80s Retro Text Animation in After Effects | Oliver Randorff | Skillshare

80s Retro Text Animation in After Effects

Oliver Randorff, Motion Designer

80s Retro Text Animation in After Effects

Oliver Randorff, Motion Designer

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15 Lessons (1h 31m)
    • 1. Introduction

    • 2. Inspiration, Fonts and Colors

    • 3. Typography Layout

    • 4. Text: Write On

    • 5. Text: Position

    • 6. The Echo Effect

    • 7. Blinking Text

    • 8. Sequencing

    • 9. Making the Text Pop

    • 10. Background: Grid

    • 11. Background: Twinkling Stars

    • 12. 80s Look

    • 13. Camera Animation

    • 14. Exporting

    • 15. You Made It!

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About This Class

Retro has resurfaced big time, and along with that comes synthwave - a very certain style in motion design and animation. In this course I will teach you how to catch the essence of a style and implement it in your work. Along with that, you will be taught the basics of editing graphs, sequencing and how to create a look using a bunch of different effects.


This class is meant for everyone, as I will be explaining the concepts in depth while also touching on why you should be doing certain things. If you have any questions, feel free to ask them on the community tab or have a look at the project file located under "Projects & Resources".


Class Outline

  • Inspiration, fonts and Colors: I will show you how to figure out certain characteristics for a style, and how to use fonts & colors according to that.
  • Typography Layout: Using the fonts and colors you found, we will start creating a layout in Illustrator and making the text ready to import into After Effects.
  • Text: Write On: By using the stroke effect, you will be animating the write on for each individual letter, and we will start looking at the value- and speed graph.
  • Text: Position: You will learn about the 3 different axes when it comes to position, and we will be animating the x- and z-position. 
  • The Echo Effect: An adjustment layer will be used to add a streak effect to the entire animation, also known as “echo”.
  • Blinking Text: Experimenting with hold keyframes, you will be animating a blinking neon type effect for the 80s text.
  • Sequencing: Sequencing will be used on all elements to make it more interesting to look at and less bland overall. 
  • Making the Text Pop: You will be learning about all sorts of effects to make the text stand more out against the solid colored background.
  • Background: Grid: Using the build in grid effect, you will create a grid that will be placed in 3D space and animated to fit the composition.
  • Background: Twinkling Stars: Stars look great, but they look even better, when they are twinkling. That’s why you will be creating just that using different effects and a luma matte.
  • 80s Look: You will be using all sorts of different effects to achieve the overall style of the 80s look. This includes, grain, vignette, VHS lines and so on.
  • Camera Animation: Introducing camera animation into the workflow, the animation becomes more alive, and you will learn my best techniques for doing exactly this.
  • Exporting: Learn the best way to export .mp4s and GIFs to post as a project here on Skillshare.

Meet Your Teacher

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Oliver Randorff

Motion Designer



Hi, I'm Oliver - a motion designer based in Denmark. I specialise in animation and have more than 5 years of professional experience in the industry, currently working fulltime as a freelancer & educator. Driven by great animation and carefully adjusted keyframes, I strives for beautiful motion and even better stories.

As a self-taught motion designer, I started out learning animation in 2012, and I know the struggle of learning through loads of different videos. That's why I decided to start teaching, as I want to share, what I have learned throughout the years.


Have a look at my work on my website.

Watch free tutorials on my YouTube channel.

