BONUS

TUTORIAL

STYLE
POKE AROUND

DIFFICULTY LEVEL
MODERATE

Cool Moves

ow do you create something cool from next to nothing? One

approach is to experiment with the interaction of simple geometric shapes, such as circles. We explore a project designed by
Brenda Sexton of New Shoes Design (www.newshoesdesign.com).

Using Illustrator shapes

to create a fun, looping
background texture.

Concepts
covered in:
Chapter 1:
continuous rasterization
Chapter 4:
animating rotation
Chapter 5:
setting the anchor point

Click on the image above to play the final movie.

Chapter 10:
blending modes

Trail Head

Chapter 18:
nested compositions

Guest artist Brenda Sexton has generously shared with us the project
and source files behind one of her animations from the Getty Images
CD, Synergy: Digital Joy. In this project, you will see a few themes repeatedly exploited to great advantage: blending modes,looping animations,
and offsetting the anchor point of a layer so it seems to wobble as it
rotates. In this tutorial, we will examine how she used these techniques.
If you were unable to play the QuickTime movie above, open the
Bonus Tutorials>BT6-Cool Moves folder from this books DVD, and
Tutorial Creating Motion Graphics
3rd Edition. Design Brenda Sexton.

Chapter 20:
collapse transformations
Chapter 22:
adjustment layers
Effects Used:
Tint, Hue & Saturation.
Optional: Boris BCC Tritone

Cool Moves // BT6

play the BT6-CoolMoves.mov to see the final result. Then go ahead

and open the BT6-CoolMoves.aep project file.

Source Material
All the source material Sexton used for this project was created in
Illustrator. In the Project window,look at the subfolder circles_layers.ai
inside the BT6_Tutorial Sources folder,and open each footage item by
double-clicking on them. They are all variations on circles,including outlines and circles cutting out other circles. All the footage items in this
folder came from the layered Illustrator file circles_layers.ai; if you like,
you can open the master file by selecting any one of its layers and hot
keying (Command+E on Mac,Control+E on Windows) to open the master in Illustrator. Remember that you can import layered Illustrator files as
a composition,with each layer a separate source. There is also one additional Illustrator file large circle.ai that was added later to the project.
Illustrator artwork is good for this type of job, because you can resize
the layers without losing resolution or sharpness (or having to recreate
your artwork at a larger size).

The Art of Wobbling

Comp: [MellowMotion 02]
Open the composition [MellowMotion02]. It is initially daunting, with
thirteen image layers and a lot of parameters twirled open, but youll
quickly find repeating themes throughout.
Since the purpose of the Synergy: Digital Joy CD is to provide readyto-use elements for video editors and compositors, this composition
was created using the NTSC D1, 720486 size, with D1/DV NTSC pixel
aspect ratio. To save screen real estate and speed up previewing, you
might want to make sure the Comp window is zoomed down to 50%
Magnification and is at Half Resolution.
The main color of the composite is initially set by layer 13,which is just
a solid set to a rich blue. Double-click it in the Timeline window to open
it in its own Layer window to verify its color.This same color is set as the
Background Color for the comp,so when you open any of the Illustrator
layers, they will be seen in the Layer window against this color.
Next, look at layer 11 it uses a copy of the additional large circle.ai
Illustrator file. It has a pair of Rotation keyframes; go to the second one
and note that it is at 10:00 one frame past the end of the timeline
and set to a value of 1 + 0.0 (or 360 degrees), which equals one full
rotation.Youll notice all the layers that rotate do so by some multiple
Tutorial Creating Motion Graphics
3rd Edition. Design Brenda Sexton.

The main source for this project is

a multilayered Illustrator file with
a variety of circles.

