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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48 Lessons (6h 16m)
    • 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. 2021 After Effects New Features

    • 48. 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: Hi, my name is Dan and I love animating info-graphics and bringing potentially boring data to life using After Effects. I've made this course for complete beginners, there is no need to have any previous knowledge of After Effects or motion graphic design. Now we'll start at the super basics. We'll bring it in a couple of icons. We'll add easing, we'll add some motion blur, we'll add some very cool overshoot, we'll also look at anticipation, and then my favorite is to offset them. We'll work through real life projects connecting Excel into After Effects to transform your boring spreadsheet data into approachable visual awesomeness. We'll experiment with lighting and cameras, will do some fun things with masking, all the way through to exporting for YouTube, PowerPoints and all sorts of social media, including making some animated gifs. Now I've got projects for you to complete. You can practice your skills and have some things ready for your portfolio at the end. There's also exercise files so you can play along, there's also a cheat sheet, both video and a PDF version. You know what the best part of this whole, entire course is? It's learning how to track handsome individuals from New Zealand with very accurate data. It's true, I say awesome a lot. 2. Exercise files: All right. First thing is to download the Exercise Files, API link is just here, go and download those. Also know that there's something called the completed files. What they are is, at the end of every video, I'll save my after effects file to Ymate. You can download it, there will be a link on every video screen for that. If you get a little lost, you can check mine, to see how yours is different. The other thing is that there is a chichi at the end of this. Into this video, and there's also a PDF you can print off and stick next to your computer and use as well. There's also a project at the end. We're going to work through together, I'm going to get 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. The last thing is reviews. It's a bit early for me to be asking you for review for this slide. But as soon as you get to a point that's closely like, "That's a pretty good course." I'd love you to leave a review, and that's what drives my business and pays my income, as other people come into the courses. Reviews are really helpful likes, shares those types of things. All right. Lets get into building our motion graphics and visualize data. 3. Inspiration for your animated infographics: Hey there, in this video we're going to look at inspiration. When you're starting your project, you're going to need places to go and get ideas for your projects. Now this site here, Remember the dot-net the dot-coms are weird site. You'll go and check it now I bet you. But is more the data visualization side. There's some really beautiful stuff going on here and pushing the boundaries of how to communicate really complex data. If you're dealing with more with the generic kind of infographic gay bar charts, you're just looking for ideas of animation, then something like this. This is sell these cases, these here. You can buy this on his $19 and you can get this as an After Effects file and start updating it and trouble with some of these templates is that they're pretty complex. If you're brand new, these are not useful at all because you're going to get a file that too hard to work with. Once you get into the kind of intermediate level stage, these become really useful because you can open them up, make the changes necessary, and save yourself a lot of time. So you hover above them, some of them are pretty cheesy, but some of them are pretty cool as well. You can just work your way through them and just get an idea of how you might do it, kind of one of the competitors for Video Hive is Pond 5, okay. Same sort of thing, hover above them. You'll see infographics, interesting kind of ticks treatments, okay, lots in here just to get your kind of ideas flowing. One of their last places I'll show you, is the title, Walmart Infographics. It's really cool for just beautiful uses of mainly type, okay, and live action footage. But I get great ideas from here for even just simple motion graphics, just the way type is being treated and animated. I like to go to the homepage. 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 or somewhere like this one here, just interesting how you going to deal with the type is it come up big thing moving in the background, kind of flickering old stuff that can be done in After Effects. I'm not saying they're exactly right, but it was any other ones that I liked much worse doping, Yeah. This is quite cool, just real big, slabby use of color and type. Anyway, I'm rambling. 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: We're going to begin our first project. I am going to hit play on this project and we're going to listen to it and watch it all the way through. This is what we're going to be making for the first part of this course. Icon animations, all sorts of amazing infographic type things. Let's give it a watch. At the end, we'll hit stop and we'll go off and create our new document and get started. The value of sleep for creatives. Now there is an ongoing debate in our household about the value of sleep. My wife, a solid eight-hour a night lady, is forever reminding me using finger courts there, to get more sleep. I on the other hand understand all I need to perform at my best is just 5-6 hours. So, as long as I'm on bed by 1:00 AM, I am good to go by 6:30. Now my problem is that I love to work in the quiet of the night with the whole world is asleep and nobody can get me off the goods. For me, there's something about that slight edge of exhaustion, feel by a little bit of caffeine, that makes me excited and creative at that time of the night. What is it about sleep deprivation or insomnia that appears to aid my creativity. Okay, simple enough, but some cool techniques we're going to learn in here. Let's now jump in and make offers document. We've opened up after fix now it's time to create our first file. They call them projects and inside of these projects we have something called a composition or refereed to as comps. The project doesn't really do anything, click new project and you just get this blank window. Think a project as just like an empty place holder, the comps that you put inside of it, think of them as like pages in a document. You can have a document, without any pages, it's not very helpful so a project is not very much without any comps. We're going to create our first comp. You'd think you'd go to file, new and the composition, new composition. There's two ways of creating a comp. You go comp position, new composition, like we are here, you give your comp a name. This is going to be my my first comp. In here there's a lot of settings, but pretty much all you need to do is go down to this presets and pick HDTV 1080 25. That's going to be HD resolution at 25 frames per second. That does most of the world, most of the time. Occasionally if you need to go to TV and you're in the US, you got to use 29.97. It doesn't really matter, especially if you're going out to social media, YouTube, Vimeo, your website, It doesn't matter. These two here they're negligible differences. You could also pick 24, but nobody picks that so just pick this one here, HDTV 1080, 1080 is the pixel height of your video. The width is, you can see here 920. But when somebody says 1080p, they mean the height of the video, 720p is standard definition, and that is the pixel height of the video we're making. Four K, down here, you could be working in 4K if you've got the footage for it. The only problem at the moment with 4K is the file sizes are quite big. YouTube accepts it, so you might do it, it's no problem with that, but it gets pretty hard on your system when we start animating things. I've got a pretty good MacBook Pro. It's only a few months old, and I got all the optional extras and working in 4K just kills it. I don't work in 4K because it's just too hard now and people watching it, I don't know who's going to see my web animation infographics on a 4K monitor anyway. Square pixels, perfect frame, don't change this resolution, case they got up to four. All that means is that, this can change occasionally in case you're going to export a video and it's going to export a quarter quality, it's like turning the resolution way down. We want the quality be at full and then the duration, it's up to you, I think the default, I can't remember it's 10 seconds, I think, and this is how many frames? Ten seconds is the second line here, that's the one you need to remember. How long is this going to be? It's hard at the beginning, especially if you are not working on say, some live action. Live action is going to have a start and an end so you know how long it is. But if you're working on your own time you like, how long should this thing be? Take a guess. It's easy to shorten it up than to extend it so we are going to start with 10 seconds. Background color here, I wouldn't change it here because it doesn't really matter what you change the color to when you export it, it's going to be black, way dark. If I go like this and say actually I'm going to use one of these colors over here, you think of the background color is going to be yes, red. But when it renders, it goes out black. This is like a place holder color. You actually have to draw a big red box in the background for that to actually export. Now we can start working. The other way to create a comp, this happens a lot, especially if you've got footage you're working to. In my case, we're working to a preexisting MP3, with some dialogue on it though we're going to be animating out infographics too so it's a set pace. It's a certain amount of seconds long. We could open the mp3, look at how long it is it and try to measure the comp and that's an easier way. I'm going to bin this thing here. What I'm going to do in my project window here, this is all my files graph from my project. Anything that we import, videos, sound effects, shapes from illustrate; anything goes in here. We're going to go to file import, go to files. If you haven't already, download the exercise files, mine here on my desktop, we looked at how to download those in the previous video, go check that out. In here I'm going to go into it. Our first project is going to be, this one called icon pop, open them up. We're working to this value of sleep in mp3, so I'm going to bring that, we're going to use that. Because that has a certain time, it's 29 seconds and seven frames long. What we can do is just right-click it and say may comp from selection. The cool thing about it, is that it's matched my 1080p. You can see it small up the top here and the right frame rate, but it's matched the length of it perfect, because there's no need for it to be any longer. The big things when you are getting started, if you're good at after fixing, you can skip through the next video, but we're just going to look at a little things here with this, the MP3 we are through. Now, magically this is the comp, it uses the same name as this. What we're going to do is just rename it. Just to say, we're going to add comp to the end, we'll do this while we're learning, just so they know that's a composition. The reason we know its composition is mainly because of this icon here. See this little film with some bits on it? That is the comp and these are the important things. These are the things that we will export at the end. The pages in my document. Remember project is this overall empty space. These are the things that you need to list one, you can have multiple pages. Lots of different animations, lots of separate animated infographics or data visualizations in here, but we're just going to have one for the moment. Your comp appears down here in the timeline. There it is, value of sleep comp, and it's automatically put my mp3 on the timeline so there's my little play hit. I can drag that back and forth. My CTI. If I hit space button on my keyboard, "The value of sleep for creatives. " That's me talking to myself, that's the mp3 playing and it's going to be along the bottom there just doing its thing. We're going to lock it, so this little locking icon here. You'll notice that these little tags in here, I added these when I was first putting together these project photos. I did these with something called markers and we'll look at them later on. But it just going to help us know when these infographics I'm in through up here. Now one thing we'll do just before we move on, everyone got to window, go to workspace and click on default, and then go back into the end workspace and then go to reset default, just to get everything looking the same as me. If you do fine during the class you end up dragging that over there and that becomes their and it's all mixed up. Just go back to window, workspace, still in default, but we are going to reset default, go back. It's a good way to get yourself unlost. Let's go to the next video. 5. Adding audio music to a infographic in After Effects: Hey there. In this video, we're going to bring in some audio. We're going to put it into some folders. We are going to bring in some music and look at way to get some of that for free. Then we're going to balance it so that my voice isn't so low and the music is down a bit so you can here underneath me. Let's hit that, the value of sleep for 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 dealing with most of the time. Let's deal with audio property in this video. We're dealing with a voiceover, it's me. If you're doing your own voiceover, it makes it easy. If you've got a half decent mark, it's pretty easy to do, but probably, you're going to be like most people and hate the sound of your own voice, me included. But it was cheaper to do my own voice over than paying somebody else for this exercise, so you got stuck with me. If you do want to hire a talent, what I do is I go out to a site like Fiverr. Fiverr is a site you mean to pay $5 or euros where I am, and it's what people will do for $5. This guy will do a voice over here for $5. That's the euro translation, or the currency exchange. If you click "Play," you can listen to Todd, him. Hello Todd. Great. He'll do that for $5, a certain amount of words. It seems cheap, but bank on it being about $25 to $50, depending, because he might say, "I'll do the first 50 words for $5 or the first 10 words," whatever his rates are, and you might have to go further than that, and if you want it done, he'll say, "It's $5, but I'll do it when I get around to it. Maybe a week. Or if you want it done straight away, you might have to pay another $10," so it adds up. By adding up, $25 is pretty cheap for a voiceover. Just have a go through and just say, "Do I need a Caribbean voiceover, or do I need this guy, or that guy? He has a great normal voice. If you need somebody who's Irish, if you need somebody who's Australian or English, just type it in up here. I just typed in voiceover to get these guys. It's amazing what you can get done quite quickly and cheaply. Alright, so we've got our voiceover, back to "After Effects." When you are working with audio, especially a voiceover, often you need to time things to it. You can see I've added little markers down here. We'll look at these markers a little bit later on. I've added them here, so at this early stage, we can add our infographics at different timing points. If you need to edit audio, what you really need to do is something on "Audition." It's down here, so I recorded into "Audition" and did it in edit it. I cut out all the [inaudible] and [inaudible] and made it sound half decent in "Audition." If you need to remove background noises, the air conditioning noise, something like that, that's the job for "Audition." I'll do a course about that real soon. We've got an MP3, it's come through and one of the things you might want to do is, I can twirl down this little arrow here, and go to "Waveform." Waveform is really handy. You can start to see where the breaks in the language are, you can see I paused there for a little bit, so you can start timing things like I'm probably starting to say something about here, I am going to hit "Spacebar." You can see I've got the beginning of a conversation there. I often have this open when I'm trying to time infographics to an audio file like this. I'm going to twirl it up at the moment. 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. You don't really notice it when you're working on your projects. You need to check, whenever you bring in audio to check whether it's at the right level. You don't want to sing your infographics somewhere, and people will be listening to it, and it either blow their eardrums out or just be really low and they raise the volume and then the next video blows their eardrums out. You want to get consistent. There's a world consistency sound and it's between minus six and minus 12. Decibels work from zero being the highest and you work down from that. How to check, it's quite easy, go to "Window," go down to "Audio," or in my case, there's that little gap there. This little guy is what we're going to be watching for and see the gap between minus six and about minus 12. You want, if I hit "Spacebar," watch it. See it bouncing down here? It's bouncing too low. You want that little line to be bouncing anywhere between here and here's a good [inaudible] range. Any higher than that, see, red, bad. Yellow, just okay, but in here is the sweet zone. All you need to do is have it selected. If you've got it locked, like the last video, just unlock it, select it and as you yank it up a bit and then see how it goes. Hit "Spacebar." Not bad, a little bit over the bar. It's bouncing in that right sweet zone, you can see there, it's never perfect, but that's going to be great for me. Next thing is, let's bring in the rest of the audio. We can go to "File," "Import," "File." It's a long way and there's a shortcut "Command I" on a Mac or "Control I" on a PC, you use that loads. To be honest, I never use it. I just don't click in this big gray area here in my project window, so I just double-click this, that's the shortcut to it. I find it quite quick anyway. There's two files. Go to your "Exercise Files" and under "Icon Pop" bring in "Blop.mp3" and double-click it again. Let's bring in a second file. It's just under the route "Infographic Exercise Files." It's called "Background Music. "We're going to use these on all the different exercises that we do so it's in it's own folder. All of these files here, there are mixture of free because somebody like Wistia have given them out to us. Wistia is W-I-S-T-I-A, go check out them. They've got some free background music that I saw the other day and I appropriated for some of my projects. The other one's in here, are from Shutterstock. It's a stock music site and I've paid for them. Actually, these ones are the preview version, so what you'll notice is that you'll play it for a little while and then it plays little happy music, but then part of the way through it says, "Shutterstock music" to ruin the MP3 for you so that you go off and pay for it. You're not allowed to use these commercially, any of the Shutterstock ones, but you can see here. This one is the Wistia learning gallery, and they allow you to use it for commercial purposes. I'm going to use "Interlaken Crossroad." At this stage, follow me. You can pick a different one of course, but I've done this project obviously and try to find something appropriate. What I'm going to do is I'm going to add it to my comp. You can do it a couple of ways. You can drag it down here. The only problem is, if you drag it down here, see that little play there, the blue thing, if you drag it there, it starts way out here. It doesn't start until I get. You've either got to drag it down here and just make sure it's in the beginning or just drag it into the center bit here, and it just goes in right at the beginning. A couple of things I would like to do is, I would like to create a folder in here, put all my audio in. Often if I'm doing infographics, there'll be a files folder, an audio folder, a video folder, and I leave the comps just out of there. I'm going to create this one's here. This one's going to be audio. Files is just any static images and any other weird stuff I get. You notice when you create a new one, let's put it inside of files, we can fix that. That's what's going to be a new video. This project is not going to actually have some, but let's get some good etiquette going early on. That's my files. One of the other things is, if I hit play now, you can see that they are all battling it out. The voiceover here, the "Value of Sleep," is at the same level as the music, but that faded out when I start talking. I'm going to lower the volume of this music. With this selected here, I'm going to do the opposite of what I did with the voiceover and lower it down. How low? Just keep dropping it down until that feels good. Just keep lowering it down until you feel like, that works for me. Low as you go, it's really just a balance with that. Whatever has to be the highest, which is going to be our dialogue. I'm going to lock these two here so we don't mess around with them and we're going to move on to the next video. 6. Add a solid background or image backgrounds: In this video, we're going to bring in a background image and lock it. It's going to be easy. Let's go do it. We had feature of After Effects. We talked about it before. If I make a New Comp and I pick a color, it doesn't really matter when I export it, it goes black. It's just there as a backing color. We're going to turn back to black and click on it. Go back to black. Because that's most comp stat life like. If I want to put in the colored background, we put it in just a big rectangle. Now we could draw, but it's easy just to go to Layer, New, and there's one called Solid. Click on Solid. I call this my Background Color and it's going to match the height and width of my video. Great, everything is perfect. Pick a color, any color you'd like. Click okay. Now I'm going to export it, it's going to be green in the background. I'm going to move it around. I'd lock it. That's I had to put a background color and so I'm going to bin that color. We just made it, but we're going to bring in an image. I'm going to double-click anywhere in this gray area. Then I'm going to info-graphic exercise files, and I go to icon pop, was the first one, this one they go background. We're going to bring it in, put it into my files. I'm going to drag them onto here and it's too big. Like a lot of programs, you can zoom out. I'm using the wheel of my mouse, but you can use command plus and minus if you're on a Mac or Control plus a minus on a PC. What you will find though is you can grab the edges and it's fine, but really that's true of lots of Adobe products. But down here there's one called transform and scale. You can drag it down. I don't know why, but it is easier to use these controls down the bottom here, especially when you get multiple layers so I'm going to tool that backup up to you. I'm going to lock that layer, background image. I just dropped the lightness of this in Photoshop. We'll do it later on and after excess cells , easy. We've got our background. Next video, please. 