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Daniel Walter Scott || VIDEO: 16 of 48
In this tutorial we're going to look at Overshooting the mark. You can see this one gets bigger but then needs to get a little smaller, and bigger again, a little bounciness. We need to do it to this, to learn, then we're going to jump to our 'Value of Sleep'. And we're going to do it to our Icon there as well. All right, let's go and learn how to Overshoot.
Let's get something to Overshoot. First of all, we're going to not work on this project, okay? We're going to actually work on a separate little job. And we can do it in its own little Comp. You know we have one Composition, that little Icon here. And it's our Comp that we see down the bottom here. You can have more that one Comp, more than one page in a document. So 'New Composition'. 'Composition', 'New Composition'. Give it a name, this one's going to be called Overshoot. It's going to be great, and we're going to make it 5 seconds long. Background color is going to be black. Click 'OK'. I show you this because I want you to know you can have more than one Comp in a project.
So here's my handy dandy main Comp. But I'm going to work on this other project in here. It's like a separate little group. That's where we're going to do our project. So what I'd like to do is, let's jump into Illustrator. In Illustrator, let's go to 'Open' and in your Project Exercise Files there's one called Icon Pop. And let's grab 'Animation Overshoot', not Offset. What are we doing in here? We're just practicing because I want this thing, I want to drag it into My Library. If you can't see your Libraries, go to 'Window', ' Libraries'. Drag it in, it's that part. There's that part I want to use in my Animation. You can draw all of these in After Effects. It's just that the tools aren't very good to do it. So everybody draws in Illustrator, not everyone, but most people.
Now I don't want this big box, I just want the color from it. So with it selected, hit the '+' button, 'Fill Color'. Thank you very much. Let's rebuild you now in After Effects. So that credit card is kind of like a separate little exercise. So what we're going to do is we're going to show you how to build another Comp inside your project. Think of a Comp as a little group. You can see it down here, Google group of Layers. But you can have more than one Comp. So I'm going to go 'Composition', 'New Composition'. I'm going to call this one Overshoot. Make it about 5 seconds long, works for me. Background color, I'm not worried about. And what we're going to do is put in a background color. Remember, it has to be 'Layer', 'New', 'Solid'. Color wise, you might have to scroll up in your Libraries to be able to see the colors at the top. Click the little 'Eyedropper' tool, click the 'Blue'. Click 'OK'. We've got a Layer there, I'm going to right click it. Give it a name, call it 'Background'. We'll lock it, so we don't wreck it. We'll zoom out a little bit, actually I'm going to go to 'Fit'. So we can see everything. I'm going to build little Compositions, the credit card thing goes there. The actual green credit card thing goes there.
What we'll do is we'll do a little Scale Overshoot. But you can do a Slide-in Overshoot, anything you like. Now there's two ways of doing it. We'll do it manually first, it's not that hard. But there's an automatic way afterwards. The only trouble is the automatic way doesn't work every time. So let's do it the manual way first, then we'll look at automatic. So here we'll Twirl down, we'll find 'Transform'. We'll do 'Scale', turn the stopwatch on. Make sure the Play Head's at the beginning. And we're going to set the Scale down to 0. And then, after some time, about that time. Mines at 14 frames. I'm going to Scale it up to just past where we need it to be. So 120, maybe. Maybe a little bit less, we may have to play around with it. It really depends on your Artwork. Then I want it to go back, kind of bounce back. Not to 100% but maybe 90. That password should be--
You can kind of see what we're doing here. We're going Overshoot, back, but we're Overshooting back pass where we need it to be, which is 100%. And then now, I'm going to go up to 105. And then, one last one, which is going to be 100. Now we got to play around with the timings I'm going to have to add Easing, because at the moment-- you get a kind of a sense of what we're going to do, right? It's not that hard to do. We're going to select them all, and go to 'Keyframe Velocity'. 75. 75. The only trouble with that is that it's quite intense. So what I might do is, undo, and I say-- remember, I never used Easy Ease. It's going to work in this case, it's quite a bit with Overshoot. Now timing wise, I'm selecting all these guys. I'm just kind of creeping this in. Time to get my kind of idea of how the timing's going to work. You're going to have to play around with it yourself.