See full profile

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1. Introduction: Richard has become cool, and in a digital world, animation hopes grabbed the attention of the customer. That's why I have combined these two and created this course on retro eighties text animation. It's my Name Is Oliver, and I'm a 19 year old motion to sign a based in Denmark. In my eight years of experience in the field, I've always been fascinated by text innovation, and I've explored a load of different styles. That's how I stumble upon the eighties retro style. Also known a synth weight, including many different characteristics. Such a spritz, funky funds and grain. This course will go over the basics of editing graphs, sequencing the animation to make it more interesting and stylized him with a fix. To really get that eighties field for the class project you've animates in your own name, name of a company. Just follow on with me, and then you make the eighties retro text using the guidance and techniques provided in this course, This class is for any skill level as well, not just teach you thoroughly how to animate, but actually why you should be doing certain things and how that affects the animation as an entity. Provided my source file, you'll be able to type even deeper. LCU class 2. Inspiration, Fonts and Colors: Thank you so much fun rolling into this course. I'm very excited to be teaching this topic, this subject and I hope that you excited to follow along as well. So to get started, we're gonna look at some inspiration because that's really where most projects start when I started. Project always tend to know that I'm greats, abusing a certain style. And this style, I'll be researching a bit on it, finding some inspiration and seeing what other people are doing with it. Now, the best way to do this is that you could either go on Vimeo. That's if you're going to look at some sort off animation, get some inspiration from that. Oh, you can go to Pinterest and Pinterest. It's basically a collection off everything on the incident. Now you can search for any key term and you find something useful. I can promise you that now, if Goat into the search type, we can try and go ahead and search for some of the key terms that we're looking for. So we want something retro eighties. We want something with synth wave and we want something with text so we can sigh pin eighties retro synth. We've text now. It's a lot of key words, but the more you give it, then what really has to work with. So just press enter. Now you can see there are lot's off different styles, but what I always sense to do is try and analyze it a bit. So try to look at all of the different images. And then I tried to figure out Oh, okay, what? What do they all have in common? Because that's really what's defining this style. Now you can see the colors are very similar. We have most of the time this stock background. It can be a dark blue grey or black something sort in that area. And then on top of this dark background, we have some very vibrant colors, so we have this very vibrant light blue. It happens, wait a PS in most images and also have this very vibrant pink. So that's already free colors we can work with and those of the three main Kalis it we're going to use. Now. Let's look at some of the elements because, as I see it, we have a lot of grits and we have this script that's at a certain angle. So let's try to implement that. And the last thing that I think is very important to really catch this sort of eighties vibe. All this synth weep by. It's the stars, so you can see in a lot of these. It's sort of like we're looking at outer space, and therefore you can see there are lot's of stars in these different images, and we're also going to implement that. But first of all, we're going to work on the colors, So that's really two ways of doing this. All the two most common ways that I use now. The 1st 1 would be going on a site such as color Stood CEO. He can make it generate a color scheme for you so you can just go on the website first, start the generator, so, as you can see, it generates the color scheme. And if you press space, it generates a new color scheme. And if you like a color. So let's say I like this one. I can Luckett and then it finds color said Compliment that one. But because we're working with a very certain style, this 80 style, we can actually just use some of the images from Pinterest because lots of people have already found color set work very well, and therefore we can try and grab some of the colors from their images so we can look a bit around and find an image that we like. And when we find an image, all we really have to do is just click on it. Then you can right click and we can copy the image. After that, we can just go into illustrator because we're going to be doing the first party and illustrator just paste it. So maybe I can make this a bit larger, so it's easier to see. And now, when we want to pick some with these colors, I usually create a shape that showcases the color. So if I go over here, click and hold onto the rectangle to I conduce the lips, too. Now, if I click track while holding shift, I'm making a circle, and I just want to use this circle two picks and colors. So we really have something to look at now to get the eyedropper, too. I can select it from over here while I can press I and the first color we want is this dark blue background. So that's maybe somewhere down here. So that's the doctor background. Then I can hold down option on Mac old on windows. Click Hold down, shift in drag. Just to duplicate this circle, I select the eyedropper tool again and we want this vibrant pink. So as you can see, it is right here. Just select that Percy to de select. And then we can duplicate this over again. And then I want this light blue color. Now, that's not a lot of it on this image, but actually, this is sort of outlines. Okay, if I can hit it perfectly right around there, we have a nice color palette so you can treat this issued. Like maybe you think, Oh, this is a bit too, Doc. Just pick something a bit light on the image and you have a color palette. Now, I have gone ahead and done this before, so these are my free colors. You see, they are a bit different because I was using another image. But you can really sort of determined the style early on by choosing a color palette. And I'm just going to use a free that I have picked, and you can go ahead and select an image yourself. Try to do this process and find some color should like or you could use the same color palette us, me. You can find it down below, so I can actually just delete this. And I just have my colors, so that's great. Now we just need to find some typography. We need to find some funds we can use for this. If we go back onto Pinterest, you can also look at the sort of fund set that have been used here. Now there's a wide range of funds, but there to solve off types that appear again and again. And as you can see who, just look at this image. It's this very bold fund for the main text, and then we have some sort of calligraphy fund for the second text. So the small itics and you see this applies to sort of the different ones we have this Miami one made in the eighties. Also this sort of calligraphy. So we're going to use funds sort off like that. And when I'm looking for funds, I usually go to websites such as defund dot com because they are free. But you can also go ahead and purchase and funds. Now I have found this fund called California, which I really like, and it has this very bold pipe but also has some texture to it. You can see he and the lettuce. It's not all solid, and I really like that attribute so you can go ahead and download this fund. This is for all main text, and now we need a fund for our secondary sex. So I've gone ahead and found this fund called Thunderstorm, and it's it's sort of a mixed because it's a bit of calligraphy, but it also has this electric viper also, hence the name Thunderstorm. And I think these two funds would really play well together. And you can go ahead and find your own front so you can just choose to say, Miss me and follow along. Now we're actually ready to go ahead and start playing with the typography 3. Typography Layout: now that we have our color and we have found the funds that we want to use for this project can go ahead and make the typography and the layout. So the first thing we're going to do is just create a background player. So we do this by going over to the lips to selecting the rectangle tool and step. Then we just select from the top left corner and direct to the bottom right corner like this. So we want this to be the dark blue color up here. Therefore, we can just go ahead and press I We can select the color and then the two click out of it and we just go ahead double figure in the layers panel and called the speedy as in background. Now, to get started with working on topography, we need to have the character panel open. So to fight this, you're going to go to window all the way down to type and then select character. When this is done, we want to go over and select the type two. We're just going to click, and then if we make this a bit largest, we can actually see what we're doing. We go to type retro text. First of all, we want this to be the light blue color, as this is our main text. So we just command or control a select all of the text, Select the eyedropper tool and then we can select the light blue color. So if we dislike that, we have our first text. But this is not the right fund. Therefore, you see character panel, go ahead and search for the fund. California, we just all noted they could see this A benefit problem. This text is in old caps and when you have caps on the T makes this line down the road. So we just go ahead and replace those t's with non capital once like this and we have our text good to go. So we may want to make this a bit bigger so you can just go to our selection to click and dreck hold down, shift from the corner, make it bigger. We sort of try and send to this up. So that's probably right around here. Now, if you don't really know whether sense of this art bonus, just press command and control. Why and As you can see, this is start right here in the center so you can try and align it according to that, just press command control. Why again? So we can see everything now we want this eighties text to sit right here on top in the corner. So maybe we should push it down just a tiny bit. Sort of like that. So we're going to select the type two press and cyber in eighties. I can't really see it because it's this small. So we're just going to make it bigger again. Chris I and select that bright pink color. So for this one, we want the other fund, the one called Thunderstorm. So you can go to the character panel again and we just search for thunderstorm. That's just place it as we wanted