Creative Suite 5 Motion Graphics with Adobe phần 3 ppt

ptg 76 Chapter 3 Typography for the Screen of the circle. Once the type is at the bottom of the circle, choose Type > Type on a Path to open the options and change the Align to Path setting to Ascender (Figure 3.33). Now the ascenders of the type will align to the path instead of the bottom of the letters as usual. Creating Custom Type with Illustrator Having the ability to create custom type is the number one reason a motion graphics designer would create title designs in Illustrator. It’s easy to create a customized title starting with a basic typeface. You can then modify individ- ual letters by manipulating the paths. This technique lets you create a totally unique type treatment, moving the title design from stock to custom (Figure 3.34). Figure 3.34 Convert type to outlines to change it into a fully editable vector shape. You‘ll first need to convert type to outlines. It’s impor- tant to note that the type will no longer be editable after converting it to outlines, so save the file under a different Figure 3.33 Type on a Path Options. Download from WoweBook.com ptg 77 II: Design Essentials filename or make an extra copy before converting the type. Convert the type layer into outlines by selecting the type and then choosing Type > Create Outlines or pressing Command+Shift+O (Ctrl+Shift+O). When the type is converted, it is made up of paths just like any other shapes in Illustrator. Now you’re free to use the full set of tools in Illustrator to push, pull, brush, effect—well, you get the idea. Mix it up and see what you can come up with. This is one area where experimentation is worth pursuing. Setting Type in Photoshop Setting type in Photoshop is efficient for motion designers because you can always convert type originally created in Photoshop into type that is native in After Effects. Layer styles also make animation easier because After Effects supports their import as editable (and in turn animation ready) effects. Type with Repoussé has taken Photoshop to new heights with 3D type and shiny new materials. Paragraph and Area Type When setting paragraph type in Photoshop, you can set type in a rectangular shape by selecting the Type tool and dragging to draw out the bounding box. This is a great way to keep text inside the title safe and action safe zones. Just drag your box inside the guides. But what if you want to set type within a specific shape, just like Illustrator? Easy; in Photoshop, you don’t even have to switch tools. With the Type tool selected, move your cursor directly over any vector shape in the project and wait for the two dotted brackets to appear around the text cursor (Figure 3.35). Once those brackets appear, click in the shape and type away. To sav e t ime s wit chi ng be twe en tools in the Tools panel, use the Command (Ctrl) key to switch between tools on the fly. Select the Convert Point tool from the Tools panel, and use it to change the Bézier handles and change the overall shape of the paths. When you just need to move anchor points, press Command (Ctrl) to switch to the Direct Selec- tion tool. Use the Direct Selection tool to click and drag directly on anchor points to reposition them; use the Convert Point tool to adjust the vector tangent handles. Type Conversion in Photoshop In Photoshop, you can switch your type between point text and area text or even change the orien- tation between horizontal and vertical at any time. To co nv er t ty pe be twe en po int t ext a nd are a tex t, the menu will contextually change between para- graph and point depending on what kind of type is selected at the time. To convert type, choose Layer > Type > Convert to Paragraph (Point) Text. To ch ang e ty pe or ien tat io n, c hoo se Lay er > Type > Horizontal or Vertical. Download from WoweBook.com ptg 78 Chapter 3 Typography for the Screen Figure 3.35 Placed type inside a custom vector shape in Photoshop. You can finesse the placement with the options in the Paragraph panel. Setting Type Along a Path Type along a path works in a similar fashion to Illustra- tor. The main difference is how Photoshop automatically switches to the Type tool to recognize the edge of a path. Place your text on the path by placing the cursor directly over the path, or in the shape if the cursor is inside a spe- cific vector shape (Figure 3.36). If you are typesetting in a document that already contains other layers and graphics, sometimes those other elements may become distracting. To avoid this, you may want to solo the visibility of the text layer as you make the final kerning, tracking, and leading adjustments. Option-click (Alt-click) the layer eye icon to view that layer and turn off all other layers. You can then apply the adjustments to that layer; as long as you haven’t changed the visibility of any of the other layers, just Option-click (Alt-click) the eye again to return all layers to their previous state of visibility. This works in Photoshop and Illustrator. You can solo layers in After Effects as well, but it has its own set of custom options. We’ll cover those in the “Type in After Effects” section later in this chapter. Once you’ve created type along a path in Photoshop, the original path created is not directly linked to the text. You can delete the original path layer if it’s not in use. To ch ang e the p ath th e ty pe laye r is using, select the type layer and then select any of the vector tools like the Path/Direct Selection tools or the Convert Point tool to move the path handles. Download from WoweBook.com ptg 79 II: Design Essentials Figure 3.36 Use the Direct Selection or Path Selection tool to position type along a path in Photoshop. Using the Direct Selection or Path Selection tool makes placing type along a path a truly interactive, visual experi- ence. The functions are the same as in Illustrator; however, the brackets along the path in Photoshop are not visible until you hover your mouse over the three anchor points. The functions of each anchor point are the same as they are in