AFTER EFFECTS BASICS Peter McKinnon Arabic English

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Peter McKinnon 6M subscribers Canada YouTube↗

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Spanish Jamdi

Vietnamese Baid Man

Turkish Viral Mizah

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حسنا نحن نذهب اليهم

- Okay, we're going there.

نحن نذهب اليهم سويا

We are going there together.

انا اعني لم اتكلم عن هذا من قبل

I mean, we've never talked about this before.

لقد تكلمنا عن الفوتوشوب ولايت رووم (برنامج)

We've talked about Photoshop and Light Room

و فايميرا والكثير والكثير من الاشياء

and Premier and lots, lots of other things.

هذا.........

This... (exhales)

نحن ابدا لم ندبر هذا

We've never even dipped our toes in,

لكن اليوم سنفعلها

but today we're doing that.

لا تطلع من الفديو يرحم امك

Don't freak out.

سوف افعل كل شيء انا استطيع جعل هذا سهل بالنسبة لكم

I'm doing everything I can to make sure this is easy for you

اممم فكرت صحيح لن تطلع من الفديو😂😂

so that you're not gonna just combust.

انا متحمس اكيد انت متحمس بعد !

I'm excited, you should be excited too.

يلا خلينا نبدا

Let's turn this thing around.

(upbeat rock music)

كيف الحال جميعا

What's up everybody?

بيتير مكانيون هنا مرحبا بكم مرة اخرى

Peter McKinnon here and welcome back

to yet another Tutorial Tuesday.

And today we're talking about Adobe After Effects.

So, like I mentioned in the intro,

we've never actually talked about this program before.

We've talked about everything else

but we've never, never even dabbled in After Effects.

And I've seen a lot of comments and questions

and emails and DMs and a lot of people want to know,

"Why don't you ever do After Effects tutorials?"

or "Would you do After Effects tutorials?"

or "I'd love to see something from you in After Effects."

So that's today.

I figured we would start with this.

There's probably going to be multiples of these

because this program's a beast

and I don't think I can tackle this all in one video.

And you guys know how I talk a lot,

so this needs to be split up for sure.

So let's just call this After Effects basics, part one.

I'm gonna run you guys through the interface of the program,

show you what it's like, where things go,

try and simplify it for you as best as I can.

And then I think we'll just make a simple title,

like animating a nice title that's tracked

through 3D space, if you will.

And I find these actions just help me explain things better.

We'll track a title so you guys can put

those types of things in your videos

or your vlogs or your travel films.

It's a very good introductory, small little task

for a program as much of a beast as After Effects is.

So, what is After Effects?

After Effects is kind of--

I'd describe it as like the Photoshop of video.

You can do so much in After Effects.

Whenever you see special effects happening,

like in yesterday's vlog when you saw

that Nerf gun turn into (growls).

(loud gunshots firing)

That's After Effects.

If you guys follow me on Twitter,

you saw what I did for Gary Vee with his new shoes.

That's After Effects.

It's possibilities are endless.

People use it in such creative ways.

It's an incredible compliment to video,

really allowing you to just kind of expand your horizons

as far as your creativity goes.

If you get a handle of how good this program works

and you get good at it and you practice,

your skill sets, your worth, your everything as a filmmaker

or an editor is just going to be that much better.

So I figured it's time that we dive into this

and start maybe knocking some of these out.

This is the part where you go make a coffee,

you go grab a drink, you do a hundred pushups,

have a power nap, run around your house six times,

whatever you gotta do.

We're gonna open up Adobe After Effects for the first time.

All right, so when you launch After Effects

for the first time it's gonna open up

with that project window the same

as if you open up Light Room or Photoshop or Premier,

and it's going to ask you what you want to do.

You're gonna hit New Project.

Okay, pause for a second.

This is the interface of After Effects.

It looks kind of the same as Premier.

You'll notice you've got the timeline down at the bottom.

You've got your workspace up top.

You've got some kind of file storage,

some bins, some area on the left side for your stuff to go.

