Adobe After Effects CC - Animated Infographic Video & Data Visualisation. | Daniel Scott | Skillshare

Adobe After Effects CC - Animated Infographic Video & Data Visualisation.

Daniel Scott, Adobe Certified Trainer

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47 Lessons (5h 30m)
    • 1. Introduction

    • 2. Exercise files

    • 3. Inspiration for your animated infographics

    • 4. Setting up your software & video for data visualisation projects

    • 5. Adding audio music to a infographic in After Effects

    • 6. Add a solid background or image backgrounds

    • 7. Adding text Adobe Typekit in After Effects

    • 8. Where to get free Icons for your Infographics

    • 9. Animating an infographic icon in Adobe After Effects

    • 10. How to ease animation in After Effects to make them look slick

    • 11. If you get lost in AFX and can’t find your animation any more

    • 12. Adding free sounds little pop noise

    • 13. Creating a circle pop or circle burst in After Effects

    • 14. Animation TIP Motion Blur

    • 15. Animation TIP Over shoot

    • 16. Animation TIP Vignette

    • 17. Animation TIP Anticipation Up before down Graph editor

    • 18. Animating TIP Off set two objects moving just after each other in After Effects

    • 19. Animation TIP Vector Redraw

    • 20. Animating TIP Puppet tool

    • 21. Grouping in After Effects is called precomping

    • 22. Camera 1 Node

    • 23. Speeding up After Effects Playback & preview

    • 24. Animate the lines of an icon in After Effects

    • 25. Colours

    • 26. Video Backgrounds

    • 27. Bar Graph Method 1 Manually in AFX

    • 28. Bar Graph Method 2 Illustrator graphing tool

    • 29. Bar Graph Method 3 Excel graphing tool

    • 30. Line Graphs

    • 31. Pie Charts

    • 32. Number counter ticker thing

    • 33. Process Relationship Infographics

    • 34. Camera 2 Node

    • 35. Masking Version 1 Mask the centre of the donut properly

    • 36. Masking Version 2 Pie chart to mask an image

    • 37. Masking Version 3 Opacity percentage slider

    • 38. Masking Version 4 Filling up a pint glass with a mask

    • 39. Real Life action infographics 1 Line follows video content

    • 40. Real Life action infographics 2 Camera tracking

    • 41. Real Life action infographics 3 Manual madness

    • 42. Exporting for TV Websites Youtube and most other social media

    • 43. Exporting for Microsoft Powerpoint

    • 44. Animated GIF

    • 45. Class Project

    • 46. What next

    • 47. Cheat sheet

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About This Class



Hi there, my name is  Dan. I’m a Adobe Certified Instructor and I LOVE animating infographics & bringing potentially boring data to life using After Effects.

This course is for beginners. You don’t need any previous knowledge in AFX or any motion graphic experience. We’ll start with the super basics, taking simple icons breathing life into to them with After Effects.

There are projects for you to complete, so you can practice your skills and use these for your portfolio. There is a cheat sheet and I’ve got exercise files so you can play along. I will also save my files as I go through each video so that you can compare yours to mine - handy if something goes wrong.

Know that I will be around to help - if you get lost you can drop a post on the video 'Questions and Answers' below each video and I'll be sure to get back to you.

What are you waiting for? Lets get making!


Looking for more inspiration? Head here to discover more classes on After Effects.