and resize it to a liking. So this is really all about tweaking it until you get a result that your satisfied with, and I think I sort off like it here. I wanted to line up over here, you can see both of thes funds are a bit slanted. Therefore, you can't just place it all the way over here. That doesn't work, even though they are lining up to the edge we wanted to replace, so they are sort of going into each other. Slammed, so a bit of adjustment, and that looks quite nice. Now we can just a bit of Kerney and Kern ing is essentially how much space that's in between each and every letter, and that's not really a problem with the eighties. But if you take a look at retro could see that it's all really clamped together and we don't really want that. So you can either change this on every single letter at one time. So if you go to the character panel, see this is spacing between. Let us. So if you change this, you see that we get a pit most base. And then, if you want some Certs and let us to have a bit more spacing in between them, just double click text. Go to in between those letters, hold down option or old on windows, and then just click the arrow keys. You see, I'm getting a bit more space just where I think it's needed. So actually, yeah, I sort of like it like this. So that's quite nice. Now we're done adjusting the sex. We just close down this character panel and we can try and align it the pit more in the sense again now that we have actually added this eighties text. So it's all really about minor tweaking, but it's also what really does the difference, and that looks quite nice to me. So before we can go ahead and import this into aftereffects will have to separate each and every letter onto their own layer. Now the reason behind this is that illustrator doesn't know how to split the lace up itself when we're going into after, if it's and we need those separate layers so we can make separate animation on each letter . So the way we go about doing this is that we change this typography this text into shapes. Now I can do this by flicking one of the techs last prison down command shift. Oh, and you can see that it's now been turned into this shape. So if Asuman see, it's all paths, so it's drawn, and you can do this for both layers, So select the other one, command our control on windows and then shift. Oh, and now we can go ahead and split this up. So we have to make the number of flavors according to how many letters cell. So I can go ahead and count this. We have free up here. 456789 10 11 12. And therefore we need 12 layers. So we go down here into the layers panel and we go and create a new layer and just click this 12 times. Now I'm going to rename each and every one of thes because that way it's much easier to work with enough defects. So the 1st 1 will be eight. That's zero thinness. Then we have the retro six. Uh, a see. Oh, Oh, T e x. See, Now we can go ahead and split up the text so we know, open up the background and see that we have two groups. So before we split anything up, we actually need to open up the groups and correct all of the's. Let us out. That way we can select them individually and the way I go about doing this and the easiest way to do it. It said you select the first layer. Chris Commander control X This way it cuts it out so it's copied, but it also deletes it. Then you go to the first layer it, commander control shifty to paste it in place, and you just go ahead and repeat this process for every single letter. This way, you don't have to drag anything. You just have to select exactly what you have to cut and paste and select the right layer that you have to paste it all. This is much easier to do in Illustrator As illustrator, it's meant to edit artwork like this and after fixes more for animating it. Therefore, we also doing the topography in Illustrator You can't Do It and after Fix, but I don't really think it's that efficient. So now that we have everything on our Lius, actually go ahead and delete our color palette. Just read it down to the trash bin because we have already selected the colors and we don't need it in after fix so you can go ahead and you can save this file. I have a phone on my desktop and I'll just call this eighties retro text, so press OK, and now we can go ahead and open up after effects as we're inside After fix, we're going to import our illustrator file. You can go ahead and do this by double thinking the projects up. You can open up the folder, find the file and just wreck it in there. Now it ask you if you want to import this as a composition or as footage he wanted a C composition because that way it will split up the layers for you as you have spit them up inside. If, illustrator so just press OK can open up the composition. And if you go to the composition and composition sittings, you see that this is just a stand up 1920 by 10 80 pixel composition. I said the frame rate to 24 frames per second. Then we can also adjust the duration. This information will take roughly 6 to 7 seconds. Right now it's a one minute. We just go ahead and set it at seven seconds and we actually good to go, so we can just press OK, So as you can see, we have every single layer spit up in here and we also have the background at the bottom and we're ready to start any meeting 4. Text: Write On: So the first thing we go to animate it's actually quite simple. It's a right on effect. It's used in a variety of different text animations, and this is sort off the base layer, and then we're going to apply a lot of different animations on top of it. So to get started, I'll just Suman as will be working on each individual letter one at a time. Now, this right on effect is only for the retro text. It's not for the eighties, so she would go ahead and turned the eighties off. Now we start with the our letter. So the way we go about doing this is that we create a path and we just sort of till after fix what direction it has and what it has to write on. So let me show you what I mean by this, and we're going to select the pencil up here. We could also press G. You're going to start at the bottom. But you have to think, how would you ride the letter R if you were to do it on paper so you would start at the bottom, then you would go all the way up to the top, You could go over, arch. It bit like this and you do this by drinking out the path, Then you go down and finish it at the bottom of the letter. So this see path for the are and we can go ahead and justice. So we sure that it will cover up everything when we apply a stroke. So just a bit of tweaking. Now we're going to do this for every single letter so we can go ahead and then select the E . This one is a bit different because it will be split up into four paths. First, you have to think of the fact that you right the vertical line and then you write the her sense aligns. So we go from the top and just make a straight line down here. Now, before we drove the other paths, we have to actually de select this path. Otherwise, if I click, you can see that it just continues so we could just select the layer again, and then we can go ahead and create the second path from that's up here and just adjusted. And the way you switch between the pencil and the selection to is just by prison chief a pen and the for selection tool. Now we select E again Chris G for the pencil Onda. We create this second her son's alive and then we create the third horse on the line. So sort of like this now it doesn't have to be very precise at first because we're going to tweak this anyways towards the end. And we will only really be able to see how this any mates when we apply the stroke effect. So for the tea again, he would start out with the vertical line and then you heard her cental so we can just start from the top, go down. We can select the lay again. It's creating a new path and just go over like that. Now we have another our letter and this is the exact same SC 1st 1 Therefore, we can just go ahead and select the are Chris him to see the mosque, go to it and copy it. And we could just go to the second I and paste it this way. You could see that we don't have to do the work all over again. This makes it a lot simpler and the workflow a lot more efficient. Now for the O, we will start from the top, go down and then go up to the start again. So start here now we might need a bit of curvature, so I'm just going to drag out the path, make it swoop around bit of curvature here and then finish it up off at the top. So now we have another tea. We can go to a previous T present to get the mosques copy them can just close this down, then select the second T and just pasted. And because it's the exact same letter, it's just in a different position. You don't have to also anything, it will be pasted right in place. So again for the e, we already have Any over here can just go ahead and cos e four mosques from this one and paste them onto the next one. Now the excess new. So we're just going to draw that out like this and then the a little line like this the t very familiar. Same procedure. Just copy it and paste it on to the last one. So now we have created all of the paths and we want to animate this. Therefore, we just go ahead and start with the are We can make the stroke animation on the R and just copy the same effect and the same key frames to all other layers to save a lot of time. So if we go to the effects and presets step, you just click and we can search for the stroke effect. No, it's under generate stroke and just wreck that all the way over to the Aaliyah. Now there are a few variables we need to talk about because you really need to understand what these do. So the 1st 1 is the path. This is what mosque it decides to path from. So if we go to the other person, you can see we only have one mosque, so that's quite easy. It only has one to choose from, and then we have the color. The color is not really necessary to tweak because we're not going to use that. The brush size is just how big the stroke is. Now we want to stroke to cover the entire letter so we could just direct this out as you can see it covers it right around here, so that's fine. Then we have the hardness and we just want this to be 100% because we don't want the It is to be blurry. Then we have the spacing. And as you can see, this is actually made up of a lot of circles and we don't want the spacing at all because we wanted to cover the entire letter. Therefore, we put this to Syria percent. The pain style is the most important. This is whether it's painting a stroke or it's revealing the image or the graphic underneath. So let's choose review original image. And as you can see now, it's just the letter. So let's talk about the as tributes that were going to any mate. This is the end property now the in property, essentially crazy, entire right on effect. So this will start at 0%. This means that it will start