Your files, your videos, your music,

whatever you're gonna throw in there.

You got your effects on the right side.

So if you are kind of like a seasoned pro

or somewhat seasoned by having used any type

of Creative Cloud products from Adobe before,

this shouldn't look too foreign.

But there's still probably a few things in here

that you're gonna be like, "Hmm?"

Let's keep going.

All right, on the left side you've got your project window.

This is where all your files get dropped in.

If you've got graphics, if you've got music,

if you've got whatever you need,

that's going in the left side.

Very much similar to if you're gonna put

all your footage into Premier to start editing,

you're gonna drop all your goods, all your assets

into the project window.

All right, immediately to the right

of that is your composition window.

That's where you're seeing what you're working on.

That's where your video is going to be.

Everything your adjusting, all the stuff your tweaking,

all the effects, the after effects that you're putting

on your footage and your video, that's the main spot for it.

On the right side, kind of like Light Room,

you've got that big panel of effects,

so that's where you're gonna type in your different effects.

Text tools, changing your fonts,

all of that stuff (zip) over here.

And then (swoosh) running right along top

of that screen is your tool bar,

so that's where you've go all your different pointers

and text tools again and little things

that will change based on what you're doing, okay?

So, project files, main composition windows, effects,

(zip) tool bar, and then at the bottom

you've got your timeline.

Just like video editing, it's gonna work exactly the same.

That timeline is where everything your working on,

just like any other timeline you are familiar with.

So far so good, right?

You guys are still with me.

We're not getting into scary waters yet.

All right, I'm gonna go ahead and drag in a drone shot

from Iceland of me walking on this airplane.

I'm gonna drag that into my project files,

just like we talked about,

because that's where your project files go.

What we want to accomplish by the end of this video

is having a title on our footage

that tracks into the scene and it grows

and kind of moves with the camera

as the camera continues to fly over the plane, right?

So instead of just putting a title on the screen

and the drone shot moves over the plane and that title never moves,

we want it to feel like that title

is in the same environment and that camera is moving over it

and closer to it and the closer that drone gets

to the title the title's getting bigger.

That's the objective of today.

We're gonna start with that.

Kind of looks a little bit like this.

(intense instrumental music)

Now, if we really wanted to get crazy

we could mask out some of that text

so that it's behind me when I'm walking

but we'll save that for maybe like a part two.

Don't even, we'll just, uh...

Okay, so the first step.

The first thing you're gonna want to do

is click on that footage in your project window

and drag it down into this little icon.

You're gonna drop it on that and then (pop) let go.

That button is the Create a New Composition button,

so when you drag your footage,

whatever that is, right onto that button

it creates a composition based off

of those settings of that video.

4K, because I shot this in 4K, 24 frames per second,

all of those are baked into that timeline.

That totally makes sense.

If it confused you, essentially we're taking the drone shot,

we're dragging it into that icon,

it's gonna open the window up

and make our timeline the exact settings we need them

based on the settings of that drone shot.

This is a 4K clip so it's massive right now.

It's taking up a lot of our composition

so let's just go ahead

and click this little arrow right here

and fit that to screen.

That's looking a lot better.

We are nice and crispy 4K, that's full res.

You can click this little drop down here

and change the resolution,

which is actually gonna render your projects faster.

You see, unlike Premier Pro,

where when you drag your footage in

it's rendering in real time

so that you can play through your footage

and edit without having to wait for render times.

But After Effects doesn't render in real time,

so dropping that quality is gonna allow you

to play back what you're doing

and what you're working on without having it being choppy

or anything like that, or having to wait for render times.

So I always recommend dropping it to a third quality

if you don't need to see the quality

for whatever it is that you're doing.

You can always change it back to full,

but for this case I think we're gonna drop it down.

We basically need to mark our in and out points

on the clip that we just selected

so we know exactly what piece of footage we're working with,

what part of the footage we're working with.

Go ahead and hit space bar, that's gonna play the video.

All right, this is where I want the footage to start

so if you click on the actual video in your timeline,

which is this little blue strip right here,

you can grab the front end of that clip.

