Hi guys hope you're doing well in this course.
And welcome to this new section and this section we are going to focus solely on the puppet tool and
whatever comes with it and that creates some distortion and animation which is puppets.
That is Binjie or Jopek images we like or BSD images but it doesn't work on shape and text.
So actually this is animation on certain figures that you can bring inside after effects I change the
look of the workspace here and I'm using now the animation with some change the workspace animation
with some changes that I've done.
I want to see all the composition here from top to bottom.
The timeline we need to see is very big and I have the menu here that stage we have preview smooth wiggler
and mushroom sketch and we are going to use them all of them in this course.
You can download your project file.
And inside you will find alien dark energy.
I'm going to click on it and go create a new composition with it.
So this is the file itself.
The images are very big.
Let's make it a bit smaller.
I'll get that will work.
Now I'm on transparency to show you that the image has no background.
It's transparent.
If I remove transparency the color here is the color of the composition itself.
And we are going to see how the puppet is going to function with this image.
Fine.
Now there is something very important.
The puppet tool here it operates on what we call the alpha channel.
What is an alpha Chemi if you come to your small button here you say channel and color management settings.
You can click on it and you have red green blue Alpher.
Of course this button is has a lot of functions in After Effects.
But for now I'm going to minimize the explanation just about to demonstrate for you the alpha CheMin
if I click on red I will see the red line here telling me I'm looking at the red and with the gray scaling
here I know that I have a lot of red here too much red here and somehow some red around in the white
area.
If I go to blue or green I will see that more green in this area than it was in red and here less green
and lots of green and so on.
So determined by grace scaling how much green you have and you can go to blue.
You notice we have a lot of blue.
If we go to the Ulfar Channel and this is where our interest it changes completely or the blog means
it's then split and the white one means you have color.
And this is the white area is the area we are going to work with and is going to be distorted and we
use bins on the transparent area will not be touched and after effects will not take it in consideration.
Now if you imported your own image and you see it as a rectangle or a block with white it will not be
very visible to animate a character but you can distort the whole image.
Fine let's go back to normal.
That is OGGI.
Let's go out and start creating some bins.
I would select the Shipler here and click on the puppet being too long click and I would see the puppet
bin tool puppet overlap tool and the puppets touch.
We're going to go through the three of them.
But for now let's go to puppet been.
I mean there's the mouse has changed into a pin itself so I will come and add the pin just on top of
his idea of a pin has been created.
Is there a dot in the hole and mash has being created in the toolbar.
Here you see Masche and it says show here and don't show.
And you have the expansion.
I will expand that and the number of triangles.
The second change is 0 you have an effects that has been created and it's the puppet effect.
Inside there is the mesh and inside the mesh that is the number of triangle and the expansions same
as we have.
And there is the form and the form has a puppet pin and the puppet being here is already framed.
That's my only puppet pin I have here.
Now if I move it the position the puppet bin will move and in that case because I have just one pin
it will move the whole character for me.
I will reset that.
So when you reset it will only reset the positions of the puppet pins.
Not everything that's good.
So now I have one pin and if I wanted the pin not is that it does become the mouse has become like a
move.
If I click I can move it around.
Of course the whole layer or the whole shape is moving because I have only one pin.
What is that again.
Now what's the mesh for the mesh will determine the deformations.
This is how it's going to be different thinner the mesh is or more Strangler's you have the mesh better
the deformation are.
And of course it will it up on the processing time less you will have more coarse the formation and
that's it.
That's basically.
Now you notice that the mesh is extending just you know five pixels you can increase that and the measurement
you know extend much more.
Now everything is becoming just one block that's put back at five here.
It's OK.
So less simple explanation about the mesh.
We will see how it's going to work.
Now let's go back to 100 percent of it and create another bin.
This is where the fun stuff.
If I take the first pin click on it and move it.
You notice that there are some of the formations happening but the second pin is like an anchor is not
moving at all.
That's pretty cool because I would like to move the head but I don't want to move the field and it will
determine the deformation.
Now in general rule when you move one single pin all the other pins will not move and will act as anchors
as the other pin on the leg.
And then if you move the first print on top you know there's the two bottom pins are not moving.
That's pretty important to notice.
And in return how you will distort it the yellow one is the original position.
If you reset it will reset the position and there is no more yellow one appearing.
Let's add the pin on bottom of his neck here and now it's like we anchored here.
So if I move this one of course everything else is going to move also or be distorted.
But mainly the spin will act as an anchor for the head.
Let's use that again.
Fine.
So we can add our pins wherever we wanted to move.
If I had the pin here then it would move more logically where the hand is moving and the body is not
moving so much.
Another pin here and one on the shoulder.
Then I can move the other hand.
It's why I saw some pain on the torso down.
So when we move the legs it's only one leg that is moving.
Of course you can do more.
You cannot depend on the tip of the leg and just distort the leg.
Nice distortion sometimes.
I would cancel the last one.
OK.
Now we have all our pins in place and we are ready to do some animation.
We will do that in the next lectures.