Transcripts

1. Trailer: Hello, everybody. I'm Daniel and his motion designer. I often have to animate coins and bills in my projects. There are many ways to approach, and this class is here to answer all of your questions. So welcome to the ultimate guide for handling money in after effects in this class, we will explore many different techniques for creating coins and bills, learning about their benefits and limitations. We're not going to be animating a whole bunch. Rather, we're going to build Greeks use expressions and effects to see how we can tailor a solution for each scenario. Most of the class won't require you to use any planets or external tools so anyone can follow along. I'm going to look at projects I worked on and sometimes dive into the project files to see how the techniques were implemented. By the end of this class, you will be able to create any kind of coin or bill your project requires, so insert a coin and present role 2. 3D Coin: So let's start at the beginning. We're going toe. Take a look at the technique that has been around for a while, and what I'm talking about is distributing layers in Zet space Treaty space. So first of all, let's have a look at an example off, such as the Canadian News. So this is a project. They did the world back, and I used this technique. So let's have a look. We have these. We have this coin. For now, it's just a circle in the middle of the screen and, as you can see, turns it spins on its exes. And on the other side is another icon. No, that's very, very common to do. And it can also be a very nice transition. So imagine the coin can zoom towards the camera on the revealing your background and your scene. You can see that the coin has some tips, so it happens a few times here on that. It changes, and the icon on the back changes with it. So we're going to create the the rig, so to speak, the mini rig that is used in this project. So let's get started. So here we have in your composition, then 80 B 25 frames per second. I'm going to start by creating and a lot object, and I'm going to rename No Bacall Control. Now I'm going toe create a circle in the middle of the screen. So just double click the a lib stool to create perfect leaps and says, If the comb and I'm going to change it to be 200 by 200 on, let's go in front. For now, I'm just going to use feel color, and now I'm going to make it three d. I'm going to click Peter with position and separated, they mentions, and I'm going to concentrate on this dimension for now. To the controller. I'm going toe ed slider controlled by the way these little things was created by vehicle pilot. It's called fix Console. It is available for free. I highly recommend it. If you don't have it and don't want stole it. For some reason, you can just search the effects using in the effects and presets panel. Yeah, but I'm going to use the effects control panel because it's I looked faster. So after reading the slider control, going to rename it and I'm going to call it, See that just so I can reference it. And let's start by creating a simple expression on the set position. So click on stopwatch and let's create the first parameter, which is going t be said the And that's for the depth, of course. And big whip this slider No one to create in your line and let's make some more room over here. Yeah, no, I have this first writer now I'm going to create the next one, and that's going to be I equals index, meaning the number off the layer in the layers that so for this one is going to be, too. And although it's used these two parameters to create a very simple expression and it's going to be I minus, let's see and multiplied by 30 now what's then? We don't have any. So let's create and it gives us a roar that's going to be number layers. So what's what I'm going to set and toe is indexed off their front layer. So here I'm going to set in two. The value in the brackets is going to be zero multiplied by depths value going to sit I'm going to sit there. Is that the steps? One for now, and nothing changes. But when I started duplicating these layers so I'm going to called it up. Get lets it made behind the front There. Now you can see that the deposition for the front layer is still zero in the deposition for the mid layer. This one Now I'll just continue duplicate in them and they moved backwards. If I increase this that depth, my layers will be further apart from each other. If we look at it from the custom view, you can see that the layers are actually separated from one another. And if we really, really pushed, is that that back? You can see how it looks. What it allows you to do is actually control very simply and very intuitively, the layers which are creating your coin and what I mean by that is the ranking. And let's say feel effect to the front layer. Now I have the front layer red, the others a different color. I can also add brightness and contrast effect to the front there and at the same expression to the brightness so that each layer that goes back becomes a little darker on Let's see how you do it. We're going toe out. Click on the stopwatch for brightness and we're going to copy the expression on the position, toe the brightness and let's see whether we have to tweak anything. If we leave it at that and just copy the effect, I mean, yeah, we have the brightness increasing, as you can see now it's one. So let's delivered from here. And let's actually legal of these meet layers start fresh. So let's based brightness and contrast. So simply put, minus in front here and again the breadth of interest, effect and basic here. Now you can see that the brightness is minus one, even when the duplicate all of these layers, they're going to become darker and darker as they go back in that space. Now it's not very visible because a change off just one is not visible with this effect, so we can simply multiply it very, very easily. But let's say type minus three multiplied by that the end everything else is going to be the same. And now let's be duplicating these layers, and now we do see a radiant which goes from brighter to doctor and it can also be controlled very simply very easily. We can give a slight control toe these darkening over here at our control layer. Let's see how we're actually going to use these things going We have just created. So I'm going to take this coin and drop it in tow in your company. Now, in this camp, I'm going toe, make it a three D layer and click on this little icon over here. That's the collapse transformation box. And now it gives me my treat cornerback. And now, in this calm, I can start. I don't have all of these off these layers or a with this huge stacking. I just have one layer which I can very easily rotate and animate. And I can place an icon here at the front, which will be very simple. We can and thanks layer. For now, let's say just at the dollar sign centred dollar sign and make it three d. Yeah. Now we just have a door sign in front of all of our layers. No, you might want to go and change the number of layers above your front there, just so the front there doesn't move. There should not be any gap between the front layer on the dollar sign. So that's why we have these controller over here. So that's for the first technical extruded layer is now we can have a look, maybe another example where the technique was used. So over here we had lots of coins to create. If I just cropped quickly through the whole video, you can see many, many coins all over the place, and this coins were actually created using these very technique. Now you can see that if it zoom in here, but there is some depth. Did he say to this coin? And like there is an outer rim, but you can see it is an actual after rim. There it's going. So it is very simple to create with this technique, because all you have to do is change the let's say from there. I don't want it to be this red color. Let's change it to be some kind of blue. You think the Miles Davis album and I don't want to have any feel color chance that say, stroke on Let's legal of these meat layers and change them middle air we have left again. Let's remove the field color on. Only have stroke size 27. Now it's duplicated a bit. Just keep prison control. Control the keyboard and I have a few coppers now, first of all, we have created to the very long one. But we have created the cube. And if we take one of these meat layers and enabled the fuel collar, you can see that we have created and out the dream on other age. This coin. And that's basically what I did here for this project. If you want the dollar sign to be on the actual face of the going and not just floating around, you will have to move it back a little. You can off course, be precise with listen to the executive off the face of the coin, and again, you're able to move it around, manipulated any way you like. So just coming through the video, you can see how many different things you can be doing with this coins. They are very, very is to manipulate. Very versatile. I can see you can create the different looks. It was the same set up. Yes, one side is a coined. The other side is a club. It's very nice. They're rotating all the time on doing all sorts of fun stuff. Yes, so that's for the three D extra coins and how toe create them out manipulator and different scenarios you can use them in. So before moving on, I would like to touch upon a limitation, so to speak, of this technique and where you would not like to use it. So, first of all, this technique might be a little bit Render heavy. That's because you have many layers and I don't have so many here. But you might have even more. I have here 27 layers and Vince, including the front icon and controller and everything. So that's 27 layers, and you might end up with 50 layers or more. Depends how many you need, but either way it is a little bit under heavy many layers. Many expressions and the other limitation of this technique will be when you start turning these coin on its white access. You can see that when you get toe approximately 1990 degrees on the Y axis, you can actually start seeing the separation off the layers and you can start seeing individual layers, and I don't know whether you can see it or not. But trust me, you can see separation of the layers. If you do it on your machine, you will see the separation of the layers at the 90 thing reason. Go. You will see the separation very clearly. You can see through the layers and you can see sort of a Grady int here at the top like thing hairs. And we charge the individual layers. Of course, if you spread the there is a little bit more just enhance on this problem, so it is more visible, so you'll start seeing them very, very clearly. So yeah, that's one limitation of this technique. If for some reason in the project you're working on, you will need to see the coin rotated through approximately 90 degrees and the why exes and that that might be something you want to take into consideration, maybe look for a different technique, or if you have tow duplicate, it's going a bunch of times like 100 times or even 50 times. It will be enough to slow down, render significantly off course you can. You can create duplicates and turn off all of the layers besides, and just leave the front one on so you can work quickly. And then when you want to render it out, you can turn the other layers back on. But of course, it's not very convenient on you might want to look for a different technique, so I just wanted toe briefly touch upon these limitations because I think they're important and knowing not only when to use a technique but also when not to use a technique. So that's about that, and let's move on to the next technique we're going to discuss. 