You'll see the arrows pop up.

You can click and drag that to your timeline.

Now, if you want it to snap right

to your play head, hold down shift.

It's gonna snap right over.

If you've got a full-sized keyboard like I do right here,

you can actually use Page Up

and Page Down to go frame by frame

so you can fine-tune that last part

of the clip that you want.

When you have it you can drag the footage

from the very end, holding shift,

right back to your play head

so that you've condensed that whole clip

into just the portion you want.

Essentially, in and out.

I believe you can also use B and E

for beginning and end.

Might be N for End.

There's so many shortcuts.

Once you've deciphered which in and out point you want

and you've trimmed that down,

you're gonna move that to the beginning of your timeline

and then we're gonna do something

that's gonna just make everything a little more efficient

and a little easier to deal with.

Now, if you notice that little blue bar,

that is your footage.

Right above that is the time ruler.

We're gonna go all the way to the end of the timeline,

we're gonna grab that time ruler

just like we did with our footage,

and we're gonna drag it all the way

to match the end of our clip.

Then we're gonna go up to Composition in the toolbar

and we're gonna select Trim Comp to Work Area.

Now it's gonna take this little clip that's our footage

and it's gonna take all of this stupid nothing space

that's just gonna annoy me

and it's gonna obliterate all of that

and make that entire timeline our entire clip.

It's just easier to deal with,

easier to think about, cleans everything up.

Okay, so we've done that, that's the easy part.

Go ahead, head up to the toolbar, hit that T for text tool,

type in whatever you want.

I'm going to type in my name, Peter McKinnon.

This is the beginning of creating our title

so that we can track it through space and time.

I just love saying that, it just sounds so great.

We're gonna track a title through space and time.

Come along, I'm in.

All right, so now that your text is on the screen

and you've got your shot playing,

go ahead and play that through again hitting space bar.

You'll notice as the camera moves closer,

as the drone flies closer to that plane,

that title doesn't move, it stays the same.

It doesn't look very good, it's just small,

it's a standard text on frame, it's just blech.

How do we make that better?

That's where I'm saying we want to track this title

so as the camera moves forward the text becomes

bigger and bigger and bigger and bigger

as if the camera's actually moving

towards text in real time.

To do that we need to create something called a null object.

Now, a null object is gonna be something

that you come across very often in After Effects.

Let me explain what a null object is

with regards to tracking this title through space and time.

A null object is like an invisible aid

that lives on the screen when you're editing.

You can't see it.

It's never gonna appear in any of your videos

but you're able to attach different effects to it

and it controls different effects throughout After Effects.

So different things that are happening on screen,

different things that you're trying to make happen,

all sometimes run through this null object

and it enables a lot of different, cool things to happen,

like what we're going to do with tracking this text.

We need to track that text and attach it to something

on the screen so that it ends up working.

That's what a null object does.

I'm trying to explain it in a way

that's not gonna completely melt your face.

But let me get into this edit a little bit more,

then I think by the end you'll understand.

It's just one of those things that you need

as a step to begin using After Effects.

To activate this mysterious null object...

And if you want to know more about that

I'm sure you can Google it and get a better answer

than I could possibly figure out how to convey to you.

But just right click in your timeline,

hit New, and go over to Null Object.

When you click that, a red box is gonna show up.

That is your null object.

That's just the little invisible box,

the little invisible controller box that's gonna live

on screen for the rest of this edit.

You'll also see it down in the left corner

where you see all of our layers, if you will.

We've got our footage, we've got our title,

and now we have Null 1.

Now's where it gets a little confusing.

Refill your coffee, right now.

What we need to do is have After Effects

track all the pixels in this scene.

It needs to just play the scene forward

and it needs to analyze

and track the movement of this scene,

which is our drone shot flying forward.

After Effects needs to figure that out, needs to map it.

Once it's done that, we attach it's tracking data.

We attach what it's done to this null object.