1. Introduction: My name is dead, and I love animating infographics and bringing potentially boring data to life using after fix. I've made this course for complete beginners. There is no need to have any previous knowledge off after fix or motion graphic design. Now we'll start at the Super Basics will bring in a couple of icons. Will air easing will add some motion blur. We'll add some very cool overshoot. We'll also look at anticipation, and then my favorite is offset. We'll work through real life projects connecting Excel into after effects to transform your boring spreadsheet data into approachable visual awesomeness. Experiment with lighting and cameras. We'll do some fun things with masking away through to exporting for YouTube, power points and all sorts of social media, including making some animated GIFs. Now I've got projects for you to complete, so you can practice your skills and have some things ready for your portfolio. With the end, there's also exercise files he can play along is also a cheat sheet both video and pdf version, and you were the best part of this whole entire courses. It's learning how to track handsome individuals from New Zealand very, very accurate 2. Exercise files: all right. First things first is to download the exercise files every link just here, going download. Those also know that there's something called the completed files and all they are is at the individual video or save my after a fix file to wear met. Okay? And you can download it. There be a link on every video screen for that. And it's just if you get a little lost, you can check mind to see how yours is different. And the other thing is that there is a cheat sheet at the end of this K into this video on is also a pdf you can print often stick next to computer and use as well. There's also a project in the end, the case that we're gonna work through together. I'm gonna sit you some tasks and you can use that stuff in your portfolio along with anything else you make. In this course, you're totally allowed to use it on, and the last thing is reviews. OK, it's a bit early for me to be asking you for a review for the slight, but as soon as you get to a point in the school, she like That's pretty good course. I'd love you to leave our review on. It's the kind of stuff that's what drives my business and pays my income. McKay is other people coming to the courses, so reviews are really helpful. Likes shares those types of things. All right, let's get into building our motion graphics and visualize data. 3. Inspiration for your animated infographics: I think we're gonna look at inspiration. So when you're starting your project, you get any places to go and get ideas for your projects. Now, the site here, information is beautiful. .net. Remember the darknet the dot coms a weird sight. Okay, you're going chicken now, right, bitch? But information is beautiful, Dutton it is. This is mawr, the data visualization side. Okay, there's some really beautiful stuff going on here and kind of pushing the boundaries of Had a communicate really complex data. If you're dealing with mawr with the generic kind of infographic gay bar charts and you're looking for ideas of animation, then something like this. So this is video hive dot net. Okay. Video hived off its cell. These case of these here, you can buy this on his $19 you can get this isn't after a fixed file and start updating it . Then the trouble with some of these templates is that the pretty complex if your brand new , these are not useful at all, cause you're going to get a file. It's going to hard toe work with. Once you get into the kind of intermediate level stage he's become really useful cause you can open them up, make the changes necessary and save yourself a lot of time. Case you have above them. Some of them are pretty cheese, but some of them are pretty cool as well. OK, so you could just work away through them and just kind of get an idea of, like, how you might do it. Okay, So kind of one of the competitors for video hive is pond five. Okay, Same sort of thing hover above them. You'll see infographics. Interesting kind of text treatments, K lots. And here just to get your kind of ideas flowing, One of the last places I'll show you is out of the title. While not infographics, it's really co for just beautiful uses off mainly type K and live action footage. But you condone I get great ideas from here, okay? For even just simple motion graphics. Just the way type is being treated and animated. So I like to go to the home page. If you go down to, like, all features and then you end up looking at these, this is the top 10 from 2016 and you just go through. I've got a couple of them primed and ready to go in here somewhere. Like this one here. Just interesting. You know how you get idea where the type is a big thing moving in the backgrounds, kind of flickering, all stuff that can be done in after fix. I'm not saying they're exactly right, but it was any other ones that I liked. That's where stopping here. This is Quaker. Just really big slavery. Use off color and type. Anyway, I'm rambling, so those are some good places to go and get some ideas before you get started on your next project. All right, let's get into the videos. 4. Setting up your software & video for data visualisation projects: Okay, so we're gonna begin our first project. So I am going to hit play on this project and we're gonna listen to it and watch it all the way through this. What we're going to be making for the first part of this course, I got animations, all sorts of amazing infographic type things. Let's go watch and the ends will hit. Stop and we'll go off and create our new document and get started. The value of sleep. Four creatives. Now there is an ongoing debate in our household about the value of sleep. My wife, solid eight hour a night lady, is forever reminding me to get more sleep. I, on the other hand, and certain all I need before what my best is just 5 to 6 hours. So as long as I'm a bid by when I am, I am good to go by 16. Now. My problem is that I love to work in the quiet right with the whole Wilders asleep, and nobody can get me for me. There's something about that slight and exhaustion fueled by a bit of half. Ain't that makes me excited and creative at that time of the night. So what is it about sleep deprivation or insomnia that he is to aid my creativity? Okay, simple enough, but some cool techniques we're gonna learn in here. So let's now jump in and make our first document. Okay, so we've opened up after a fixed. Now it's time to create our first file. They call them projects gay. And inside of these projects, we have something called a composition or refer to his cops. The project doesn't really do anything. Collect new projects and you get this kind of like blank windows to think of projects is just like an empty placeholder. The comments that you put inside of it are think of them as, like pages in a document. Okay, you can have a document with any pages snobbery helpful. So our project is not very much without any cops, so we're gonna credit first Competent. You think you'd go to file new era on a composition? New composition. Okay, so there's two ways of creating a cop. Ugo Composition, new composition like we are here. You give your company name. So this is going to be my my face company. Okay. And in here, there's a little sittings, but pretty much all you need to do is go down to this presets and pick HD TV 10 80 25. That's gonna be HD resolution at 25 friends for second. That does most of the world most of the time. Occasionally, if you need to get a TV and you're in the US, okay, you got to use 29.97 Doesn't really matter, especially if you're going out to say social media YouTube, Vimeo, your website. It doesn't matter. Are these two here? The negligible differences. You could also big 24 but nobody picks that. So just pick this one here. Okay? HDTV teen 80 10 eighties. The pixel height off your video. Okay. And the with is you can see here 9 20 but when somebody says 10 80 p, they mean the height off the video. 7 20 p is standard definition, and that is the pixel height off the video we're making. Okay. Okay. Down here. You could be working in four K. If you've got the footage for it. The only problem at the moment with four K's, the file sizes, they're quite big. YouTube accepts, etc. might do it. There's no problem with that, but it gets pretty hard on your system when we start animating things. I've got a pretty good Mac book pro. It's only a few months old, and I got all the optional extras and working in four K just kills it. So I don't work in four K because it's just too hard now and people watching it. I don't know who is going to see my home with animation infographics on a four K monitor Anyway. Square pixels perfect frame rate. Don't change this resolution case to get up to full. All that means is that this can change occasionally in case you can export video. And it's gonna export 1/4 quality case later in the resolution. Way down. We're on the quality being full and in the duration K. It's up to you Think the default cameramen butts 10 seconds, I think. And this is how many frames? Okay, so 10 seconds. Is this sick and lot here? That's the one you need to remember. So how long is this gonna be titled? Beginning? Especially not working is to say some live action. Live action is gonna have a star in and ends. You know how long it is. But if you're working in your own kind of time, you like, how long should this thing be? Take a guess. K's easy to shorten it up. There's to extend it. So I'm weakness that with 18 seconds background color here, I wouldn't change it here because if it doesn't really matter what you change the color to when you exported, it's going to be black. We'd house if I go like this and say, actually going to use one of these colors over here, You think of the background. Color is going to be, yes, rid cable. When it renders, it goes out black. That's just kind of like a placeholder color. You actually have to draw a big red box in the background for that to actually export coast . And now we could start working the other way to create a comp. And this happens a lot, especially if you got footage you're working to. In my case, we're working to a pre existing MP three K with some dialogue on it. We're gonna be animating out infographics, too, so it's a sit piece. It's a certain amount of seconds long. Okay. So we could open the MP three, work out how long it is and try and match the competence An easier way. So I'm gonna been this thing here, okay? And what I'm gonna do in my project window here, this is all my files got from my project. Anything that we import videos, sound affects shapes from illustrated. Anything goes in here. So we're gonna go to file import, go to files if you haven't already download the exercise files. A minor here on my desktop. We looked at how to download those in the previous video. Go check that out. Case in here gonna go into it. Our first project is going to be There's one called icon Pop up. Came were working to this value of sleep in B three k. I'm gonna bring that and we're gonna use that. And because that has a certain time, that's 29 seconds and seven frames long. So what we can do is just right. Click it and say, make come from selection. Okay. The cool thing about it is that it's match my teen 80 p. You kind of see it small at the top here on the right frame rate, but it's matched the length of it. Perfect, because there's no need for it to be any longer. So the big things when you are getting started, if you're are good, it after fix, you can skip through the next video, but was gonna look a little things here with That's the MP three. What through and now measured. Lee, this is the competence. Use the same name. Is this What we're gonna do is just rename it just to say we're gonna add competently. And we'll do this while we're learning. Okay. Just so they know where that's a composition. The reason we know it's a composition is mainly because of this icon here. So this little film realism bits on it. Okay, that is that, companies, The important things. These are the things that will exported Thean the pages in my document member project Is this overall empty space? These are the things that you need. Need a least one. You can have multiple pages. Okay. Lots of different animations. Lots of separate animated infographics or data visualizations in here. Ok, but what's gonna have one for the moment? Okay, you're Comp appears down here in the timeline. Okay, there it is. Value of sleep comp, and it's automatically put my MP three on the timeline. So there's my little plated care can drag that back and forth my c t i k. If it's space ball, my keyboard sleep, it's me talking to myself, OK, so that's the MP three player, and it's gonna be along the bottom there, just doing its thing. We're gonna lock it. So this little locking icon here and you'll notice that these little tags and here I added these When I was first putting together these project photos, I did these with something called Marcus and we'll look at them later on, but it was gonna help us. No, win these infographics. I mean to appear now. One thing will do just before we move on. Is it a rowing up to window, got a workspace and click on default and then go back into the air workspace and then go to reset default just to get everything looking the same as me? If you do find during the class, you end up dragging that over there and there becomes there, and it's all mixed up. Just go back to a window workspace, Stella default. But in a recent default, go back. It's a good way to get yourself, unless, all right, let's go to the next video. 5. Adding audio music to a infographic in After Effects: thin this video, We're going to bring in some audio We're gonna put into some folders We're going to bring in some music and look at where to get some of that for free. And then we're gonna balance it so that my voice isn't so low and the music is down a bit You can hear underneath me Let's head it The value of sleep Four creatives It's made me sound a little more like I know what I'm doing. Anyway, let's get on with the course, which I do know what I'm doing with most of the time. Okay, let's do with order your property in this video. So we're dealing with a voice over me, okay? And if you obviously if you're hearing your own voice over it makes it easy. If you've got 1/2 decent mike, it's pretty easy to do. And but probably you're gonna be like most people and hate the sound of your own voice. Me included K, but it was cheaper to do my own voice over them being somebody else for this exercise. So you got stuck with me if you do on a higher talent, Okay? What I do is, I go out to a site like Fiverr. So fiver, father is a sight. You mean to pay five year, $5 or euros where I am? Okay. And it's what people would do for $5. This guy will do a voice over here for $5. That's the Euro translation K or the currency exchange. If you click play, you can listen to Todd. Him fans. Hello, Todd. Great. So he'll do that for $5. Set amount of words. OK, so it seems cheap, but bank on it being about $25 to $50 depending because he'll might say, I'll do the first, uh, you know the 1st 50 words 4th $5 in the 1st 10 words, whatever it has, rates are okay and you might have to go further than that. And if you want it done like he'll say, it's $5 but I'll do it when I get around to it. OK, maybe a week, or if you want it done straight away, you might have to pay another teen dollars, so it kind of adds up. And by adding out 25 bucks is pretty cheap for a voiceover. Okay, so just have a go through and to say, Do any the Caribbean voice over Or do I need this guy or that guy? He has a great, like, normal voice. Okay, if you need somebody who's Irish, if you need somebody who's Australian or English, just type it in up here, Okay? I just typed in voiceover to get these guys, and it's amazing what you can get done quite quickly and cheaply. All right, so we've got a voiceover backed after thinks so when you are working with audio, especially a voiceover, often you need to time things to it. You can see I've had a little markers down here. We look at these markers a little bit later on, I vetted them here. So at this early stage, we can add our infographics, different timing points. But if you need to edit audio, what you really need to do is something on audition. It's down here. Okay. So I recorded in tow addition ended any it. So I cut out all the arms and ours and made it sound half decent. Que an audition. If you need to remove background noises, the air conditioning, Norway's something like that. That's the job for audition. And although, of course, about that real soon. Okay, so and we've got MP three. It's come through on one of the things you might want to do is see a controlled on this little error here and go toe weight form waveform is really handy. You can start to see with the breaks in the language, and you can see a pause there for a little bit. So you can kind of start timing things like I probably starting to say something about hearing and hit space bar. You can see I've got the beginning of a conversation that I often have this open when I'm trying time infographics to on audiophile like this toilet up in the moment. Now one of the big things is you wouldn't have seen I had that open already. But when I hit play for this, it's quite quiet, okay? And you're really notice it when you're working in your projects, you need to check when if you bring in audio to check whether it's at the right level. You don't want to see in your infographic somewhere, okay? And people be listening to it an itty that blow their ear drums out or just be really, really low. And they raise the volume McCain in the next video blows area drums out. Do you want to get consistent? There's a world consistency, sound K. And it's between minus six and minus 12 year minuses. We had her disables work from zero being the highest gain. You were down from that. How to check. It's quite easy. Get a window. OK, go down to audio. Okay? Or in my case, there is that little gap there. And this little guys, what we're gonna be watching for and see the gap between minus six and about minus 12. You want a fight? Space bomb? Watch it. See it bouncing down here. Okay, it's bouncing too low. Okay? You want to be bouncing that little blind, be bouncing anywhere between here and here's a good kind of Jim. Arrange any higher than that. See, red bed. Okay. Yellow. Just okay. But in here's the sweet zone. And all you need to do is haven't selected K and or you might have to do is if you've got it locked like the last video is unlock it. Selected And as you yank it up a bit and then see how it goes, it's baseball is just not bad. Going to get a little higher? Yep, bouncing in that right kind of sweet zone you can see there. It's never perfect K M so, but that's gonna be great for me. Next thing is, let's bring in the rest of the audio. We can get a file import file. Okay? It's a long way. There's a shortcut. Command I on a Mac or control I on a PC. You use that loads. I'd never use it. I just don't like in this big gray area here in my project window. So just double click. That's the short cut to it. I find it quite quick anyway. So there's two files. Go to your exercise files K and on da icon pop ko. When icon pop, bring in block gay dot mp three and double cook it again. Let's bring in a sick and file. It's just under the route. Infographic exercise files. It's called background music. Okay, we're gonna use these on all the different exercise we dough so they have it and it's unfolding. And all of these files here. There are mixture off free because somebody like Wisteria have given them out to us. So whiskey, it is W I s t a go check out them. They've got to some free background music that I saw the other day and I appropriated for some of my projects. The other ones in here k from shutter stock. OK, so it's a stock music site, okay? And I've paid for them. Actually, these ones are the preview version. So what you'll notice is that you play for a little while and it plays all happy music. But then part way through it is shadow Stark music. Gay. So to kind of ruin the MP three for you so that you go off and pay for it. OK, so you're not allowed to use these commercially. Okay? Any the shadow stuck ones, but you can kind of see, hear this one. Here's the Wister Learning Gallery Que. And they allow users for commercial purposes. So I'm gonna use until lichen crossroad at this stage. Follow me. You can pick it up front, of course. And that I've done this project obviously, and try to find something appropriate. But hey, ho. So what I'm gonna do is I'm going to my comp. You could do it a couple of ways. You can drag it down here. Okay? The problem is, if you drag it down here and see that little play head there and the blue thing if you drink, they're kind of starts way out here so it doesn't start to like it. So you've either got to drag it down here. Just make sure it's the beginning. What is dragged into the center, but here. Okay. And it just goes in right the beginning. It's a couple of things I would like to do is I would like to create a folder in here. Put on my audio in K often. If I'm doing infographics, they will be a files folder and audio folder video folder. And I leave the cops just out of their case. I'm gonna create this one here. This one's gonna be audio. I'm gonna stick you, You you in there. Okay. And Michael files files is just like any static images and any other weed stuff. I get okay and you notice when you create a new one, it's put it in the side of files. We can fix that. This was gonna be any video. Those projects not actually have some, but let's get some good etiquette going early on. So and in my tool, that episode, that's my files. Okay, One of the other things is if I play now, Okay, you can see that they're all kind of battling it out. Okay, The voice over here, the value of sleep is at the same level as the music, but that kind of fight it out when I start talking song and lower the volume off this music , case it with that slicked up here and do the opposite of what did with the voiceover and lower down. Hello? Just keep dropping it down until that feels good. Okay? So just keep lowering it down until you feel like Yeah, that works for me. Okay, So lowers Ugo. It's really just a balance with that. Whatever has to be the highest, which is going to be our dialogue. So I'm gonna lock these two here so we don't miss around with them, and we're gonna move on to the next video 6. Add a solid background or image backgrounds: I think this video we're gonna bring in a background image and lockets. It's gonna be easy. Let's go do it. Okay. So weird feature of after effects. We talked about it before. If I make a new comp and I pick a color, Okay. Does it really matter when I exported? Because black, it's just there is a pecking color. Okay, so we're going to do now is back to black and click on it. Go back to black. Okay, that's most come start lifelike. And if I want to put in the colored background, Okay, we put in just a big rectangle. Now we could draw two K, but it's easier just to go to layer New. And there's one in court. Solid cake on solid. Call this my background background color. Okay. And it's gonna match the heightened with on my video. Great. Everything's perfect. Pick a color, K. Any color, any color you like. Okay. No one export it. It's going to be green in the background, but I want to do is not move it around something a locket. Awesome. That's hard to put a background color. And so I'm gonna been that color. Sorry, Okay, so we just made it. But we're gonna bring in an image, so I'm going to double click anywhere in this gray area. They had to go to Infographic exercise files and a go to icon. Pop. The 1st 1 is one of the gold background. Okay, we're gonna bring it in, put it into my files there. Is it Okay. And then I'm gonna drag him on to here, and he's too big. OK, so you can like a lot of programs you can kind of zoom out. Okay, I'm using the wheel of my mouth's, but you can use command plus and minus if you're on a Mac or control plus and minus on a PC . And what you'll find, though, is you can grab the ages, and it's fine, but weirdly, that's true of lots of it. Every products. But down here, there's one on here called Transform and Scale. Can you can just drag it down. I don't know why, but it is easier. Okay, to use thes controls down the bottom here, Especially when you get multiple layers. Case on a 12. That back up to you. So I'm gonna lock that layer bloom background image. I just dropped the lightness of this and Photoshopped. We'll do it later on. And after XSL was using When the affects easy. So we've got a background in next video, please. 7. Adding text Adobe Typekit in After Effects: Hi there. In this tutorial, we're gonna look at type, and then we'll look at bringing in new fonts from type kit, which is free as part of your creative cloud license. Let's go and do that now and after fix. Okay, so let's put in our text. Grab the type two along here. The capital T. And I am going to You can click and drag to get a box with, like, boundaries. Case against the age. Good for body text. When you've got a lot of takes to go in, I am going to actually see down here the sleigh hearing outflow Gonna hit delete on my keyboard. I'm gonna do it if weights click once and you get a tight box that goes on forever. Mine is a line center at the moment. Okay, so I'm going to go over here. We got character in this paragraph. If you can't see, either of these are in the window and this character and there's paragraph you need both of them working with type. I'm on paragraph. Gonna make my left aligned put in some type k the value of sleep. Four creatives. Okay, so I'm gonna put a return in just to break this up a little bit. I'm gonna slick. That'll do some type e things. Okay, I'm ones on aerial. At the moment, I'm gonna make mine all caps, okay? And I'm going to go pick our front now under character here. We've got all the funds that are on your machine. Okay, so you can pick one of those, obviously, But if you've got a creative cloud subscription, okay, you can go off to type kit and get a whole bunch of new funds. The really good and the free. Well, they're part of your paid subscription. Let's go check that out. Now, this is type kit, and my ask you log in is me. Hello, Daniel. Okay. And what you can do is go through. Just pick a front. Okay, so So there's lots of them go toothy fonts. Drop down, okay. And you'll get lots of kind of examples of stuff. Go through and just pick the one you want over Here are some helpful bits to say. I want stuff that's good for hearings. Okay, It'll sort it out from there or sit saying on turn it off. I want ones that are Sarah fonts. Which means they got the little feet, came off all the edges. Case you can go end, hunt these down and such amount. Hand fonts is hard to go find. Okay, there's lots of other things you can go and do in here as well. One of the things you might consider is the width K. Sometimes it's nice to be working with a skinny front. Okay, Because especially if you want, you've got a lot of copy to go into infographic que, and it's just easier with lots of numbers to go into your graphs. Okay, It's easy to fit in skin type. You fit a lot more digits, and now the one I'm going to use for this class is going to be roboto. I'm gonna bring in both Roboto and Roboto Slab to go on one of them and then just click this button over here. It says sink. I've already sink mine and that's it. Just click on sink. I didn't hold it for a border and Roboto slab, and yet they just appear in after fix. You have to do anything, love it. All right, back over there. So that selected I'm gonna go. You my family could be roboto. I'll use thes slab version for this K and there's some different weights. Okay, but that's fine for me. I changed my mind. Don't like this lab. And still boat is not black vision. Okay, so grab back to this era here section tool K to move stuff around. So I'm gonna still use my left aligned It could be seen to. Now we'll leave it there. What I might do is okay, baby times in this course we like, should you just move on. And this is one of those times where I start messing around with fonts for no reason other than my own pleasure. So there is going to be it for type and type kit because it's not that hard. Let's go and start bringing in the icons will use. And now Infographic 8. Where to get free Icons for your Infographics: Okay, so you need to find some icons and you don't want to pay for them. Case couple called sites. I can't find a dot Com is a great one. They have a mixture of paid and unpaid. Okay. And so let's say we need a picture off a woman. Okay. Are Nike honorable woman now, by default, yours obese it to any into any into no license filtering. Okay. And you'll start with these ones here. You can see they're not expensive. Okay, So $1 for some of them and what we want to do is, though, I want Victor ones because I want them to be scalable in after fix. You don't want any, OK, Most of the rural victor, anyway, Then I want to go for free, cause I'm cheap and I want to go down to the licensing, and I want the ones that say up for commercial use. But I don't have to put a link anywhere. You can go to this one here commercial use, but you have to add a link somewhere to explain what you got it from. I'm gonna go full cheap way cool, and you could see there's quite a few here I can pick from. So when you are picking some of these case A you decide that this is the one for you K m. When you are downloading it, Della the SPG version. Okay, The PNG is a pixel version, so not victor. And when you scale it up, it won't be great. Gable picks late roses When won't k so download this version? Because an SPG, you might have to open it up. Depending on the version of SPG, you might have to open up in illustrator and copy it and do re save can save it as an illustrator file to use it in aftereffects. We'll do that in the next video showing How to make the icons from illustrator to use an after fix will do that on DSO That's I can find out I use. This is quite a big resource seller, but the other great places actually from adobe itself And it's the creative cloud up on a Mac. It's up here, this creative cloud, cloudy looking icon. Okay, And you've got these options on the top on a PC. I'm pretty sure it's done the bottom right. Get you'll find the same icon and you'll be at home Go to s its go to market and in here of the top is a search icon. Okay? And we're gonna put in woman. The cool thing about this is that all of this is commercial use. You don't have the ad links. Just the quality and quantity aren't as much. Okay, but this could be super useful and helpful like and what's really cool about it is have a look it here first and then jump out to maybe I can find her. That's what I do at least case to say. You decide. Um, maybe not that one, but say we decide to use this one. This little button here, OK, we can bring it into my library. The cool thing about it is, that's it. If you jump into after fix now, you can see downloading in the background the end of my infographics animation. And there's that lovely lady read it ago. Now, we use this a lot during the class. Okay? This s ETS market, and it's really good for icons. It doesn't have many images and there, but so it's mainly fi cons. All right, Let's get on to the next video. All right? One thing before we go actually is saying I can find the cool thing about here. Is that often the part of a bigger group. So you might pick this woman. But you also need him in okay or a ninja. Okay. So I can find a hair's really good groups of things to go. Okay. If you get into the kind of like, Super icon downloading mode, you can see here there's a per month cost. Okay, You can get down 25 a month for unlimited for 29. All right, now, let's get onto animating them. 9. Animating an infographic icon in Adobe After Effects: Hi there. In this video, we're going to do there swear it fades in and then goes for little bits. And then this guy appears I would play with the scale, so we're gonna just do some basic animation. It's quick, It's easy. Let's make it happen in after fix. Okay, so I'm in my value of sleep. Complicated. Double click it there. I've got my to audio files locked, and I'm gonna lock the background layer. And what we'll do is we'll get this text to fade in, and then we'll get our icons to pop up. So make sure you play his bright at the beginning, and what we're gonna do is twill down this lair here we get toward on transform, and what we're gonna do is play with the A pass ity. Beginning of my timeline, I'm gonna click this little stopwatch, K m. What happens with that is that it's it's a key frame here at whatever sitting this is. So it set a key frame at 100% capacity. I can adjust it by clicking, holding and dragging across, or you can just click at once and type it in case I want to be a zero here and after a bit of time. How far Germany. What I do is I just hold down the space bio, click the space, but once and then turn it off again when I feel like it's been long enough, which is values that feels long enough. A gay. So it's being about one second, and all they're gonna do is cuckolding dragged that up. You'll see that as I drag it up. It's created a sick and key frame. So frisky frame is that zero next key frames at 100. So now hopefully hey, and what we'll do is after some time, I wanted to them fade out now, one off the problems that happens with everybody that's new and in my classes is that the whole now go into in this down to zero fade out. But they don't add any pause because what happens now Watch. This is it goes up and then just instantly starts coming back down again. Think of it as a ramp. Okay, it's tough. Zero gets 100% and then starts coming down straight away. What I'd like to do is have a bit of a flat area where it stays at 100 for a while before it fades out. So I'm gonna undo to get rid of that key frame to do. That is not about two seconds and 21 frames. Okay, so what I'm gonna do is see this little diamond here, Pick on him that forces in a key frame without you having to adjust this. So it means that that is 100. Now, that is 100. Now, move along a little bit further when I sit down to zero. Okay, so ramp goes up 0 200 stays 100 for a while. And the rain comes down back to zero value asleep for creatives. The next bit of animation is going to win. This house appears. Okay, you can kind of. That's where I say it. You can hear the woody every well through my microphone, but that's in the house. Kind of appears. So what we're gonna do is 12 up this Get up. Nice and clean is I'm going to drag in my house. Where is the house? He's down the bottom here. Off my library panel. Put him over here somewhere. Okay. End on a zoom out. Yeah, it's just gonna be in the top corner. Thats one here. Fit will make sure the comp is perfectly centered in this into their with these icons. You can resize them by grabbing the corners. Kay. Now a little bit weird in after fix. If you know some of the adobe products, you want to make sure the height and width doesn't change and you want to drag these corners here. You because without holding anything down, they scale we'd lee. OK, so what you do is you start dragging. So it's scaling with Lee. Then hold shift, okay? And I'm holding down my mouse key and my shift key. You can adjust. The size is we're not going to because I've kind of made them all pretty good in Illustrator in the last course case. It'll the right side. So I'm gonna leave those. So what we gonna do now is the moment it starts right at the beginning, I'd like it to start just before the word I say. The way it house okay is I want to click hold and drag this colored pop drag, drag, drag, drag, and see. The beginning comes along So now he kind of just started a bit later on household, so we'll get the timing right in the second. But that's about right. So what I'd like to do is I like to put my plate at the beginning of this lay here. Now I can kind of zoom in and make sure it's perfect. But our first little short cuts going to be holding down the shift key while you're dragging your play him with current time indicator. Okay, so hold down the shift key, and what happens is it'll jump to significant parts in your time on. You could see it kind of jumps to beginning of this. It also jumps to those markets, Can you see? Jumps to the beginnings was just a really good thing to hold down holding on shift when if you're dragging your timeline. So first thing I want to do is I want Willis down and I want to find the scale, so I'm gonna sit the stopwatch going on scale. Okay, so we've got a key frame in the scales at 100. I'm gonna turn it down to zero. Go on. I was gonna drag it 25 you know, this type of zero K end. So it zero, then a bit further alone. Okay, I'm gonna drag it up to 100. So now it starts there, and very slowly, it appears K. So what I'm gonna do is I'm gonna zoom in a little bit on my timeline to zoom in gay. Just type the plus button on your keyboard. Okay? Just plus nothing else. Mine assumes out, okay. And what I want to do is maybe just bring this in. So it's happening a little bit faster. It's about right. Okay. We need to play around with easing and a few other things, but it's kind of them so great. I'm gonna 12 this in case that's all nice and tidy. And now we could start bringing in all the rest of them. You can see the wife, Kaye, and I'm gonna bring in I kind of my wife gay, and I'm gonna drag along and start this, but further along starts here holding shift to get it to the front. I'm going to 12 us down, transform to and scare. Long said it to zero, moving along a little bit and then drag it up to 100. You can drink it past 100 times of 100. Okay, So I could keep going through and doing this for a while. The different icon appearances. But what's gonna happen is I'm gonna do it for all of these, and then the next thing I want to do is easing. So I'm gonna have to go and do that toe of them separately. Then I'm gonna have to add some sounds and have to do it all them separately. So what you'll tend to do is I'm gonna delete the girl, okay? And was gonna work on the home, get it perfect, get a popping and bouncing little starburst and then will duplicate and just switch out the icon. That's a lot easier than trying to do it. Repetitive, gleeful, the separate icons, Let's work on home. And then later on, we'll go and switch them out for all the different icons. All right, let's get on to the next video where we get rid of this kind of, like, lame power pointy Zuman thing. We're gonna add a little bit of life to it. And that is called easing 10. How to ease animation in After Effects to make them look slick: Hi there. In this video, we're gonna look at easing. Basically, it's gonna turn boring animation into something a little bit more lifelike and interesting . So the bottom one really is gonna be boring. The top ones is going to be nice with easing boring my sparring. Nice. See, they easing just as a little bit of life to promote any animation in aftereffects. Let's go and do that. Now, a case to work on easing. We're going to click on out. I call in one house, Okay? And what we're gonna do is 12 us down so we can see the key frames that we're working on now. This could be quite complicated as and we've got we can see and appointed position. It's quite messy, especially when you start 20 down. A few of these que gets all kind of ugly looking to make it a little nicer is have this layer selected, have a completely 12 up and clicked the U key on your keyboard. All that does is that it brings down only the attributes that have key frames applied to them. So the stuff you're probably gonna work with So it's hiding anchor point in position is still there. You can close it up, open it back up, but just type you. He's everything nice and clean while you're working. Can't get my player close at the plus. Skeeter's woman. Now, at the moment, it's doing this kind of like, it's not very nice. I'm gonna turn off the sound. Okay? See these here I turn these off disorder that I can't hear the music. The problem is exported, k that it will have no music and voice over, so make sure you turn them back on. So yeah, very PowerPoint e k just kind of like appears but lame. So what I want to do is apply. Easing. Now what a lot of people do is they'll slicked this key frame and the ski frame, some holding down shift and click both of them. They go blue, right? Click any one of them. And actually, you can click if nine. If you're on a PC and that applies Eazy E's. If you're like me on a Mac and if nine opens up a bunch of other things like iTunes or something, you can't use that shortcut. But if you right click any of them go to keep from assistant. And there's Eazy e's Okay, that their changes them from diamonds to these little our glasses, and it gives it a little bit off easing which this hunger it's better. Okay, it's a little hard to see, Okay, but it gives it a little bit off resistance at the beginning in the end and gives it a little bit of black. And that's gonna be a huge part of this class. We're gonna look at easing plus a bunch of other tricks to give out icons, A bit of anthropomorphism. Okay, so what we're gonna do is so easy. Easy is great. I never use it because I like to crank it up even higher. So to do that, you can manually type it in. So I'm going to, right click it and we're gonna go to this one instead of assistant. Got a key frame velocity. So what Eazy E's does is it changes that from 0 to 33.3%. Okay. And that's kind of like gives it a little bit of influence, but I like to crank it right up to 75 75 in both of these cave both the in and out points works. Fine. Click. OK, so it's kind like an easy is, but like extreme version Now kick back and watched this I like a lot more. Okay. Just got a bit of flow to it. If it's going a little fast, I feel like mine is I'm just gonna click on one of these icons and separate them out. Yeah, that's got a nice of feeling to it that, my friends, is considered ease. We're actually using velocity be. You can use those terms in this case interchangeably. Now, we could do it to the fade in case I'm gonna zoom out, go back in a minus out a little bit to see my whole animation. Remember this ticks fades in. Okay, So to see, just on click on the text layer. How do I see just thea key friends that we made for this may be the Faden. That's right. Like you and you keep would say, is my key frames now I could do easing for this spot for capacity. I can't see the difference. You might decide that you play around with it and you like you can see the difference and easing in a pass it e. And that's totally fine. I just find, like, doesn't really matter what velocity play around with it. There's not a whole other difference when you're playing with transparency or opacity, so I'm just gonna leave those and get on to the next video. 