3. Coin Rim: so the next technique is not really, like separate whole technique, but actually an extension or on and on to the previous one We just talked about. What I'm going to take a look at is how to create this combination combination. Look a style discover for the for the extruded part of the coin. I think it's not a very common request from clients, and you won't be using it often. But when you do encounter such a request, you will know how to do it. I'm not going to create it from scratch right now, but what I am going to do is have a look at the original project file in the project where I did use this technique. So let's just let it the lower up here and here it is. I'm looking at it on quarter. Let's look in half, and that's how it looks here in the camp itself. On if I just stick in a little bit deeper so I can get one of the individual coins, we can have a look out what's going on there. So this is the composition for one of the coins that we just saw. That and The coin itself is build just as we build our coin right now and displaced there in three D space and we have a controller which controls the depth. As for the cover off this layer, it's this layer over here and you can see it's only half a circle because they didn't actually need to see the other half, so I didn't create it. So if you think you look at it from the custom of you, we can rotate around it. We can see that the that this is 1/2 circle on treating, which is placed just over the treaty coin itself. The way it was created is by first of all, you will have to dig deeper legal, first of all, creating a composition which has all of these different symbols which are like the combination options for the for the supposed lock. So we have a very long composition with all of the symbols in it. And then I used a script which I think it's called Split Image. I'm going to link to it Anyways. You use the script called Split Image and you get a bunch off compositions on containing just parts off the original camp on. Then what you do here, you can see Oh, like the original comp, which is this one with the symbols. It's being used in many, many, many camps on each camp is just a little slice off, the off the whole composition. And then what you do is you take these. You take all of these slices and you connect them the one next to one another, creating a parent chain. So, like the bottom one is connected to the one above it on there and the one above it is connected to the one about it. And so that's called parent chain. There is also a script for that. The's are free scripts, by the way. I'm going toe link to them so you don't have to worry about it. So you have created this parent chain and then you. And then what you have to do is also connect the rotations. Um, you also have to connect the rotations toe. Always the one about it, I said. You can see these layers. Number 20. It's connected to number 19. Number 19 is connected to number 18 and so on. That's the bearing chain and As for the rotation, you can see that they are connected. You will hear they're connected to a different controller, but basically you have to connect them to the one above them. A swell just as we did with the parent change. So let's let's do it very, very quickly on not his compositions. Just with yes, we saw it so you can see how it looks. So let's create solid in here. So the soldier is going to be 100 by 100 on color Doesn't matter. Nothing matters here. Um, and I'm going toe, replicate it, move it 100 pixels to the right, on another 100 pixels on and another 100 pixels. And that would be enough. I know. Let's create bearing chain. So let's say this one is connected to the one above. It is 11 about it, and so on. Now if I just take the the dope one, let's change its label car color to yo if I take the yellow layer and they rotated on the Y axis, nothing very exciting is happening off course, but if we start also Lincoln de Rotations and then it will be a little more interesting and out clicking and picking the one above, just as we did with the parenting. Now you can see that they start creating this interesting effect. Now there are these gaps in between because the other points are not positioned in the right place. So we can very quickly just take them and zero the anchor points on. Then we will have to on. Then we'll have to move the layers. Oh, position the enter points in the wrong place. Yeah, so now they line up, just as they did before. I think that now, when I rotate them, you can see that this is one continuous bent lines. And that's exactly what you are going to do with compositions. If these were compositions like like the compositions were created with the split image script, you can just bend them around the corner and create like an outer rim was images, symbols, whatever you like on the other. Remove a coin and it can roll on the floor and bones and do all sorts of fun stuff. But that's basically how I created these combination. Look, look in the project I showed you. So yeah, that's it. For now on, let's move into the next evening 4. 3D Coin 2: here we are ready to explore the next technique. For some reason, there are some noises outside. Hopefully, you won't hear them and they will be able to edit them out. But anyhow, let's try to proceed. Now we're going to look at a different way off, creating 20 coins, and they're going to be used in different scenarios. As we said earlier, every scenario calls for a different solution. Now we're going to look, and a way of creating coins or other shapes doesn't necessarily have to be coins, which are simply extruded circles. So we're going toe. Look at the technique that creates them that help but helps us create these shapes when we need many of them. And we need them to be reflective on reactive to the camera. But they're not, as I would say, easily controlled individually as the previous technique Eso like remember, the limitations on the use cases are always changing. So let's have a look at two examples of this technique before we dive into creating it. As you can see here we have a slot machine, and when it heats lucky number seven on, then we, like, have a burst off coins from the bottom like yeah, we wanted here is here is our money. The casino just say, throws it at us. So yet these are the coins, and if we zoom in toe into the come here, you can see that the coins are actually reflective. They're reflective and they react to an environment which is in there. You can see that they also appearing each other's reflections, and it's a little fun that's totally different from what we did earlier. But it has its place. Another example would be from a recent project I worked on, and they said that it doesn't have to be coins here. I used here used like, diamond shaped like rotated squares on to represent, of course, coins. But we didn't actually use coins as you can see the rotating and reflecting and it looks very nice. So let's see how will go about creating these? Let's start by opening up you. Come on, let's call it this time it will be actually pretty. So this will be Children. He was an exclamation mark on click. OK, here. We're going to create a circle in the middle of the screen. So again, I just start by double clicking the Ellipse on a changing the size to be Let's say 303 100 And now I want to work through the coin. The way I go about it is first go back to the composition settings on Right now we're in the basic step and we're going toe jump to the treaty Render and change it from classic three d toe sitting 40. So we changed this kind off. Render this, you know, for the one week, okay. And if it world down the options, nothing has changed yet. But if I enable the treaty to this layer, we can see that way have now geometry, options and material options, as we used to have with the geometry options. Stop is a new year and we can start by increasing the extrusion debt off course. We don't see any change now, but if you go to the custom view, we can see that our corn or our circle actually waas indeed extruded. So we are going to use this option to create our coin. So here it is. Here's our coin, Onda. We can rotate around it and of course, we can rotate the coin itself. It is fairly quick to react, and we're very fun to play with what saying so let's start by adding the environment off this fun and beautiful reflections that were not very used to getting inside of after effects. Here in the Assets folder, I have an image which is called the Reflection map, and that's what it looks like. Basically, if it wraps around, this fear is a seamless fear. You can find these and Google. They're very easy to find their numerous reflection maps you can use on. We're going to use this reflection as an environment map, and you will see what I mean in just a second. So let's take this reflection, map and drug indoor composition, right click on it and set it as an environment layer. And as we did it, nothing has changed yet. But if we go to the material options for our coin and we can call it a coin, if you go to the material options we have here in the bottom on option, which is called reflection intensity, and if we start increasing the reflection intensity, we can see that our coin it's changing color and that's because it reacts to the environment around it. If I said to keep friends to the rotation parameter, let's say I'm going to rotate it 100 one revolution Sorry around. It's why access. You can see that along its rotation. It's going to be reacting to this environment, and we have these reflections on the coin, and it looks very nice and very, very realistic. Of course, if we're going to set same rotation for other exes, just give it a little bit more time. So it is not that rapid. So we're going to have a lot more movement, of course, and reflections and all of the