Draw Circle Animation After Effects

1. Afterwards Effects User Guide
   
2. Beta releases
   1. Beta Program Overview
   2. After Effects Beta Home
   3. Features in Beta
      1. Properties panel (Beta)
3. Getting started
   1. Go started with After Effects
   2. What'south new in Later on Effects
   3. Release Notes | Subsequently Furnishings
   4. Later on Furnishings system requirements
   5. Keyboard shortcuts in After Effects
   6. Supported File formats | After Effects
   7. Hardware recommendations
   8. Planning and setup
   9. Setup and installation
4. Workspaces
   1. General user interface items
   2. Go to know Later Effects interface
   3. Workflows
   4. Workspaces, panels, and viewers
5. Projects and compositions
   1. Projects
   2. Composition nuts
   3. Precomposing, nesting, and pre-rendering
   4. View detailed performance information with the Limerick Profiler
   5. Movie theatre 4D Composition Renderer
6. Importing footage
   1. Preparing and importing all the same images
   2. Importing from Afterward Furnishings and Adobe Premiere Pro
   3. Importing and interpreting video and audio
   4. Preparing and importing 3D image files
   5. Importing and interpreting footage items
   6. Working with footage items
   7. XMP metadata
7. Working with text and graphics
   1. Text
      1. Formatting characters and the Character panel
      2. Text effects
      3. Creating and editing text layers
      4. Formatting paragraphs and the Paragraph panel
      5. Extruding text and shape layers
      6. Animative text
      7. Examples and resource for text animation
      8. Alive Text Templates
   2. Motility Graphics
      1. Work with Motion Graphics templates in Later on Effects
      2. Utilize expressions to create drop-down lists in Motion Graphics templates
      3. Work with Essential Properties to create Motion Graphics templates
      4. Supervene upon images and videos in Move Graphics templates and Essential Properties
8. Drawing, painting, and paths
   1. Overview of shape layers, paths, and vector graphics
   2. Pigment tools: Castor, Clone Postage, and Eraser
   3. How to taper shape strokes
   4. Shape attributes, paint operations, and path operations for shape layers
   5. Use Offset Paths shape effect to modify shapes
   6. Creating shapes
   7. Create masks
   8. Remove objects from your videos with the Content-Aware Fill panel
   9. Roto Brush and Refine Matte
9. Working with layers
   1. Selecting and arranging layers
   2. Blending modes and layer styles
   3. 3D layers
   4. Layer backdrop
   5. Creating layers
   6. Managing layers
   7. Layer markers and limerick markers
   8. Cameras, lights, and points of interest
10. Blitheness, keyframing, move tracking, and keying
    1. Animation
       1. Animation basics
       2. Animating with Boob tools
       3. Managing and animating shape paths and masks
       4. Animating Sketch and Capture shapes using Later Effects
       5. Assorted animation tools
       6. Piece of work with Data-driven animation
    2. Keyframe
       1. Keyframe interpolation
       2. Setting, selecting, and deleting keyframes
       3. Editing, moving, and copying keyframes
    3. Move tracking
       1. Tracking and stabilizing movement
       2. Face Tracking
       3. Mask Tracking
       4. Mask Reference
       5. Speed
       6. Time-stretching and fourth dimension-remapping
       7. Timecode and fourth dimension brandish units
    4. Keying
       1. Keying
       2. Keying effects
11. Transparency and compositing
    1. Compositing and transparency overview and resources
    2. Alpha channels, masks, and mattes
12. Adjusting color
    1. Colour basics
    2. Apply the Adobe Color Themes extension
    3. Color management
    4. Color Correction effects
13. Effects and animation presets
    1. Furnishings and blitheness presets overview
    2. Effect listing
    3. Simulation furnishings
    4. Stylize furnishings
    5. Audio effects
    6. Distort effects
    7. Perspective effects
    8. Aqueduct furnishings
    9. Generate furnishings
    10. Transition effects
    11. The Rolling Shutter Repair upshot
    12. Mistiness and Acuminate furnishings
    13. 3D Channel effects
    14. Utility effects
    15. Matte effects
    16. Dissonance and Grain effects
        