7. Adding text Adobe Typekit in After Effects: Hi there. In this tutorial we're going to look at type and then we'll look at bringing in new fonts from Typekit, which is free as part of your Creative Cloud license. Let's go and do that now in After Effects. Let's put in our text, grab the type tool here, the capital T. I'm going to click and drag to get a box with boundaries. It gets to the edge of a body text when you've got a lot of texts to go in. I'm going to actually see down here, I'm going to flip on that and delete on my keyboard. I'm going to do it. If whites click once and you get a type box that goes on forever, mine is aligned center at the moment. I'm going to go over here. We've got character and this paragraph. If you can't see either of these are under window and this character and there's paragraph, you don't need both of them working with type. I'm on paragraph. I'm going to make my left aligned and I'll put in some type, the value of sleep for creatives. I'm going to put a return and just to break this up a little bit, I'm going to sleep at all, do some type of things. I'm once on aerial at the moment. I'm going to make mine all caps. I'm going to go pick a font. Under character here we've got all the fonts that are on your machine, you can pick one of those obviously. But if you've got a Creative Cloud subscription, you can go off to Typekit, and get a whole bunch of new fonts that really good and they're free, they're part of your paid subscription. Let's go check that out now. This is Typekit and might asks you to login. It's me. Hello Daniel. What you can do is go through and just pick a font, so there's lots of them. Go to the fonts, drop-down, and you'll get lots of examples of stuff. Go through and just pick the one you want over here as some helpful bits to say I want stuff that's good for headings. It'll sort it out from there, or was it saying and turn that off? I want ones that are Serif fonts, which means they've got their little feet off all the edges. You can go and hunt these down and social manhandled fonts has had to go and find. 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, sometimes it's nice to be working with a skinny font, because you've got a lot of copy to go into infographic, and it's just easier with lots of numbers to go into your graphs, it's easy to fit in skinny type. You've had a lot more digits. The one I'm going to use for this class is going to be Roboto. I'm going to bring in both Roboto and Roboto Slab, click on one of them, then just click this button over here and it says sync. I've already synced mine and that's it. Just click on sync. I'll do it for Roboto and Roboto Slab. They just appear in infographics, you don't have to do anything. I love that. Back up with it selected, I'm going to go to you, my friend to get the Roboto. I'll use the slab version for this, and different weights. But that's fine for me. I changed my mind, with the slab and still bought. This my black version. Grab back to this area here, section two, move stuff around. I'm going to sleep my left aligned, it could be seen to we'll leave it there. What I might do is, there'd be times in this course we are like, "Should you just move on?" This is one of those times where I stopped messing around with fonts for no reason other than my own pleasure. That is going to be it for Type and Typekit because it's not that hard. Let's go and start bringing in the icons, we'll use an infographic. 8. Where to get free Icons for your Infographics: You need to find some icons and you don't want to pay for them. There's a couple of sites, is a great one. They have a mixture of paid and unpaid. Let's say we need a picture of a woman, an icon of a woman. Now by default, yours will be set possibly sit to any and to any and to no license filtering. You'll start with these ones here. You can see they're not expensive. So $1 for some of them. What we want to do is though, I want Vector ones because I want them to be scalable in After Effects. You don't want any. Most of them are all Vector anyway. Then I wanted to go for free because I'm cheap. I want to go down to the licensing. 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 link somewhere to explain where you got it from. Going to go the full cheap way. You can see there's quite a few here I can pick from. When you are picking some of these case I, you decide that this is the one for you. When you are downloading it, download the SVG version. The PNG is a pixel version, not vector. When you scale it up, it won't be great, okay, it'll pick slight, whereas this one won't. So download this version. Because it's an SVG, you might have to open it up, depending on the version of SVG, you might have to open up an Illustrator and copy it and do a resave and save it as an Illustrator file to use it in After Effects. We'll do that in the next video showing how to make the icons from Illustrator to use an after fake. We'll do that. I can find out our uses it's quite a big resource, I love it. The other great place is actually from Adobe itself. It's the Creative Cloud app. On a Mac, it's up here, it says Creative Cloud, cloudy looking icon. You've got these options along the top. On a PC, I'm pretty sure it's done the bottom right, you'll find the same icon and you'll be at home, go to Assets, go to Market. In here of the top is a search icon, okay, and we're going to put in woman. The cool thing about this is that all of this is commercial use. You don't have to add links. The quality and quantity aren't as much, but thus can be super useful and helpful. What's really cool about it is, have a look at here first and then jump out to maybe icon finder, that's what I do, at least. Say you decide, that's maybe not that one. But say we decide to use this one. See this little button here, we can bring it into my library. The cool thing about it is that's it. If you jump into After Effects now, you can see it's downloading in the background, the end to my info graphics animation. There's that lovely lady, we're ready to go. We'll use this a lot during the class, this Assets, Market, It's really good for icons. It doesn't have many images in there, but so it's mainly for icons. Let's get on to the next video. One thing before we go actually is say in icon finder. The cool thing about here is they're often the part of a bigger group, so you might pick this will one, but you also need a man or ninja. I can find it has and really good groups of things to go. If you get into the kind of like super icon downloading mode, you can see here there is a per month cost. You can get download 25 a month or unlimited, 29. 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 this where it fades in and then goes for little bits, and then this guy appears. We'll play with the scale. We're going to just do some basic animation. It's quick, it's easy. Let's make it happen in After Effects. I'm in my "Value of Sleep - Comp", double-click it there. I've got my two audio files locked and I'm going to lock the background layer. What we'll do is we'll get this ticks to fade in and then we'll get our icons to pop up. Make sure you play this bright at the beginning. What we're going to do is twirl down this little arrow here and we're going to twirl down Transform. What we're going to do is play with the Opacity. At the beginning of my timeline, I'm going to click this little stopwatch, and what happens with that is that it sets a keyframe here at whatever setting this is. I set a keyframe at 100 percent Opacity. I can adjust it by clicking, holding and dragging across, or you can just click it once and type it in. I want it to be at zero here, and after a bit of time, how far. Generally what I do is I just hold down the space bar or, click the space bar once and then turn it off again when I feel like it's been long enough, we'll just, that feels long enough. It's been about one second. All I'm going to do is click hold and drag that up. You'll see that as I drag it up, it's created a second keyframe. First keyframe is at zero, next keyframe is at 100 percent. Now hopefully, what we'll do is after sometime I want it to then fade out. Now one of the problems that happens with everybody that's new and in my classes is that they'll now go and tune this down to zero to 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. It starts at zero, gets to 100 percent 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. I'm going to undo to get rid of that keyframe. To do that is met about two seconds and 21 frames. What I'm going to do is, see this little diamond here, click on him that forces in a keyframe without you having to adjust this. It means that, now that is 100. Now if I move along a little bit further, I'm going to set it down to zero. Ramp goes up, zero to 100, stays at 100 for awhile and the ramp comes down back to zero. The Value of sleep for creatives. The next bit of animation is going to be when this house appears. That's where I say it and you can't hear the what do you every well through my microphone, but that's when the house appears. What we're going to do is, twirl up this, get them nice and clean, is I'm going to drag in my house. Where is the house? He's down the bottom here of my Libraries panel. I'll put a movie here somewhere. I'm going to zoom out. Yeah, it's just going to be in the top corner. This one here fit. We'll make sure the comp is perfectly centered in the center there. With these icons, you can resize them by grabbing the corners. Now a little bit weird in After Effects, 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, because without holding anything down, they scale weirdly. What you do is you start dragging, it's getting wildly, then hold Shift. I'm holding down my mouse key and my Shift key. You can adjust the sizes. We're not going to, because I've made them all pretty good in Illustrator in the last course, so they're all the right size. I'm going to leave those. What we're going to do now is the moment it starts right at the beginning, I'd like you to start just before I say the word house, as I want to click hold and drag this colored part. Drag it, drag it, drag it, drag it, and see the beginning comes along. Now you can see it just starts a little bit later on. Household. We'll get the timing right in a second, but that's about right. What I'd like to do is I'd like to put my playhead at the beginning of this layer here. Now I can zoom in and make sure it's perfect. But our first little shortcut is going to be holding down the Shift key while you're dragging your playhead or the Current Time Indicator. Hold down the Shift key and what happens is it'll jump to significant parts in your timeline. You can see it jumps to the beginning of this. It also jumps to these markers, can you see them? It jumps to the beginning, so it's just a really good thing to hold down, holding Shift whenever you're dragging your timeline, good. The first thing I want to do is I want to twirl this down and I want to find the scale. We're going to set the stopwatch going on scale. We've got a keyframe and it scale's at 100. I'm going to tune it down to zero. I was going to drag it to five. This typing zero. This is a zero then a bit further along, I'm going to drag it up to 100. Now it starts there, and very slowly it appears. What I'm going to do is I'm going to zoom in a little bit on my timeline. To zoom in, just type the plus button on your keyboard. Just plus nothing else. Minus zooms out. What I want to do is maybe just bring this in so it's happening a little bit faster. It's about right. When you play around with easing and a few other things, but it's there. Great. I'm going to twirl this in case it's all nice and tidy, and now we could stop bringing in all the rest of them. You can see the wife. I'm going to bring in my wife, and I'm going to drag it along and start this further along. It starts here. Holding shift to get it to the front, I'm going to twirl this down, "Transform", turn the "Scale" on, set it to zero, move it along a little bit and then drag it up to 100. You can drag it past 100. It's times up 100. I can keep going through and doing this for all the different icon appearances. But what's going to happen is I'm going to do it for all of these, and then the next thing I want to do is easing. I'm going to have to go and do that to order them separately. Then I'm going to have to add some sounds and I have to do it all of them separately. What you'll tend to do is I'm going to delete the go. What's going to work on the home, get it perfect. Get it popping and bouncing, and a little starburst and then we'll duplicate it and just switch out the icon. That's a lot easier than trying to do it repetitively for all the separate icons. Let's work on home and then later on we'll go and switch them out for all the different icons. Let's get on to the next video where we get rid of this like lame power-pointy zoom-in thing. We're going to add a little bit of life to it. That is called easing. 10. How to ease animation in After Effects to make them look slick: Hi, there. In this video we're going to look at easing. Basically it's going to turn boring animation into something a little bit more lifelike and interesting. The bottom one reading is going to be boring the top ones is going to be nice with easing. Boring, nice, boring, nice. See? Easing just adds a little bit of life to pretty much any animation in after effects. Let's go and do that now. To work on easing we're going to click on icon one house. What we're going to do is twill this down so we can see the key-frames that we're working on. Now, this can be quite complicated as we can see anchor point in position and it's quite messy especially when you start twilling down a few of these. It gets ugly looking. To make it a little nicer is have this layer selected, have it completely twilled up and click the "U" key on your keyboard. All that does is that it brings down only the attributes that have key-frames applied to them. The stuff you're probably going to work with, so it's hiding anchor point in position is still there. You can close it up, open it back up. Just type "U" keeps everything nice and clean while you're working. I'm going to get my player close. Hit the plus key to zoom in. Now the moment, it's doing this it's not very nice. I'm going to turn off the sound. See these here. I turned these off just so that I cannot hear the music. The problem is exported. It'll have no music and voice-over so make sure you turn them back on. Yeah, very power pointy. Just appears a bit lame. What I want to do is apply easing. Now what a lot of people do is they'll slip to this key-frame and this key-frame. I'm holding down shift and click both of them. They go blue, right click any one of them. Actually you can click F 9 if you're on a PC and that applies easy ease. If you're like me on a Mac and F 9 opens up a bunch of other things like iTunes or something, yeah, you can't use that shortcut. If you right click any of them, go to key-frame assistant and there's easy ease. They are changes, them from diamonds to these little hour glasses and it gives it a little bit of easing. Watch this one out, it's better. It's a little hard to see but it gives it a little bit of resistance at the beginning and the end and gives it a little bit of light. That's going to be a huge part of this class. We're going to look at easing plus a bunch of other tricks to give out icons a little bit of anthropomorphism. What we're going to do is so easy. Ease is great. I never use it because I like to crank it up even higher. To do that, you can manually type it in. I'm going to right-click it and we're going to go to this one, instead of assistant go to a key-frame velocity. What easy ease does is that changes from zero to 33.3 percent. That gives it a little bit of influence, but I like to crank it right up to 75. 75 in both of these, both the in and out points works fine. Click okay, so it's like an easy ease, but extreme version. Now, kick back and watch this. I like a lot more anyway. It's just got a bit a flow to it. If it's going a little fast, I feel like mine is. I'm just going to click on one of these icons and separate them out. Yeah, that's got a nice a feeling to it. That my friends is considered ease. We're actually using velocity. You can use those terms in this case interchangeably. We could do it to the fade-in. I'm going to zoom out, go back into minus that little bit so I can see my whole animation. Remember these tics fades in. To see just Click on the text layer, how do I see just the key friends that we made for this? May be the fade in. That's right-click "U" on your keyboard, here's my key-frames. Now I could do easing for this, but for opacity, I can't see the difference. You might decide that you play around with it and you can see the difference in easing and opacity and that's totally fine. I just find it doesn't really matter what velocity you play around with it, there's not a whole lot of difference when you're playing with transparency or opacity. I'm just going to 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'm going to show you this one now because you probably, if you haven't gotten lost already, you're going to get lost in some stage, especially if you're new. The main culprit is this. So, I'm looking at my comp here, value of sleep. Then, I click on this and I am going to double click it. I double click it by accident and end up in here, and you're like, "Man where's everything gone?" It might be blank, maybe I clicked on something else like the background for unlock that and double click it. I've gone inside of it. You're like, "I'm sure there's some texts here, but it's all gone. All that's happened is you've gone inside the layer. Here's my comp back here. All my lovely stuff on it. But, you can dive inside any of these objects by double clicking on it. Problem is as the timeline doesn't change. So all you need to do is close it down or just jump back to over here. Where's this composition? Nothing's being lost. You're fine, but that'll happen to everybody eventually. All right. Next video. 12. Adding free sounds little pop noise: Hi there. In this animation, we are go 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, there he is. You see those little blip noise? Let's go figure out where we can find them and how to implement them. Let's first of all find our sound. 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, you need groans, just like little noises, often the term to look for is interface noises, and there's no real one place I use free sounds to old quite a bit because the licensing allows me to use them free, but double-check the licenses before you go and use them. The weird thing is looking for them, like say you want a noise and you can hear it in your head. I'm not sure if I'm explaining that right, but you know what the noise is, but how do you describe it in words? Say you might go Zap. Okay, just this is the noise. This is the one I want. That's the one I wanted. None of those weird. You can download them easy by clicking on them and downloading. I've got one ready for us in this animation, so let's jump into After Effects. What I did was in your audio files that we bought in earlier. I've made this blop, and actually just recorded it myself. I made a noise on my microphone like this, or blop. All those little noises, I use quite a bit for my animations, because 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. You have my full rights. What I'd like to do is just time it right. When the house appears and I'm going to bring in this blop. Nice, and what I might have to do as well is turn my audio back on just to get the timing right, I'm going to turn on the value of sleep, turn the sound on. Now, try and time it altogether. Probably needs to come along a little bit. That's not bad. Everyone's is going to be slightly different because you're working on your own file. Maybe a little bit further on, then it comes down to a little bit about less trying to give them time to nicely. That feels okay. It's maybe going a bit slow my little pop as well. Anyway, we've looked at where to get sounds from. We've made our own and we've applied it. These are one of the things that get often overlooked, when you're like watching somebody else's infographing and you are like, ''that's cool'' and you don't notice all the little noises in the background that kind of add the life to the little animations. Just keep an ear out for those sorts of noises and see if you can find similar ones, and don't 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: Hello world, in this video we're going to look at doing a little star burst watch this icon up here. Watch little stubs. It's this little frequency, that little star bursty right thing that appears at the same time as the icon. We're going to make that in this video. The first thing we need to do is draw a shape. Now you can't just go and draw a rectangle and use this. We need the 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. I'm going to use the rounded rectangle tool, just looks cool with it being a little bit blobby. Just double-click the icon. It throws in a rectangle right in the center of our space, it's far too big. We can resize it, it's no problem. There's a few different ways of resizing things. If I grab the edge, I'm actually scaling it. I want to actually change its physical size and we do it by down here on my Shape Layer under rectangle one. Here there is rectangle path. That's it's called size position and rounded edges. 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. What you'll notice is it gets down to zero if you don't unlink this. I want the width to be 30. The height to be zero. Make sure that chain link is broken, otherwise they're connected. Now what you'll see is I'm going to 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 going to do is bring my playhead back to the beginning here. What I want to do is animate this. I'm going to turn on my keyframe. Frame one, the size is going to be 30 by zero, and then after about a second. It's going to be zero. It's going to be very thin, but very tall, how tall? I'm going to make it about 60. Really depends on what you want to do and watch then see the difference between the two. I'm going to go back to fit. I find this is good because I can see it in proportion to everything else, especially because now want to move it. We're going to set a keyframe for position. Make sure your playhead is here at zero. Move along to this one. Remember hold shift on your keyboard and it will lock into the exact same position as this keyframe so they line up and where I want it to go, x and y, y is the second one and I want to drag it to the negatives, which makes it go up, weird huh. It's going to start down there and then move up there afterwards so we go two keyframes. I'm going to preview it. If you're like me, while you're previewing, its a little high when there's all this other music playing and everything animating behind it so what we're going to do is, we're now Shape Layer here. Let's just toil it down so we can't see it. What I'd like to do is, just turn off the eyeball on these other layers and the sound's off these layers, we'll turn them back on a second just so that we can see this guy in isolation. We've got this little guy, he's doing his little thing. The animation is not very nice. Maybe we're going to use the U key and that will show us the keyframes for this. I'm going to slick below these guys and I am going to right click one of them, go to keyframe velocity and change to my famous 75 percent click " okay " One thing you'll notice is that I tried to do them all in one go and I needed one sit. Hadn't done these guys, because size changes x and y so there's two options in here but position only has, we're only adjusting the y. It can't do both of them in the same time. You just have to do these separately. Sometimes you can change them all in one big go by selecting them all. Sometimes though you do it separately. Hopefully it looks nicer now. You add your own bloop noise. The next thing I need to do is repeat it round in a circle. I'm going to put my playhead halfway between these two just so I can see it. What we need to do is add what's called a repeater and you do it, I'm going to have toil it up, toil it back up to see everything in here and make sure you've got Layer one selected. Shape Layer one. Click this word Add and add this one called Eye Repeater. Repeat is an effect. What we can do here, let's have a little look, there's three of them, there you go, have it back in the middle here. What we want to do, is open up Repeater, and we want to change a few things. One is how many copies? I'm going to have 13, it doesn't really matter how many you have. You can experiment with what looks good. You can see now it's got 13 of them. By default, what it does is that it repeats its position a 100 pixels to the right. What we want to do is go to transform Repeater and where it says Position, we want to say actually we don't want to repeat it. A 100, do that zero. There is 13 of them all stacked 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. What you do is you go 360 divided by how many copies you have. You can do math in any of these little fields. If you're terrible with math, like me, let the machine do it, 27.7. Awesome. Now if yours isn't looking good like mine and it's maybe spiraling off. This happens in my class quite a bit, is that your [inaudible] have changed position and it does this. It's cool and it's weird. Just make sure your position is set to zero. There we go. That's our little star burst, now we're going to turn on our Layers and move it so it's in the right spot. What we'll do is, let's close that one, turn the eyeballs all on, turn the sound on for the blop, the music in the background and what we'll do is we'll reposition this Shape Layer. Problem is it's quite hard to do. Whereas there is quite hard to get your fingers on him. It's lot easier to actually toil this down and I'm going total that up and use this one here it says Transform. I'm going to 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 because it's so hard to do when there so small, all the opacity is down to zero. What I want to do is play my playhead until a little pop-up guy appears and he is there. This little star burst needs to start along at about the same time. That's kind of close. Also want to do is play around with the position. You go over there, then go down a bit and we go there. Now we're going to play it and. [inaudible] How good is that? [inaudible]. That's cool. If yours is doing something weird and you just like, I still can't do it. You're going to have to go back through this tutorial and do it exactly step-by-step. What you'll find is, say here in the Shape Layers, there's Transform for the Position here, there's also Transform Position in the Repeater, there's also in the rectangle here there's Position. You got to make sure you follow me exactly to make this one work. The cool thing about it though, once you've done it once and you want to use it for another job, just go and copy and paste this Shape Layer. To any new comp or any new project you're working on, or even better, just steal my one. My one definitely works. I'll save it now and it'll be part of what's called the completed files. You'll see a link to it on the screen somewhere. All right, that's our little circle pop. 14. Animation TIP Motion Blur: In this video, we're going to look at motion blur. Motion blur makes everything look more awesome when it's moving. The top one, motion blur, bottom-one, boring, no motion blur. Let's go and learn how to do that in the [inaudible] graphics. To add motion blur, I'm just going to get my playhead. It's around the icon exploding part of my timeline. I'm going to zoom in a little bit. Move along. I want to get in close enough. There we go. I want to play it. The moment it's quite victory. We want to add some motion blue. You're going to remember the first part which is, see this little icon, this little worm-looking thing? That's the motion blur column. Within that column, I'm going to turn on this layer here. We will work on the house first. What we might do is turn the eyeball off on the circle burst. You'll notice that it's not shaped layer one anymore. I renamed it circle burst in between videos just because. To rename a layer, you right-click it and say rename. Icon 1, what I'm going to do, you turn it on, and nothing changes. What you need to do is turn on the master switch, which is this one. 