My position is off because I was lining it up at eight seconds and it's different at 8.10. It's free to sign up and bid on jobs. Drop down the shape properties and go into contents, then rectangle 1. I'll go find all those dots and lines and solo them. Then I have it moving in and down,and then I'm adding an up movement to balance out this downward movement here in the next transition, and then I have another inwards movement, followed by an outward movement in the next transition. When I go ahead to this place in time, you actually can't see my lenses because the photo inner and outer is on top so I'm going to unsolo those. Now, it looks like I forgot to cut my earth outline layer. If you're using my icons, I'll explain why things are the way they are. The general movement is in and down. 2. Then set a position key frame. I needed to have those rounding controls to make that animation look good. I'm also going to move this camera dot layer underneath the location pin because I don't like how you can see it coming up right here on top of it. Learn to morph between shapes, objects, or icons inside of After Effects. It lets you adjust the easing on your keyframes really quickly. This has suitcase corner lower then left, then suitcase corner, same corner, also lower, but now right, and so on. Now I can start this animation at 12 seconds. That's going to animate the rays coming out. To do this, I have created a rectangle shape layer, converted it to bezier paths and added a keyframe where I want the morphing to begin. I'm going unsolo all my layers, I'm going to hide the second photo and let's see what else we have to deal with here. So I'll just click and hold to select all three of these. If you hold down command, it'll snap into place. Those are going to be all the red layers. Make sure to place it in the bottom of your comp so that your assets … So this is another way to make a mask. They look more lined up that way. I'm also going to need to estimate the size of my layer because right now it's hitting the edges. I use this really handy extension called overlord. I want the stroke to be the same width throughout. I've been using ease of 30 and then 70. Taped Lines Opener 9175866 Videohive - Free Download After Effects Templates. That animation takes a while. So now I don't see the map through the location pin anymore. Color it in any way you like — this will be the color in the final composition. After that I have the nameplate of the suitcase turning into the main part of the plane. The camera inner layer has a sized animation, so I can just copy these keyframes on to the mask layer, or I could parent the mask layer size to the camera inner layer size. Then same for these top ones, holding down shift, I'll do the same thing for this piece and same for last one. Download over 187 morphing royalty free Stock Footage Clips, Motion Backgrounds, and After Effects Templates with a subscription. It can leave the viewer wondering consciously or unconsciously what happened, and they might be anticipating something coming back and then may distract them from your piece. Then I'm actually going to slide this forward in time just so I have this line as reference, and we're going to move it back later, but that'll help me line up the map pieces. So now those are both going to move towards the center. The software uses vector shapes, images and … What I can do is go in and set the opacity to zero, and that'll make it, so my stroke is visible but my land is not distorted. Next I'm going to animate the handle coming in. Go probably the same spot about eight seconds in 10 frames and then bring that in. Then I can always change my duration later if I need to extend it. If you have a shape layer that's a square, you can just toggle down under contents, then rectangle path. I have the suitcase corner layers here and then you can see I have suitcase lower corner left to, right to etc. I'm going to have to bring this size down on this one as well. For the next animation, I'm just going to talk you through this version that I have, that pretty much finish, it just doesn't have those extra polishing details. I'm going to move the passport over a little bit at the start. Once you import them, create a new solid layer the size of the composition. Obviously these chips are exactly the same size and shape as the ones in the suitcase, but that's okay because I can animate them to be the same shape. So if I were to parent them here, they would have been twisted the wrong way. That's basically how all the morphing transitions work. Then let's have the little engine pieces move in as the Boeing moves in. I was doing the transition is to last about 20 frames, so we'll start with that. Then the inner part will just need to adjust its size. All right, not bad. The animation on these lines is going from inside to out, and I want it the other way around. If I set a keyframe, go ahead in time and go back to a square. I'm going to delete all other key frames and then move these keyframes up to about 20 frames in the future. I'm going to solo the location pin in the earth-outline. Then I'm going to go ahead in time a little more and bring those two photos apart. I have learnt how to morph a square into triangle but I cant seem to get it from shape to text. Then take this little pick whip and then drag it down to the size on the camera inner layer. I'm going to set rotation keyframes on my photo outer layer. They're starting too soon, so I want to start them at 10 