Then, when we take that text

and we attach that text to the null object,

it's also tracked because they're both running

through this little helper, this little invisible aid

that is the null object, okay?

So we track the scene,

we attach those settings those settings to the null object,

then we take the text, attach it to the null object.

Bob's your uncle, you're good to go.

Click on your footage, that's the DJI clip for me,

whatever it is for you.

You're gonna click on that layer, probably the bottom layer.

Then you're gonna go over to the right side

where it says Tracker,

and that's gonna bring up a little window.

If you don't see that, like anything else,

you can go up to the top of the toolbar,

hit Window, go down and make sure that Tracker is clicked.

If it's not, go ahead and click that, then boop!

Your little toolbar is gonna appear on the right side.

If it's already there, you're golden.

Follow these next steps.

You're gonna click Track Motion.

Once you click that it opens up a new layer window.

Now, you might be like, "Huh, where did my composition go?"

But if you notice at the top here

it'll say Composition DJI 0001.

That's my clip, so whatever your clip is,

that clips gonna be over to the left.

What I mean by it opened a new window is

now beside that we see layer one,

which is that track motion layer.

So your other composition is still there, we're good.

It's just opened a new window

so that it can perform this task.

Now you'll see, right in the middle of the scene,

it says Track Point 1 with a little white box.

Now we're gonna want to zoom in

so that we can see this better,

so hit plus and minus on your keyboard to zoom in, zoom out.

But go ahead and hit plus and get up nice and close to this

so that we have a very good view.

And I also noticed this footage

doesn't look very good right now

because if your remember at the beginning

we dropped that quality down to a quarter

so that we could render this thing faster.

So right now, just for simplicity's sake

so that we can actually understand what's going on,

let's bring that quality back up to full.

Look at that crispy, tastiness.

We're back baby, 4K.

Mm, feels good!

But now we can actually see what's going on.

Now you can see our track point number one box

and what that does is tracks a group

of pixels across the screen and calculates its movements.

But we're gonna need to make another tracking box

because we want to do two things here.

We want to move into that text

so we need to track moving into that text,

but we want that text to also scale up and move bigger

so we need to track that scale as well.

So we got two things happening at once here.

Don't worry, we're fine, we're good.

You'll see over on the right side here,

we've got Position checked off.

You're gonna go ahead and hit Scale,

make sure that one's checked off too.

And then a second tracking box is gonna pop up.

(pop) Just like magic.

(weak explosion sound)

I got nothing, I got...

And you thought I was gonna do magic, didn't you?

You were like, "It's coming."

You don't own me.

Just to double check everything is in good working order

you can go ahead and hit Edit Target.

Now a little window's gonna pop up

and you're gonna see that the selection

is selected to Null 1.

That's the null object we created

because, remember, we're trying to track all these movements

and send all that information

to that little, invisible helper, that null object.

So making sure that's where it's going is good.

Which it is, golden.

Hit okay, boom, moving on.

So now we just need to pick two things in the frame

that we can lock these little boxes onto

that After Effects is gonna use to track this scene, right?

So high-contrast points.

We don't want to chose the fluffy,

faint little cloud in the distance.

We don't want to chose the part of the boot

that's moving as a walk across this plane

because it's moving too much.

We want to choose two nice, solid,

stationary, high-contrast points

that aren't moving very much so After Effects says,

"Thank you, I can easily track this scene for you."

We're gonna do that by selecting these windows here.

I think I'm gonna go with one window on the right

and a window on the left side.

Sometimes this can be a bit of trial and error

but it is doable.

I'll show you what I mean by that.

Click and drag tracking point one, that's the box.

When you click and drag it, it's gonna magnify the area

that you are hovering that box over.

That's what's happening right now.

This nice sharp edge of the window,

with that high contrast being it's black inside,

we're gonna use that for our first tracking point.

And maybe we'll try this window over here on the right.

That one may be a little iffy,

but we're gonna track that one as our second point.

So again, we're gonna click and drag that to that point.

Essentially, we're sticking targets on this frame

so that After Effects says, "Okay, we got your targets."