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, which ones you don't. Just remember to turn them both on. Let's have a preview. 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 when you're videoing it with a regular camera. Adds a bit of life to it. I turn it off, sharp, that, blurry. That's one of the big differences between using something like this to do your animation, and Adobe Animate. Adobe Animate doesn't allow you to do blur very well. This motion blur is a really nice way to add life to icons, so let's go for that one. Let's turn it off and turn the eyeball on for the star burst, and do the same thing. Turn the blur on, give it a preview, and just it give a look. Just looks good while it's moving fast, being blurry. Let's do them both on combination, motion blur. Awesome. Pretty much anytime I animate anything, I may try to turn the master switch on and then turn on the specific layers. 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: In this tutorial, we're going to look at overshooting the mark. You can see this one gets bigger, but then it needs to get a little smaller and bigger again a little bounciness. We're going to do this to learn and then we're going to jump to our value of sleep. We're going to do it to our icon there as well. Let's go and learn how to overshoot. Let's get something to overshoot. First of all, we're going to not work on this project. We're going to actually work on a separate little job and we can do it and it's own little comp. The moment we have one compositions, that little icon here and its our comp that we see down the bottom here, you can have more than one comp, more than one page in a document. It's a new composition. It's a composition. New composition give it a name, this one's going to be called overshoot. It's going to be great and we're going to make it, I don't know. five seconds long. Background color is going to be black. Click "Okay." I'll show you this because I want you to know that you can have more than one comp in a project. So here's my still my handy dandy main comp, but I'm going to work on this other project in here. It's like a separate little group. That's where we're going to do our project. What I'd like to do is, let's jump into Illustrator, in illustrator it's going to open and in your project exercise files. There's one called Icon pop and let's grab the Animation overshoot not offset. What are we doing in here? We're just practicing because I want this thing, I want to drag it into my library if you can't see your libraries, go to window, libraries. Drag it in there's that part that I want to use in my animation. You can draw all of these in After Effects. It's just the tools aren't very good to do it. So 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 where that's selected little plus button Fill color. Thank you very much. Let's rebuild you now in After Effects. So that credit card is kind of like a separate little exercise. So what we're going to do is we're going to show you how to build another comp inside your project. Think of comp as like a little group. You can see it down here as a little group of layers, but you can have more than one comp. We're going to go to composition, new composition, we're going to call this one Overshoot. Make it about five seconds long, works for me, background color we're not worried about. What we're going to do is put in a background color. Remember it has to be a layer, new, solid. Color wise you might have to scroll up in your libraries to be able to see the colors at the top. Click the little eyedropper tool, pick the blue, Click "Okay", we've got a layer there I'm going to right-click it, give it a name, call it Background. Lock it. So we don't wreck it it. Zoom out a little bit it's actually, going to go to fit so we see everything. I'm going to build. The little compositions, the credit card thing goes there, the 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 in overshoot, anything you like. Now there's two ways of doing it. We'll 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. Let's do it the manual way first and then we'll look at automatic. So here we'll twill down, we'll find transform will do scale turn, the stopwatch on, make sure the play head's at the beginning. We're going to set the scale down to zero. Then after some time, about that time. I've mine's at 14 frames, I'm going to scale it up to just past where we need it to be. So a 120 maybe. Maybe a little bit less. We have to play around with this. It really depends on your artwork. Then I want it to go back, bounce back. Not to a 100 percent but maybe 90, back pass where should be. So you can see what we're doing here we are going overshoot back, but we're overshooting back pass where we are needed to be, which is a 100 percent. Then now we're going to go up to a 105 and then one last one, which is going to be a 100. Now we have to play around with the timings and we're going to have add easing because at the moment you get a sense of what we're going to do, right? So it's not that hard to do. We're going to select them all and go to Key frame velocity, 75,75. The only trouble with that is that it's quite intense. What I might do is undo and I say, member, I never used Easy Ease. It's going to work in this case. Works quite a bit with overshoot. Now timing wise, I'm selecting all these guys. I'm just creeping this in. Trying to get my idea of how the timings going to work. You're going to have to play around with it yourself. What you can do though is say that it's all just happening too slowly. You can select all the key frames instead of trying to like move them all along. You can select all your Key frames, grab the last one. Well, not yet holding the Option key on the Mac or Alt key on a PC and grab the last key frame and just drag it to the left. You can see they can compress like a concertina. It makes it heaps easier to reset the timing rather than trying to move them individually. Now goes woo. Hold the last one, and now it's going to go wop wap. I'm not sure why I had the sound effects. Anyway, that is a manual way of doing overshoot. Same principle for moving it forward. Possibly you wanted to be back a little bit, back a little bit back a little bit, eventually it rests in the middle, and then hit save and this artwork here, I'm going to right-click it and give it a name. I'm going to call this one manual overshoot. We're going to do an automatic one with an expression. What I'd like to do is just turn the eyeball off on it and bring in Artwork one again. I can drag it in from here or it's already over here in my files Artwork one here you go. It's on the exact same position I know I'm not worried. So to automatically do it, key frame at the beginning, play hit at the beginning. I'm still going to have to set the basic Key frames for this to work. We're going to twill this down and we're going to go to transform. We're going to go to scale. I'm going to start it at zero. Then after some time like this, mine's at 16 Frames, scale it up to a 100 percent. We have to do that, but that's all we have to do. No easing, no extra bumps. We need to add what's called an expression. Expression is what, After Effects calls coding. We're not getting into too many expressions in this course, just the handy ones and to set expressions, first of all, we need to grab the code. I've already got it. It's in your exercise files. I didn't write it. I borrowed it from someone and when I say borrowed it, I stole it, but it's okay. They said it's okay to steal. They put it up on the internet for people to share. So in your exercise files, there's one in here called Expressions and there's one and in here called 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. It's an iterative anate of somebody else's data and I've got it pretty sweet now. What you do is over here, see the little stopwatch here. To get an expression applied to the scale here you hold down the Alt key on a PC or the Option key on a Mac, click it once and then it goes red. That isn't the expression in here. So want to delete what's in there and paste that random stuff that we found. Just click out anywhere else. This big expression applied to this scale, go back, be prepared. Okay, not that great. But if you tidy these and up a little bit, starting to look pretty sweet right? No we're good. That saves us having to try and time the bounce in and out. We just have to play around with how far these apart. We don't have to play around with easing. It's really handy. Only trouble is it doesn't work every time. It works if you have two key frames, but if you have to have a few different key frames, say this credit card moves up then left then right, and you want it to bounce, hey, it's not going to work, it only works if there's only two key frames. We're going to close this one down now and apply this to our original animation. This is just a little test case so we're in this overshoot comp and close it down back to my main comp. What we're going to do is we're going to apply it to this little Bounce. Was looking cool without easing, but we're going to go and replace it. Now the one thing we need to do is first of all, let's look at the icons for scaling. Remember with the layer selected click you. It's going to show me my icons. It's not going to work because we've applied easing to it. Because we need to remove this easing because it messes with our script or our expression. To get rid of them, the easiest way is to hold down command key on a Mac and click them or control key on a PC, just gets them back to diamonds. Now we're going to insert our expression. Remember we hold down a key and click the stopwatch. That key is called Alt on a PC, Option on the Mac. Give it a click, in here going to replace this delete it paste in our lovely expression and then drag our timeline back and prepare ourselves for a little bit slow. Because he's going a little bit of a slow. So he's going to bring these two together. Oh, it's like just one of them. Bring them together and nice. You can decide on how far apart these are awesome. Now in this case, it's probably not appropriate to do it to the [inaudible] because we don't want that to balance back. We like it, that discontinue on and then stop but that my friends is overshoot. But before we go, this has been annoying me. These need to be in there. You need to be in there when you drag them out from the libraries, the libraries is messy just 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: Hi, there. In this video, we're going to apply a vignette. A vignette looks like this around the outside. Turn it off, boring vignette. Awesome. Let's go and do that now. This is not really an animation trick, just looks cool when you're dealing with motion graphics info graphics. It's a vignette. It's easy to apply. The first thing we need to do is create what's called an adjustment layer. Adjustment layer as an invisible layer that we can apply a fix to and we can apply a vignette to this one. To find it, we're going to go to affects and presets. Then here we're going to type in something called Lumetri. If you start spelling it you'll get there. Lumetri color is the thing we want and click hold and drag it. It's probably best to drag it to the actual layer itself so you know you've got it on the right spot. One of the options in here under vignette is the amount and we're going to drag it to the left. You'll notice in the background there that minus 1.7 and we've got a vignette, whether you like this or not, I love it. Makes it give out that film quality look. To turn it or off, see where it says effects, turn it on or off. You can have a white one. If you drag it to the right-hand side, it's going a little slow come on. An offshore wind does like the heavenly glow. Maybe use that one minus 1.7. That looks good to me. That is how you apply a vignette. If you're sitting there thinking, why did he make it darker on the outside? You're probably not a vignette person. I'm a vignette person, 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. We're going to call this one Viginette. I can't even spell vignette. Is that close? I don't know. That's close enough. Now, the only problem with the vignette, it needs to be at the top the whole time. But as you keep adding things, you potentially add stuff above it. What happens is say that I get this underneath the icon, you'll see the icon is not affected by the vignette. This Adjustment Layer fix everything underneath it but not anything up above it. Just be careful of that. Let's get our next step. 17. Animation TIP Anticipation Up before down Graph editor: In this tutorial, we're going to look at anticipation. It's when things go up before they go down, or left before they go right, or they get big before they get smaller. We're going to learn that and we're going to learn how to use this graph hidden at the bottom end here. Let's go and do it with this type. To make it work, what we need to do, at the moment we've got at the beginning it starts playing, fades in and it's running a little bit slow. Just going to save this for tutorial later on, but my machine is having a bad day. It's trying to record the screen for you, and do this HD animation at the same time. I'm going to have to do is see if it's full, use [inaudible] set to auto, so it's in brackets. What we're going do is set it to a quarter. It just means the resolution and preview is going to be a bit little. You can see it's gone a little bit pixelated there, so that versus full. It doesn't actually change your output, it just means previewing within after fix is a little nicer. I'm going to zoom out so I can see the edges. Now, what I want to do is remember down here was of this type. [inaudible] shows me the keyframes. Now I've got these first key-frame were fades in. I'm going to keep that, since the last two keyframes I don't want. I'm going to get a to transition out for the jump. It's going to stay for a while. Now what I want to do is, I want to put in a position. We're going to open up position. Now, cool little shortcut is I can just tap P on my keyboard. What it means is, instead of having to open all of this up and find position, I just tap P on my keyboard since the first letter S is for scale R for rotation. It just saves you time jumping around trying to tour these down and figure them all out plus its a lot tidier. The only one thing that's a bit weird is, you don't use O for opacity, use T for transparency. O does something really weird. If you do hit O and ends up way out here, just means your play head has ended up past the screen with no man's land shifted to drag it back. Come on. Don't click O, you will though. All right, so where were we? About there, about three seconds in, I wanted to get it to jump down so remember P for position. We want to set a keyframe now a little bit later. It's hard to know beforehand how far to keep these apart to make this look real, we 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, and how fast you move it. So what we want to do is we've got our first keyframe there, our second keyframe I want it to go up a little bit. Not that way. I want it to go up a little bit. Get it to go up high enough. I find if you do it too low becomes really had to work with. How's that? Too high. There is a limit to the height. So it's going to go up a bit and then after a little chunk, it's going to go completely down. I'm going to move it down to the bottom here, so it starts up, starts down. You saw I use positions instead of dragging it and just that easy often use a position slider. Now by default, looks pretty crappy. What we want to do is we want to add some easying. Now if I right-click all of these guys and we're going to use easy ease in this case just because what happens, it's not great. So we're going to have to get into using something called the graph editor up until now and pretty much after this, you get away with just using velocity and picking influence or using easy ease. But now we're going to have to use the graph editor, and if you find it a little bit tough, 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, it's this little icon here. I've got these icon selected first, so I selected these keyframes. Click on graph editor, and that's what's happening. It's what's looking a bit weird. Does it come on like a weird little jump doesn't quite work because this flow is not very nice. At the moment though, the x and y coordinates are stiched together and you can't adjust these [inaudible]. So what we have to do is we need to break them apart. There's this little x and y. You'll notice when you break it apart, it actually changes and it's one of the quirks for it. Now what we want to do to make this thing look nice, is we want, this two keyframes. That's when it's my play here, 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 line at the top here, and these ones here, I'm going to adjust. you get to play around with them. But this one here is going to come up a little bit. This nice binned often looks good. Let's give it a go. So it's got the right rhythm. It's just maybe not fast enough. So we're going to jump back from the graph editor. you'll notice that it's split them. When we did that in the graph editor, 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 y, which is the up and down one. I can never remember I want to leave them both here. But anyway, so what we're going to do is we're going play around with the timing. So I might just grab this, tighten this one up, one time it up. Just happens a bit faster, maybe not quite enough. So it's working. It's definitely looking at, I'm going to, I'm going to turn the mute on these two they are driving me bananas. So it's getting there right? Switch back to the graph editor to make sure that you haven't wrecked in here. Switch back and stop playing around with this and you can start to see. I might go a little higher, so I'm going to get to here and I'm going to have to work out if it's x or y, it's y the whole time. So I don't need x, so you can just bin x just to clean it up. Now I'm going to go, you know, as I've wrecked that even more. So it's going higher and it's fast, I'm going to speed that. 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 and that's getting there. Let's have a look at the graph editor. Just to make sure before we go, we have wrecked it. I think that feels good. When I say before, it needs to be this perfect curve, actually, it would look nicer with a little double bend here. So bending can outs and up. So it starts slow, goes faster than the middle, gets slow again and goes fast at the end. Like to save that last a little bit for the end to make sure you still watching. going to spit it out a little bit. It's been ages making this look great. I'm happy with that. Now to make it look even nicer is to turn the motion blur on, make sure it's on for the actual project as well as the layer. let's give it a little go. It looks nicer when it's moving. You see. I don't know why I had [inaudible] fix, but I'll do that throughout this course. It took a little while, but there's a lot of finesse when it comes to getting things to feel the right feeling when the right white when it's moving. It's called anticipation and it makes inanimate objects look a little more real. Let's get onto the next animation tip. 18. Animating TIP Off set two objects moving just after each other in After Effects: [MUSIC] Hi there. In this video we're going to look at offsetting our animations so that two separate guys follow each other in and they look like they have a cool little relationship. Should be easy to do. Let's go and do that now and after effects. To make the offset happen, what we're going to do is, we're going to make a new comp. But it's going to keep us separate from our animation here, because it doesn't make much sense. As part of this, we've got one animation technique going a little overshoot. Let's go, new composition. This one's going to be called, Offset. I'm going to make sure the background color is black. Duration is going to be five seconds. That's fine. Let's click. Okay. Let's bring in our icons. I'm going to double-click in the area down here. We're going to skip the using libraries at the moment. I've got them here, they are called offset one and two. So we're going to bring in Offset one first. This little clock, and I will set two , we're going to put them so that they can be overlapping a little bit. Using my arrow keys just to bunch them around, because it is difficult dragging them with the arrow. I want them to be there any means necessary. I'm going to drag it down a little bit. Actually, it's going to be over there, it's going to be there. That's it. Cool. But if overlapping going and if the overlap is wrong, you've got the other one on top of the other guy. What you can do is just make sure here Offset 1 is at the bottom, you can drag them around see. Now is on top, now is at the bottom. Great. We need to put in now two key frames on position. Now what we're going to do, is do some awesomeness where we do two at a time. Because there are two separate objects, because we want them moving separately. We're going to hit P on a keyboard. We're going to say key frames for them, and we're going to pull them off screen. Let me zoom out a little bit so I can see off-screen. Maybe you might drag this into so a little bit easier. After about, the timings had to do at the stage, drag him on. They move on, very exciting. We're not going to do that easing we could, because I'm going to use the expression that we had before. There is that, I'm going to copy it. I can't apply the expression to both of these at same time. I need to hold down the O key click on the stop watch for position. Paste it in here. Do the same for this guy, paste it in here. Now I've got this cool little thing going or bounces around. I'm going to play around with these guys. Bring him in a little bit, but faster. I don't know why I'm that far out. We're going do the overshoot by just playing around with the timing here. So that this one starts first and this one comes alone just after it. They look like they're buddies doing stuff together. But just a little offset, it can be really good. Just subtle stuff. We're doing a big obvious offset here. But it can be great with, say you got a character. Okay, and they jump into the screen. They're here. Could be on a separate line and they just got like a little bubble or any loose clothing or anything, just offset it and stuff starts looking quite cool. Other things to remember to motion blur on everything looks nicer with motion blur. That is offset onto the next video. 