frames and I also need to chop these at the start. I’m working on a WWII documentary and using After Effects for animated maps. New members: get your first 7 days of Skillshare Premium for free. Make sure I set my play head to zero-frame, so pace it as your frames for all of the ticket lines. Next you can see that these little feet layers are animating to become more round, so that's the roundness keyframes here. Depending on the configuration, it’s not the most efficient method. That looks good. My artboard is 1080 pixels by 1080 pixels. I'm actually going to paint the flower to the center of the flower. I'm going to go to the effects controls panel and go down to shading and then set ambient to 100 and diffuse to zero. After Effects & PowerPoint w/ Andrzej Pach. Then the camera is actually rotating past the point that it ends up at. I'll set rotation keyframes. Maybe we'll actually start those here, give it a little time to rotate. Animating Extra Photo Layers In: Next I'm going to animate these rays on the sun coming out. Then I'm not skewing things in a strange way. There's two things that I could do to fix this. Adding this fill has messed up our globe layer right here. I want this to always stay 100, and what I want to do instead of animating the scale is to animate the size, and I can animate the size without affecting the stroke width. With this class I want you to learn how to properly work with shape layers and their paths. Let's see what that looks like. First I know that I want this passport and ticket to rotate 90 degrees clockwise. It's going to be easier to animate the passport layer into the photo inner layer because the passport has these two rounded corners and I'm not going to be able to get the two rounded corners easily with this photo layer. In fact, I want it to rotate the opposite way as my camera rotates in. That's looks better. All right. ALTERNATIVE: You can adapt the technique I explained in this thread. Then I can unsolo these to see what we have. That was 598 and I also need to animate the position. Then I want to add some overshoot. We have an issue. Actually, I wanted to do all six so that they're both even and bring those down to about the center, and then I will take the one that's indented and drag it out, and then I have to fix these handles, and same thing on the other side. 13. I'm just going to change the pair of these two feet to ticket-main, and I'll set a position key frame at 20 to where they are now. So I'll set a key frame on the path then go ahead to 20 frames again then animate the path of the passport going to the same shape as the suitcase inner. That looks good. I'll just go to Ticket Line when they're seven and hit "Command+V". There we go. There we go, everything's back. That's what I was looking for. The first thing I'm going to do is animate the passport moving into the shape of the inner part of the suitcase here. select the Path 1 path property and paste your path in there. I'm also going to need to extend this layer. I also need to animate the position so it lines up better while the lenses are moving. If this ticket were already rotated in the Illustrator, then it would be at whatever degrees that is at and after-effects and aftereffects would set these degrees to zero. Quick fix and with that, let's see what we have. Save it a separate files in Adobe Illustrator, former I use control shift is throat cut in order to safety piles, create a new composition in after effects, then drag and drop the three files in after effects. You can see that this back portion of the tail, these little like back tailing or whatever on the plane, they're doing the same thing. Motion Design School . Another way that I make my graphics easy to animate is that I have a clear labeling system. If we play this back, you'll see that I added some rotation to the suitcase so that it's like someone is carrying it and it's swinging back and forth. I'll set position key frames, and I'll just drag them out where it looks pretty good. But you can see that the water is going over the stroke of the inner photo. Then the circles have its own animation. What I'm going to do is just drag this layer all the way to the bottom. Then I'll go ahead in time to about here, and then rotate this just a little bit. Slick Object Transitions – After Effects. A lot of people have asked me how I created the VFX for the intro of my popular Adobe After... Morphing One Object … create a shape layer and add a path. I want to change the stroke to the dark greenish relish and then I'm going to increase my stroke to 21 because that's what I've been using. The general movement on this one is going to be rotate counterclockwise and move up a little bit. I also I'm animating the roundness, so it's going from a rectangle to more of an oval shape by animating the roundness here. I have this option for position here, but if I align it to the center, for some reason it's turning all of my land that darker color and that's not what I want. I'm trying to just keep the motion continuous throughout the whole animation so nothing just stops in stance still. If this all seems overwhelming, then just focus on replicating my travel icon animation. You can also see that we have a "Merge paths". That's an example of overshoot. Then when it reaches the size of the Earth, it actually goes past the size of the Earth. I'm going to go back into my in-progress file, and now I want this animation to start at 12 seconds. I'll just make that like 10 frames. Then once it's in place, I cut the layer and that's where the plane tail comes in, and that doesn't have any keyframes until later on in the next transition. First I'm going to animate the location pin from the earth. After Effects & PowerPoint w/ Andrzej Pach. It's almost as if you're trying to hide the fact that one thing turned into something completely different, because it seems to flow so naturally. 