sites and looks fine in the material options way. Also have the reflection fall off, which were which we can play with a swell as the reflection sharpness, which will blur the reflection making less Shop a Z. The name suggests I would live it 100 for now. You can take this circle and changed the shape, duplicated a bunch of times, rotated all around the place. Maybe use a particle generator toe, create many of them like I did in my slot machine example to create like a burst of coins were going to go over the creation of such a burst on explosion off going a little bit later, but for now, and that's the basis for it. So now when we have our treaty reflective going, let's see what else we can do with it. I'm going to get read, actually, of the reflection, just because it slows things down a little on I will just leave my going with zero out all of the rotation parameters and go back to the custom view. So back when we were dealing with just really extruded layers, it was very easy to change the front face of the coin and decide the outer rim of the coin . All of that was very self explanatory. But how are we going to do it with this coin? So if they want to change the outer dream, the edge off the coin, What I'm going to do is so let the elites in my contents and go toe ed. And over here I have a few options toe affected front the devil in the side of the bed. I'm going to affect the side color and chose color. Another fun thing like doing with this technique is actually not with circle, but with but with the square. I like creating cubes. Was this with this technique? I will make a treaty and going to teach options extruded a little bit. So I said, the cube side discourse eyes to be hundreds of extruded by 300 pixels. I get a perfect cube, and as we have just explored, we can change the side color on. We can change the front and the back and everything is very dynamic and it's fun. It's fun playing around with it. So what will be the limitations of this technique? Well, first of all, it doesn't have any blending modes If I click four or just double the switches. We don't have any blending modes as well as track Max, so we won't be able to use those in case we need them. We won't be able to use them, so we will have to choose a different technique. Another problem is when we try combining like regular, really seen with these. With this technique, we might start getting some sort of weird bleaches. I won't be able to say specifically when they happen, I encountered them in different scenarios. But the image will start getting smeared the little bit bleaching and look so weird and funky. When it happens, you will know that this is the reason. So no need toe bang your head against the world. Just maybe change the technique you're using, trying a different approach, solving the problem you're trying to solve tow. Avoid these glitches, look and all of a love its funkiness. So that's for the three. The reflective coin, which was used here in the video. I can actually show you in its entirety for now at the time of the recording, so you can see in this very nice, reflective coins on over here in the slot machine. In this love machine, we have these coins exploding towards the camera. It's a very common effecting, then this kind off games pros in the game you see on Facebook or mobile. So that's it for this technique on, Let's move onto the next one 5. Fake 3D Rig: So here we are in the most exciting part for me. This is the technical like the most and we're going to see shortly why I think it's very fun to play with quite dynamic and allows us to create a very fun look. I personally love it very much. So let's see what I'm talking about right now. We're looking at the project I worked on a while back and you can see that we have a full stuck off coins and the coins are just jumping on like Edin one on top of the other. Then they disappear, and the everything bounces in a very fun and dynamic wait. I will describe the challenge they face in just a second. But first, let's have a look at another example. Um, in another project over here you can see the same coins actually, which are being used on. You can see here there jumping and creating another stack off coins. So it's very useful to use this technique for creating stocks of coins. You might have guessed, and as you can see here, their appearance is a little bit different. They're not coming from the bottom, just appearing above the last coin and everything is fun. And we have a stack of coins created over here. So that's what we're going to create now. Actually, what we're going to create is the rig which allows us toe move the coins in such a way. Eso At the end of this process, we're going tohave one shape layer, which allows us to create this animation with a whole bunch of controllers, which you can save as an animation present. And I'm actually going to provide my own animation present, the one I use in this project. And you can use it in the in your own projects. And it's very fun to just imported and use it as is. It's very, very subtle, and I love it. So what was the challenge with this animation? And why did I need toe approach it from home? New angle? Well, the thing is, it has to do with the strokes with the strokes off of the coin. If we take a look at this project, you can see that the whole, the whole language, the design language of this project and other scenes as well. It also rounds these strokes on. They're all the same wit and then the same color, and so the coins had to look the same. So we need to have a stroke around the outer edges off the coin as well as this inner one. So we need tohave the other one, the inner stroke. And we need to have a separation off color between the top color, the color off. Yeah, off the front of the coin and the extruded part. Now that was what I had to create on all of the other techniques really failed me, and I needed to approach it from a whole new angle. So I reserved toe after effects shape players and I decided to create a small rig, which allows me to make this animation. So let's start with fresh new composition and create this fun animation from scratch. So let's open in your company. Let's call it wreaked going. So I'm going to start by creating and lived the size of the comp, as we did before, and change its size to, let's say, B 300 by 300. Now, how does a row date in coin on the X axis actually look? Well, it looks like it has been squashed. So if we start decreasing the size on the Y axis, it actually looks like it is rotating. So if I create two circles and put them one besides the other and one of them I'm going toe rotate on this access and the other one, I'm going to start squashing on the why you can say that. They look actually quite the same. So rotating a circle on the X axis looks like squashing it on the white. So that was my starting point from here, actually started exploring the technique you can see they can. They can completely cover each other if you just get the numbers right. You can see that man that they actually are the same. So let's get rid of the three D layer and just stick without duty. For now, let's start by adding a slider control toe our coin. So let's have a slider control and call it flip because that's what we're going to do with our coin. We're going to flip it now. I'll start by isolating my size barometer. So to isolate the size parameter, I clicked S s on my keyboard and now let's add an expression click out on the stopwatch. And first of all, let's define this flip parameter. Let's call it F equals and let's be equipped with this slider and let's create an expression which is being controlled by this F value. So we're going to type, Why equals and then type linear opened apprentices and now type F comma zero comma, 100 comma come a 50 comma 300. So it might be a little bit confusing those of you who don't know what the linear expression is. I'm going to explain how it works in just a second. I'm just going to finish this expression first. So we have our white parameter, and now we're going to create the array which creates the size value. So the 1st 1 year in their raise going to be volume in brackets, zero comma, why? And closed the array. And here is my expression. Here is how it works. Now you can see that right away the circle was quashed and the size on its Y axis is now 15 . If I start increasing the flip value from 0 to 100 you will see that it goes back to 300 on its Why? So that's basically what it does, the linear expression. It defines that when F changes from 0 to 100 the value which were affecting on this time it's the Y value for the size is going toe change from 50 to 300. So that's exactly what's going on here. And let's make it a little bit more versatile. And at another parameter called Why s, for example, that will be our y squash and let's duplicate off leave and call it Why s why size, for example, not squash all right, and equip the y size. And here instead of 50 I'm going to type white s. And now I'm able to decide whether it goes to 50 or maybe even less. Or maybe the perspective is not that extreme. So maybe it's only 200 so the coin is rotated just a little bit. I find it easier and more convenient. Toe. Have two controllers instead of just one. Yes, So that's basically why I have both of these. So let's keep going and see where we can get with it. Let's call this ellipse stop because this is going to be the top off our coin. Now let's create the bottom of our coin. And to do it, we're just going to duplicate the tops of control D and move it behind and call it bottom. Now the bottom of the coin has to be a little bit below. So let's drill it down and go into the transform options and move it. Let's say 20 pixels on the white access right now, you can see that our bottom is a little bit below and we have created a gap over here. Now, before we deal with the Gap, let's other controller, which will help us control the gap on the the separation between the top and the bottom. So let's have another slider control and let's call it extrusion, because that's what it will allow us to control. And I'm going toe out. Click on the position and type. Why pick, weep the extrusion parameter and create a simple array value zero comma. Why now you can see that as they moved the extrusion slider, the bottom layer moves accordingly. So just to have a little bit more visual separation between, so I'm going to make the bottom there a little bit darker. So now you can clearly see and a difference between them and let's get going and create our gut Fieler. So the gut filler is going to be erect angle. So I'm going to start by creating the rectangle. So with my shape layer selected and with my content selected, I'm going to double click on Direct Angle Tool. And