Nesting compositions

- [Narrator] Now it's time to look at how we will nest the animation of this scene inside another comp, because what I want to do is to reframe this so that it's going to be more friendly towards being rendered as a final project, and obviously right now, look, it has this white mess around the stage, and I want to zoom into here. But I don't want to zoom in all of these layers. That'll be ugly. So, just a simple way to do it. So let's just collapse these folders to clean it up, select our 060 robots comp and drag it into another comp. So we're nesting it, we're nesting our comp, or our composition, inside another composition. And what I want to do is to change some of the settings of this composition to make it more typical for a 1080p project, let's say. So I'm going to right click on this and go composition settings, and I'm going to lock the aspect ratio, and it'll be 1080, more typical. Quicker to render, as well. So keep the frame rate the same, click okay, and now we have our final rendered comp. This is the comp that we will, at the end of this project, we'll render this out, and now we have it nicely framed and we can slide it around and frame the shot. You can add camera moves at this level. So this is certainly a nice way to do it. So what I want to do is, let's start the scene. It's set to full right now, full resolution. I'm going to bring it down to a quarter so it's a bit faster, and let's play. Oh, and we have audio because remember, in the previous movie, we imported the audio file. We can switch that off now because it'll just be annoying. And I've made some other changes throughout the project, so I've tweaked the robots and the flight path of the UFOs. That's pretty good. So what I want to do here is have a slight pan begin about this point here. So let's get the position, keyframe that. I might position the rotation and the scale, as well. So holding down shift and R, and shift and S, we can then activate all of these. I want to see that building zap. I want to see it zapped about here. So let's just move the entire stage, and let's see what that looks like. Bit fast, so let's select these keys and just move them forward. And maybe just pull that over a little bit. We can also do things like scale out slightly, and maybe rotate the shot. And I can also, again, just play with the timing just by selecting these keys and dragging them. One thing that's kind of artificial about this is we're not easing in and out of the shot. It feels very mechanical, clunk. So what we want to do is to select these keys, right click, keyframe assistant, and easy ease in, or out rather, excuse me. I always get them mixed up. And here, keyframe assistant, easy ease in. And now that we have these arrows, it means we're easing out of this one and into this one. Now when I play that, much nicer. And if you still think perhaps this is anticipating the beam a little bit, we can still play with the timing slightly. Now, there's another little issue that's cropping up here. As we've extended the camera move, notice how we have a little space here at the end of the skyscraper. So what I want to do is fix that. So let's go into the original robots artwork or scene, and we'll fix that at the background layer. Now remember that the BG layer here might be shied out depending on if you've been working with a version where I've got that thing shied out. So if you have, un-shy the layer. I think that's also a comp. So we can double-click on that, and now we're tunneled in a comp inside a comp. So let's select that entire layer and just move it over a little bit. And now when I go back out to the 060 robots 2, we have continuous coverage of the background. So that's the kind of thing that you'll end up doing a lot: working a comp inside a comp, pulling one thing around to patch an area on the other, but as you can see, obviously as you move the camera, you will expose areas. For example, you might run out of sky. Sometimes you have to expand the sky area if your sky doesn't move far enough. But this is looking really nice. So now we have our first camera move in a nested comp, we've patched a little gap of sky, and we have a shot that's looking far more interesting now than it did before. So that's our first camera move and a good use of nesting.