7:35. 7. It is compatible with the latest version of Mac OS X. It's aligned on the center of the edge. I want this globe to start off as a circle and then morph into the shape of this name tag on the suitcase. Swiss Knife is a group of 20 tools that … More Info. Then the folds are going to line up with this camera. Now you probably won't have to recreate all of your layers in After Effects. That's working. So I'm just going to solo these layers. As you can see, I had to move this suitcase name tag layer up above some of my plane layers. I'm going to go ahead about 10 frames and then set size key-frames on these layers, and then go backwards to the beginning of the layer and animate them backwards so that they line up with the Map layer. That's how these lines of the fold of the map become the inner part of the camera. Text Animation Using Shapes in After Effects; Mattrunks - Animate a colorful 3D scene from a simple shapes in After Effec ... Lynda - How Do I Do That in After Effects What I'll do is just delete this key frame and redo that ticket animation. Now if I hit U on the keyword, I can see that has keyframes now and sure enough, those lines are animating app. I'll just move it towards the center. I like to start drawing out arrows so I have a plan to follow. Let then animate the water coming up. I'm going to just go to the end of the plane animation and pull this layer out one frame so I can see it, and then I'll just bring the roundness up so that it makes a perfect circle. So I'm just going to adjust this a bit. But I still have that fill later to block out the map behind it. The photo inner mask is already painted to the photo in the outside. Morphing animations can be a great way to transition from one scene to the next in an explainer video. Pen tool doesn't seem to want to add points to the shape? I'll just scale it down to zero and cut the layer. The reason for this is because this circle is going to transform into this little square like a name-plate thing on the suitcase and it's really easy to transform a square into a circle and after-effects. Animating Photos to Ticket & Passport, Part 2: Next I'm going to animate the details on the passport, so I'll just [inaudible] these ticket layers and then so the passport detail layers. I'll just type that in and now let's check this. Super Morphings has proved to be the one of the most powerful morphing plugins out there, and comes with a handy how -to tutorial as well. Looks good, we've got all the basic morphs down. The first thing I'm going to do is the passport, and so with that and the flower photo inner. Then the ticket, I will need to parent all of those little dots and lines to the main. So I can still see the mass coming around the land of the earth. All right, I'll just chop them to start here. 22. Morphing animations can be a great way to transition between scenes in an animated video. You can also use morphing transitions to show a progression of events or steps, or to tell many story. Size is just going to go to zero. So I'm just going to cut the map layers right here. Just as I performed a copy/paste via the mask path, you can do the same techniques with shape paths. I also noticed that the animation of the photos swapping places ends right at 12 seconds. I'm just going to have to adjust the position and maybe even the size at this point. A shortcut is you can click on the layer within your composition and then hit "X" and it will bring that layer to the top of your timeline. It's 126, so I can just type that in, and I also need to animate the position of this. Let's parent the rays to the inner lens of the camera. First I'm just moving all of the anchor points to meet the globe and then I'll adjust the handles later. I will set a key frame for a position at 20 frames, go back in time, and then slide this over to the right a little bit, so it looks better and maybe even down to just match. I want to show you my thought process for how I started. Then go into the stroke and you can see that it's added a red stroke, but we're not seeing it. Then the location pin is going to transition into the lens of the camera. I'm going to actually parent it to the passport-main layer because that's the one that is closest to and it will look the most natural to be parented to that. Welcome to the easiest shape morphing in After Effects for 2020. I'll just go down and turn those on. At zero, I wanted it to actually be maybe like 12. Now, you should note that to make sure that the shape imports as a rectangle or a circle, you want to make sure that this button right here is checked. I want the Set Matte to be on all three of these other lines as well. I found that parenting it doesn't work in this case because I have the rotation going on and I don't want this to rotate. To unconstrained at first, I'll type in 77 by 60. Looks good. In my next transition, I am going to have the camera move in towards the center. So I'll hit R on the keyboard to bring up rotation at 20 frames. We don't need to parent them directly to the null. We'll talk about why size is important in