you are **changing the value** of the Position Y attribute, a **Position Keyframe** will be set **automatically**.  - The keyframe should still be selected when you are done dragging the Position Y value. - With the keyframe selected, right-click and select _**"Rove Across Time"** (as if it's a **Time Lord!**)_ from the pop-up menu. - This changes the key into a **Breakdown Key**. The key's shape becomes a **circle**.  - If you click and drag the position of a keyframe on either side, the **Breakdown Key** will **"Rove"** in between them. - Ensure you _**hit Ctrl + Z**_ to _**undo any changes**_ you make to keyframe positions. | | | |---|---| ||| ||Now, let's set the rest of the bounce apexes. It would be nice to copy and paste, but since we are setting values for X and Y simultaneously, this would not work. Yes, there is a way to _**"Separate Dimensions"** (more **Time Lording!**)_ and deal with X and Y independently, but that is unnecessary for this animation.| ||| - In the Main composition, _**click on 10s**_ on the **timeline** to bring the **Current Time Indicator** to **0;00;10;00** - **Click-drag the Position Y** of the **Ball Laye**r so that the second bounce is _**not quite as high**_ as the first bounce since the ball is losing energy. - **Right-click** on the newly-created keyframe and **"Rove Across Time"** again! - Move the **Current Time Indicator** to **0;00;15;15**, **click-drag** the **Position Y** for a smaller third bounce, the right-click **"Rove Across Time"** on the new keyframe. - Do the same procedure for the following apex times: **0;00;20;00**, **0;00;23;15**, **0;00;26;00**, and **0;00;27;15** and decrease the bounce in a shallowing way until there is barely any bounce at all! _**Move the Current Time Indicator**_, _**change the Position Y value**_, and turn the new key into a _**Breakdown Key**_.  | | | |---|---| ||| ||Suppose you add a keyframe where it's not in the correct timing; it is not all the crucial... Making a key "Rove Across Time" means maintaining its position halfway between the keys to either side. Try moving a **Breakdown Keyframe**, and you'll see that it turns back into a **regular keyframe**. While it's out of place, _**right-click**_ and turn it back into a Breakdown ("Rove Across Time"), and **it will snap back** into its mid-point position, floating between its neighbors. This makes editing and maintaining realistic timing easy.| ||| ||You will notice that when the Ball Layer is selected, a **red trail** is shown that represents the path (**Position**) of the Ball across the composition window. **Position** is a unique **Attribute** because it can be shown in the 2D space of the composition. If you pull the Current Time Indicator back and forth, you'll notice that more or less of the red path is seen. We cannot see the whole path because our animation time is too long. When we short the time, we will be the whole path at one time.| ||| - _**Hit the Space Bar**_ to preview the animation. The ball looks more **floaty**. We will accentuate the bounce in the next step. ## **Adjusting the keyframes and tangents** We can refine the performance of the bouncing ball | | | |---|---| ||| ||We can edit both the **Spatial** and **Temporal keys** and **tangents** for **Position**.<br><br>The **Spatial Keys**, shown on the red path in the **Composition Window**, can be edited like any vector path. We can use the Pen Tool and its associated Tools, like the Convert Vertex Tool, to edit the path's shape.<br><br>The **Temporal Keys** can be seen in the **Timeline Window** and the **Graph Editor**. The Graph Editor can show us the interpolated animation curves in two different ways: **Value** and **Speed**.<br><br>To show the Graph Editor, click on the Box with a Curve icon  above the **Layers** in the **Timeline Window**.<br><br>To show an **Attribute** in the **Graph Editor,** you can select it from the **Transforms** in the **Layer** or click on the **graph editor icon** just in front of the **Attribute** name. That "include this property" button will always display the property. You may have to turn it off if the graph gets too crowded.<br><br>For **Position**, **Value** will look very much like the path in the **Composition Window**, except the **X** and **Y** values are shown separately. However, the important difference is that in the **Graph Editor**, you can see the **acceleration** and **deceleration** with **tangents**. Your current keys are probably **Linear**, meaning the lines between keys are straight, so no tangents are shown.<br><br>We will look at **Speed** later.