Illustrator. For animation, we recommend setting type on a path in Photoshop instead of Illustrator because the type and the path will import as fully editable objects within After Ef- fects. Wondering why we just don’t start creating path text directly in After Effects? It’s just about time. It’s faster to storyboard and create the effect in Photoshop. Plus, when it’s approved, all the work from Photoshop will import directly into After Effects. To se e t he pa th an d t yp e in Af ter Effects, import the Photoshop document as a composition. Open the composition, select the layer that should be type, and choose Layer > Convert to Editable Text. Download from WoweBook.com ptg 80 Chapter 3 Typography for the Screen Creating 3D with Repoussé One of the best new features in Adobe Photoshop CS5 has to be Repoussé. Repoussé allows you to create actual 3D objects out of type with full control over the materials applied to the front, side, back, and different bevel faces (Figure 3.37). Before converting any type through Repous- sé, make sure you’ve saved an extra copy should you need to go back and make any changes to the original type. Re- poussé will rasterize any type into one solid object, so you’ll no longer have individual character control. If you want to find out more about Repoussé and all other things 3D, check out Chapter 8, “Designing and Working in 3D.” Figure 3.37 This “wood” type treatment was created in Repoussé. It has true 3D dimension, materials, and lighting. Using Layer Styles with Type Layer styles can add depth and dimension to your type with bevels, drop shadows, and glows. But, as I’m sure some of you may know, misuse of layer styles can cause flashbacks— Download from WoweBook.com ptg 81 II: Design Essentials to 1998. So remember that more often than not less is more. We’ve found layer styles extremely useful in specific situations: . If your type is competing with the background, try a subtle shadow or glow (Figure 3.38). . To add some dimension to your type, tr y using some layer styles (Figure 3.39). One of the biggest reasons we like layer styles in Photoshop has to be their integration with After Effects. On import, you’ll have the choice to merge the layer styles into the foot- age or leave them editable. By all means leave them editable (Figure 3.40). If you still can’t see the editable layer styles in the Timeline panel, choose Layer > Layer Styles > Convert to Editable Styles (Figure 3.41). The layer styles will then ap- pear in After Effects in the Timeline panel ready to animate. Figure 3.38 A soft outer glow of black can help create just enough separation from the background to make your type stand out. Figure 3.39 To illustrate just how many layer styles will seamlessly import into After Effects, we’ve gone a little overboard to create this 3D look for the text. Download from WoweBook.com ptg 82 Chapter 3 Typography for the Screen Figure 3.41 If you don’t see editable layer styles appearing in the Timeline, convert them to editable styles in the Layer menu. Figure 3.40 After Effects supports the import of most layer styles from Photoshop, creating more sources for effects that can be keyframed and animated. Download from WoweBook.com ptg 83 II: Design Essentials Type in After Effects After Effects has a robust set of tools to set the type directly within the application. Although we set our fair share of type starting in After Effects, we usually prefer to create our initial type designs and layouts in Photoshop and then import those layouts into After Effects for animation. Text Tool Setting point type and paragraph type in After Effects is the same process as we covered in Photoshop. However, setting type along a path is a slightly different process. Once you’re familiar with the text animators in After Effects, setting up text on a path is a breeze. Text Animator Possibilities The animation tools for text in After Effects are nothing short of amazing. You can layer different animations and moves onto the type to create some flexible and complex animations in a very short amount of time. To get familiar with the capabilities within After Effects, let’s look at some of the preset animations. Choose Animation > Browse Pre- sets and double-click on the Text folder in Bridge. Open any of the folders to browse through the different presets. Navigate through a few more folders to get the full effect of just how many different kinds of text animators and ef- fects are possible in After Effects. Creating a Text Animator A text animator is almost identical to any other kind of animation possible in After Effects. With any layer in After Effects, there are properties that can be animated, posi- tioned, scaled, rotated, and more. With text animators, you can apply those same animation properties directly to the text, as a kind of “subcategory.” The process is very similar to parenting one layer to control another except this time it’s all within the same layer. To apply a text animator, twirl down the parameters for your text layer. In the column for switches, click the button next to Animate and select a parameter to animate. Using Download from WoweBook.com ptg 84 Chapter 3 Typography for the Screen animators is a twofold process. First, make the change to the parameter. Second, animate the selectors that deter- mine exactly which characters are affected by the param- eter change. To see a finished example, open the project YouNever- Know.aep. You can see that one animator has been applied to the type layer called you never know (Opacity). The only parameter that has keyframes is the offset. The values in the range selector determine how much of that text will be affected by the animator. Since the range starts at 0 and ends at 100, 100 percent of the type will be affected by the values in the animator. The Opacity value is set to 0, which means that any type that is currently selected will have an Opacity value set to 0. When the offset is animated, the length of the selected area will not change, it will just slide the selection, and any type