Guys in this lecture you don't expect to be first we are going to Attash a composition if you double
click on the radar composition and you're not this I designed something here very simple motion graphics.
Now it would be interesting to attach this radar just on the top of the mast here.
That's what we are going to do.
And then we are going to create a track point that is not so good and it will show you how to work on
it.
Remember before here we just redid the keyframes because there was nothing to track from time to time.
The tracker and the trackball and real big games on you so you need to learn how to fix it.
So we select our player.
And of course you go to your led a panel I will zoom to 100 percent and you need another track point.
So I would click on track motion here.
I have another tracker with track point 1.
Notice the tracker here too which is that point point what would be nice is to rename it for no confusion
at all.
You press enter and say Here is a rather odd point.
Now you know what we're doing here so click on the track point and click nearer to the mast on top your
best alt or option on the Mac and scroll so I can zoom in.
Let's put it just on top of the month.
Here you are.
OK.
That seems good.
Adjusted a bit.
OK.
The score somehow your choice.
I really cannot.
You know ganti is going to be good but I can try to 100 percent and don't think we have to do now is
to click on and fall.
Now let's look at the radar point here.
Notice here is doing some games going up and down and so on then it goes straight Paul I guess from
here that's enough we stop.
Let's go back and see the problem here.
You know what happened over here.
Let's zoom in.
And these frames are up and down and so on.
Well there are two choices here.
If you are patient and you are very famous dickless then you can come over and you know adjust every
keyframe at the time you can click on the keyframe and just put it up here you are and then page down.
OK.
Go forward and click on the next one.
I missed one.
OK.
And then go put up.
Now I don't have the patience to do this.
And the best way to do that.
I mean the regular way is to adjust the keyframe here you click on it and adjusted so I'm positioned
on the keyframe and simply go ahead and and forward again.
First let me go to 100 percent and I would say analyze again.
Now I'm not what's going to happen.
It seems nothing is happening because of the motion by that is already split.
OK.
And then we will have to wait for the desired thing over here it would be cool.
Not just what happened.
I will go back in time.
OK.
Well we had the problem.
Zoom in.
It has really adjusted all the keyframe and now in a line an enormous motion path this is the way to
do it when you have a problem for example over here.
You have these things doing like this.
Your camera position to the bat keyframe.
OK.
So I'll move in time.
I will go page down.
Many of them.
OK.
So I will position on this one click and adjust it again.
And then go to analyze again forward.
And then it just all the keyframes I will undo all this because we have a nice pop So now that we have
our next structure that is the dollar point let's dash the composition to this broader point.
I think you have to do is to click and drag and drop it inside the composition.
You can drop it if you like under the port.
That will be more interesting in fact keeping the pool you know on top then you want to go to your left
pallet and come to the brackets to be careful.
It's striking to not it should be tracked to and tracker one.
OK.
One is the previous one we go to tracker too and we say at the target that is hit the layer we have
now three options.
You can have the radar circle again but of course we want the rudder we click OK.
And we say apply do you want X and Y or y y will go straight line x.
I think if we stay in the same place so to select x and y you are the that is very big.
That's good.
Let's open the scale press.
And this open position.
So when you applied it has cockpit all the keyframes from radar point or tracker to into the position
of the radar pickup.
Now for the scale here you can play with it.
I make it 30 percent.
Let's play see is it working.
Not bad.
I would say that was EF 2.
Here you are.
It's not by at all.
Looks pretty fine except at the end over here you need to fix it.
You don't want it to come out.
So let's zoom in on the keyframes.
I will go deep inside.
And let's not that's exactly how the animation is working.
There is a motion within the decomp right.
So you need to take care of that in all kind of motion graphics there is a motion in the pickup and
you need to adjust the timing.
So let's do it.
Let's say come over here and this is the last one that's happening over here for example.
And all you have to do is to just cut the layer.
You are not just now let's go.
Wow.
Now it's working fine maybe too soon.
You can come and adjust it.
OK.
To make it one more here you are.
Yes.
Let's play it now.
It looks fine.
It's not bad.
Maybe if you give it another one to look better.
So it's up to you guys.
I'm trying to adjust it at 100 percent in the lecture.
But nonetheless you get the point.
You might be wondering why the keyframes are copied and not a link through expression having the keyframes
here will give you much more.
I would say manipulation power to adjust the keyframes the way you want.
And even to move the whole position if you decide OK I'm going to move the whole position here.
You can just move it over here.
You know if you had an expression is not going to be easy.
So now you have the just over here.
I would do that.
OK.
So duplicating the keyframes is pretty intelligent.
I found it and pretty practical.
So you can manipulate the motion the way you would like.
So the concept goes you track you finished tracking use the keyframes after you have applied to the
target.
Thank you very much for listening.
I will see you in the next lecture with attaching effects.