11. If you get lost in AFX and can’t find your animation any more: I think this one now, because you're probably if you haven't got lost already. You're going to get lost at some stage, especially if you're new. And the main culprit is this looking at my computer value of sleep, and then I click on this, um, exit and double click. Okay. And I double ticket by accident and end up in here. And you're, like home. And where is everything gone? Okay, it might be blank. Might have clicked on something else. Like the background for unlocked that and double click it K have gone inside. And you're like, Sure there was some text here. Okay, but it's all gone. All that's happened is going inside the layer. Okay, here's my com back here. All my lovely stuff on it. OK, but you can dive inside any of these objects by double clicking on it. Problem is, as the timeline doesn't change case, all you need to do is close it down or just jam packed over here. Okay. Where's his composition? Nothing is being lost. Your fine, but that will happen to everybody eventually. All right. Next video 12. Adding free sounds little pop noise: way theory and this animation, we're going to add little noises behind our animations to make them feel more real. Like this guy Creatives. Now there is an ongoing debate in our household about areas. Casey, that little block noise. Let's go figure out where we can find them and how to implement them. Okay, so let's first of all, find out sounds. OK, so if you need sounds for, like, interface kinds of things like we're going to do for this Pop, you need some clicks. You need some bumps. Um, groans. Just like little noises. Often that turned to look for is interface noises. And there's no real one place I use free sounds told quite a bit because the licensing allows me to use them free, but double check the licenses before you go and use them. And the weird thing is looking for them like, say, you want a noise and you can hear it in your head. Okay, Marshall, from explaining that. Right. But you know what? The noises, But how do you describe it in words? So you might go zap. Okay. You like in Is this the noise? Boo. Wow. OK, so orb loop is the one I want gay. That's the one I wanted. Okay, None of those. You can download them easy by clicking on them and downloading. I've got one ready for us in this animation said it's jump into after a fix. What I did was in your audio files that we brought in earlier. I've made this block, okay? And actually just recorded it myself. I made a noise that, like I made a noise on my microphone like this. Que war. Okay, any those are noises. I use quite a bit for my animations because a I get the exact noise that I want, and I get to use them commercially because I made them. You're allowed to use my block whenever you like. Okay, you have my full rights. So what I'd like to do is just time it right case when the house appears and I'm gonna bring in this block Nice. And what I might have to do is well, is to my audio back on, just get the timing right on a tune on the value of sleep to the sound on now, trying time and altogether, you, ah, probably needs to come along a little bit. That's not bad. Okay, everyone's going to be slightly different because you're working on your own file. Maybe a little bit for the wrong minute comes down to a little, a little bit of art that's trying to get everything timed nicely. There feels OK. It's maybe going a bit slow, my little pop as well. So anyway, we have looked at we to get sounds from OK, we've made our own, and we've applied it. He's one of the things that get often overlooked when you're like watching somebody else's . Infographic you are. That's cold, and you don't notice all the little noises in the background. That kind of had the life to the little animations. A case of just keeping air out for those sorts of noises and see if you can find similar ones and oh, forget to add it to your own work. All right, let's get on to the next video 13. Creating a circle pop or circle burst in After Effects: world in this video, We're gonna look at doing a little star. Best watch this icon up here. Watch little stab us. Okay? It's this little effect Would see that little Starburst e ray thing that appears okay, at the same time as the icon. Okay, we're gonna make that in this video a case. The first thing we need to do is draw shape. Now, you can't just go and draw a rectangle and use this, okay? We need a rectangle. But we need the center of the world to be in the middle of the rectangle. And it's a lot easier to do that if we just double click up here. So I'm going to use the rounded rectangle told this looks kind of cool with it being a little bit blobby. Okay. And just double click the icon it throws in a rectangle right in the center of our spaces. It's far too big. We can resize it. It's no problem. There's a few different ways of re sizing things. Okay, if I grab the agent actually scaling it, I want to actually change. It's physical size and we do it by down here on my shape layer on a rectangle one K. And here there is rectangle path. Okay, that's its court size position and rounded edges. So what I'd like to do is I'd like it to be a size of about. I wanted to start at a width of about 30 and a height of zero, and what you'll notice is OK is it gets down to zero. If you don't unlinked this case, I want the width to be 30 k and the height to be zero. So make sure that chain link is broken. Otherwise, that connected. And what you'll see is gonna zoom in a bit. You can see it's 30 pixels wide and zero high. That's how it's going to start. What I'm gonna do is bring my play it back to the beginning here. So what I want to do is and I make this song a tune on my key frame so it frame one. The size is gonna be 30 by zero, and then after about a sick and okay, it's going to be zero. So it's going to be very thin. Very tall. Hell told, I'm gonna make it about 60. It really depends on what you want to do and watch to see the difference between the tone kind of group. I'm gonna go back to fit. I find this is good because I can see it in proportion to everything else special, because now I want to move it. So I'm gonna set a key frame for a position. Make sure you play here, does Here it zero k move along to this one, Remember, Hold shift on your keyboard and we'll lock into the exact same position. Is this key frame? So they line up and we're all wanted to go six. And why? Why is the 2nd 1? And I want to drag a kind of to the negatives which makes it go up weed, huh? Go. That's going to start down the air and then move up there afterwards. So we got to keep frames. I'm gonna preview okay. If you're like me while you're previewing it's a little high wind, there's all this other music playing and everything animating behind. It's what we're gonna do is when I wish a play here it's just toilet down so we can't see it. Okay. And what I'd like to do is just turn off the eyeball on these other layers and the sounds off these layers between the back on a second, just so that we can see this guy in isolation. So we've got this little guy's doing a little thing. The animation is not very nice. So we're gonna use the U key that will show us the key frames for this slick. All these guys and I am going to right click one of them go to key frame velocity and change to my famous 75% click. OK, One thing you'll notice is that I try to do them all the one go. It only did one set, okay. Hadn't done these guys because size changes ex and why? There was two options in the air, but position only hairs were any adjusting the y. Okay, so it can do both of them the same time. So you just have to do these separately. Sometimes you can change all of one big go by selecting the more sometimes look didn't separately. Hopefully it'll nice and now group Okay, you made your own book noise. So the next thing I need to do is kind of repeat it round in a circle. So I'm gonna kind of put my play here halfway between these two just so I can see it. Okay. And what we need to do is add what's quarter repeater. You do it. I'm gonna to 12 it up to a back up to see everything in here. And make sure you've got layer one selected K shape layer, one click this weird ed and Ed, this one called out Repeated Repeat is an effect game. What we can do here. Several of Look, there's three of them. You go have it back in the middle here. What we want to do is open up, repeated and want a change. A few things. One is how many copies? Something have 13. It doesn't really matter how many you have. You can experiment with what looks good, OK? And you can see now it's got 13 of them by default. What it does is that repeats its position 100 pixels to the right. So what we want to do is go to transform Lupita and where it's his position. Okay. We want to say, actually, we don't want to repeat it. 100 do that. Zeroes there's dating in the most stepped on top of each other Now what I want to do, though, is I want to play around with the rotation now, divide 360 degrees by 13 little copies. I have no idea. So what you do is you go 3 60 divided by how many copies you have. Okay, You could do meth in these little any of these Littlefield's? Okay, if you're terrible with meth like me, let the machine do it. 27.7 k and Wilson, huh? Now, if yours isn't looking good like mine, and it's gonna maybe spiraling off this happens in my class quite a bit is that you'll not change position. And it does. This is kind of cool. Kind of weed says make sure position is set to zero. Okay. And there we go. That's our little stab ist. Now we're gonna turn on their layers and move it so it's in the right spot. So what we'll do is close that one to the eyeballs, all on to the sound on for the block up, the music and the background. And what we'll do is we'll reposition this shape layer problem is, it's quite hard to do. Okay, where is he these days? Quite hard to get your fingers on him. So it's a lot easier to actually 12 this down. And I'm gonna twiddle that up and use this one here. Says transform. Gonna play around with the position. And I often use position to drag things around rather than using the cursor like we do in lots of other adobe programs. Just cause it's so hard to do when they're so small. Althea Passages down zero. So what I want to do is play my play here until a little pop up guy appears areas they have this little stab us needs to start along at about the same sort of time. It's kind of close. I also want to do is play around with the position. So you go over the thinker downwards, get the f cope. Now we're gonna play it. And how good is that? That's kind of cool, huh? OK, so if yours is doing something weird and you just like, I still can't do it, Okay, You're gonna have to go back to the state oral and do it exactly step by step. What your finder's say here in the shape players. There's lots of this transformed for position here. There's also transform position in the repeater. There's also in the rectangle here. There's position. She's gotta make sure you follow me exactly to make this one work. Going about it, though, is once you've done it once and you want to use it for another job, just go and copy and paste this shape layer K to any new comp or any new project you're working on, or even better, just steal my one. Okay, my own definitely works. I'll save it now. And to be part of what's called the completed files, you'll see a link to it on the screen somewhere. All right, that's how little circle pop. 14. Animation TIP Motion Blur: OK, in this video, we're gonna look at Motion Blur Motion Blue makes everything look more awesome when it's moving. Casey, the top one. Motion blur. Bottom one pouring no motion blue. Let's go and learn how to do that in the off graphics. Okay, Toe ed. Motion Blur. I'm just going to get my play head. So it's kind of around the icon exploding part off my timeline. Zoom in a little bit. Okay, Move along. I want to get in close enough. There we go and play it the moment. It's quite victory. Okay? We wanna add some motion blur, and you're going to remember the first part, which is this little icon Hansel worm looking thing. That's the motion Blur column. Okay, within their column, I'm gonna turn on this lay here. We'll work on the house first. What we might do is to in the eyeball off on the circle burst. You'll notice that it's not shape, layer. When anymore I renamed it Circle best. Okay, in between videos just cause okay to rename allow you right click it and say rename so I can one and what I'm gonna do, You turn it on and nothing changes. Okay? What you need to do is turn on the master switch, which is this one. So what you can do is you have the master switch turned on, and then you can decide each layer that you would like have motion blur much once you don't just remember that in them both on and let's have a preview, okay? And it's I guess it's a little hard to see, but when I slow it down, going slow, you can see it's blurring when it's moving fast, like it would do in your videoing it with a regular camera heads a little life to it, so I turned it off shop that blurry. That's one of the big difference between using something like this to do your animation and adobe animate Dobie Animate doesn't allow you to do blur very well. Okay, there's more motion. Blue is a really nice way to add life to icon, so that's good for that one. Let's turn it off into the eyeball on for the stub ist and do the same thing to end the Blair on give it a preview and just give a look. Just looks good ones moving fast being blurry. OK, so it's to them both on combination motion. Blur. Awesome. So pretty much any time I animate anything, I may try to in the muscle switch on and they in turn on the specific layouts. And that, my friends, is motion Blur. The first of our animation tips. Let's go and look at some more. 15. Animation TIP Over shoot: way. Okay. And this tutorial, we're gonna look it over shooting the mark. You can see this one gets bigger, but they need to get a little smaller and bigger game little bounciness we're gonna do to this to live. And then we're gonna jump to our value of sleep, okay? And we're gonna do it to our icon there as well. All right, let's go and learn how to overshoot. Okay, let's get something to overshoot. First of all, we're going to not work on this project, okay? We're going to actually work on a separate little job and weaken Do it in its own little comp. The moment we have one Compositions. That little icon here, K end. It's Al combat where you see down the bottom. Here, you can have more than one company. More than one page in a document. It's a new composition, a composition, new composition. Get a name, this one's gonna be caught, overshoot. It's gonna be great. And we're gonna make it five seconds long. Okay? Background color is gonna be black. Liquor came. I show you this because I want you to know that you can have more than one comp in a project. OK, so here's my still my handy dandy main comp. But I'm gonna work on this other project in here. It's like a separate little group. That's where we're gonna do our project. So what I'd like to do is, let's jump into Illustrator and ultra. It's gonna open. And in your project exercise files. There's one court icon, pop, and let's grab the animation Overshoot. No office it. What we're doing in here were just practicing K because I want this thing on a dragon into my library. Can't see your libraries Get a window libraries. Hey, drag it in. There's that part is that part that I want to use in my animation? You can draw all of these in after effects. Just the tools aren't very good to do it. Everybody draws in. Illustrator. Not everyone but most people. Now, I don't want this big box. I just want the color from it. So remember, with its selected little plus button fill color, thank you very much. It's rebuild you now in after a fix. Okay, so that credit card is kind of like a separate little exercise. So what we're gonna do is we're gonna show you how to build another comp inside your project. Think of a combat is like a little group. You could see it down. Here's a little group of layers, but you can have more than one comp. So going to get a composition, New composition. We're gonna call this one overshoot. Make it about five seconds long. Works for me. Becker and Color wouldn't worried about. And what we're going to do is put in a background color. Remember, it has to be layer new, solid color wise. You might have to scroll up in your library's to be able to see the colors of the top A little I drop. It'll click the blue pick. OK, we've got a layer they're gonna right Click it, give it a name, Call it background, Lock it so we don't wreck it as a round little bits Actually gonna go to fit So you see everything. I'm going to build the little compositions. The credit card thing goes there. Actual green credit card thing goes there. What we'll do is we'll do a little scale overshoot, but you can do a slide and overshoot anything you like. Now there's two ways of doing it. Well, do it manually. First. It's not that hard, but there is an automatic way afterwards. The only trouble is the automatic way doesn't work every time. So let's do it the manual way first, and then we'll look at automatic. Okay, so here will twill down. We'll find transform. Will do scale. Tune that stopwatch on. Make sure the play heads at the beginning, K, and we're gonna set the scale down to zero. Okay. And then after some time about that time. Okay, I've minds at 14 frames. I'm going to scale it up to just past where we needed to be. So 120 maybe. OK, maybe a little bit less. We have to play around with. It really depends on your artwork. Okay, So then I wanted to go back, kind of bounce back not 100% but maybe 90 k back past where it should be. You can kind of see what we're doing here. We're going overshoot back, but we're over shooting back past where we needed to be, which is 100% and then now going to go up to 105 and then one last one, which is going to be 100. Now we have to play around with timings and we'll have easy because of the moment you get a kind of a sense of what we're gonna do, right? There's not that hard to do. We're going to slick them all and go to keeping velocity. Okay. 75 75. Okay, The only trouble with that is that it's quite intense. So what I might do is undo And I say, remember, I never used easy eggs. It's gonna work in this case. Looks quite a bit with overshoot. Now, timing wise, I'm selecting all these guys. I'm just kinda creeping us in China. Get my kind off idea of how the timing is gonna work. You're gonna have to play around with it yourself. What you can do, though, is say that it's all just happening to slowly. You can select all the key frames instead of trying to, like, move them all along. Okay, you can. It's like W key frames. Grab the last one. Well, not yet. Holding the option key on a Mac or O key on the PC and grab the last key frame and just drag it to the left. And you could see that kind of compressed like a concertina. And it makes it heaps easier to reset the timing rather than trying to move them individually. So now goes Wal K. Hold the last one, and now it's gonna go. Were what? Social wired dissenter fix. Okay, so anyway, that is a manual way off doing overshoot. Same principle for moving at Ford Keiko past. We wanted to be back a little bit back a little bit back. Eventually it wrists in the middle and had save. And this outwork here, I'm gonna right click it and give it a name. I'm gonna call this one manual overshoot, and we're gonna do an automatic one with an expression. So what I'd like to do is just in the eyeball off on it, okay? And bring in at work one again, OK? I could drag him from here, or it's already over here in my files at work One. You go. It's not the exact same position. I know. I'm worried. Okay. So toe automatically do it. Key frame of the beginning. Play it at the beginning. I'm still gonna have to sit the basic key frames for this to work. So we're gonna 12 us down and we're gonna go to transform. We're going to go to scale. We started zero, and then after some time like this, we're going to mines at 16 frames, scale it up to 100%. So have to do that. That's all we have to do. No easing, no extra bumps. Now we need to add what's called an expression. Expression is what aftereffects cause coding. Okay, we're not going into too many expressions in this course. Just the handy ones. Que en to sit expressions, K. First of all, we need to grab the code. Already got its in your exercise files. I didn't write it. I borrowed it from someone. And when I said borrowed it, I stole it. But it's OK. They said it's okay to steal. They put it up on the Internet for people to share. So you exercise files, there's one and he called expressions. And there's one any court expression overshoot. Open it up. Select all of the stuff that's in here. Copy it. I've left all the credit for the people that did make it came and it's an inert oven it off somebody else's it and I've got a pretty sweet now. So what you do is over here. See the little stopwatch here to get an expression applied to the scale. Here, you hold down the Olt key on a PC or the option key on a Mac. Click it once, then goes red, okay? And that isn't the expression in here. So I wanna delete what's in there and paste that random stuff that we found okay? And just click out anywhere else. There's a big expression applied to this scale. Go back, be revered. Okay? No, they're great. But if you tidy these end up a little bit. It's done. Look pretty sweet right now. A good cool. So that saves us having the trying time that bounce in and out. Would you have to play around with how far these apart? We don't have to play around with easing. Okay, it's really handy. Only trouble is that it doesn't work every time it works, if you have two key frames. But if you have to have a few different key friends say this credit card kind of moves up, then left, then, right? And you wanted to bounce here? It's not gonna work. It only works of this. Only two key frames. Okay, so we're gonna close this one down now and apply this to our original animation. This is just a little test case. Okay, so we're in this overshoot comp and close it down back to my main comp, and what we're gonna do is we're gonna We're gonna apply it to this little bounce. Okay? Was looking cool without easing, but we're going to go and replace it with. One thing we need to do is first of all, it's look at the icons for scaling a member with a layer selected click. You it's going to show you my icons. It's not going to work because we've applied easing to it. Okay, so we need to remove this easing because it misses with our script or expression to get rid of them. The easiest way is to hold down command key on a mecca and clicked, um, or control key on the PC. Just get them back to diamonds. Now we're gonna insert our expression. Okay? Remember, we held down a key and click that stopwatch neck. He is called. That's right. All on a PC option on the Mac. Give it a quick in here. Gonna replace this. The lead it paste in our lovely expression and then drag our timeline back and prepare ourselves for a little bit slower is going on a little bit slow. Okay, so he's gonna bring these two together. It's like just one of them. Bring them together. And yes, you can decide on how far apart these are. Awesome. Now, in this case is probably not appropriate to do it to the Starburst cause we don't want that to balance back. We like it. That kind of discontinue on and then stop. But that, my friends, is overshoot. But before we go is being annoying me. These need to be in there. You need to be there when you dragged them out from the libraries. The libraries is missy just kind of dumps them into your project window. Now that's tidy, and I'm happy save and let's move on to the next video 16. Animation TIP Vignette: I think this video again Apply vignette Convenient. Looks like this around the outside. Turn it off. Boring vignette. Awesome. It's going to that now. Okay, Is not really an animation trick. Just looks cool when you're dealing with motion graphics and infographics have vignette, it's easy to apply. The first thing we need to do is create what's called an adjustment layer. Adjustment layer is an invisible layer that we can apply a fix two K and we're gonna apply a vignette to this one. So to find it, we're going to go to our fix and presets and then here we're gonna type in something called Dmitri Room each. If you start spelling it, you'll get there. Dmitry Color is the thing we want and click Hold on, Dragon. It's probably best to drag it to the actual layer itself. So, you know, you got on the right spot and one of the options in here under vignette is the amount, and we're gonna drag it to the left. You notice in the background there minus 1.7 and we've got a kind of have been yet okay with you like this or not, I love it I love it. Makes it give it that kind of film quality. Look. Okay. And so it's general on and office to see what is his ethics to the on and off. Okay, you can have a white one if you drag it to the right hand side. It's going a little slow. Come on. The national wind There's like the heavenly glow. Never use that one minus 1.7. That was good to me. That is how you apply a vineyard. If you're sitting there thinking, Why did he make it? Doctor, On the outside, you're probably not a vignette person. I'm a vigna pissed. Watch any of my videos everywhere. I overcook it and overdo it. One day I'll get it out of my system before we go. Let's rename this adjustment layer. Okay? We're gonna call this one of virginity. Can you spell vignette? Ah, that close. That's close enough. Now the only problem with a vignette, it needs to be at the top the whole time. But as you keep adding things, you're potentially add stuff above it. And what happens is say that I get this underneath the icon. You'll see the icon is not affected by the vineyard. This adjustment layer affects everything underneath it, but not anything up. Love it. So just be careful off that. All right, let's get out next tip. 17. Animation TIP Anticipation Up before down Graph editor: all right. In this tutorial we're gonna look at anticipation is when things go up before they go down or lift before they go right or they get big before they get smaller, we're going to learn that, and we're gonna learn how to use this. Graph it it on the bottom here. All right, let's go and do it with this type, okay? To make it work, What we need to do at the moment with God beginning, it starts, playing fades in and it's running a little bit slow. So is going to save this for a tutorial later on. But my machine is having a bad day trying to record the screen for you and do this HD animation at the same time. So I have to do is serious, is full. He was, Might be set to auto. So it's in brackets. What we're gonna do it said it to 1/4. So just means the resolution in preview is going to be a bit little. You can see it's going a little bit pixelated there, so that versus full okay doesn't actually change Your output just means previewing within after fix is a little nicer case. I'm gonna Yes amount so I could see the ages. Now, what I want to do is remember down here was of this type. Maybe you shows me the key frames. Now, I've got these first key frame where it fades in. I'm gonna keep that these last two key frames I don't want to get to transition out for the jump is going to stay for a while. Now. What I want to do is I want to put in a position, so we're gonna open up position now. Cool. Little shock. It is. I can just hap pea on my keyboard and what it means is that instead of having to open all of this up and find position, I just kept PM A keyboard says the first letter yes is for scale. As for a rotation, I just saved a time jumping round China twenties down and figure them all out. Plus, it's a lot Tidier. The only one thing is a bit weird. Is he don't use Oh, okay. For our passage, he used teeth, transparency, odor, something really weird. Okay, if you do hit open ends up way out here just means play it has ended up past the screen with no mans lands. If they kind of, like drag it back. Come on. Don't let go. You will. There. All right. So we were we about there about three seconds in. I wanted to get it to jump down. Remember p for position. And we want to set a key frame now, a little bit later. It's hard to know beforehand how fight to keep these apart. To make this look really have to really play with them afterwards. It's because it really depends on the size of the object you're moving and how much you move it on, how fast you move it. Okay, So what we want to do is we've got a frisky frame. There are second key frame. I wanted to get up a little bit. Not that way. When the up a little bit. Okay. How? Get it to go help high enough. I find if you do it too low, becomes really had to work with. How is that too high? Okay, there is a limited the height. Okay, so it's gonna go up a bit, and then after a little chunk, it's going to go completely down. So I'm going to move it down to the bottom here. So it starts up, starts down. You saw I use position instead of dragging. It is just the easy often. Use the position slider. Now my default looks pretty crappy. Okay, so what we want to do is and we want to add some easing. Now, if I right, click all of these guys and we're gonna use Eazy e's in this case just cause what happens. It's not great. Okay, so we're gonna have to get into using something called a graph editor up until now, when? Pretty much after this. Get away with just using velocity and picking influence or using Easy's. But now we're gonna have to use the graph editor if you find out a little bit tough. Kind of is for new people. And if I was truly honest with you, I find it a little bit tough as well. So to switch to the graph editor. OK, it's this little icon here. I got these icons selected first. Okay, so I selected these key frames, click on graph editor, and that's what's happening. It's what's kind of looking a bit weird. Does it kind of like a weed. Little jump doesn't quite work because this flow is not very nice. At the moment, though, the X and Y coordinates are stitched together and you can't adjust diesel handles. Okay, so what we have to do is we need to break them apart. Is this little X and Y? You notice when you break it apart, it actually changes a man. It's one of the quirks for it. Now. What we want to do to make this thing look nice is we want. So this is that two key friends. That's when it's my play head. That's when it's normal. That's when it's up high, and that's when it's down low. So what we want to do is it looks really good. If this is a nice, smooth kind of line at the top here, okay? And these ones here, I'm gonna kind of adjust. Okay, you have to play around with them, but this one, he is gonna come up a little bit. This nice binned often looks good. Let's give it a go. But there was so it's got the right kind of rhythm. It's just maybe not fast enough. So we're gonna jump back from the graph editor. Okay? You'll notice that it's split them when we did that in the graph it or we say separate the x and y. So now we've got two of them to deal with. We don't really need X or why I wish is the up and down one I can never remember. I'm gonna leave them both here because, oh, man. But anyway so what we're gonna do is we're gonna play around with timing, so I might just read this. Tighten this one up. This one tying it up, okay, Just happens a bit faster. Okay? Maybe not quite enough. Okay, so it's working. It's definitely looking like I'm gonna I'm gonna tend the mute on these two. That dropping mean bananas. So it's getting there. Right? Switch back to the graph. It it is to make sure they haven't. Rick didn't hear Switchback K. Is that playing around with this and you can kind of start to see Yep. Okay. I might go a little higher. I'm gonna get to here, and I'm gonna have to work out of its X y. That's why the whole time, Okay, so I don't need it. If you could just been X okay? Just clean it up, K now going to go. I've kind of wrecked it even more. That's going higher. Then it's faster Gonna speed that and they're so you end up Do playing a lot with this to see if you can make it work. Now, before you leave, I have to make it look nice. That's getting there. Oh, what? Okay, let's have a look at the graph. It a just to make sure before we go, we have erected there. I think that feels good. And when I said before, it needs to be this perfect curve. Actually, it'll look nicer with a little double been here So bending can out in up So it kind of starts slow, goes fast in the middle, get slow again and goes fast at the end Like to say that last little two bit for the intellectual You still watching? Okay, spit it out. A little birds. It's been ages kind of making this look great. I'm happy with that now. To make it look even nicer is to turn the motion blur on K. Make sure it's on for the actual project as well as the layer. Let's give a little go looks nicer when it's moving. You see, I don't know why I had bones under fix, but I'll do that throughout this course. Alright took a little while, but there's a lot of finesse when it comes to giving things to feel the right kind of feeling when you know the right kind of weight when it's moving. Cates called anticipation, and it makes an animal objects look a little more real. Get onto the Knicks animation tip. 18. Animating TIP Off set two objects moving just after each other in After Effects: Hi there. In this video, we're gonna look at off sitting our animation so that two separate guys kind of follow each other in, and they kind of look like they have a cool little relationship so easy to do. Let's go and do that now. And after fix a case that I make the offset happen. What we're gonna do is we're gonna make a new comp, Okay? But it's gonna keep it separate from animation here because it doesn't make much sense as part of this, we've got one kind of animation technique going a little overshoot. Let's go. Composition, new composition. This one's gonna be called offs. It okay? And I'm gonna make sure the beckoning colors black durations will be five seconds. That's fine. Let's click. Okay, let's bring in. Our icons are gonna double click in the area down here. I'm going to skip the using libraries at the moment. I've got them here at the court. Offset one and two goes. We're gonna bring in offset one. First there's a little clock and offset to We're gonna kind of put them so that kind of overlapping a little bit using my Eric. He's just a bunch of around because it is difficult dragging them with the arrow. Okay, so I want them to be there. Any means necessary. Drag you down, little. Actually, it's gonna be over there, so bit of overlapping going. And if the overlap is wrong and you've got the other one on top of the other guy, what you can do is just make sure here oversee it. One is at the bottom. You could drag him around. See, now he's on top of the bottom. Great. We need to put in out two key friends on position. And now we're going to do is going to do some awesomeness where we do two at a time, Okay? Cause they're two separate objects because we want them moving separately. We're gonna head P on a keyboard. Okay, We're gonna sit key frames for them, okay? And we're gonna pull them off screen and a zoom out a little bit so I can see offscreen. Okay, Maybe you might drag this game just a little bit easier. And after about ah, timings had to do at the stage. Dragon Moan came. So they kind of move on over exciting. And we're not going to do the easing. We could, because I'm gonna use the expression that we had before there was. They're gonna copy it. Okay? I can't apply the expression to both these same times. I need to hold down the bulky click on the stopwatch for position. Okay. Pasted in the air to the same for this guy pasted in the air. OK, now got this cool little thing going where it bounces around. Gonna play around with these guys, bring him in a little bit, but faster. I don't know why I'm that fire out came. So okay. And we're going to do the overshoot by just playing around with the timing here. Okay, So that this one starts first on this one comes along just after it. They kind of look like they're, you know, somebody's doing stuff together, but just a little offset. It could be really good. Just subtle stuff. Okay, We're doing a big obvious offset here, but it could be great with, So you got a character, okay? And they kind of jump into the screen. They here could be separate on a separate land. They just got, like, a little bubble or any sort of like loose clothing or anything, just offset it and stuff. So it's looking quite cool. Other things to remember to motion blur on everything, looks nice with motion blur, and there is offset onto the next video. 19. Animation TIP Vector Redraw: all right. In this tutorial, we're gonna look what happens when we scale something up nice and big. Can it rushes towards thes screen and it gets all pixelated, Okay. And we're gonna show you how to make it like this all victor and clean, and basically we just doing their button on. But let's do it into a little tutorial. But seriously, is just doing their button on. Okay, so we're gonna do this with a little example file. So we're going to go to a new composition. Okay, We're gonna call this one victory draw, okay? And we'll leave it all like this. Five seconds. We're gonna change the background color to click on a change to White, can you? Just to save time, we should put a solid. And because what's gonna happen if we change the background color to white eggs? What's gonna go black? Okay, so we're just cheating now. Okay, So victory drawer and what I'm gonna do is on a double click. Maybe that's the shortcut to import. We're gonna bring in the bring your own laptop logo. Okay, There it is. There. Put it in my files folder. Some of these offset guys, get in there. Okay? And in here, bring your own laptop, Brandon. Okay, so that's cool. And I want to scale it up. Okay, So what I'll do is up here. I'm gonna hit this for scale. Set the timer going, Okay? And when it gets bigger, maybe about half a second. Hey, I'd like to scale it right up. This is gonna be oh, kind of like it's flying towards the camera. I don't know why do the sound fix doesn't help, really? But the problem is, can you see a It's ugly because we haven't had easing it, but you see, when it gets really close to the screen, okay, it has pixelated looks really crappy its victims. So it should be fine. What you need to do when this happens is this little check box here. Cases, little sparkle. You can see there. It's his continuously. Rest arises. Going to redraw it every time on every frame. Okay. Why would that be on buddy fault? It's quite system demanding. Okay, So if you've got lots of Victor shapes all flying around and there's no need to the redraw them every single time, it doesn't Unless you force to do by clicking This little gap in here goes nicely. Okay, Couple things we're gonna do to finish this off. You can skip now. We're just gonna take it up a little bit, I guess. On and practice our use off the graph editor. OK, so and what I'm gonna do is maybe just apply easing both sides of this. I like to apply ease, even if I'm gonna use the graph editor. Because what happens is once you jump into the graph it and now got them both selected, it kind of gives you some handles toe work with. If you don't not undo, it's just a flat line and you've got a click on these points and then go in here and say, I'd like toe creating Eazy e's on this one easies and this and that's fine. Okay, do it either side of that mind. Now, the cool thing about this is that because we're only doing one thing came these guys are tied together. We don't have to split them. Remember in an earlier tutorial, we had to split the x and y, which is down there, OK, but it's great out of the moment because these guys don't get splitting. And all we want to do is play around with these handles. And when it becomes toe like so what we've done up until now, we've kind of made it slow at the start in the beginning and fast in the middle. I'd like to do Is this case is I wanted to be slowed the beginning. Okay. And go slow, go slow. Go. So and as it goes along, it's gonna get faster and faster. Okay, So let's have a look at this now. Play it here. So it just kind of starts and then gets fast days that comes towards you is a brilliant I'm not like any at the moment. Play around with it. That's getting better. Okay. And go back to the graph. It it up Kind of doing what I want. Instrument. Now it is missing about They ask to the motion blur on K from there to note down here, when it starts really moving k, it starts doing the whole blurring motion, but it's actually nice blue rather than just pecs. Slating. Okay. And there's a lot of time or it's down here. It's actually redrawn nicely as well. All right, So there is Victor redrawing, making sure that your graphics any graphics from illustrator don't become blurry when they get scaled. 20. Animating TIP Puppet tool: I think in this tutorial, we're going to make things all floppy and Rio like this, using the pup, it'll it's gonna land. OK, so we're going to do this in a separate comp. So appear new composition. We're gonna call this one number two. Okay? Everything's going to be the same. I'm gonna use this an off gray go and we're gonna bring in some files. I'm gonna show you a different way of bringing them in his my exercise files here. But 12 we've been bringing them in kind of official ways. You can actually drag them onto the page there. Okay? And you could see that come through and put them in my files. If you're on a PC works the same way, you just need to have the window open in front of it. Just dragon. And off you go. Cool. So what I've got is published one. We're gonna put them where On this waste public ones at the bottom. We're gonna lock it because it's the COGSA. When actually gonna turn those, you could easily turn those into animated dogs. What we're gonna do is our example where we get this to fly in and be all bendy. Zoom out a little bit so we can see everything. So, first of all, we're gonna add a little bit of animation. So on this, we're gonna hit P for position. Am I gonna start stopwatch and we'll start him over here? Okay. And after about that much. Okay. 10 frames. He's going to be maybe a little bit longer. Okay? 14 frames. I'm gonna drag him in holding shifts. That goes perfectly straight. It's up to you to guess that dragging first and then hold shift. Go. So go the fist bits. And what we might do is we might add some easing. Now, we've added easing to beginning and end the whole way through this case. So what we're gonna do in this case is we're actually gonna just at easing to this last one , cause I wanted to start fast and slow down here at the end case, I'm gonna head velocity on, get to slow down to 75 because that's my favorite. So now it's gonna zoom along and then kind of slow down and stop there. If it doesn't right, click it again. Get a key frame, velocity and We're gonna change the speed here. Zero. And now I should do it. Great. So what we're going to do is get their little tail thing to bend. Casey's gonna zoom along, come down, stop when we want to, Kind of bending out to do it. We need to add some public points, okay? And it's hard to do in its off screen, so we're gonna move it. So it's kind of halfway there. Grab the puppet tool. Which is this guy there? Let's get drop in taking on that. We need three. In this case, we need one there, one about middle and about one of the end. You can have as many as you want, depending on how much control you want over it. That les pins, the easier it is and more natural. It looks now These have actually adding key frames at the same time. So if I click on the puppet to you, my secret shortcut showing me all the key friends if I move this other way, there's all the key friends of a maid. I kind of made them at the wrong stage. Can I want them to be all the way over here at the beginning. It's just easier to do. Obviously, when it's on screen, then it's off screen co. So first up does want to grab this guy. Still got my puppet tool. Gonna grab this one and kind of drag on. Do I got them all selected down here? I'm gonna click off, Gonna grab this guy, Okay? And I grab this guy and then if you slide along, that's kind of what's happening. He's kind of like zooming across solicit space by. So now what we need to do is when it gets close to this in part here, we need toe. Just move the key frames around. I'm gonna grab this one straight back up 300. Probably should have left one more key frame in the head there to stop it bending. But hey, ho. Okay, we're getting there. You can see it's not doing the little flippy flop that I want. Okay, so I'm gonna line it back up here, and actually, what I wanted to do is get a little bit past where I wanted us. Case is going to go like that's been after a couple more frames. It's gonna kind of flop back we go floppy flub too far. Then another couple of frames were going to get a goat just bit back. Further again. We're getting close to its kind of final wrist. There we go there now. The timing is all going to be a bit mixed up when you first do it in case we have to play around with it. So let's not get too excited really Gulf and space if it's not our best. But you get the idea right, that's what we're going to do. So what we needed to do, we're going to play around with the timing of these, slick the mall, hold down old and just drag them out. Does it feel like it needs more or does it need less? I'm holding old and it kind of compresses them while I'm dragging them. That might be it. So you Yeah, it's getting There may be just the three out. Now I'm just playing around with timing, and this will happen to all your projects. Get. You'll spend ages with this kind of like last part where you're just finessing it, Okay, there's no exact rules because it depends on the shape of the object how fast it's moving and what you kind of wanted to feel like. Yeah, it's getting, I think, probably I need to bring this whole thing across because it's taking too long to slide across, uh, maybe to farm. Okay, it's a little bit painful to watch. I know you. Okay? Maybe that's what I need. Needs to be longer. Just having a bit too fast. Yeah, I'm liking it. OK, now I'm just wiggling around and playing. I guess I could edit it and make it perfect on the first time, and you'd be doing it going mine doesn't look that good, Okay? And so I'm doing a few more people, okay? There's a lot of planning around with this type of stuff, especially with puppet tool, because you wanna kind of faking real life can. There's a lot of wigging round. Okay, it's quite cool. If you get like, say, it's a glass of water and it's flopping in, you could get that water that kind of flop back and forth as you'd imagine it. Woods. If you've got a person, say this, like on here, it's kind of popping, sliding in. Who here could kind of, like, been does he comes in all right, And that is gonna be it for the puppet tool. Let's get on to the next tutorial. 