now I have a rectangle the size of my composition, and I'm going to change the size of the rectangle so twirly down till I get to the size and change it to 300 by 20 and 20 is the size off my extrusion. It's the distance between the two, so we can already link this size to the extrusion and again type. Why equals pick it with the extrusion and again, a simple array of value zero and why? And we have it reacting accordingly. Now it has to be in the right place because as of now it is positioned incorrectly. So we wanted to be a little bit a little bit below when I start to move in this rectangle when I get to 10 pixels. Exactly. It covered the gap perfectly, so it has to be half off my extrusion, great. Let's again connected to the controller and they were going toe be quip and create and the rain, an array of values. And here we're going to type. Why divided by two? Because we want only half of this value. And so it is positioned perfectly. And now, when I increased the extrusion, you can see that it feels the grab exactly right. Now let's close a all of these parameters and change the name toe gap because that's its purpose and move it to be in between the top and the bottom. And now you can see that we are starting tohave our basic coin securities, and it can rotate on and and extrude doesn't do a whole bunch just yet. Now, let's see what happens when we start rotating it when we get to 100% on the front of the coin faces us completely. We shouldn't see at this part of the coin because it should be behind our front. We shouldn't be able to see it, So what we have to do is lend the gap and the bottom toe our flick parameter and make the move as it flips. So let's see how we do it. Open up the bottom again and we're still interested in the position. And now we're going to add a linear expression to the position off the bottom just is with it before. So again I'm going toe define my flip parameter, which is going to be F and I'm going to type. Why equals linear? If 0 to 100 and this goes from why 20 and that should do it. Let's just have a look. Now we will have to switch these white parameter with the new one we just created and let's see whether it works. What we expect to see now is the bottom moving behind our top, and that's exactly what happens. As you can see, the top covers the bottom perfectly great. Now we have to get rid off our gut feeler as it flips. So to do it, we are going to change the position and the size of the gap Fieler. So let's open it up, and we're going to mess around a little with this size. So what? We're going to do it again to find flip barometer, Big Whip and again type. Why this time? We're using capital. Why, instead, off a small case. Why? Just to differentiate between the dome. So we have linear at the base of F, which goes from 0 to 100. We want our gap filler to change from why small letter to zero and that should do it. Now we have to change between the parameters over here. But that should be enough. Let's see. And as you can see, the gap filler shrinks. You can see that it shrinks as should. The problem is it is in the incorrect place. Now it is a little bit below the center and we wanted to be exactly at the centre just so we don't have any function is going around. So to do it, we're going to mess with the position while you know, and again to find the f You know, they didn't know it defined the flip parameter on again capital. Why equals linear F from 0 to 100 the changes from why toe zero close apprentices and change the wife. Let's see whether everything works as it should, and as a flip it it is perfectly in the center and everything disappears, and we have our front face in coin. Great. So we have our basic rig, which will allow us to create our flipping a coin. Now the reason with little off that, as you might recall, is because of the strokes. We want to be able to create consistent strokes around our coin. So let's do it. Let's take all three of these groups, select them and click control G group them and I can call it coin. And so this coin group, I'm going toe add a stroke. So over here I'm going to a stroke, and right away you can see a stroke around my whole coin. So let's make it a little bit more visible, like five pixels. The problem is, we don't have a stroke over here in the middle. So toe at the stroke here in the middle, we're going toe. Add a stroke toe the top part. So with the top group selected, I'm going toe ed stroke, and you can see that now We have a stroke here, so let's twirly down a little. And there was a stroke already added here, just Western off. So let's deleted. And here is the stroke. We just added, We can make it a little bit thicker. Andi, like these three pixels and you can see that our coin flips and it looks just the way we want to toe. So if I am going toe animate my fleet parameter from 0 to 100 that's exactly the animation I have in my other videos I have in these examples, if you duplicate, it's going and move it up a little just so you can start seeing a stroke from the one beneath it. I'm going to move it a little and start just off sitting them like that. And here we start creating our coin stack. Here it is. Ladies and gentlemen, we have a coin stock and of course, we can offset these coins. Let's say one frame for each of them and we have our coins being revealed in a coin stuck. And that's very, very fun. You can have a simple position or scale of rotation animation, and this revealing effect looks very, very fun. So now you have your flipping coin re, which you can save is an animation present and use any time you like, you can see, it's quite versatile. I like it. And of course, you can also link it not only to that X X is off rotation, you can also link it to the Y axis. I'm not going to do it now. It is basically the same just for the Y X is now. Let's talk about something else. For example, I wanted toe add a dollar sign on the top on the face of the coin, and the way I would do it is create a dollar symbol. First, I'm going to go to layer and create create shapes from text. So let's click it. And now I have a shape layer. That's great. Let's close this panel. They don't need them anymore. Let's open up my newly created shape. They're going toe the contents. Let's copy this group in tow, our top group. So select our top group and based And now we have our dollar sign right inside here in the top group. But of course it is not in the right perspective, and it is also not positioned correctly, so first of all, we can position it correctly quite easily by going into the transform options and changing the transform options just so it lines up with the top now. The reason it is not in the right perspective is because we're changing the perspective off our coin, using the size parameter, which doesn't actually affect the whole group. If you wanted to affect the whole group, what we would need to do is change the scale off this group over here. So if we just take this expression over here, cut it from here and based it on our scale, what you should do is is changed the scale accordingly. But we have. It's squashed our coin just 50% instead of the right percentage, we had to do it. And that's why that's why it doesn't appear in the right perspective. So what do we have to do to fix it is just go into the expression and divide this parameter the Y science barometer by three because the size of the circle was originally 300 now you can see that it is back at the right perspective. So where is our sign? It is over here on the reason we don't see it is because it is beneath our fill. And now, if you move it above the field, you can see that we indeed have our dollar sign. And if we flip it and go to 100 you can see that our coin is again not working properly. So what we need to do to fix it? It's simply in the linear expression for the scale. Change it toe 100. So it goes at two a scale of 100 now everything should work correctly so we can flip or coin and the dollar sign changes accordingly and changes correctly. That's what important, and we can sleep our coin play with it, change the way we like. Save it is an animation present that's very important and very handy. I'm going to provide my animation preset, so that's my favorite technique, and it is very versatile. I love using it. It is very simple to use, and you only have toe create this rig once to be able to create a whole bunch of off coin stocks. It loads very quickly. It is very easy to manipulate. You have only a few controllers which allow you to change whole bunch of stuff. You can, of course, give controllers for the color off there off the stroke and off there and of the different parts of the coin, as well as off the width of the stroke, and have all of these different controllers, which allow you to manipulate the coin any way you like. I would say that the limitation off this technique is its treaty on Look, because it is not an actual treaty coin you can't actually spin around it freely on it will be quite challenging to make it spin as a really three d coin. Not not very challenging, but a little bit more complicated than what we did right now. That's about this part of the course, and I hope that you liked it. This concludes our coin creation part, and now we're going to move, creating bills, paper notes. That's going to be a whole lot of fun, and I hope that you stick to it and can't wait to see what you create with all of it. Let's move on to the next section 6. Paper Bills : welcome to this part of the course and congratulations and making it so far. Up until now, we were looking at different ways and techniques to create coins, the different approaches we can take to create three D coins and the different ways we are able to manipulate these coins we've created. And now we finally can move on to the next part in which we're going to look at Bill's meaning. Paper notes. Now the thing with paper notes is that we have toe achieve these organic look, this organic motion off paper. It can't be regent stiff. It has to be organic and flowing, Toby believable. So in this part, we're going toe. Take a look at the first technique we have for tackling such a task. So let's dive right into it and have a look at the example I have here of what we're going to create. So as you can see, we start with just one sheet of paper which zooms back on. We have many more of them and they are turning around to become bills which are spreading all over the place and flying away. And from the side comes a new bill with the text with the message of the scene and with transition toe the next scene. But basically we are going to concentrate on these bills in the background. The main Billa's well, they're basically the same technique. It's very basic, very simple, but it's still delivers