at the start off. Our Moscow started for a path we can go ahead and Eddie key friends to the end. Now, if we want this to be shown in our timeline, you just go down to aw press you you see this stroke and key frame, and we want this animation to last roughly around 30 frames. So that's a little over a second now to very quickly go ahead 30 frames very precisely, your press commander control, then shift. And then the right arrow key. This jumps a hit 10 frames. So you do this three times, and now we can add another key frame this time by setting it to 100%. So the important thing here is that when we scrapped through the animation, we don't want any parts like this to be shown before we actually. So what's with that side of the letter? So an easy way to fix this. It's just by clicking, and we can go ahead, maybe want a bit more points on this path. So press g at a point, I just drag this out so it doesn't reveal that yet, and we just have to make sure that the entire letter is revealed at the end. So this way we have created the first information. We can go ahead and preview it, so right now it's quite bland. But that's because we haven't eased it all yet. Now easing is what decides the speed off the animation at a given point of time. And they are two different curse. We can work with that see speed curve, which is just a speed, and then that see value curve, which looks at the change of value over time. So let's go ahead and look a bit closer at this. So the way you go about easing key frames, they said, you select them. And Chris, if mine now to look at the graph for this easing, you open up the graph editor and right now you can see that we're looking at this speed, Griff. So if I have to decipher this and really tell what it shows me, it's that at the start we I at sirah percent speed because it's starting very slowly. It doesn't really move at all at the start, actually. Then, as time goes on, it increases in speed and here at the top, this is the peak of the speed, and then it slows down towards the end. So let's try a preview it and see if this is true. It's a slow start. Then it accelerates and then it slows down. Now We want to exaggerate this a bit more. We wanted to accelerate very much of this start and they wanted to slow down quite a bit towards the end. So to do this we select the last key frame and we direct this handle in. Now you can see that the speed is a lot more emphasized. It's up to 300% a second and if we play this speck, you can see that it's sort of peaks at the start. We might want to justice even more so we wanted to be even faster to start. Therefore we can select the first handle and track that in a bit. So it sort off pops out and then slow stone quite a lot. It's a preview this again and you can see maybe it looks a bit extreme right now, but when we start to layer thinks this will work perfectly now. I also talked about the value graph, so let's take a look at that. If you go down here and click, we can select the value graph. So what this tells us is the value of time, so as you can see at first we started syrup percent and we go all the way up to 100%. Therefore, you can also see that the value increase is very steep at the start and then it doesn't change that much in value towards the end. So this shows the same information just with devalue instead of his speed. And sometimes you can't use the value graph depending on if this multiple attributes, that's, for example, in the position we might have a X y N C position. If you split them up, you can try and you see value graft, but otherwise you really can. But it's it's best if you get comfortable with both of them because they have their strengths and weaknesses in different scenarios. But that's enough with the graphs. Let's move on with the animation. Now, if we go out of the graph editor, we have to actually also the path All the mosque on the second are because, as you remember, we added another point to the path over here, and we want the same one on the second are so we can just go ahead and press him to get the mosque copy it, go to the second I prison delete this mosque and then paste a new one. So we want to apply this animation to every single letter. Therefore, we can just close down. Things were not using right now, and we can go ahead and select the first are Chris you and want to copy these key friends from the stroke animation. But before we do that, we have to make sure that we have key framed the attributes that we have altered in the stroke effect. The reason behind this is that if you copy these key frames and pace too much a new layer, you will have the new animation. But it will reset the sort of all of the other values. So as an example, the brush size recent that back to the original one and we don't want that to happen. We could just go ahead, go to the first frame and just click and had a key frame to everything we have altered. So the brush size, the hardness. We're also told that the spacing and the paint style So if we go down here to the argon and press you to see all key frames, you can see that we have to copy every single one of thes. So after we have covered it, we can close it down, could select all of the other layers except for the background and pasted. So now you can see they all disappear. And if we play it back, you can see that everything inmates own. But that's one big problem. You see, with every single letter that has more than one mosque or path. It only shows the 1st 1 and we talked about this already. This is where we have to choose what mosque it animates. But if we go to one of thes lettuce as next time for the E, we just have to select all masks. You can see that this all animates on right now and we want it to stroke sequentially, because if it doesn't do that, it just all happened, said the same time. And that doesn't really look like how you would write the so stroke sequentially. And we just have to select all of the other layers where there are multiple paths and enable all mosques. So we go ahead and do this for every single one of them. So that's quite a few here in the last word, Actually, all of them. And now we've played back. You can see that we have the inside air text regional and we're ready to move along with the next step. 5. Text: Position: Now we want to work with the position of the text and in position. We have the X Y and set excess. We want to work with the X and the set excess so exits the horizontal movement and set a see movement in space. So back and forth and the why just to mention it is when we move up and down. So in the vertical axis before we can actually start animating anything in the set access, we have to enable free t for the text layers. So we'll just toggle switches slash Moz. We will select all of the sexless that we need to any made and we'll click the enable Freedy. Now make sure that you are enabling the classic reedy and not the cinema. 43 D SC Simba 40 Creedy is a bit more taxing on the system and we don't really need that. So so animate the position. We'll just press P. Then we will have to split up the position because we want to any made multiple attributes and we want to have different timing on each of them. So the way we do this is that we have to select every single position property. So we click them, then hold down Commander Control and we just click every single one of them until we have all of them selected. Then we right click and then we go to separate dimensions. So now we can go to the start off the composition and if we just he selected, select the latest again we want to at the X Property and the set property. Then we want to go 30 key frames ahead. So that's command shift, right, Orochi three times and then we want to add a key frame for the set position. Then we want to go five frames a hit by holding down command and then the writer key, clicking five times and then added for the exposition. So this way we create a bit of offset to make it a bit more interesting. Now we have to go to this start to actually start animating this because we wanted to end of this position. But we wanted to start some whales so we might want to start out with the exposition and we want the six to appear from left to right, and therefore we also wanted to slide from the right to the left. We have everything selected. We click hold down, shift and then we drag it to the right. And if we play this back, you can see that it just slides in like that. Pretty simple now. We also wanted to appear closer the camera and then fly into space into position. And therefore we want to also these set position. So you see, if we correct this out, it actually goes back in space and we wanted to go forward. So we may be you want this to be at roughly minus 1600 sort of like this. So if we played back, you see that it flies in right now. It looks a bit weird because we haven't East anything, and we haven't offset any of the animation sequenced it. But we'll get to that later. First of all, let's talk about the easing, and we want to be seen to be roughly the same as the right on effect, so we can actually go ahead and select every single key frame, start from itself and drink down. Then we can press if 92 at the easing, we'll go into our graph editor. We might want to work with the speaker for this one because this is the value graft and it's quite confusing. The reasoning behind this is that if we look at the set position, this is just one line, as all of the text layers are in the same set excess. But if we look at the exposition, you have to think about the her central position and therefore the 60 is shifted. So if we go down and select the speed graph, you can see that it's quite a lot more simple. We just select the last two key frames can direct them in by holding down shift, and then we can also drag in these two first ones. So this is roughly the same, easing SC right on effect. You just go ahead and preview it. So this looks quite nice, considering how much animation we have done so far, and this is actually all for the position. Imation 6. The Echo Effect: well come to the point where we want to start applying overall effects to the entire animation. Now the way that you usually do this is by using and just Malaya. So let's go to lay a new adjustment layer. And because we're going to be using the effect call echo, we'll just rename the layer to that. So the way that adjustment latest work is that you apply an effect to it, and then it six that effect and applies it to every single layer underneath. So that means that when we apply the echo effect, it would be applied to every single letter. Now let's go invite the A graphic. So we'll go to a fix and precepts and search for Echo. We'll click and direct that toe. Just Malia. So the way that echo works is that it takes the animation that you have already created. It repeats it and offsets it a bit. And let me just show you what this