19. Animation TIP Vector Redraw: In this tutorial, we're going to look what happens when we scale something up nice and big, rushes towards the screen and it gets all pixelated and we're going to show you how to make it like this, or vector and clean. Basically, we just turn that button on. But let's do it into a little tutorial. But seriously, it's just turning that button on. We're going to do this with a little example file, so we're going to a new composition. We're going to call this one Vector redraw. I'm going to leave it all like this five seconds. We're going to change the background color to, we're going to click on it and change it to white just to save time. We should put a solid in because what's going to happen if we change the background color to white and then white what's going to black? So we just [inaudible] now, so Vector redraw and what I'm going to do is, I'm going to double-click remember that's the shortcut to import. I'm going to bring in your own laptop logo. There it is I'm going to put it in my files folder saving these offset guys getting there and in here bring your laptop, bring it. So that's cool and I want to scale it up. So what I'll do is up here, I'm going to hit scale, set the time and going and when it gets bigger, maybe about half a second. I'd like to scale it right up, so it's going flying towards the camera. I don't know why did the sound to fix, doesn't help really. But the problem is can you see a its ugly because we'd have an had not using it yet, but you see when it gets really close to the screen, it has pixelated. It looks really crappy, its Vector, so it should be fine. All you need to do when this happens is this little checkbox here. So this little sparkle, you can see there it says continuously rasterized, so it's going to redraw it every time on every frame. Why wouldn't it be on by default?. It's quite system demanding, So if you've got lots of Vector shapes all flying around and there's no need to redraw them every single time. It doesn't unless you force it to by clicking this little button in here and it goes nicely. A couple of things we're going to do to finish this off you can skip now. We're just going to take that up a little bit, and practice use of the graph editor. So what I'm going to do is maybe just apply easing to both sides of this. I like to apply ease if I'm going to use the graph editor because what happens is once you jump into the graph editor now got them both selected. It gives you some handles to work with. If you don't, I'm [inaudible] , it's just a flat line and you've got to click on these points and then go here and say. I'd like to create an ease on this one and that's fine. Do it either side, I don't mind. Now the cool thing about this is that because we're only doing one thing. These, because there 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 but it's grayed out at the moment because these guys don't need splitting. All we want to do is play around with these handles and so what we've done up until now, we've made it slow at the start, in the beginning and faster than the middle. What I'd like to do is this case is I wanted to be slow at the beginning and go slow as it goes along, it's going to get faster and faster. So let's have a look at this now. I'm going to play it here. So it just starts and then gets faster as it comes towards you. Is it brilliant? I'm not liking it at the moment. Play around with it. That's getting better and go back to the graph editor. It's going to do what I want. Lets try them. Now just missing about, yeah its cool. It's in the motion blue on up there and down here. So it starts really moving, it starts doing the whole blurring motion, but it's actually nice blur rather than just picks lighting and there's a lot of time where it's down here, it's actually redrawn nicely as well. All right, so that is vector redrawing and making sure that your graphics, any graphics from illustrated, don't become blur when they get scaled. 20. Animating TIP Puppet tool: Hi there, in this tutorial we're going to make things floppy and real like this using the Puppet Tool. Let's go there. Okay, so we're going to do this in a separate Comp. So up here, New Composition, we're going to call this one Puppet Tool. Okay, everything's going to be the same. I'm going to use just an off-grey [inaudible]. Cool. And we're going to bring in some files. I'm going to show you a different way of bringing them in. Here's my exercise files here, Puppet one and two. We've been bringing them in kind of official ways. You can actually just drag them onto the page there. Okay. And you can see they've come through. I'm going to put them in my files. If you're on a PC, it works the same way. You just need to have the window open in front of it, just drag it in. Off you go. Cool. So what I've got is Puppet one. We're going to put them on this place. Puppet one is at the bottom. We're going to lock it because it's the cogs. We're not actually going to turn those. You could easily turn those into animated cogs. What we're going do is our example where we get this to fly and it'll be all bendy. I'll zoom out a little bit so we can see everything. So first of all, we're going to add a little bit of animation. So on this we're going to hit P for position, and we're going to start the stopwatch and we'll start them over here. Okay. And after about, I don't know, that much. Okay. Tin Frames, here's going to be maybe a little bit longer. Okay. Fourteen frames. I'm going to drag them in, holding "Shift", so it goes perfectly straight. It's up to you. So you can start dragging first and then hold Shift. Cool. So we've got the first 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. Okay, so what we're going to do in this case is we're actually going to adjust add easing to this last one because I wanted to start fast and slow down here at the end. Okay. So I'm going to add velocity and get it to slow down to 75, because that's my favorite. So now it's going to zoom along and then kind of slow down and stop there. If it doesn't, Right-click it again, go to Keyframe Velocity, and we're going to change the speed here to zero. And now it should do it. Great. Awesome. So what we're going to do is get that little tail thing to bend. Okay. So it's going to zoom along, come down and stop. All we want it kind of bending out. To do it, we need to add some Puppet points, okay. And it's hard to do when it's off screen, so we're going to move it. So it's halfway there. Grab the Puppet Tool, which is this guy, the [inaudible] drop-in. Okay. Click on that, and we need three in this case. We need one there, one about middle, and about one at the end. You can have as many as you want depending on how much control you want over it. The least pins, the easier it is and more natural it looks. Now, these are actually adding Keyframes at the same time. So if I click on the Puppet 2 and [inaudible]. Remember my secret shortcut, showing me all the Keyframes. So if I move this other way, these are the Keyframes that have been made. I kind of made them at the wrong stage. Okay. I want them to be all the way over here at the beginning. Cool. It's just easier to do, obviously, when it's on-screen, then it's off-screen. Cool. So first up, I want to grab this guy. I still got my Puppet Tool. I'm going to grab this one and drag, oop, undo. I've got them all selected down here so I'm going to click off. I'm going to grab this guy. Okay. I'm going to grab this guy. And then if you slide it along, that's what's happening. Okay. He's zooming across [inaudible]. So now what we need to do is, when he gets close to this in-part here, we need to just move the Keyframes around. So I'm going to grab this one, straighten it back up. [inaudible] I probably should have left one more Keyframe in there to stop at bending but [inaudible]. Okay. We're getting there, and you can see it's not doing the little flippy flop that I want. Okay. So I'm going to [inaudible] back up here. And actually what I wanted to do has gone a little bit past where I wanted it. Okay. It's going to go like that. Then after a couple more frames, it's going to flop back. Here we go, [inaudible] flop, not too far, and then another couple of frames. We're going to get to go just a bit back further again. We're getting close to its final wrist. We go there. Now, the timing is all going to be a bit mixed up when you first do it, okay, so we're going to have to play around with it. So let's not get too excited. Ready? Let's kick off. And space [inaudible]. It's not our best. But you get the idea, right? That's what we're going to do. So what do I need it to do? We're going have to play around with the timing of these. So I'm going to select them all, hold down Alt and just drag them out. Does it feel like it needs more, or does it need less? I'm holding Alt and it kind of compresses them while I'm dragging them. That might be it. So yeah, cool. It's getting there. Maybe just these three outs. Now I'm just playing around with timing and this will happen to all your projects, okay. You'll spend ages with this 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 want it to feel like. I think probably I need to bring this whole thing across because it's taking too long to slide across. Maybe too far. Okay, it's a little bit painful to watch, I know. Okay, maybe that's what I need. It needs to be longer. Just having a bit too fast. I'm liking it. Okay. 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. So I'm doing it for you my people, okay. There's a lot of playing around with this type of stuff especially with Puppet Tool because you're faking real life, okay. And there's a lot of wiggling around. Okay. It's quite cool if you get like say it's a glass of water and it's flopping in, you can get that water to flop back and forth as you'd imagine it would. If you've got a person, say this little icon here, it's kind of popping, sliding in here, [inaudible] could kind of bend as he comes in. All right. And that is going to be it for the Puppet Tool. Let's get onto the next tutorial. 21. Grouping in After Effects is called precomping: Hi there. In this video we're going to 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 going to start bringing in all of our icons. Can you see they all start appearing. They'll 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 altogether. Let's go and learn what a pre-comp is. To create a pre-comp, we're going to select the three layers that we want part of it. What are we going to do it, it's just because we're going to duplicate this, there's about 10 different icons were going to use and that timeline is going to turn to mud when we have 10 times 3, that's 30. I can do basic math. But it's going to be near impossible to work with in the future, so what we want to do is just group them together so that a locked into nice little unit that we can reuse. Select all three of them. Click the top one hold Shift to click the last of them, so these three. This blop icon 1 house and circle burst. Right-click one of them and go to pre-compose. We're going to give it a name. We're going to call this one Icon 1, and then click "Okay". Nothing really changes, you can still see it's all still there on the timeline. If I drag back and forth, it still does its little thing. But what's happening now is that they're all just tied into this one little layer and all pre-composes. Remember earlier on we did this one called overshoot. We created a new composition and went in here and started dragging and building it manually. All that's happened if I go back to value of sleep is that Dreamweaver is done that function for us automatically and built that comp out of those layers we had selected. There's no physical difference between the comp that we make with overshoot and this new one called Icon 1, that's the pre-comp, but really just the comp, if that makes sense. I can go inside of it, double-click, go inside and I'm seeing my comp just by itself and it's own little timeline. I can work in it nice and separately the three little layers, but I can 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 comps that I've got. It's inevitable you'll end up with more than one comp, especially if you are opening up somebody else's work or working with a template. This gets even better if we want to say adjust this King and we'll switch it out for the different icons. Let's look at doing that. First of all, I want to adjust because for some reason my stub burst starts far too early now but it's because we were playing around with that expression and the timings is all off now. What I want to do is go inside of it, double-click it, and I'm going to zoom in a little bit. Plus, plus, plus. Down here, I want the stub burst just to start earlier, so stub burst, circle burst to start earlier, actually I need to these to move further away because I'm stuck at the frontier. Still not enough time. I star starts, there it looks better. Cool. Now I can go back to my value of sleep, check this out. Mine is running a bit slow at the moment, you can turn your resolution down to quarter, so it's not stressing machine out so much. Here we go and I'm just going to get the timing right. Cool. We can see the value of pre-comps. All these little compositions made for us. Now it gets even better when we want to reuse this comp, but switch out the icon? What we need to do is don't copy it down here, you need to copy it in your project window. Down here is just going to make two versions of the same icon, and if we change one, it'll change both of them. But if you duplicate it up here, the easiest way to duplicate it is to sleek 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 2 for me. I've got two versions. They look the same but they're actually disconnected. I can double-clicked "Icon 2. " I know I'm inside of here, there's Icon 1, Icon 2, and what I need to do is I need to update this icon here. This thing here, icon 1 house, I'd like to switch it out. I could manually just delete it and drag it in, but I'd lose all of that lovely easing that we've done and that expression that we've applied. To make this a little bit more automatic, I'm going to open up my files panel, I'm going to bring in some of the icons. The next one is icon 2 go. I can just drag it to my files here. It doesn't go in the right place, get in there. There's icon 2 go, already had one from earlier on, but that's how you drag 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. This is the one I'm going to replace, remember we're on icon 2. Hold down the Alt key on a PC or the Option key on a Mac and just click hold and drag. I'll go on top of this guy and he switches out too easy. Let's go back to the value of sleep our main comp. You'll see we've still only got icon 1 oh here, so let's grab icon 2. There it is there. Check out Icon 2. There it is in the top corner there, and where are we going to put it is going to be able to room issue soon with all these icons. We're going to position it, using the black arrow. We'll also going to have to play around with the timing because it appears right at the start. Just drag them along till after this. Where does he go? My wife is there, so get it to be around this, play with the timing. That's not bad. You can see once you've done it once and done with your easing 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 that has to be done every month, say it's some sort of email, a publication presentation thing that gets rolled out every week or month, you can use the same animations but with different graphics. We'll do one more together and then we'll speed up the process. You copy paste, double-click it to open it, find it, select it, where's my files? Actually, I don't even remember what we're doing next. It's amount. Megaphone, then sleep. Back into my Icon 3. Where is megaphone? There you are. Dragging it across I'm adding it to the project. It doesn't really matter that you get into my special folder. I'll drag you across back to my comp, drag Icon 3 on there somewhere. There you go. Get the timing right, come here, come here, come here, come here to megaphone about there, cool. I'm going to both do this now. I'm going to do duplicate all of these and then replace all of these in one go. But we're going to do it in first mode because you don't want to watch me do every single one. Engage first mode. Come back in. Now, even though I got speed up, you probably noticed that it was not the smoothest of my operations. I don't know why brain fog. 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. It goes from monster all the way to coffee. You can make your own sleepy icon in there. One of the things I wanted to show you is you probably saw me lift this up. See this little bar here, it gets a little bit hard to guess between these two panels here you can make it bigger and smaller. I did that because I didn't want to show you my super shortcut until now. What I want to do is I'm going to show you that super shortcut. Because you end up with a quite a big panel, you can see down here my timelines quite complicated. What I want to do is two things. I've just noticed vignettes down the bottom get them all at the top, happens all the time. Let's say I want to make this a lot bigger, what I can do is wherever your mouse is hovering above you can hit the Apostrophe key, often it's tied together with a til the key on my keyboard in front of me I got 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. You might have to hit a few of the buttons and wherever your mouse is above watch, it makes that whole panel really big. If you've got your panel really small, and you just want to tap it over it, it goes really big and it's wherever your mouse is hovering, so this makes that screen bigger. If you want to go into the library, hover above it, tap it, big giant library. You'll fix some presets, hover above it, giant and fixing presets you're getting the picture. It can be handy in this project window as well and you got lots of files. Wherever your mouse is, tap it on and off to jump back and forth. Anyway with mine up like that and hit save because that is it for pre-comping and grouping. Let's hit "Save" and get onto small animation tips. 22. Camera 1 Node: Hi there. In this tutorial we're going to look at cameras, where things start moving around and zooming in you can make it look cool. I don't know. Cameras, let's go and look at how to do those. The first thing we want to do is to add a camera, we do that under layer, under new, under camera. By default it's probably set to a Two-Node Camera, switch it to a One-Node Camera. It's just simpler. Make sure depth of field is turned off. Give it a name, no, just leave it as camera one. Let's click Okay. Now, depending on where your camera ends up, you might want to drag it to the top. It doesn't really matter. Just really common to drag your cameras to the top, battle it out for this viginette. Now, you would have got an error message on your saying, "Hey. Hang on, you created a camera but none of the layers can be seen yet." Mine has being disabled. All that means is that, the camera can't see any layers in my comp until I turn these on. I'm just dragging across these all. I'm going to say, all of these are on, the background layer needs to be unlocked and turned on. I wanted all of these on maybe not the viginette. I don't want that seen by the camera. That can just stay around the edges there. What that mean is let's look at a before and after. My camera here, I'm going to tilt it down. Now, we're looking at this one view. You can see it down here and that most of the time is we want to be. In this case, we're going to go to 2 Views-Horizontal to have a separate view to actually see my camera. There is, there. Hello. That's my little camera pointing at my plane. We're looking down on the top and that's this. We're looking down at the phrase of 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 going to go to this Custom View 1 and it gives you a good look at it. I'm going to zoom a little bit. That's what's happening. Now, there's camera over here and he is pointing and shooting at this. You can see even my text off-screen. Watch this I play HID. Watch him, actually there he is, this guy is the end dissipates down. This is what ends up getting exported, but this is a handy view just to see what's going on. What I want to do is, I want show you if I have these off, look what happens. I'm going to get rid of all of these. Get rid of that. You can see the camera can't see them unless this is on, it's all on because if a viginette and what we're going to do is we're going to play it till it gets to about. I want that to appear on the regular screen and then just before the second one appears, my wife, I'm going to get the camera to move. Let's get our key frame at about 7:06, it's going to be slightly different and what we're going to do is we're going to tilt on the camera and we're going to open up transform. We're going to set this stopwatch going full position, so we want it to stick there, and then, just before this one opens, or maybe just when you start seeing the circle, I would like to change the position. The first one is I'm going to zoom in. So grabbing this last, that's X, Y, and Z is the last one. Z is in and out, X and Y is left and right. I'm going to zoom in quite a bit and then dragging these, it's easy to drag these then to use. There's some camera tools up here. But when you're new here with me, I use it a lot spots. I prefer doing it this way. Everyone has the right style. What's going to happen now is, cool. It's in the middle there and I'm going to come back a little bit and maybe just holding shift to snip it to it and maybe just down a little bit right at the same time. Cool, a couple of things I'm going to need to do is my computer is struggling a little bit, so I'm down at quarter. A low rays resolution and I'm going to turn off the sound because that slows things down as well. What did I just turn off? I don't even know what I clicked. I'm going to turn this off and here we go. So hopefully now it'll render a bit quickly. Nice. Has gone along, it's done its thing, and then zooms in. Now, the camera is a little bit on the crabby side in terms of we want to grab these two guys and add some easing. So right-click them just like we did everything else, 75,75 and separate the look. It's got a nice motion to it and it goes along and then cool. So what we're going to do now is put in two little key frames every time we want to move it. So I'm going to scrub along and I can already just see it, but still you can see use this view here. The other thing is, you can see this guy zooming in because we've moved to the Z position over the time. So that's my little camera moving in. When I get to just before this appears, so maybe just a bit there, I'm going to set a key frame. So I'm going to set up a menu key frame to say between this one and this one don't change and then a little bit longer, I'm going to stop missing this. I'm not going to play with Z anymore, I'm going to play with just the X and the Y and get all these guys line up in the middle now every time a new icon appears. It's remember the easing from the last time I did it which is quite cool, here we go. Next one, cool. I'm just going to do that as this thing builds and yeah, keep doing it for the next one. So it's a couple of things, we've done the easing, the other one is motion blur. The motion blur is on for the whole document because we did it in early tutorial. But, at the moment, only thing being accepted by is this, we've only changed that on for the text layer. Because remember it's slid down off the screen and we turned it on. I'm going to turn on for the rest of these. Why? Because let's have a little look. I'm going to find out before. So when this starts moving, so it's moving. There's no motion blur. I'm going to skip it here. I'm going to turn it up to full resolution so I can show you properly. So it's in a super crystal clear, but it's moving quite fast. But what I want to do is actually turn the motion blur on all these layers. What should the length go? This is blurring now. It just means that when it is moving, it's getting all zoomy and blurry. We do it to the icons and we even do it to the image in the background, down at the bottom here, the image background, turn it off with that one as well watch, you see it's getting blurry. So when it's moving quite fast, it's hard to preview because my machine is running a little bit slow. Give it a second. My fans are on, hopefully you don't have the same problem, it's not a particularly complex animation. It's because I'm trying to do at all with while doing screen capture recording. Here we go. We get it right, so it's moving and blurring. You get the points. So what I'm going to do now is just work my way around the document, keeping an eye on this and moving this around. Maybe we'll speed this up, I'll see you at the end. Let's turn picking quickly here and you notice that, so if I want to get this in the data center, I might have to see a bit of the red. If you don't want to do that, what you might have to do is either move the icon down or down here for the background layer. We're going to have to open up the scale. We're going to open on transform. We're going to go to scale and we're just going to make it a bit bigger so that there's not as much edge to see. It does has ramifications as when I zoomed all the way out, I'm cropping a bit off, you can see in the edges here, but it means when I zoom in. There's a bit more fluff around the outside or bleed, bleed is probably a better word. So back to going fast. We're back and probably for this last one, I'm just going to get it here. Instead of doing just over, I'm actually going to zoom back out to what it was at the beginning. What was it at the beginning? Hanging on a hover above this. It was the Z, it was minus 2666.66. I'm going to go back to here just afterwards and instead of just moving it, I'm going to type it out to this and actually I want all of the settings there, so I'm going to actually just go and steal the key frame. There's a cool trick. If I want it to be exactly where that is now, where it's full view and I can see everything, just actually copy it and go over here. I'm going to delete this one and just hit Paste. You can paste key frames like that. So the last one, nice, cool. I'm just going to scrub through it, so it'll moves around and picks up all the different icons. You can see the path of the camera there as it moves around and then zooms all the way up on the last one, my finale. That is how to use a one node camera. We've used it quite extensively. We've moved around quite a bit. You might just have a couple of little things. We just move it around a little bit. Let's get on to the next tutorial. 