quite well, and we can use it in certain occasions when nothing too fancy or too complicated is required. So let's get started and open up in your composition. Were going to be working in in 1920 by 10 80 Compton seconds long, 25 frames per second and call it deal one. So that's our first bill composition. And in this camp, we're going to start by double clicking direct angle tool to create the rectangle to create a rectangle the size of our comp. Let's drill down the options until we get the size and change the size to be 200 on the Y axis and 400 on the X, So this is roughly the size of a deal off a paper note. Let's look the dimensions back and call it vill. Now let's pre compose it. That's control shift C on your keyboard, and I'm going to call it a deal. Let's enter the pre comb and I'm going to change the settings for the composition to be 400 by 200. Maybe actually, a little bigger. Now this bill won't be read. Let's make it, for example. I like Dark Green and let's stylized just a little bit. I'm going toward the circle and this bill. So with the bill they're selected, I double clicked the A lib store, and I'm going to change their lips size Toby 50 by 15. Here it is. You can see it because it is read as well. I can change it to be white and let's duplicate the rectangle, make it like then pixels smaller on each of its sides and enable the stroke make it white. And this able disabled the field color. So we have, like, white inner stroke on this bill. So this will be our bill for ah, all purposes and intense in these. In this example, a bill will make it just a little bit bigger. Um, and I will also add a stroke to it. I can't help it. I need to have the stroke. It's very, very important. It's not just like it a little better. Yeah, the stroke looks nice. So this is our bill, and this is what we're going to be working with. So let's say we want to make it move from left to right on the screen. So we keep from it like that, and we have the movement of the building. Now. It's not very believable, and it just looks like a rectangle moving across the screen. That's because this is exactly what it is, and we wanna help it look a little bit more organic, so help it look a little more organic. I'm going to start by adding an adjustment layer to my sin and call it, Let's say, the turbulent and to this adjustment layer, let's at our turbulent displacement effect. And right away, when I preview my bill, you can see the read that it is being distorted. Now what happens here is that we have a sort of an invisible distortion layer, which distorts the whole image underneath the adjustment layer. And as of now, it makes it look as though our bill is flying through some sort of distorted glass or maybe underwater or something. So we need to make it a lot more subtle. So, for example, the science can be 30 and the amount can be then and it is a little better. Maybe the size is a bit too small. Maybe we need to crank it back up, so this already looks better. Now. This effect has a few displacement modes, and we're currently on turbulent, and now each one of them will give you a little bit of a different look. Bulge looks nice here. It looks like other than carpet is fine through the same twist will also give you a variation off this look. And basically, that's what you have to do to create the basic look here. Now let's go just a little bit further and at an adjustment layer to our bill prayer composition. So here is the adjustment there, and let's at the same effect. Andi just set the parameters to be very low, so the amount can be like then and the size can be 15. Maybe the amount can be even smaller, like five. And now what I want to do is keep friend the evolution parameter and make it change over time. So the expression will be time multiplied by, let's say, 500. Let's see whether it is too much or no. As you can see now, our bill is sort of mobile in in X Place, so it gives us just another day mentioned for animation. So if you turn off the turbulent displacement effect in our main comp, you can see that still, our bill is a little bit wobbly and it appears to be more organic. So that's about adding another instance of the effect. Now imagine that you had a really paper note in your hands and you were to hold it up above the ground and then just release it. It won't fall to the ground in a straight line, right? So you don't want to have your motion pass straight either. So right now you can see that my motion bus is just a straight line on Onley. My ex values changing, and I want to change it a little to make it look, as they said before, more organic. So let's make it go from top to bottom and add a little curve here. So with my pencil, I'm just drugging outwards. This handle and he's busier handle and you can see that my bill is flying like that now I want to make it the Orient along the past. So with the bill selected, I will rightly go to transform out the Orient and said it. The Orient along Beth. Now, if your bill is not oriented correctly or anything, you want Orient along. The path is not oriented correctly, just entered the rotation property and you can change it and it stays the same along the whole Beth. So in my case, it was oriented the right way, and you can see that my bill is now flying in a much more organic fashion, and it looks like it's dancing in the air and, like there is a friend behind it, or something like it is being shot for a hair commercial with the slow mo shots and the dramatic music. Her Let's decrease the size a little, maybe to like, 50 or maybe 65. And the amount can be a bit smaller, like five. Yeah, just to remove some of this movement because it was a little bit too much. That's how it looks so far, and that's already very, very good and a lot better than just a sliding rectangle across the screen. Now having a few of these flying all around the scene can create a really organic seal. And look now, in my original example, what? I actually had some of these bills Doom is flying in three D space, and not just in today. So it means that you'll have to turn on their three. The switch for your layer and right away you can see that the orientation is wrong, so I will rotate it 90 degrees on the y axis, tohave it facing the right way again. And now I can do is go, for example, to the constant view and select this position. Point the end point and move it a little bit backwards in that space. And now we have the bill flying back, so it also gives it another dimension toe move through and again. When you have multiple bills, it looks a lot more organic than just sliding rectangles across the screen. It's very simple, I know, but it's a start, and it can really save the day with simple compositions and simple tasks. When you don't need a technique which is an overkill, it will be very fast surrender and very simple to manipulate. So definitely use it now. Another little thing that you can add to this bill you are currently creating is another effect called sissy page Turn. Now, if we add the sissy page turn, it does exactly what you expect. It makes the page turn. Yeah, like that very old effect, and it looks kind off outdated. That's because there's a little bit is, but its still can help us create some of this curvature. We are looking in a really paper. So first of all, let's get rid off these shiny line. So just change the light direction so we don't have it and the back page should be and the color we set so we don't have the same coin because then we can't distinguish between the front and the back. So let's like the color off the bill and make it just a little bit darker so we can distinguish between the two. And now you can change the controls from bottom right corner toe classic you I And this way , what it allows you to do is change the full direction so you can have a few. A few off this comes. So, for example, this is only one of the bill's flying through your scene, and you will have a few of them and change the folding direction on each one of them. So again changed the light direction so we don't have this shiny sweep. And now when our bill is flying through this scene, as you can see, it is oriented the wrong way. So I will just change the rotation on there that access off course. The fold won't be static as it is over here, we can animate it. So let's say it starts with no folded all and then it gets like a small fold over here, and then it goes back to regular again. Now on its own, it looks a little bit weird, and maybe we will have to space it out a little. Of course, we just need toe. Look at it in the bill comp itself, but when looking at it from here, it suddenly looks a lot more reasonable. Let's say that the paper no, that's flying through the scene is being curved and pushed back by the air. It is a slighting through and it's bean bent backwards. Of course you can play with it and make it look pretty, but that's the basic idea Behind. Look for ways, toe. Take direct handle the basic rectangle, the basic shape. You want to be your bill in the scene and look for ways toe move organically and do organic motions mean in circular motions and bend emotions and all of that Goodness, because that will make it very believable and a lot more fun. As you can see, we didn't spend a lot of time on it. But when you have a few of these bills flying around and just with a little bit of tweaking , you can make the scene look a lot more complex than it really is. And you can make it look like he worked a lot on this scene. When you really dealing No, that's the whole point, isn't it? So before moving on to the next technique, I will just mention a few off the limitations of this technique. So, first of all, it will be quite difficult to make this bill do like a loop around itself like this. Like an in figure eight motion Oren s motion in the air. It will be quite difficult to make it flip around itself. Off course you can use their page turn effect, but it But it won't be that simple. It won't be that straightforward. Quite a pain. India's Toby French cuisine. So this technique is great when you're Bill has to face you all the time and doesn't have to do all sorts off IRA dynamic moves and the pyrotechnics, because then this technique will come shorthand. But the next one will be very helpful. So I just wanted to mention this limitation before moving on to the next one. See you in the next part. 7. Paper Bill Rig: Hello, everybody. And welcome to this part of the course. As you remember, we are now dealing with paper notes were looking for ways to make our simple rectangles move organically through the scene. Now this technique I particularly like because it is both simple and versatile. It delivers great results, though quite simple, to manipulate and create. Now let's have a look at