means. So the number echoes is how many times the animation is being repeated so we can say that this should be five. And right now, the echo operators said to at we actually want that to be set at maximum, so we just change that back. Otherwise this won't work properly. So if you go to the start and try play this animation, you can see that the five Cubbies. So right now, as you can see, this is quite Missy and the reason behind this is that they all have the same capacity. So the old sort of blend together in this big mess. Now we can fix that and we can fix that by adjusting the decayed. Now dedicate determines how much the affect the case in a pass ity. The more Cubby said I applied So we have five copies And if we set the decayed to something like syrup 0.7 Now this is great, but we want to just one more property and this sea eco time. And this is C essentially the spacing between each echo. This is a very low number, so we don't want to alter that much. Maybe you want to set it to something like minus 0.2 like that. We can try and play it back. And as you can see, we have the five echoes. It's not too much, but we sort of have that streak effect that we're looking for 7. Blinking Text: with the echo effect done. We have actually animated the entire base off the retro text, and now we want to move on to the eighties text. So if we enable this, we can see the 86 again and we actually want to move the echo underneath because we only want to apply that to the retro text. So to focus on the eighties text, we can just so low, healthy, free layers and maybe also sold out the background. So we still have that color we consume in. Now we want to use a benefit different an American technique on this one. And really, that's to create some contrast. So we have this sort off streak effect, this slow animation, smooth animation. And then we also want something shop, something that's a bit different. So the thing I'm looking for is this sort off blinking effect. This it's really the effect that you see on neon signs, which is also very old school. That's why I think it will complement the other animation so well. So to do this, we actually only have to add a few key frames. Now we can just start by adding the animation toothy eight, and then we can copy the animation and paste it to the zero and this afterwards we can press T to get the capacity and at a key frame. Now we can't use the standard key frames because it will interplay between the two values. Now you might think what isn't circulation, but let me show you. So if we go ahead a bit, he said, it's you sirrah percent. Then if we direct back and forth, you can see that it's a smooth transition. Now when something is blinking, it will go from Syria percent to 100% in one frame. And that's what we really want now after fix, take thes two key values and just figures out the value in between. But we don't want any other value in between. And the way we do this is by using whole key frames. The whole key frames initially hold the key from your at until the next key from appears. So if we select the key frames rightly and select chuckle, hold key frame, you can see that it only changes the value when we get to that second key frame. So this is great but we wanted to start at 0%. So let's go back, change the value to zero. Now we're going to create the blinking animation and this is a bit random and really, it's all up to taste, so we're just gonna try something out. But initially it's going to change from 0 to 100 Syria to 100 so on. So let's go ahead by a few frames and change it 100%. Go ahead by few frames again, change it to Syria, then maybe you have some contrast. It takes a bit longer. This time changed it to 100 then a short one 20 and then a longer 1 to 100. So this might not work at all. Oh, it might be perfect. We'll try and figure it out. So, as you can see, maybe there's a bit too much time at the start. Yes, it's a bit slow, so we can just tracked these key frames a bit closer by selecting the ones that we want to track and maybe get something like this. So as you can see, it's still a bit too slow, so we might actually want to direct these key friends very close, sort of like this. That still needs to be a bit most base here to create that contrast, but not too much. And maybe this one should go sort off here. So let's try this out. So this looks quite nice. It's sort off like a old school D and sign if you ever seen one. So it's like the light of strike to turn on, but it can't quite do it. It takes some time, and then at the end, it turns on. So we just want to copy these. He frames go to the start and selected to other layers and then paste it. So by doing this, we have the blinking animation on all free layers. 8. Sequencing: so if we play back the animation, we can now see that we have a pretty good baseline of what we wanted to be. But it's not quite interesting yet, and it starts to get interesting when we try offsetting the different parts. Now we have talked about this. We want the text to appear from the left to the right and therefore we also want to us it it that way so we can start by doing the offsetting with the Red Road six. If we scroll all the way up, you can see that the eyes, the first letter and I'm thinking that we should maybe do a free frame offset for each letter so we can select every letter underneath that 1st 1 Maybe assume in a bit, so it's easier to work with. I would go to the start and we drag it 12 free frames. It snaps such pretty easy to see when it's done. We just told on Commander Control. Click the next one to de Select, and we repeat this with all of the letters. 12 free. I want to free and we go down all the line and repeat the process. Now we can try and play the animation back again, and you can see that it already looks a lot more interesting. So this is the first part. And now we want to try and offset the eighties text because if you look at a neon sign, usually it blinks individually and it doesn't blink as a whole. So we can go up here and this offset. It's a bit more random. So this is something you have to play around with also, because the blinky animation is random, so it fits more. So maybe we want the eight to blink first. Then we want the S to blink and at last week, perhaps want the serum to appear so so off like this. You try and play it back, and you can see that the offsetting is already doing quite a lot to our animation. So that's nice. Now we also want to offset the entire animations individually. So the eighties part and the retro text part, and before we do that, we actually want to pre composed of layers. So we pre composed in the eighties by selecting the layers. Then we right click, pre composed and call this eighties. Then we select you rest, not the background that ISS and then right click and pre composed. So this is the retro text. Now we can first full offset the eighties. So this is also by feel can maybe dragged all the way over here. Try and play it back. So we want most of the retro text to animate in first and then the eight East appear because the retro text animation takes a bit longer and this way it just fits better together. But we also want free variations of fee. Retro text s off right now. It's pretty bland and not that interesting to look at. So we want three different versions. As of now, we're just going to upset them and then we're going to apply different effects to each one to make it pop a bit more. But first, let's make free duplicates. So press commander control d two times while selecting the layer. And we, of course also want to offset this. So maybe you want to offset this by two frames so we can select the top players rectum in two frames, then decently this 12 frames of swell we can try and play this back. Right now. It looks a bit crazy, but that's because we haven't applied the different effects to the different retro texts and therefore it's similar and it all plans together. 9. Making the Text Pop: we'll start out by working with the top pre come off the retro text, and this is the one that we really want to stand out. The most ethicist they want that's being shown the most this ISI front of the text. So we'll be applying some bevel elephants of this as well. That's a bunch of globe, and therefore we can just call this the glow earlier. So let's start with the bevel Alfa now the strike it onto the opposition. And if we zoom in a bit, I'll tell you what it does so you can see something's changed. Its like its mortified. The reason why is that we have a light on the left side, and then we have a shadow on the right side, so essentially highlights and shadows and is doing this to the edges. Now we can increase the thickness to maybe something like 3.2, and you can see that it becomes small prominent. Also, we can change the light ankle so you can see that the light now comes from the other side. But actually think these standards setting is quite nice. We can also change the night intensity, so if we might have wanted a bit more on sense. We could go for Syria 0.6, and you can see that it's even more prominent now than before. So this is Beverly Alfa. Quite simple, but it just makes it ticks. Puppet mole. Now we can go for the glow effect. So let's go to effects and presets and search for the Globe record onto our layer. And now you can see that the color pops way more maybe a bit too much. But I'll get into that. It isn't like we have a defined color palette that we need to follow, so it's fine that it pops a bit more. Let's go and change some of these settings. If you change the fresh hold, you see that if you go lower, it becomes brighter, goes toe white, and if you go higher, it just changes more back to the standard color. So it wasn't 61st and maybe I wanted to be a bit more like the color, which shows I'll go for 75. So the rage is essentially, how much of a glow this around the text right now. You can't really see that much, so if we increasing a bit. You can see that it close a bit more around the tics, not just under text. So maybe I'll go for something like 13. Then we can change the intensity. I think it's a bit too intense now, so I'll go for Syria 0.6, unless you can see it doesn't glow as much, but we actually want to take this layer and press command control de to duplicated. Now this just does wonders, because siglo automatically looks better when you have it layered on top of each other. But we need to change some settings. First of all, the fresh hold is way too extreme right now, so it makes it that's 100%. The intensity should also go down a bit. So maybe Syria point free and we can up the glow radius just a bit so we can see it around the sixth. No can. Also, all to some of the settings and the 1st 1 if we don't quite like them. It's maybe also a bit more radius, and that looks quite nice for now. But we also wants at a legal expression. We want the flow radius to