23. Speeding up After Effects Playback & preview: In this tutorial, we're going to look at Playback and After Effects or previewing when I hit Spacebar, and you might find that with all the stuff we've done so far, it's not in the Playback pretty slowly. You can see it's trying to keep up and trying to re-draw, but it just can't keep up anymore. The easy thing to do is, in previous tutorial, I changed this habit of doing it. Don't do this. This changes the output of the actual comp when you export, in some instances, though at some time it doesn't. Here we set to auto and what we're going to do is open up your preview window. Window, preview if you can't find it. What we want to do is change the resolution of the preview, not the exporter comp, down to a quarter and what you'll find is, I'll hit Space bar. It does really good job of lower resolutions, it's not pretty. You see my find resolution that works for half or third or a quarter. But it plays back nice and fast. That's the big one to get you going, and the other thing you can do is your disk cache. Under After Effects, Preferences, Media & Disk Cache on a Mac. If you're on a PC, it's under Edit and it's down the bottom here under Preferences, and you're looking for the same one called Media & Disk Cache. In here, what ends up happening is when you're previewing, what happens is After Effects stores that preview somewhere and it stores it in the disk cache. My settings here are set to 93 gigawatt. I'm telling After Effects take 93 gigabytes of my hard drive to store all of your previews. Now, if you're working on a computer that has very limited storage, what you'll find is After Effect is filling up your hard drive for this temporary files, and what you can do is empty disk cache. Mine has only got 2.2 gigawatts in here because I cleaned it out about five minutes ago. I'm going to click ''Okay'' and get the one that says, ''Clean Database & Cache'' as well. Now hopefully you'll notice a difference in playback, especially if your hard-drive as nearly full. It'll clear off loads of room. What you might say is actually you [inaudible] , and you've got left, if you've got 10 megabytes left on your hard drive, give it five. The only problem is the previews are not going to be very long, it's going to have to redraw every time you hit ''Space bar.'' What causes the really bad playback? You'll 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 3D. There's a lot of the calculations that have to go into it now. The other thing is motion blur of added to all the layers that takes lots of memory to get going. If you've enabled any of this victory drawing, that can take a lot of memory, if you using Live Action video, we're just using static stuff here, and all takes a toll on the poor old machine, and the easy one is to close down any other programs we've been using Illustrator quite a bit through this cause, 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, in our Preview Panel. Well, this one here is probably the next [inaudible] one is skip. The moment is trying to render every frame for you. I'm going stick it up to not quarter, maybe by half. It's going to render watch. It's not quite keeping. It's a bit too slow. What we can say is skip every [inaudible] frame please. What it's going to do, it's going to be a little bit jumpy here. But it's going to do its best to render every [inaudible]. It's going to be a little bit jumpy, tiny bit, find it's hard to notice. Skip out five so we can exaggerate this a bit. I never go to five, but what I want to show you, you can see it's keeping up a lot better. It's just rendering every fifth frame instead of every frame. It's not going to affect the output. I'm going to turn mine back to zero. It's going to fine. The problem is if you change it here, every time you come back in here, it's going to be this crappy resolution, and you might be like, what's wrong? You start playing around with the vector re-draw and it's actually just enter the resolution down here to half. Remember what you've done. 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 gigs RAM, After Effect pretty much not going to work. But check, off the laptops can be upgraded, especially PCs, 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. You can check how much you've got by going up to preferences. Remember on a PC's are on Edit, Preferences, and then go into Media & Disk Cache. [inaudible] In here, I have 16 gigs of RAM in my macro pro. I'm allowing After Effects to use 11 of it. If you will see, it's got installed RAM of eight. You are at the bare minimum. You've got four, life is going to be tough for doing animation. If you've got a bigger computer and you got 32 or 64 or any chunky number. I envy you, 16 is the biggest I could get on this MacBook Pro that I just bought. Let's click ''Okay''. The last thing we're going to look at is doing our little preview. Say we are going to preview it, and this is more just general previewing and tune it down from half and a quarter. It actually previews. I'm going start playing. The same, I'm just playing with that transition there, so I'm going to go back, play it, go back, play it. Instead of doing that, what you can do is this little bar on the top is called the work area, and there's the beginning of it and an end of it. If you can't see them, we're going to zoom all the way out by hitting the colon key on your keyboard, it's next to L. Tap it once and you go all in, tap again and it comes all the way out, so we've zoomed all the way out. I can see the beginning and the end. What I'm going to do is I'm going to say, I just want to look at this transition here. I'm going to bring this to there. As long as my play head start anywhere inside of here, watch what happens when I had space bar. I got nothing on the keyboard now and just loops in there. 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 of work area expands out and we're back to normal. That is how to try and speed poor old After Effects up if it's struggling. 24. Animate the lines of an icon in After Effects: Hi there. In this tutorial, we're going to look at AFX animating the Icon itself, like you can see here. When we're in the lines, up until now we're just being animating the Icons positioned in scale. So let's go and learn how to do that now in this video. The first thing we're going to do is, we're going to create a new project. So File, New Project, close any ones you have opened down and you'll end up here. Second thing we need to do is create a composition new. We're going to make sure that HTTV 1080P 25 frames per second, how long is it going to be? I'm going to make mine instead of trying to type it all in and fill out all the columns, I'm just going to make mine about five seconds, 500, and if I tap out, it's made it five seconds. Background color, we're going to leave it as black, and add a fill, a solid like we should go. So we've got this, I'm going to save it. This one here, I'm going to put on my desktop. I'm going to create a folder and this is going to be my AFX files. I'm going to give this one a name and it's going to be animated lines. Lets add a solid to the background. Lets use solid. We've done this, pick a color, I can see these guys over here picking this one, and lock it, actually going to rename it Background, and let's look aside and move it. Next step, we need to draw some stuff here and after fix. So we're going to draw an after fix 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. This is a couple of extra steps, but I'm going to hold down the Rectangle tool, grab the Ellipse tool. I'm going to click on the fill, where it says the word Fill, I'm going to say no Fill. Where it says stroke and I click on the color and I'm going to pick a stroke color of white, that I'm using over here. It's actually great software at all. Now, I'm going to stop dragging. While I'm dragging, I hold shift, it's going to be a perfect circle and someone's going to be about that size. Going to go back to my selection tool, grab it and stick it there. We're going to draw the hands of the clock. Now to make this a little easier for us, first I'll be drawing with a pin too now, while I had that layer selected, what is happening is, this ellipse which is circular on the outside and its line now become part of the same shape layer, that can work out for you, but it's a little complicated to get started with. So to get round then just have nothing selected, clicking this dark area in the bottom, then grab the pin tool, and I'm going to click up here, hold Shift, click once again, straight line, and you can see it's a second layer. Now in this case, the stroke with, we're going to leave it at five, and we're going to draw the next part, the hands for the hours and I click off. I'm going to click once, hold down shift at three O'clock, and I'm just going to rename these to make life easier. This one is going to be the minutes. This one here is going to be the hours. We've got our clock, what we want to do is get it to animate. So the first thing we need to do is something called triumphs. Trim paths help us animate lines. We will do to the face first, twill it down and you edit by clicking this little edit button here, this one is called Trim paths. This is repeated earlier on in tutorials. Now it's Trim paths time. Several play here at the beginning, open up Trim paths, and you've got these start in the end. So I want to start, actually completely finished. To do that, we're going to turn the stopwatch on to make key frences to start and we're going to cling it up to a 100 percent, can you see? I'm going go all the way, so it's completely finished on the percent. Then after sometime, I'm going to go for half a second, the theme frames, and I'm going go down to zero. So I got two key frames, one it's 100 and one is at zero, I'm going hit Space-bar, and we've got a line. I'll select them both and add some velocity to them, 75-75, I'm going to add motion blur to them to make them look a bit prettier, and then we're going to go through and do that for all of 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 the same time, maybe partially, so it's started here. You can see this like wispy, but that's because of the motion blur. If I turn that off, hot-line, wispy it. So it's going to start here, hold shift to get the front of it. I am going to twill it down. I'm going to say add Trim paths, open up Trim paths, make sure it's a 100 percent after sometime. I'm going to turn it to zero. I have no idea about this timing, I'm just going to wing it and then adjust it as I go down, you going to stop just a bit further over. The key frames going to go to a hundred, and then after sometime, maybe not as long as, it's a bit of a shorter line, I'm going to go down to zero. Kick back, relax as it's going to look awesome. I'm going to right-click it and get a key frame velocity and change these to something a little bit more exciting. These lines are taking far too long to come on, so I'm going to touch them together to build on this one, grab these two key frame velocity 75-75. Let's see what looks like now. Too fast now, I might stagger them out a little bit more. I'm just missing about that guy way that takes way too long. The only problem with 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'll be wave you started drawing a line. So I can fix that by going into here. We'll get into using start and end. Can turn that off, go back to the beginning, and turn that back to where it was was zero. Note was at a 100 to start with, there was a zero. So we're going to use the end, we're going to look from the other side. So turn this on and we're going to start it at their own and go along sometime and then crank this up. So you can see it, get it going the other way. You can spend ages messing around with these lines to figure out what it's going to look like. Well, I'm going to hit "Save". This drawing from inside of After Effects, let's say we've already got some icons drawn. What we're going to do is we're going to, let's name this Comp, rename it. I'm going to call this one the Clock. We're going to make a New Composition, it's going to be all the same as the last one. What I'm going to do is I'm going to go back, I'm going to rename it actually. This one's going to be the Lock. I'm going to go back to the Clock. I'm going to grab the Background, unlock it, copy it, go to the Lock, paste it, lock it, right-click it, call it Background. What I want to do is I want to bring in something that was made in Illustrator. The problem with that is, I double-click. Let's bring in, go to O2 Icon Grow and bring in Trim Paths 1. So I'm going to bring it in and I dump it in here, it's something that I drew in Illustrator. Not super fancy, but the problem is Trim Paths is not going to work, because it's actually just one object, it's not actually lots of little separate paths, but it's easy in a fixed, you can go up to Layer and go to this one, you can have this layer selected. Some of this Trim Paths and say Create Shapes from Vector Layer, and it goes and redraws it. The weird thing is that it leaves the original there and turns the Eyeball off, there it is. I don't need it, so I'm going to bin it. This is the one I'm going to use. We don't need this either anymore, we could delete it. I'm just going to leave it there though. There's no reason to delete it. We're going to go down here, and we're going to go down to Add, and we're going to go down to Trim Paths and we've got all these different groups, but here is the Trim Path controlling them all and it's the same, start and finish. I'm going to keep that in the beginning, start it at a 100 percent then after some time, I'm going to get it to come down to zero. It's amazing. Some motion blur, and we'll be there. You can play around with the timing, how long this thing takes. Awesome. That's how to get these logos to grow. Now, this one was a particularly easy one because it was actually just lines out of Illustrator, not all icons will animate the same, especially when there's fills in it. So let's look at doing that now. First thing is to go up to Composition, New Composition. We're going to call this one Girl. We're going to paste in the background, lock it again, and we're going to try and bring it in. So I'm going to Double-Click the background and hit Imports. I'm going to try and bring in this other thing that I've downloaded from the Adobe market, and it's come down as this SVG. At the moment After Effects won't deal with SVGs, there are some Vector files, paths, After Effects can't use them at the moment, but Illustrator can. So what I'm going to do is I'm going to jump into my Exercise files. Open up O2 Icon Grow and open this up in Illustrator. So in Illustrator, all I need to do is go to File, Save As, and instead of SVG, save it as an AI file, click "Save", click "Okay". I can close it down now. Now in After Effects, you can double click in here and there she is. I can bring it in. Same problem as before though. It's this object I can't add Trim Paths to. So I need to go to layer and go to Create Shapes from Layer. Nothing really changes except remember this thing I don't need, and that's the bit, the shape lay here. I'm going to add trim layer and it's going to be a little bit different. It's a little hard to control Trim Paths. So don't get too caught up, if you want a perfect, it's going to be a little bit hard to do when you haven't built it, and it's got lots of fills instead of lines. This is meant to be Trim Paths, the inches. We're going to start it off at zero, and after some time it's going to be down. What is it going to look like? Actually, we've got to set the key-frames first. So at zero, after some time, and back down to a 100. Got that backwards, but anyway, we got it right. That's an easy cheap way, Trim Paths to actually build a little animated logo, nice and easy. One of the last little things is I'll jump back to the Clock. Remember this animation is that when they actually appear in, the lines draw on, it looks good if they just falling a little bit. Let's do that little trick, and at the same time we're going to learn what a null object is. Because at the moment these logos are on three lines, so I can animate them all separately and just try and get them to come down to gather by lining up the key-frames and that would work. But a nice little trick is I'm going to create this thing called a null object and it's an empty layer. All that means is I'm going to say you guys follow this null object and then I move the null object down a little bit. Because these guys are all tagged to it and are following it, they will move down as well. The null object is something that we're going to use quite a few times in this course, especially when we get into camera tracking. We're going to use a nice easy version here. To create a null object, we're going to go up to Layer. We're going to go to New and we're going to go to Null Object. What we're going to say is we're going to title these guys. Say you guys are parenting to this. We do it by saying, they've got no parents at the moment, you guys are parenting to the Null Object. So they're going to follow him around. If you can't see this one here was his parenting, you probably as toggle switches the modes, switch to this one here where we can see the parenting. Now all we need to do is move the null object. Cautious if I move the null object, if I go to P, full position, I just move it around, you see everybody comes with me. If I turn that off, and I say the Clock face is not going to follow everything, but him will come along as watch. See, just the inside guys come along. I'm going to undo that and let's get them all to parents. Back here at the beginning, I'm going to turn on my position and then after sometimes as it's coming down, maybe like that. 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 halfway through this, I'm going to get it to move down into the center about there. Let's tune the easing on and let's try and impress you with it looking marginally better. So look, well, too fast. But you get the idea. It just adds an extra dimension when you are doing these drawing lines. 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 going to look at color. Color is obviously important in any creative project. Just using little tips to help you out,. Go to, sign-in with your Adobe password and go to Explore, by default, it's at My Themes, but I find you get the best stuff from Most Popular. 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. What we're going to do is we're going to use the CSO4, for some of our data visualization later on in the course. Say you like it, I'm going to click this option that says Save. Where am I going to put it? I'm going to give it another name. I'm going to call it Data Vis, and I'm going to publish this theme to Explore. It means that you'll be able to search for this and actually just download it. If you put in BYOL data, I bet you'll be able to find it. I'm going to put it into one of my libraries, it's going to be this infographic, one click Save. If i jump into After Effects now. Give it a second. If I click that icon and there it is, there. I've got those color swatches. What I like to do is actually jump back into adobe.color. What I like to do is make a light and a dark version and you can do that by clicking Edit Copy. All you need to do is, see these little sliders here, there's this one here I'm going to slide it darker. There's this one here, I'm going to make a little bit darker. This one a little darker. I just find you can get some cool results. We've got five colors we don't need anymore, but just this slightly darker version, as there's some wiggle room when we're using flat vector graphics. I've done that, I'm going to click Save. It's going say replace it, I say no, I'm going to save a copy of this. It's going to be the same except I'm going to call it the dark version. Save it to the same library, click Save, jump into After Effects. You can see there it is over here. I've got a light and a dark version. Light's on the bottom, dark's on the top, very similar colors, but I find it useful. Let's do something simple here, I'm going to put that little slash in the background. First of all, I'm going to delete this background layer. I realize our red's are very similar to the last red. Actually all the colors are very similar. It's the mood then at the moment. What I want to do is I'm going to go to Layer, New. I'm going to go to Solid. I've got my eye dropper and I'm going to pick; we'll start with the light version, which is the bottom one here. Click Okay. I'll put it at the background, I'm going to look it. There's my background. Now I'm going to zoom out even further, grab the rectangle tool, pick the fill color, correct the eyedropper, I'm going to pick the darker version. You can see this is just a slight change. Click Okay and I'm going to draw a nice big rectangle. Here I'm going to go down to the Shape Layer here. I have to rotate, rotate it around. What are we doing? I don't know, just style points. I'm going to drag this down to the bottom here. Now I'm going to preview it. Let's go to Fit. Let's have a little look. Just this little slash here. Google does it lots. I liked it, so I stole that idea and I use it quite a bit from my work. Steal is not the word; appropriate. I like it. That's how to go and get colors from Adobe Color and maybe to create a second set of swatches, some slightly darker ones to start using. Trust me, it's going to be helpful when we start doing bar graphs and line graphs we'll get lot of data to show. 