what I'm talking about. If we just scrap through the timeline, you can see that they have my paper note and just flopping through the scene very organically. Now. The fun part is that they only had to keep from the position off this null object. So let's have a look at what happens when I remove the position key frames and just move the null object freely on the screen so you can see that as I do. So my paper sheet has just flopping by itself, depending on the place it is in the camp. And of course, everything can be controlled, and I can decide how much I want everything to flip and flop around on by simply adjusting these values. So let's have a look at how all of this was created and how we can achieve thes same rig and make it even more complex if we only wanted toe. So let's start by creating and you come its control and on the keyboard. And let's call it rigged to click. OK, so into this complex import direct angle we're going to use as the paper bill, I'm going to use my logo. So here it is in our comp on, Let's pre compose on the local first or direct angle. Here it is. Let's make the camp a little smaller just around logo eso the local square on I'm going to make it square come slightly larger than the logo itself. So in the main composition, I'm going to start by creating the rectangle, which is going to control everything. So that's control, outweighing the keyboard and let's call it control and parent the bill comp through our control. No, all of the magic and wizardry just saw was created with a simple effect called CC cylinder you might be familiar with. So let's add the city selling their effect. So our bill composition and right away when in it you can see that it starts getting this shading and I actually don't want it. So I'm going to set the ambient to 100 the diffused zero. Everything else I have also set to zero, and I will just have my logo curved. Now, if we go into the rotation settings off the cc cylinder and start messing around with those , you can see that my logo is reacting very nicely. And it is now. It is curving and moving and spinning around these cylinder, which it is being enveloped around. That's quite a mouthful. Let's figure out how we can make our bill flop around by just moving our control. So we already know that we want our flopping around and rotation to be linked to the position so the position off the null object will drive everything. And we already saw that the rotation in the cc cylinder effect is what we want toe effect. So basically, we want to use expressions toe Linda do together eso The rotation parameters off the city cylinder effect. Look at the position off the no object and they derive their value from it. So let's start typing a few expressions and see how it goes. Let's out. Click on the X rotation. And also let's call up the position of value off our no object. Now, before we start typing all of these expressions in, I want toe add a slider control because I'm going to need it on Let's Type X rotation. That will be X rotation, and that's going to control the amount of rotation that happens as our null object moves. So let's get back to our expression, and here it is. And here is our and here is our slider. Let's start by defining a few parameters. The 1st 1 will be the movement of the null object on the X axis, So that's going to be X for the null object. Let's be equipped. The X value. Now let's do the same. Was there Why excess Just like that? And now let's define the X rotation. And with these parameters, we're going to create our expression. So we're going to use the linear expression once again, and we're going to Type X equals linear at the face of Ex N, which moves from, let's say, minus 200 which we know will be outside of the screen. Let's say 2200 which will be on the other side of the screen. We're rotation will change from minus X art toe xar and later on we will define or more accurately assigned a value toe are with, which will actually change the rotation. So currently it is set to zero, but we will change it a little bit late. Wrong. Now let's do the same with the Why access. So let's just copy this line based it and changed the XT. Why change here, Dwight? That's well, and these values should stay the same. They will look at the same slider. And now let's just type X plus. Why? To get our final expression. Now if we start moving around our null object, nothing really happens. But if we increase the X rotation, you can see that by moving it around the screen, it is going to be flopping around. No, of course, we can keep framed the X rotation value and we don't needed toe flip so much. Now we're going toe. Copy this expression toe the other rotation parameters on the cc cylinder effect. Just copy and paste them, and now that's duplicated the X rotation slider at two times toe have the Y rotation controller as well as their said rotation controller. And now let's change these expressions. S so we're looking at the correct slider. So here we have the Y rotation. Now each access is being controlled individually by the sliders we have to find over here. So when moving our nal object across the screen, our rectangle is going to be flipping around. Let's increase the Y rotation just a little bit, so it flips around itself like that, and you can see that it already looks like it is being affected by the air and the wind around it. That's very, very nice, and it is already quite organic. And the very nice effect, which you can see, can be very easily controlled from these parameters. Now let's go a step further and at an enchantment layer, tow this composition, which contains our bill in this case, my logo and I'm going to add an adjustment layer toe, which I'm going toe ed the opposite effect. Now what the opposite effect dance is, allow me to move the logos seamlessly across the screen, meaning that if it goes out from the other side, it reappears on this side quite fun on if we look at it from here, we have a seamless logo still, so we can make it flip around the cylinder by using this offset effect and without having to change the Y rotation off the CC cylinder. That's just another level off control which we can use. Let's live with Joe and use the same expression to derive our offset effect. Let's start by adding another slider controller, and I'm going to call it in their move, and I'm going to look this effect, control Spano and jump into my print composition from which I can change my offset effect. And I'm going to add an expression toe the position off the offset, and I'm going to define my inner move value, which is going to be I am. And now let's just pick it from the effect controls and defined the array of values. The X value is going to be our slider, and the Y value is going to be as it is just like that. So now in our re comp, we can change our inner move parameter, and we can make the paper bill or whatever we are rigging just flip around itself like that without having it to be affected by the UAE rotation. So it might come handy when you wanted toe be oriented a certain way at a specific point in the camp. Now, if you're looking to add a little bit more control to this rig, it is quite simple to dough. And let's just do it. One of the rotation access. So let's open up the ex rotation, for example. And right now we have the X and A Y values being combined to create our rotation, and it is only being affected by their position off the controller on the screen and the slider we said before. So we can't just pick a value and defining Toby, let's say plus 90 at this specific place on screen, we will have to fuss around a lot with these with this slider to get the exact value we want. If we want tohave this level of control, we will only need toe end a couple of more controllers. So, for example, the X rotation. We can add X rotation. Ah, and for example, and define it over here. So this will be eggs, a eggs are a, for example, for exploitation Ed and we will edit to this final line over here. And this letter will be used on Lee when we really want tohave a specific value at this specific point. So usually we can leave it zero probably. But if we want the rotation to reach a certain point, we can use these to control it more precisely now. Another fun thing about this technique is that it reacts to the camera because the CC ceiling there is a three D effect. We can add a camera to our scene and spin around our curved bill, our curve note and just look at it from different angles and basically have it react to the camera. In this scene, Andi be a present in really, truly space. So I hope that by now you can see why I like this technique and why. I think it's quite versatile and quite fun. It is very simple to build. The expressions are very, very simple, and they're repeating themselves. So once you understand the first expression, you basically understood all of them. You can build the rig pretty quickly, save it once and use it as many times as you need, and as many controllers as you need, make it more sensitive or less sensitive, as you needed to be. So what will be the limitations of this technique? Well, basically, the 1st 1 will be the curvature off our bill. We can't very simply get rid of it, because if we just start increasing the rotation, you can see that it is stretching our competent. It doesn't look too good, so that will be the first imitation. The bill will always have to be curved unless you use a plug in which is called a think power cylinder or something like that. You can look it up on a script or I will link it in the project info. So that's black and you can use and you can actually define. And how open or closed you're still in There is. We might go into it a little bit later, but not in this part. So that will be one limitation off this technique. The other one will be that if you want to create many, many, many off these bills on, it will become quite render having and not very nice to play with so those will be the limitations off this technique. Now, before we finish with this part, I want toe key, frame my control layer and just have a look at how how well it works with my position. Key frames. So the first key frame I will put my controller over here and the 2nd 1 to the other side. Let's select the mental and create such an s curve. And you can see that my bill is flying from one side of the screen to the other quite organically, and it flips and flops around looking like real paper. Now, one thing that I like to do is select my pro composition and in the render setting for the cc cylinder. Change it, Toby. Only the outside. And now you can see anything because we are currently looking at the inside off the cylinder. So let's duplicate these per composition and now set this render setting Toby the inside. Now