wiggle. Let me explain what that does. So it would take the first globe. We hold down option old on windows, they clicked the glow radius. Then we typing, wiggle open for emphasis. So we have two variables to work with. The 1st 1 is see frequency. If the wiggle, that means how often it changes between the values and then the 2nd 1 is the amount or the value that it actually changes. So we want this to change quite slowly. We wanted to sort off, glow up and down, sort of essay pulsing effect. So maybe we will go for one in the frequency and in the amount itself, we can see that it's already a 21. Maybe you want around half of that would go for 10. This just means that it will change every second and it will stay within an interval of plus 10 or minus turn. This means that it will either go to 31 or 11. It will just stay in between that interval, we could just copy the expression and go down all, click the other glow radius and paste it. So now if we sumo and try to play back the animation. So if we played back, we see that is pulsating a little bit. You can actually see better up close. Let's zoom in a bit. And right here it's just pulsing, and it's way more visible when the Texas actually still and it's not animating in. So now we want to add effects to the next pre come. We actually don't want to do anything to the pre come in the middle. Well, that that status. But we'll go to the last one and for this one will apply a difficult Venetian blinds, and we will also apply some curves so we can actually call this Venetia. Go to the effects and pieces and search for Venetian blinds distracted until it layer. And if we sold this out, you can see that immediately detects disappears. But this is because Venetian blinds is a transition, and you can see that the transition completion it sets a 100%. So if we go down to maybe 59% you can see that the text appears again. But it appears as lines, and that's because the Venetian blinds is essentially a bunch of lines, and the transition completion just decides how thin they are. So this maybe is a bit too thin. But we can also change that by altering did with. So by dragging this out, you can see that they become figure. But if you can also see less of the text, maybe 26 it's good for this one, and the sort off direction is fine. We don't want it to be slanted in any way. We just want a clean look like this. Now if we unsold of this again and we look at the part where the sixties animating on, you can see that the Venetian blinds part doesn't stand that much out from the one in the middle. The reason behind this is that they are the exact same color, but we could chase this by going to the fix and searching for curves. Kurtz is sort of a color grating, so if we just select, the RGB channel can add a bit more to the shadows, make them a bit darker by taking this point at the top and just striking it down a bit and you can see gradually this becomes DACA, and if we played back, they stand out more next to each other. So right now you can already see that this that's a lot more to the text animation, these free layers. But we actually also have to do something to the eighties because the eighties doesn't really stand out any more. But to be quick and efficient, we just want to add the glow and the rebel Elva so we can go to the glow layer. Just copy all of the effects here and paste into the eighties layer. Now, this may be a bit too extreme because this text is smaller and therefore the devils will also feel a bit bigger on the text. So we might want to change this to 2.2 and maybe the intensity to Syrah 0.5. The glow is fine for now, and if we assume out a bit, give us a bit more space to play the animation. We can see how it looks now, so this is great and it's actually all that needs to be done for the six animation. Now we want to apply some background elements, some grading and also just a bit more movement to the oval seen. So it is so still when the text animation is done 10. Background: Grid: for the first background element. I want to add a grip, and what I imagine is a great that is rotated in three D space and that goes out into the distance and then sort off fades out. I also want a piece of movement in the grid, so it's not just still, but it don't want it to move too fast, because then it will attract too much attention now to create this script, going to lay a new solid and we're going to call this solid grid and we just keep it at the color black. It doesn't really matter. Press okay, And we wanted between the six and the background itself. So it's quite easy to create a great because after fix actually has an effect. For this, you can go into the effects and precepts step search for the term grid under generate and drag it onto the grid layer. Now you can see that it generates this script force, which is quite nice. But we wanted a bit more square, and we also wanted smaller. Now that's an easy way to change this. You just go into the Kona attribute and the 1st 1 is sort of the with off the grid squares or rectangles, you could say and the other parties see height. So we contract this in, create even smaller square s Somewhere around here, they don't have to be perfect. Doesn't really matter, because when we turn it into Freedy and started rotating it, it will get skewed. Either way, we want this to be a bit more opaque. We wanted to blend in with the background between you just go to the capacity change it may be to around 10%. And now I could see it sort of becomes a part of the entire artwork to rotate this in Freedy space. We're going to turn on Freedy Press are as in rotation, and we want to be working with the exploitation so we can just go ahead and drank it into the minus values and wanted to be sort of a floor in the scene so we can just go up and select the set. Aero, That's blue one. Drag it down so it meets the bottom of the composition. Now, when we drag it down, you see that the way we look at it changes a bit. The perspective Therefore, we might want to rotated a bit more and then drink it down again. This looks quite nice and now we actually just want to extend it. As you can see on both sides and in the back, it just stops immediately. And it looks pretty weird. The way you fix this is by using an effect called emotion tile. So if we go into effect in presets and search for motion, tile just wrecked this unto the grid lier And to explain how this works, it essentially takes the layer and then in D with and hide, it duplicates it. So it places the layer next to itself, replicates it, and it's actually easier to show this. So if I go into the output with chase that you can see that the with becomes elongated, it just duplicates it, and then we can change the height. I don't want to change the height all the way back because we're actually going to mask it out and create a bit off blur. So that's a transition. And therefore, as it goes out into the distance, it just sort off blends in with the background and disappears. Maybe wants to take the grid and move it up a bit. We can adjust it just a sweet like and we want to create a beautif movement. So to do this, we actually want to also the y position. That's the green arrow as you see it here. Could you assume out? Go to the start press p as in position and at a first key frame. Then we can go to the end, and we just sort of have to. I pull this to get the speed correct. So click and directly you by position back, and now you can try and play it back and see how this feels. So maybe it moves a bit too slow. We just fix that by going all the way back, selecting the layer and recognize it for lebec, so trying preview it again. This time it has a better speed. It's not too fast, so it's distracting, but it also just helps with the motion in the piece of all. Now I'm spotting a benefit problem. I'm not sure if you can see it, but if assume in you might be able to, the grid is not quite perfect and you can see here that these aren't squares. There's sort of this artifact line going across. The reasoning behind this is that the motion tile is cutting off the layer at a point where the squares and finished therefore it becomes shortened. Now we can fix this if we go into the great itself and we go ahead and alter the corner values, so we're going to also the second value. It's actually easier if you just use your up and down arrow because it's quite nit picky as if now. And we just record out until we have a square that is approximately the same length. Might want to hold down control a command. It's get a bit more control over it. So as you can see, I'm doing very small adjustments. SF now have assume out. It might not even be visible, but I'm a perfectionist and I just like to do things right. So this looks good, but we actually wanted to fade out into the distance, and the way we do this is by pre composing the layer. So we right click the grip decompose. He just called this script, and we want to move all attributes into the new composition. This way the effects stay on the solid That gets pre come. So press OK, and we actually want to pre compose it one more time. Because otherwise we can really do the mask effect. So pretty composed it and call this the great pre. Come now we're going to create a mosque. So we're going up here, click and holds like the Ritz angle to, and we just want to cut off the top. So selected subpart subtracted, and then we go into the mosque properties and we apply a feather. So if I go out, you can see that it starts to fade into the background. I assume in this looks quite nice. It's a nice transition, and now we can try and play this essay ho. So as you can see that great, it's moving. Maybe you're not satisfied with the angle or something like that. It's easy to change. You just go into the pre camp, and then they come itself going to the grip, and you can also the rotation. Maybe you want to have it a bit more upright, maybe want the size of its overall. To be bigger could just scale it up. It's quite easy to change, and when you go back into the main composition, you can see that it's still cut off at the same spot. Maybe you'll have to alter the feather a bit, but it's easy like that. Maybe you don't really like the size of the lines and also go ahead and change that. Right now it's set to five. Maybe want something like 3.5. Go back into the main composition glance, mind with background, but that's really all up to personal preference and we can try and play this back, and for now, this is pretty good and we can move on. 11. Background: Twinkling Stars: Now we can go ahead and at the second background element. These are some twinkling or sparking stars because I imagine this scene it's taking place in outer space. We're back in the eighties, that space vibe and we just looking out into the sky and we want to see some stars just to sort of fill out the empty space that we have in the top area. So the way