21. Grouping in After Effects is called precomping: I think this video we're gonna look at something called pre Comping. It's not part of the animation tips, but we need to do it about now before we can carry on with the rest of them. We're going to do it because we're going to start bringing in all of our icons. Can you say that? All start appearing now. Okay, They will do their little animations, but what we don't want to do is have a big, really messy timeline. We just want every icon to be on there by itself, including the little noises and the pops and the circle burst all together. It's going alone. What a pre compass. Okay, to create a pre comp. Okay, we're gonna slicked the three layers that we want part of it. Why are we going to do it? It's just because we're going to duplicate this. About about 10 different icons were going to use, and that timelines gonna turn to mud when we have 10 times Three. That's 30. I could do basic math, but it's gonna be near impossible to work with in the future. So what we want to do is just group them together. So they're locked into a nice little unit that we can reuse. So select all three of them. Cakes like the top Weinhold shift. Speak the last of them. Said these three. There's blood like on one house and circle. Best right. Click one of them and go to pre compose. We're gonna give it a name. We're gonna call this one icon like on one. Don't click, OK, and nothing really changes. You can still see. It's all still there on the timeline. If I dragged back and forth, it still does its little thing. But what's happening now is that they're all just hide into this one. That layer and all pre compasses. Remember earlier Army? Did this one court overshoot? We created a new composition and winning here and started dragging and building it manually . All that's happened if I go back to value of sleep, is that Dreamweaver has done that function for us automatically and built that comp out of those layers we had selected. There's no physical difference between the content we may court overshoot and this new one called Icon One. Okay, that's the pre comp K, but really just the camp. If that makes sense. So it it it I can go inside of it. DoubleClick go inside and I'm seeing my comp just by itself. It's own little timeline. Okay, so I can work in a nice and separately, the three to the last. But I could go back to my main comp, and it's nicely tied together here. I can double click it down here as well to get into it, and I can switch between it using these little tabs. These are the three cops that I got, so it's inevitable you'll end up with more than one comp, especially if you're opening up somebody else's work or working with a template. So this gets even better if we want to say adjust this king k m will switch out for the different icons. Let's look at doing that. First of all, I want to just because for some reason, my stab, it starts far too really. Now it's because we're playing around with that expression, the timings well off now. So what I'm gonna do is go inside of it. Double click it okay, and zoom in a little bit. Plus plus plus plus plus Okay. And down here I want the star best just to start earlier. Okay, So Starburst starburst okay to start earlier. Actually need to these to move further away because I'm stuck at the frontier. You still not enough Time Star starts there. It looks better, copes. And I could go back to my value asleep. Check this out. Gay minds running a bit slow at the moment. You can turn your resolution down to quarter case. That's not stressing machine out so much. Here we go. And I'm just getting the timing right so we can see the value of pre camps can all these little compositions made for us now gets even better when we want reuse this comp. Okay, but switch out the icon. So what we need to do is don't copy it down here. You need a copy it in your project window down here is just gonna make two versions of the same icon. And if we change one little change both of them. But if you duplicate it up here, the easiest way to duplicate it is to slicked it up here in your project window. Go Command C command V on a Mac or command C command V on a PC, even names it icon to for me. Okay, so about two versions, they look the same, but they're actually disconnected. Double click icon to I know him inside of here. There's, like, on why an icon to and what I need to do is I need to update this icon here. Okay? So it's this thing here, like on one house. I would like to switch it out. I could manually just delete it and dragon in. But I'd lose all off that lovely easing that we've done in that expression that were applied to make this a little bit more automatic and open up my files panel. Okay, I'm gonna bring in some of the icons. So the next one is icon to go. I could just drag it to my files here. Okay. Doesn't go in the right place. Get in there. Okay. In these icon to Gil already had one from earlier on. Okay, but that's how you dragged them out and get them as part of your project file. Then what you can do is you can have this guy selected down here is the one. We're on a replacement, but We're an icon to hold down the bulky on a PC or the option Chiana Matt could just click holding drag out Go on top of this guy and he switches out too easy. Go back to the value of sleep on main comp. Okay? And you'll see We've still only got, like on one on here, So let's grab icon to So there it is there trigger icon to Okay. And there it is, in the top corner there, and we're gonna put it. Ah, gonna be a bit of a room issues soon with all these icons. So we're gonna position it using the Black Arrow, and we're also going to play around with the timing because it appears right at the start. Okay, So just drag him along until after this end. Where is Ugo? So my wife is there, so get it to kind of be around this play with the timing. That's not bad case. You can see once you've done it once and double your using and got things going, you can repeat this process by duplicating your comp and just switching out the image inside. It means that if you've got something, has to be done every month. Set some sort of email publication presentation thing that gets rolled out every week, a month. You can use the same animations, but with different graphics. We'll do one more together and then will speed up the process so you could be based. That would make it open it, find us, select it with my files. Actually, I don't even remember what we're doing next. It's amounts. Okay? Megaphone. Then sleep days back into my uncle in three was make a phone. May girl for Newark. Said, dragging it across some, adding it to the project. It doesn't really matter that you are Get into my special folder k old drag you across, Specter my comp Dregg arc on three. On there somewhere. You go get the timing rights. Can you give me Kimmy and Kimmy and give me up? Okay to make a phone about the go, So I'm gonna kind of bulk do this. Now, I'm gonna do duplicate all of these and then replace all of these and one go. But we're going to do it in fast mode because you don't want to be doing every single one, right? Engage fast mode. Okay, Come back in now. Even though God spit up, you probably noticed it was not the smoothest of my operations. I don't know why Brain fog, OK, but you should be able to get into a little bit of rhythm with that. One of the things I want to show you is, first of all, I've forgotten to make a sleepy icon. So just ignore that one goes from monster all the way to coffee. You can make your own sleepy icon in there on one of the things I wanted to show you. You probably saw me lift this up to this little by here. Gets a little bit hard to gives between these two panels here, you can kind of make it bigger and smaller. I did that because I didn't want to show you my super short cut until now. Guess what I want to do is I'm gonna show you that super short cut on because you end up with quite a big panel you can see down here my timelines. Quite complicated. So what I want to do is two things I just noticed Vignettes down the bottom, getting more left up happens all the time. And let's say I want to make this a lot bigger. What I can do is wave. Your mouse is hovering above. You can hit the apostrophe key. Often it's tied together with a till the key on my keyboard in front of me about two of them. It's underneath the escape key. Often, though, it can be over next to your l or P key. Depending on the type of keyboard you've got, it's the little squiggly line, or the apostrophe might have the head of few of the buttons and we have your mouse is above watch. It makes that whole panel really big. Okay, so if you've got your panel really small okay and just want a tap it over, it goes really big. It's we ve mouse's hovering, so this makes that screen bigger. You want to go into the library, hover above it, have a big, giant library. Okay, you're fixing presets hover above it. Giant affixing presets you're getting. The picture can be handy in this project window as well, and you got lots of files. So wave your mouse's Tepe on and off to jump back and forth. You know we've mine up like that and hit save because that is it. For pre clumping and grouping, Let's hit, save and get onto small animation tips. 22. Camera 1 Node: Hi there. In this tutorial, we're gonna look at cameras where things start moving around and zoom in in. You can make it look cool. I don't know Cameras. Let's go and look at how to do those. Okay, so the first thing we want to do is to add a camera. We do that under layer on the new on the camera, and by default, it's probably said to a two node camera. Switch it to a one note camera. It's just simpler. Okay? And make sure that the fear was turned off. Good. Give it a name now, just leave it as camera one. Let's click. OK, now, depending on where your camera ends up, might want to drag it to the top. It doesn't really matter. Just really common to drag your cameras to the top. Kind of battle it out for this vignette. Now, you would have gotten error message on your saying. Hey, hang on. You created a camera, but none of the layers can be seen yet. Okay, Mine's been disabled. All that means is that if the camera can see any layers in my comp until us turn these on horses, I'm just dragging across these all Can I say, are all these air on the background layer needs to be unlocked and turned on? Okay, I wanted all of these are maybe not the vineyard. I don't want that seem by the camera that could just stay around the edges There. What that means is let's look at a before and after. So my camera here, toilet down. Now we're looking. There's one view. You can see it down here and that most of the time is where you want to be. In this case, we're gonna go to two views horizontal to have a separate view to actually see my camera there. Is there Hello? Has my little camera pointing at my plane case. We're looking down on the top and that's this. We're looking down the razor edge of it right there. Now, this view is not handy for me. At the moment. I find the best view is let's click on the side. You can see these little blue dots in the corners means I've got this side selected. And it means that I can say top. I'm gonna go to this custom view one, and it gives you a kind of a good look at it on a zoom in a little bit. So that's what's happening right now at this camera over here. Okay. And he is pointing and shooting at this. You can see even my text off screen. Watch this guy play hid. Watch him. Sexy areas is that the end disappears down. OK, so this is what ends up getting exported. But this is a handy view just to see what's going on. Okay, So what I want to do is want to show you if I have these off. Look what happens. Get rid of all of these that you can see the camera can't see them unless is is on. It's all on Siva vineyards. And what we're gonna do is we're gonna play it till it gets to about Maybe so I want that to appear on the regular screen, and then just before this 2nd 1 appears K my wife. Okay, I'm gonna get the Karen to move, so let's get a key frame at about 70 Sexual is gonna be slightly different. And what we're gonna do is we're gonna 12 down the camera and we're gonna open up transform . We're gonna sit the stopwatch going for position. So we wanted to stick there. And then just before this one opens, maybe just when you start seeing the circle, I would like to change the position. The 1st 1 is I'm gonna zoom in case so grabbing this last that's X Y and Z is the last one season and out X and y's left and right. Those women in quite a bit, Okay? And then dragging these it's he's easy to drag these tea, then to use the same camera tools up here. But when you knew he with me, Okay, I use a lot. Spots prefer doing it this way. No one has the right style. Okay, so what's gonna happen now is go. So it's kind of in the middle there and come back a little bit and maybe just holding shift to snap it to it and maybe just down a little bit, right? In the same time, a couple of things are going to need to do. Is my computer struggling a little bit? So I'm down at quarter. Okay, So a low res resolution and I'm gonna turn off the sound. Okay? because that slows things down as well. And what did I just turn off? I don't even know what I clicked, and I'm doing these off. Uh, okay. And let me guess. Hopefully now, at a render about quickly. Nice, Q Q Q has gone along students thing and then zooms. And now the camera is a little bit on the creepy side, and Tim's off. We want to kind of grab these two guys and add some easing. So right, click them just like we did everything else. 75 75 7 Look, it's got a nice kind of motion to it and goes along, and then so what we're going to do now is put into little key frames every time you want to move it. So I'm gonna scrub along, okay? And I can only just see it, but you can see use this view here. Okay? The other thing is toe, I'm you can see this guy zooming in, moved to the Z position over that times its model camera moving in K. So when I get to just before this appears so maybe just a bit there. Okay, I am going to set a key frame case. I'm gonna sit a manual for him to say between this one and this one don't change and then a little bit longer, I am going to maybe a little bit earlier. I'm gonna stop missing this. I'm not gonna play with a Z anymore. Okay? I'm gonna play with just the x and y and get all these guys are lined up in the middle now , every time a new icon appears. Okay, It's remembered the sorry. It's to remember the easing from the last time I did it, which is quite cool. Here we go. Yep. Thanks, Mom. Coop, it was going to do that as this thing builds, okay? And yet keep doing for the next one. So it's a couple of things we've done the easing. The other one is motion Blur. The motion blurs on for the whole document cause we did it in earlier editorial. But the moment only thing being accepted by it is this with only turned it on for the ticks layer. Because, remember, it's slid down off the screen and we turned it on. I'm gonna turn on for the rest of these. Why? Because it's have a little Look, I'm gonna find out before, so right, So when it starts moving, so is moving right? There's no motion blur. Okay, so I'm gonna keep it, he young and turn it up to full resolution so I can show you properly. So it's super crystal clear, but it's kind of moving quite far. So what I want to do is actually turn the motion blur on all these layers. Watch it long ago. He sees blurring now, so it just means that when it's moving, OK, it's getting old Zoo me and bleary. OK, so we do it to the icons, and we even do it to the image in the background down the bottom. Here, the image background. Turn it on for that one as well. Watch. It's getting cutlery. So when it's moving quite fast, it's hard to preview okay, because my machines running a little bit slow. Give it a second. Fans are on, however, you don't have the same problem. It's not particularly complex animation. It's because I'm trying to do it all with while doing screen capture recording. Okay, here we go. We kind to get it right. So it's moving and blurring. Okay, you get the point. So what I'm gonna do now is just work my way around the document keeping an eye on this and moving this around, so maybe we'll speed this up. I'll see the end. All right, let's don't begin quickly here. And you notice that I kind of saw. If I wanna get this thing that did center, I might have to see a better the rid. Okay, So if you don't want to do that, what you might have to do is either moved the icon down or down here for the background layer. Okay? We're gonna have to open up the scale. OK, so we're going to open up, transform. We're gonna get a scale. And what is gonna make it a bit bigger? Okay. So that there's not as much age to see. Okay? It does. Has from ramifications. Is And when I zoomed all the way out cropping a bit off, you can see in the ages here, but it means going zoom in. There's a bit more. Kind of, like, fluffer on the outside or bleed. Okay. Believes probably a bit of wood came so back to going fast. Okay, So we're back. And probably for those last one. I'm just gonna kind of get it here instead of doing just over, I'm actually gonna zoom back out. Kato. What? It was at the beginning. What was it in the beginning? Paying on a hover above this. And it was The sea was minus 2000 266 6 case. I'm gonna go back to here just afterwards and said it is moving it. I'm going to type it out to this game. And actually, I want ALOF t settings there. So I'm gonna actually just go and steal the key frame. There's a cool trick. If I wanted to be exactly where that is now. Okay, where? It's full view, and I could see everything. Just actually copy it, okay? And go over here. Okay. I'm delete this one and just hit next. Okay? You can pace key frames like that, co. So the last one what? Nice. Cool. All right. I'm just gonna scrub through its It'll kind of moves around and picks up all the different icons. You can see the path k of the camera there, your pupils that moves around gay and then zooms all the way out on the last one. My finale. All right. That is how to use a one note camera. We've used it quite extensively. Okay? We moved around quite a bit. You might just have a couple little things. We just move it around a little bit. All right, let's get on to the next tutorial. 23. Speeding up After Effects Playback & preview: I think in this tutorial gonna look at play back in after effects or previewing when I had space fire. And you might find that with all the stuff we've done so far is starting playback pretty slowly, so you can see it's trying to keep up and trying to redraw, But it just can't keep up anymore. So the easy things to do is impervious to try change this ever habit of doing it. Don't do this. Okay, This changes the output of the actual camp when you export. In some instances, notice the time. It doesn't. Okay, so he even set to auto. And what we're gonna do is open up your preview window. Okay? Window preview. If you can't find it came. What we want to do is change the resolution off. The preview came not the exported comp down to 1/4 and what you'll find is KR hit space bar living. Okay. And it doesn't really good job of just kind of like low of resolutions is not pretty. Casey might find a resolution that works for half or third or 1/4 k by a place back nice and fast. No. Yeah, it's working good. Okay, so that's the big one to get you going. Okay. And the other thing you can do is your disk ace. So under after fix preferences, media and dis case on a Mac, if you're in a PC, it's under it. It's down the bottom here under preferences. Can you Looking for the same one called Media and Dis case. And in here, what ends up happening is when you're previewing. Okay, What happens is after fix stores that preview somewhere and it stores it in the disc ace. My sittings here, sit to 93 guys. So I'm telling after fix, take 93 gigabytes off my hard drive to store all of your previews. Now, if you're working on a computer that has very limited storage, okay, What you'll find is after fixes filling up your hard drive for this kind of tim pre files. And what you can do is empty this case. Okay, Minds only about 2.2 gigabytes in here because I cleaned it out about five minutes ago, OK? And click OK and go the one it says clean database in case as well. Now, hopefully you'll notice a difference in play back, Especially if your hard drive is nearly full. Okay, it'll clear off loads of room. And what you might say is, actually, you can have 93 year. But you know what you've got left. If you've got 10 megabytes left on your hard drive, give it five. Okay, The only problem is the previews and not going to be very long, okay? It's gonna have to redraw it every time you had space by. Okay, So what causes the really bad playback? You notice that the beginning of this course it was running super smooth. But what's happened now is probably the biggest thing for us is we've added a camera and we've made all these objects. Three D is a lot of the calculations that have to go into it now. Okay. The other thing is motion blur of editor. All the layers that takes lots off memory to get going. If you have enabled any this victory during that can take a lot of memory if using live action video. Okay. We're just using static stuff here. Okay? It all takes a toll on the poor old machine. Another easy one is to close down any other programs were being using illustrator quite a bit through this course. So close that down and just open it up when you need to go through and close down. Anything non essential. The other things you can do is over here. Okay. Now, preview panel. This one here is probably the next. This one is skip. Okay, The moment. Trying to render every frame for you. So stick it up, too. No quarter. Maybe about half. So it's gonna render watch? No, quite keeping out a case to be too slow. So what we can say skip every second frame. Please can. What is going to do? It's gonna be a little bit jumpy here. Good to go. Okay, But it's gonna do its best to kind of render every six months. It's gonna be a little bit jumpy, tiny, but find it's it's hard to notice it. Skip out five to so we can exaggerate this a bit. I never go to five, but what I want to show you Good to go to go. You can see it's keeping up a lot better. It's actually keeping up fine now. Okay, So it's just rendering every fifth frame instead of every frame. Okay, so it's not gonna affect the output to mind. Back to zero. And yeah, it's gonna find the problem is, if you change it here, every time you come back in here, it's gonna be this crappy resolution. And you might be like, What's wrong? You stop playing around with the victor redraw and it's actually just in the resolution down here toe. Have to remember what you've done. Okay, Two more items to cover one is what you can do if you've got a laptop and it's just not running very well is if you just want to upgrade your machine often the easiest and cheapest and best things you can do a ram if you've got a machine and it's got four kings. Aram after fixes pretty much not gonna work, but chick off the laptops could be upgraded, especially PC's. Okay, and you can install more ram. It's really cheap. It's easy to do. Lots of centers will do it. I've done it myself, and I'm not much of a computer nerd when it comes to hardware. Okay, you can check how much you've got. Okay. By going up to preferences so member on a PC's and ate it preferences. Then go into media and discussion. Actually know you wanna go another. It's no under memory where you memory memory. And he and I have 16 gigs around gay and my macro pro, and I'm allowing after fix to use a living in it. If you're says it's got installed gram of eight, you are at the bare minimum of you've got four. Life is gonna be tough for doing animation. Okay? And if you've got a bigger computer and got 32 or 64 or any sort of chunky number, I envy you. Okay? 16 is the biggest I could get in this MacBook pro that I just bought. So hey, ho, let's click. Okay? The last thing we're gonna look at is doing our little preview. So, like, say, we're gonna preview it. Just this is more just general previewing your turn it down from half down to quarter. So it actually previews. It's not playing. But say I'm just I'm just playing with that transition. Yes, I want to go back. Play it. Go back, play it. Okay. So instead of doing that, what you can do is this little barrel or tops called the work area, and there's a beginning of it, and an end of it if you can't see them, Okay, we're gonna zoom all the way out by hitting the colon key on your keyboard. It's next. L que te. But once you go alway in tepid again and comes all the way out some zoomed away out Okay, so I can see the beginning in the end. What I'm gonna do is I'm gonna say, Say, I just want to look at this transition here. I'm gonna bring this there and is almost my play. Head starts anywhere inside of here. Watch what happens when I had Space five. Got nothing on the keyboard. Now just loops in there, so that's really handy. Instead of having to go back to the beginning, loop it all the way through or be dragging the play head back and forth. This little work area can be useful. Can be a bit of a pain now as well. If you want to get rid of it, just double click it in the middle work area expands out and we're back to normal. All right, there is how to try and speed poor old after fix up. If it's struggling 24. Animate the lines of an icon in After Effects: way through the in this tutorial we're gonna look at actually animating the icon itself. Like you can see here, go animating the lines. Up until now, we're just being animating the icons, position and scale. So let's go and learn how to do that. Now, in this video, gays, the first thing we're gonna do is going to create a new project. So file new project close anyone's you have opened down and you'll end up here. So second thing we need to do is create a composition. You gonna make sure it's HD TV? Teen 80 p 25 frames per second. How long is it going to be? You're gonna make mine. Okay. Instead of trying to type it all in and fill little the Collins I was gonna make mine about five seconds 500 k And if I tap about it's made it five seconds background color. We're gonna leave it as Black K and at Phil Kaye. A solid like we should go. So got this is going to save it. And this one here, I'm gonna put on my desktop, gonna create a folder, and this is going to be my am fix files going to get us on the name of this was going to be animated lines. Great, CO M. Let's add a solid to the background land. You saw it done This k pick a color. I can see these guys over here picking this one. Great lock. It actually gonna rename its background back ground and it's locked inside of moving next up. We need to draw some stuff here and after a fix here. So we're gonna draw in our for fixed to get started because it's easy enough to do basic things like that clock. But you could bring it in from Illustrator. I'll show you how to do that a little later. There's a couple of extra steps, but I'm gonna hold down the rectangle to grab the ellipse toe. I'm gonna click on the Phil where it is the word film saying no, feel where this is the stroke and click on the color. And I'm gonna pick a stroke color off. Maybe just off white, okay? Or for this kind of like off white that I've been using over here. Coop is actually grey. It's off little now. I'm gonna start dragging and while I'm dragging hold shift. It's gonna be a perfect circle. Someone's gonna be about that sort of size. Okay? Going to go back to my selection tool, grab it and kind of stick it there. Okay, We're gonna draw the hands off the cloak now to make this a little easier for us if I start drawing with a pin to now. Okay. Well, I had that layer selected. What ends up happening is this ellipse here, which is which is the circle around the outside enders line Now become part of the same shape layer, and that can work out for you, but it's a little complicated to get started with. So to get round that just have nothing selected clicking this dark period on the bottom. Then grab the pinto and I click up here. Hold shift, click Once again, straight line, and you can see it's a sick and layer. Now, in this case, the stroke with Okay, we're gonna leave it at five. Okay? Yeah. Five pixels up to you, and And we're gonna draw the next part. Gave their hands for the hours, and it took off. Okay. And I'm gonna click once. Hold down shift three o'clock, Ko Musial. Why? And I'm just gonna rename these to make life easier. Um, the face, that's when he is going to be The minute this one, He is going to be the hours all the hours So and we've got a clock. What we want to do is get it to animate. So the first thing we need to do is something called trim paths. Katrin past help us animate lines case Well, due to the face 1st 12 us down and you add it by clicking this little red button here is one and equal trim paths. He's the repeated earlier on and satori ALS Now it's trump path time, so I'll play here the beginning. OK, open up, trim paths. And you got these. Start in the end. Okay, so I wanted to start actually completely finished to do that. Okay, we're gonna turn that stopwatch on to make you friends to start. We're gonna crank it up to 100%. Can you see by Dragon 100? Okay. I'm gonna go all the way. So it's completely finished. 1%. And then after some time, I'm gonna go for half, are sickened K 13 frames and I am going to go down to zero. So go to key frames. One when it's 101 and it's down zero, I'm gonna space by and we've got a line on ice slicked them both and add some velocity to them, OK, 75 75 on an ad motion blur to them to make him look a bit pretty. And then so are we gonna do. Okay, so we're gonna go through and do that for all off the different parts. So not super hard. You can skip on now because it's pretty much step and repeat. So the minutes hands here, I'm going to get it to appear at the same time, maybe kind of partially So it's kind of started here. Can you could see this kind of like wispy, but that's because of the motion blur for it in that off hardline, was it? So it's going to start here, hold shift to get the front of it. I am going to toilet down. I'm gonna say, Add trim paths. Open up, trim past start, start. Make sure it's 100% after some time. Okay, so just a bit further along in this, and I'm gonna turn it zero. I have no idea about this timing. I was gonna wing it and then adjust it as I go. Well, let down. You gonna start? Just a bit further over, will you? Down at trim paths. Open this up. Said the key frames going to go to 100 then after some time, Okay, maybe not As long as it's a bit of a shorter line. We're gonna go down to zero kick back, Relax. Is this gonna look awesome? Or I'd say or Okay, I'm going to, right Click it, get a key fame velocity and change these to something a little bit more exciting. Thes lines are taking far too long to come on, so I'm gonna touch them together. Well, on this one click and those that you just to see those guys but tidy a k and grab these two de frame velocity 75 75. Let's see what looks like now. You okay? Too fast. Now cut one. Okay. And I might staking them out a little bit more. I'm just missing about that guy way. That takes way too long. Okay. The only problem of this one is that it comes from the other side. If you're finding that, it's because I drew it from this way, in case it will be where you started drawing a line. Okay, so I can fix that by going into here, Okay? And we're getting city using start and end. Can you turn that off? Go back to the beginning on Internet. Back to where it waas was zero. No, it was at 100 to start with. There was zero so we can use the end. Okay, I'm gonna work from the other side. So turn this on and we're gonna start it at their own and go along sometime and then crank this up. Okay? So you could see it. Get it going the other way. All rights. You You done done. You could spend ages missing around with these lines to figure out what it's gonna look like. Well, I'm gonna hit Save case. It is drawing from inside off after fix that. Say, we've really got some icons drawn, K. So what we're gonna do is we're going to its name this comp. Okay, Ray, rename it. I'm gonna call this one the clock. Cain, we're gonna make a new comp u comp position. Okay? It's gonna be all the same as the last one. What I'm gonna do is I'm gonna go back and rename it. Actually, this one's gonna be the lock. Gonna go back to the clock and I grabbed the background. Unlock it. Copy it. Go to the lock, paste it, look it right. Click it, Call it backgrounds. I'm not going. Bother. Okay, So what I want to do is I want to bring in something that was made in illustrator. The problem with that is double click. Let's bring in. Go to 020 Khan, grow and bring in trim Path one kings and I bring it in and I dump it in here. It's something that I drew in Illustrator. Okay, Super fancy. But the problem is Trump, That's not gonna work. Okay? Because it's actually just one object. It's not actually lots of little separate paths, but it's easy enough fixed. Okay, you can go up to layer and go to this one. This is you know, this lay selected some of these matron bus and say create shapes from Victor layer okay, and it goes and redraws it. The weird thing is, that kind of leaves theory journal there and turns the eyeball off. There it is. Okay, I don't need It's gonna Bennett K, and this is the one I'm gonna use. We don't need this either anymore. We could delete it was gonna leave it there. There is no reason to delete it. And we're gonna go down here, and we're gonna go down to edge, and we're gonna go down to trim paths and got all these different groups. But here's the trim path controlling them all, okay. And the same case that and finish. So I'm going to keep her in the beginning. Started at 100%. And then after some time, I'm going to get it to come down to zero. That's amazing. Okay. And some ocean blue and will be there. Okay. And you can play around with the timing how long this thing takes. Awesome. So that's how to get these kind of logos to grow. Now, this one was a particularly easy one because it was actually just lines out off. Illustrator Noelle icons will animate the same. Okay, especially when this fills in it. So let's look at doing that now. First thing is to go up to composition new composition, and I'm gonna call this one girl, okay? And we're going to paste in the background, lock it again, and we're gonna try and bring it in. So I'm gonna double click the background here to import. And I'm gonna try and bring in this other thing. I've downloaded it from the adobe market. Right. Okay. And it's come down. Is his spg at the moment after fix might deal with S P G's. They're awesome. Victor files, but and after fix, can't use them at the moment, but illustrated can. So what I'm gonna do is I'm gonna jump into my exercise files Weapon AB go to icon Grow Open this up in Illustrator Cool. So in Illustrator, all I need to do is go file save as and instead of spg save it is an AI file. Okay, click, save, click. Ok, I can close it down now. Now in after fix double clicking here and there she is can come bringing in fine. Same problem is before though It's kind of this object I can't add Trump ass too. So I need to goto layer and go to create shapes from layer you Nothing really changes excitement. But this thing I don't need and that's the bit that shape play here. I'm gonna add trim lamb, and it's gonna be a little bit different. A little hard to control Trump Ass. Okay, So don't get to court over. Feel like if you want a perfect it's gonna be a little bit hard to do when you haven't built it. And it's got lots of Phil's instead of lines. This is meant to be Trump. Ask a the injures. So we're gonna start off at zero, and after some time it's gonna be down. Okay, Was going like actually, we've got to sit the key frames first. So at zero after some time back down the 100 got that backwards. But anyway, you gotta rides. Go. So that's kind of an easy, cheap way trump past actually build a little animated logo nice and easy. Okay, One of the last little things is up. Jump back to the clock. Came over this animation is that when they actually appear in K, the lines drawn, it looks good. If they kind of just falling a little bit. So let's do that little trick gay. And at the same time, we're gonna learn what a null object is, because at the moment these guys are on three lines, so I can animate them all separately and just try and get them to come down together by lining up the key frames. And that would work. Okay, about a nice little trick is I'm gonna create this thing called a null object. And it's an empty layer. And all that means is I'm gonna say you guys follow this null object and then I move the null object down a little bit because these guys Airil tagged to it and are following it, they will move down as well. The null object is something that we're gonna use quite a few times in this course, especially when we get into camera tracking. So we're gonna use a nice, easy version here to create, and the object we're gonna go to layer, we're going to get a new and we're gonna go to null object, okay? And what we're going to say is we potential these guys. So you guys are parenting to this. We do it by saying, Okay, they got no parents at the moment. You guys are parenting to the null object case. They're gonna follow him around. Come if you can't see this one Here is his parenting. You probably toggle switches and modes. Cases switched to this one here were were considered parenting. Now all we need to do is move the null object. Cautious if I move the null object. If I go to p four position, I just move it around. See, it really comes with me. But I turned that off, okay? And I say the clock face is not going to follow everything but him will come along to watch , seeing just the inside Guys come along. So I'm gonna undo that. And let's get old appearance. And so back here the beginning, I'm gonna turn on my position. And then after, sometimes as it's coming down, maybe like that Okay, what is going to get it to actually the beginning here? We'll get it to start up a bit higher. Not super high. Not like a full descent like we did earlier on just a nice little subtle one. So first key frame is up a little higher and then kind of halfway through this, I'm going to get it to move down into the center about there, Okay? And let's turn the easing on and let's try and impress you with it, looking marginally better. So look, while too fast, okay, but you get the idea. It just adds an extra dimension when you are doing these drawing lines. All right, that's it for animating lines. For an infographic. Let's move on to the next video. 25. Colours: Hey there, in this video, we're gonna look at color. Okay? Now, color is obviously important in any creative project. On just a little tips to help you out is go to colored adobe dot com, signing with your adobe password and go to explore, go to by default IDs at my themes. But I find you get the best stuff from most popular. And it's just here to give you some colors that you might choose to work from. I find I end up leaning on the same colors, so I like to jump in here and pick some new fresh stuff. Now what we're gonna do is we're gonna use the CSO 44 some of our data visualization later on in the course. So say you like it. I like this option. This is save. And where am I gonna put? I'm gonna give it another name, Okay. A young and up recorded data is, and I'm gonna publish this theme to explore, so it means that you'll be able to search for this and actually just downloaded if you put beware. Well, data a bit should be able to find it. I'm gonna put it into one off my libraries. Cain's gonna be this infographic one click save if I jump into after fix now and give us again So much click that icon There he is there Got those color swatches. Now what I like to do is actually jump back into adobe color. So what I like to do is make a light and a dark version. And you can do that by clicking it a copy. And all you need to do is see, this little slide is here. And there's this one here in the slighter, darker. Okay, And is this when he ain't gonna make a little bit doc? But this one little darker, I just find you can get some cool results with, Actually, you know, we've got five colors we don't need anymore, But just this kind of slightly darker version as a some wiggle room when we using kind of flat victor graphics So I've done They're gonna click, save It's gonna say, Replace it. I see. No, no. Save a copy of this is going to the same. Except gonna call it the dark version seven to the same library. Click save jumping toe after fix you can see. There it is over here. So that a light in a dark version K lights on the bottom, docks on top. Very similar colors, but I find it useful. Let's do something simple here. I'm gonna put that little slash in the background the 1st 1 and delete this background lamb . I realized how trades Very similar to the last raid. Actually, all the colors of recently It's the movement at the moment. So what I want to do is I'm gonna go to Layer New and go to solid. I got my eye dropper gonna pick the will. Start with the light vision. OK, which is the bottom line here. Okay, put it. The background are gonna lockets. There's my background. Now I'm gonna zoom out even further. Grabbed the rectangle tool, Pick the fill color creek, the eyedropper. I'm gonna pick the darker version, okay? And you can see this is a slight change. Click OK, And I drive a nice big rectangle here. I'm going to go down to the shapely here for rotate rotated around. What are we doing? I don't know. Just for style points. Gonna drag this down to the bottom here and now I'm gonna preview it. Let's go to fits. Let's have a little look. Okay? Just this little slash Google does that. Lots. I liked it. So I stole that idea, and I use it quite a bit for my work. Steals on the word appropriate. I like it. Ghost. That's how to going. Get colors from adobe color and maybe to create a sick instead of swatches, some slightly darker ones to start using. Trust me, it's going to be helpful when we start doing Biograph. Sand line graphs. We got a lot of data. Sure. All right, let's get on to the next video. 26. Video Backgrounds: Hi there. In this video, we're going to look at adding video backgrounds, but also watch. He faded out little bit. Then the icann's along the top, even bitter. This video is not long enough. So we're gonna extended Thean so it covers the whole video by freezing the last frame. All right, let's go and do that now in after a fix. All right, So what I'm doing is I'm studying with an old project, OK, this is kind of the end we got with this icons member. This kind of moving around in, zoom in a bit with these icons popping up. OK, so I'm going to get back there. I'm gonna do a file save. As so I don't Ricketts. And I call this one. I'm gonna put it on my desktop under a fixed files and call this one video background backgrounds. It's save, okay. And what I want to do is I want I don't want to do this camera work where it moves around here going to click on the camera, delete it, and because the camera's gone, I don't need in these three d shapes. Now, if you're just working without it in the motion blur offers. Well, dinner for the project just to make sure made things of running snow ice and smoothly que. And now, hopefully, maybe in my preview, I'm going to turn it down to resolution to third. Hopefully now, when I preview okay, the cameras not moving around, I could just see the whole thing again. Gonna go even lower. Also, I'm gonna go from two views until one view. Now, if you are just starting this video, don't to worry about any of that. You can just start a fresh. It's fine. It's what I'd like to do is put a video in the background. Doesn't sound that hard. Okay, Was gonna import of video. Now, if you don't have access to Adobe Stock, you can just go into the exercise files and no one icon. Pop, there's this one sleeping man turned slightly towards. Okay, you can bring in him. Okay. What we're going to do, though, is we're gonna explore adobe stock and how it's built into after fix. And we're gonna show you some tricks on how to kind of make it work without animation here . So what I'd like to do is over here. See, this little search by here is quite small. Okay, I can type in sleep, okay? And what it's going to do is is going to go check out Adobe Stock. Now, why don't we stop charges for its videos and its images to go check it out? If you get a subscription with it, you get something like 10 images a month or 20 images. I can't remember. It's not that bad. I pay for it anyway. And I can't remember off the top of my head what it is. But anyway, now, by default, it's gonna give you both video and images. Probably a lot more images. And if you want to use any of these images, where says I just kind of like drag? Listen, give it a second. The lower is and I got a watermark. So you can actually just work with these until the client signs them off, okay? And then back in my libraries. If I delete that, there's a cool option. And here it says right click and say license image. And because I am a paid subscriber, it's gonna actually license it, and it's gonna become super high res and the water, my skin it disappear. It's quite a handy little interconnection. OK, so that's one way of doing. I don't want this image. I don't want you gone. You gone? So I'm going to use that same thing. I wanted that to disappear. Go away areas there. So in search, I'm gonna type in sleep, okay? And what I'm going to do is this run, right? Says results. Click on just videos. Can you decide which one is gonna work for this thing? I feel like this one. She can just kind of like I'm not holding anything. I'm just moving my mouse back and forth and kind of previous for me. I don't want to say is dragged in, okay. And great. It's not slightly big enough you down like four K versions if you need to. Gonna make it just slightly, but bigger came down. That's perfect. It's baseball, okay? And direct the beginning in space by and there's this guy. Okay, so you might just leave it here. And that's how to get images in from Adobe Stock. Okay? And just put them in the background now in the background needs to be all the way in the background. You do a couple of things couple little tricks and the useful to know. Okay, so back there. So I got my tics and stuff appearing over the top a little bit hard because of this Adobe stock watermark. But hey ho, we have to live with that. So what I'd like to do is it to start up, OK, And after some time, I'd like it to actually blur out in the background so that it's not kind of taking away from my icons. You might get blurry the whole time. I'm gonna have mine. Kind of a nice start focusing them blurt out as it gets to getting into these icons here. So what I'll do is about here after the text kind of disappears, I'm gonna add an effect case over here on clothes on preview affects and presets in here. I'm going to grab the the world famous calcium blue. Okay, everyone uses it, and I'm going to drag it onto what? It's hard to work it out, so I'm gonna drag it into the layers down here Sleeping Men Co. And you can keep frame. He fix justus Well, as you can keep him any of the things down here. So this is my effects controls, K. And it's very similar. You see, little stopwatch. Okay. Is this stuff down here? What would like to add about here? Like to turn on the stopwatch. Okay. And I'm gonna move along a little bit, okay? How far will practice and I'm gonna crank up the blur? How far does this go up? Ah, you can just click and drag It just kind of keep an eye on it, okay? I want to get my quite Lewis is kind of in the background. Sleeping Dan. That looks good. So that when my icon start going, I guess you're not gonna be distracted by the video. So let's preview it. Let's see if it works. Preview? Yes. And what's the background? Here you go. Kind of may get an abstract e kind of background thing. That could be the whole time. You wouldn't have to put key frames and just make it blurry the whole time. One off the next problems when dealing with videos. It might not be long enough. So, like this video here, it gets to a bit plays along. But then watch what happens, disappears and we can see the background again. So a cool little trick you could do with videos as you can, right, click them. Go time. There's one of hisses freeze on the last frame, and it kind of extends itself all the way along. And look what happens now. It gets passed there and watch him. He's moving, is moving, stops moving and just freezes for the rest off the video. Okay, so he's animated up here doing his little rollover thing. Okay, But later on, he just freezes and pauses for the wrist off the video course we learned some new things will end Adobe Stock. Okay? And we looked at how to fade it out and key frames to effects and then shoot that video all the way along to the end and hold that last frame. All right, that's gonna be it for this one. 27. Bar Graph Method 1 Manually in AFX: it is time to visualize data We're gonna start with. Paragraphs will start with this one. We manually do it in after fix. Then we're gonna switch out and do it from illustrator using its graphing tool, making it a little bit more accurate. Que en wien going out to excel for the excel people who want to animate charts directly from Excel in after a fix. All right, let's go and make these beautiful graphs. All right, So the first thing we're going to show you is we're gonna manually do the Biograph in after effects actually going to get it started. Why? Because there's times where you just need to do that. And you might find that that's the nicest way for you. Okay, so let's go and go file. It's gonna open. I've kind of done some basic stuff to get us going. So go to the exercise files, go to photographs or three paragraphs, and this is one called biograph. Start. Open that up. Okay? And I want you to be on this one is the finished version and the start version. Okay, so the finished version is what we're gonna be working towards, Gyp. Okay, but we want to go to this stat version, and I've just kind of laid out the title in these axes in here. We're not going to go through how to add. These is just a pinto and the type two, but it can take a little while to get going, So I'm gonna make sure I can see the whole thing into fits. All right, So the first thing I'd like to say is that this way can feel a little bit long. And I don't like it mainly because I find it very hard to calculate percentages and do the meth myself. We're gonna look in the next one how to use something like Adobe Illustrator or use Excel itself to generate the graph. All of them take a little bit of work. So have a look at all three. Go. That's the one for me. Okay, So what I want to do is put out play here at the beginning here, and I've locked all these layers so we can't miss Witham. Let's grab the rectangle toe. Okay. In terms of Phil, I'm going to use my eyedropper and pick one of the colors that we did in the last tutorial . Bigger for the lighter version. Okay, in terms of the stroke, click the word stark. And let's set it to none up to you When you first that sitting up your axes. What I did is when I drew these lines here, I actually match them to the grid. So if you get a view and get a show grid, okay, you can actually draw lines and get them tow line up to this grid in the background and helps us a little bit with my drawing out the bar graphs case. I've got it on. Now. I'm just gonna make sure snap to grid zone as well. So I'm gonna try my best, because there's gonna be my 100%. Okay, now, it is a little funny in terms of drawing. Okay, that's close enough to me. Grab the selection tool and drag it down. So it's on the right kind of cubes. We have to zoom in a little bit, just to make sure you Yep. Stepped to the bottom, snapped to the top at next wine. I'm just gonna line up here, So the first I'm going to do is it's gonna be quite easy. We're just gonna animated up, OK, now the problem is is the scale position? If I click on my lay here, actually rename Shipler one. It's called us one by one and I'm gonna hit gets the scale. And if ice that scaling it's doing it from its center anchor point, which is in the middle off the screen. We've run into that problem a few times. What we're gonna do is actually adjust the center, grab this one here, the pain behind tall or the kettle, and grabbed us. Now, if you can't see it, sometimes you click off. Click Gone can grab this Now. We wanted to be perfectly down the bottom here. So what key do we hold down? Gets the command key on a Mac or the control key on the PC, and it should snap to the center down the bottom here. Great. Now, when I start doing scale, it's going to do it from the center off this awesome. So contender grid off because it hurts my eyes, okay. And what we're gonna do is we're gonna Smith, your play heads at one. Hit the scale. Okay? We're gonna break this link so that we can separate the height and width and we're gonna play around. Move Which one thing is when? Here. We're gonna sit the second K 20 Come along a little bit. I'm at seven frames, okay? And I'm gonna set it up to 100. Go. So we've got our first little Biograph animation. I know that. That's correct. Because I sit this access, this is my highest milligram value. So this is gonna match and everything else is going to be a percentage of this. That's were I run into trouble myself, unlike all right, meth. So not good. Okay, so I I'm going to use some of the other tools to do it, but you might be totally fine in here. Okay, So we're not going to carry on too much and do every single one of them, cause it's step and repeat. But what you do is you copy by one you've got by two. I'm gonna make sure I got my right tool selection Too long. A step it along a little bit that it starts a little bit off ko after this one here. And then I'm gonna grab my selection. Actually, going to use this one here in his position and just slide it along away. Okay, this way. Here to be about filter go. And in here, we need to go to l scale. And we need to change. We need to calculate what this filter is. Okay, compared to brood being 100% and filter is I've got some data here for us. Case air filter is if that's our main 100%. Need to calculate that in my brain melts here. Okay? And you can use this data here to go off and finish completing the Biograph. A couple of little just tidy up things will do before we go is I'm gonna been far too. Goodbye is he would be a good time to go through. Select these two guys here or on scale member, Hold bolt on a Mac or option on a PC. OK, It's the opposite of registered K. A is old on a PC and grab member owl expression coming to hear the Leedom paste it okay, and we'll get just a nicer Biograph going up. And also you continue on the motion blur K m. Make sure the motion blur is on this layer and things start looking a little nicer. Nice. Okay, so it's not all loss because that same technique of putting the anchor point down the bottom here, I'm giving them to bounce is gonna be what we need to do. Still, when we using either Excel or illustrator. So let's go and learn those other options in the next video. 