we can add a feel effect on Let's make it great. And quite simply, you've created on this effect when you get where you can see the back off the bill and have it displayed a different color. Now right now, you can see it is looking quite wrong. But because we have toe change the order of these layers, and now you can see that it is the correct order and everything looks right. So that's a small addition that I like to use when working with this technique. Now let's look at the way that we can change the curvature off our bill, and it won't be by changing the radius off the cylinder, but by changing the dimension off the composition in which the bill is in. So let's start by changing the inner and move parameter toe 500 you will see why in a second. So we have changed in their move to 500 in the ProComp, we're going to make it 1000 by 1000 so the center will be 505 100. That's why we change it to 500. And let's change the adjustment layer to be the same size as the comp. Just make it the compass eyes, and you can see that our bill has changed its curvature. Now it is less curved and it looks different. The problem is off course, you can't keep frame it, Andi, that's quite a bomber. But until you can get from the sides of the comp, you will have to deal with it like that. So in this technique we went over the expressions and the controllers. We can use the limitations with this technique as well as the different cases in which we can use it and should use it. I am. As I said, this is quite a versatile technique. I think it will be off help to you, and they hope it will be. So let's move on to the next section of our course in which we start using different blood in stools, script toe, allow us toe, overcome different imitations of after effects and basically toe achieved different results . Different looks with our coins and bills, so just move on to the next part. 8. Using Plugins and Scripts: Haider and welcome to the last part off the course. I'm really happy you made it so far and all you have to do now is push just a little more to get to the end. In this part of the course, we're going to look at external tools which can help us handle situations where we need to animate coins and bills. We're going to look at different scripts and plug ins and see how they can help us in these situations. In this part of the course, we're not going to dive deep into each technique, but rather glance over it quickly and discuss the benefits off the plug in or the script at which we're looking with. That said, Let's start with our first picnic. We left off the last part where we build rig using the cc cylinder effect. Now. The problem with this rig or this effect in general, was that we couldn't affect how fled or curved our Bill Waas. So it was dependent on the size of the composition which we could change. But we couldn't keep from it, and we couldn't decide how open or closed, meaning curved Arbil waas throughout the animation because we can't keep framed the side of the camp. So this Blufgan called power ceiling there is here to help us with this specific task. And I've already rigged this bill just as we did with the CC cylinder effect. So you can see that we have this s motion curve and that our bill is flying through the scene and that's the exact same rig in the effect controls. We have the same sliders controlling the exhortation y rotation and said rotation and it is a more complicated effect, but basically it does the same thing. So if we open the transform options, we can see the rotation parameters which are being controlled by our sliders and the position off our control layer. So as our bill moves through the scene, you can see that it's curvature. It's is being changed right here. In the beginning, it is curved quite a lot. And as we move towards the end of the animation, it becomes flatter. So they sealing their opens. Now it is being achieved very easily using the open ceiling there parameter onda, we just use the open parameter and we animate it. Controlling how closed or open our cylinder is, and we can actually even flip our cylinder to the other side, as you can see over here, and it can allow us create this flop in motion. Andi achieve a much more organic movement for our bill because, of course, it won't be curved the same curvature throughout its flight. So this effect power cylinder will allow us to do it. Let's move on to the next door. The next blogging is element reading. You're probably familiar with it, and if not, it is a plugging which was created by video copilot, and it is a very, very powerful, really planning for after effects. It allows you to create three D objects and models inside of after effects, animate them, manipulate them and basically built whole three D worlds inside of after effects from the interface off the plugging. So with element, we can create very nice treaty coins which will reflect based on their environment, and you can use shadows and you can make a bunch of them because element three D handles and multiple objects very, very well. You can see that over here and have a coin with the dollar sign attached to its front and everything is really three D, and it is extraordinary. We can move the camera around it. Onda we can make it Spain and do all sorts of stuff change the materials, the reflections and all of the fun options that element allows us to play with. So, in case you need to create a more realistic scene using shadows and lights and reflections and you need many coins on, do you want them to be interactive with the camera and all of that elementary D will be a great option for you. And it is just a great blogging toe have in your toolbox in general. But in this specific case, it can also be very useful. So the next tool we're going to look at is a plug in cold born now. Bar is a very cool plugging that can help you create bills and it's specifically can help you animate bills. The creation of the bill won't be done was born, So the bill I'm going to use is this one a shape layer with this simple design, and I've already created the composition over here. So let's have a look at what happens in the calm before we dive a little deeper into it, so you can see that we have a bill which is flying and comes closer to the camera. It curves along the path of its flight, and then it twists and turns Andi create. It's very nice. Look, now this is something you won't be able to create without plug ins. And fortunately, because we want the curve, the bill on on its path off flight and then twisted like that, and this will require us to use an external tools like book. So looking at born, it looks like a very simple plugging. But opening up each of these tubs, you can see that there are many parameters, so let's quickly look at the different options that ball has. First of all, we need tohave the layer, which we want to curve on a path, and we're going to define this layer over here in the source parameters that the 1st 1 called Source. So I just selected the bill composition I'm using here, and the book Blufgan is headed to a solid and the size of my composition. So that's the bill being curved on the path and the path is a mask breath and you define it over here in the mask parameters. I just selected mask Juan. I animated the start point, so it moves along the mask and the fun thing about Born is it lets you control the individual. Vergis is off the mask in three D space. So I simply go into the mosque Zet parameters and you can see that the second Vergis e that this one, the middle one, is pushed all the way towards the camera. So the bill comes closer to us as it moves through the center of the screen, and then it goes away from the camera. Now the twisting motion is being created by this twist parameter over here. Twist, start, and and so you can see that I have animated them from 0 to 180 they visited them a little. Without the twisting animation, it will look like that. And that's by itself is a very nice effect because it seems it looks organic and it is so easy to manipulate, and you can create very nice transitions with it, making the bill come so close to the camera that it actually hides the screen for a moment , and you use this moment to transition toe and your sin so you will just have to push the bill a little bit closer to the camera. May play with the mask bat a little bit to have a tohave, a complete cover like that. So just blend with damask a little bit toe. Have full cover off the screen, and you can also, of course, the mask used, like an Alfa Matt transition this part of the screen on the left and then when the right part is being covered and you can extend your alphabet and reveal the other the other side and you can see how nice this curving bill looks. It's very fun and very simple. You can add multiple vortices, of course, and create a very complicated flight path, and it can look around, create the figure eight motion or something like that. When will this blanking be useful? It will be useful when you want toe have very good control over your bill. It won't be that good for creating many bills, so if you want toe cover your whole screen with multiple bills, it won't be that convenient using this blogging simply because you will have to adjust many parameters and take into consideration the different bills flying the all over the place, interacting with each other and off that it won't be that simple toe manipulate. But if you just want tohave one bill dough, all sorts of cool stuff, these Blanken will be a very good solution for that. You can see that if we enabled three the option we can start getting some extrusion. You can sit over here. It's quite subtle, but yeah, how extraordinary unit your bills toe being. So that was the planking bar on. Let's move on to the next toll. The next tool we're going to look at is called particular. Now. Most of you are probably familiar with particular, but they will still glance over it, since it is quite useful. So before diving into the comb and they sect in the structure, let's have a look at a few examples of what you can create use in particular. Usually I'm using it to create sort of explosions, but you can see that over here I can also create, like standing background off these coins Maybe here it was actually created by hand, but you can very easily created with particular over here, you can see the company. We're going to look out right now. We have coins just exploding towards the camera flying towards us. Here. In this project I worked on, we had a few coins just explode in tow, a swarm many, many, many coins which covered the screen. And they allowed us to transition from one text toe. Another text here in the background. So it basically allowed us to cover the whole screen with coins. So