Cool Moves // BT6

Move to time 10:00 and glance at the information for the

layers in the Timeline window youll notice most rotate by
some multiples of whole rotations, have offset anchor points,
are reduced in opacity, and use a blending mode.

of whole rotations (for example, layer 10 above it is set to 2

rotations at this same point in time). Setting the second keyframes at 10:00 means that when the final render loops, it will
be seamless, since 10:00 = 00:00 when you loop back around.
Go ahead and return to the start of the comp (00:00) so you
can see something useful in the Comp window.
A rotating circle can be pretty boring if its anchor point is
centered. The fun in this animation comes from the anchor
points being off-center. Double-click on layer 11 to open it in
its Layer window, and select Anchor Point from its View popup.
Notice the location of the anchor point (the circle with the X in
the middle). The anchor point is the nail driven through a layer;
it rotates and scales around this point. Like an out-of-round
record, this circle will now wobble as it rotates thanks to its offcenter anchor point. Close the Layer window when done.
Make sure the Switches/Modes column is set to Modes (F4
toggles this state), and notice that most of the layers have been
set to different blending modes. This means they will combine
in more interesting ways visually as they intersect each other.
Some layers, such as 5 and 7, also have Effect>Image Control>
Tint applied to change their color. The opacity for most of the

Offsetting the anchor point (the circle

with the X in the middle) means that these
circles will wobble as they rotate, adding
interest to their animation. (Remember
that you can change the anchor point in
the Layer window only when Anchor Point
Path or Masks is selected from the View
popup in the bottom right corner.)

Tutorial Creating Motion Graphics
3rd Edition. Design Brenda Sexton.

Cool Moves // BT6

layers has also been reduced, making it easier to see through the layers. If all the opacities were set to 100%, the resulting patterns may
become overpowering, which would be less suitable as a background.
Scroll up to the top of the Timeline window list,and press F4 to toggle
the Switches/Modes column to display Switches.Youll notice that some
of the layers have their Continuous Rasterization switch set. This is
particularly important for layer 3, which has been scaled to 130% this
switch will keep its edges clean and sharp at this larger size. It is not
necessary for the layers scaled to 100% or under; we turned it off for
these layers as it otherwise inhibits you from opening the Layer window.
Before After Effects 6,you could not apply effects to any layer that had
its Continuous Rasterization switch turned on; now you can although
it will rewire the rendering pipeline, sometimes causing unanticipated
results. In general,try to create artwork that is large enough in Illustrator
so that you dont need to continuously rasterize it in After Effects.
Note that when this switch is on for a nested comp layer as it is for
layer 8 it means collapse transformations. The transformations applied
to the layer in this comp will be added to the transformations in the
precomp, and a new image is created using the result. The source is
antialiased once (not twice), and the rendering is also faster. Blending
modes applied in the precomp also come through to the main comp.
Tutorial Creating Motion Graphics
3rd Edition. Design Brenda Sexton.

Notice that some layers have their

Collapse Transformations switch
on. When this is applied to an
Illustrator layer, it means continuously rasterize. When applied to
a nested comp layer (where the
red arrow is pointing), it means
collapse transformations (see
Chapter 20 for details).

Cool Moves // BT6

Precomps & Pixels

Comp: [01_dark circ.cut-out]
Scroll down the Timeline window and look at layer 8. It is a nested composition. Option+double-click (Alt+double-click) on it, and its own
Comp and Timeline windows will open. This precomp consists of the
same layer duplicated with the same anchor point position and rotation animation.View the Modes column, and you will see that both layers have the Overlay blending mode applied. This results in a slightly
different look than just using one layer at a stronger opacity.

Yes, you could merely duplicate the

same layers in the main comp, but when
you have a grouped element like this,
precomps are easier to manage than
individual layers. And since the Collapse
Transformations switch was set for this
comp back in [MellowMotion 02], as
noted earlier even the blending modes
will be carried through.
Time for a diversion, to discuss nonsquare pixels since circles are one of
the best ways to show them. Remember
what the circles in the Comp window
looked like, and type Command+K
(Control+K) to open the Composition
Settings for [01_dark circ.cut-out]).
Notice that the frame size has been set
to 720486 the normal D1 NTSC size
and the Pixel Aspect Ratio has been
set to D1/DV NTSC aspect pixels. This is

The precomp [01_dark circ.cut-out] contains the same layer and

animation, duplicated. The reason is that both layers use Overlay
mode, which results in a different look than a single layer.

When using a non-square video frame size, in most cases you

should also set the Pixel Aspect Ratio popup to match.