we're going to do this is that we'll start out but going to layer new solid now these stars. So we want them to be white. Change the color, just call this stars. And we want to track this underneath the grit and go into the fix and P sets. And what we're going to be using for this is called CC pull election. We just struck this onto the stars layer sf Right now it looks quite weird. It looks sort off like a grid. But the reason behind this is that it's a bunch of poles and they're just very close to each other. So if we try and change the scatter, you can now see that this a bunch, a whole lot of balls. So if we drag this out, we can go ahead and change the size of the bowls. Maybe 25 We'll also go ahead and change the crit spacing to around 20. And I we can see that we actually have a whole sky of stars. So you can use a little bit of time to treat this. Get it just right. This a 1,000,000 different combinations and the sky can be However you'd like it. I quite like this look. So I'm going to add a bit of animation to this because stars a nice and the nice when they're twinkling, but really want to add some motion to every part of the scene to tie it all together. So the way we do this is by altering the instability state. You see, if I direct this out, these stars sort of change position, and that's what we want. And we can do this automatically without any key frames, but using an expression called time. But go to the instability state old click on. We type in time times. Now we have suit type in a value, and this is the amount that the instability state changes by every single second I said I wanted a bit of animation. Not that much. It should not take the focus away from the text, so we're just going to type in one now. We can go ahead and see what this looks like. And as you can see this, a tiny bit of movement. Maybe it's not enough so we can, at times too playback. And now you could definitely see some movement in the stars. This doesn't have to be that much because the stars are also going to be twinkling. So to do this, we're going to create a loo. Memet, this is a Met that essentially consists of white and black, and whenever there's a white spot, it shows the star. And whenever there's a play expert, it doesn't share with stop. So we're going to do this by using Fraxel noise. So it's a nice layer that changes all the time, and this will create the twinkling, so we'll go to lay a new solid Well, just make this black so we can differentiate them. We call this the Loom A because it's aluminum, it Then we can go ahead and at the Fraxel noise to the layer. We might want to single this out, so it's a bit easy. It's work with and the thing we want is a lot of contrast, because there has to be a completely black spot for the start to show completely and completely white for it to completely disappear. Want the contrast between the white and black to be quite prominent now, First of all, we can change the type two dynamic because that will work better in our situation. And then we can up the contrast to something we like right around here. That looks good, and we also want this to change. We want the evolution to change because, as you see when attract this out, it changes, and that will make the stars twinkle. So all click the evolution again. You see time expression. This time, we just want to change it a lot more because the star should not slowly fade out of fading . They shoot twinkle so it goes really quickly. So maybe we'll type in 1000. Now you can try and play this back and you can sort of get a fuel of what's going on with this loom earlier. So this is a real time and we could go ahead, close it down, then we can go to the stars layer suckle switches, lush Moz. And then we can choose the Luminant. So right now we can play Goldbaek and you can see that the stars are twinkling in the background. Right now, it's maybe a bit too extreme. So that's a few things we can change. First of all, you can Christie and change the capacity of the stars maybe around 40%. And we can also, if you go to the loo milia Chris, you, you to get the expression, we can maybe set this down to 7 50 so try and play it back again, and now you can see that we have the desired twinkling star effect. It's not Sue prominent, but it's still visible, and it's a bit of interest to the background. 12. 80s Look: so this old looks great, but I'm missing something I'm missing these eighties VIPs there some certain elements that I connected the eighties. And if I should do a quick brainstorm, we're talking about grain, that it's grainy TV's. We're talking about VHS, the sort of glitches the alliance that go down across the canvas we're talking about, sort of even. Yet that is when the corners a bit darker than the center, because thes screen isn't really that great of equality. So all of this are some stylistic choices, and they really up to the piece in itself. And the way we're going to do this is, first of all, let's get organized. We'll select every single layer, right click pre composed, and we'll call this see animation main. I often do this because whenever I have to do oval stylistic choices that affect the entire animation, like to pre compose it all into one come so I can have all of the effect layers on top, and I don't have to worry about old off the animations on the bottom. So let's start out with the vignette. That's quite easy. Actually, we'll go to layer new, solid and as we want even yet to be black around the edges will keep the color black. Hold this Vinje And then we're going to go to the shapes up here. We will select the lips too. And we can actually this is a quite a nice tip. You double click the Ellipse tool and it just creates an ellipse that fills out the entire canvas. Now we want this to be opposite. It's been Go to the mosque and we can select the subtract option. We also wanted to be faded out, so we wanted to be blurred between can open up the mosque and just adjusted feather. So sort of like this. That's nice. And we also don't want it to be this extreme. So we get dressed t to change the capacity That's right, with 30% at first. So that's OK. Maybe a bit more go for 40%. And as you can see, we have these darker cornice and really just focuses our attention to the middle and the text itself. Now we also want a bit of grain. Usually, when you're editing videos, live action, he wants to remove grain. It's not nice We wanted to go on, but here it's a stylistic choice, and I think it s a lot of value, a lot of character to the entire piece. Let's go to Leia new adjustment layer. And as we talked about this just adds it to all of the layers underneath. Right click. Call this screen and we just go to the effects and presets and search for grain. The grain credits to the just Malia. Now you see, that's a bit of his square preview in the middle. We don't want no preview. What? The final output. So as you can see, this is quite grainy, maybe want to assume in. So actually see the effect itself, and we don't want it to be that green. That's a bit too much. Therefore, we can just also the intensity maybe Sierra Point free. That's it. It's a little about 0.6. That could be nice. And we can just play this back because I'm pretty sure the grain is also animated. So maybe soon, in a bit. And yeah, you can see the grain is animated, so maybe you don't want to go to high because of the animated effects that we want to go down a bit again and this one See report full. Let's check it out. So that looks quite good. We can assume in to see the bit better if we'd like not too much paid back and you could see that we have this grain effect. It's not too much. So it's not that distracting, but it's also noticeable. The next part is the V. H s alliance, and we actually also going to use an adjustment layer for this. Now I want to drag out the composition so we have the entire length to work with because we're going to implement free of these lines. So let's go to Leah knew, just mint layer. We'll just call this V H s line because I have no better name for it. And we go to at the transform effect now explain quite simply, this just that's all of the's standard attributes that you have for a standard layer. The standard transform attributes that IHS and yes, it to the adjustment layer so you can use these attributes to affect every layer underneath . So let's say I also the scale you could see that I scale up everything Now we want this to heaven in lines so we can go up and click and hold electoral rectangle to and we just want to draw out a line sort off like this. You decide thes size. I'm just going quite thin. Then we'll go for the scale. We can change this to maybe 1 20 1 25 It will really only be noticeable when you drink it over something else in just the standard background. So if we take this, drag it down, you can see that it scales everything up. This is maybe a bit too extreme, considering it's not that all of a TV so 1 15 and that looks quite nice. I want this to be roughly 40 frames long so I can hold on command control shift and then right Arrow key present four times. And then I can press command tro shifty to split the layer of the lead. Now I want this to start all the way that's up so I could drag it out of the composition crispy. So enemy the position go all the way to the end and then I fistful could just move it down with the click off the down arrow key and then move it all the way down like this. I don't want any easing on this because it's quite interlock and we can try and play it back. And as you can see, this is way too extreme. But you only really notice that when you start animating it never we can go ahead and tweak the scale a bit. Maybe I only want around 104 to try and play that back. So I think we have found a nice middle ground. It's not too much, but it's also noticeable now. I want this effect to happen around three times so I could just duplicate the layer, track it over, duplicate again and drank it over again. You just duplicate by pressing command control D. Now the timing doesn't really matter that much. You can just sort of time unless you'd like. I have approximately equal time in between them. Bit of randomness. It's all fine. So to make the lines a bit more prominent, I want a bit of noise. Go to the fixing presets, search for noise, track it onto the layer, and maybe I could change this to around 10% so you can see that it's way noisier in this area. And actually I can cover this, just paste it onto the other layers like that, and we can try to preview the entire thing. So as you can see, we have this VHS effect and it's repeating itself. That's all good. One thing I'm losing its maybe the even Jet is a bit too doc. And I think the reason why I've done this is that I found the background to be just a tattoo, right? So if I actually turned down TV yet, it's maybe 30%. Then I can also go in into the vignette itself, going