    17. Detail-preserving Upscale effect
    18. Obsolete effects
14. Expressions and automation
    1. Expression
       1. Expression nuts
       2. Understanding the expression linguistic communication
       3. Using expression controls
       4. Syntax differences between the JavaScript and Legacy ExtendScript expression engines
       5. Editing expressions
       6. Expression errors
       7. Using the Expressions editor
       8. Apply expressions to edit and access text backdrop
       9. Expression language reference
       10. Expression examples
    2. Automation
       1. Automation
       2. Scripts
15. Immersive video, VR, and 3D
    1. Construct VR environments in Later on Furnishings
    2. Apply immersive video effects
    3. Compositing tools for VR/360 videos
    4. Tracking 3D camera movement
    5. Work in 3D Design Infinite
    6. Preview changes to 3D designs existent fourth dimension with the Real-Fourth dimension Engine
    7. Add responsive design to your graphics
16. Views and previews
    1. Previewing
    2. Video preview with Mercury Transmit
    3. Modifying and using views
17. Rendering and exporting
    1. Basics of rendering and exporting
    2. Export an Subsequently Effects project as an Adobe Premiere Pro projection
    3. Converting movies
    4. Multi-frame rendering
    5. Automated rendering and network rendering
    6. Rendering and exporting nevertheless images and nevertheless-epitome sequences
    7. Using the GoPro CineForm codec in After Furnishings
18. Working with other applications
    1. Dynamic Link and After Effects
    2. Working with Afterwards Furnishings and other applications
    3. Sync Settings in After Effects
    4. Interact with Team Projects
    5. Share and manage changes with Team Project collaborators
    6. Creative Deject Libraries in Later on Effects
    7. Plug-ins
    8. Movie theater 4D and Cineware
19. Memory, storage, performance
    1. Memory and storage
    2. Improve performance
    3. Preferences
    4. GPU and GPU driver requirements for Subsequently Effects

Create and modify shapes using Pen and shape tools and copy paths into Subsequently Furnishings from Illustrator and Photoshop.

You create a shape layer past cartoon in the Composition console with a shape tool or the Pen tool. You tin then add shape attributes to existing shapes or create shapes within that shape layer. By default, if you draw in the Composition panel when a shape layer is selected, you create a shape within that shape layer, higher up the selected shapes or group of shapes. If you lot describe in the Composition panel using a shape tool or Pen tool when an prototype layer other than a shape layer is selected, yous create a mask. For more than information, run into Create masks in After Effects.

Shortcuts for Shape tool is Q, and Pen Tool shortcut is G.

Before drawing in the Composition panel to create a shape layer, press F2 and deselect all layers.

Commonly, a new shape has a make full and a stroke that correspond to the Fill and Stroke settings in the Tools panel at the time that the shape is drawn. You tin can utilise the aforementioned controls in the Tools console to change these attributes for a selected shape after it has been drawn. Shapes created from text are created with fills and strokes that lucifer the fills and strokes of the original text.

Catechumen Vector Art Footage to Shape

Yous can create a shape layer from a vector fine art footage layer, and then modify it. With the power to bevel and extrude objects in After Furnishings, yous tin extrude the artwork, for example, extruded logos. For more information, see Extruding text and shape layers.

To convert a vector art footage layer to shape layer, cullLayer > Create >Create Shapes from Vector Layer. A matching shape layer appears above the footage layer, and the footage layer is muted.

• Non all features of Illustrator files are currently preserved. Examples include: opacity, images, and gradients.
• Converted shapes ignore PAR overrides specified in the Interpret Footage dialog box.
• Gradients and unsupported types may show as 50% gray shapes.
• Files with thousands of paths may import slowly without feedback.
• The menu command works on a single selected layer at a time.
• If yous import an Illustrator file equally a composition (multiple layers), you cannot convert all those layers in one pass. However, yous can import the file as footage, and so utilize the control to convert the single footage layer to shapes.

