I'm going to show you how I created this infinitely zooming animation in After Effects
let's begin
I created all of these vector elements in Illustrator and
then moved into Photoshop to add the texture and a few other design elements
but we can recreate most of those in After Effects I've imported that
illustrator file into After Effects and I've got each element separated on a
different layer I've made this comp 5 seconds long and called it pizza 01 I'm
gonna create a new comp with these dimensions by dragging our pizza comp
over the new composition icon here let's call that zoom main to create a system
for the infinite zoom I'm first going to create a new null object by going up to
our layer menu up here selecting null object or you can use the keyboard
shortcut ctrl alt shift and Y if you're a real hotshot and now we'll create a
null object in the very dead center of a comp now I made sure in Illustrator
that the eye would be also the exact dead center of the comp but this
technique will work with anywhere being the center point of your infinite zoom
in or zoom out just move your null to that area let's rename that null master
scale because we always label our layers and let's parent that Pizza comp to that
null using our pickwhip we want to increase the scale of this null so that the eye
in our pizza comp fills the whole screen so let's press s on our keyboard to
bring up the scale properties hit the stopwatch here and then around two and a
half seconds in let's just drag this up until the black eye engulfs the whole
screen there we are just under six thousand percent now even though these
are vector elements inside a pizza pre comp we do need to check the
continuously rasterize box over here so they don't get all pixelated as they
scale now let's bring the end of our work area to where this keyframe is by
pressing n on our keyboard so that I played that will loop these first few
seconds and when we play it back the timing looks awful
you could fiddle around these with a graph editor to find a speed that you
like but for it to look like a continuous seamless zoom in the increase
needs to be exponential and lucky for us that's incredibly easy to do in After
Effects we just select both of those keyframes right click
select keyframe assistant and then exponential scale After Effects will put a
keyframe on every frame between those points and if you go into the graph
editor you can see that they're on a precise exponential scale because these
are all baked in key frames it's a little trickier to adjust the speed but
deleting those key frames and starting again isn't really that big of a deal if
you need to zoom in to happen a bit faster a bit slower now if we play it
back it's lovely and smooth and scaling up at a constant rate
now it's also a good opportunity to add a background so I'm gonna add a black
solid by pressing ctrl Y but we do need to have a second pizza that's scaling up
from inside this eyeball and so it isn't just blank and then snapping towards
this new pizza in the beginning to do that we can duplicate a pizza comp with
ctrl + D and then we remove its parent link from our master scale by selecting
none over here so we need this pizza to be exactly this size at the end of the
work area so let's go all the way over there and then parent it back to that master
scale null now because it's attached to that master scale null at a different
point it should play back seamlessly
perfect the only thing that sticks out is this small little pizza that just
pops on in the middle when we get to the beginning of the loop but we're gonna
take care of that and add some texture shading after a very quick word about
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now the first thing here is get rid of this pizza
popping in at the very beginning of this loop we're going to do that by having
the whole pizza being revealed by a textured wipe then we're gonna do inside this pre-comp
I'm gonna create a new black solid with control Y I'm gonna grab my
pen tool and then just draw a loose shape around our pizza there we are and
I'm gonna keyframe this masks path by pressing m to reveal a mask path here
selecting the stopwatch and then a few frames later let's go and drag some of
these points away so that our pizza is revealed and because that pizza will be
on a black background it's gonna look like it's emerging out of a shadow if we
navigate back to our main comp we can see if we play it back it's not working
quite how we want it because both of these Pizza comps are being revealed at
the same time at the very beginning this larger scale up Pizza comp shouldn't be
being revealed at all it should have already done this animation so to move
this bottom more scaled comp backwards in time I'm gonna good at the very end of our
work area here and I'm going to add a marker to this layer by pressing *
on our keyboard and then I'm just gonna slide this marker way over to the start
of a comp so now this bottom come here we'll continue the animation where it
cuts off at the end of this loop here now as I'm saying that I'm aware it
sounds a bit like crazy talk so this comp here has an animation
inside that pre-comp which at the moment is just this wipe reveal of the start
and then two seconds in when this loop ends we need that to be taken over by
this bottom comp over here which is why we've slid it back two seconds so that
this larger comp is always two and a half seconds ahead of the smaller comp
and therefore it will loop seamlessly I hope that makes sense
dig around in the project file if you're unsure now let's go in add some texture
I'm gonna add grain to this reveal by feathering the mask by pressing F and
then dragging the feathering up until it looks kind of nice
and then I'm gonna change the blending mode to dissolve maybe that feathering was a bit too much
I go into depth on using this technique in my grain trading tutorial I'm also
gonna add some grain to the pepperoni so I'm gonna duplicate this pepper any
layer rename it I'm gonna change the fill color to black and then select our
pen tool make sure we're selecting tool crates masks up here then I'm just going
to draw a roundish shape on the top right of all of these pepperonis
and then had a feather to all of them and change the blending mode to dissolve
and because the scale of this comp is going to be increasing massively in our
main comp let's pop out there and see how this looks in context
it's not too bad
but I think we should decrease the feathering a little bit on these pepperonis
one of the reasons I like to use the dissolve
method here is because as it scales up the feathering of the mask maintains in
the right proportion so the gradient never changes but the detail in the
dissolve of the grain it is always detailed and it's always crisp there's
nothing worse than a blurry pixelated texture that's been scaled up too much
I've also added some shading to the crust using the same method now I want
to add a bit of red shading inside the black eye so I've used the same technique
I've got a red duplicate of this eye here but when I add the dissolve in the
feathered mask it's a bit hard to tell how it's gonna look when it's scaled up
because this is such a small part of this that will come here so I just made
sure to swap between the main comp every once in a while just to make sure it was
working properly see here this seems a bit too much like it's encroaching on
the eye so I'm going to go back in and push it a bit further towards the edge
it's just a bit hard to tell inside this comp what its gonna look
like out there and we need to set the feathering really low
I might go as low as six pixels here to match how it will look when it's scaled up at six thousand
percent yeah that's not too bad back in our main comp I've added three effects to
help tie this all together I've added an adjustment layer with a turbulent
displace effect on there I've set this size right down to the minimum of two
pixels and the amount to thirty and this just helps give the edges a bit of you
know irregularity on those clean vector shapes and it also helps push the
crunchiness of that dissolve blending mode a bit further and makes them mash
into each other and you get a bit more of a softer gradient in between them
which I think just looks a bit more natural and textured I've then added
this light looping texture over the top this is a looping texture I use in
almost all of my illustrations it is just a piece of paper that I painted
black and I've got it rotating and looping four times and I'm
just put that on a loop I go into more detail on how to create these from
scratch in my looping texture tutorial but you can find this one from the
working files if you want I then added an adjustment layer with the posterized
time effect set to twelve point five frames per second this is because I
generally prefer the look of things animated on tools twelve frames a
second but that's a personal preference and not necessary at all if you want
that super buttery smooth you can go to 25 or 30 or even higher if you want one
last thing I've done is placed that entire main comp into a new comp that
scaled down to 1080 by 1080 pixels wide this is for the final export and I'm
mainly doing this so that when we scaled down that main comp and I'm mainly doing
that to get a nice result in these sort of noisy textures here by scaling it
down and using the turbulent displace effect earlier you really remove a lot
of the nasty crunchiness you'd get with the normal dissolve blending mode here
so we get from this here on the left to this on the right just by scaling it
down and then adding that turbulent displace effect and this just turns it
into a nice Pleasant textured gradient I made a short playlist of some related
videos that'll think you'll enjoy if you've made it this far I'll see you in
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subtitle: Zoe J Marriott