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 a little bit and the icons along the top. Even better, this video is not long enough, so we're going to extend it at the end, so it covers the whole video by freezing the last frame. Let's go and do that now in After Effects. What I'm doing, is I'm starting with an old project. This is the end we got with these icons. Remember, this kind of moving around and zoom in a bit. With these icon's popping up. I'm going to get back there and I'm going to do a File Save As just so I don't wreck it. I'm going to put it on my desktop, AFX files, I'm going to call this one Video background, click "Save". What I want to do is, I don't want us to do this camera work where it moves around. I'm going to click on the camera, delete it. Because the camera's gone, I don't need these 3D shapes now. Motion blur off as well [inaudible] for the project, just to make sure things are running nice and smoothly. Now hopefully, maybe in my preview I'm going to tune it down to resolution to third. Hopefully now when I preview, the cameras not moving around, I could just see the whole thing again, and I'll go even lower. Also I'm going to go from two views to one view. Now, if you are just starting this video, you don't have to worry about any of that, you can just start a fresh. It's fine. What I'd like to do is put a video in the background. It doesn't sound that hard, we're just going to import a video. Now, if you don't have access to Adobe stock, you can just go into the exercise files, and under O1 icon pop, there's this one sleeping man turns slightly towards. You can bring in him. What we're going to do though, is we're going to explore Adobe Stock, and how it's built into After Effects. I'm going to show you some tricks on how to make it work without animation here. What I would like to do is, over here, see this little search by here, it's quite small. I can type in sleep. What it's going to do, is it's going to go check out Adobe stock. Now Adobe Stock charges for its videos and its images, so go check it out. If you get a subscription with it and you get something like ten images a month or 20 images, I can't remember. It's not that bad. I pay for it anyway. I can't remember off the top my head what it is. Now, by default it's going to give you both video and images, probably a lot more images. If you want to use any of these images, I just drag this in, give it a second, the low rays, they are going to get a watermark. You can actually just work with these until the client signs them off, and then back in my libraries, if I delete that. There's a cool option in here that says right-click and say License Image. Because I am a paid subscriber, it's going to actually license it and it's going to become super high-rays and the watermark is going to disappear. It's quite a handy little interconnection. That's one way of doing it. I don't want this image. I don't want you. Gone. You, gone. I'm going to use that same thing. I will need that to disappear. Go away. There it is there. In search, I'm going to type in sleep. What I'm going to do is, this one where it says results, I'm going to click on just videos. I'm going to decide which one it's going to work for this thing. I feel like this one. I'm not holding anything, I'm just moving my mouse back and forth, and it previews for me. What I want to say is, drag it in, and great. It's not slightly big enough. You can download 4K versions if you need to, and I'm going to make it just slightly a bit bigger. Move it down. That's perfect. Cool. It's base bar. I'm going to go back to the beginning. It's base bar, and there's this guy. You might just leave it here, and that's how to get images in from Adobe Stock, and just put them in the background. Needs to be all the way the background. I'm going to do a couple of things, a couple little tricks, and they are useful to know. Back there. I've got my tics and stuff appearing over the top. It's a little bit higher because of this Adobe Stock watermark, but we have to live with that. What I'd like to do is, it's a start up, and after some time, I'd like it to actually blur out in the background, so that it's not taking away from my icons. You might get a blurry the whole time. I'm going to have mine a nice sharp focus, and then blur out as it gets to getting into these icons here. What I'll do is about here, after the tics disappears, I'm going to add an effect. Over here, close and preview, effects and presets in here, I'm going to grab the world-famous Gaussian blur. Everyone uses it. It's hard to work it out. I'm going to drag it into the layers down here. [inaudible] sleeping men. Cool. You can key frame effects just as well as you can key frame any of the things down here. This is my effects controls. It's very similar. You can see the little stopwatch, as the stuff down here. What I would like to do, add about here, I like to turn on the stopwatch. I'm going to move along a little bit. How far we'll practice, and I'm going to crank up the blur. How far does this go up? You can just click and drag it, and just keep an eye on it. I want to get my quiet blur in the background. Sleeping Dan. That looks good. That when my icons start going, I guess you're not going to be distracted by the video. Let's preview it, let's see if it works. Preview. Yes. Watch the background. There we go, made you get an abstract D background thing. That could be the whole time, you wouldn't have to put key frames in, just make it blurry the whole time. One of the next problems when dealing with videos, it might not be long enough. This video here, it gets to a bit, plays along but then watch what happens, disappears and we can see the background again. A cool little trick you can do with videos, is you can right-click them, go to time, and there's one here that says freeze on the last frame. It extends itself all the way along, and look what happens now, it goes past there, and watch him, he's moving, he's moving, he stops moving and just freezes for the rest of the video. He's animated up here, doing his little rollover thing, but later on, he just freezes and pauses for the rest of the video. Cool, we learned some new things, we learned Adobe Stock, and we looked at how to fade it out, and add key frames to effects, and then shoot that video all the way along to the end, and hold that last frame. That's going to be it for this one. 27. Bar Graph Method 1 Manually in AFX: Hi there it is time to visualize data. We're going to start with bar graphs. We'll start with this one, we, will manually do it in after effects. Then we're going to switch out and do it from Illustrator using its graphing tool, making it a little bit more accurate. Then going out to Excel for the Excel people who want to animate charts directly from Excel in after effects. Let's go and make these beautiful graphs. The first thing we're going to show you is we're going to manually do the bar graph in after effects actually, we're going to get it started. Why? Because this times when you just need to do that and you might find that's the nicest way for you. Let's go and go to File. It's got to open. I've done some basic stuff to get us going. Go to the Exercise Files, go to bar graphs or 3 bar graphs, and this is one called bar graphs start. Open that up. I want you to be on this one there is the finished version and the stop vision. The finished version is what we're going to be working towards [inaudible]. But we want to go to the stop vision and I've just laid out the title and these x's in here, we're not going to go through how to add these as just the Pin tool and the type tool, but it can take a little while to get going. I'm going to make sure I can see the whole thing and to fit. 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 math myself. We're going to 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, I have a look at all three go. That's the one I'm for me. What I want to do is put our play here at the beginning here, and I've locked on these lattice we can't miss with them. Let's grab the rectangle tool. In terms of Phil, I'm going to use my eyedropper and pick one of the colors that we did in the last tutorial. I'm going to go for the lighter version. In terms of the stroke, click the word stroke, and let's set it to none up to you. When you first start sitting up your axes, what I did is when I drew these lines here, I actually match them to the grid. If you've got a view and got to show grid. You can actually draw lines and get them to line up to this grid in the background and helps us a little bit when my drawing out the bar graphs. I've got it on now. I'm just going to make a snap to grid zone as well. I'm going to try my best because this is going to be my 100 percent. Now, it is a little funny in terms of drawing. That's close enough to me. Grab the selection tool and drag it down it's on the right cubes. We have to zoom in a little bit just to make sure you snap to the bottom, snap to the top. Cool. Next one, I'm just going to align on up here. The first thing we're going to do is going to be quite easy. We just going to animate it up. Now, the problem is, is the scale position, if I click on my way here, actually rename shaped by one. Let's call this one bar one. I'm going to ask the scale. If I start scaling, it's doing it from its center anchor point, which is in the middle of the screen. We've run into that problem of few times. What we're going to do is actually adjust the scene to grab this one here, the pan behind tool or the anchor tool and grab this. Now, if you can't see it, sometimes you had to click off, click on and grab this. Now, we want it to be perfectly down the bottom here. What key do we hold down? It's the command key on a Mac or the control key on a PC, initial snap to the same tie down the bottom here. Now, when I start doing scale, it's going to do it from the center of this. Awesome. I'm going to turn the grid off because it hurts my eyes. What we're going to do is we're going to make sure I'll play heads at one, hit the scale. We're going to break this link so that we can separate the height and width and we're going to play around with can ever move which one? This is one here. We're going to sit the sickened k to zero. Come along a little bit. I'm at seven frames. I'm going to set it up to a 100 go. We've got alphas, little bar graph animation. I know that that's correct because I sit this axis, this is my highest milligram value, this is going to mention, and everything else is going to be a percentage of this. That's where I run into trouble myself. I'm like, all right, Maths, not good. I'm going to use some of the other tools to do it, but you might be totally fine in here. We're not going to carry on too much and do every single one of them because it's step and repeat. But what you do is you copy Bar 1, you've got Bar 2. I'm going to make sure I've got my right tool selection tool going to snip it along a little bit so that it starts a little bit off. Or after this one here. Then I'm going to grab my selection. Actually I'm going to use this one here. Let me use position and just slide it along and a way. This way here to be above filter. In here we need to go to our scale and we need to change. We need to calculate what this filter is. K compared to to blue being a 100 percent and filter is, I've got some data here for us. Filter is if that's a main 100 percent, we need to calculate that in my brain melts here. You can use this data here to go off and finish completing the bar graph. Couple little just tidy up things will do before we go is I'm going to been Bar 2. Goodbye is here would be a good time to go through. Select these two guys here are on scale member hold Alt on a Mac or Option on a PC. It's the opposite of what I just said. K is Alt on a PC and grab remember owl expression, come into here to lay them, paste it. We'll get just a nicer bar graph going up. Also you can tune on the motion blue. Make sure the motion blue is on this layer and things start looking a little nice. It's not all loss because that same technique of putting the anchor point down the bottom here I'm getting them to balance is going to be what we need to do still, when we using either Excel or illustrator. Let's go and learn those other options in the next video. 28. Bar Graph Method 2 Illustrator graphing tool: Hi there. 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 to After Effects and animate it. I find this is the easiest way to get any data into After Effects and animate it. Lets go and learn how to do that now. The first thing we need to do is we need to make a new document in Adobe Illustrator. We're going to file New, we use the little button there. We can use film and video and pick HDTV, that's the one we want. The 920 by 1080. The reason I don't like using this template, it's because you get all of the bars and a transparent background and all of these tidal safe. We don't need any of this and it's a pain to go and turn it off. What I just do is I fake it. But going to a New pic web because it's going to set it to pixels and then we do the exact same measurements. So we get a 920 by 1080 and make sure it's set to RGB, and click "Create". You end up in the same position, okay, it's the same size, but it's got a nice white background without all the guides everywhere. We're going to save this one. I'm going to save it onto our AFX Files, and we'll call this one our Coffee Bar Chart. So we're going to use Illustrator's graphing tool. It's down here, hold it down. There's a bunch at different options you can choose from, doesn't matter which one. Technically a bar graph goes left to right. We're going to use a column graph and draw it out the rough size you want it to appear in After Effects because we've made the size the same as After Effects, you can work proportionately. Cool. What happens is it opens up this little mini Excel spreadsheet. We can manually type things in here. What I'm going to do, is I'm going to go through from Excel, grab all this parts, copy it back into Illustrator. Click on this first sip field here and just hit "Paste". Then click this little tick, and it's going to go and create autograph for us. I love doing it this way. It even puts the measurements along the top here and calculates all the sizes. Now at the moment, this bar graph is actually tied to the Excel sheet. Even if you close it down, it's actually still connected to it. You've got it here and say you want to make an update, you have the objects selected. Go to object, go to graph, go to data. You can see in here, I can go and make changes. I can make this 100, update it and it updates the graph. I'm going to undo that, close this down, cool. The problem now is that After Effect needs to smash this into lots of pieces. At the moment it says editable graph. What we need to do, is we need to pick it apart. To do that, you might want to save a version of this sort, it's nice and still a graph and editable. But what we're going to do is have it selected with my black arrow, go up to object and go to ungroup. It's going to warn you saying it's not going to be a graph anymore, we can't edit it, we're going to click "Yes" and now it's smashed pieces. You'll notice on the object, if you go to graph now and click on "Data", doesn't know what you're talking about. We need to do that and it's ungrouped it into little pieces. While we're here, we are going to style it. I'm just going to go through and pick some colors. So this stuff here, I'm going to go pick a new fill color. Unfortunately if I go into here, I don't have the swatches. For some reason at the moment, the library swatches and the swatches built-in to Illustrator aren't particularly great at connecting to each other. What we're going to do is, it's easier just to go over here, right-click it and say, "Add to Swatches." I'm going to add both sets to swatches. Then at the top here, give it a thickened there they are. Click on my lined up version. I'm going to pick that for the film, the [inaudible] , both of these and we can adjust the type before we leave. It's best doing it in here, rather than in After Effects. So I'm accepting on you, grab my Type tool window and go to Character. In here I'm going to go through and you can make adjustments, I'm picking Roboto slab. A user is probably going to start off with a different font. Can't remember what it is at the top of my head. So I've made these adjustments, it's going to work for me. Actually, I need this to be that off-white color because I am putting it onto. One last thing I'm going to do is, I'm going to get rid of this. These guys are all stuck together. Instead of ungrouping them, you can't do that. It's got the white arrow select around this stuff, delete it, back to the black arrow. We've got the basics. Now we need to make this ready for After Effects. The main thing we need to do is in the layers panel. Every bit we want to update, differently needs to be on its own layer. So I'm on and my Layers panel here, if you can't find it, go to window and go to layers. We want one for all the background stuff, 2, 3, 4, 5, 6. So six and total. Here we go, okay. What we're going to do, is twill down Layer 1. Actually I'm going to tear this off, make it nice and big, so I can see the whole thing. All of these guys are on their own, they're on just one chunk. So I'm going to twirl this down, inside of this group, here we go. So that's my [inaudible] The first one, this is my first one. So I want you to go up to Layer 2. Renaming these guys, double-click it. It's going to be called Bar 1. You're going to be Bar 5. I don't know why I wanted to start at the top. Bar 4, Bar 3, I'm naming them just to impress you, and even name them. You're going to go into this one and this one, and this one, and this one. So Layer 1 now is going to be, I'll call it the axis. All of you on one layer, all of you guys are on separate layers. The one thing I don't like is all of these guys have a stroke on the outside. Secondly, more the stroke of the top here, I'm going to set to zero by a stroke. Awesome, hitting "Save" and that's how you get data ready in Illustrator. Basically you do your styling in here, and you just separate the bits you want to animate separately onto different layers. You could just get all of these guys to animate the same. You don't need two layers that excess and all the chats together, but we can't animate them separately. Great, let's jump into After Effects. So here in After Effects, I've still got that project we were working on before, when we did our menu bars, it doesn't really matter, you can have a new project. So what we're going to do is we're going to go to File Import. We're going to just say, I'm just going to double-click the gray area, and we're going to bring in the file that we're just working on in Illustrator. It's called Coffee Bar Chart, I'm going to click "Open". Because we're using layers, we've input lots of Illustrator files before and we haven't got this little window. This appears only because we've got layers set up. If you didn't want to separate them into layers like we want to do, you can just switch it to footage and it would just merge the layers, that's great. Where you want to use this special feature called composition, that's going to make a comp for us. We don't have to make it. The cool thing about it is because it'll illustrate a file the right size, it's going to be the right dimensions. Also down here it says footage dimensions, we want to make sure it's set to layer size. Otherwise it's pretty hard to animate. Let's click "Okay". So it's created a comp and these are all the layers that have come through. Remember axis bar 1, 2, 3, 4, 5. Great. It's opened up. This comp that it's made double-click it. It's great except the background is black. So what we're going to do is go to layer, new solid. I'm going to pick a color of white. Makes you just a little bit off white. Everything else is perfect. Click "OK" I'm going to name it background stick it to the back, and lock it. This's my stuff in from Illustrator. What I'd like to do now is animate it, and we're at the exact same point we were before. Remember on this guy when we started? We've drawn the bar. What we want to do now is that animating it. The first thing we need to do is adjust the anchor point. So it needs to be in the center. We're going to hold down "Member Command" on a Mac or "Control" on PC. We do it for all of these guys over here. Cool. We're going to start animating. We're up to where we were before. We're going to do some animating. If you feel like you want to skip ahead, don't, there's one last little thing I want to show you once we've got it animated. So I might do the first one together, then we'll zoom through and then we'll jump to that cool bit where we stagger them all. By one selected scale timeline at the beginning, I'm going to stop the stopwatch, I'm going to break the link between the two I'm going to set this first one to zero. Then after about seven frames, I'm going to get it up a 100. I am then going to "Option" click on my Mac or I'll click on a PC the stopwatch, and we're going to use that. My expression for overshoot, told you I've been using this. What I'll do is I'll set the motion blur for the mole. What I want to do is copy this. Get my play head back to the beginning. Click on "Bar 2" hit "Paste". Now we've got both of them going. You can see it's quick now. Paste, paste, paste. If I hit "S", you'll see the keyframes have come along with the expression. Do the first one, good looking how you want, and then they all come along. Now I want to stagger them. So I'm going to close all these. I just click "U" there. U opens and closes. It's like a little toggle switch. You can just go through now and say, "Actually I want you to be this and this and this." That's fine. But say you want to be perfect and you've got a lot to do. We're going to use this little trick, called sequence layers. Select Bar 1, hold all of them to Bar 5, make sure your play heads at the beginning. Go to animation, go to keyframe assistant. There's one called sequence layers, and it's just going to stagger them for us. If you don't click "Overlap", they're going to sequence in one after each other. The problem is that, see how long they are. They are actually five seconds long each that solid bar. There are actually instead of coming in after each other, they work, let's click "OK". But this timeline, let's zoom out, is actually, so this one goes for this and this one doesn't start right to the end of my animation. So that's not what I want to do. I'm going to go to animation, keyframe assistant, sequence layers. So you want a bit of an overlap. This can be a little bit confusing. How much of an overlap? Mine needs to be about four. It's getting a backwards overlap, how far from that was zero. So I want to come back this way. How far do I want to come back this way. I want to come back about four seconds. Four seconds 20 frames. That gets it really close to the India. So almost five seconds would overlap back on top of each other. You're going to have to mess around with this, I do every single time. Let's click "OK" and we've got a nice stagger going. That is how to move from Illustrator into After Effects. That's like our Option 2. Let's look at Option 3 now, we will use Excel builder graph and we deconstruct it and use it in After Effects. Let's go and do that now. 29. Bar Graph Method 3 Excel graphing tool: Hey there, in this tutorial we're going to take this data over here, we're going to turn it into a graph, introduce some basic styling, and then fire it into after fix and make it look like this, and it looks amazing. You're impressed. Let's go and look how to do that in after fixed now. First step, we need