To actuate and cycle through the shape tools, press Q.

A polygon is a star without an Inner Radius or Inner Roundness holding. So, the proper name of the shape created for a polygon or a star is the same: polystar.

You lot can create a mask past dragging with a shape tool on a selected layer in the Limerick panel or Layer panel. You can create a shape by dragging with a shape tool on a selected shape layer in the Composition panel. If y'all drag with a shape tool in the Composition panel with no layer selected, y'all create a shape on a new shape layer.

To depict a mask on a shape layer, click the Tool Creates Mask button in the Tools panel with a shape tool active.

When you lot create a shape by dragging with a shape tool in the Composition panel, you create a parametric shape path. To instead create a Bezier shape path, press the Alt (Windows) or Pick (Mac Bone) fundamental before you click to begin dragging. Y'all tin release the key before you consummate the elevate operation. All mask paths are Bezier paths. (See About shapes and shape layers.)

Dragging starts when you click in the Limerick console or Layer panel to begin cartoon, and ends when you release the mouse button. Pressing modifier keys at different times during a single dragging performance achieves dissimilar results:

• To reposition a shape or mask every bit you lot are drawing, hold the spacebar or the centre mouse button while dragging.

• To scale a circle, ellipse, square, rounded square, rectangle, or rounded rectangle around its center while drawing, concur the Ctrl (Windows) or Control (Mac Bone) key afterwards you begin dragging. Don't release the fundamental until you have released the mouse push button to finish drawing.

• To cancel the drawing functioning, press Esc.

Each shape tool retains the settings of the most recent drawing operation with that tool. For instance, if you draw a star and modify the number of points to be x, then the side by side star that you draw will too take 10 points. To reset settings for a tool and create a shape with the default settings, double-click the tool in the Tools panel. (See Create a shape or mask the size of the layer.)

Draw rectangles, rounded rectangles, squares, and rounded squares

2.  (Optional) If drawing a rounded rectangle or rounded foursquare, exercise the post-obit before releasing the mouse push:

• To increase or decrease the corner roundness, press the Upward arrow key or the Downward arrow cardinal, or roll the mousewheel forward or backward.
• To set corner roundness to the minimum or maximum, press the Left pointer key or the Correct arrow primal.

3.  Stop cartoon by releasing the mouse button. If drawing a square or rounded square, release the Shift key after releasing the mouse push.

Squares are created to be square co-ordinate to the pixel aspect ratio of the composition. If the pixel aspect ratio of the limerick is not ane, then squares appear foursquare in the Composition panel only if the Toggle Pixel Aspect Ratio button is selected at the bottom of the Limerick panel.

Depict ellipses and circles

1. Select the Ellipse tool, and practise ane of the following:
   • To draw an ellipse, drag diagonally.
   • To draw a circle, Shift-elevate diagonally.
2. Release the mouse to terminate drawing. If drawing a circle, release the Shift key after releasing the mouse push.

Circles are created to be circular according to the pixel attribute ratio of the composition. If the pixel aspect ratio of the composition is not 1, so circles appear circular in the Composition panel only if the Toggle Pixel Aspect Ratio button is selected at the bottom of the Composition panel.

Draw polygons and stars

2.  (Optional) Do the following earlier releasing the mouse button:

• To add together or remove points, press the Up arrow cardinal or the Downward arrow primal, or curl the mouse wheel forward or backward.
• To increase or decrease the outer roundness, press the Left arrow fundamental or the Correct arrow fundamental.
• To go along the inner radius of a star abiding as you move the mouse to increase the outer radius, concur the Ctrl (Windows) or Command (Mac OS) cardinal.
• To increment or decrease the inner roundness of a star, press the Page Upwardly key or the Page Down key.

three.  Release the mouse button to stop drawing. If Shift-dragging to prevent rotation, release the Shift fundamental after releasing the mouse button.

