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Guys in this lecture you don't expect to be first we are going to Attash a composition if you double

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click on the radar composition and you're not this I designed something here very simple motion graphics.

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Now it would be interesting to attach this radar just on the top of the mast here.

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That's what we are going to do.

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And then we are going to create a track point that is not so good and it will show you how to work on

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it.

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Remember before here we just redid the keyframes because there was nothing to track from time to time.

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The tracker and the trackball and real big games on you so you need to learn how to fix it.

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So we select our player.

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And of course you go to your led a panel I will zoom to 100 percent and you need another track point.

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So I would click on track motion here.

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I have another tracker with track point 1.

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Notice the tracker here too which is that point point what would be nice is to rename it for no confusion

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at all.

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You press enter and say Here is a rather odd point.

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Now you know what we're doing here so click on the track point and click nearer to the mast on top your

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best alt or option on the Mac and scroll so I can zoom in.

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Let's put it just on top of the month.

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Here you are.

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OK.

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That seems good.

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Adjusted a bit.

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OK.

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The score somehow your choice.

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I really cannot.

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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

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to click on and fall.

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Now let's look at the radar point here.

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Notice here is doing some games going up and down and so on then it goes straight Paul I guess from

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here that's enough we stop.

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Let's go back and see the problem here.

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You know what happened over here.

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Let's zoom in.

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And these frames are up and down and so on.

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Well there are two choices here.

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If you are patient and you are very famous dickless then you can come over and you know adjust every

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keyframe at the time you can click on the keyframe and just put it up here you are and then page down.

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OK.

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Go forward and click on the next one.

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I missed one.

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OK.

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And then go put up.

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Now I don't have the patience to do this.

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And the best way to do that.

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I mean the regular way is to adjust the keyframe here you click on it and adjusted so I'm positioned

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on the keyframe and simply go ahead and and forward again.

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First let me go to 100 percent and I would say analyze again.

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Now I'm not what's going to happen.

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It seems nothing is happening because of the motion by that is already split.

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OK.

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And then we will have to wait for the desired thing over here it would be cool.

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Not just what happened.

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I will go back in time.

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OK.

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Well we had the problem.

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Zoom in.

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It has really adjusted all the keyframe and now in a line an enormous motion path this is the way to

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do it when you have a problem for example over here.

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You have these things doing like this.

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Your camera position to the bat keyframe.

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OK.

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So I'll move in time.

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I will go page down.

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Many of them.

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OK.

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So I will position on this one click and adjust it again.

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And then go to analyze again forward.

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And then it just all the keyframes I will undo all this because we have a nice pop So now that we have

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our next structure that is the dollar point let's dash the composition to this broader point.

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I think you have to do is to click and drag and drop it inside the composition.

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You can drop it if you like under the port.

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That will be more interesting in fact keeping the pool you know on top then you want to go to your left

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pallet and come to the brackets to be careful.

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It's striking to not it should be tracked to and tracker one.

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OK.

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One is the previous one we go to tracker too and we say at the target that is hit the layer we have

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now three options.

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You can have the radar circle again but of course we want the rudder we click OK.

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And we say apply do you want X and Y or y y will go straight line x.

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I think if we stay in the same place so to select x and y you are the that is very big.

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That's good.

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Let's open the scale press.

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And this open position.

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So when you applied it has cockpit all the keyframes from radar point or tracker to into the position

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of the radar pickup.

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Now for the scale here you can play with it.

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I make it 30 percent.

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Let's play see is it working.

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Not bad.

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I would say that was EF 2.

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Here you are.

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It's not by at all.

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Looks pretty fine except at the end over here you need to fix it.

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You don't want it to come out.

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So let's zoom in on the keyframes.

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I will go deep inside.

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And let's not that's exactly how the animation is working.

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There is a motion within the decomp right.

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So you need to take care of that in all kind of motion graphics there is a motion in the pickup and

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you need to adjust the timing.

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So let's do it.

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Let's say come over here and this is the last one that's happening over here for example.

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And all you have to do is to just cut the layer.

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You are not just now let's go.

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Wow.

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Now it's working fine maybe too soon.

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You can come and adjust it.

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OK.

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To make it one more here you are.

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Yes.

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Let's play it now.

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It looks fine.

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It's not bad.

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Maybe if you give it another one to look better.

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So it's up to you guys.

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I'm trying to adjust it at 100 percent in the lecture.

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But nonetheless you get the point.

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You might be wondering why the keyframes are copied and not a link through expression having the keyframes

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here will give you much more.

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I would say manipulation power to adjust the keyframes the way you want.

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And even to move the whole position if you decide OK I'm going to move the whole position here.

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You can just move it over here.

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You know if you had an expression is not going to be easy.

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So now you have the just over here.

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I would do that.

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OK.

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So duplicating the keyframes is pretty intelligent.

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I found it and pretty practical.

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So you can manipulate the motion the way you would like.

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So the concept goes you track you finished tracking use the keyframes after you have applied to the

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target.

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Thank you very much for listening.

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I will see you in the next lecture with attaching effects.