to the mosque, maybe give it a bit more feather. But the real problem lies within the background. So going to the animation main go to the background layer and just select the curve effect headed to the background and just tone it down a tiny bit like that. It's all about few and also live in yet said that to 20 and now we get this dock of feeling and we really get the contrast between the background and that sixth, and that's really what I'm looking for and it would play that back. You just see that this a bit more contrast and that's really what I like about it. 13. Camera Animation: if we get sick and overall, look at the animation. The start is really amazing. We have this text animation. It's very smooth, but then it becomes boring. We have the VHS lines. We have the animated great in the background, the animator stars, but the Texas still and one philosophy I have an admission is set. You don't really with Texan mission. At least you don't really want it to stay still for that long because it gets boring really quickly. And I have one very simple way to fix this. And it's by using camera animation. Now you can go ahead and create a camera s a layer in after fix. But in this particular example, it will be fine just by animating the animation mainly itself. So we'll just go ahead and do that and I'll show you how you can use, um, scale and exploitation to really pick up the animation. But also I want to implement some wiggle expressions on the position and rotation of everything. So we sort off get this handheld feeling, and it just looks very nice and it creates a lot off motion when there really isn't any. So let's start with the simple camera animation on the animation mainly. First of all, we want this to be a free D layer. We go to Tuggle switches Moz at the free delay option, Go ahead and press s shift, and then Ah, because we will be working with the scale and the ex rotation. So if we just go to the star, go ahead and at a key frame to the scale and the exploitation. Now we want this to roughly take about 40 frames, so we'll hold down command shift and then click the right arrow key four times at another pair of key frames. Now we can go all the way to the start. First of all we can at the station. So we wanted to Road State sort of like this. And now we have these black sites, so we really just want to scale it up. So it is invisible anymore. So around 200% now, we can go ahead and select all of the key frames. If 90 Eastham go into the graphic, it's a and we actually want to be working with the value graph for this one. So we wanted to be very fast at the start, and then we wanted to slow out. We actually wanted to any made a bit for the rest of the animation. So first things first, just select the last key frames, track them in. As you can see, that shouldn't be much value changed towards the end. Should be very slow. Then we go to the star here. We actually have to select these individually to direct them up a bit. This just means that it starts at a Steve value. Change something like this, and we try and preview it as you can see that faux Freedy element. Just that's a whole lot to the oval in Mission at the start. But then we wanted to keep on changing towards the end. So go to the last frame, then we'll at a key frame for both of them and now actually wants also the second key frame because remember that if we go to the scale as an example, we can really go below the scale because then we'll have the like borders. Therefore, we'll just go to the second key friend can drink this up a bit and then you can see that right now it has a bit off a weird curve, and that's because it isn't transitioning, probably from one part of the animation to the other. So we can actually alter the sandal. If we traded up appeared. Correct this down. You sort off one a linear curve towards the end here, and we want the two handles to be approximately linear as well. And that is the scale we may be. Also, want this a bit feli reputation so we can track this protestation down. Just it's there and through the same thing. So we want the last part b linear, and we want thes handles to line up sort of like this that we can try and preview thing. As you can see, it just scales out at the start, and we still have a bit of movement all throughout the animation, and that's really what we want. That's the thing that I almost always do with my animations. And I just think that doing a bit of camera animation and doing the slightest movement just as a whole lot of interest to a part of the animation where that's not really a lot happening anyways, so we can go to start again. Now we want to add some wiggle expressions. It was just great and adjustment Lee for this. Let's go ahead and Leah New Just Millea. Call this wiggle again. We want to use the transform effect, but also the acquittal there. First, we'll at the wiggle to the position so we can all clicking. Position the whittle. And now we want this wiggle to be quiet, slow. So we'll go for a syrah 0.5 in the sort of speed, and then we will go for maybe around 20 in the position value change. So click out off that, Then we can go to the rotation. We'll click, and for this one we want the same speed. But you have to remember that the rotation is a bit different. 20 degrees in the rotation is quite a lot, so we want to go with around 2.5 interpretation. Click out, and I already know now that we will have a problem because down the line it will get out. So you actually exposed him with the black background. That's because it's rotating so you can actually see the edge of the composition. Listen, he's a fix for this. Go to the animation, main goods, composition, composition, settings. You just look the aspect and we want to track this out a bit, so actually increases size of the composition. So we have a little bit multi work with press, OK? And then we want to scale up the background element and we also want to scale up the grid. So we just matches right around here. That's great. Going to the main composition again on can try and preview the entire thing. Now, as you can see, we have created the inside text animation. We have added a lot more interest by adding the camera animation, the wiggle movement. Now we really just have to decide where we want to cut the animation. You can keep it for the entire seven seconds. That's fine, or you can shorten it down if you want to. Also, the ending can be changed. I like doing sort of a sudden ending, so just cuts to black or the next clip. But you can also go ahead and just at a like solid make it go from 0 to 100% and just make the entire thing fade out that's all up to you. But that's basically how you create the eighties retro text animation. How you apply every single thing and make it all blend together. So it really gets the stylistic very characteristic since we've look. 14. Exporting: as we had done with the animation. We want to export it as a gift or an MP four. But before we start doing any of that, we might want to shorten the animation a bit just because of the fact that a tiff file size can get pretty heavy pretty quickly. And school shot only accepts an eight megabyte file. So I actually quite like the length off around a bit more than four seconds because that's the end of our second VHS line. So I could go here can either trek the sort of blue timeline here in and that crops it all . I can just press in wherever it like that also crops the time as I've corrupted. I'm going to go to composition at So Adobe Media encoder que and this will open up another program. This is the media encoder. This is really the best way to export a video as an MP four and get the best quality with the lowest file size. So make sure you have selected H 2 to 64 from the drop down menu over here than match source high bit rate. Then we can click, and I can select the full. They want to say this to and got just called this eighties retro text safe, and I can click this play button to start the queue and start Theoren Dah. This renders quite quickly, and now we want to turn it into a Jiff. So if we go to Google Crow open up a new step, I can search for MP for to just and the first link is the easy. Jeff, don't come and go in here. Just choose the file so that seeing before right here, open it up and upload the video. Now we could go down into these settings. We just change the frame rates of 25. That's all fine as it's a Jiff, and it doesn't matter that much there, we can convert it Now you have to look at the output size of this Jif because that's what's really important. This is a bit too high. Therefore, we can select the optimize step right over here, and we just want a very low compression. So maybe around 35 should be fine. Press up to mice and it will load for a bit. And as you can see the optimized file is 2.77 megabytes. You can right click saving Mitch s. And we could just call this the eighties retro text and it will be saved us a Jiff. So now when you go to skill share, you go underneath this class, you can click the create a project bottom. Here, you type in the project title, so it could be my eighties retro text animation. Now, it also wants you to upload an image that represents the project we can quickly go into after effects. We can select a frame that we like. Maybe this one go to composition safe Remus file. Then we can click with this photo shop, and we just want to change this to a J pic sequence. Drink this up a bit so you can click. OK, then we select the folder, and we could just call this the thumbnail, rent it out. And if we go to the crew again, just upload an image, upload the thumbnail so I can see what your project represents. Click, submit. Now, you can cite a bit about your project. Maybe if you had some problems, if you want me to check something out or help you with anything. I will be glad to give critiques. Every single project uploaded and Hill Viag type a bit about the project here. Then you can at the constant, either as an image or video click the image. We can just go ahead and choose a Jiff. It just has to be below eight megabytes. I opened it up and it should load. So we had the Jiff right here. Let's have a bit about it all you can, actually, just post. It s a video. That way you'll have to upload the before to YouTube video post a link, and it will be linked on the project side. After what, you could go ahead and publish the project and I'll take a look at it critique and give you some feedback of all. And I would love to hear what you think about this class. 15. You Made It!: so that's it. I hope you thoroughly enjoyed this course. I should it enjoy making it. Be sure to post your project down below he and skill share. You'll also be able to share with me on instagram at all your handle. Are you sure it's posted to my stories, so you'll get the recognition that you deserve. That's all for this course. I'll see you in the next one.