1 00:00:01,700 --> 00:00:08,660 Guys in the previous lecture within the last panel we did the analyze and we create keyframes for the 2 00:00:08,660 --> 00:00:11,470 feature Center and the Attash point. 3 00:00:11,630 --> 00:00:13,940 Now it's time to start attaching. 4 00:00:13,970 --> 00:00:19,420 Here we are going to use the editor at but before let me show you something important. 5 00:00:20,230 --> 00:00:25,730 You can see all the key frames here and you can see the motion path in the layer palette. 6 00:00:25,870 --> 00:00:30,990 But if you go back to the composition panel you cannot see the motion path anymore. 7 00:00:31,420 --> 00:00:36,740 This is because the attach point is not position and hence you cannot see the motion path. 8 00:00:37,660 --> 00:00:43,870 Something else you're not is that when you go to the composer companion in the tackle panel you don't 9 00:00:43,870 --> 00:00:46,040 see the source there anymore. 10 00:00:46,240 --> 00:00:48,040 It has changed. 11 00:00:48,060 --> 00:00:51,780 Let's say you de-select and come back to THE LEAD. 12 00:00:52,930 --> 00:01:00,490 My advice to you is not to go back and select the source and have all the information I would prefer 13 00:01:00,490 --> 00:01:01,020 that. 14 00:01:01,060 --> 00:01:07,510 Let's go back to our June that when we come back to the last panel you select the track just like this 15 00:01:07,840 --> 00:01:10,140 and all the info here will appear. 16 00:01:10,330 --> 00:01:17,080 Sometimes when you try to select the source it might change the track tab to row and you don't want 17 00:01:17,080 --> 00:01:19,070 this to happen you don't want to have this mistake. 18 00:01:20,160 --> 00:01:25,900 So now let's start attaching the we are going to start attaching it is simple circuit. 19 00:01:26,160 --> 00:01:31,890 So I would select all go to the shape player take ellipse and draw a simple ellipse here to make it 20 00:01:31,890 --> 00:01:33,790 the form of a circle. 21 00:01:33,810 --> 00:01:35,560 Let's give it a stroke of block. 22 00:01:35,580 --> 00:01:37,730 Something we can see nicely. 23 00:01:37,830 --> 00:01:43,340 Let's make it 5 again just those nine and get let's select the shape player. 24 00:01:43,500 --> 00:01:45,690 Press enter and rename it circle. 25 00:01:46,550 --> 00:01:53,640 Now to test the circle to the attach point of course you want to use the parenting or the expressions 26 00:01:53,660 --> 00:02:00,650 don't do that please scroll to the last panel and in the left panel like we said we select the tracker. 27 00:02:00,650 --> 00:02:03,890 This is the tracker and you go to Edit target. 28 00:02:03,890 --> 00:02:08,250 If you click on the target you'll notice Harry have applied motion to. 29 00:02:08,360 --> 00:02:11,670 So you're applying this motion to the laser circle. 30 00:02:12,230 --> 00:02:19,070 What motion you are playing you are playing the motion of the attach point you're like OK it's not done 31 00:02:19,070 --> 00:02:19,490 yet. 32 00:02:19,490 --> 00:02:23,530 So after selecting a target you click on apply. 33 00:02:23,690 --> 00:02:25,720 You have now the panel motion tracker. 34 00:02:25,760 --> 00:02:29,640 Apply options apply them in Agent X and Y. 35 00:02:29,750 --> 00:02:33,050 If you turn it down you can apply X only or Y. 36 00:02:33,350 --> 00:02:36,080 OK let's apply X and Y does make sense. 37 00:02:36,110 --> 00:02:43,790 And we click OK notice how it jumped back to the composition panel because in the last panel the Shepler 38 00:02:43,800 --> 00:02:47,010 doesn't exist here to show you. 39 00:02:47,080 --> 00:02:47,960 And here you are. 40 00:02:48,070 --> 00:02:54,190 It has somehow Attash the player to the attach point but actually what happened here. 41 00:02:54,640 --> 00:03:02,960 If you select your shape player and press you for the keyframes that is that position has all the keyframes 42 00:03:03,050 --> 00:03:04,710 of the attached point. 43 00:03:05,410 --> 00:03:08,710 So actually this is not linking any kind of expression. 44 00:03:08,800 --> 00:03:15,130 It simply had it all the keyframes of the attach point to the position of the circle. 45 00:03:15,250 --> 00:03:19,340 If you click on the position now you can see the motion passed over. 46 00:03:19,660 --> 00:03:24,630 If you play of course is going to play the position of the circle. 47 00:03:27,910 --> 00:03:29,730 Now let's look at other options. 48 00:03:29,750 --> 00:03:31,210 Outcome the position here. 49 00:03:31,210 --> 00:03:35,240 Just to move all the key frames and put the circuit somewhere else. 50 00:03:35,650 --> 00:03:42,660 Let's go down to attach point b good to the left panel and I will zoom in a bit to see that match point. 51 00:03:42,730 --> 00:03:44,020 Here it is. 52 00:03:44,040 --> 00:03:46,250 I'm going to scrub it up or down. 53 00:03:46,390 --> 00:03:48,120 Way I'm going to put the just over here. 54 00:03:48,240 --> 00:03:49,020 Do you see it. 55 00:03:49,030 --> 00:03:50,420 I put it over here. 56 00:03:50,680 --> 00:03:55,990 So I actually offset the touchpoint by 70 pixels. 