28. Bar Graph Method 2 Illustrator graphing tool: way in this tutorial, we're going to use illustrators graphing tool to build our Excel spreadsheet out in here. Style it, then switch it out after a fix and animated. I find this is the easiest way to get data, any sort of data into our topics and animated. Let's go and learn how to do that now. Okay, so the first thing we need to do is we need to make a new document in Adobe Illustrator. So gonna following you. We use a little button there. Okay, We can use film and video and pic HD TV where we that's the one we want the 9 20 by 18 80 reason. I don't like using those templates because you get along all of the bars and a transparent background and all of these title safe. We don't need any of this and it's a pain to go turn it off. So what I just do is I think it OK, but got a new pick web because it's gonna sit it two pixels and then we do the exact same measurements. So we go 9 20 by 10. 80. Okay. And make sure it's it to rgb. OK, and click create. You end up in the same position, kinds the same size. But it's got a nice white background without ALS, the guides everywhere. I'm going to save this one. Okay, We're gonna save it onto out a fix files, okay? And we'll call this one how coffee Bachop go. So we're gonna use illustrators. Graphing toe. OK, it's kind of down here, K, hold it down. There's a bunch of different options you can choose from. Doesn't matter which one. Okay, technically, a Biograph goes left to right. We're gonna use a column graph, OK, And draw it out. The rough sort of size you wanted to appear in after fix. Because we've made the size the same as after fix. You can kind of work proportionately co. And what happens is that opens up this, like, little Mini Excel spreadsheet, weaken manually type things in here. Okay. Or what I'm gonna do is I'm gonna go through from Excel, grab all these pots, copy it back into illustrator and clicking this first seat field here and just had paste. Then click this little tick, okay? And it's going to go and create autograph for us. So I love doing it this way. It even puts the measurements along the top here and calculates all the size is now The moment this paragraph is actually tied at six all, she even if you close it down, it's actually kind of still connected to it. So you've got it here and say you want to make an update, you have the you have the object selected. The object graph, go to datum and you can see in here I can go and make changes. We could make this 100 update it can, and it updates the graph. I'm gonna undo that close this down coup. The problem now is that after fixed needs to smash this into lots of pieces. So the moment is this irritable graph. So what we need to do is we need to kind of pick it apart, okay? And to do that, you might want to save a version of this Lauritz from nice and still a graph inevitable. But what we're gonna do is haven't selected with my black error go up to object and go toe ungroomed. It's gonna warn you saying it's not gonna be a graph anymore. We can't edit it. Yes, and now it's kind of smashed to pieces. You know, is an object if you got a graph now and click on data doesn't know what you're talking about. Cope. So we need to do that. And it's on grouped into little pieces. And while we here OK, we are going to style it. Okay, so I'm just gonna go through and pick some colors. So this stuff here, I'm going to go pick a new field color. Unfortunately, I go into here. I don't have the swatches. For some reason at the moment the library swatches and the swatches built into illustrator arm particularly greater connecting to each other. What we're gonna do is it's easier just to go over here, right? Click it and say adis watches. I'm gonna add both Sits two swatches, then of the top. Here, give it a second. There they are. There they got my light in dark versions. So I'm gonna pick that for the film. The texting, a slick, both of these. And we can adjust the type before we leave Kate's best doing it in here. That rather than in after fix Okay, So sickening on you grabbed my type tool window type and go to character. And in here I'm gonna go through and you can make adjustments. I'm picking Roboto Slab. Yours is probably going to start off with a different front. Okay, Came from and what it is at the top. My head. Okay, so I've made these adjustments. It's gonna work for me. Actually, I need this to be that off white color, right? Because I am putting it on to go. And one last thing I'm gonna do is I'm going to get rid of this. So these guys are all stuck together instead of on grouping them. You can do that. K is great. The white era disliked around this stuff. Okay, delete it back to the black arrow. Come. So we've got kind of the basics. Now. We need to make this really for after effects. And the main thing we need to do is in the layers panel every bit we want to update OK, Differently needs to be on its own layer. So I'm in my layers panel here. If you can't find it, get a window and goto layers, okay? And we want one for all the background stuff. 23456 or six in total. Here we go. OK? And what we're gonna do is 12 down layer one. Actually, didn t this off K make it nice and big? Okay, so I can see the whole thing. And all of these guys are on their own there. On just one chunk 12 us down inside of here, inside of this group. Here we go. So that smile and then I will honor off. That's the 1st 1 So that's my actually, that's my last month. This is my 1st 1 So I want you to go up to layer to so renaming these guys. Double click it. It's going to call by one. You're going to be by five. I don't know why I want to start at the top, but for three. I'm naming them just to impress you. Don't even need them, okay? And you gonna go into this one and this one and this one and this one. So layer one now is going to be I'll call it the excess. So all of your own one layer all of you guys are on separate layers. The one thing I don't like is all these guys have a stroke on the outside Second them all the stroke at the top Here. I'm gonna sit too. I'm gonna sit 20 the by struck awesome hitting save. And that's how you get died already. And illustrator, basically, you do styling in here, OK? And you two separate the bits you want to animate separately on two different layers. You could just get all of these guys to animate the same case. It only two layers that access and all the charts together. But we can't animate them separately. Great. Let's jump into after fix. So here and after fix, I've still got their project we were working on before. Okay, When we did our manual bars, it doesn't really matter. You get a new project. So what we're gonna do is we're gonna go to file import can. We're gonna just some skin double click the gray area, okay? And we're gonna bring in the file that we're just working on in illustrator school coffee, a bar chart getting a click open, and because we're using layers. Okay. Were imported lots of illustrative files before, and we haven't got this little window. This appears only because we've got layers. Sit up. If you didn't want to separate them into labs like we want to do, you can just switch it to footage. Okay? And it would just he's gonna merge the layers. That's great. Where you want to use it? The special feature called Composition That's gonna make comp for us. OK, we don't have to make it. And the cool thing about it is cause our illustrator files the right size. Okay, It's gonna be the right dimensions. And also down here, it's his footage dimensions. We want to make sure it sit to lay a size. Otherwise, it's pretty hard to animate its click. OK, so it's created a comp. And these are all the layers that have come through. Remember excess bar 12345 Great. So it's open up this combat its main double. Click it. It's great. Exceed the background is black. So what we're gonna do is get layer new solid. I'm gonna pick a color of white. Okay, Makes it just a little bit off white, okay. And everything else is perfectly ok. In a name, it background sticking out the back. And look, it's co. So there's my stuff in from Illustrator. What I like to do now is animated, and we're kind of at the exact same point We were before member on this guy when we started to have drawn the bar. What we want to do now is that animating it in the first thing we need to do is adjust the anchor point. OK, so it needs to be in the center. So we're gonna hold down member command on the make or control on a PC. K will do it for all of these guys when we him and we're gonna start animating. So we're up to where we were before. We're gonna do some animating If you feel like in a skip ahead, don't. There's one last little thing I want to show you Once we've got an animated so I might do the 1st 1 together. Then we'll zoom through and then we'll jump to that Corbett where we stagger them all. So by one selected scale timeline in the beginning start stopwatch. I'm gonna break the link between the two on the 1st 1 to 0. Then after about seven frames, okay, I'm going to get it up to 100. Cope. I am then going to option click on my medical. I'll click on a PC to stop bunch, and we're going to use that. Are you that you want? Okay, my expression for overshoot, Tony of using this book gay. And what I'll do is I'll set the motion blur for them all. And what I want to do is copy this. Okay? Get my play. Head back to the beginning. Click on bar to hit paste. Okay. And now we've got both of them going. You can see it's kind of quick now, paste, paste, paste. Okay. And it s You'll see, the key frames have come along along with the expression to do the 1st 1 Get looking how you want. And then they all come along now want to stagger them so close all these, Okay. And I just click you there. You opens and closes, okay? It's like a little toggle switch. Now, you can just go through now and say, actually, I want you to be this and this and this, and that's fine, but so you want to be perfect. And you got a lot to do. Okay, so we're gonna use this little trick called sequence. Layers so slick. Bar one. Hold all of them to buy five. Make sure you play heads at the beginning. Go to animation. It's got a key frame assistant. There's one called sequence layers, and it's just going to stagger them for us. Now, if you don't click overlap, they're gonna sequence and one after each other. The problem is is that see how long they are? They're actually five seconds long each that solid bar. Okay, so they're actually instead of coming in after each other that well, they work. Let's click. OK, but this timeline zoom out is actually so this one goes for this and this one doesn't start till right to the end of my animation. Okay, so it's not what I want to do. And a good animation key frame assistant sequence, layers see? One a bit of an overlap. Okay. And this could be a little bit confusing. How much of an over lamp my needs to be about for that. It's going backwards. Overlap? How far from that was zero. So I want to come back this way. How? Fight I want to come back this way. I wanna come back about four seconds for four seconds. 20 frames. Guy that gets it kind of really close to the Indians. What kind of almost five seconds would overlap back on top of each other? You're gonna have to miss around with us. I do. Every single time it's click. OK, And we've got a nice stagger going Cool, huh? That is how to move from illustrated into after a fix. So that's kind of like our option to let's look at option three. Now we we use x. L'd build a graph and we deconstruct it and use it in aftereffects. All right, let's go and do that now. 29. Bar Graph Method 3 Excel graphing tool: Thank you, Mr Troy. We're gonna take this data over here. We're gonna turn it into a graph, Minniti some basic styling and then fire it into after fix and make it look like this. And it looks amazing. You're impressed her. Let's go and look how to do that in after fixed now. Okay, so, first up, we need to open up in our exercise files under 03 Biograph, open up. The one that says caffeine data Excel. If you don't have a copy in Excel, we're kind of stuck. Skip on to the next version. Caillebotte in Excel. Whatever version opens up on our old vision of a mech. Okay, Excel. All I need to do is select all the data, okay? And we're gonna go to charts. You find a child is a little bit different in the newer versions. Okay, Not much different cake, gunshots, and kind of somewhere in the middle on my one into this in here. Gonna pick on column and pick any of thes ones. The three D ones become very hard to animate k convincingly to stick to that two D ones for me, gang, I click this clustered column okay. And that, my friends, is an Excel spreadsheet. Okay, grab the edges of it, drag it right out, and we're gonna do our adjustments in here. Why do we do it this way? I'll do it this way. If I'm already given a graph, OK, say that I'm handed a graph and it's done in excel. There's no point trying to recreate it in Illustrator Gay, because somebody's put the time in if it into it here. The things that I might change in this is I'm gonna go through and change their fonts, k that it being used so I can go through now, get a home and pick a font. Now, I definitely need to change all of this. Actually, just click off kick on the edge of it. We can change Kind of like global changes. So con here and pick aerial for all of mine. Why? Because if I use calibri, I don't know why Minds, My computer has a missive that when it goes into illustrator, yours might do the same. You might change your funds. Okay. I'm gonna pick Roboto black and in here we can go change colors. Okay, there's lots. You can do any excels If you're confident. Excel, go and make this thing look as good as you want. OK? The one things you might do is the colors here. So I'm gonna slicked on these. Go to this Once is for Mitt. Okay, in and here. I'm gonna go to fill on what colors care. You can pick any color. Okay. And if you've got a corporate color, you need to use cook on mawr color. And in here you can go to the RGB sliders and type in your RGB or your Hexi decimal code. Okay, We're going to use this color cause I like it now. How do we get it into after fixed to start animating? We need to do a bit of a hop in through illustrator. OK, so a lot of what we did in the last tutorial is gonna apply here, So we're gonna copy it. So slick the outside. Just go it copy. Okay. And then open up, illustrator. We're gonna make a new documents, and it's gonna hopefully remember my last dimensions create. Then all I do is hit paste. Okay. And that brings in a victor version of Excel. That's really cool. I know we're doing infographics here and animating them, but this could be really cool. If you just doing print stuff, can you want to be able to edit it? Okay. For makes our rather than just relying on sometimes the questionable styles from Excel, you could go and edit it now in Illustrator and stick it into a print document. We're going to animate hours. Gonna make mine a little bigger, Okay? And what I want to do now is a couple of things is a little bit different. It's kind of made up of all sorts of weird parts now, So I'm going to select on this guy here, and we need to get these guys on their own layer. They also need to get rid of the stuff in the background. Okay, There's, um, some We'd drop shadows that I need to get rid off. Let's get these guys under their own layer. First, it's open up the layers panel window layers. This is exactly like we did a second ago and have them selected you're seeing here. They're they're actually called a clip group. Okay, so I'm gonna right click it and say release from this clipping mask when I click on one of them, there are actually still part of a compound group. Okay, I can tell which one they are. Cause watch this if I slipped on them. You see this little thing? Highlights makes it easy to find. Right. Click them release from compound path in the air. All of our groups there we are cope. So I want to do is get them on their own layers. I have layers already. Okay, That's cause I was cheating and playing around with us before and practicing. So what you need to do is create layers. 123456 Care for the different bar charts going to come down here and I need to drag them off. This could be painful because you let go up here. Okay? What you can do is have them all selected. You holding shift on grabbing all of these guys. Right? Click them, say arrange. Bring the front and they end up at the top off this little list here, making it a little bit easier. So he is this one. I should name these layers, but like I said before, from honest I never do go. All these guys are known layers. What I might do is turn these guys off and get rid of this amazing thing you can enter. Make these together if you want to bring them through into those layers. I just want to get rid of them because they don't like him in these layers Back on it. Save gonna call this one coffee chart. But in the coolest one, my excel vision cook a came let's jump into after fix Course it just like we did in the previous tutorial. I'm going to import and I'm going to go. This excel is going to say composition. Yes, I'm gonna say layer size. Yes, we look like a k And open up my chart. Okay, so there is a coffee bar tied Excel. There he is. Okay, There's little white boxes Come through, it's up to You could delete that an illustrator. But I'm just gonna match the background colors. So I'm gonna go there new solid. You, my friend, are going to be Can't be off white because I need to match the white from excel. Okay. You know, right. Click it. Call it background. Send it to the back. Lock it. Okay. And now we've got out passes that animating. So let's do it later. One is actually going to be called. I'm gonna call it access. I saw a new vory. Name them. I want to make it easy for you to follow. So lay a 12 I'm gonna grab my and control. And I hold down my command key on a Mac or control key on the PC and dragged the center points to the middle bottom mix. Well, they're looking. We've been them. Okay, now, this 1st 1 here, I'm gonna open up my scale. This scale. Start the stopwatch, and I'm gonna break the link, go down to zero. Come along about seven frames, okay? And got 200%. I am going to slick both of these key frames. Hold down option on a Mac or Altana PC, and I'm gonna paste in my overshoot code, maybe. Ah, remember like, before we're gonna grab these two key frames. Gonna slick this paste you paste. Now, what I didn't do is I didn't move my play head back to the beginning. So if I look at this, you see it didn't work it all anyway. But what's this? If I click copy and I click on this one now and go paste it pace wherever my play hitters, he's gonna make sure you play his back in the beginning. Then click on it, get paste you. That's have anything paste, you paste, you based All right, set them all. You You collapse them all just to make them look pretty Select all the layers were gonna go up to our animation key frame Assistant sequence layers over shooting mind by for 20 if you are unsure what I'm doing here cause you just jumped to this video which the previous one we go through a bit more detail on these things. Nice to my data vignette. I might do the motion blur, but for the moment, that is how to animate an Excel document. Okay, we still need illustrator to break it out into its own layers, but it's not too much of a big step, so that's gonna be it for our bar charts. Let's go and look at line charts now. Exciting 30. Line Graphs: way, everyone. We're going to make this. Okay. A nice little line chart. We're gonna use Illustrator to get the bits going, and then we're going to animate it in after fix. All right, let's go and learn how to make this. Okay, so the first thing we need to do is just like Al Biograph. We're gonna create a new document and illustrator, we're gonna make sure it's 9 20 pixels by 10. 80. We're gonna click create. Now I'm going to grab my graph tool. Okay? And I hold it down. Okay, grab the Biograph tool the column graph to and then go down. Two years his line graph. Click and drag out that kind of size you're looking for. Okay, go to excel in your 04 line graph. I'll open up YouTube. Subscribers king and grow everything except the word YouTube. Subscribers just want the column hitting scramble days. Copy it back over to Illustrator Illustrated. It was gonna paste that into here. Click the little button and we've got a line graph. OK, this one here because off the names off the columns here, the texas and quite fit. So we're gonna address that you might not have this problem closed that down. And the first thing we're gonna do is break it apart. So we're gonna one group it object on group. We're gonna break this data. We know that already. It's OK. So a couple of things, first of all, I want you guys gone. Okay, That's still grouped. Right? Click on group. You two guys are still connected. Your still connected on group. There's a bit of an grouping to go still on grouping. That's if you're getting lost in the UN grouping land. Grab the white error. It's easier to select everything. Just go by go. So the ticks down here, okay? There are a lot groups, so we're going to right? Click them and on group it now, they're all individual bits going to select them all. Okay. And I'm gonna moving down. Just make a little easy to work with, and I'm gonna rotate them, okay? You can use your window, transform Penhall cable, just using the shortcuts. Okay, I'm moving it down here because what I wanted to do is grab you. You mean to go in the end? Read the last one. He has meant to go in there. Okay, Then select the organism out a little bit so I can see everything. Select them all. Open up your line panel window a line, and I'm going to get them to a line or is mentally vertically was Get it wrong, okay? And then distribute the centers. And that means that we're gonna kind of lineup together. Nice. While I'm here, I'm gonna make it look a bit prettier. Case I'm gonna change all the fonts, so I'm gonna select all of you and all of you go to window and go to type and go to character. Okay? And here, pick front Any fonts I'm using our butter that we've used all the way through these condensed in this case just so that everything fits in a little nicer. So what I also might do is play around with these lines here. Case with the line selected, I'm gonna bring the stroke to the front. And what color is this lying gonna be? Actually, let's do the size for so that selected can open up my stroke panel, increase it up just that's a bit thicker. And what I'd like to do is change everything to be white because I'm just sick of doing it on a white background. Okay, so I'm gonna make a colored background. So to do that, what we're gonna do is gonna slicked any one of these lines can then go to slicked the same stroke color. There we go. Everything with the same stroke color is gonna be selected. I'm gonna say, be this kind of off white coop and then I am going to grab all of the text into the same. Make sure you only click on the text. Now those guys are joined Case. All I need to do is select them on group them, not even grouping. Now, if I click on this now gets putting a stroke on the outside. So what I need to do is make sure that the Phillies in front and click that same color, I believe the black dots because I don't really care. I'm gonna go and change those out in after fix. So we need to do our layers thing. Okay? We everything's on one layer. What I need to do is get especially there's a line onto its own layer. I can see it. The it selected we're gonna have three. In this case, we're gonna have the axes, the line in the dots so bad, this one here, breaking my own rules and actually naming these What is this? When he is going to be the line this top when he is going to the dots, the lay order is kind of important. We can change it after a fix, but I want to the best of the bottom line and in the dots on top. So you missed a line. Need to go to the line. And the dots, I don't know. With adults are turned the line off. You don't, uh you are these guys. You got to the top there, him back on coast. And now we've got them all on their own layers. And the one thing we do for a line graph is that we're gonna use the trim paths method we used earlier for some of the info graphics to get the line to draw. Remember that Came at the moment. I'll use the white arrow. You can see they're actually separate pieces. They're easy to join. Sick mall, Go to object, get under path and click joint. Okay, Now They're just one solid object is gonna make it easier. Go. Let's head safe. I'm gonna put mine on my desktop. And now, after fixed files. Gonna call this one line chop. Okay, now let's jump over to after fix. So I've got a file New project open. Okay. And I'm gonna make a new composition, actually, or not, I'm gonna bring in my illustrator file and let that created. So double click the project window. The import gonna go to my desktop, find after fixed files. And there's the illustrator file where you line up, okay, it's gonna bring it is a comp. Make sure it's last size. Okay. And a double click the comp zoom out. And the is my graph. What I'd like to do is put a background layer in case so lay a new solid pick a color I'm gonna pick. Don't even know that color quicker came. Get to the bottom, right? Click it, give it a name. Breaking all my rules, backgrounds. Let's lock it so we can't miss with it. And that is going to be actually the beginnings of my chart. Okay, so this three layers the stream, the access we can lock. We don't move that around. Actually, do we want to move them all of the moment? Yeah, not quite centered on, like, Page needs space for a title. So I'm gonna lock the access that I need to change that. The lines were going to turn the dots off for the moment because you might not want to animate the dots. The line is pretty easy. The first thing we need to do is at the moment we can't We want to add Trump. Ask your notice that you can't edit at the moment because it's still an illustrator, Layer, What we need to do is whether it's selected go layer. And this one this is create shapes for Victor Layer, and it turns this went off and it creates this other line that looks exactly the same. But that's usable as a shape layer in. After fixing have been this guy here to make it nice and clean, this one here or we're going to do is toilet down. We're gonna say Ed shrimp pass that we did this in earlier to tour on a 12. This down stop position is going to be set to 100. So my play heads right here at the beginning. OK, it's important. It's a little hard to see because there's a, like, a preview of your line, even though that if I click off, it's gone. Okay, so 100% in kind of see it growing the amplifies women a little bit better. Okay, you can kind of see it growing across that line. All right, so I got it. Zero the beginning and stop my key frames. I'm gonna move it along sometime, okay? I'm gonna drag it down to zero. And now if I click off, got a line. Cool. Okay, so we're gonna add some easing to it will actually add our expression. And then we're gonna go and add the little bursts where it comes along when it hits the different quarters. This is totally up to you if you want to continue one. But that's basically a line chart. Same things the Biograph separated on its own layers in Illustrator and the difference. Now, instead, it's scaling up the Biograph. We've used trim lines to get it to grow in. Illustrator, you can create more than one lines in the one graph. OK, just joined the lines up, make them on their own separate layers, and you can have lots of little lines doing their thing. So we're gonna add our expression to these two key frames. So I'm gonna hold down the option key on my mech or bulky on a PC, clicked the stopwatch, can grab my expression handy, dandy looking here, paste. It took off. That's not what I want. I don't want to use an expression, okay, cause it's gonna bounce at the end of this. Okay? Okay. So what I want to do is I'm gonna undo that until I got rid of those. And actually, I just put keeping velocity, man. Um, and, uh, order pilots cope. You okay? How good is it? I'm actually gonna slow it down a bit. So I got time for the balls to up here. How long it's up to you? How you want to kind of present the data. How much time you've got to present it. Okay. It's going to a power point presentation where there's lots of time or whether it's an animation, like an intro for a website. You just wanted fire on them. Anyway, we've got our easing done. Now, I guess the next thing we're gonna do is we're gonna get the little markers where they can across the Q one Q three Q four to kind of just pop up and do a little cool animation. And you might be looking this going menschen take forever. What happens is once you've set this up and you put your styles going, were you doing illustrator is go back to your original illustrator fall. It still has the data she in until it ed, your new details there was Say, there's breaking apart, Joined the lines and just bring the line through okay? And you'll leave the access and your leave the dots, okay. And you're just play around those lines here And you said your trim path you can even copy and paste this trim pass from this one to the next one. So it does get a little quicker When she was set up. Your first version, What we're gonna do now is I'm gonna put a little bit of extra love into this one by getting the little things to explode as they go past the line there, so to do it. But there's dots. Layer the same thing as we did with the lines. I can't use it as is gonna have to go to create shapes from Victor Layer. You can see a little dots there. I have been the existing illustrator far. We don't need him anymore. And if we twill us down, we've got one layer with the contents, and these are all the different bulls. Okay, Now, the 1st 1 is actually this group 10. Can you kind of see they're actually, if I click off, see little dots there. The group one is the end there. Okay. You can kind of see them turning on enough case a week out, were you dot sour And I'm going to start with this 1st 1 okay? And I'm gonna twill it down, and what I'm gonna do in here is weirdly at the moment, we've got this kind of, like, square thing. I don't want to use that. You could just use a bit of size and scale to explode this out. It's amazing and make a look kind of cool, but it's a square squares, Adam. So what I'm gonna do is actually with Group nine selected. I'm gonna add to it on the lips, and it kind of goes inside of this group. Lipstick it with steak and it with anything. So now with these big giant lips, I could get rid of that square, Which is this thing called Path here. Squares gone going about its bang on where that square waas. Now what I want to do is open up a lips and and he and go to size And I started off it. Zero think I might play hit back here? Okay. Right at the beginning, I'm gonna sit my key frames going for size. Gonna go along. I'm not sure how long and they're going to get it to go up to a size you could have. That's probably too big. You can decide on how big these circles are. Okay? And yeah, So we've got this, like, little growing circle now. Everything I want to get rid over. There's a stroke on the outside. Okay, So all you need to do in here under lips, there's one. And here where you struck, OK, you can just delete their whole thing Gone. Strikes gone. Now I put this little bullet appears what I also want to do is give it a fill color. Can these eyedropper toe in pic my off white that I'm using? Okay. And the animation is not particularly exciting. So I am going to use my trick. Where? Under lips path with my two key frames. Here. I'm gonna hit the option key my Mac Orochi on a pc to add my script. This time, I'm actually gonna need it. Return. Okay? And in him now, I've got, like, a little bouncing ball. Now you can play with your timing between these two. Decide on like how Well it appears you can see a guy that looks a bit nicer co So I've got this. Now you're like, Holy moly. I'll have to do that for every single one is a no. Luckily, or we need to do is under group nine. Grab, make sure your play into the beginning. It's the first thing they grab a lips and film holdings shift to grab both of them. Hit. Copy. I'm using command. See or control CNPC. Okay. And go to group. Right? There's some stuff we don't need. We don't need you. Actually, we don't need anything except for this transform. This transform actually gives it its X and Y coordinates where you want to keep that. Because that's can I mean, the dot appears in the right position, but I don't need any of this junk. That's the square. That's the line around the outside of the square. And that's the fill in a square. I don't need any of that cooking Group eight and Hughes paste amusing command via my mech or control be on a PC. Okay? And now the cool thing about it is much happens. Case of the both going. Now what we're gonna do is we're gonna play with the timing, okay? And to play with the timing is we're gonna figure out we're this looking at the line in the background, You see my line areas, and when he gets to about Vera, I want this other little circle to explode. So I'm gonna drop down Ellipse, grab this guy, just drag him along to somewhere. Plus that now. Okay, so we're gonna just do that over and over again. Um, do the next one together? Actually, no, this is fast for it, cause it's that same thing you can rewind if you didn't quite get it, But get of you guys big thing. Make sure the play his back in the beginning que click on seven paste. Then open up the lips path, Find these two key frames and figure out in your timeline when it hits Q three. Because we're using on this. It's not gonna be like even these based okay Review Co. All right now, let's go and speed it up. All right, we're back. So that probably took me was on fast forwards. It probably took me about two minutes to go through all of that. So it is long. It's not like make a line chart and make it beautiful. Get is a bit of jumping and like so, these dots you might decide. Actually, I've done it before. Put loads of effort into one of these, you know, and lots of intricate stuff, and it does look really beautiful. But the problem is, it's turned into a nightmare for me cause I'm like, Oh, jeez, it's Week two and I've got to go and put that quarterly sales what thing together. And I've kind of designed something that have expected, and they likewise, Dickie Zonal that cause I've set up this monster of a thing. With so many bits going on, you might just decide. Actually, this is not worth it, because it's gonna be so repeated of Let's keep it nice and simple. OK, so dots might not be cool. So let's have a little look awesome. I like that little last one. It's gonna cool kind of zooms along in the middle there and in this last little one, kind of like gives it a finale. Okay, this is my actual YouTube subscribers per month, so it's not my total, but it's like how many I get Pimm up. You can see here. I'm just starting to get some big growth, thanks to Taylor and Jason. Good work, boys. And but, yeah, that's our little line top. All right, let's save it. And let's look at going on to pie charts 31. Pie Charts: I wear sartorial. We're gonna make this where pie charts kind of spin around and pop out a little bit. All right, now let's go and learn how to do this in aftereffects. Okay, So pie chart making Now, we don't need illustrated for this one, which is cool. So we're going to make a new project, have gone file new project. And in here I'm gonna go to new composition A C T. V 10 80 p 25. All the same. Five seconds long Background color doesn't matter, and I'm gonna click. OK? Should have actually named. Gonna rename. This one's gonna be called my Pichot one. We're gonna look at some other things later on. When we get into masking, so will upend it with one first thing we want to do is put a background in layer. Okay, nothing's opening. Double click it que makes you land? You solid pick a background color. I dropped two. We're gonna pick the kind of gray color gonna rename this one background. Look it awesome! Now for this one. We're dealing with the data from here. K, It's the device type four hour my website. Bring your own laptop dot com. 80% of people are using on a computer in 14 on a mobile phone and 6% on tablet. Okay, Obviously, our data for a pie chart needs to all equal up to 100. Okay, so first thing we're gonna do is put on our base slice is gonna be the kind of bottom background main chunk, and that's gonna represent in our case, the 80%. So let's go and do that now. I could grab the Ellipse tool appear K and drawers. The problem is, the effect that we're going to use requires his anger point to be in the center, and it's a little hard to do with circles. What we're gonna do is notice. When I do draw a circle, it actually creates a shape land puts on the lips inside of it. So what we're gonna do is I'm just to believe that I'm gonna create manually, shape, layer. So lay a new shape layer, and it's actually nothing yet. But if I toilet down and I could say I'd like to add an ellipse, okay, It's kind of like exactly what we just did by drawing it, But at least it's directly in the center. Now the other thing we need to add is there's a lips has no feeling no stroke. I'm gonna add fill. You can had a stroke as well, Grady. And feel great in stroke. I'm just gonna have filled at the moment. 