Now I'm gonna hit Track and we're gonna--

Let us do our job and we'll try

to hang on as the scene moves.

Let's go ahead and do that and see how it does.

If you want to just double check your tracking points

before you go ahead and hit Track on After Effects,

what you can do is skip forward

a little bit in your timeline.

This is a little pro tip here.

Skip forward a little bit in your timeline

and that's gonna obviously show if the scene has changed.

And the scene has changed.

That's not a good spot to track

so let's go ahead and change that.

We give this program a better chance.

All right, let's go ahead a move this up

to this little black hole here.

I believe that was part of the ladder

that was in the side of the plane to get up.

That's a nice high-contrast area.

It's nice and dark there, so let's start with that.

Let's zoom out before we do this.

You can go over to that

drop-down menu right here and hit Fit.

Now we are going to analyze this frame forward

by hitting the little play button

down here where it says Analyze.

All right, let's see what happens now.

The frame is moving forward.

You can see it's tracking, everything looks good so far.

Looking good still.

Oh, it's looking--

It's moving a little bit.

Oh, there it goes.

Okay, so After Effects just lost it.

That's what I mean by, it had those tracking points,

it was locked on nice, it gave it good information,

it tracked all the way up until

it just slipped at that last second.

And this is what I mean by sometimes it's trial and error.

Sometimes you gotta do this a couple times.

Once you get used to it

and you start tracking different things,

you'll know what tracks well,

you'll know where good contrast points are,

and sometimes you nail it on the first shot,

and you're like, "Mm!"

Sometimes it takes three or four times,

but that's just all part of the process

and the beast that is Adobe After Effects.

We're gonna go to where it slipped up

and we're gonna adjust it so that it just hangs on

for the rest of the frame there and then we're good to go.

We're gonna zoom in a little bit

so we can see this a bit better.

You'll notice that you see two boxes.

The inner box is the one

that After Effects is actually tracking.

You can click and hold and see the exact point

where the program is looking to track.

That second box, the outer box,

is there to make sure that that little one

isn't moving inside it.

It's kind of targeting that little one.

It's almost like a backup system.

So if that little one moves,

we can drag that outer box bigger to, again,

make that target area bigger.

Give the program, again, a better sense of tracking.

Essentially, we just don't want

that little box to move out of bounds.

So in order to do that we're gonna make those bounds bigger

by dragging the outer box larger.

That way it's got more room to move around

without that big box losing sight of it.

We're gonna increase the little one as well,

just so that the target area is even bigger

and that way when we reanalyze this it's not gonna get lost.

We can go ahead and do that for both sides.

All right, now that we've adjusted that,

we can hit play again on Analyze Forward,

over here on the right side,

and it's just gonna overwrite all

the tracking points it did before where it went off.

Now that we've adjusted it,

it's just gonna continue moving forward,

keeping all the data behind it.

Okay, it's a little slower to track

because those boxes are bigger, but it is locked on.

It's looking good and...

So obviously, it slips up

and leaves once the plane is no longer in frame

but, Ladies and Gentlemen, we have our scene tracked.

If that was traumatizing for you,

my condolences, rest in peace.

But I don't think it should be.

Again, I would watch this tutorial two or three times

and then try to make this, try to do these titles yourself.

You'll be a pro by the end of the day.

Now that we have all of this tracking data,

we want to move it to the null object

so it has all that information stored inside.

Our invisible aid living on the screen.

All we gotta do to do that is go own to the right side

where that little target tracking area was and hit Apply.

This little box is gonna pop up that says X and Y.

Just hit Okay, good to go.

Now look at your timeline.

Look at all those crazy little diamonds and motion track.

(explosion sound)

Go ahead and collapse those in the Layers panel

on the bottom left corner here.

You can hit these little arrows

and let's just get rid of all that nonsense.

That is way too stressful to look at.

I don't want to see it, you don't want to see it,

so let's go ahead and hide that.

Okay, so now that we've tracked this scene

and we've connected all that information to the null object

and it knows what we're doing

and it has all of that information stored inside it,

we want to attach the title to the null object.