to open up in our exercise files on the O3 bar graph, open up the one that says, Caffine Data Excel. If you don't have a copy in excel, we are stuck, skip on to the next version. In excel, whatever version opens up all manner, all vision of a mech. What I need to do is, select all the data, and we're going to go to charts. You find a chart, it's a little bit different in the newer versions, not much different, you can click on chart. Somewhere in the middle of my one, it's at this end here. I'm going to pick on column and pick any of these ones. The 3D ones become very hard to animate convincingly, so stick to the 2D ones for me. I click this clustered column and that my friends is an excel spreadsheet, grab the edges of it, drag it right out, and we're going to 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, say that I'm handed a graph and it's done in excel. There's no point trying to recreate it in Illustrator, because somebody's put the time and effort into it here. The things that I might change, and this is I'm going to go through and change the fonts that are being used, so I can go through now, get a home and pick a font. I definitely need to change all of this. Actually, I can just click off, click on the edge of it, and we can change like global changes. I'm going to click on here, and pick arial for all of mine. Why? Because if I use Calibri, I don't know why my computer has a mess of it when it goes into illustrator, you might do the same. You may have to change your fonts. I'm going to pick rubato, black. In here we can go change colors. There's lots you can do in excel, so if you're confident in excel, go and make this thing look as good as you want. The one things you might do is the colors here, I'm going to select on these, go to this one, this is format, and then here, I'm going to go to fill and what colors. You can pick any color, and if you've got a corporate color, you need to use click on more color. In here you can go to the RGB sliders and type in your RGB or your hexadecimal code. We're going to use this color, because I like it. How do we get it into after fixed to start animating? We need to do a bit of a hop in through illustrator. A lot what we did in the last tutorial is going to apply here, so we're going to copy it so click the outside, just go edit and copy, and then open up Illustrator. We're going to make a new documents, and it's going to hopefully remember my last dimensions. Click "Create", then all I do is hit paste, and that brings in a better version of excel, that's really cool. I know we're doing infographics here and animating them, but this can be really cool if you just doing print stuff. You want to be able to edit it came from excel rather than just relying on sometimes the questionable styles from excel. You can go and edit it now in Illustrator and stick it into a print document. We're going to animate that, it's going to make more little bigger, and what I want to do now is couple of things is a little bit different. It's made up of all weird parts now. I'm going to select on this guy here and we need to get these guys on their own layer, also need to get rid of the stuff in the background. There's some weird drop shadows that I need to get rid off. Let's get these guys under their own layer first, let's open up the layers, panel, window layers. This is exactly like we did a second ago and have them selected. You'll see in here, that they're actually caught a clip group. I'm going to right click it and say, release from this clipping mask. I'm going to click on one of them that are actually still part of a compound group. I can tell which one they are because watch this if I slipped on them, can you see this little thing highlights makes it easy to find. Right click them, release from compound path, and there are all about groups. There we are. What we want to do, is get them on their own layers, I have lays already. That's because I was cheating and playing around with this before and practicing. What you need to do is create less 1, 2, 3, 4, 5, 6, for the different bar charts, I'm going to come down here and I need to drag them off. This can be painful because you go up here. What you can do is have them all selected, you holding Shift and I'm grabbing all of these guys, right click them, say Arrange, bring to front, and they end up at the top of this little list here, making it a little bit easier, so here's this one. I should name these layers, but like I said before, if I'm honest, I never do. Good, these guys are unknown layers. What I might do is turn these guys off and get rid of this amazing thing. You can animate these together if you want to bring them through onto those layers, I just want to get rid of them because they don't like them, to in these layers back on, hit Save. I'm going to call this one coffee chat, but I'm going to call this one, my excel vision, click "OK". Let's jump into after fix, good, it just like we did in the previous tutorial. I'm going to import and I'm going to go this excel, it's going to say composition, yes. I'm going to say less eyes, yes, we're going to click on "OK", and open up my chart. Where is it? Coffee bar chart excel, there it is. There's little white boxes come through. It's up to you. You could delete that in Illustrator, but I'm just going to match the background colors, so I'm going to go there in new solids. You, my friend can't be off white because I need to match the white from excel, click "OK", and I'll right-click it, call it background, sent it to the back, lock it, and now we've got our pastas animating. Let's do it a layer 1 is actually going to be called XS. I said never rename them, just want to make it easy for you to follow. So layer 2, I'm going to grab my ankit tool and I hold down my command key on Mac or Control key on a PC and drag the center points to the middle bottom, make sure they lock in. Now this first one here I'm going to open up my scale is for scale, start the stopwatch, and I'm going to break the link, go down to zero. Come along about seven frames, and get to a 100 percent. I'm going to select both of these keyframes, hold down option on a Mac or on a PC, and I'm going to paste in my overshoot code, maybe, remember like before we're going to grab these two key frames. I'm going to select this paste, you paste. What I didn't do is I didn't move my play head back to the beginning, so if I look at this one, you see it didn't work at all anyway. But which says, if I click copy and I click on this one now and go paste wherever my play hitters, he's going to make sure your play, hits back in the beginning, then click on it, get paste. You have anything, you paste. All right, select them all, you collapse them all. Just to make them look pretty, select all the layers. We're going to go up to our animation keyframe assistance sequence layers, overshooting mine by 420. If you're unsure what I'm doing here, because you've just jumped to this video, watch the previous one, we go through a bit more detail on these things. Nice, I might add a vignette. I might do the motion blur, but for the moment, that is how to animate an excel document. 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 going be it for our bar charts. Let's go and look at line charts now, exciting. 30. Line Graphs: Hello, everyone. We are going to make this, a nice little line chart. We're going to use Illustrator to get the bits going and then we're going to animate it in After Effects. Let's go and learn how to make this. The first thing we need to do is, just like our bar graph, we're going to create a new document in Illustrator. We're going to make sure it's 1920 pixels by 1080. We're going to click "Create". Now, I'm going to grab my graph tool, and I'm going to hold it down. Grab the Bar Graph Tool, the Column Graph Tool, and then go down to here, it says line graph. Click and drag out the size you're looking for. Go to Excel. In your 04 Line Graph file Open up YouTube Subscribers. I'm going to grab everything except the word YouTube Subscribers. I just want the column headings, grab all these, copy it, back over to Illustrator. In Illustrator, I'm just going to paste it into here. Click the little tick button, and we've got our line graph. This one here because of the names of the columns here, the size doesn't quite fit so we're going to address that. You might not have this problem. Close that down, and the first thing we're going to do is break it apart. We're going to ungroup it, "Object", "Ungroup". We're going to break this data, we know that already. A couple of things. First of all, I want you guys gone. That's still grouped, so right-click "Ungroup". You two guys are still connected, you're still connected, I'm going to ungroup. There's a bit of ungrouping to go, still ungrouping. If you're getting lost in the ungrouping land, grab the white arrow. It's easier to select everything and just go by. The dates down here, they are all groups. So we're going to right-click them and "Ungroup" it. Now, they're all individual bits. I'm going to select them all. I'm going to move them down, just to make them a little easier to work with and I'm going to rotate them. You can use your window transform panel, but I'm just using the shortcuts. I'm moving it down here because what I want to do is grab you, you, I meant to go there. Grab the last one. He is meant to go in there, then select them all. I'm going to zoom out a little bit so I can see everything. Select them all. Open up your align panel, Window Align, and I'm going to get them to align vertically. I always get that wrong and then distribute the centers. That means they're all going to line up together. Nice. While I'm here, I'm going to make it look a bit prettier. So I'm going to change all the fonts. I'm going to select all of you and all of you, go to Window and go to Type, and go to Character. Here pick a font, any font. I'm using a Roboto that we've used all the way through. We use Condensed in this case just so that everything fits in a little nicer. What I also might do is play around with these lines here. With the line selected, I'm going to bring the stroke to the front. What color is this line going to be? Let's do the size first. With that selected, I'm going to open up my Stroke panel and I'm going to increase it up just so that it's a bit thicker. What I'd like to do is change everything to be white because I'm just sick of doing it on a white background. I'm going to make a colored background. To do that, what we're going to do is going to select any one of these lines and then go to select the same stroke color. There we go. So everything with the same stroke color is going to be selected. I'm going to say, be this off white. Then I am going to grab all of the text and do the same. Make sure you only click on the text. Now those guys are joined, all I need to do is select them and group them. What of ungrouping? If I click on this now, it's putting a stroke around the outside, so what I need to do is make sure that the fill is in front. Click the same color. I'm going to leave the black dots because I don't really care. I'm going to go and change those out in After Effects. We need to do our layers thing where everything's on one layer. What I need to do is get, especially this line, onto its own layer. I can see it there it's selected. We're going to have three in this case. We're going to have the axes, the line, and the dots. Add this one here. I'm breaking my own rules in actually naming these. This one here is going to be the line and this top one here is going to be the dots. The layer order is important, we can change it in After Effects but I want this at the bottom line and then the dots on top. You must align, need to go to the line. The dots, I don't know where the dots are, you can turn the line off. Where are your you dots? You are these guys. You go up to the top there. Turn them back on. Now we've got them all on their own layers. The one thing we need to do for a line graph, is that we're going to use the Trim Paths method which we used earlier for some of the infographics to get the line to draw. Remember them? But at the moment, I'll only use the white arrow. You can see they're actually separate pieces. They're easy to join. Select them all. Go to Object. Get onto Path and click "Join". Now they're just one solid object. It's going to make it easer. Let's hit "Save". I'm going to put mine on my Desktop, in our After Effects files. I'm going to call this one Line Chart. Click "OK". Now let's jump over to After Effects. I've got a file, New Project open, and I'm going to make a new composition. Actually I'm not. I'm going to bring in my Illustrator file and let that create it. I'm going to double-click the project window to import. I'm going to go to my Desktop, find my After Effects files and there's the Illustrator file. Where are you Line Chart? It's going to bring it as a comp. Make sure it's layer size. I'm going to double-click the "Comp". I'm going to zoom out and there is my graph. What I'd like to do is put a background layer in. You lay a new solid, pick a color. I'm going to pick, I don't even know, that color. Click "OK". Bring it to the bottom, right-click it, give it a name. I'm breaking all my rules. Counts background. Let's lock it so we can't mess with it and that is going to be the beginning of my chart. Okay. There's three layers. There's three. The axis we can lock, we don't want to move that around. Do we want to move them all at the moment? Yeah, because they're not quite centered on my page. I need space for a title. I'm going to lock the axis because I don't need to change that. The lines, we're 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 want to add trim paths but you'll notice that you can't add it at the moment because it's still an Illustrator layer. What we need to do is with it selected, go to Layer and go to this one. This is Create Shapes for Vector Layer. It turns this one off and creates this other line that looks exactly the same, but that's usable as a shape layer in After Effects. I'm going to bend this, go ahead and make it nice and clean. This one here, what we're going to do is tool it down and we're going to say "Add Trim Paths". We did this in an earlier tutorial. I'm going to tool this down. Start position is going to be set to 100. So my play head's right here at the beginning. It's important. It's a little hard to see because there's a preview of your line, even though if I click "Off", it's gone. So 100 percent, you can see it growing there. Maybe if I zoom in a little bit bigger you can see it growing across that line. All right. So I've got it at zero at the beginning, and I stopped my key frames. I'm going to move it along some time. I'm going to drag it down to zero. Now if I click "Off", we've got a line. We're going to add some easing tool, will actually add our expression. Then we're going to go and add the little bursts that comes along when it hits the different quarters. This is totally up to you if you want to continue on, but that's basically a line chart. Same thing as a bar graph. Separator on its own layers in Illustrator and the difference now, instead of scaling up the bar graph, we've used trim lines to get it to grow. In Illustrator, you can create more than one lines in the one graph. Just join the lines up. You can make them on their own separate layers and you can have lots of little lines doing their thing. We're going to add our expression to these two key frames. I'm going to hold down the Option key on my Mac or Alt key on a PC. Click the stopwatch, grab my expression, handy dandy. Click in here, paste it. Click "Off". That's not what I want. I don't want to use an expression. Because it's going to bounce at the end and that's. So what I want to do is I'm going to undo that until I get rid of those and actually I'll just put a key frame velocity, man I'm on autopilots, cool. Okay, how good is it? I'm actually going to slow it down a bit, so we've got time for the bowls to appear and how long? It's up to you, how you want to present the data, how much time you've got to present it. Okay, that's going to do a PowerPoint presentation where there's lots of time over there or it's an animation for an intro for a website. You just want it to fire on them. But anyway, we've got our easing done now because the next thing we're going to do is we're going to get the little markers where they cross the Q1, Q3, Q4 to just pop up and do a little cool animation. You might be looking at this going man its going to take forever. What happens is once you've set this up and you've got your style's going, well, you don't illustrate it is go back to your original illustrator fall and still has the data sheet into it, add your new details, do a Save As, break it apart, join the lines and just bring the line through, okay? You'll leave the axis and you'll leave the dots. You'll just play around these lines here and just add your trim path. You can even copy and paste this trim paths from this one to the next one so it does get a little quicker once you've set up your first version. What we're going to do now is I'm going to put a little bit of extra love into this one by getting the little things to explode as they go past the line there. To do it, I've got this dots there the same thing as we did with the lines. I can't use it as is. I'm going to have to go to create shapes from vector layer. You can see our little dots there have been existing Illustrator file we don't need him anymore and if we total us down, we've got one layer with the contents and these rule that different bolts. Okay, now the first one is actually this group tin. Can you see there, actually if I click off see the little dots there. The group one is the end there. You can see them turning on and off. Okay, so we got, where your dots are, and I'm going to start with this first one, okay? I'm going to pull it down and what I'm going to do in here is we click and the moment we've got this square thing, I don't want to use it. You could just use a bit of size and scale to exploit this out. It's amazing and make it look kind of cool, but it's a square, square is down. What, I'm going to do is actually with group nine selected, I'm going to add to it, an ellipse and it kind of goes inside of this group ellipse, you get this little star could do with anything. So now I've got this big giant ellipse, I can get rid of that square, which is this thing called Path here and the square is gone. Good thing about it is bang on where that square was. Now what I want to do is open up ellipse and then you go to size. I'm going to start it off at zero. I get my play head back here. Okay, right at the beginning, I'm going to set my key frames going. For size I'm going to go along, I'm not sure how long and then I'm 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. Yeah, so we've got this little growing circle now. The thing I want to get rid of is the stroke on the outside. Okay, so all you need to do in here, under ellipse, there's one in here, stroke okay? You can just delete the whole thing gone. Cool strokes gone. Now I've got this little bullet appears. What I also want to do is give it a fill color. I'm going to just pick my off-white that I'm using and the animation is not particularly exciting. I'm going to use my trick with under ellipse path, where my two key frames here, I'm going to hit the Option key on my Mac. Well, all key on a PC to add my script. This time I'm actually going to need it [inaudible]. In here, now I've got like a little bouncing ball. Now you can play with your timing between these two, decide on how well it appears. You can see it looks a bit nicer. Cool, so I've got this. Now you're holy moly, I'm going to have to do that for every single one. No, luckily, all we need to do is under group nine, make sure your play heads at the beginning. That's the first thing. Grab ellipse and fill them holdings shift to grab both of them, hit copy I'm using command C or control C on a PC. Go to group eight. There's some stuff we don't need actually, we don't need anything except for this transform. This transform actually gives it its x and y coordinates. We want to keep that because that's going to mean the dot appears in the right position but I don't need any of this junk. That's the square, there's line around the outside of the square, and that's the fill of the Square I don't need any of that. Going click on group eight and use paste. I'm using command via my Mac or control V and a PC. Okay and now the cool thing about it is, watch what happens. Okay, so they're both going. Now what we're going to do is we just got to play with the timing. To play with the timing is, we're going to figure out where this, look at the line in the background, you see my line here it is, and when it gets to about there, I want this other little circle to explode. I'm going to drop down ellipse, grab this guy, and just drag them along to somewhere close to that now. Okay, so we're going to just do that over and over again. Do the next one together? Actually, no, let's just fast forward it because it's that same thing you can rewind if you didn't quite get it. But get rid of you guys. Big thing make sure to play heads back at the beginning. Okay, click on save and paste then open up ellipse path, find these two key frames and figure out in your timeline when it hits Q3 and because we were using on this, it's not going to be evenly spaced. Okay. Cool. All right, now let's go and speed it up. All right, we're back. So that probably took me, it was on fast forward so 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. Okay, there's a bit of jumping and say these dots, you might decide actually. I've done it before I've put loads effort into one of these and there's lots of intricate stuff and it does look really beautiful but the problem is, it's turned into a nightmare for me because I'm , oh it's week 2 and I've got to go and put that quarterly sales report thing together and I've designed something that they've expected and the lag was taking zone another because I've set up this monster of a thing with so many bits going on, you might just decide actually this is not worth, because it's going to be so repetitive. Let's keep it nice and simple. Okay, so dots might not be cool. Let's have a little look. Awesome, I like that little last one. It's cool, zooms along in the middle there and then this last one, it gives it a finale. Okay, this is my actual YouTube subscribers per month so it's not my total, but it's how many I get per month and you can see here I'm just starting to get some big growth. Thanks to Taylor and Jason good work boys. That's our little long shot. All right, let's save it and let's look at going onto pie charts. 