You tin can create a Bezier mask using the Pen tool on a selected layer in the Composition console or Layer panel. You can create a shape with a Bezier path using the Pen tool on a selected shape layer in the Composition console. If yous draw with the Pen tool in the Composition panel with no layer selected, you lot create a shape on a new shape layer.

Creating a RotoBezier path is like to creating a manual Bezier path. The primary departure is that management lines for vertices and curvature for path segments are automatically calculated.

With the Pen tool selected and the RotoBezier option deselected in the Tools panel, click in the Composition panel where you want to place the showtime vertex.

Click where you desire to place the adjacent vertex. To create a curved segment, drag the direction line handle to create the curve that you want.

To reposition a vertex after you lot've clicked to place it but before you've released the mouse button, agree the spacebar while dragging.

The last vertex that yous add appears as a solid square, indicating that information technology is selected. Previously added vertices become hollow, and deselected, equally you add together more vertices.

Repeat step 2 until yous are ready to complete the path.

Complete the path by doing one of the post-obit:

• To close the path, identify the pointer over the kickoff vertex and, when a airtight circle icon appears next to the arrow , click the vertex. Yous can also shut a path by double-clicking the terminal vertex or choosing Layer > Mask And Shape Path > Closed.
  
• To leave the path open, activate a different tool, or press F2 to deselect the path.

The simplest path that you can draw with the Pen tool is a directly line, made past clicking with the Pen tool to create two vertices. By continuing to click, you create a path made of straight-line segments connected past corner points.

Identify the Pen tool where you want the straight segment to brainstorm, and click to identify a vertex. (Do non drag.)



Clicking with Pen tool creates directly segments.

Click again where you want the segment to end. (Shift-click to constrain the angle between segments at the corner point to a whole multiple of 45°.)

Keep clicking to fix vertices for additional directly segments.

You lot create a curved path segment past dragging direction lines. The length and direction of the direction lines determine the shape of the curve.

Shift-drag to constrain the angle of the direction lines to whole multiples of 45°. Alt-drag (Windows) or Option-drag (Mac Bone) to modify but the outgoing direction line.

one.  Place the Pen tool where y'all desire the curve to begin, and concord the mouse button downwards. A vertex appears, and the Pen tool pointer changes to an arrowhead.

two.  Elevate to modify the length and management of both direction lines for a vertex, and so release the mouse button.

Drawing the first vertex in a curved path

A. Placing the Pen toolB. Starting to drag (mouse button pressed)C. Dragging to extend management lines

iii.  Identify the Pen tool where you want the curved segment to end, and practice one of the post-obit:

• To create a C-shaped bend, drag in the direction opposite from the management that you dragged the previous direction line, and so release the mouse button.

Drawing the 2d vertex in a curved path

A. Starting to dragB. Dragging abroad from previous management line, creating a C bendC. Result after releasing mouse button

• To create an S-shaped curve, drag in the aforementioned direction as the previous management line, and so release the mouse button.

Drawing an Southward bend

A. Starting to elevateB. Dragging in same direction as previous direction line, creating an S curveC. Result after releasing mouse push

4.  Keep dragging the Pen tool from different locations to create a series of smooth curves.

Create a shape of the size of the layer

Select the destination for the new shape:

• To create a shape on an existing shape layer, select the shape layer.

• To create a shape on a new shape layer with the dimensions of the composition, deselect all layers by pressing F2.

• To replace a shape path, select the shape path (not the group) in the Composition panel or Timeline console.

Create shapes from text characters

Use Create Shapes From Text to extract the outlines for each graphic symbol, create shapes from the outlines, and put the shapes on a new shape layer. You can then use these shapes as yous would any other shapes.

Employ Create Masks From Text to extract the outlines for each graphic symbol, create masks from the outlines, and puts the masks on a new solid-color layer. Yous can and so use these masks equally you would whatever other masks.