12 it down. What color is it gonna be? You're gonna pick my light read here. How big is it's gonna be. Where? In where? It says a lips path. Open that up. Do size. This is totally up to you. How big you want this thing to bay? You can't move it on the screen year. We can do that later on. But the moment don't move, it needs to be directly in the centre coat, so it's gonna be my base size. I'm gonna rename this layer. Gonna call this one this top. And that's the bottom part. Done. What I'm gonna do is 12 it up selected. Copy. Paste it right. Click this one and this is my knicks. It letters mobile. The first thing we're gonna do is change the color. So open up mobile. Go to contents. Open up, Phil. Great. The eyedropper. Pick another color. OK, Open this light of one. Actually, you clothes make up and all that happening at the moment This is one over the top. OK, leave it in the center. We're gonna add in effect, so effects and presets and type in clock wipe. Okay, click holding dragon onto it and kind of just disappears. What we can do. You see this transition completion? Make sure your play hit is back in the beginning. Here. Okay. And watch this If I drag it down, they left and right. Okay. There is what we're gonna be animating. It's pretty easy to do. The key firms actually started already, So I want to start it zero or 100%. I was completely finished. It's a bit weird. I know. And then after some time now, because I have my play hid somewhere different when I first applied this effect you might not have. This problem is if I hate you tears this Brandon key frame over here. That's just a byproduct. This effect comes with the key framing really? To go to wherever your c t I is. It starts. Our first key frames were gonna delete that the beginning. Here. I've got it. set to 100. I've got no the key frames. How did I get this up? Remember, with its slick that I can click you can will pop up any key frames that are being made after some time. Not sure how long time I'm going to sit the transition. You could do it up here. We're up here, okay? And I'm gonna work out my my mobile ones, so this needs to be 14%. Easiest way to do it is do 100 minus your percentage. Okay, which is 14 and click Enter. It gives you the right amount using this effect. It's not meant to be used for pie. Charts were just kind of, like using and abusing it, but that is our 14%. Okay, so it's gonna do that nice. Okay. Before I move on to the next slice, I'm just going to spices up. We're using that expression with views loads in this tutorial already. Okay, so it is here to my exercise files under expression, and I'm gonna delete all that that is a little bounce gay, and then play around the timing to make it look nice. OK, now it's time for the next slice, and all I'm going to do is select mobile copy and paste it. Some using command. See in command V pc, it's control C control V rename this one. And this is tablet. Okay. And what I want to do is a couple of things is I want to change the color of it. So I'm gonna move this along so I can see it. Okay, So go to contents. Gotta fill the dropper and picking with color. No, it's right on top off the mobile. Happening the exact same time. So the first thing we need to do is change because we want to kind of pop down. He's on that first example. So it's considered the start angle, which is if I click it and drag it, I could drag it and manually line it up, and that would kind of work. Okay, I find the easiest ways 3 60 divided by hundreds times, whatever this one was, which was 14. Okay, that's going to give me the exact, like, movement around. Okay, I'm terrible at mass, but somehow those sorts of things stick with me anyway, So all we want to do now is it's playing. OK, so this one isn't the wrong percentage. So chick Excel. This wants me to be 6%. Okay, So what I need to do is go into transition completion. Now, I need to make sure my key frame is at the end of this animation. So templates selected click. You have my play had just above it, okay? Holding shift while I'm drinking to snap to the top instead of 86 Member. A little trick 100 minus. I can't remember now. Think with six can gives me 94 6 yet. Go. So that's going to give me my little slice here. That's good. Look, now, the timing Cantwell it up on is gonna move my timing. So that what, Maybe a little bit more. Maybe a little more. So when stops bouncing, this one comes out nice. Okay, so when it's all finished, I probably need to add some labels. But at the moment, that chunk via is what's left over. So 14 plus six leaves me my 80%. So that's desktop. That's mobile. That's tablet. What I want to do is actually probably this based a bit boring at the moment. Doesn't do anything. Just kind of beer. So what I'd like to do is animate that as well. So what I might do is just move these guys along, okay? Back to here. And I'm gonna add the exact same things I'm gonna grab clock wipe to disturb. I am going to study it. Zero Great. My play here was already the beginning. Remember, click you to see what the key frames are gay in. There is mine out there. It's already applied them all. So I'm gonna get rid off you, okay? And how far along, So it starts here and maybe about that far, and I'm going to give it to go away around 20 Okay, before these other ones starts all the way around that one. That one, maybe, but further parts, Actually, I'm gonna add easing first. Now, I don't want this one to bounce because I practiced and it looked a bit we'd with the base bouncing back and forth kind opens back up like Pac Man. So all I'm gonna do a slick both of these and go keep fame. Velocity use my old trick. Okay. And now, okay. And why do I had some of fix bitchy. You will, too. Awesome. Okay, so we've got our basic pie chart, and the coupling about it is it's very reusable. We can use these slices, k and just go through it and change the percentages and the start angles for every next month. For whatever you might have. 50 of these things that make it shouldn't take you too long, but we're gonna add a little bit of extra dimension. Okay, What I'd like to do is like one of these places to pop out. Okay? And maybe that's the, you know, the most important one. We could problem out at different times and kind of explain what they are. So I'm going to get this one to pop up, Okay? This last slice for tablet and to do it, I'm gonna get my play here down for it stops bouncing, caring about their And I was gonna play with size, so I'm gonna have tablets selected. Click this start the stopwatch for scale sighs. Okay, It's gonna do the same thing on, and that further along I'm going to get it to pop out. It's gonna come along, and then that's gonna come out now The only trouble is I can't use my expression on this one. There's just too many things going on these two key firms. But there's also some of fixed going on. And my expression just doesn't work on this one. So we're gonna have to do it old school. But luckily we know how to do it. Old school. Right. Okay, So I am going to first add some easing sick with these guys. Velocity 75. I'm just having across those to make it quick case, it looks nicer, but I wanted together kind of like this, but here I want to be Oh, so it's going to be 1 25 That's going to be finished. Kind of like jumping out spot. So what I'd like it to do, actually is to go past that little bit toe 1 30 Okay? And then come back below 1 25 1 22 I'm just guessing here. Horrible. Okay. And then eventually respect 1 25 You could put more and more in these. Okay to get it to go really slick and smooth. Let's give it a test. It's not bad. Um, it's women. The fire out. I just said it was him. Got this whole tutorial. Okay. Um, yeah. What is nice gay bars? You can play around the timing of these. The last thing is you might do is we're gonna make it like a doughnut shape. And I am embarrassed to show you the method for turning it into, like that donut unit. Like, from the beginning. What we're gonna do is grab the disk top copy and paste it. Okay, We're gonna call this one the center, okay? And you're probably going to guess what we're going to do with the center selected. I'm gonna get rid of Radio White because I don't want radio wiping in a way. The center is It's just a copy of it. Okay, I'm just gonna change the color of it and move it to the top. So let's go. Actually, sticking to the top now seem kind of see what I'm doing, and yeah, it's pretty cheap tricks. Let's go. You pick the background color and let's go into a lips path the size and helping. Do you want your doughnut on a cheap? Okay, but it works. Looks like a doughnut. Does the little cool pop out thing, OK? And if you want to say you got a colored on image background so this is not gonna work. We will address this a little bit later in the course when we look at masks, Okay, but for the moment, most the time, especially for this victor stuff big circle in the centre pops out. Looks awesome. And what you should do now is go through and just add some type. Obviously, the percentages would do a percentage counter in the next video, so it kind of creeps up in the right dimensions. But you want to add some labels and stuff to it? No. Last thing we're going to do before we go is that to move this thing is that weird? You're like our Graham just gonna grab all of these guys, and I was gonna move it over. Ah, that wipe effect. It's actually a transition effects, so it does it to the whole scene. You can fix that by pre composing its but easy. I've got all these selected right click it pre composed, puts it into its own little comp in a coal mine shot. Actually, what we call the first thing We don't want another one called pie Chaat. We're going to call this when doughnut, Okay? And back to my project files here and punch out one. And this is a little donut that goes inside of it. Now, what happens is it's just all group inside that Camp K. Now, we can move it around as we need to. Okay, That Y perfect kind of stays with it. So we kind of animated on. Slide it on as well. You might go slide it on. Make it look. Oh, all right. That's gonna be the end off this pie chart one. We're gonna look at adding some counting numbers in the next bit. Also later, in the course of Europe, pie charts fan organism called masking stuff with pie charts. So check that out as well. All right, let's move on. 32. Number counter ticker thing: Hello. Welcome to the number counting thing where it goes up from zero. In this case, it goes to 53%. All right, let's look at how to make that now. Okay, so, first up, I've got a project kind of started for us. You can obviously use your own. Go to your desktop, find you exercise files. There's one and called pie charts, and it's called number counter. And all of them, for you, is I've created just exactly what we did in the last exercise, instead having two of them. Okay, where we have Member Tablet and Mobile just on one. Okay. And it percentage is going to be 83%. And I've just calculated that already there's just a silly disc in the middle making it look like a doughnut. Now, what we want to do is add the number counter. First up, we need the text. Okay, so we're gonna grab the type toe klik. I'm gonna put mine in the middle, gay, and I type out my numbers. I'm using this fund. He called lust. Okay. It's free one. Well, it's from TYC it. We look to talk it earlier. Now what? We want to do is we don't want tohave the percentage the same in the same text box. Okay, so his 15 actually is 53%. Okay, is my top one. And I want tohave in a separate box because the number counter can work here, but it can't upend the percentage there, so I'm gonna select it down here. Copy and paste. Okay. And it's made of 2054 has gold. Double click it and change it to percentage. Now, it's kind of in the way now, describing the tool slang across molding shift while I'm dragging goes. And now we've got these two little units so we don't need percentage anymore. It's just this 53 they have you working on. If you are trying to get other bits, I have locked all the other layers to so you don't wreck it. OK, but if you want to wreck it, unlock him. The first thing we need to do is we need to create something called a slider, okay? And it's gonna control the up and down of this and allow us to key frame it. So what we're gonna do is we're going to go to a fix and presets and type in slider. Okay. And in here, there's one called slider control. Click and drag it to either here or it's easier to drink to the number down here on the layers. Okay, Now, this is what we're gonna connect to it. So we've applied this effect called Slide in the slide. It just allows you to crank it up and down. It's not connected yet. We needed to connect it to one of the attributes with inside of here. Okay. And the attributes gonna be good for us. Is the source text the way you connect these two together? It's the same as when we add an expression member. We hold down the key on the PC with the option key economic cooked, a little stopwatch, OK, and we've started a bit off expression. Now what we've done previously deleted it and replaced it. Now what we're gonna do is use this thing called the Pickwick, and his job is to click, hold, drag. He's kind of like this little weed thing because I want you to connect, do and let go on Slater. Return on your keyboard. Took anywhere else out on the document. And now, if we put out play it back to the beginning, the slider is connected. So there's no need to animate the key frames. Okay, with this little stopwatch here. So the beginning, I'm gonna set it to zero. You can go negative. So set it to zero. Let's start the stopwatch to put in a key frame. It's up to you. See, we're in. This affects controls. You will actually find the stuff down. Here is the effects. This is the slider control. And if you prefer using it down here like we have in the wrist off the tutorial, okay? You can see the key frame there or use the one of their Doesn't matter. So how far along we're going to go? What I'm probably going to do is I'm gonna get it to start about. There's all this first key frame to be zero at about their because it's this bar here. We're kind of getting it to be associated with, and when it's finished, I'd like to lift it up to 53%. Awesome Problem is, is it has fractions, Opus decimal points by default. It's pretty easy to remove. Okay, so it is actually counting up. Find what we want to do now is find that expression that we worked arms on the text source text. There it is There. Okay, now what we're going to do to fix it up, Okay. Is that we need to put it inside a parentheses. So inside a set of brackets so there's a break in the end breaking the beginning So we wrap it up in the beginning Here we use capital in for meth dot round No spaces can click in your house out. And hopefully now, okay. Goes up without ALS the extra decimal points. And that, my friend, is it all right? We've got a little percentage going on are cool little graph and yet that's it. I will see you in the next tutorial. All right. I'm back for a second. I was just closing up. The file is like them. That might come up. Casey, over here. My panels were in this kind of other mode here. Okay, so you can were in switches, okay? Actually were in modes. Now, if I click on this, that's back to how of being the most of this course. Click on this again. It's kind of a weed button to find. You can search up here high and low, But look at this guy. Trans phones form. We're gonna look at these mawr as we go through masks. But most of the time I'm gonna be in here with our lovely motion blurs and our three d. So make sure you set it back after the reason it switched over is because we're missing round with expressions earlier. All right, as you were. 33. Process Relationship Infographics: I think they're in this video. We're going to use Excel to build this kind of relationship model here. Plus, look at the hundreds of other ones. It does really amazingly and then looked animated in after fix. Like this there for us, they pop up. It's to do research. Still going for the last night because it's good watch. Finally. Fine. I watched him go. Ah, you its rules. Okay, so that's gonna be it. Let's go and make that now in aftereffects. So the first thing we need to do is we need to create our artwork in Excel. So we're gonna be working with this stuff in 06 process and relationship. And there's one called ux workflow. Now Really cool feature in Excel by the by I've got a course on Excel If you really want to get in Tech Cell, Okay, But it's really simple, obviously what we're doing right now, I've got kind of five things they're gonna match my ux process dialogue of selected it'll and it's very similar Mecca Pixie things were a little bit different places, but to select all of these and let's go to insert, we're looking for this one called Smart out there it is there now, there's lots of different options in here, and it's really great. Like to have to recreate any of these in illustrator or in after a fix, which would take forever and thes things here. There might not be style to your liking, but we can make that happen. Okay, There's really good stuff in here. So up to you which one you want to work through? Okay. You can see there's lots of this. So what we're gonna work through is the relationship one. And in this particular case, it's going to be. And when I say relationship, I mean process, we're going to use this little arrow one here, OK? Lots of different options. We need this one. So the cool thing about this and if you cook this little side But here you can into our data. And when I said select that stuff in the beginning, it does nothing. Okay, so we're going to use that to copy and paste from a copy. You cook on this click on this guy one kill this guy. Copy and you get the idea. Here we go. The 3rd 1 the problem is, we've only got three, but it's really easy office to add ones. Little plus button here. Okay, So you noticed. You can see it's kind of shrinking to fit in here will adjust That is sick and as well once we get it all out. But in the year, Okay, quick thing is you can move them up and down there in the wrong place. Okay? And what we want to do because we want this quite big in Illustrator, we are going to turn their back in there, okay? And am dragging over here and make it nice and big. If you're happy with the styling, you can go ahead and do this now, Okay? But its research the box nice and big. I'm going to go through and actually style a little bit, but I want to do is play around the colors. Okay, So with smart out along the top here, you've got these extra features that appear when you've got it selected to make sure you got any part of its lately got a smart design. You can pick some of the other defaults for relationship and the colors on top. I want this first one's kind of like flat with a white Stroker on the outside colors. Okay? There's actually not so bad. Is not too bit ones here in old, um Excel. Okay, you can go and change these, if you like, was selecting one of them. Change colors and you can wreak a literature graphics. You can spend a bit more time styling. I'm happy with this. That'll mock up. One thing I'm not happy with is thief fonts. So I'm gonna click off Click on this. And I got, like, nothing selected. Just clicked on the edge here, and I'm gonna go back to home and I'm gonna pick a front. Okay? In my case, I'm using Roboto Slab coolly all kind of fitness. And I think that is it. You can do some adjustments. It doesn't really matter if you do it here or illustrator do. And what have you most comfortable with? If you're in Excel was do it here. If you're not, you can do it in the next step in Illustrator to get into illustrated, Just click in your on the edge it copy and then open up, Illustrator, make a new file. Let's make it out HD size. So 9 20 by 18 80 It is gonna be great. Make sure it's as you be. Color creates it paste. Okay. And the cool thing about it is yeah, there's kind of victor that what will need to do is on the zoom out so I could see the whole page. So it's better to get a positioned in here before we re position. And after fix case. That's kind of it. I want to maybe make it a bit bigger. So and what I need to do is right. Click it and release clipping mask. Okay. Some of the other ones we did earlier was we right? Click That went group. Okay. And what we want to do is now that it's just check that it's all kind of in pieces. A couple things I want to do is I want there's like a line around the outside. I want to get rid of all those. They could be hard to slicked ***, just the white struck. You might like it. And so what I need to do is move all of these onto their own layers. Like before. Layers panel have 1 to 245 You know, we've got one Lay here. This first layer always never use it. There's always junk on there we don't need when you're copying and pasting from excel. So it's best I like, Grab this guy. Okay, so make sure you got it all. Okay. And remember, 12 down. And this guy here, I'm going to just drag it to this layer. One more allowed to. Sorry. Okay. And don't everything to know on and off. I didn't premise I'm doing. Okay, so I've got everything selected year. Actually, I'm just cooking your year, so everything. Yes. Okay, so is these two. I need you onto that laugh. Now. That looks good. And I was gonna work my way through these twos. These, um, second so I can see them in the paths Here. There they are, the m and then and you. You you fun times. You see, I've got everything. I need one of this stuff left over who knows K junk. So I'm gonna been that laugh now. I should go through and rename Elise to match them as one ejected one research. That would be clever. I am lazy on one thing. I'm will do, though, is I've used a fine. I've used robotics lab. Now, if you're passing this on to other people to use or you know it's gonna be used amongst a bigger group of people and, you know, they're probably not gonna have the font. I tend to slick them all, go to objects, no good a type, and go. The one it says create outlines at the moment it's irritable. Type came. And people need the fault for that to work. I'm just gonna go to create outlines. All it does is that's not inevitable front anymore. Okay? You can't spell chicken. You can't do anything. So be careful. You might do it. Say, there's I'm doing it for this so that you can cheat. Maybe jump the excel part of this course and you'll be able to just download the AI file. Okay. And because you probably remember about a slab, these will just be shaped. You can start using going to save it. I'm gonna put it into my, uh, I'll put on my desktop a fixed files. You, my friend, can get in there, and I call this e you X relation ship. Okay. Here we go or in the relays? Illustrator file. Now we could jump into after fixing animated. Okay, so we're in after effects, and we're just gonna animate it like you've done loads off things so far. If you've been following through this tutorial, so pick whatever you like, I'm going to do a little method that you saw at the beginning there, and I'll show you some kind of tricks for copying and pasting key for him. So it's worth while watching it. Okay, But you might be in disco, like, up screwed. And I'm gonna do on a scale or overshoot or something like that. Okay, so I've got a new project open. I'm gonna bring in my illustrative fall. It's on my desktop graphics files, UX relationship. Remember, composition uses. Probably footage. Gotta lay assize, click. OK, so it's made a con for me. Okay. How long was that comp? Uh, whatever. The last thing I did skates match that. There's all my illustrative files came going to double click it. Open up. Great. So here they all are lined up nicely going into my preview. Back to full. Okay. So for use nicely for you the next thing you want to do is add out audio because we're gonna be timing at two a voiceover, so there's no point kind of trying to do it without it. So let's bring it in. It's a now exercise files. It's in, 06 process and relationships. There's an order Father have made for you. Get to listen to more of me. Okay, I'm gonna add it to my timeline. Now, the thing is is that your your timeline was probably only, like, maybe five seconds, because it was probably based on the last thing you did whenever you make a new camp. Okay, It just remembers the last thing you've done because I was practicing this exercise for you guys before this. I said it to the exact time I need. So let's say that hasn't happened, Okay? We need to make sure the compas long enough to be able to hear ALS the audio. Okay. And the way to do it is to click on this and say it's 2012 came is in 20 seconds and 12 frames. So what we do is we click on you ex relationship awards, have a click down here, and go toe composition come sittings and make it the right length thick. You see 2012. Okay. So just make sure it's the longest. You can hear everything going last, but Okay, um, so now we need to animate, and this is the thing where we're gonna let a few little tricks, that case. And now we need to actually put it on music as well. I find adding music early on is really important, because often you can keep pace with it. You know, you're kind of like, ah, timing it to the music. So don't underestimate having the music, and it's not just for the end. Okay, so pick something. How would a white butterflies aside on I can't remember. All right, so that one's going in, talking at the bottom them. So a couple things we need to do is we need to figure out how loud the music is voices the , um, voice over. So the first thing is gonna mute the background music go to my voice over. Okay. And I am going to open up audio it play, so I could only hear this one. You stop with sitting your okay. It's clearly bouncing way too low. I needed to be up a bit higher. Well, clearly, it's clean because I've looked at it before, All right. And to do your research. So remember, minus six and minus 12 bouncing in there, it's a little high about mainly bouncing between these two. There Looks about right. Okay, so kind of nailed it. You know why? Because I've already played round this one, but okay, you might have to raise yours and lower it to get it between those two and in terms of the music. Now, I'm gonna turn the volume back on little mute button there to play. It is okay. You can't really hear it because you're hearing it through my mike, but it's It's competing, so it's quite loud. Lower down. Too low. Too loud. Why am I doing it down the and not up here? I don't know. Way had her. Okay. It doesn't really matter if you do it there. Or Keesee that we lowered the this guy here by my by 3.3 there is there and down. We raised it by 3.3 and we've minus this one down here. I don't know why that is weird. Okay, it's good. Show you two ways of doing the same thing. Do your research. Maybe, just maybe, just a little bit lower. You create your Yeah, it is about right that's savored. And before we do animations, what we're gonna do is we're going to mark our sound thing. We did this. You saw. Probably a finally imported way back earlier on in the tutorial. Siri's there was markers along. So let's look get doing that for ourselves now. So what I'm going to do is to make it easy for ourselves. I'm gonna open up the sleigh here audio gonna get away form. Don't go along to what I'm looking for is to wear 123 Cause if you listen, you're probably when you're doing this drawer, have a listen to the audio first. So it makes sense because that's me saying one. You start with an objective and then a little further along Aceh's to start the research. So I'm gonna add LaMarcus here now on a mech its control eight. I'm assuming it's something like option or control or bolt on a PC. I don't off the top of my head, so you might have to guess it. You might have to work it out. It is under Mark Ooze. Where's Ed Marcus? There to go to Layer and go down to ed Market and work out with the shortcut is it's really handed another shortcut for this one. We just put it in manually the long way coat. So there's my first market. I'm gonna double click it. And this is gonna be one actually enter. You can see a little one appears there kind of handy thing to come along, too, to to you do research that That's why the way forms down because you can actually start to see, like, there's a break too. So I'm guessing probably that is probably three. That's probably for maybe maybe that's three. Okay, but it does help you anyway. So shook up on a Mac control late Look like it you want to and gin it is their three control h that will cook it. This is just so I can play with my save some time with my animation for this one Here. Looks like five. Who is not end. Finally, five. There Come and and last one and you five. Awesome. Okay, So that's that. That that that's now we needed to the animation. So I'm gonna 12 him up, OK? And we'll start with Layer to K, even though it's out first when we should have named them bitter in Illustrator. Now I've made my bid and I'm gonna have to live with weird naming. So what I want to do first of all, get them all to appear, Remember, they all slide in the beginning. There just kind of settle themselves. It's called the build when they kind of just get together. The beginning thought I'm going to do is do it to the 1st 1 and then hopefully we can do some shortcuts. Actually, what we're gonna do is we're gonna stick them all, okay? And we going to click P because we get the more sleep it. And we've used a short cut. P got position, start the stopwatch on one of them, and they all start. We get a key frame from all seeking bulk doing some of this. So after, I don't know, about half a second, this one sick in there and what you might have noticed in this tutorial if you zoom in, you stop. It goes from sickens. Okay, Workers, he sickens. Two frames came, so it's 25 frames in a second. So it goes 15 21 2nd That kind of just It's just like our showing like millimeters. If that was centimeters or fe Eaton's, their interest instead of feet came on. And so about half a second, I'm gonna put in a menu a key frame, Okay? Because that's where I want them to end. After I have a second at the beginning here. I want them all off screen now. We're gonna have to do this all separately. You could distract them all. Okay. See, it was sale. That look same. All of them come off screen. Do you guys get off screen? Okay, I'm dragging. And after I start dragging hold down shift, it looks it into place. So kind of works, right? What I want to do is this, though. So in the beginning here and I'm gonna get you start dragging hold shift, picking this one. Start dragging where it's going or within the whole shift. I'm gonna kind of pollen one up so they start off screen. Just gives them a different pace. When they come in, You guys. Now they're all kind of fly in a different, slightly off city, and we're going to get them to stagger in because I want them all to come to just be a little bit after each other. Now, you could go through and just kind of manually stagger these things that would work. Totally. I'm gonna slick them all and be a bit more professional about things and right click one of them go to keep from assistant, go to sequence layers and get them to overlap. Now it needs to be. We know this thing is remember it waas 20 and 12. Okay, settle. Overlap back on its self completely. So we want to be maybe a few frames different. Okay. Seems at all weird. I know. So it's that minus the difference you condone. You work it out, have a little play around with it came. There you go. You can see was stacking them now and that it's feeling a little bit better. What I might also do is slick mall do amazing, you king and nicer. I probably want them to do a little bit something. I'm changing my mind and going back like, Geez, get on with the editorial, Dan. Sorry. Okay. So instead of five, it was 12. Five, maybe eight. A little. Just a little state of the Okay. One thing it's missing is motion blues and turn it on for the compound on a turnaround for all the layers here. How my liking that ask it. Probably the thing annoying me the most is no easing. And I want to slick you. Hold, shift, click All of these guys and the just obits taking too long That's getting there. So easing as well. Slick tamal, Kiefer and velocity you. Now it's too fast. I move on. I promise. Okay, so they building. And next thing I want to do is when I start talking, okay, I want when I say, you know, one stop sitting. Your one. You start sitting in your objectives. Okay, so I know it's there. So what I want to do is we're gonna look at something kind and well, it's definitely knew eso We're gonna click off the mall. No, into the moron. So actually, this is about one first. So lay one is my 1st 1 objective. Now, when we working before we edit a camera. And when we edit a camera man, But we had to turn. This will three d thing on. Otherwise it can't be seen by the Cameron. Okay. And the camera for eggs, That little bitch. What? We You can kind of use it without a camera as well. Okay, so what happens is if I click the little cube him the big differences which this salt will down. This guy, he has a few sitting, especially position. Okay, He has just x and why he could go that way. Okay. And he can go that way, and that's it. OK, but if you turned this on, he gets an extra dimension. Okay? He gets this Mr. He gets to 14 back, which is really cool, cause that's what we want to kind of do. We could use scale, but scale just doesn't work. Watch this. Let's grab scale for this guy. Scale him, okay? And I could say Oh, you know, number three your mock up and bring it nice. And Ford problem is is the layer order okay? He's like the layout. What happens? Okay, that guy's always in front of him. And that guy's always behind him. If you want this guy to behind him now, that's great. Until you need now, this guy to scale up, you can't like animated. You can't animate changing layers. Okay? Because I want this guy to get bigger now, but this guy's always gonna be in front of him. Cases Scout is on work. If they didn't, that was a terrible explanation. Just know that scatters away. But this little foreign backing does OK, because I grabbed him and I turned his three d on. And I say, you, my friend, have a position, and you, my friend, can go forward. But it's not going in front, because this guy, where is who's he? They all need to be three d. They want to be playing by the same rules. Like this guy here he needs No, here's in the Z space. Okay, so and then he can go forward and get behind them and back of them away. So I'm gonna undo. Until I didn't wreck this thing, I'm gonna make sure the three D's on on all of them. Okay, so just all the layers there and what we'll do is this Firstly, here come along. And just before it says one, I'm going to get it to pop out. So I wanna late to selected P for position I'm going to cause he's coming along there. I wanted to stay there because what people tend to do is they start doing this now, that's one bringing forward. Okay. The problem is, is that from this key frame to this K from he's just slowly creeps forward and looks a bit weird. So what I want to do is put in a blankie. Friendster. Between here and here, he does nothing. And then when it gets toe one molding shift to lock to that little marker, which is handy going to get it to go forward a bit. Game for a bit for a lot. You don't shift, Really? Drag these things, okay. Just makes them move and bigger chunks, and then you decide where you want it. I'm gonna probably put all of mine here in the middle quite close to the camera. So it kind of does this. You go. And so we're going to do uses for a ux designer. Went through You can kind of hear in the background. I think we'll do a little more of that and we're going to look at copying and pasting key frames that's worth sticking around for on. But the main thing of this one is a getting stuff at Excel. But then using the three D without a camera, just get that extra dimension pushed things in front of each other. So what we're gonna do now, we're gonna try and speed things up because putting a key frame every time is going to be a bit hard. And so what we want to do is just before two of years, Okay, when I start saying, Well, I want this to wonder if I wanted to disappear, So it's not about their What I can do is I can put in a menu key for him so that this pretty much picks up that one copies. It sticks out there, so it goes nowhere. And then after a little time, he's gonna go back to his home base now to try and calculate that is Basel. Okay, so all you do is grab that key frame because right there, remember, he was back home. Okay, Then we made a big move. Him out here, but the right there he was, where we wanted them. So we just select it with my, uh, Section two a copy to just command to see on a Mac or control see on a pc. Okay, just the simple copy and they move along before you want them back and make sure that last selected and just go command V or Control V on the PC goes back to where Iwas That's a really handy thing to low that you can copy and paste these key friends. So we're going to use that to our advantage even more. OK, so to okay where I want to do appear. So let's click on this guy. Make sure he's all three d had pink, and what we'll do is we'll see the key frame because two is where warm to appear. So I want to be a little bit back Firth at this, okay, And then if it if you're finding it really hard, just maybe move that back there, Okay, I'll find when they're overlapping, Especially when you knew that it's just a bit weird that that's happening at the same time . So you the key frame is exactly where I need him to be. OK, but then when I say there were two, I'd like him to be in the middle there. Now, I like him to be the exact same position. Okay? And I could do that, Could do that. Okay. And move across and to get him in the right spot again, though. It could be tough. Exact same triggers before. Okay, you can copy off different layers. So I know what my play here is right there. That's what this guy was. You know, he was in the right spot. I want I want that guy to be there. So you just click on that key frame. Copy it, king, and move over there and make sure you click on this layer and paste. Well, some are just goes. There you go. There. Okay, go along. And now it's gonna be a bit of stepping, repeating. Okay, So I'm gonna give you and then before three appears, is gonna go back to his home base, which is that one copy and fixing. They pops up, do your research, and then I'm gonna 12 this lead closed just so we can just use layer to is our reference to steal that thing in the middle there. I'm just going to try and keep it as tight as we can. Therefore, selected P okay about there. Okay. I would like to say to keep him and then differently at three. Okay, I would like to copy this guy. Make sure the right light selected. Okay, They move along about there, but a menu key frame and this guy copy him. Proven to out there paste. Okay, you can get a bit of rhythm going, okay. Copying and pasting stuff. At least everything lines up. You know, after, like, start copy and pasting these dimensions down here. If you I used to do it, okay. Takes forever. And so, yes, forces last lay here, and I want to put a key frame in four position. Okay, Now, I'm just You can skip. There's not gonna be anything extra and nice. I'm just gonna finish it off. You can hang around if you want. Okay. Um, you copy paste. Don't make sure that last elected paste. Okay, Come along before five appears, put in a manual key frame sweet between here, and he does nothing. Then I came to go back to where you started from God you pay What? A So just before five could start there, then of five. I'm going to get him together to there in the layer this time paste. And then it's up to your against the to the end. I guess I can see when it finishes. Yeah, Come in the right spot. But in a key frame. Go. What I might do here, actually is there were gonna zip off my mother. Get this guy is about fist. Now. I'm just missing about and yeah, adding my own son of fix, I think it's the part addict and I might get them all. Turnell zap off. So you position okay and I'll get you toe. So what I need is do all these in one go trying to be clever? Really? P so I can see them all gonna put a key frame in for the mole. Well, it's like the more fest. So already got the 1st 1 Suddenly ignore him and put a key frame in for the more coat, and then I'm going to go and get them all off screen with this fellow. Okay, so they're all there and now there were gonna be off screen. Kind of like what I did the beginning or slightly different. Well, we're going to the same places, all Sure. And then I can't off set these can offset thes. Um, no, I can't think of a way anyway, so I was gonna have them. Who goes first? You go. Thing you go. Good. I talked to myself a lot. Okay? And you can add your own your ex rolls thing at the end there. I've got aux course as well. Of course I do. M I love ux ux designer. At least go check that out as well. If you came, I love it. It's gonna call That got a nice little kind of run off of the in there like a little fish. Now, you should totally leave now. And I'm just gonna add the text of the beginning. Just a fancy this up case when they're all on had some type click ones. Michael, this 15 rules of UX design. It's one of the courses or one of the videos in my course sales in sales off uh, ux designer. Okay. What am I gonna do with this type first weenies of at the top, slick for these guys to get rid of them. Click. You okay? You opens the more lap that it also closes them just to tide them all up. And I mean, this guy to kind of come in once these guys have loaded. So what I'll do is I'll start, um, a bit later, beginning here. I'll just skeleton because think of anything better. Okay? And after half a second, we'll get him to go to 100. Todo Very nice. That's right. And make sure that machine blows on for it. I will use my expression. Find him. Found my expression. Hold down bolts. Click him or option on the Mac. Pasted in. See how we go for a little rebound. Yep, a little tied up. It's weird. The once you add that expression, it needs a little bit of tightening up over time. Now, when I said there was no other things, I'm going to do one other thing. Okay? It's that this is too tight now. Any too low. This all down. Now, if I move the position, okay. If I try to use it, moved position any things are made in key frames, right? So things are gonna do some weird stuff, okay? And you're like, how the way. Move them all down. One go. You could pre come from okay, slick them all pre come from and then just lower the pre comp down K. Or you can stick with these guys and click a one of the options in the toilet. Down is anger point to transform anchor point. OK, anchor point. We don't use very much. We've reset it, member to get the rotation in the right place and make sure things are scaling from the scene to rule the bottom is like a now. It's kind of like a separate position. It's kind of weird. I use this quite a bit when I've get to this point. I'm like, Man, it all needs moving. But I've used position so many times. Just use this, okay? It's like it's still like it's still thinks it's there, but you've moved the anchor point kind of tricking it. So it's a bit lower kill. And this one here? Yeah, copes Anchor point can be a coup. Little get out of jail free card. You want to just make sure everything lines up. What? Oh, I think. Okay, we have a slight problem. Think point. Move it up because it's using a three d camera. Can you see it? Gonna get skewed. It's a bit different. So when I said this is a great you know, this is potentially a work around to save the day. Ah, didn't quite work that it better? Yeah. One stop. So what you do is darkness to be a better anchor point, because that's still handy. That actually and what we could rightly get good pre come, gang. I cool this one. My errors. Okay. And then the whole pre come can come down. It's just, like slow grip to get inside of it. Double click it. And they're all kind of still with a are they stood still to do their thing. Let's go back. Close down, error. And now have a little look. You see? Didn't mess around with the three d camera because there were grouped inside of there. The camera still works. All right. Embodies. That's going to the end of this very long tutorial. Lots of just watching me work. Okay, But I would be picked up a few things and that one, especially because excel so awesome and making those like relationship models super quick and super easy. And then he's gonna animate them in after effects by jumping through illustrate a bit of a hassle. I know. But hey, it's the way we get it done. Let's go on to the next video. 34. Camera 2 Node: Hi there. In this video, we're going to look at to node cameras where we get this kind of like, pan and zoom me to anything. Okay, We'll also look of vetting video backgrounds. But now that I've finished this tutorial, actually, I don't like the video backgrounds. We could do it with a plain background as well. All right, it's going to it. All right, So, first up, I've got a file that you can start with Sunday. 07 camera. It's called YouTube line chart. Or you can use the line graph you made in an earlier tutorial. Okay, here it is here, and it's a little different. I just added some ticks for the top and YouTube logo, okay? And they just Oh, there just timed separately. And they're all using that expression that were being using over and over again. All right, so what we want to do now is we want to use our camera and let's have a little look first at the difference between a single note camera and a to know camera. So I'm gonna get a layer new camera. We'll put in Wonder camera. Call this camera 11 node node. node go and we'll put in another one. This is the one we're gonna use. We're gonna delete this person, so you might just kick back, relax and just make this camera case was going to be camera to note. Okay? And we're gonna go over here and pick two nudes, OK? It's the camera. You want this one? I'm gonna been in a second, cause what I want to do a show you the difference. So, first of all, I want to be able to see my two different views. The moment we've got one view, switch it to two views. Horizontal. This is the top view. It's not very exciting. So we're gonna You don't click over here. Remember the little blue? The wages in the corner indicates which side you've got selected. So I've got this I collect from top to custom view one k, and you might have got an air saying, Hey, remember, you gotta turn things on to be three d Kane. So you remember to do the afterwards? What do I want to be included in three D is I want the YouTube logo a want to the text on the dots that lines, everything but the background. We're gonna leave that off. You can see they can all be seen by the camera. Now, depending on where your play hitters, you'll pay his way to the beginning. You could say you can't see anything you'd be like, Oh, no, better move along. You'll see they'll can all be seen by this camera. And what you can do is click on the different cameras que onda little kind of like highlight which one we're working on now. I'm gonna zoom out a little bit over here, okay? And show you the difference. I'm gonna turn off camera one. Great naming, then. Okay, the two node One on a deniable off so we can't see it. So the difference between the two really comes down to under transform. We can change the position k, the orientation and the rotation, whereas a to note camera. Okay, we transform it down. We've got this extra one called Point of Interest. Okay, so let's look at the difference. Camera. One note. I can adjust this. Okay, and I can move it around. I could even rotate it. Keynes, look up it down. The only trouble with that That's great. You just got a new parallel movements like we did in an earlier tutorial. Gonna delete that one now Goodbye. One note. Let's look at the two note. Okay, so we've got this thing called. The point of interest is just like an anchor in the ground. So now and then I will on public life. K is watched this up here. So the position now, if I move it, you see the camera moves. But it's still pointing at that point. Off interest cases like it's a little home in the ground, and your camera will keep pointing at that, no matter where you move this, and that's really handy. You can see on the site here kind of what we're going to do. We're gonna get that that animate that movement can. That's really handy. If you have to use the one note and try and keep rotating it to get that in the middle, it's impossible. The other thing you could do is you can zoom in on this camera, okay and see this point of interest. You can animate that we're not going in this exercise, but watch this. I can just a little target in the middle. I can start. Kind of like dragging this around. Okay? And looking at the camera is not moving. You can see the base of its tell us. It was just kind of like peering around, having a look at different parts. Look down the bottom. There, you keep frame that and then look over here. This part. Okay, so that is it gonna delete this camera? Because I've broken it, and I'm gonna go back to lay a new camera to know camera and leave the name now. Awesome. So all these guys are made three d. We are going to now key. Frame the position. Open up, transform. Be right back at the beginning com position. Okay. And what we're gonna do is over here. We can't see anything. Let's go to fit. Okay? The reason we still can't see anything, it's just cause we're not. Do you can see the whole animation yet? So let's just move it along a little bit so we can actually see it. Okay. See this key? Frame him. It's moving along to where we are because it's just too out of the beginning, cause nothing could be sings we're gonna put it here, then we're gonna adjust the position. I'm gonna drag mine now. Drugs pretty slow. Gonna click holding Drag it. You see my cameras moving this way If you hold chef way, drag any of these blue numbers and in after effects, you can see it can multiplies it by tens. We move a lot faster molding, shifting, dragging it. And what are we gonna do? I don't know. We're gonna go over. This side came and that's actually the beginning. Key frames. I want you to be over there. Okay, Hold shift. That will bang up against the edge. So it's going to start over here. And as the slides in, you can actually go all the way. The end, if yours like mine. This is Here is the work for Amiriyah. We looked at this in the early to troll. Just don't click center of it. Stretches all the way out all the way down to five seconds. And we are going to grab this and corrected the way holding shift. You can see him going past is awesome. Okay. How awesome. It's not that awesome. Let's give it a go preview now. See this little green bar this out previewing. It's kind of not keeping up like previewing playing previewing is buffering is not working . So what we might do is go back here and watch this. The greenback still continues out, just catches up. So we're gonna go to preview. We're gonna go to resolution to quarter just to get custom that it previews and lessen. Quick now. Awesome. So that's what we're doing. Okay, Just the slow kind of motions thes slow pains just to get a kind of edible of life to our data. So it looks like it's doing something. We haven't done much in this case. Okay, what we'll do is, before we go, we'll add a vignette. Remember? It's a literal style point I'm gonna do. Then we'll get into some other stuff where we do a video Backgrounds don't go away just yet . You can skip this if you're sick of seeing me put vignettes on things. So laying new adjustment layer that adjustment layer at the top of gonna rename, Call it vignette. Can you spell vignette? Not even close anyway. Let's go over to effects and presets over here. We're going to do this one we're gonna do. It was a gloomy tree. Would you color drag it onto this over here? Got a vignette, Just drag a little bit to the left. Okay. And what's happening is just gonna add that to its probably. That's probably a little bit much, but and I totally overcooked vineyards whenever I do them. Okay, Lets go up a little bit higher. Maybe minus points. They are. They got something a little more settled down. Come on. Is it a kind of film effect? Nice. Next thing we're going to do is had saved, and we're gonna go back where it affects controls. Go back to project A line chart is our first example. Let's just select it in here. Go Command C command V to copy and paste it or control C control Vienna PC. Right. Click it. Rename it. This one's going to be line charts with video background. I show you this because it's kind of cold air video backgrounds. Okay, up here in adobe search I'm gonna do now. What am I gonna stick in the background? I like often I like the word abstract, but the word abstract in okay. And by default member. It won't. It will just be everything's We want to drop that down. We want to go to videos and go through this and decide what's going in the background. Some of them appropriate. Some of the math. Pretty high core. For the background of this, all of them probably need to be washed out. Okay, so pick one. This one looks kind of cool. Cote said it to my library on a dragon across. Add it to my video. Gonna take a sick and it's at the top. So I'm gonna put it just above my background. Play this back. Now, what you'll notice is that when I'm in the beginning here, actually, at the moment, it depends on what you want to do. I've lift. This is playing in the background. Okay? It's not being tracked by the camera, okay? And that's OK for this abstract background, but it's a something's in there. You might want to keep it moving with the camera. You just turn the three. The honor. Hey, And what, you're noticed with the three D on it could be seen by that camera now, but it's actually not wide enough. Can you see, it's ah was the size of the original, but because we've moved the camera to the side, we're kind of seeing the ages, so you might have to do with this one. Let's go to scale and just crank it up until you can't see the sides. The trouble with this is that you might have to download the four K version, which is a lot bigger than HD. Okay, so this vision has it now it's moving along with it. I think I liked it being not three d. K. I think I'd like just sitting in the background there, and now it doesn't have to be so big. Put it back to 100%. Okay, What also do is I'm gonna knock back the color because it's just too bright and nobody can see the data here. And then Adobe Stock obviously has to go. I have to pay for it because it's really interrupting the background there. And we do that with the hue and saturation and drag it onto this lead here, over here, drink the master lightness down so we can see our data kickback to no cameras. Got a bit of a video background going. I think it's not any better than it was when I had a flat background up to you giving you options here, people. All right, so let's move on to the next video tutorial. 