Monday, April 27, 2009

After Effects - Human Figure (parenting example)

Parenting in After Effects is an essential technique for animating multiple objects that have a dynamic relationship to one another. With parenting you can have multiple layers, with different transform options, moving as one. In a basic timeline with two layers, parenting one of those layers makes one layer the parent and one layer the child. The child is always subservient to the transform options of the parent. The parent column in the timeline allows you to specify if a layer is a parent or child through a simple dropdown menu (at least in version 6.5).


Above: The parent column in AE 6.5 from the video below (click to make larger)


Above: View of the layers palette and canvas in Photoshop for the movie below (click to make larger)

For example, to animate the human body the movie below does in After Effects, you would arrange the individual body parts (each on their own layer, prepared beforehand in Photoshop) so that the smaller elements are made into children of the larger parent elements. This means the toes are children of the foot and in turn the foot is a child of the lower leg. The lower leg is a child of the upper leg and the upper leg a child of the torso. One of your layers will be the absolute parent of all of the children and in my example it's the lower half of the torso named 09_stomach. Because 09_stomach is the absolute parent, any transform options for that layer will effect all children of that layer. In order to make the figure bounce into the air slightly as it jogs I edited the position transform options for 09_stomach and all other children were then effected.


Above: The pan behind tool highlighted in yellow and the anchor points (joints) for the leg indicated by the red arrows.

In addition to logically parenting the body parts, you will need to use the pan behind tool to move the anchor point for each layer to approximately where the functioning joint would be found on the human figure. The pan behind tool is located in the tool palette and simply moves the anchor point of a layer to wherever you drag it to. The foot for example would need to rotate exactly at the ankle so the anchor point must be moved to reside at that location. Once you have your parent / child relationships setup, your layers in the right order, and your anchor points logically adjusted, you may begin setting some keyframes and animating the figure as you would any other object in after effects. For the video below I am only using the position transform option on the body and rotation transform options on all of the other parts.

Tuesday, April 14, 2009

Friday, April 3, 2009

Adjustment Layers Keyboard Shortcuts

Check out this quick video on speeding up your Photoshop adjustment layer usage with keyboard shortcuts. Video from Layers Magazine.

Monday, March 23, 2009

Smart Objects - The bridge between 2 programs



As we saw in class Illustrator has many tricks up it's sleeve. Not the least of which are some of the 3d options shown in the above image. All of the above shapes, unique to illustrator could be pasted into Photoshop as Smart Objects. As Smart Objects they would retain all their vector clarity. The above effects include the Mesh tool, 3d revolve and the Blend Tool.

A smart object can be created in Photoshop by selecting Object > Smart Object > Make. Additionally a smart object can be made when you copy and object from Illustrator and paste into Photoshop (at least Photoshop will prompt you and ask if you want to import the object as a smart object). The advantage to a smart object is that you can manipulate layers without destroying the original layers pixel integrety. For example you could have a large photo that you have converted into a Smart Object. You can scale that photo down to 20 percent and later scale it back up to 100 without suffering any pixel loss.

You edit a smart object by double clicking it in the layers palette and working inside of a new window that will appear. Once you have made your desired changes (I.E. adding additional layers or effects) you select File > Save and the changes will automatically appear in your original document window. You can then close the smart object window as well.

If the smart object was placed from Illustrator (or copy and pasted from Illustrator) the new window that opens when you double click your smart object layer will actually be in Illustrator. The same rules apply though. Make any changes you wish, hit save and the updates will appear in your original document in Photoshop.

Click here for Smart Object Video Lesson

Friday, March 20, 2009

Dynamic Opposites Think Tank 2

5 more ideas illustrated by pre-computer Art History:
William Blake (Light vs Dark), Ernst Stohr (Man vs Woman), Arcimboldo (Man vs. Nature), Rohan Master (Physical vs. Metaphysical), and Jan Van Eyck (Real vs Artificial)

Monday, March 16, 2009

Dynamic Opposites Think Tank

The following selection of images is meant to spur your imagination in regards to our next project that deals with dynamic opposites. From first to last the following images are by, Gregory Crewdson (above vs below), Martin Kippenberger (objectivity vs abstraction), Koen Hauser (inside vs. outside), Naoki Honjo (real vs artificial), Ghada Amer (objectivity vs. abstraction pt. 2), John Roebas (traditional vs. modern), Student Image 1 (life vs death), Student Image 2 (nature vs industry).