let's have a look at how it was built. First of all, we need tohave the coin which we want to duplicate on and cover the screen with the coin or the bill. So the coin is over here and it was created with the cinema for the renderers in after effects. So it's a real treat, a coin and you considered in the comp the coin is actually spinning around itself and it is animating in the comp. Now, if we select the particular layer and going to the effect controls, we can see what's going on here. The meter was set to explode, so we only have one burst off particles, and then they won't continue emitting as opposed to the continuous mode. In the particle section, we have our particle time set textured polygon, and the texture is the composition off the coin with the treaty's been in coin. So we have this composition said over here in the layer, and the time sampling is random play at once. So if we didn't set it to random and just said it toe started birth play once, all of their particles would be oriented the same way because they're sampling from the same time. I hope it was clear, basically wanted to be random. So you said it toe random play once, of course, you can control the size, the randomness and all of that on In the physics. We have the gravity set toe 100 so basically they're being pulled downwards while there is wind pushing them upwards. So first of all, they're shooting upwards, and the wind is pushing them upwards and towards the camera, and then the gravity just pushes it downwards when playing around. With this explosion, you can also go into the turbulence field settings and play a little with the turbulence field and create sort off air pockets. If it makes sense for your particles, toe fly through. And, of course, you can use the other parameters of particular to create even more interest in effect. For example, with the spherical field parameters, you can create like a section effect if we just increase the radius enough so it starts attaching our coins. They are being sucked backwards into the slot machine, and it can also be an affect your plan with you can see that it takes a while to lower here so you can create an explosion. If we said the strength to 100 you can see that it pushes it away from the camera. And if we said it to a negative value, then it is being sucked back in basically another fun thing to play with. What are the limitations of this effect? Well, first of all, if you are going to use the three D coin as I did, it is a little heavy to render not too heavy, but just a little bit. If you're going to use other kinds off coins, maybe you can pre render the coin So you use a proxy, then it will be a lot, a lot lighter, so that will be one consideration. The other consideration will off course be that you can't control any individual coin. You are controlling them as a group. You're controlling a whole bunch of them and you're setting parameters that will affect everything. And you won't be able to control any single coin. That will be the limitation and the downside off using particular. So that's enough about particular and creating explosion with it. You can see that it is quite handy and quite versatile at creating these explosions. It can create different looks and I will leave playing around with this plug into you. And now let's move on to the next door. All we have left now is one, lest tool. This is a free script which can be found on a scripts on It is a very recent one. As for the time of this recording on, we're going toe have look at it and be done with it. So this script, which I've docked very conveniently over here it's called Magic Coin. And it is a very nice on the Hendy script for creating coins. Unfortunately, it won't be able to replace all of the other techniques we talked about, but still it has its place. So let's see how it works. We have an empty come here. We're going to start by clicking the stop button on. There is a drop down menu over here, which you only see apart off. Well, just to show you the drop down menu, I'm going toe put the script over here. You can see it is a very, very long one which goes on and on and on on. And in the end you have empty coins, so it will be relevant in a second. So the first options will be the U. S dollar sign and the euro and so on. So let's create a gold coin with the dollar sign. So just selected from the drop down menu and then click on this icon with the plus in the centre lets the our panel back back here again. Now, this is a shape layer with a whole bunch of things added to it, and you can start explorer in the different effects and the different controls over here. Basically, you can start rotating your coin and I will get rid of the bounding box is just so we can look at it like that. You can see how nicely it rotates and we have reflections. The sides have these lines, these ribs. You can also change the direction of the rotation. So to rotated on the X access like that and you have the option to control the backside and the front side so we can see the back side toe be empty not to show the dollar sign, but we only have it on the front. And we can also set like a different coin, maybe like a dollar euro like that. You can even add the A ring of stars off the European Union. And these ring of stars can be controlled and changed the circles or squares, and the number of instances can be also controlled. So you can see that that you can control it to a very high precision. If you open the treaty properties, you have the ability to change certain stuff over here. So, for example, the core material can be silver. Some coins are gold on the outside and silver in the middle, and the extrusion is well can be silver And let's make this center Gope. So it looks like that and I don't know whether you need to design a coin like this, but as you can see, if you donated, you have the option to go. So I'm going to delete it and create a new one. And this time I'm going to select one off their empty options. So I'm going to select the empty silver, which is down there at the bottom. You can see that the moment and I'm going toe klik new coin. So we have an empty coin, as you might have guessed. And what we can do with this effect is stick our own symbol on this coin. So, for example, I want toe stick the letter M on the front of the coin. I can very simply do so here we have the letter M, but of course, currently it is not attached to the coin. So if the coin spins the letter, M just stays in its place. But if we select the letter first and then select the coin layer and we click on this icon over here which says stick to front side, then our M should be stuck on the front side and indeed it is stuck over there. You can see that as they rotate the coin and the M reacts accordingly and it is literally stuck on this side. Now it will be very fun to play with a little bit heavy. I would say, if you need many of these now, there are a few other things we can do with this going to customize it. And if we open up the three D properties again, we can just get rid of the reflection completely and get rid off the stripes on the rim of the coin. So we have toe Sorry, increase the paper to 100. And now if we spin the coin, you can see that we don't have any stripes and on the X axis as well, we don't have any stripes. So we have a different looking coin and we can also achieve the same look I was going for with with the shape layers that we rig the earlier by going into the contents and we will have to apply a few stroke effects so the 1st 1 will be applied to the extrusion. So just selecting the extrusion group and going toe add stroke. We have just added and white stroke over here. Let's make it a little bit more visible, and now we also need an inner stroke. Now, in order to add the inner stroke like we did in our earlier example, we will need to select within the contents the visible side group and at a stroke to it, you can see that thing. White stroke was added over here, make it a little bit figure and select the same color. And now we basically have a very similar effect. And if you want to get rid off these inner great stroke over here, it is in the treaty properties that you have toe decrease the bell stroke sickness and you can see that it is now gone. If you rotate the coin, you can see a similar effect to what we were doing earlier. Not quite the same. The stroke is being sort of squashed, and the thickness is not being preserved, which was the whole purpose, what we did earlier. But still it is quite nice and a lot quicker to create. So that was the list All I wanted to discuss in the next section of the course, we will finish off with a few parting boards and an assignment for the class, so see you in the next section. 9. Let's Recap! : you made it, you've reached the end of the course. Let's Rick up. What we have learned with discussed three different ways for creating coins. The 1st 1 is by using three D layers and distribute in them in three D space. The 2nd 1 was using the cinema render option to create actual geometry, and the 3rd 1 was using shape players, rigging a few simple shapes to create the illusion of a three coin. We also looked at two ways for creating bills using Shea players and be starting them with effects like turbulent displacement. And the second way was really CC cylinder effect. So we achieve a bent paper flying through the year. We also spoke briefly about the few plug ins you can use Particular is great for creating many coins and simulating explosions. Elementary D will allow you to play with real life shadings, cameras and all of that goodness right inside of its interface. Boy allows you to move bills. A longer mask path. The mask past can be manipulated in treaty, and the bill itself can also be twisted and turned around. Power Cylinder allows you to control the openness of the cylinder and thus control the curvature off the bill mid flight. And Leslie. We looked at the Magic coin script, which you can find on a script, and it allows you to create coins made of shape players with lots of fun controls for the class project. You will be recreating your favorite technique from the course and implement, and it's innocent, just like you saw in my examples. If you have any questions, don't hesitate to ask them in the community section. I'll be there helping with whatever I can. I want to use this opportunity to thank you. Thank you for taking the time towards the whole course and thank you for caring enough about your skills to invest in them. I really hope you enjoyed this course and learn what you needed and more follow me and skill sure to get notified of future classes as well as my instagram page. Very share scene breakdowns and quick teams can't wait to see what you create for the class project