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I guys.



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And welcome to timely map.



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This is what we are going to do in this lecture.



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And I hope you enjoyed the previous three lectures and you are learning a lot about mind games.



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Actually it's easy but it will get very complicated because I know your imagination is going to stretch



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you going to make things faster or slower get confused.



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And that is excellent.



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Please try as much as you want you want to become an expert and the only way to do it is to try try



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try and you know expand your imagination become artistic in the course.



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I'm not showing you my skills so I don't want to be so artistic and studies like this to confuse you.



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No that's not YouTube.



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That's because for you to learn from and not to show you some techniques that might or might not be



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useful to you.



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So please go ahead and open the file.



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Now time the map I hope you download it.



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Click on the camp and we have a nice sushi movie here where Sushi plates come in and we want to do an



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advertisement here.



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OK we're not going to do the whole ad because it takes time and then we have the guy behind us here



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that makes problems.



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But we are going to work this time out.



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OK.



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So we will introduce time and map you right click on the layer we go to time and enable time.



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When he table timely map.



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Same same as motion graphic you'll get a keyframe in the beginning here at time 0 and you get a keyframe



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at the end plus one frame as usual.



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Let's forget about the last keyframe we don't need this for now.



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And here what you want to do is you know browse through the plates.



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One plate comes in very fast the second plane comes in and then verifies the third one comes in.



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And so on.



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Let's work on it and let's try to be a bit meticulous even if it doesn't work on the first time.



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We can adjust that later.



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Good.



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So what I'm going to do I don't want the play to start from here.



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Time limit is very helpful.



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Let's start at six frames or seven frames I call it work and then I want to stay here for a second so



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I'll copy that keyframe move plus one hundred and paste it again.



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So here.



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Timely map.



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There is no movement because this at seven frames and the of Imprimis.



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Now we want to move onto the next plate coming in.



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That's cool.



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OK.



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And keyframe again but we don't want to take all that long.



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So what we are going to do is to stretch it in the best way to do it is to come to this keyframe right



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here plus 15 for example and take this one.



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The keyframe and slap it to 50.



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Now the blade here has to stay for one second.



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So I would think that keyframe go plus 100 and paste the keyframe again.



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So not just what's happening is stable.



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It moves very fast.



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It's stable in a timely manner is quite interesting.



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And then from here I wanted to move to the next plate.



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I will bring the next plate here.



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I will keyframe it go back to the previous plate using Jane and right.



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Plus 15.



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I remember we did 15 right.



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And then I will take it back here.



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I was not put in.



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Now I want this keyframe to stay for one second so I will copy the keyframe then go and add the plus



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100 and basted.



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All I wanted to move to the next plate cool outfit limited but I know I did that long.



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So from here I'm going gonna write plus 15 and take the keyframe and put it here.



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And then here I want that one to stay for one second.



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I would copy the keyframe control-C.



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I would go plus 100.



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And paste it here fine.



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So from here I want to move to the next plate.



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Let's bring in the next plate on the comp comp a viewer.



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OK.



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I will keep riveted but I will take it back.



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So I will come back to this keyframe right.



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Plus 15 only 15 frames take the frame and snap it in from here on.



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And I wanted to move at all so I will take that keyframe.



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Go to the end here is.



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So we have you know a single sample that's pretty good.



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So it moves fast moves fast.



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That's pretty cool.



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Now of course you could move on and do the other place but I think you don't want to see me more copying



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and pasting keyframes but I'm sure that you understood the concept of time and the map within a video



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and how to use it.



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Now the nice thing here you can introduce the easy is or you can make them even roving keyframes that



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will be nice.



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Let's introduce Easy's and see what happens.



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I will come to the graph editor I select all the keyframes and it is them.



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That's pretty nice.



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Pretty cool like this.



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They need to adjust the time here but it's ok let's play it.



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And it comes in.



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And here you are.



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Now that will be very nice with in motion blur so let's add the motion blur.



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Now of course the motion blurred here is not will not work because this is for you know layer's movement



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you are not moving any layer here you are moving the video you know playing with the time of the live



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video.



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So that motion blur does not work for videos unless the video is flying around the player is flying



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around.



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Now lets go to this motion blur.



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I will come to affect and present and obviously I am going to find it under time.



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That makes sense to you I think why you finding it pixel motion blur the time because you are playing



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with the video and you want to blur the time within the video or something like this or the motion within



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the time of the video.



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So let's take the pixel motion blur and drop it on the layer and this is a very easy effect.



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It doesn't take a lecture to explain to you you have the shutter you have the angle and the samples



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make this seven hour case.



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It is OK.



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This is quite small so the movement is not so rapid but it will show nicely and you have the vector



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detail that you can increase or decrease.



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I leave it to 20 that's okay too.



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And the faster Let's come to preview and just let's preview it now with the motion blur or pixel motion



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blur it's going to take longer time to render.



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So I will stop the video or render completely and get back to you.



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So Hilliary has finished rendering.



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And you know how beautiful it is.



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It is quite interesting to work with these effects in after effects and how to manipulate your videos.



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Of course this video is fine and what you have done is fine but you have a problem with the guy behind



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me kept on jumping into the scene.



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Maybe we should remove it using a rotoscoping or other methods like Maskil or whatever we need.



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So thanks very much for listening and this is about time the map.



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You had a very big example to work with and I hope it was very useful.



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When I draw your attention to a couple of things you notice this video is pretty sharp but the last



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frame here is blurred.



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Something should be done about it.



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Not in this lecture but later on you will learn how to remove the blower from the last shot here.



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I see you in the next lecture.