that ends up falling outside of the selected area will be revealed (Figure 3.42). Figure 3.42 Animating the offset is almost like sliding a stencil over a light to reveal different patterns and shapes based on the settings of the stencil. Download from WoweBook.com ptg 85 II: Design Essentials Once an animator’s range is applied and animated, click the Add button to continue to add more parameters to that animator. Because the settings are loaded into the same animator, the selected area and its offset will be the same for every parameter loaded into that animator. If you want to animate a different parameter with different timing, click the Animate button and add another anima- tor. Every animator can have its own timings because every animator has its own Range Selector. Creating Type on a Path Since we just discussed how to create a text animator, you already know how to animate type on a path. It’s just a question of tying the type to the path. You can do that in three steps: 1. Create a path. 2. Twirl open the layer properties and expand the Path Options. 3. Click the Path menu and choose Path 1 (or the name of any other path in the composition). Now that the type is tied to the path, you can animate the type along the path just like you’d apply any other anima- tion to an animation group using animators. Download from WoweBook.com [...]... f you’ve been in motion graphics for any amount of time, most likely you’ve been asked to animate a logo Often, this is a kind of “right of passage” for young motion graphics artists Unfortunately, so is dealing with not receiving the most optimum file formats to work with Even if the stars align and we somehow end up with the proper files in their preferred format, logos also come with rules Usually... being plagued by strange render issues with certain shots, Interpret Footage is always a good place to start your troubleshooting process Since most motion graphics projects end up with a range of footage sources (to say the least), it’s a good idea to be meticulous about organization So if you haven’t checked out Chapter 1, we covered several techniques for dealing with footage and keeping your projects... the least When you add nonsquare pixels into the mix, there’s yet another detail to consider Using the Film and Video project presets found throughout the Creative Suite can help lend some organization to the specifics of each format The Creative Suite offers many options that allow you to preview nonsquare pixel footage throughout many of its applications When we design for large projects, we’ve often... resolution For example, if you had a project in an Adobe Photoshop Extended document that was created with the DVCPRO HD 1080p preset (1280x1080 nonsquare pixels), you could use one of three ways to convert that to the HDTV 1080p preset (1920x1080 square pixels) (Figure 4. 13) : Choose File > Place and place the DVCPRO HD 1280x1080 footage into a project with corresponding square pixel dimensions, in this... experiment with multiple settings with Preview selected image in Illustrator When placing an image in Illustrator, the adjustments will appear at the top of the screen in the Control panel 2 Click the arrow button between the Trace button and the Mask button, and choose a preset from the list to apply your Live Trace Live Trace with Layers We’ll explore the Live Trace command in greater depth in Chapter 5 You’ll... name like “Layer 56 ” won’t be very helpful when animating in After Effects In addition to the organizational benefits, the group command also helps make selecting objects in your canvas easier as well (Figure 4.7) 93 Download from WoweBook.com Chapter 4 Logo animation A B C Figure 4.7 To quickly select a group in the canvas, use the Selection tool (A) If you want to select one element within that group,... layer allows you to trace over the layer without worrying about accidentally moving the image as you work Using template layers in Illustrator is also a great way to create extra elements to use in the animation As motion designers, we have the benefit of time (don’t laugh) Even if the animation needs to end on the original logo, that doesn’t mean we can’t play with it along the way In the Timeline for... realistic brush strokes with the Bristle brush; create custom brushes; and use the Blob brush, Path tool, and erasers, to name just a few tools Figure 4.10 Creating multiple versions of a logo gives you flexibility when it comes time to animate Just using a simple jump cut between the traced and untraced version can spice up the animation without having to use a single keyframe 95 Download from WoweBook.com... brand In this chapter we’ll examine various workflows to help you find those opportunities where others might find difficulty Preparing Your Files Where do you start? Do you begin in Adobe Illustrator, Adobe Photoshop, or Adobe After Effects? Well, there is no right or wrong answer Each application and file format has its own advantages and disadvantages By the end of this chapter, you’ll learn how to... upon document creation and will not be converted with your document settings To change color space, it is best to copy and paste your logo into a new document created with any of the Video and Film presets You might find it interesting that RGB and CMYK at their core are designed to function quite differently RGB is an additive color model RGB starts with black (no colors at all) as a base color, and . WoweBook.com ptg 80 Chapter 3 Typography for the Screen Creating 3D with Repoussé One of the best new features in Adobe Photoshop CS5 has to be Repoussé. Repoussé allows you to create actual 3D objects out of type with. from WoweBook.com ptg 78 Chapter 3 Typography for the Screen Figure 3. 35 Placed type inside a custom vector shape in Photoshop. You can finesse the placement with the options in the Paragraph. Repoussé and all other things 3D, check out Chapter 8, “Designing and Working in 3D.” Figure 3. 37 This “wood” type treatment was created in Repoussé. It has true 3D dimension, materials, and