| |||  - Select the Ball Layer. (Ensure the Position Property is **not** selected.) - Move the Current Time Indicator back to where you can see the beginning bounces of the red position curve. - Under the Pen Tool, _**select the little triangle**_ to reveal the other tools, and _**select**_ the **Convert Vertex Tool**. - In the **Composition Window**, _**click on each floor contact key**_ to convert them to Linear Spatial keys. The curve should go straight in and straight out from the key now. _This will accentuate the bounce in space._ - If the entire curve becomes linear, the P_**osition Property may be selected**_. **Undo** ( **Ctrl + z** ) and then select the **Ball Layer** to deselect the **Position Property**. Then, _**click on each floor contact key**_ to convert them to Linear Spatial keys. Only each point should change, _not the whole curve._  - _**Drag the Current Time Indicator**_ to reveal the other contact keys and _**convert them to linear tangents**_. - Ensure you've clicked on the **first** and **last contact keys,** where the ball **starts** and **stops**. - _**Hit the Space Bar**_ to preview the animation. The ball looks more **bouncy** than it did before. | | | |---|---| ||| ||Two Position Property adjustments we can make to the bounce apex keyframes to emphasize the "hang time" of the bounce are the Keyframe Velocity and the Tangent Lengths In and Out.| ||| ## **Keyframe Velocity** - _**Move the Current Time Indicator**_ to in-between the second and third keyframes (but not on a keyframe). - _**Select the Ball Layer**_ to see the path curve in the Composition Window. - _**Select**_, then _**Right-click on the 2nd keyframe**_ (for the bounce apex) and select Keyframe Velocity  - **_Enter "0"_** for both the **Incoming Velocity Speed** and the **Outgoing Velocity Speed** - To increase the effect, _**set the Influence**_ of both to 25**%** -- this will make the Ball "hang" at the apex. - (You'll notice that the Keyframe Icon changed so that is no longer a Breakdown frame but Smooth Keys in and out.  - Repeat _**editing the Keyframe Velocity**_ for the **6 remaining bounce apex keys**. - _**Hit the space bar**_ to preview the animation. The **playback** is slower than our final will be, but the **ball** should **hang in the air** as **gravity** slows it down then pulls it back the floor.  | | | |---|---| ||| ||You might notice that the **frame ticks (dots)** on the red path curve for the Ball Layer's position now cluster at the **bounce apex** and **spread apart** at the **floor contact**. To further reinforce this effect, we can increase the Velocity at the floor contacts.| ||| - _**Right-click**_ on a **floor contact keyframe** (they are currently diamond icons) and _**select Keyframe Velocity**_ - Set the **Speed** to **1000** and the **Influence** to 25**%** - Do this for all the floor contact keys, including the first and last keyframe. - In **playback**, you'll notice the ball **hangs** and then **accelerates** into each bounce.  - We can _**change their color**_ to distinguish between the **apex** and **floor contact keyframes** in the **Timeline Window**.  - _**Select the first keyframe**_, then _**shift + select every other keyframe**_ until ending up on the last keyframe. - _**Right-click**_ and _**select Label > Green**_ (or some color).  - **Select the second keyframe**, then **shift + select every other keyframe** until the **next to last keyframe**. - **Right-click** and **select Label > Yellow** (or some color) - **Ctrl + s** to **Save** your project! ## **Tangent Length** - _**Select the Ball Layer**_ to show the **red path curve for Position** in the **Composition Window**. - _**Move**_ the **Current Time Indicator** so that you can see a **bounce apex keyframe** but also that the Ball and its mask are out of the way (you don't want to accidentally select the mask. You could also just _**turn the mask display off**_ in the options at the bottom of the **Composition Window**.)  - In the **Composition Window,** select the **first bounce apex keyframe**. The **in** and **out tangents** should **display**. - _**Click and drag**_ on one of the **tangents** to make it **longer**. Then **make the other one just as long**. This softens the hang time. - _**Move**_ the **Current Time Indicator** to **reveal** more of the **Position path** and keep the ball out of the way. - _**Adjust the tangents**_ on **all apex bounce keyframes** to make a good bounce. - _**Preview the motion**_ ( Space Bar or Numeric "0" ) to ensure you like these changes.  | | | | | |---|---|---|---| ||#### **Keyframe Icon Shapes in the Timeline Window depend on their attributes**| || |||**Linear Keys** are shown as **diamonds**|| |||**Continuous Bezier Keys** are shown as **circles**|| |||**Breakdown Keys** are shown as **small circles**|| |||**Smooth Keys** are shown as **inverted diamonds**|| |||**Hold Keys** are shown as **squares**|| |||**Hold In Linear Out Key**s are shown as a home base pointing right|| |||**Linear In Hold Out Keys** are shown as a home base pointing left|| |||**Hold In Smooth Out Keys**|| |||**Smooth In Hold Out Keys**|| ||||| |||You can **snap** the **Current Time Indicator** to keyframes by **holding the Shift key** down when **dragging**.|| |||To the **left** of an **animated property** has **Previous <** and **Next >** keyframe navigation buttons.|| ||||| # **Creating Squash + Stretch with the Scale Attribute** | | | |---|---| ||| ||We will turn our attention to **squash and stretch**, using the **Scale Property,** and then add a bit of **lean** using **Rotation** so that the ball's direction follows the path. We will start by **adding keyframes** for the ball when it is at **rest** at the **apex of each bounc**e. Then we will break up the keys for the **floor contact** into **Hold Outs** and **Hold Ins**, so the ball will hit the floor at its maximum stretch, squash, rebound, then launch into the next bounce arc by stretching to release its potential energy. These refinements to the animation add more and more realism, appeal, and accuracy to the ball's performance.