Tutorial Creating Motion Graphics
3rd Edition. Design Brenda Sexton.

Cool Moves // BT6

llustrator art is based on square pixels, so when you work in a D1/DV NTSC aspect ratio comp, your artwork will
appear wider on your square-pixel computer screen (left). When output to tape, it will look correct again (right).

correct. However, it is common to just type in the

Width and Height, and forget to set the Pixel
Aspect Ratio popup as well thats why we suggest using the presets. When you pick a preset,
the pixel aspect ratio will be set appropriately
for that size.
As a test, set the Pixel Aspect Ratio popup in
Composition Settings to Square, click on OK, and
watch the image change in the Comp window
the circles will now get thinner, and actually look
closer to perfectly round.This might look right
on your computer screen, but all your circles will
then appear too skinny when displayed through
a D1 or DV output chain. D1 NTSC pixels ultimately play back only about 90% as wide as they
are tall, which means they should look artificially wide on a square-pixel computer monitor. Be
sure to return your comp to D1/DV NTSC pixel
aspect ratio you dont want to actually do this
on a real job!
If you need a confidence check that your eggshaped circles will look correct, there is a display
mode that can help: Drag the Comp window
wider, and click on the Toggle Pixel Aspect Ratio
Correction switch along its lower right edge.
Remember that this is only a temporary working mode turn it off when youre done.

If you want to see what your D1/DV comp would look

like when output to tape, use the Toggle Pixel Aspect
Ratio Correction switch along the bottom of the Comp
window (a new feature in version 6; it used to be found
only in the Comp windows View options).
This should be considered a temporary check though
the Comp window will display oddly (it uses nearest
neighbor antialiasing) when in this mode.

Tutorial Creating Motion Graphics
3rd Edition. Design Brenda Sexton.

Cool Moves // BT6

Final Color
Comp: [MellowMotion 02]
Return to the comp [MellowMotion 02], and look at
the topmost layer, which currently has its Video switch
turned off. Turn it on, and watch your screen turn green!
This top layer is an Adjustment Layer, with Effect>
Adjust>Hue/Saturation applied. This allowed Sexton to
change the overall tonal range of this movie without
having to tweak each layer. Select it, and hit F3 to open
its Effect Controls window. Drag the Master Hue control
around (or scrub the rotation value above it) to see the The Adjustment Layers Hue/Saturation effect
final color change. Youll also notice she reduced the changes the color of all the underlying layers.
brightness and saturation a touch; remember that
video often cannot take highly saturated colors and
after all, this texture is supposed to be a background,
not the center of attention.
Optional: If you adjust the hue dial, youll find that the
resulting image is not just this one color, but a range of
colors moved around by this wheel.If youd prefer a more
monochromatic range,try turning on the Colorize switch
in the Hue/Saturation effect, and then setting the color
with the Colorize Hue and Saturation sliders.
We also had good results applying the Boris Color &
Blurs>BCC Tritone effect instead of Hue/Saturation, and
picking strong colors for the Black Color and Midtone
Color.The Midpoint slider serves to lighten/darken the
mix, while setting the Input Channel to Green, or even
Blue Inverse, gives a higher contrast result.
Music makes fun graphics that much more fun to
watch. To make the final example more interesting to play back, we The final color of the composition
added the audio track [TU_WS Bump1Bounce] by Giovanna Imbesi of is changed by a Hue/Saturation
effect applied as an adjustment
TuttoMedia (www.tuttomedia.com). RAM Preview [MellowMotion 02] layer at the top of the Timeline
to enjoy the combination; note that the graphics loop seamlessly.
window. These settings changed
We hope you come away inspired to create some of your own ani- the saturated blues you have seen
mated elements. Although it may now look like just a bunch of circles in the figures above to the yellow/
green tone of the final movie.
placed and rotated randomly, dont forget to use an artists eye when
arranging your elements balance is more important than mechanical
technique. And this is one of the reasons we use the Synergy: Digital Joy
CD ourselves yes, we could make our own, but when youre in a hurry,
its nice to have a good resource available to use as well.
Tutorial Creating Motion Graphics
3rd Edition. Design Brenda Sexton.