57 00:03:56,410 --> 00:04:04,460 If I hit the target I select circle and of course you have to apply and you say X and Y. 58 00:04:04,540 --> 00:04:05,240 OK. 59 00:04:05,510 --> 00:04:09,940 It jumped back to the composition panel and look where is the circle. 60 00:04:10,360 --> 00:04:13,560 If you come to the circle you can see the position here. 61 00:04:14,470 --> 00:04:25,510 But it has offset it by 70 boxes if you play now it's offset of 70 bucks it on the X and Y together. 62 00:04:25,710 --> 00:04:31,550 This is pretty cool and very useful and you benefit from the attach point instead of coming and fiddling 63 00:04:31,550 --> 00:04:34,670 with the ankle part of the circle itself. 64 00:04:34,670 --> 00:04:39,010 The only problem here if you change now the touchpoint nothing is going to happen. 65 00:04:39,050 --> 00:04:42,310 You know they just copied the keyframes. 66 00:04:42,550 --> 00:04:48,840 And now if you come to the circle itself for example come to the content since position is taken. 67 00:04:48,970 --> 00:04:55,330 What I would do would come to the transform circle over here I would keyframe the position take it down 68 00:04:55,330 --> 00:05:01,300 a bit and then go after have a second take it up. 69 00:05:01,300 --> 00:05:09,860 Then at one second for example just take the first keyframe Contrave and Control-C an option and click 70 00:05:09,860 --> 00:05:14,640 on the stopwatch and it would right loop out. 71 00:05:14,710 --> 00:05:15,660 I click out. 72 00:05:15,800 --> 00:05:20,370 Now let's see that animation what happened not this is very cool. 73 00:05:20,420 --> 00:05:24,140 You have the circle going up and down hitting the guy's head. 74 00:05:25,020 --> 00:05:27,170 UPS We have a problem. 75 00:05:27,230 --> 00:05:32,460 The circle of course is above the layer itself. 76 00:05:32,480 --> 00:05:34,500 So how are we going to fix this problem. 77 00:05:34,760 --> 00:05:37,670 Well I won't show you how to fix this problem because it's very nice. 78 00:05:38,510 --> 00:05:39,890 I will try it on everything. 79 00:05:39,990 --> 00:05:48,660 Take a new copy of the video itself and drop it on top just on top of everything so it's totally different. 80 00:05:48,910 --> 00:05:56,670 Now maybe you guessed it you take the pen behind tool and if you zoom in you can now create a mask. 81 00:05:56,840 --> 00:06:02,220 So create a single mask with not very meticulous but something good. 82 00:06:02,340 --> 00:06:03,070 OK. 83 00:06:03,460 --> 00:06:08,340 I come down here let's put one over here and one over here. 84 00:06:09,430 --> 00:06:15,260 OK we're doing just a very simple mask and a closes. 85 00:06:15,330 --> 00:06:18,300 So now the first layer the top player doesn't have anything. 86 00:06:18,460 --> 00:06:28,600 The shoes decompositions setting make it block so you're not as you have just the ball from the video. 87 00:06:28,630 --> 00:06:31,900 Put them all on play or animation. 88 00:06:31,900 --> 00:06:33,960 Let's put that 100 percent. 89 00:06:34,020 --> 00:06:38,580 I notice now the circle is going to be behind the ball. 90 00:06:38,590 --> 00:06:40,980 Now the ball does not belong to the same video. 91 00:06:40,990 --> 00:06:45,590 Now these are tricks that you'll learn but it's very important that you get a notion how to do these 92 00:06:45,590 --> 00:06:46,130 things. 93 00:06:46,940 --> 00:06:48,250 There's got to the end here. 94 00:06:48,290 --> 00:06:49,560 That's what's happening here. 95 00:06:49,610 --> 00:06:52,920 The circle when the guy is coming you need to fix that. 96 00:06:53,090 --> 00:06:54,710 OK so what shall we do. 97 00:06:54,770 --> 00:06:57,310 Let's open the keyframes of the circle. 98 00:06:57,440 --> 00:07:02,610 Place you we zoom in first after this point. 99 00:07:02,620 --> 00:07:07,490 OK we came over here it comes here after here just wanted to exit the screen. 100 00:07:07,630 --> 00:07:10,290 So I did it all the keyframes. 101 00:07:10,460 --> 00:07:11,270 So it's over here. 102 00:07:11,270 --> 00:07:15,620 I will zoom in to see it very clearly and from here. 103 00:07:15,620 --> 00:07:19,280 After two or three frames just hold the circle. 104 00:07:19,290 --> 00:07:21,230 That's how the circle is going down. 105 00:07:21,290 --> 00:07:27,310 So we stop here maybe we take it out of cars going up and down so it's going to look a bit funny. 106 00:07:27,550 --> 00:07:29,750 It's got to fit with 100 percent. 107 00:07:29,750 --> 00:07:34,380 And here you are if you play you know does the animation is pretty cool now. 108 00:07:35,460 --> 00:07:37,360 OK guys you have done your first at Ashmont. 109 00:07:37,380 --> 00:07:38,790 I hope this was fun. 110 00:07:38,790 --> 00:07:45,120 It's actually pretty easy and all you have to do is to use the as a target and then apply. 111 00:07:45,360 --> 00:07:49,480 I would see on the next lecture with more attachments such as oppositions.