What you can do though, say it's all happening too slowly. You can select all the Keyframes instead of trying to move them all along you can select all the Keyframes, grab the last one, well, not yet holding 'Option' key on a Mac, or 'Alt' key on a PC, and grab the last Keyframe, and just drag it to the left. You can see they're kind of compressed. And it makes it heaps easier to reset the timing rather than trying to move them individually. So now, goes in… Hold the last one. Now it's going to go… I'm not sure why I add the sound effects. Anyway, that is a manual way of doing Overshoot. Same principle for moving it forward. Go past where you want it to be, back a little bit, a little bit… Eventually it rests in the middle. We'll hit 'Save'. And this Artwork here, I'm going to right click it, give it a name. I'm going to call this one Manual Overshoot. I'm going to do an automatic one with an Expression.
So, what I'd like to do is just turn the Eyeball off on it. And bring in Artwork1 again. I could drag it in from here, or it's already over here, in my files. Artwork1, here we go. It's not in the exact same position, I know, I'm not worried. So to automatically do it Keyframe at the beginning, Play head at the beginning. I'm still going to have to set the basic Keyframes for this to work. So we're going to Twirl this down, and we're going to go to 'Transform'. We're going to go to 'Scale'. I'm going to start it at 0, and then after some time, like this we're going to-- mine's at 16 frames. Scale it up to 100%. So we have to do that, but that's all we have to do. No Easing, no extra bumps.
Now we need to add what's called an Expression. Expression is what After Effects calls Coding. We're not going to get into too many Expressions in this course. Just the handy ones. And to set Expressions, first of all we need to grab the code, I've already got it, it's in your exercise files. I didn't write it, I borrowed it from someone. And when I said borrowed it, I stole it. But it's okay, they said it's okay to steal. They put it up on the internet for people to share. So in your Exercises Files, there's one in here called Expressions. And there's one in here called Expression - Overshoot, open it up. Select all of the stuff that's in here, copy it. I've left all the credit for the people that did make it. And it's an edit of an edit of somebody else's edit. And I've got it pretty sweet now. So what you do is, over here, see the little stopwatch here?
To get an Expression applied to the Scale here you hold down the 'Alt' key on a PC, or the 'Option' key on a Mac. Click it once, it then goes red. And that isn't the Expression in here, so I want to delete what's in there. And paste that random stuff that we found. And just click out anywhere else. There's this big Expression applied to this Scale. Go back, be prepared Okay, not that great, but if you tidy these up a little bit it start to look pretty sweet, right? Now we're good. So that saves us having to try and time the Bounce in and out. We don't have to play around with how far these are apart. We don't have to play around with Easing, it's really handy.
The only trouble is that it doesn't work every time. It works if you have two Keyframes but if you have to have a few different Keyframes, say this credit card kind of moves up, then left and right, and you want it to bounce, it's not going to work. It only works if there are only two Keyframes. So we're going to close this one down now and apply this to our original animations. It's just a little test case. So we're in this Overshoot Comp. I'm going to close it down, back to my main Comp. And what we're going to is, we're going to apply it to this little Bounce. It was looking cool without Easing, but we're going to go and replace it.
Now the one thing we need to do is, first of all let's look at the Icons for Scaling. Remember, with the Layer selected, to view, it's going to show me my Icons. It's not going to work because we've applied Easing to it. So we need to remove this Easing because it messes with our Script or our Expression. To get rid of them, the easiest way is to hold down 'Command' key on a Mac, and click them. Or 'Control' key on a PC. Just gets it back to diamonds. Now we're going to insert our Expression. Remember, we hold down a key and click the stopwatch. And that key is called, that's right, Alt on a PC, Option on a Mac. Give it a click.
In here, I'm going to replace this, delete it. Paste in our lovely Expression. And then drag our Time Line back. And prepare ourselves for… a little bit slow. Can you see, it's going really slow. So we're just going to bring these two together. Select just one of them, bring them together. Nice. You can decide on how far apart these are. Awesome. Now in this case it's probably not appropriate to do it to the Star Burst because we don't want that to bounce back. We like it to kind of just continue on and then stop.
That my friends is Overshoot. But before we go, this has been annoying me. These need to be in there, you need to be in there. When you drag them out from the Libraries-- Libraries is messy, just kind of dumps them into your Project window. Now it's tidy, and I'm happy. 'Save'. And let's move on to the next video.