| ||| ## **Setting the Rest Keys at the Apexes** - _**Hold the shift key**_ and **_move the_ Current Time Indicator** to the apex of the first bounce. - _**Enable the stopwatch icon**_ in front of the **Scale Property**. This sets the first keyframe for scale at **20.0, 20.0 %** - Use the **next keyframe navigation** **for Position** to move to the next bounce apex. - (Or **_hold shift_** and _**move the Current Time Indicator**_.) - _**Click the Keyframe icon**_ to the left of the **Scale Property** to set a keyframe for this apex at **20.0, 20.0%** - Do this for all the bounce apex keys. ## **Expanding the Floor Contacts for Stretch > Squash > Stretch** - Move the **Current Time Indicator** to the **keyframe** at the end of the first bounce. _**Hold the shift key down**_ so the **Indicator snaps** to the keyframe. - Use the **magnifying scale** at the bottom of the **Timeline Window** to **zoom in** on the frames around the floor contact. The magnification focuses on the location of the **Current Time Indicator**. When you reach the **maximum zoom** (large "mountains" on the right), the **Timeline** shows alternating bands for each animation frame. When you move the **Current Time Indicator**, it will snap to the beginning of each frame.  ## **Set the Squash keyframe, then the Stretch In and Stretch Out.** - On the **Scale Property**, _**click the chain icon**_ to unlock **proportional scaling**. - **_Type_ in the Scale Property** value of **30.0, 10.0%** to preserve the volume of the ball when it's squashed. - Changing the values should **create a new keyframe**. - **_Move the_ Current Time Indicator** back **3 frames**. Notice that the ball moves up. - We want the ball to stick to the floor, so s_**elect the Position keyframe**_ just a few frames ahead. - **Copy ( ctrl + c)** the selected keyframe and then **Paste ( ctrl + v )** it. A **new keyframe** for **Position** is created **at the Indicator**. - **_Type_ in the Scale Property** value of **10.0, 30.0%** (reverse of the squash) to preserve the volume of the ball when it's **stretched**. - **_Moving_ the Current Time Indicator** to preview, you'll see the ball hit the ground stretched and then squashes.  - **_Move_ the Current Time Indicator** 3 frames past the Squash keyframe. - Again, the ball is rising, but we want it to **stretch against the floor** to regain its jumping energy - S_**elect the Position keyframe**_ just a few frames behind. - **Copy ( ctrl + c)** the selected keyframe and then **Paste ( ctrl + v )** it. A **new keyframe** for **Position** is created **at the Indicator**. - For the **Stretch**, _**select**_ and _**copy**_ the **Scale keyframe 6 frames previous** and **paste** it at the **Indicator**. - **_Moving_ the Current Time Indicator** to preview, you'll see the ball hit the ground stretched and then squashes.  ## **The Declining Slope of the Bounce and Its Energy** | | | |---|---| ||| ||Perform the same steps on each floor contact to show the ball stretching, hitting, squashing, and stretching to recover. But, each bounce should have less and less energy. You can try these numbers for the Stretch, then Squash of next 5 bounces. The start can also have an initial squash, then stretch. The End can squash very slightly and then recover (follow-thru).<br><br>start : squash 35.0, 8.0% and stretch 8.0, 35.0%<br><br>bounce 1: squash 30.0, 10.0% and stretch 10.0, 30.0%<br><br>bounce 2: squash 30.0, 10.0% and stretch 10.0, 30.0%<br><br>bounce 3: squash 30.0, 10.0% and stretch 10.0, 30.0%<br><br>bounce 4: squash 30.0, 10.0% and stretch 10.0, 30.0%<br><br>bounce 5: squash 30.0, 10.0% and stretch 10.0, 30.0%<br><br>bounce 6:squash 30.0, 10.0% and stretch 10.0, 30.0%<br><br>end: squash 30.0, 10.0% and stretch 10.0, 30.0%| ||| ## **Matching the Direction of Travel with Rotation** | | | |---|---| ||| ||| ||| # **Using Pre-Compose and a Nested Comp to Create a "Texture"** ## **New Solids and Masks for Texture elements** | | | |---|---| ||| ||| ||| ## **Creating a Null and Parenting to Animate Texture Rotation** | | | |---|---| ||| ||| ||| ## **Switching Back to the Top Composition to Check the Ball Rotation** | | | |---|---| ||| ||| ||| # **How After Effects Syncs Composition Times** | | | | --- | --- | | | | | | | | | | # **Using the Nested Comp to Create "Lighting" and "Shadow"** ## **Adjustment Layers are Solids and Masks** | | | |---|---| ||| ||| ||| ## **Shadows are a darker version of the color, not black** | | | |---|---| ||| ||| ||| # **Final Timing and Render** ## **Using Preview (Waiting for it to complete)** | | | |---|---| ||| ||| ||| ## **Adjusting overall timing with Curves (or Time Remap?)** | | | |---|---| ||| ||| ||| ## **Setting the Work Area** | | | |---|---| ||| ||| ||| ## **Rendering in After Effects (2023+)** | | | |---|---| ||| ||| |||