just a second. Let me show you what I mean by that. I'm just going to hide this mask for now and then drag my CC Sphere onto my earth-map outlines layer. But I also need to be rotating these camera layers so that they'll folds will line up with these lines on the camera. All get pieces that could potentially transition from one to another and start drawing up arrow. By combining these two disciplines I create explanimations that help patients with chronic diseases understand complex medical information and take control of their health. If I toggle down, I can see that it's actually already set up as a rectangle and that is super handy because now I can go in and round the corners. But the reason that I chose icons for this class, is that they can be quick and easy to make, so we can spend more time focusing on animation. Then that'll make the outer part of the photo. That's also a movement in, so the general movement is collapsing in on itself. Now we have a problem here. If you feel like this is happening to you, don't worry, it's totally normal. Because there's just two rounded corners and not four, I've made this path rather than a rectangle with the controls for rounding because you can only control four rounded corners, not two like we have here. It's just a straight line and that would make it so it [inaudible] up with these wings here. Rather than describe how I've gotten to this point, I've created a 40s video showing what I'm doing, and the resulting problem. Buy morphing After Effects templates from $8. The photos are going to swap places, so the top one will go to the bottom and the bottom one will go to the top, so that'll keep that animation moving. If you'd like feedback on your plan post it in the class project. Those go a little bit smaller and then bigger for the sun. Now I can adjust the size. Have fun going through your animation and adding little polishing details to really take your animation to the next level. So obviously this isn't quite right. In the next video, I'll show you how I make the animation a little bit more interesting. In this class, you’ll learn how to do so by creating eye-catching morphing transitions. Make sure to place it in the bottom of your comp so that your assets … I'll go back and find the paths, set a key frame at 20 frames. If you don't plan out your transitions, you're animation may feel messy. To do that, you're going to select the "Earth-map" right-click, go up to "Layer styles" and then "Stroke". But since this is just a 3D effect and after effects, I just took it out because it looked better that way. Animate a series of icons morphing from one to the other. My current animation starts at four seconds. 20. I'll just take this travel icons tutorial, hit "Command+D" and then I just give it a duplicate with an aim of two at the end. In this case, I want to circle to have the same line with as the Men and the Banda. Here's the basic logic on how all of these icons are going to morph from one to the other. Even notice how the background extends past some of the land on all the sides. Then I can set position keyframes for the photo with the flower and the photo with the sun. They all get hidden about here, so I'll just cut them all right here. I'll just parent that to the null. That's because the Earth outline layer is visible here too. I'll put that layer back to where it was and let's see if that worked. Then this little feet layers are most closely aligned with the ticket-main when it's rotating and morphing. Shawpulkit. That way when the photo rotates, now, my sun rays are parented. Basically, After Effects is cropping your graphics to fit the size of the composition. As you can see, the globe morphs into the suitcase nameplate, so also solo that layer. But you can also notice that when I hide it, it distorts the land. I can't wait to see what you create. But I don't want the square to have that same animation. The first thing that's going to happen is the inner part of the camera is going to transition into the inner part of the photo and then the outer part of the camera is going to morph into the outer part of the photo so let's focus on that first. Then dragging out from the ruler will make a guide. I'm starting with my background color being this cyan. Click on the water and then I'm going to set masks. Good. I'm also going to animate the position of the glare. I'll just set a key-frame for size and then I size this down a little bit. Not every aspect of the first icon has to transition into the second icon. While it's on the lowest point, it's squashing and then when it's at its highest point, it's stretching. Know more about parenting, you can see that you start with the null and then I could do fix. N'T mean that you have n't used null object have you tried creating as... And color coding comes in super handy that on the location pin map! Hide it behind the layer to make the stroke is really just to get shape in! Icon animation spread out that far actually, so that they 're going to be the location.. Circle on the camera now and then reparent them Command, it ’ s very... My animations class, Easy animated icons before taking this class same width throughout to line those! Cut them and go to file, and at 20 frames animate those on.! Just making this passport layer, converted it to be totally worth.... 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Really fast 's rotating and morphing just one example of morphing graphics in After Effects before going in to and...