So now the title will take on everything

that that null object has stored inside.

And we do that by connecting it

on this Layers pallet down here.

There's a little zigzaggy thing,

a little swirly pick whip is what they call it.

How much fun is that?

Pick whip, pick whip, pick whip, pick whip.

I could say pick whip a thousand times.

(whipping noises)

You're gonna click and hold that pick whip.

You can just fling it all over the place.

It's just so satisfying to do.

We attach that text to the null object

by clicking on that pick whip,

dragging that line over until it highlights Null 1,

which is that null object that we created, and let go.

Now we've assigned all the settings of the null object

and all the tracking stuff

that that null object has stored inside it.

Our invisible helper.

And we've just attached the title to that null object

so now it should take on the same characteristics.

That should make sense.

Now, you might be going, "Oh!

"I see it all coming together."

And you can see if you were successful

with said pick whipping by in the right side here

you can see where it says Null 1

under that little menu drop-down

so you know you've connected it properly.

Now, when we play this forward,

this is what it's gonna look like.

(intense instrumental music)

That little glitch there at the end

is where we lost the tracking data

because the plane goes completely out of frame,

so that's pretty much where we would stop the title.

Let's just scrub our timeline, our play head

right to the spot in the frame

where that information's gone.

You can see the text kind of snaps a little bit.

That's where the tracking just went, "Peace, I'm out!"

And let's drag, using the right side,

like we did at the very beginning of this.

Let's drag all these layers over to that play head,

snap them right to that play head.

Hold shift if you want, snaps them right in.

We're gonna get rid of those, trimming comp to work area.

So now our whole scene is exactly the scene that we want,

doesn't lose the tracking information at the end,

the text isn't wobbly, it is a full sequence

from start to finish to tracking our nice title

in space and time.

Keep in mind too, you can move that text

wherever you want on the screen.

It doesn't have to stay in the center.

If you want to move it to the right,

to the bottom, whatever, does not matter

because all that information is connected to the null object

so you are free to do what you want.

But we're gonna keep it in the center

because that's where it looks cool.

We're coming up at the beginning of a vlog

or a little short film (whoosh) right in the center,

(Rushing sound)

tracked right over top.

Now, we could get crazy and start changing the fonts

and then actually mask out the title

so that I'm walking in front of it like--

I've said too much already.

That's definitely a part two.

(inhales loudly) Okay, relax guys.

Take a deep breath, you made it.

That is it, you're done, you did it.

We survived, you survived After Effects part one.

Do you think you can handle part two?

I think you can handle part two.

What I would recommend is delete everything you just did

and go back and do it again like five times

so that you really get the understanding

of what a null object is

and being able to use the pick whip to attach your text

and your tracking points to the null object

and just really understand how that whole system works.

Going through the compositions, going through the timeline,

going through the project files, the effects

and just familiarize yourself with the shortcuts

or anything else that you can

so that you can get comfortable with it.

One of the things that I really like to do

when I learn a new program is,

if I learn something specific, I learn a certain task,

I will repeat that task five to ten times

so that when it comes time for me to actually do that

or make a title for a video, I've done it 10 times already

so I know exactly where to go.

Composition, new composition, drag this in, trim to...

All that stuff is just muscle memory at this point.

So that's what I'd recommend for you to do

while you wait for me to make part two

because I've got no idea when it's coming.

But I will make sure it comes in a timely manner.

I also had tons of requests to teach

how I did the Gary Vee video.

Maybe we'll think about doing that.

But, hey, I'm proud of you.

Thanks for sticking around.

Good job if you followed that to the end.

If you're already a seasoned After Effects pro,

well, I mean, I'm jealous because I'm not,

but welcome and thank you for staying. (laughs)

Other than that guys,

hit that like button if you liked this video.

Smash it, if that's something that you're into

Just punch it in the face. (whipping sound)

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I got a plane to catch, I'm going to LA.

See you guys in the next one.

(upbeat instrumental music)

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