35. Masking Version 1 Mask the centre of the donut properly: wait there. In this tutorial, we're gonna look at masking. We're gonna cut a hole in the doughnut. You're looking like, Hey, we've really done that before with the big circle. But this time, look to the It's an actual hole in there, not just a rid circle that mentions the background. So let's go and learn how to do that in aftereffects. Okay, To get started, go to your exercise files and open up. 08 masking. There's one called pie chart image mask over them up. And I just made this really basic pie chart like we did before. Okay? Bidets got that secret trick where it looks like a doughnut. Really? It's just regular Ole Pichot with a colored circle in the middle. Sung under that put it back So we didn't do it the proper way. Why? Because if I turn off my background, it's actually just a red dot k c My have a video in the background or some images are moving in across the screen in front about that objects, lots of reasons. So what I want to do is we need to keep it, Okay, so I'm gonna rename mine. I'm gonna call up my mask. Okay? And what I'd like to do is we're gonna use something called a track Met. What that means is we're gonna use this lad to master layers underneath it. Now, the problem is the track matte can only do the one directly underneath. Okay, so I can't mask this one as well, Okay. I couldn't mask the layer above it, either. It has to be one of your master's. So I'm gonna use this is my mask. It has to be directly underneath. So to get around that, I could either have two of these masks and do these two separately, or Aiken to slicked with ease and group them by pre composing, right click pre composed. And I call this my pie chart. Okay, Now, this mosque layer can mask this pie chart underneath. Okay? To do it, slick pie chart. And you might be on switches came Total this button here so you can see track mats. You say I'd like to track the 1st 1 here. Trick Met mask. It's doing the opposite of what I want gay, but is an option in this is Alfa and Vivid. Nice. Okay. There's gonna play looks executive. Seems that was before. Except now on Internet background. Layer off. Hey, it's an actual whole If I need to go in and edit this pie chart here now, Okay. All I gotta do is double click here or up here. I call the pie chart. DoubleClick. Go inside. These my two layers I can make my adjustments. Came play around with it when I'm finished. Go back to my simple pie charts. We're back to where we were before. Nice little. All right, turn their back on rights. That is masking 101 disc using a check met. Just make sure that it's directly above the lay. You want a mask? And if you want a mask, lots of layers group them together using a pre compose. All right, let's get into some more masking. 36. Masking Version 2 Pie chart to mask an image: way are going to do this Where our pie chart masks out out images underneath on a roll. Looks very cool. Let's go and do that now in after fix. All right. First thing you need to do is in the exercise files. Open up pie chart image. Mosque two. Great naming den. Okay. And basically, we're back to where we were before. Okay? The differences. We've just got the circle in the center here. Why? I just want to keep this tutorial is simple, as I can masks inside other masks until you get a little bit more experience can blow your mind. We don't want that. Okay, So what I want to do is first up is we're gonna bring in our image, so just double click over here in our project window and inside here, it's on called mosque Image. Garden tools. Bring him in. Okay. You remember from the last tutorial, attract Mac and only work with the thing directly underneath. It's We're gonna need two of these. So put this one here. He might have to resize yours. Kato, make sure it covering completely our pie chart, and it needs to be directly underneath. Okay, to sales. Is this one okay, which is that gray bar, If you're not sure, that's that one there. Okay? And we want another version of it. I'm going to select my Jay Peak. Copy. Paste it. And I want another one just underneath my base. Cool. So let's turn off the base for the moment just to make life easier. Gonna work with these two. Okay. The tool sales, which is the gray bar in this box, and all we need to do is slicked on the Jay Peak. So you, my friend al format to sales, which is the guy directly above him. He has to be there, and he will mosque just fine. So that's the best bit e and the second, but the same. Very similar, actually, is I'm going to turn that I will on these two. Okay. And all I need to do is say you Okay, The last jp here, I wanted to be the pie chart base I would like you to use as an alphabet, and it kind of works much. But the problem is, is there the same a pass ity. So this one is working, okay, But it's matching perfectly with this one. So what would do for this bottom? Gaping is will add under fixing presets, Goodhue, grab hue and saturation to this one here, this j pig and lower down until you kind of happy with. There's a good clear enough difference between the two. Look, okay, that is how to mask images using after fix. What we might do now is remember we talked about we had that center. Just kind of this dumb thing in the middle here. I could use that as an Alfa ask. You know, I could leave it here because the background is the same, but Sandy to slice this out. Okay, So what we're going to do now is blow your mind with masks inside masks. Okay, So routine that this guy could be uses a mass, but only for the thing directly underneath him. And we want to do it all of the stuff. So what we do is we write like him, okay? And we say, pre composed of group them all together. So we're gonna call this my pi group, okay? And now you can reach up to the guy just above him and remember, was inverted case the opposite of what we wondered before. Difference now is that is a big old hole in the middle. Okay, if I needed it, it's the pie chart. I need double click the group. Go inside of it. There the layers that I just put there Have a bill in your mind? I hope not. Maybe I have Does get like that. Okay. So you might forget that last little bit and just carry on with a big circle in the middle . All right, let's get on to the next tutorial. 37. Masking Version 3 Opacity percentage slider: wait there in this tutorial. We're going to do this with this kind of image. Wipe thing goes, OK, and we've even bought the percentage counter back. All right? It's an easy one. Let's go and do that Now, in after fix, All right. First thing is gonna make a new project. Then we're gonna make a new composition. I call this one color bomb an A C TV. We're going to make it five seconds long and make sure the background color is black. Click. OK, click. OK, we're gonna bring in an image file import and bring in this JP called Qala Bomb Dragon onto my stage, and I'm gonna lock it so it doesn't move. And we're going to draw our little transparent box. It slides across it. It's like that. Remember that color circle that we used to create the donor and the pie chart? It's not that fancy. It's easy to do, and the effect is pretty cool. We're gonna goto, lad new. We're gonna make a new solid, make sure it is black. Okay? And give it a name was gonna be called trance parent box. Okay. And what is going to slide it across. OK, but first of all, let's trains the transparency over. So down here, click on transparent box, click TV transparency or opacity. Okay. And get it down to something that looks good. Kind of slide it across. That's Ah, ones at 65. It's clear kind of definition of that line there and put it back to where it waas go back them. So we just need to add some key frames. So my play, it's right. In the beginning, I click on the liar p for position started, stopwatch, Okay? And after some time, I'm going to get it and click and hold it in Dragon holding shift. Okay, Just to get it going across the finding that hard, just drag this little slider as well. Okay, now, this is gonna be 90%. Okay? It's 90% of people off creatives used. Photo shop is part of their creative work. Now. 90% of this color burst. I'm not sure sure how you calculate it, case, I'm just gonna guess it. Which is if you're a data scientists and you're watching me, probably this whole tutorial series. You're cringing when I'm just going to be fine. Okay, even you want to calculate it properly. I'm not in this case. So and so Yeah, that's it was across and we need to a few things. We're gonna do some parenting festival. I need to read that using first thing we always do. Let's get it looking nice. And then we'll get some stuff to parent to it. And so carry on because it's a few election little tips we're gonna Lynn. So we have used easing to get it to look nice, and it will go back up now. I want to add a line so it's a little bit clearer because it's fine, but I like I like a little line across their move. You play it along seeking, so it's completely stopped. Grab your pinto, pick a stroke color by clicking this box here. I've picked a kind of an off gray Ah, the size of this. Maybe three pixels. Click. Once up, I'm gonna make sure it's just high enough to cover that part of the color burst holding down shift. And so I just click once, then holding their shift click once again. OK, and now I'm going to zoom in a little bit Okay. Just to see space better move across. It's kind of the year. It's going across across a little bit. This was right on the edge off that come transparent box here. Now, trouble is it does this not connected. So what we can do is make sure you play here away the ends that both lined up and then all we do is parent. Um, it's actually rename this one here, so there's gonna be my line. Okay, parent them. I would like my line to follow my transparent box, please. You guys be buddies. You there's parenting. Is there a few other things? So we're gonna dio text box and in the end will bring in AL percentage timer again. And the cool thing about that as we could just cheat Nowshera Kuwait cheating. So you And when it gets to the end here, I'm gonna grab my rectangle. It'll okay? Make sure nothing selected. If you do have something selected, like if I have my transparent box selected, I start drawing out objects, becomes masks, okay? And I don't want to do that. I'm gonna undo, so just make sure you got nothing selected down here, okay? then grab your rectangle tool and draw out a rectangle for my type. Now, minds ready preset because I was playing around with this Practicing this tutorial for you . Okay, so what you might have to do now is go up here, click on the color Black. Do it, Phil, and changed transparency down to something else. I've got mine at 65 stroke on the outside. I don't want to cook on stroke like none. Okay, so I've got my little box for my type to go into Now we're gonna put out text in there. I've got some text in the exercise files, but it's not that much, but I'm gonna go out and grab it. It's in the 08 file. Gay masking has got Photoshopped. Grab this text here and grab my type Tool Click once paste okay and miss around with your type. Okay, I'm gonna maybe just that of it just to get it to fit in there. Yes, looking. Okay, So problem again. It's not playing along, so make sure we play. It is a long where it's all stopped and then say you to parent this transparent box. Everybody's following the transparent box. Nice. All right. The next thing we do is gonna put on our passengers counter. We don't have to do it again. OK, so we're gonna cheat and steal it from another project. So once you've done a lot of these things, you do a lot off copying and pasting or stealing or file savers and just adjusting because this one here be particularly easy to adjust for lots of different data points. Okay, because you just change out the image in the back, change the text, you're away. So what we're gonna do is double click in hand to import. You can actually import other after a fixed files. So in your 08 masking, I've put one and he called number counter. You could go and find the one that you've made in the previous tutorials if you've got that around. But I've got this nice simple. When he called number Counter, what happens that brings it in. Okay, so these number counter into this little group. That's everything that was in that project inside of here. There's the company made. Okay. And what we can do is double click it area. Is this the thing I made. You might have some fun problems because I adjusted this middle one hears lust like it's free. Well, it's part off. Tuck it. So all we need to do is here. I want that and that on the 23% or 53% and the percent of sign there on two different layers. Just copy closed down this comp. Now I'm on my kala bomb was gonna paste and moving along about their okay, and we need to adjust the numbers now because of the moments kind of working space by. So it's the key frames on 53 that are our most important. I just have that selected hit you. There's those key frames. So what I want to do first of was probably drink this one back to Guinea and then because that's the 10 in this next one. I want to be wherever this thing finishes kind of finishes about There you come along, buddy. And the other thing is that the data is wrong. OK, so it's 53. So with its selected click on this one, he called a fixed controls. If you can't find it, get a window and go to a fix controls. Oh, I can find it in there somewhere. Okay. And what I want to do is change it from here, and I want to change it to 19. Okay, I know where it is now. There it is. Fixed controls. All right, so that's ISS Okay with borrowed it. Okay, It's working now. We need to parent it. Do the sex. Same thing. Just make sure you parented Bekir says the beginning here. And a parent it to really transparent box, transparent box. It works, but that's kind of reference point. Watch by. Okay, So I'm gonna undo and then before parented both of these, make sure my play hitters with everything stopped and then go parent to the transparent boxes, the pied Piper box. Everybody follows him. That's kind of began to be yet. I'm gonna add motion blur cause it looks cool. So I'm gonna close all of these down on an ad. It's easy. Just a drag across the mall. Okay. Make sure it's on for the whole project. It's gonna take a little bit longer to preview. You might not like it. I do like this. Okay. And that, my friends, is a cool little transparent wipe k to show our data. And we learned a few things were parenting and how to steal from other cops. Let's get on to the next tutorial. These are fun. 38. Masking Version 4 Filling up a pint glass with a mask: wait there. In this tutorial, we're gonna look at masking that in a liquid. We're also going to try and do that little liquidy bounce thing. That's part of that as well. So let's go and do that now, in this tutorial. All right, the first thing we need to do is open up this exercise file, so go to your exercise files. Open up. 08 masking is one of the cold pint glass dot e p. That's the after a fixed project. Okay, so I got him open, and I just added some stuff to get us going. Case, um, illustrator icons K in war we've got we've got the middle of a glass. We've got the outside of our glass in a couple of ticks layers. So to get started, though, we're not gonna need any of those layers. What we're gonna do is grab the rectangle to make sure that nothing selected okay and pick a fill color of anything. It could be anything because this is gonna be transformed into a mask later on, so it doesn't really matter, Okay? Green is just good because it's nice and clear and obvious. The stroke is going to be down to zero. And what we need to do is draw a square or a rectangle. That is exactly the same height as this inside liquid here. So it needs to be over. The age is a little bit as well. You might to practice a couple of times. I need to be kind of like this. OK, so it's the same height, so I know that that is my 100%. Makes it easy to work out my 53%. And I need a little bit of injuries on here. Why? Because I need to use one off my effects in a second Cold packer blown. And he's a little bit of extra stuff on the side. So maybe not perfectly square like my 1st 1 but maybe something like this. Just little bit tall Event. It is skinny. It's renamed this laugh. Okay, I'm gonna call this one Liquid Mosque. Next thing we need to do is when we draw a rectangle freak end. Okay, you can see the anchor point here has not ended up in the centre off the rectangle. It's ended up in the centre, off the comp. So what? We need to do is grab the pan behind till okay? And we're gonna hold down command on a Mac or control on a PC. Click holding dragged this guy hand trying to get into the center off this rectangle. Great. Now, with liquid mask elected, we're going to adjust this scale. We need to work out what 53 percenters case only inflict yes for scale and play heads back at zero. We're going to start the key friends by clicking the stop watch. We're gonna break the link between the height and the width, and I just want to work with the height, and I'm gonna make it 53%. So that's my 53% off my glass. Now, to make this effect work, we need to drag this out a little bit lower. We're gonna go back to my selection tool can just be a bit lower. So what I need to do is actually mark where the 53 percenters and it's easily done through view. We're gonna go to show guides, okay. And up here in these guides in this black area here, click hold and direct anywhere in this great black area and line it up the top of your box . Now, when we move it, at least we'll always know where the 53 percenters. So what we need to do selection toe, drag it down a little bit. Okay? We just need a bit to cover the bottom. Okay? This effect needs a little bit of extra rumor on the outside. So the next thing we need to do is we need to get this back up to that line there. So where is this scale is gonna drag it up, Okay. And I know 61% is kind of where it needs to be. So frame one. I've got my keys rooms going. Already started at zero. Then after some time, Okay, seven frames were guessing. Now, Okay, I'm gonna put it back up to 61. So now I know 0 to 61 is going to give me my 53% K and it's animated, and this could be it. You could just decide that. That's perfect. That's what you need to do. Cook on middle well lines, switch it to modes and go trick met. I'd like to use the thing above it, and that's it. That's basically what we're doing, right? And but I want to add that kind of like flipping the flop of the liquid stuff. So I'm gonna undo that to go back. And first of all, let's add some easing actually know that said the easing later, we're gonna have to get it. So it's kind of maybe just hitting up the glass a little bit. OK, and then click on liquid Mask 12 it up, 12 back down to get the full sit and we're going to click. Add now in here. We're going to use this one called Parker and bloat with use repeater with views. Trump, ask it. We're gonna use pucker up and blow. Now there is this 12 that down by default, it's bloated out little bit. Okay, so anything that is positive if it's negative, it's gonna be pucker case. It's gonna get down like that. That's what we kind of want to get started. OK, and well said a key frame. Actually, let's get it going along till it's just about to get to the top. Can you can see here now my blood, my pockets a bit too much because it's actually I'm starting to see the bottom here, so you have to make a little less. That's it. So it covers the whole base. And so what I'm gonna do is I'm gonna sit a key frame for pocket and bloat. And then Okay, maybe just so it was a good goes along there. Okay, so this one needs to be a little bit further closer toe were where it kind of stops in terms of scare. Maybe just before it. Just after we need to go a bit past. We're gonna go to bloat how far we're gonna bloat. Okay? Eventually go too far, and it starts going back on itself and other weird stuff. Okay, Looks like a shamrock, but I'm gonna get it. So it goes that far, Coop. And then Okay, So what's that? There's positive. 46. So I'm gonna go a few before frames along and then go backwards. Okay? So back again. Not fully back. It's going to go back a little less every single time case when you're back. Maybe a bit more and back this way, we have to play with the timing loads. A bitch of this is going to look a little naff when I'm finished. Okay? And maybe back to eventually zero. Where's flat? We're going to give this a test run. Don't laugh and see how it goes. Okay. All right. No, My west, my bestie, that I am evil. Finding yours is terrible. Often I've taught this exercise loads often. If you have a really big first gap, it does look a little funny, Kay Song enough to separate these without. And if you wanna expand and contract these, you can slip them all, hold down the bulky on a PC or option can a Mac and they all expand and contract? Remember, just play around until you get a feeling of it. Can feel like that's all right. And what I do find as well as justice First key frame needs easing. Why? Just cause I played around with it Lots, okay. And I know I feel like if you if you use them all, they don't look as good if you ease this 1st 1 75 75 k And it doesn't make so I feel like does anyway, go. All right. And next we need to do is we need to apply as a mask. So let's twill us up and the guy underneath he needs to be directly underneath this middle outlines off our mosque. So click on this guy, make sure where are modes and not switches. And on the track. Matte. Who were going to say we're gonna say the guy just above them call liquid mask is gonna be my mask. Please kick back and I could be better. It's OK. Okay. So that is the Packer M bloat. Okay, so we've used the mask. Okay, which is kind of cool. And we also use that packer on Baloch. I Now, probably if I was gonna do it again, I might make the pucker and the bloat. Maybe a bit. Mawr k doesn't kind of enough for me. It's OK. We also might do is it's just chick to see. Let's go back to modes 10 on Russian blue. It's just check to see if it's any good that a motion blur does look better. My timing's not quite Theodore. All right, that is gonna be it for this exercise. Let's get on to the next tutorial. 39. Real Life action infographics 1 Line follows video content: Hi there. In this tutorial, we're gonna get a line to follow the building here, and we'll get that ticks to type on as well. Look at that. Uh, okay, So nice and easy one Let's get into the tutorial. Okay, so first thing we gotta do is we're gonna bring in our video, so I've got a new project. Open double click the project window trying double click it and we're gonna bring an aerial moving dolly. Now, this particular technique Okay, I'm gonna make a come from it. And this particular technique was really good. If the at work is just moving in a straight line up, down, left, right, dying Lease on this is going straight. This technique is super easy and quick. Okay, We're gonna work on something a little bit more complicated in the next video, but let's get this one out of the way. What we're gonna do is gonna rename my comp, okay? Cause it's got the same name as the video, and that just makes it confusing. It's gonna call this one my pointy line. So I got this video here. I'm and what I want to do is kind of maybe point to one of these windows. Okay, so I'm going to start at the beginning, gonna put in some text, the ticks is going to go on over black backgrounds, gonna go the rectangle tool. And one thing to do is remember going to start drawing. Now, if I use my rectangle toe when I have a layer selected, it's gonna create a mask. It's not what I want. Okay, so I want to click off. So got nothing selected, and I'm gonna draw a little box down here. OK, so it's on its own layer going to give it a feel color off black. I'm gonna give it down. He young and TV transparency lower the A past city of it. So it's gonna allow my text to be seen. Okay, But not be too big. Yeah, Again, it's that Pick enough. Yeah. Elder. All right. So it's gonna striker in the outside. Go away and we're gonna adult type. It's in our exercise files. Cold might fact this night fact does not exist. I couldn't find a really good one online. Let's try to find something interesting, K, but couldn't made one up, and we're gonna grab the type to make sure nothing is selected here. Click ones paste breaking into two lines. I'm going to move it down here. I'm gonna make it smaller. That's the wrong one. That's the font. Size came nice, right? That's a factoid. Okay, so now we're gonna do a line eso We're gonna grab the Pimental, okay? And like, before, if I have this text selected and I start drawing on it actually creates a mask on that text , you see? No, a new line appeared going under. Just have nothing selected. Grab the pinto and the stroke here. I'm gonna make this kind of great whites and making five pixels wide. And I am going to Hey, I don't have the line going from here, and I'm gonna pick a window up here. I don't even know which one whole work and pick one. That one can pick that bottom left corner coats. I'm gonna click off, Play it through. You know, there's obviously it's not attached yet, Kate. So back to the beginning here to get it to animate, we're gonna open up this so shape Layer one is outlined. Gonna rename it and call this one line and twill it down. Okay. And inside here, looking for contents were looking. But shape Look for the path. And this is the path we're going to sit the key frames for it. So we got a key frame of the beginning and then all the way along now my window actually disappears off screen about. They're so I'll show you how to fix that up. Okay, I'm gonna get to about the Where is he going? Window there is there before it disappears. Now to move it. What I need it can be a little filly. You still need the pin, Tal k. And what I find is I'm gonna close all this up and I'm gonna click down here Came into no man's land. So I have nothing selected. Click back on it with my pinto and you click the line that I want to change. Who? Make sure your play hits back at the beginning. Here. No, it's not back. There you stand. Hey, click once and you can kind of see the difference between these two lines. One selected ones Not okay. You'll know by dragging it if they both come with you, you've done it wrong. took off. Click back on its A little fiddly. So now I'm gonna move it over here. So frame one, it starts there, and it just follows along. And because it's a nice straight line we're gonna preview up, it's gonna follow along nicely. Okay? Have you got any sort of been done? It's gonna be a little bit tougher, and we'll do that in the next tutorial. That's how to get lines going now. I was going pretty slow and it looks quite cool. Win. Let's say we do it to that. Maybe that pint glass kind of comes up nice and fast. Look quite cool. You can point it. Things like a pie chart that's coming out and get it to move around. Okay, so if you only came for the line, that's it. I'm gonna do a couple little things with type just cause we're here and it feels like it needs to be done is first of all gonna trim up the video because it gets to hear, and then the line disappears off. And then I was kind of hard to do, so I'm gonna kind of get it to about there were before the line. Okay, so it finishes at about 12 04 so I could go to composition sittings and just change it from 12. 04 cake. A type of the near. But what most people do is they'll use this in here. The workspace area. Okay, now and we've used it before. Where we kind of like tied the sin member where you just want a preview in a little loop. Okay. What? We're gonna use it falling ahold shift. Grabbing this and it's the big gray box hold shift is gonna lock it into my play head. And now I can say up here under my composition is just please trim it to the work area came . So now it's kind of lob this in but off it hasn't changed the movie. Your video hasn't changed or being edited. K just the compares. So you in your video just runs off the edge here and doesn't get played. So now it's gonna get to the scene, but and stop. So that's how to trim up a video. The other thing we're gonna do is this text here. I wanted to kind of type on like a typewriter K and There's a nice, easy quick trick on a fix and presets type in typewriter so tight, bright I click holding dragon. Add it to the 40% ticks lap. Okay, and it's pretty much ready to go. Look type of the type type type. Okay, there are adjustments. You can go and do so under here. You can 12 down look for the transform text and this animator that's been applied to pull it down. And these are the two key friends that are being applied. I find, actually, just clicking on it, hitting you. Give me the two key frames that I need and you could speed it up by bring them closer together, okay? Or slow it down by spreading them apart somewhere in the middle. Say, Jason, born in some country, doing some special stuff Anyway, that's a little line thing. We're going to save it there, OK, and work on something more complicated in the next video. We'll see over there 40. Real Life action infographics 2 Camera tracking: Hey there, in this video, we're going to do some trekking motion, okay? And I'm gonna track part of my glasses here and get some ticks too attached to it. You can see the little dots. Luckily, we don't have to do them manually. So what happens when a preview it full screen? Look at us. Hey, attentions to my face and moves around and it's pretty automatic. All right, let's go and do that. Now, in after fix her case, the first thing we're gonna do is we got a new project open in my project window. I'm gonna double clicking here to import. Gonna bring this one called track motion dot mp four more pictures of me talking. Okay, let's make a compliment, either right? Click it and go to Newcomb from selection. Or you can click and hold and drag it down to this little icon here. Makes a new company. So here's my calm down here called Track Motion. There's my MP four on it now. Gonna zoom out so you can see the whole thing. More pictures of me exciting. And I've kind of wiggled round while I'm talking this You have a preview and listen to it, but it's me rambling on. I moved around. Kind of like an idiot so that there's something to track. Okay, Otherwise of Isis. Keep still. Obviously it's not over exciting. So let's have our play head right at the beginning. And the first thing we need to do is open about tracker window. If you can't see, it's over here. Got a window and go to Trekker. Okay, open it up. Have this layer down here selected and click on the one That's his track motion nor camera K Trek motion you this little target in the center here. Now, one thing before we move on is that we have actually drive. That's a composition that we're looking at a second ago. It's actually opened up our layer. OK, we've dived inside of a member of the beginning. We showed you how to double click. Can you get lost inside of here? We're actually inside it. He announced, if you lose this tracking point like where they all go, just click on this option over here. Cool. This little tiger here is what we're going to use to track. Okay, So what I'm gonna do is the moment is quite small. Single zoom in and just make it a bit bigger to make it bigger. OK, we've got our selection tool was going to kind of make that bigger. Make that bigger, the two squids bigger. Okay, I'm gonna zoom out again. And if you want to move it, you have to click anywhere inside of the main square. But not on the line, okay? Or the target in the center to just drag in the kind of lines here. See here you can drag them, and it's easy to drag. Course, I'm gonna zoom in. And what we're going to do is pick are targeting point. It's really easy on mine cause I got my glasses here. This is like little square. Calling about that square is that it appears the whole way through the video. Okay, I don't turn around or anything, so it's a nice, easy target if you don't have anything easy like that. Maybe the pupil. Okay? My ones not so good, cause they're glad there's a bit of reflections on my glasses that doesn't have a very good contrast there. You might use the edge off the mouth or nostril. Something that appears the whole way through. Okay, remember is gonna drag along until we find the center off. That So we've got two squares in a target. What do they mean, this outside squares? Like a general search area. Okay, this I say, have a look in this area for because you could see it moves around. So I'm just kind of giving it some boundaries to say, Look, inside this kind of area for this guy came. If it ends up jumping outside of here, it's gonna lose the track point. The reason we have this outside square is that it's quite system demanding for aftereffects that go through and start tracking data. So if we have this, like, massive covering the whole thing, it's gonna take for ever to look inside of this and every frame. So just keep it a small as we can. You mind if the trial and error I can see that kind of doesn't dive out nearly. Okay, so I might just move it. So it's a little bit across there. So that's my tracking area. Back to the beginning here on this inside area. Here is what you put around like a unique object. So my case, I'm gonna put it around. Okay. This glasses here. Okay, I'm gonna make it a bit bigger. So this leans here is a nice easy thing for after fixed a track. It's got a top and a bottom in a middle inside some corners. So it's just really easy for after fixed. Say, I can follow that. Okay. It might be around the whole eyeball. So you tracking the pupil with a target, okay. And just put it around the eyeball here, okay? Because I got glasses on. They make a nice, easy thing to track. If you're checking a car, you might put it around the number plate, but track a certain letter, okay? Or your after work it out for your specific need. And now this target thing here is the important. But that's the thing we're gonna target. Okay, I want to track that guy there. Go. So outside bet general area inside. But the specific thing to make it easy for aftereffects to not lose this target in this target should be on something unique as well. That appears through the whole scene to get it going. Make sure your play heads at the beginning, we could see everything. And we're gonna click this one. Where are you? There he is There. There's two options is analysed Forward. One frame. Okay. Or there's let it go automatically. Okay, so one frame just does one frame. We'll just have a look at it cause it's interesting, and you can see it's moved along to the next frame. Don't worry that the dots end up here as long as they end up smooth. K is almost this thing keeps on targeting its little part. Yeah, just go one frame of my video over and over again. Now, if yours keeps losing it, okay, there's a problem. Okay? And it could be that the things moving too fast, it gets all streaky and blurry. And you might have to go through and readjust this thing every single frame, okay? And that will drive You met. But be aware that not everything can be tracked. Okay, So play around with us. Go few Ford. A few friends to see if it does keep tracking. If it does great, we can hit the automatic one and see how well it does. If it doesn't. What you might do is decide. OK, that's not working. Tracking this thing here. You might track the other side. You might check my ear, my mouth, try different things. OK, so I'm gonna have this middle play case analyzed forward, and we're gonna kick back, and hopefully it's going to do it automatically for us. Close. It's going reasonably fast. Okay, Frame by frame. You see it tracking through there. Woods almost lost the trekking point or has lost it. Okay, it's back. Okay, so we're watching that tracking point and you go to decide like it went down a little bit. But because this thing is a bit more of a generic follow, Islam was following the motion of my hit. I'm not worried that it, like, got off the center and got into the corner. So you got to decide, Like, help, pixel. Perfect. You need this thing to be all right. So what we'll do is we'll zoom this up to the end and see how it goes. If it does lose the target, you might have to stop and try and find another tracking point. Um, yeah, that zooming along now. Okay, here's attract. I looked away I wasn't really following it because it took a while. I'm watching little dot just watching this target here. You can see. Yeah. Followed it. Even when I went all the way out here, followed it nicely. Now, if you find you was dozen, you're using the exact same file as me. A couple of things to check is that you might have to play around and maybe expand this outside box. Okay, Maybe readjust this middle box and maybe pick a different target. Should work, though. Andi also, if you get lost Member, you're back in your like, whole no weapons, all the darkness. They were there. But now they're gone. K is just go back into here and there they are. All right, so we've got this file. What do we do with this? Tracking data? We leave. We can't just attach ticks to it like we want to Look, I want to bring in that speech bubble. Okay, So what we need to do is we need to do one little trick for after fix. So let's go back to the beginning. Here. It's a little trick we need to do is we need to create some court A null object, remember, Are no object is just an empty layer. Think of it is just a completely blank, empty layer that no can follow these trekking points but that Nell doesn't do anything. But what you think and do is you get your speech bubble to track the no. Okay, so it's a bit of Ah, yeah. Bit of a way to make it work. So you say layer when annul, please. Little empty nothingness down here in your trek panel. You can say I would like to hit a target. Yes, I'd like Like that target to be that no took okay in the last thing you need do is click apply. Would you like to track x and y and say yes? Please said Now we've come out of that checking layer. We've come back into my comp but now in my comp where is remember before it was completely blank. Now it's got the raid dot alloy across it. That's my Nell following around look ago. Okay, that Nell doesn't do anything for hit play. Okay, There's nothing there. But now I can bring in anything and get it to parent to that. No, you correct? Grab the type tool and start typing. What we're gonna do is overhearing in my project window. I'm gonna bring in my speech Bubble II. I just made this and illustrate us for a special gonna drag it in. Okay, It's got a nice, big, long shadow. I don't know why I did that. Just wanted kind of cast in the background here. Then we're no one. Wanted to go some to you. Okay, just put it somewhere. And what we'll do is we'll parent it too, so you can skip ahead if you want to. So the speech bubble. I'd like you to follow the No. OK, remember, the null follows those tracking point. So tracking work for me automatically without any No bed. Go. So yeah, that's it. You track the emotion, then you get a knell to follow that. And then you parents something to that? No. And what we're gonna do is I'm gonna unparalled. So I'm gonna go back to the beginning unparalled because I wanted toe in the speech but would pop out as well. So we're just getting into some generic animation now so you can skip ahead if you like. And so what I'd like to do is beginning here. I'm gonna hit this for scale. I'm going to give it to come along. So maybe this fire into it. 6.5. And I'm gonna hit scale, gaining a stopwatch set to zero. And after just a little bit of time, I'm going to get it to go 200. Okay, So what I want to do is actually what I'm gonna do is I'm gonna do something different. I'm gonna undo and show you what I did wrong. OK, so that is great. I want to do this. But I don't want scaling from the bottom. That's see that there's the center of rotation or the anchor point. I want to just that. First, I'm gonna grab the anchor point tool. Okay, grab it. And I'm gonna put it to the end or tip of this speech, because that's where I want a kind of expanding out off code now in its scale, young and hit zero. Come along for just a little bit, and then I'm gonna pop it up to 100 it's just gonna look a bit cooler, kind of coming out of the year. Does it look cooler now, do you? Um co I'm gonna edge my teasingly me use my expression, okay. And placed it in there. That's not what I want. I want this thing. Could be it. Grab it in the end that pasted in her free. Now it's going to do a little bouncy thing. CO now it depends on we You have your play head. Because if I play it here, if I'm I played here. And now parent it. Okay? It's gonna follow it from this point on, so it's gonna be kind of like coming out of my eyeball. Look, watch kind of weed. So what I'm gonna do before a parent is just get my plane right back at the beginning, okay? And I'm gonna say you peer into the No from here. Did it trekking work for me automatically without any How? Only that. Only that match stuff. And so that brings up a really good point. How much does motion tracking work for me? Every single time I've given you an example that totally works. Are there times where it's just really hard to do motion tracking yet it's so the only way around that really is to manually move it. Every key friend we can Did this earlier on Member in here, and we said, frame one frame forward. Okay. And then we can I had to move it when frame forward, move it. And you have to do that. Sometimes it'll track for half of it and then lose it so you can go back. You have to manually move it around for just parts of your video. Potentially. This one worked out really well. Yeah. So half the time works half the time. It doesn't. Um, yeah, It's really cool effect anyway. All right, that's gonna be it for this one. Let's look at the next video. We do some men. UAL, trekking madness. 