Some font families, such equally Webdings, include characters that are graphical images, rather than text. Converting text from these font families can exist a good way to get started with uncomplicated graphical elements in shape layers.

Select the text to convert to shapes:

• To create shapes for all characters in a text layer, select the text layer in the Timeline panel or Composition panel.
• To create shapes for specific characters, select the characters in the Composition panel.

• Choose Layer > Create Shapes From Text.
• Correct-click (Windows) or Control-click (Mac Bone) the layer or text and cull Create Shapes From Text from the context menu.

• The Video switch for the text layer is turned off.
• The new shape layer is created at the summit of the layer stacking club. The new layer contains one shape group for each selected character, plus fill and stroke properties that lucifer the fills and strokes of the text.
• For characters that consist of compound paths—such as i and e—multiple paths are created and combined with the Merge Paths path performance.
• Effects, masks, layer styles, and keyframes and expressions for properties in the Transform property group of the text layer are copied to the new shape layer or solid-colour layer.

Re-create a path from Illustrator or Photoshop

You lot can re-create a path from Illustrator or Photoshop and paste information technology into After Effects as a mask path or shape path.

To brand the information copied from Illustrator compatible with Later on Effects, the AICB option must be selected in the Files & Clipboard section of the Adobe Illustrator Preferences dialog box.

For a path imported from Photoshop to be scaled correctly, the Photoshop document must have a resolution of 72 dpi. 72 dpi is the Resolution setting of documents created in Photoshop using a Motion-picture show & Video preset.

You tin can also use a copied Illustrator or Photoshop path as an After Effects motion path. See Create a motility path from a mask, shape, or paint path for more data.

Path drawn in Adobe Illustrator (left) and pasted into Afterward Effects as a mask (correct)

In Illustrator or Photoshop, select an entire path, and so choose Edit > Copy.

In After Effects, practice one of the following to ascertain a target for the paste operation:

• To create a mask, select a layer.

• To replace an existing mask path or shape path, select its Path property.

To paste a path as a shape path, y'all must select the Path property of an existing shape in a shape layer. This pick tells Later on Effects what the target of the paste functioning is; if the target isn't specified in this way, Later on Effects assumes that the target is the entire layer and therefore draws a new mask. If there is no Path property—perhaps because the shape layer is empty—then you tin can draw a placeholder path with the Pen tool and then paste the path from Illustrator into the placeholder path.

Cull Edit > Paste. If you paste multiple paths into a shape path, the first path goes into the shape path, and the remaining paths are pasted into new mask paths.

Create a shape from a motionpath

Y'all tin can copy position keyframes, anchor point keyframes, or an effect control bespeak's position keyframes and paste those keyframes into a selected mask path or shape path. When you create mask paths or shape paths from motion paths, make sure that you copy keyframes from a single Position property only—practise non copy the keyframes of any other belongings.

Draw a motion path with Motion Sketch and so paste the path into a mask path or shape path.

The motility path of the spaceship copied to the groundwork layer, and animated

Create a shape path from a motion path

In the Timeline panel, click the proper name of the Position belongings or Anchor Point holding from which yous desire to re-create the move path. (This selects all keyframes. To select only some of the keyframes of a move path, Shift-click them.)

To create a shape layer, press F2 to deselect all layers, then click in the Composition panel with the Pen tool to create a single-bespeak Bezier path.

Printing SS to reveal the Path property for the shape. Click the name of the Path property into which to paste the keyframes from the motion path.

Create a mask path from a motion path

Indistinguishable a shape group while transforming

When a shape group is selected in group selection mode, you lot tin duplicate the group while moving, rotating, or scaling it in the Limerick panel.

Hold the Alt (Windows) or Option (Mac OS) primal as you drag to transform a group.

The pointer changes to a duplication pointer ( or ) as you hold the primal and identify the pointer well-nigh the group transform box.

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Source: https://helpx.adobe.com/after-effects/using/creating-shapes-masks.html

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