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Hi I'm Ben Marriott and today i'm gonna talk through my process from start to finish
how i created The number one animation in After Effects well A number one
animation in After Effects let's begin
this animation was part of a larger collaborative project with a whole bunch
of amazing animators all based on the theme of numerology and all organized
and put together by Fede Cook the brief for this project was to choose a number
and create a short looping animation based on that's numbers meaning in
numerology which is kind of a horoscope ish type belief that numbers can control
coincidences and you know I was up for a cheeky bit of hat and a bit of law so I
chose number one I started off sketching in procreate and I wanted to show the
more negative sides of number one so according to some superstition website
if you're on Life Path number one you can have the tendency to be
self-centered egotistical and demanding so that is what I'm trying to portray
here I then went into illustrator to make most of their final assets
I don't normally start thinking about colors until I've got most of the shapes
and values sorted in my head I mainly do that because I find coloring pretty
difficult so I put it off until I can't put it off anymore and I think it's very
funny that he's got a leaf covering up God knows what please let me know in the
comments what you think would be underneath I think the audience's
imagination is a far more funnier than me actually drawing something rude down
there I thought the number one should be golden so I found this intense blue
which has a kind of a nice contrast to it so I went with that and I left the
background greyscale because I still didn't know what I wanted to do with
that and thought I could you know improvise that in in after-effects and
find something that would work there I took the file into Photoshop to draw the
shadows for their camera flashes I prefer drawing more natural shapes by
hand with a Wacom pen and at the brush tool rather than with the pen tool
illustrator so I drew shadows from the light coming in at four different angles
that I thought we could be in a flash between in after-effects and at this
point I still wasn't convinced the effect would work
but I thought to be quick to try it here and then if it screws up you know we'll
come back and try something else so now I'm in After Effects doing this
recording in real time I've imported my Photoshop file and I've gone and labeled
and pre-comp some of the basic things so it can focus on how it made some of the
more interesting stuff I've got things shied here so there's more layers you
can see this project is available for download in the description so you can
get it and dissect it further as much as you'd like
first we're gonna work on the camera flash so we're going to go inside our
one body comp and here we have four flash layers which are shadows from the
different angles from the camera flash I want to alternate between all of these
so I'm gonna make them all eight frames long and then just line them up in a
sequence there we go now I can see it sort of alternating between them I want
these to flash a little bit more so I'm going to do that by altering the opacity
property so I'm going to open that up by pressing T making a keyframe on the
first frame here four frames in I'm going to change that down to zero and
then six frames in change that to back to 100 I'm also going to turn this into
whole two key frames by right-clicking and select toggle hold keyframes and
that will mean there's no tweening in between the keyframes so at the
beginning it'll be a hundred then four frames in zero and then back to 100 so
it just goes on ticks on and off now let's copy that to all of our other
layers now if we play it back it should flash
all right that looks pretty good to me and hopefully that's not too intense next
let's look at the background so I've got this one blue layer here which is just a
solid with their blue fill on it on top of that we've got another solid and this
one is colored yellow and we've applied this mask the width feathered and we've
also applied the dissolve blending mode down here this is very similar to the
effect I showed in my animating grain tutorial so you can check that out and
that'll explain this in more detail now to make that 3d ish background of all
the cameras rotating behind him now this effect can probably be done a hundred
different ways and after effects this was the method that seemed the most
intuitive to me but let me know in the comments if you have a different or more
efficient way I'd love to hear it alright so we have this camera repeat
comp inside our main comp and here we can see one comp called camera row and
inside that comp we can see we've got a row of all of these comps that are all the
same camera comp now I've done that because when I was making this I wasn't
really sure what this background was gonna look like so I thought I'm
probably going to be adjusting the colors and the strokes on this comp here
so if I've got it in his own singular comp I can just then change the color of
one of these items it would populate throughout the whole background and it's
just really gonna be a lot easier to make changes and see how they look now
let's get back up to this camera repeat comp and we're gonna duplicate this row
a few more times let's say 8 now I'm going to drag the bottom one
down and I'm gonna try to spread these evenly using our line tools over here
that will distribute them evenly and I'm gonna select every other row and
then shift them across so they make this kind of you know bricklayer pattern I'm
going to my transparency off actually so you can see them a little clearer now to
make the looping movement we're going to select all of them and pairing them to
one of the rows here which is the bottom one in this instance and we're going to
drag our marker but we're gonna press ctrl R to bring up a ruler and drag a marker
just so it aligns let's go with the very left edge of this camera here and that's
we're gonna zoom in because we really want this to be precise let's go to this
very edge where that first pixel starts to fade in now this is going to be the
starting position so we're gonna make a keyframe on our position property and
then at the end of this comp we're gonna drag this over until our next camera
aligns exactly with that ruler there we go now if we play this back they should
all loop perfect We're actually going to drag this keyframe back one so we don't have
multiple instances of that one position now I made this comp much bigger than
the main comp that it sits in this is because we can crop in and we won't see
the edges where the cameras sort of disappear and blink in and out of
existence and it's also so our warping effect is going to work properly so to
make that effect we're gonna compress ctrl alt Y to create a new adjustment
layer and we're gonna rename that I just call that Warp, and we're gonna add an effect
called Bezier Warp, so this sort of brings up some handles where we can
adjust and warp the camera so I'm gonna adjust these bottom ones here and then
the top ones as well so to create this kind of arcing effect so it'll look like
the cameras while rotating around in a cylinder that looks pretty good let's go
and have a look at that in our main comp alright that looks pretty good to me now
I've also added these flashes in these comps here that's just a rectangle that's been
rotated 45 degrees and an adjustment on the scale but when you play back it kind
of looks like a nice little flash we've also got this looping texture video as
well now this is essentially a piece of paper that I painted black and just
changed the rotation so it kind of looks different in each frame and then I just
set that to a screen blending mode and of course I hate posterized time effect
which sets the frame rate to 1200.5, because I'm working 25 frames here
which just gives it a little bit more of an organic hand-drawn look which I'm
always after and one final turbulent displace layer over the top
with size set down to two pixels to just give it a little bit more of a
distressed edge that you can see here in all these layers and there we are number
one numero one now like I said before this project file is available for
download in the description for your further dissection if you used any
technique you've learned here please upload your work to Instagram and tag me
at Ben_Marriott_ so I can share it on my Instagram stories I
can't wait to see what you make thank you so much for watching please let me
know down in the comments whether you'd want to see some more videos like this
where I go through a bit more of the actual process or do you just want to
get straight to the effects and the tutorials I'd love to know don't forget
to subscribe hit the bell icon share and absolutely humiliate that like