41. Real Life action infographics 3 Manual madness: thin this video. We're going to do the last one of this kind of tracking. And this one, We're going to do it manually, frame by frame. It's going to be monotonous. Okay, I'm gonna show you some tricks to speed it up, But there are just times we this manually need track things in after fix rather than trying to rely on things like motion tracking. They work some of the times, but not all the time. We'll also due to the red box there. Okay, we're going to do that. Which we're going to use Lemos instead of a pass ITI and, of course, will use the typewriter effect. All right, let's get in there and start making all right. We're gonna continue on with the same project you can open up and you want if you like, It doesn't matter. We're gonna make a new composition. Okay? I'm gonna call this one line Madness does get a bit mending. Okay, We're gonna have it five seconds. Color background, Black K. And we gonna bring in a file. It's quite adobe stock. It's an 09 real life we're gonna put in here, okay? And it plays. It's got this cool letter. Press old school hand like hen powered. Okay, what's pushing down this thing in old school letter? Press? Cope. So we want to follow some bits and pieces. Now it looks like it kind of goes up and down, but it doesn't. It goes around and around a circle because of all the gearing. So we can just use our technique from really remember when the New York just kind of slipped past nicely. So I'm gonna works. We have to do it manually. Key frame by key frame. And this is true of lots of real life action stuff. The camera tracker, um, motion tracker thing works occasionally, okay? And you end up just kind of manually going in fixing anyway, So in this case was gonna manually do these little lines. So what we're gonna do is have nothing selected because remember, if we have our pinto and this last elected, it doesn't weird. Doesn't create new lay. Just makes a mosque on top off the video soap Intell. Nothing selected. I am going to select about there, and I'm gonna pick in a zone men and I will probably use Where am I going to use. Probably gonna use the top off this bolt here. Maybe this may be just the center. Okay. Centers, always there can always see it. Great. So that's my first part. OK, so now what? I want to doing a zoom out so I can see everything I'm gonna click off came. Make sure you play into the beginning. I'm gonna open this up, and we need to get the key frames going. So I'm opening the shape layer one. I'm gonna rename it. I'm gonna call this one, uh, my line. Okay. And we're finding this one called Path set the timer going for path. And now we get to work, and basically, we're gonna frame by frame, move this thing. Okay, Am. So it's getting there. The one thing to do member is to click off, Click back on with the pin tool, where is in my line, and then click on this in point once. Okay? And you're notice they're different colors. And if I get a wiggle, okay, it's attached. So what I'm gonna do now is going to show you how I do it. Okay? I'm gonna zoom in doing it manually. Cool. what I actually might do is follow this thing here. It's a little bit clearer to follow. Okay, End. Yeah. You can move the timeline along and you move it up and you move the timeline alone and you move it up and you go bananas, OK? Now you might think, man, it's gonna be an easy way. Camera tracking or the motion tracking works some of the time, but I often find critically short clips is five seconds long. It's gonna be fine. It'll take me maybe 45 minutes. But you can spend half an hour trying to get camera tracking, working, um, and yeah. Okay. So my advice to give fines on and just get into the rhythm and just up moving along a few key frames using a few shortcuts. And I'll show you those now. So instead of kind of moving the timeline along and then China just it okay, it could take forever. So what you do is you hold down command on a Mac or control on a PC, and can you see down your curses and the air accuse Up, down, left, right. Just tap the right error. This moves all you could see my timeline has moved along. One frame you go forward and back. OK, so I am zooming in. Okay. And then next frame along next family. You do get into a better rhythm. You can get even more shall cuts going because if I go command to the right and I just use my curses without command, So just my curse is nothing. Nothing else holding down keys. He hadn't kind of just take this thing around. If I hold shift when I move, it kind of moves around a big chunks. So we're getting a little bit short. Cuddy now, But eso command right to go along a frame and then shift using my arrow keys to move around in big chunks. And then I can like Gove shift. Just tap these absolutely little bitty pieces. Command big pieces, little pieces. Come on. Plus big pieces. No basis Command writes Shift up, down the fright. Okay, So what we're going to do now is and speed this up. I was like, Man, I got the hang of it. How long can this take an old time myself and see how long it takes? Like we've been kind of missing around a bit, and it's been nearly kind of like, one of the way through. And you've got a 25 minute video to try and track something. No, you try and get you spend half an hour trying to get motion tracking. Going? Yeah. All right, Let's go through fast mode. - All right, I'm back. How good is the look? Let's have a look. Okay. I was out that for about a town of seven minutes. Six months? Something like that. Okay. And it follows. Pretty perfect. Okay, Frame by frame. Okay. And the problem, my guess is that you can barely tell that it's so perfect. You might have. You could have maybe skipped every second frame and done it now. Yeah, if I was doing a live action like the last tutorial Totally need lamb, you know, because it's so long. Okay, you're gonna need to try and get tracking going, But just know that a lot of the time poor old grunts are lining pixels up, frame by frame. All right, that's gonna be kind of for the tutorial. We're gonna finish it off like you saw in the intro with a bit of a box and some type k. So hang around. Okay, so I'm gonna make sure nothing has selected. Grabbed my big rectangle tool. Get a feel color of red. I'm going to give it no stroke Gonna draw out of box like of this. Uh okay. And we've been lowering the a pass ity up until now. Gonna cool this month. Name Red box. Great in and I am. Yeah. So we've been transparency in our clothes Elit down and lowering it down. And that looks OK, OK, it's faded. Box looks good on black, but for colors, it just kind of washes out. I feel it does anyway, so we're gonna look at something called Les Mode. So with its selected steady using a passage E we're going to go from you might have to total from switches. 10 modes. Remember, Track mets familiar on parenting case that we want modes and I want to switch from normal game. If you're from photo shop or any other design program that uses lamb modes, it's the same here and after fix it will really depend on which option there's no, like, different one to use multiplies pretty consistent. Okay, you can see there. It's kind of cool. It's kind of you see, it just directs with a background differently. So go through four years to go through and click all of these to figure out. Do I like Latin? Or do I like, uh, stuff like Okay, they're all have really kind of slightly different effects, especially if you're using a different color on the top and a different color on the background. They have different ethics. So I've had a little play around with this one, and I like Oh, no, like multiple, I think multiply. It's going dark, but it kind of mixes with a background a lot nicer and add some type K. So in your exercise files, there's one called letterpress fact copy. That's and in here get the type tool, and we've been clicking once a lot of time and just typing in and manually putting him returns. I'm gonna click holding drag. So it's a box, and it's got kind of an age on it now. Gonna pace that Dixon at the lower the fonts fits in co. It's got to fit. My problem of that type is it's probably not gonna be readable maybe it's a bit small and and we're gonna add that type of pick Korea just because it looks like a typewriter. Okay. And so it's add that type perfect. Slowly, a typewriter. Drink it on came and hopefully is gonna go along the air and then start typing. All right. One last time through we watch a little lying go up and down and a little type coming. Okay? Ah, yeah. That's it for this tutorial. I will see you in the next video. 42. Exporting for TV Websites Youtube and most other social media: Hey, guys, this video is going to be about exporting in P fours. In particular K, The universal sharing videophile we're going to do are really super duper high quality version. And then we're gonna do one that is really loving file size, but still really good quality. All right, let's go and do it in this video. Okay, so first up, go to 10 exporting and open up export line graph. Okay? And this is the thing we're gonna be working with. Okay? We made most of this Iran of edit a few little extra bits cape, So to export it. Okay, you've got to make sure you export the comp. You don't export the project because sometimes you go up to here and it's we're going to go to this one sees add to dairy media encoder. If that's great out, it just means you've got no comp selectors. You got to say I want this one. The line shot one selected down here. My timeline. I want you to go to Adobe Media encoder. Cook on that now, in the background. Adobe Media encoder is gonna open up two separate program and there he is. There is my line chart and hopefully by default might not, but we're gonna pick H stop 264 This is the really common Kotick. It's going to give you the most common play on all devices at the moment. Okay? It's gonna create an MP for everything else. To be honest isn't used. Okay with using MP fours, the main go to thing at the moment and by default, it's just gonna work. We're gonna hit, play came, that's going to start the render. You're gonna watch it down here, my ones belting along cause it's not that complicated animation. Okay, Now you might have an animation that's got a bit of camera work and motion blur and blues going else symbol is going on a fix, and that exact same animation might take 10 minutes because there's so much to do. So if you are doing something like man dens went quick, wise, mind taking solar, it might just be that actually, there's lots to do. Okay, I've got lots of animations on here that are really short that I'm doing from my own personal work, and they just take a long time. Okay, lets go off, get a coffee time. They can take 30 minutes. If that really long, they can take hours. Kato Overnight job. But to be honest, I've got nothing now that goes overnight. They're all kind of short little things for the Internet. So let's go figure out where it put it. So in my exercise files, this didn't exist a second ago. That was the thing we opened up. And this thing's being created. It's the same name is my project, but it's added this a m e extinction on the in its adobe media encoder. I don't like it does it anyway, though, I'll open it up and there's my MP for Hello. Okay, so it generates that folder and puts it inside of here. It's really small in terms of file size, mainly because there's only a few colors and not much is happening. And it's only five seconds. Kay Song and a preview it. And that is an HD quality, really for the Internet. Awesome video thing. Okay, so that's the quick way and 99 per city of work is just gonna be exporting in before uploading to YouTube or Vimeo or to your website or to your WordPress site or whatever. Okay. Can get a TV. There's no reason it can't go to TV. It's HD. Okay, so that was nice and simple, and pretty much that's what's gonna work. Most of the time, I'm gonna show you a couple of little things you can do to get the file size down. Let's say yours is quite big miners. 1.5 megabytes. I'm gonna open up another far now and see if I could do something a little bigger. Okay, so I found this ones when we do earlier. OK, we've got a camera going now. Things are moving around is a video background. Let's have a little look at the difference. Same length, basically the same animation. Okay, but yeah, let's have a look at exporting its. We're going to go to composition. We're gonna go to Adobe Media Encoder, okay? And I have to switch to media encoder. Here it is. So this is the 1st 1 that's done. It's kind of dark in doubt and it's ticked, it's finished. So this one he is going to go into the same place we're gonna do to renders will do when it high res que to see what the file sizes and see how long it takes and we'll do another one and try and get the foul sites super small because we might be using it on a website That just leaves the load faster, emailing it to someone. Let's click. Pulling. How much longer is this one gonna take? It's not gonna take a huge amount longer. Okay, it's estimating around. It's that in two minutes it's dropping down quite quickly. What you'll find is as long as something's moving, OK, it kind of guesses wrong. As soon as the thing stops, okay, this line's gonna stop making moving again, and it's gonna go back up, OK, so you might have pauses in it and it speeds along for chunks, and then it kind of slows down for any bit of animation or the star bus. We've made some kind of just filling. Now, while it goes along, you get the idea. Okay, we'll get the Internet of Speed it up. Go. Okay, so it's done. And guess it took a long time. Okay, That little seconds counter meant nothing kind of took about double that when got a glass of water. I am back. It's going to check out the file size. So back to my exercise files and exporting big files, Amy. Okay. And here, you see, is I know it's only 6.7 megabytes spots. It is, like a lot bigger than the 1.5 decades. A good few multiples, bigger. So let's go and look. And let's say we need to get this. It's gonna be on our website, and we want to keep their file size really low. Let's look at a little bit of that. So what we can do is instead of having to go back into after effects and re export it, you can excuse us, grab this one and say, make a copy. And the cool thing about using media encoder is that after a fix doesn't really do anything . You can just go back in here and start working. You can close it down, and after media code, it doesn't need it to be open. Okay, so what we're gonna do is going to use h 0.264 okay. And where it says match source gonna take on this. Okay. And what we're gonna do is we're gonna look at how to get the file size smaller. We can untech export order because there is no video and this one going out where you're going on to the main thing you can do is actually reduce the actual physical size of the file. Okay, you can see here on the video tab. Okay, The moment it's full HD, contend that untech that and I might put it down to standard definition K 720. It's not gonna half the size, but it's gonna be a lot smaller, but let's say I can't do that. Needs to stay the same size. And so what I'm gonna do is I'm gonna come down in. The main thing you can do is I'm scrolling down. Here is bit rate sittings. This is the magic potion. So the way to think about this is if you know sort of other design products. This is the quality slider, okay? And you can actually go particularly low and you got two options here. You've got the target rate, and that's just saying that when it goes through every frame, it's going to try and make it about 10. But if there's complex work going on, you'll allow it to go to a maximum bit rate off 12. Okay, so you're giving it some boundaries. Say try Tin, but got to 12 if you need to. What we can do is we can get it quite low. So we're gonna go down to two, maybe at a height, maybe at five. OK, so you go low, okay on to tiger around to quality, but actually going up to five if you have to. And the other thing up here is bit rate encoding. This is going to go through it once and try and work out what needs to be to what needs to be five. You can do it twice, and the file size goes down and the quality goes up. And but the processing of the rendering takes longer. OK, it's up to you whether you got the time to do it or if I'm honest, I just leave it at one pass because I can't see the difference. That's not the word. What I meant to say is that these infographics are not going to be nobody's going to go home or that was pretty bad because that little bit of quality wasn't there came. You might disagree. Let's click. OK, and so we've got a custom one. Now it's gonna go into a similar sort of place. Okay, But I'm gonna call this one the end here. Gonna call this one? There is Click Save. Kickback had play. It's gonna take a little longer in the encoding, because I've gone into two paths, OK? And yeah, well, speed this one up properly. Now. Let's go. Okay, so that one took it forever. Um, let's go in. Chicken out. Okay. Bigger files. There's two in here. Lower is one. You can see the lower is one is a lot lower in size. Let's check the quality. Okay. It's gonna be a little hard to do because you're probably watching it somewhere where, um, all places kind of have their different quality options. I'll be your eyes and ears. OK, so lower is at the bottom. This one of the top? I'm getting in real close. Wait. There they are. Exactly the same. I can't see the difference. Okay. So you can save a lot off file size by going in and playing with a bit rate, and that's the main thing I do if I need the file size to be nice in small. If you're going up to something like YouTube, you probably want to keep it as high quality as you can. If going up to social media and you're not too worried about like we're going to see it on a phone or something quite small and you gotta dump loads of them up there. You probably wanted a small as you can so that it's not taking for ever to upload more than new thing. I'm guessing just giving your skills to go on and be awesome and aftereffects all right. That's going to be the end of exporting and befalls. Let's get on to a couple of the other export options before the end. 43. Exporting for Microsoft Powerpoint: I think high there in this video, we're gonna put a now line shot into PowerPoint. And when we go to the next slide, prepare yourself Auto place. Ku kinda blends in with the background and looks all nice. All right, let's go and do that now. Okay, so we're gonna export our little infographic here and get it out to power point. There's not much we need to do. Okay, so we're gonna go to composition. We're going to add to Adobe media encoder and provide the biggest thing for PowerPoint. Okay, Is gonna jump to media encoder is the file size about this one here has been that that's where you came from. But this is my export is the actual physical size. You do not need it to be full HD because often it's gonna be resized inside of PowerPoint. And the problem with using a really big, high quality file is that if you add one or two or three of them, the PowerPoint file gets really big and doesn't play back very well. The poor person is presenting might not be using our super capable left top, and things just can go awry. So my advice is H 0.264 Click where it says Met source. We'll do a little trick where we get a video and down to encoding case. We're gonna make it nice and small to buy five My one k leave the V b R 01 And it's this physical size he it doesn't need to be as big as it does care. I'm gonna make it standard definition. Okay, Regular old TV, which is 720 pixels high. Come, I'm gonna give it a name instead of calling it live chart to Gay and put it in the same folder we didn't exporting is going to go into the same a m e file. I'm gonna call this one line church PowerPoint. So let's click. Save Let's click, OK, Lexx like go and do it one thing, while that's doing it. Okay, we're gonna jump and be super efficient and keep working while it's going is I'm gonna export what's called a poster image because of the moment. The beginning off my video is blank and that's what's going to appear in PowerPoint. It's gonna just look like nothing. So what we want to do is opposed to image to get your timeline along until you got a nice good view of everything. Go to composition. There's one that says Save frame. And so it's not gonna explode the whole movie, it's just gonna export just this one frame, okay? And we're gonna get a file, and it ends up down the bottom here. Yours might look a little different. Get rid of that one yet. It looks like this. Uh, where's it gonna go? Just click. Rendah, make that happy little noise and it's gonna close down that render queue. I can't go back to my comp, and it's good to get the files that were created. Case the two of them. That's my poster image. You're gonna rename this one and call it line shot post image. Okay. And there's one in here court export line graph, and there's my PowerPoint vision. It's very small. Okay, so I've got it down to 0.7 megabytes, Okay, Even down from now, the one we did it because, well, we change the physical size of it. So let's go and look at how to put it in PowerPoint. So I've got power point on a Mac. It's almost exactly the same on a PC. There's just a few little buttons lifts on a Mac. You got more control on a PC? Okay, So what we're gonna do is going to get a new and, well, you from template. Why? I don't know why. Okay, I'm gonna find one that I like. Do I like it when you use this one facet? So a couple things I am going to insert under that I'm gonna answer a title slide. Okay. This is gonna be has already taught us like, OK, I'm gonna adjust this one here. This one is going to be my social media report. Okay, I'm gonna add and you slide just a regular old blank slide. There it goes. There cope. And what I want to do is I want to put in my video, so I'm gonna do that by going to insert one of the options along. Here is video. Where are you? There on a PC? You'll find it's a smaller icon and I click on this movie from file easy. It's going to find my export line graph. That's my PPT one like inserts Now, even standard definition is quite big, so I might even go back and make a little smaller. So I'm doing something and it's actually just we're gonna have a lot of different invert graphics in here. What you need to do is go on Tous that on the kind of presenting left top okay, and realize it's probably going to go horribly wrong and work towards that. Make the videos really small. Make sure the qualities their take on this one here. It looks good, OK, but he's also want to make sure that physically a little bit smaller. So I might make this maybe 500 high because I got it quite small in here now. So and a couple of little adjustments were going to do is that when this thing is playing, I wanted to auto play at the moment when this thing, when this thing loads this thing auto plays. So what I want to do is when we get to the slide here, I wanted toe auto play. They will update the poster image. Okay, so order play just means, because the moment by default, if I click on my video appearances playback, it's when it's collect so the presenter has the going click it. That's often know what we want to do is we want the person to move to this slide and just stopped playing and stop at the end. So with its selected on playback start, Win clicked warts that automatically. Now it's going to presentation mode. Just have a little look. If I goto view and go to presentation view, you see it just that it playing all by itself. Lovely. Okay, so there's order play done, and it is pauses at the end. Can gonna hit escape to get out of my premium. The other thing I'm gonna do is you can see here if you have it when it's clicked. Okay, The other way of playing it. There's nothing appears. Case I'm gonna add that poster image. The other thing with it is that let's say that I want to match the background color because I want this to kind of instead of looking like it's just kind of hanging out of your doing its own thing. Want to match the background color and post images? Gonna help with that as well causes a big color change. Watch this. It's kind of this this color okay, and I head play and watch. It gives a lot darker when it's that's playing okay just to do with the video. Codex. There's some strange things that go on K in the compression. But the cool thing is, is that my post images the same color. So what we're gonna do is click in the background, go along to design, find your format background. Actually, we're not ready for that yet. We need to do the post image first so slicked on the video, go to playback and were looking for video format. And we want this one called poster frame, Okay, and we're gonna go image from file. We've created that wine. It's in tin exporting. There it is their outpost image line chart, post image, click insert. You can see it's the right color. Now some matches it, and when it's not playing, it's actually looking good. Okay, But when I play, it looks nice as well. So we're gonna match the background now. We have to do it once the poster images up because we're gonna steal the color from it to match the background. And if we did it while it was still that like color. Nothing's gonna match up. Hey, it's a background selected. It's got a design. Let's go along to format background. Okay, where's is solid, Phil? Here color and I drop this down. More colors integrated. I drove a tow. Steel is color click. OK, and now a little video is just a little bit more integrated into my PowerPoint presentation . So let's go back into Go back to the title slide. Let's go to view, Let's go to present of you, Okay? And there's my title and I used my Eric you to go along and we'll look at that pretty case of that it for this video. The big things to remember as this thing doesn't need to come in and full HD special when you're scaling it down, okay, play around with how big it can come in and how good it's gonna look through the projector through the laptop. And, more importantly, the projector is getting used on cave is gonna be a presentation. And if you go into your remember your video bit rate, make sure it's nice and low two and five seems to work nicely and export that MP four. Then make it order play. All right, that is the end of this video 44. Animated GIF: Hi there. In this video, we're gonna look at creating this. This is an animated GIF that can go out via social media and be shared by Facebook and Instagram. It's not a video, so it just plays by itself. We love them. This is the way to do it. To keep the file size nice and small, we're gonna look at the way to do it. You don't want banding like this. That file sizes huge. Let's go and look at all the tricks and tips to make a gift and to make it super small for your sharing social goodness a case. The first thing we'll do is open up something to export as a gift under tin exporting. Let's open up this one that's is up pie chart gift. Open that up and after a fixed project, a case and what we're gonna do is we're going to go through. The process will show you the do's and dont's for animated GIFs the actual physical processes. Not that hard, but there's a few things you need to take into account because file size conglomerate gifts out of the water and these things you can do to minimize that. So we're gonna export this one, as is this, like, little thing going on here? How long is it gonna be? The length is quite important if I five seconds is quite long for a gift. Okay, 20 seconds is really long. Anything more than that's probably not even gonna work. OK, so the shorter it is, the better it is. That's one of the things we need to do. So all I've done is my work area have dragged the individual cause that's kind of where it finishes. Right? And I'm happy for it to Luke from there on. So I'm gonna go to composition. Let's go. To add to adobe media encoder go. And in here we need to do is make sure that it's an MP for which is the struck down here. H 264 Leap everything preset. And what you'll notice is I'll just show you in here. You don't have to go in your noticed that is clipped to my works by Syria automatically. You can see down here, you see, it's already clipped in its clipped to my work area. If you want the whole thing, you could switch it there course, that's anything we need to do, where we're gonna put it. I'm gonna put mine on my desktop in l A f X files. This is going to be pie chart, and this one's going to be full color. Okay, I'm gonna save this one year, and we're gonna do another version or getting to render at the same time to jump back into after fix because some of the problems with this one is that we edit a vignette. You can see the top here, you unlock it, and it's added this Grady, in effect all the way through its fight. Delete that it's going to reduce the colors a lot. Okay, it looks like just kind of like one or two colors, But there's actually thousands of colors that make up this great blend. Okay, so I'm gonna get rid of the vineyard. Try not to use any Grady INTs. Some of the other things you can do is get rid of things like motion blur. Because watch this when these things are moving, you see, it's it's actually generating a whole bunch of other colors. It's not just that kind of purple that we're using. There's a bunch of mixtures of that in the background to make this blue happen or fight OON . See this major switch here for motion blur. It cuts down the colors to just this, plus the background, plus a little bit of in between colors, but not as money as this so emotionally off can save file size as well. So it's up to you whether you can live with it out. Having motion blur animated GIFs You just have to really small the file size, the faster it loads and the bitter it does in social media, goat song and export this one as well. Um, let's go to meeting Kota. That's why I love the adobe media encoder. You see, we don't have to. You can render from after effects the option just underneath. You can go to there and that will stop after fixed, working while it's rendering. Or is this you can cue ball up here, and when you're really hit, play and go back to after fixes that working, I'm gonna save them onto my desktop again and what I call this one. So you call this one simple killers safe and we're gonna head play It'll just render the both out. The one thing you notice is down here. Cases playing through Kate's rendering this one and it's taking a while. Why? Because it has to read the motion blur and all these extra colors, meaning the motion blur so it chugs along. Doing it will speed it up now they were back, and I just want to show you can see our fastest sick and one goes because there's no motion blur. Ingredient room. Case after Fix likes it. Maura's well, so let's go now and convert them into a gift to do it. The best way is to use photo shop, so I got photo shop open here. This could be a bit stressful on your machine. So you notice I've closed down aftereffects of media encoder. The less open, the better for this. Get depends on how hard core your givers. So we're gonna file open, okay? And on a desktop, we have a fixed files, and then here there's the two. So the symbol, color and the full color let's look at doing the full color one first. First of all, look at the file sizes for the MP for their exactly the same files, but this one has vignette and a motion blur on it. So it's physically nearly twice the size, but it's open in photo shop We're gonna do is click open and then go to file, go to export and go to this one. Here. You have to use safer web if using the new fancy one export as allowed to so say for Web legacy Okay, so they took ages to open eso. If you're finding yours, takes a long time to open door does so let's first or just export it as is dis deceased. Comparable size is eso. What we want to do is stick around pretty certain. Let's start with the top here. The gift 1 28 colors did that. So at least we know roar on the kind of same page. It's gonna take a little while to readjust this whole thing. Go. And what we can do is you can have a maximum of 256 colors and a gift. That's why you get that kind of like we graining look from a gift. Okay, the lower you go, the smaller the file size, the quicker it will play 128. In this case, I'm gonna go away the maximum 2 56 So this square here's all the colors that it can use. And let's just click safe but mine on my desktop, my after fixed files and it's quick, safe. This could take a little while as well. Depending on helping your gifts coat. Let's do these second version, so file open. There's another MP four, and it is the simple color version up and let's go to file export Safe Web. Everything just runs fast because everything's easier. Go pick everything. It's going to use the same as last time, so I don't need to change anything. It's gonna wait for it to stop having be about beach Ball of Doom. Come on. All right, let it save same thing. Save kick back. Relax. All right. So let's go and check the file sizes. So I'm a dystopic fixed files. Here is my two gifts. There's one, and there's the other one, and you could see the difference in size. Okay, so still quite a simple animation. But without the motion blur and the vignette, it's a lot smaller. Okay, so what is it? It was about 1/3 the size. Okay, so in terms of far sizes, if you get near two megabytes, you're getting too big. OK, so this one would I could live with us. The only trouble with that, I guess, is that it will take a longer to load cases. Say you've putting up on Facebook or Instagram. It just won't load very quickly because the far sizes so pick. So the lower the better. I think there are some restrictions on false eyes for Instagram. That's a double check. But they both look good. Okay. I'm previewing mine on a Mac by heading space bar if you're on a pc. Not sure, maybe right. Click it. Open it up in Internet Explorer, that'll be about a preview it for you. Okay, but this is good. The animated GIF I can share it around. Let's look at some of the other things you can do to get the file size down is in here in photo shop closed down the full colored one. Okay, Is amusing with simple colored version. I'm going to go to file export safer web, and what you want to do is play around with the image size here, Minds up full HD is never a need for full HD animated GIFs casing after wait for this thing to stop spinning. And then I put it down to up better size. You might also play around the format. We know that instagram and Facebook like Amora Square for meant so you might design it in aftereffects because this one here would do really well is a square one because there is nothing really going on the sides here, so I can adjust. That's probably easiest to do it in after effects before you come in here. Okay, so in here, what size is it need to be? I don't have a little look at recommended sizes for your specific social media application . Okay, But let's say I want mine to be 500 pixels high, okay? And the other thing we need to double check down the bottom here is looping now mine loop once. Okay, it's by default. If he wants to keep looping, That's pretty much how everyone wants their gifts. If you take this one here, it will just keep playing and playing and playing the other thing we might do is there were using 256 colors, but we just don't really need it cause it's not that big a deal, okay? Or not a lot going on so I could get to 1 28 that Jim really does. Exactly what I needed to looks fine that keeps the false eyes down. Once this is finished, we'll click Save, going to save it out here. And this is gonna be my 1 28 colors. Let's just see the difference. Go in here. My exercise files once when yet you can see it's a lot smaller, so it's about half the size the lists K, and it's still looking pretty good. There's enough colors making it happen, and it now lips awesome. So that's how to make an animated GIF. Let's look at things you can't do gay. Our little Biograph was perfect, but if you use one of the exercise files in here, so I'm gonna do this in photo shop. I've made a little live action version, so this and your export files see this one called large gift in before, So I've made this little video okay, It's only one second long. Okay, I just want to show you the difference between simple stuff like a lovely Biograph that just has simple colors, even with a vineyard. And then listen, here was his live action, which has got millions of colors. Let's see what happens. Some Photoshopped file open. Let's find him. He is in my exercise files that beteen large GIF. First of all, it might know open. Why? So it'll definitely open here. Sorry. The bit that it might not open in his exports. Safer with you. Might be sitting here for a 1,000,000 years for this thing to load. Okay. Especially if it's more than a couple of seconds long. I've done this with, you know, with longest stuff with selection of just my shop. Just don't do it. Okay, so this is fine. We're gonna do the exact same settings as we head before. Okay, Well, even at HD on the colors, wise will put it 12. As many as we can use. You might not be able to hear it, but my poor little laptop, The fans have come on the machines cooking, trying to do this sort of stuff. That's it. Save Going to call a large gift. I'll stick it in here and my exercise files, Don't we? Faster than I expected. It's have a little look at how big it is this top after fixed files. And here's my animated GIF. Hey, it's only 17 whole megabytes. Okay, so our earlier one, what do we get it down to? Our smallest one was 0.1 megabyte. This is up to 17 and that's only one second. And this one here is about five seconds long. So there's just some things you can't live. Actions not good. Simple colors are great. Now let's have a little look at one last thing is to last things before you go. One is that we went through Photoshopped member and file open, and we did the export as SE was whip to get out Gift. In a previous version off Adobe Media encoder can remember we use it for aftereffects, we say seemed to media Koda. It opens up in here. We pig in before, and then we pass it on to Photoshopped to make. There was actually an option here that said exporters animated GIF animated GIFs became super lame and nobody wanted to do them because video was cool and knew they removed it from this double. Check that your version off media encoder. Look, this was made in 2017. So check that when you got the new versions that they haven't put it back in here. Imagine they will, cause it is becoming popular again. So just check. You might be able to skip that step. Cassie. There was two more things that was one of them. The last one is to check out this man. His name is James current, and I love his. He does animated GIFs, period. OK, so he has. If we have a look at some of her stuff, the cool thing about his is that they loop perfectly for ever. They've got some sort of like, hypnotic. I don't know what about them, but I can wash them for hours, commitment hours. But you can just look at his to get an idea off like pure animated graphics and and that loop perfectly. There's some just brilliant loops that he's kind of come up with. Okay, it's only a few seconds long, but you can just keep on going, keep on going. So there's lots of stuff in here. Let's have a quick little look. Hi. Love s stuff. He did. Okay, So going to get his for ideas of how? Especially how we get since looping. If you want to actually see his technique on YouTube, there is how to create gifs. Adobe creative cloud. Okay, this one Here's the 13th of April 2016 and that's got him with an interview quite long. Okay, but it's really cool. I found it useful anyway. All right, my friends, that is the low down on animated GIFs. Let's get on to our class project next. Exciting. 45. Class Project: All right, so it's class project time. What I've done is in your exercise finals. There's one court, a live in class exercise, and there is an MP three. And here it is a voice over for a company named Craft Espresso. It's a fictional company. Okay, I'd like you to create an infographic for that. So have a listen through. There's no rules, no restrictions. I just like deceit at the end the case. So go through building animation. If you run into any problems or if there's things you're like, Oh, I wish I could do that, though. Drop me a comment. I'd love to help you out when you're finished, uploaded to either YouTube or Vimeo and send me a link. I want to see it and no, from me. The people that actually bother going and doing these will exercises are the people that really remember the course K. It's not until you actually have to do stuff on your own before you like who I thought I knew that and go through and kind of figure it out, go back to the videos and creates riel learning. Okay, So similar files I'd love to see it. No restrictions on what you can do. Could be simple. Can be amazing. You can spend 10 minutes on it. You can spend an hour. If you think it's lame. Don't worry. Everybody's got to start somewhere. Still seen it to me? I'd like to see it. All right. Remember, you can also use this in your own portfolio cases sticking up on your site. You could use it as an animated GIF or put it up is a YouTube link. Okay, you have total rights to use my voice over and craft espresso doesn't actually exist, so you can create a logo for that if you choose. All right, let's get on to the last of the video Siri's. 46. What next: So we're at the end And what do we do next? On my advice is, don't forget to do that class project. OK, it's amazing what you'll learn by doing that, you'll room or doing that class project on your own than following another 50 kind of like course lid videos. I promise you and dropping your results. Okay, see what you do ID love feud. Post them on something like YouTube, Vimeo and sheer link with me. I'd love to see what you're up to, and the other thing you might do is I've got another after weeks courses for motion graphics case. It's a bit more generic on motion graphics. Then it is like the specific course, and there's a lot of other things that we cover. It's a little help you boost your after a fixed skills is pretty fun. Some of the stuff we do in the into and we covered a little bit of Excel and illustrator okay and kind of supplement this course I've got full courses on both of those bits of software, so if you want to become more awesome at both of those, go check them out. Other than that, this is the end. I've gotta Cici next. Okay. By that search, each eat. This is my last, Like me talking to you. So thank you so much for being part of this course. Last thing is leave me review, Remember, reviews a super awesome for me and my course of my career. But I'll see you in the next tutorial. Hopefully. All right, bye. 47. Cheat sheet: Welcome to this motion. Graphics. Cheek cheek for after fix, we're gonna go through some tips and tricks and cheats. People getting started with motion graphics. All right, let's go. All right. Tip number one is easing. Easing is when things look pretty when they move. Okay? I've made a little animation. It comes, just slides in from the side there, and that is very power pointing. What? We need to do it. Six. That was easing to make it sled. And really pretty. What we do is against both of these key frames. Right? Click one of them go down to King Fame velocity. And I'm gonna put influence 75 on the side sooner. Five on that side click. OK, And there they change the lower glasses. But what's this when I preview way looks pretty when it slides in. All right, that's tip number one. Easy. Okay, Tip number two is motion blur. If anything is moving naked, blurry. Okay. What's this is the reason we did it before it moves in. It's nice, but we turned this on motion. Blue. This is for the whole composition in the unit interval for each layer. That's moving. We've only got one layer. Okay, Watch this When it moves, he says kind of blurry when it moves. Okay, Looks nice. It looks a bit bitter. And seven, look at this other camp here with a swing text. Okay, This is one of the classes that we do in my course which this if I you see things that Goodwin the blurry. If I turn it off, they look fine. Not as pretty. It's in the blood now. Tip number three snap. Okay. When you're drinking this little play hit along officially called the CD I If I drag it alone and I want to line up with this key frame here can be coat. OK, but if I hold down shift on my keyboard holding down still dragging this guy here Look. Hey, he snaps to a little kid friends. It makes it super easy to get your key. You play head in the perfect spot, and that is snap. Okay, ready for tip number four. Super zoom. Okay. It means that we knew are looking at stuff you can use a little mountains to go in and out . Okay, But say you're kind of stuck here, and I want to go all the way out. I hit Colon on my keyboard next to the L key. Okay. Just have it once zooms away in Okay, I met Super mega zoom now attempt again It goes all the way out of it again All the way in Bedouin away I could see my whole cop. That's a really handy one. Just kept colon tip number five, time travel. Okay, Instead of going in here and saying I can I want to go to that. I want to go to two seconds and colon and then I want to go Maybe 10 frames and pushing into It'll jump to it. What you can do is time travel much quicker. Okay, Look on this. I want to go to four seconds. Type in 400 jumps to four seconds. Hey, but now I need to go to frame 15. Looking all over the top. It'll rearranges it for you. You could jump to any time. Two seconds and 10 frames. It'll jump along. All right. That is Tom Trump. Tip number six. You've got a really crappy left top and it runs really slow when you're working on jobs. Okay, Now, to fix that and come things you can do is this one here under full or might be in order, Force it down to quality. Watch the quality of the text in the condo. See ago, bit blurry. Now it previews nice and fast or faster, and it will still render a perfectly high quality. One other thing you can do is in your preview window. Here. You might have to tear it off a little bit. I want to make money, but bigger. You want to go to this one? He has his skip instead of trying to render every frame you can say skip everyone and read every sick and frame. And it just means that it's gonna be a little bit jumpy in your preview, but it will render a whole lot quicker, All right, that's what to do if you've got a really slow, crappy left Number eight. What size should my com p pretty much always gotta composition new composition, and you can't go wrong if you go to preset and pick a C. T. V. Teen 80 25. Okay, all the other ones are special use cases pretty much every single time. Go to this one here. Last super awesome Shortcut Tip cheat, cheat thing is this key here. What it does if you have your mouse hovers around here and you tap it. It makes that screen full fight hover above the lots of work going on down here. In your timeline, click. It makes it full screen. Great for the project window. Lots of files have it goes full screen Tebbit again. It goes away. Also as part of this course. Go to bring her left arm dot com and go to the resource is Ted and there will be a downloadable pdf version. All right, that's out. Quick cheat sheet awesomeness for motion graphics. People getting started. Remember, if you want to do a full course, if you're just getting into it is to check out my website here. How to become a motion graphic designer in three hours and aftereffects. That's a bring your own laptop dot com. All right, I see everything