After Effects Tutorial - Animated Traveling Map
Maps are fun. Whether you’re an animator, a travel vlogger, a meteorologist, or a documentarian, an animated map can give your production value a boost.
Creating one, however, can require quite a bit of work. You have to create a marker and a path, animate the path, and then stylize everything. This can take a good amount of time if you aren’t completely comfortable with the wonderful world of animation and motion graphics.
The Map Route Generator tool for Adobe After Effects allows users to easily create an animated map in no time. This product is essentially an After Effects project template that comes with a custom script. Let’s take a look at how to use it and see what kind of results we can achieve.
Animated Travel Map
The Map Route Generator product comes with two project files—one for 4K and the other for Full HD. Once the script is installed, I’ll open the panel via File > Scripts > Map Route Generator.
To begin, I’ll import my own map graphic to the YOUR MAP HERE comp. If you don’t have a map, a simple Google search for
With my map layer in place, I’ll scale it down and activate the 3D button. Now I’m ready to add location markers via the Add Locator button in the Map Route Generator panel. These will show up as precomps in the MAP ANIMATION comp. Now I can rename them and put them in position over the map in the Comp panel.
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For this particular project I’ll add four location markers—one in France, and the other three in French islands located around the world. Now let’s connect these markers with a path.
To create a path between the locators, I’ll select them in the timeline and click the Create Path button in the Map Route Generator panel. The direction the path travels will correspond to the order in which I select the locator precomps, so I’ll be sure to grab the France precomp first.
The Map Route Generator panel gives me a plethora of options for controlling the camera of my animation. I can have it follow the path, rotate around the tracker, or roam freely.
Map Route Animations
I can make further adjustments via the altitude and distance properties of the camera, and even have it stop at locator points for a specified duration. I want my plane to stop at the second and third locations for a duration of one second.
With the animation ready to go, it’s now time to fine-tune the details. First, I can change the tracker icon to a paper airplane, an arrow, or a flashing dot. If none of these appeal to me, I can create my own custom icon.
The path also has a number of customization options, including the thickness, color, and even the ability to switch to a dotted path. I can enable or disable a drop shadow, and change the distance. The locator can also be changed to a number of existing pin presets, or replaced with an original creation.
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As if all of these features weren’t cool enough, I can also turn on depth of field to bring some depth to your animation.
The graphics are called Info Tabs, and there are a number of presets available for use. The TEXT PREVIEW comp gives me a quick overview of each look. The preset styles include description tabs, single and double line text, and image tabs.
To apply one, I’ll drag it into the timeline and then select it as well as the associated locator. With both selected, I’ll press the Connect info tab with selected pin button in the Map Route Generator panel.
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Depending on the position of the 3D camera, I might need to make adjustments to the orientation of these info tab graphics so that they are clearly visible on screen.
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Produced, directed, co-written, and edited by Ira Rosensweig, the film SHARE? tells the story of a man navigating a society solely connected by primitive computers, where the ability to entertain is his only currency.
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As the first feature film entirely shot from one fixed camera angle, Ira relied on Adobe Creative Cloud including Premiere Pro and After Effects, to meticulously craft the film.
Premiere Pro’s integration with After Effects proved invaluable to the project, and no other solutions would have made the process as seamless, especially for a small post-production team. In a conversation with Rosensweig, we explored the intricacies of creating the film and learned about the tools used during post-production, such as Transcriptions.
SHARE? made its debut in November. Read on below to get a behind-the-scenes look into this narrative. Watch SHARE? now on Video on Demand.
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I attended Penn State University as an undergrad. I was initially a Microbiology major, but thought it would be fun to take an Introduction to Film Production course as a sophomore. This was back in 1996/97, so I initially learned to edit on a VHS to VHS machine. We also learned how to splice actual film together on a Moviola. I quickly fell in love with production and editing and ultimately switched into the Film & Video program.
I like to start each scene by using the last take of every shot to quickly and roughly edit the scene. Once I have a sense of the sections of each shot that I will likely be using in the edit, I build a sequence that contains all takes of each of those sections, back-to-back, so I can select the best portions of each take to use in the edit. After trying many different processes over the years, I find this method to be the most efficient way to edit a scene.
SHARE? is filmed entirely from only one fixed camera angle. I think when people hear that, they think that it must have been incredibly easy to make, but the exact opposite is true, with regard to both production and post-production. In the story, all characters are trapped alone in their own rooms and are able to communicate with each other only through a rudimentary computer in their wall. While shooting, it was very important to me that the actors could interact with each other in real-time, so we built three identical sets next to each other on a stage. Equally important was their ability to see each other, as well as the need to establish fixed eyelines to each of the elements on their screen, without which the reality of the movie would have been destroyed.
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In order to achieve this, each set had a fixed camera integrated into a visual communication system that we created using Interrotrons (essentially, two-way teleprompters) connected to a live switching system. This allowed not only me, but each actor looking at their teleprompter to see a previsualization of the finished scene — that included not only the live feed of the cameras in the other rooms but also the computer interface as they typed and interacted with it. Motion Graphics Designer Phil Aupperle used After Effects to create the computer interface, which we used both as previs and for the finished scene. The first time I saw that this system actually worked on set was incredibly exciting and relieving, as up to that point, its functionality was completely theoretical.
Because of the unique way we filmed the movie, we had to innovate many processes in post. Most of the movie consists of shots that include a main image of a character and up to 3 smaller picture-in-picture (PIP) windows. I realized very quickly that editing a scene using just the main image would yield a very different cut than one that considered the main image along with the PIP windows.
To solve this, assistant editor Christian Whittemore, created a multi-camera sequence for each shot that was composed of 3 nested layers. Each nest included the main image for a character, as well as the smaller PIP windows that character would see. This meant we often were playing 9 layers of HD ProRes LT video simultaneously. We never experienced any performance issues in Premiere with these multi-camera sequences as we were editing on fast SSD drives.
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I then used these multi-camera sequences to make the initial rough edit of each scene, and then we used transcription to help us segment every take so I could choose the best main window performance for each cut. Sometimes the performances of the actors in the PIP windows in those takes happened to be best, but most of the time, I’d find better individual performances in other takes, so we then decomposed all of the multi-camera clips to their component shots and replaced those PIP takes with others.
Once a scene was locked, Whittemore exported it as a reference edit, brought it into a new After Effects file, and animated the computer interface using keyframes, including simulating realistic typing by the characters. We would sometimes have the character misspell, backspace, and then finish typing correctly to add realism. Elements such as each character’s “credits”
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