1 00:00:00,750 --> 00:00:01,490 Hi guys. 2 00:00:01,560 --> 00:00:08,390 So now you're ready to start analyzing and creating the motion path for the attach point. 3 00:00:08,500 --> 00:00:12,660 But but before that there is a very important preference I would like you to set. 4 00:00:12,690 --> 00:00:16,770 Otherwise you won't be able to see all the key frames in the palette. 5 00:00:16,830 --> 00:00:21,420 Please if you are on Windows go to Edit and in edit you go to preferences. 6 00:00:21,420 --> 00:00:24,990 If you are in the map preferences will be under after effects. 7 00:00:25,290 --> 00:00:26,310 In the preferences. 8 00:00:26,310 --> 00:00:31,230 Please go to display in the display group. 9 00:00:31,270 --> 00:00:33,030 You have motion path. 10 00:00:33,100 --> 00:00:35,470 I would like you to set it to all keyframes. 11 00:00:35,530 --> 00:00:39,520 This is how I've been working good but we never had more than 5 keyframes. 12 00:00:39,520 --> 00:00:46,510 Maybe yours was no more than 5 keyframes So set it on all keyframes and click OK. 13 00:00:46,570 --> 00:00:50,080 So now I will be able to see all the keyframes in the lab. 14 00:00:51,660 --> 00:00:57,090 Since you are ready to start tracking make sure that in the current track you are in Track 1 in the 15 00:00:57,090 --> 00:00:57,820 track type. 16 00:00:57,840 --> 00:01:05,120 It is transform and nothing as if by mistake you clicked on rotation or scale and you have another tracker 17 00:01:05,130 --> 00:01:06,310 point first. 18 00:01:06,360 --> 00:01:13,060 Uncheck them OK and come to the tracker point that has been created for you and simply did it. 19 00:01:13,620 --> 00:01:16,350 And we can start now analyzing. 20 00:01:16,530 --> 00:01:21,460 I will move on to fit to 100 percent so we can see the trackball moving. 21 00:01:21,630 --> 00:01:27,300 I know click on and Elize forward of course because we are in the beginning of the comp if we're at 22 00:01:27,300 --> 00:01:31,550 the end we would use an ally's backward Annelise forward. 23 00:01:31,670 --> 00:01:38,910 I click and Helier not how the track point is moving very nicely and very correctly with the guy until 24 00:01:38,910 --> 00:01:41,660 it start getting to this ball and that's what's going to happen. 25 00:01:41,700 --> 00:01:45,530 Wow the track point plus the guy and there is no point of continuing. 26 00:01:45,540 --> 00:01:49,760 So I will stop at now with the preference. 27 00:01:49,760 --> 00:01:51,950 You can see all the keyframes over here. 28 00:01:52,680 --> 00:01:58,830 What we are going to do now is to correct here that it was not necessary move the taskbar to a better 29 00:01:58,830 --> 00:02:03,980 location and then Alana's again so that I pressed on. 30 00:02:04,080 --> 00:02:07,710 If you are the Mac is an option and I was close in. 31 00:02:07,790 --> 00:02:10,560 If you lot is that at a certain point. 32 00:02:10,770 --> 00:02:13,280 OK just over here. 33 00:02:13,290 --> 00:02:15,100 Notice how much there is. 34 00:02:15,280 --> 00:02:18,580 You here you can use a page up and page down. 35 00:02:18,620 --> 00:02:21,090 There is a keyframe on every frame. 36 00:02:21,110 --> 00:02:22,440 So Page down. 37 00:02:22,500 --> 00:02:25,410 It's moving the attach point to the next key frame. 38 00:02:25,410 --> 00:02:26,940 Here you are OK. 39 00:02:27,140 --> 00:02:30,430 We are going to decide which Laskey frame we want. 40 00:02:30,530 --> 00:02:34,230 This is cool since this is a motion path. 41 00:02:34,250 --> 00:02:40,280 You can just click on a keyframe You see I selected the key frame not the attach point and just click 42 00:02:40,310 --> 00:02:41,140 and move it down. 43 00:02:41,140 --> 00:02:42,090 Here you are. 44 00:02:42,200 --> 00:02:45,930 Now notice how it's changing the value in the attach point and the feature Center. 45 00:02:45,950 --> 00:02:47,020 That's how it's doing. 46 00:02:47,390 --> 00:02:53,480 So actually this is a motion path and you are using one frame of the motion past to move it out. 47 00:02:53,510 --> 00:02:56,310 Now after this keyframe Lesage just over here. 48 00:02:56,510 --> 00:03:03,860 You really don't want anything so you'll select all your keyframes I will loom in a bit and select all 49 00:03:03,860 --> 00:03:07,180 the keyframes after the Laskey frame we decided on. 50 00:03:07,220 --> 00:03:08,210 And here you are. 51 00:03:08,210 --> 00:03:11,540 All of them and press delete and are gone. 52 00:03:11,550 --> 00:03:13,990 Good so that's the first adjustment. 53 00:03:14,000 --> 00:03:20,090 Now let's go to the last keyframe I press J to go to the Laskey frame and what you are going to do is 54 00:03:20,090 --> 00:03:21,540 to move in time. 55 00:03:21,620 --> 00:03:22,360 You are. 56 00:03:22,520 --> 00:03:29,890 So the guy reappears the spacebar move it in the middle here we can see it and then reposition the trackball. 57 00:03:29,900 --> 00:03:31,630 Simple just like this. 58 00:03:31,850 --> 00:03:36,880 OK you can pull up and down mess it up the way you like but here is OK. 59 00:03:36,890 --> 00:03:44,060 I think the luminance here is not but then as simple as this you continue tracking lets go to 100 percent 60 00:03:44,060 --> 00:03:48,130 first and click on an Elize for what you are 61 00:03:50,860 --> 00:03:53,640 and says zoom in when it finishes. 62 00:03:55,490 --> 00:04:00,820 Now is that at the end he had it stuck to one point but you have a lot of keyframes you can leave them. 63 00:04:00,820 --> 00:04:02,120 It really doesn't matter. 64 00:04:02,210 --> 00:04:03,280 There is no problem. 65 00:04:03,560 --> 00:04:09,140 Now if you scrub through you'll notice that it's moving on every single keyframe according to the feature 66 00:04:09,140 --> 00:04:13,350 center framed and of course you have the attach point keyframe. 67 00:04:13,700 --> 00:04:20,150 So now that you have all these keyframes and you have a motion path in the next lecture we're going 68 00:04:20,150 --> 00:04:24,500 to start attaching to the attach point and see how it happens. 69 00:04:24,740 --> 00:04:26,810 Thank you I will see you in the next action.