31. Pie Charts: Hi there. In this tutorial we're going to make this, where pie chart is going to spin around and pop out little bit, pop. Now let's go and learn how to do this in After Effects. Pie chart making. Now we don't need illustrated for this one which is cool. We're going to make a new project. I've gone to File New Project and in here I'm going to go to New composition. HDTV1080p 25 all the same, five seconds long, background color doesn't matter and I'm going to click OK. I should have actually named it. I'm going to rename this one. It's going to be called my pie chart 1. We're going to look at some other things later on when we get into masking. So we'll append it with one. First thing we want to do is put a background in layer. Nothing's opening. Double-click it. Make sure you get layer new, solid, pick a background color. I'll drop it to, we're going to pick the gray color. I'm going to rename this one, background. I'm going to lock it. Now for this one we're dealing with the data from here. It's the device type for my website, 80 percent of people are using it on a computer, and 14 on a mobile phone and six percent on tablet. Here obviously our data for a pie chart needs to all equal up to 100. First thing we're going to do is put in our base slice. It's going to be the bottom background main chunk and that's going to represent in our case, the 80 percent. Let's go and do that. Now I could grab the ellipse tool up here and draw it. The problem is the effect that we're going to use requires this anchor point to be in the center and it's a little hard to do with circles. What we're going to do is notice when I do draw circle, it actually creates a shape layer and puts an ellipse inside of it. What we're going to do is I've just deleted that. I'm going to create manually a shape layer. So Layer, New, Shape layer and it's actually nothing yet, but if I tool it down and I could say I'd like to add an ellipse. It's 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 this ellipse has no fill and no stroke. I'm going to add a fill. You can add a stroke as well. Gradient fill, gradient stroke. I'm just going to have a fill at the moment, pull it down what color is it going to be? I'm going to pick my light red here. How big is this going to be? Where it says ellipse path open that up, do size. This is totally up to you, how big you want this thing to be. You can't move it on the screen yet. We can do that later on. But the moment don't move it. It needs to be directly in the center. Cool, so that's going to be my base size. I'm going to rename this layer. I'm going to call this one desktop and that's the bottom part done. What I'm going to do is twirl that up, select it, copy, paste it, right-click this one, and this is my Nick sit, which is mobile. The first thing we're going to do is change the color. Open up mobile, go to contents, open up fill, grab the eyedropper, pick another color. I'll pick this lighter one actually. Close all that up and all that happening at the moment is this one over the top, okay. Leave it in the center. We're going to add an effect. Effects and presets and type in clock wipe click hold and drag it onto it, and it just disappears. What we can do is see this transition completion. Make sure your play head is back at the beginning here and watch this, if I drag it down left and right. That is what we are going to be animating. It's pretty easy to do. The keyframe's actually started already. So I want to start it at zero or 100 percent, so it's completely finished so that we had, I know and then after some time now, because I had my play head some way different when I first applied this effect. You might not have this problem is if I hit you, there's this random key frame over here. That's just a byproduct. This effect comes with key framing ready to go. So wherever your CTI is, it starts our first key frame, so we're going to delete that. Beginning here. I've got to reset 100. I've got no other key frames. How did I get this up. Remember with it selected I can click you and it'll pop up any key frames that are being made. After some time, am not sure how longtime. I'm going to reset the transition. You can do it up here, over up here and I'm going to work out my mobile ones. So this needs to be 14 percent. Easiest way to do it is, do 100 minus your percentage, 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 we're just using and abusing it. But that is our 14 percent so it's going to do that. Nice. Before I move on to the next slice, I'm just going to spice this up by using that expression we've used loads in this tutorial already. So it is here. My exercise files under expression and I'm going to delete all that at that silk is a little bounce and then play around with the timing to make it look nice. Now it's time for the next slice and all I'm going to do is select Mobile, Copy and Paste it. I'm using command C and command V, front of PCs Control C, Control V. Rename this one and this is tablet and what I want to do is a couple of things is I want to change the color of it. I'm going to move this along so I can see it. Go to Contents, got to fill, pick the eyedropper. I'm going to pick another color. Now it's right on top of the mobile happening at the exact same time. The first thing we need to do is change, because we wanted to pop down here on that first example. Let's consider these stat angle, which is if I click it and drag it, I could drag it and manually land it up and that would work. I find the easiest ways to go 360 divided by 100 times whatever this one was, which was 14. That's going to give me the exact, like movement around. I'm terrible at math, but somehow those things stick with me anyway. All we want to do now is it's playing. This one is at the wrong percentage, so check Excel. This one's going to be six percent 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 Tablet selected, click you have my play head just above it, holding shift while I'm dragging to snap to the top instead of 86. Remember our little trick, 100 minus, I remember now I think it was six gives me 94 or six. Yeah, cool. So that's going to give me my little slice here. Let's go have a look. Now the timing, twill it up. I'm just going to move my timing maybe a little bit more. Maybe just a little bit more so when it stops bouncing, this one comes out. Nice. When it's all finished, I'll probably need to add some labels, but at the moment, that chunk there is what's left over. So 14 plus 6 leaves me my 80 percent. So that's desktop, that it's mobile, that's tablet. What I want to do is actually probably this base is a bit boring at the moment, doesn't do anything. What I'd like to do is animate that as well. What I might do is just move these guys along. Back to here and I'm going to add the exact same thing. I'm going to grab clock wipe, add it to desktop. I am going to start it at zero. Great. My play head was already at the beginning. Remember click U to see what the key frames are, and there's mine out there, it's already applied to them all, so I'm going to get rid of you and how far along? It starts here and maybe about that far and I'm going to get it to go all the way around to zero. But for these other ones, starts all the way around, that one, that one. Maybe a bit further apart. Actually, I'm going to add easing first. Now, I don't want this one to bounce and it's because I've practiced and it looked a bit weird with the base bouncing back and forth, opens backup like PAC-MAN. All I'm going to do is slick both of these and go to key frame velocity and use my old trick. Why do I add sound effects? I bet you will too. Awesome. We've got our basic pie chart and the cool thing about it is, it's very reusable. We can use these slices and just go through and change the percentages and the stat angles for every next month for whatever you might have, 50 of these things that maybe it shouldn't take you too long. But we're going to add a little bit of extra dimension. What I'd like to do is I like one of these slices to pop out, and maybe that's the most important one. We can pop them out at different times and explain what they are. I'm going to get this one to pop out. This last slice for tablet and to do it, I'm going to get my play head down for it stops bouncing, about there and I'm just going to play with size. I'm going to have to have it selected. Click this, start the stopwatch for scale size. It's going to be the same thing and further along, I'm going to get it to pop out. Cool. It's going to come along and then that's going to come out. Now the only trouble is I can't use my expression on this one. There's just too many things going on. There's two key frames, but there's also some effects going on and my expression doesn't work on this one. We're going to have to do it old school, but luckily we know how to do it old school. I'm going to first add some easing, sick with these guys. I'm going to do velocity at 75. I'm just tabbing across those to make it quicker. It looks nicer, but I wanted to go like despite here I wanted to go. So it's going to be 125, that's going to be it's finished like jumping out spot. What I'd like you to do actually is to go past that a little bit to 130 and then come back below 125, 122. I'm just guessing here. It might look horrible. Then eventually raise it back to 125. You can put more and more on these, to get it to go really slick and smooth, let's give it a test. It's not bad. Let's zoom in. [inaudible] I just said, No, zoomed out this whole tutorial. Yeah. Not as nice but you can play around with the timing of these. The last thing is you might do is we're going to make it like a doughnut shape and I am embarrassed to show you the method for turning it into like that doughnut unit like from the beginning. What we're going to do is grab the desktop, copy and paste it. We're going to call this one the center and you probably going to guess what we're going to do with the center selected. I'm going to get rid of radial wipe because I don't want radial wiping in. All the center is, it's just a copy of it. I'm just going to change the color of it and move it to the top. Let's go. Actually stick it to the top now so you can see what I'm doing and yeah, it's pretty cheap tricks. Let's go to u, pick the background color and let's go into ellipse path, the size and how big do you want your donut? I know, cheap. But it works. Looks like a donut, just a little cool pop out thing and if you want, say you've got a colored image background and so this is not going to work. We will address this a little bit later in the course when we look at masks. But for the moment, most of the time, especially for this Victor stuff, big circle in the center pops out. Looks awesome. What you should do now is go through and just add some type. Obviously the percentages. We'll do a percentage counter in the next video. So it creeps up with the right dimensions, but you want to add some labels and stuff to it. Now last thing we're going to do before we go is that to move this thing is that weird, you're like, "Oh great, I'm just going to grab all of these guys and I'm just going to move it over" that wipe effect. It's actually a transition effect, so it does it to the whole scene. You can fix that by pre-composing it. It's pretty easy. I've got all these selected, right-click it, pre-compose, puts it into its own little comp. I'm going to call mine pie chart. Actually, what did we call the first thing? We don't want another one called pie chart. We're going to call this donut and back to my project files here and so I've pie chart 1 and this is little donut that goes inside of it. Cool. Now what happens is, it's just well grouped inside that comp. Now we can move it around as we need to and that wipe effect stays with it. We can animate it on, slide it on as well. You might go slide it on and make it look cool. That's going to be the end of this pie chart 1. We're going to look at adding some counting numbers in the next bit. Also later in the course, if you're a pie charts fan, we're going to do some cool masking stuff with pie charts. Check that out as well. 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 percent. Let's look at how to make that now. First step, I've got a project started for us, you can obviously use your own. Go to your Desktop, find your exercise files. This one is called pie charts and it's called number counter. All of them for you is I've created just exactly what we did in the last exercise. Instead of having two of them, where we had mobile tablet and mobile just on one. Percentage is going to be 83 percent, and I've just calculated that already. It's just a silly disk in the middle making it look like a doughnut. Now what we want to do is add the number counter. First step we need the text, so we're going to grab the top to clicking it up of mine in the middle and I'm going to type out my numbers. I'm using this font equaled lust K, It's free one. Well, it's from Typekit, we looked at Typekit earlier. What we want to do is we don't want to have the percentage the same in the same textbooks. Here it's 53 percent, it's my top one and I want to have it in a separate box because the number counter can work here but I can't append the percentage there. We're going to select it down here, copy and paste, and it's made 254. Double-click it and change it to percentage, now it's in the way now, just grabbing the tool, sliding it across, molding shift on dragging because now we've got these two little units, so we don't need percentage anymore. It's just this 53 that we're going to be working on. If you latch on to it other bits I have locked all the other layers just so you don't record, but if you want to record, unlock them. The first thing we need to do is we need to create something called a slider. It's going to control the up and down of this and allow us to keyframe it. What we're going to do is we're going to a fix and presets and type in slider. In here there's one called slider control, click and drag it to either here or to use it, drag it to the number down here on the layers. This is what we're going to connect to it. Some have applied this effect called slide on the slider, 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. The attribute is going to 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 Alt key on a PC or the Option key on the Mac. Click the little stopwatch, and we've started a bit of expression. Now what we've done previously, is deleted it and replaced it. What we're going to do is use this thing called the pickweb. It's job is to click, hold, drag, and it's like this little weed thing because I want you to connect to and let go on slider. Click return on your keyboard, click anywhere else out on the document, and now if we put the play head back to the beginning, the slider is connected. We just need to eliminate the keyframes with this little stopwatch here. At the beginning, I'm going to set it to zero. You can go negative, so set it to zero. Let's stop the stopwatch to put in a keyframe. It's up to you to see where in this fixed controls you will actually find the stuff done here, this the effects. This is the slider control and if you prefer using it down here like we have in the rest of the tutorial, you can see the keyframe there or use the one up there, it doesn't matter. How far along we are going to go? What I'm probably going to do is I'm going to get it to start about there. All of this first keyframe to be zero at about there because it's this bar here we're getting it to be associated with and when it's finished, I'd like to lift that up to 53 percent. Problem is it has fractions or decimal points. By default, it's pretty easy to remove K, so it's actually counting up fine. What we want to do now is find that expression that we worked on, it's on the text. To text, there it's there. What we're going to do to fix it up, is that we need to put it inside a parentheses, also inside a set of brackets. There's a bracket at the end, right at the beginning, so we wrap it up and the beginning here we use capital M for math.round, no spaces, kicking us out and hopefully now. It goes up without all the extra decimal points, and there my friend is it. We've got a little percentage going and our cool little graph, and that's it. I'll see you in the next tutorial or I'm back for a second. I was just closing out the files up. See over here my panels, we're in this other mode here. We're in switches, actually we're in modes. If I click on this, that's back to how we've been the most of this course. Click on this again, it's weird button to find. You can search up here high and low but look at this guy, transforms from, we're going to look at these more as we go through masks, but most of the time we're going to be in here with our lovely motion blurs and our 3D. Make sure you sit back after. The reason it's switched over is because we're missing round with the expressions earlier. 33. Process Relationship Infographics: Hi there. In this video we're going to use Excel to build this relationship model here plus look at the hundreds of other ones that does really amazingly. Then look at animated in After Effects like this. Look at us. They pop up. Still going wait for the last bit because it's good to watch. Watch them go. That's be it, let's go and make that now in After Effects. The first thing we need to do is we need to create our artwork in Excel. So we're going to be working with this stuff in 06, process and relationship, and there's one called UX workflow. Now a really cool feature in Excel by the by I've got a course on excel if you really want to get into Excel, but it's really simple obviously what we're doing right now. I've got kind of five things that going to match my UX process dialogue, I've selected at all, and it's very similar Mac and PC. Things are only a little bit of different places, but so select all of these and let's go to insert. And 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 Effects, which would take forever. These things here they might not be styled to your liking, but we can make that happen. There's really good stuff in here. So up to you which one you want to work through. You can see there's lots in this. What we're going to work through is the relationship one, and in this particular case it's going to be- when I say relationship, I mean process, we're going to use this little arrow one here. Lots of different options we are going to use this one. The cool thing about this, and if you click this little slide bit here you can enter our data in. When I said select that stuff at the beginning, it does nothing. So we're going to use it to copy and paste from copy you. Click on this, click on this guy, one. Cool this guy copy, and you get the idea. Here we go. The third one and the problem is we've only got three, but it's really easy obvious to add ones little plus button here. So you test and you can see it's shrinking to fit in here. We'll adjust that thickness as well once we get all our bits in here. Quick thing is you can move them up and down if they're in their own place. What we want to do, because we want this quite big in Illustrator, we are going to turn that back in there, and then drag it over here and make it nice and big. If you're happy with the styling, you can go ahead and do this now, but just resize the box up nice and big. And I'm going to go through and actually style it a little bit. What I want to do is play around with the colors, okay. So with Smart Art along the top here, you've got these extra features that appear when you've got a selected, so make sure you've got any part of it selected. Go to Smart Art Design you can pick some of the other defaults for a relationship, and the color zone on top. What this first one's like flat with a white stroke on the outside, colors. There's actually not so bad is not two big ones here in old's Excel. You can go and change these if you like, with selecting one of them, change colors and you can re-calibrate your graphics. You can spend a bit more time styling up. I'm happy with this little mock-up. One thing I'm not happy with is the fonts. So I'm going to click off, click on this, and I've got like nothing selected, just clicked on the edge here. I'm going to go back to home, and I'm going to pick a font, and in my case I'm using Roboto Slab. Cool you fitting here. I think that is it. You can do some adjustments. It doesn't really matter if you do it here or Illustrator, do it in whatever you're most comfortable with. If you're an Excel wiz, do it here. If you're not, you can do it in the next step in Illustrator. To get it into Illustrator, just click anywhere on the edge, hit Copy, and then open up Illustrator, make a new file. Let's make it out HD size. So 1920 by 1080, everything's going to be great. Make sure its RGB color, click, Create, hit paste. The cool thing about it is, yeah, its kind of Victor now what we'll need to do is I'm going to zoom out so I can see the whole page, so it's better to get it positioned in here before we reposition in After Effects. So that's it, I want to maybe make it a bit bigger. So what I need to do is right-click it and release clipping mask. Some of the other ones we did earlier was we right-clicked it and went to that group, and what we want to do is now that it's just checked that it's all in pieces, a couple of things I want to do is I want to, there's like a liner on the outside. I want to get rid of all those they can be hard to select. Go away. Its just the white stroke, you might like it. What I need to do is move all of these onto their own layers like before, layers panel, I'm going to have 1, 2, 3, 4, 5, we've only got one layer here, this first layer, always never use it. It's always junk on there we don't need when you are copying and pasting from Excel. It's best to like grab this guy, so make sure you've got it all. Then remember twill down, and this guy here, I'm going to just drag it to this layer 2. Did I get everything? Turn on and off I didn't. What did I miss? I'm undoing. I've got everything selected here. Actually, I'm just clicking here. I've got everything. Yes. Is these two I need. You onto that layer, now that looks good. Cool. I'm just going to work my way through these too, I can see them in the paths here. They are there. You see I've got everything I need. I wonder why this stuff leftover. Who knows. I'm going to pin that layer. Now I should go through and rename all these to match them as one object, one research that would be clever. I am lazy. One thing I will do though, is I've used a font I've used Roboto Slab, now if you're passing this on to other people to use or you know, it's going to be used amongst a bigger group of people, and you know they're probably not going to have the font, I tend to select them all, go to Object, and now go to Type, and go to the one that says Create Outlines. At the moment it's editable type, and people need the font for that to work. I'm just going to go to Create Outlines. All it does is that's not an editable font anymore, you can't spell check it, you can't do anything. So be careful you might do a save as. I'm doing it so that you can cheat and maybe jump the Excel part of this course, and you'll be able to just download the AI file. Because you probably won't have Roboto Slab, these are just the shapes you can start using. I'm going to save it. I'm going to put it into my desktop, AFX files. You my friend can go in there and I call this UX Relationship. There we go. On there in layers Illustrator file. Now we can jump into After Effects and Animated. We're in After Effects and we're just going to animate it. Like you've done loads of 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-frame so it's worth while watching it, but you might be [inaudible] like screw you down, I'm going to do I don't know, scale raw overshoot or something like that. So I've got a new project open. I'm going to bring in my Illustrator file to my desktop, AFX files UX Relationship. Remember composition users probably said footage, go to layer size, click Okay, so it's made a comp for me. How long is that comp? Whatever last thing I did is okay, it's matched that and these are all my Illustrator files. I'm going double-click it to open it. Great. Here they are all lined up nicely, I'm going to my preview back to full. It previews nicely for you. The next thing we want to do is add our audio because we're going to be timing it to a voice-over. So there's no point trying to do it without it. Let's bring it in. It's an our Exercise files, it's in 06 persistent relationships. There's an audio file that I've made for you. Get to listen to more of me. I'm going to add it to my timeline. Now, the thing is that your timeline is be probably only like maybe five seconds because it was probably based on the last thing you did whenever you make a new comp, it just remembers the last thing you've done because I was practicing this exercise for you guys before this, I set it to the exact time I need. Let's say that hasn't happened. We need to make sure the comp is long enough to be able to hear all the audio. The way to do it is to click on this and say it's 2012. It's in 20 seconds and 12 frames, so what we do is we click on UX relationship also, we click down here and go to composition, comp settings, and make it the right length there, you can you see 2012. Just make sure it's the longest you can hear everything till last bit. Now we need to animate it. And this is the thing we're going to learn a few little tricks. Okay. So now we need to actually put on our music as well. I find editing music early on is really important because often you can keep pace with it, you're like timing it to the music, so don't underestimate having the music and not just for the end. Pick something. I can't remember. That one's going and taking it to the bottom there. A couple of things we need to do, is we need to figure out how loud the music is versus the voice-over. The first thing is, I'm going to mute the background music, go to my voice-over, and I'm going to open up audio, hit play. I can only hear this. It's clearly bouncing way too low, I need it to be up a bit higher. It's clearly because I've looked at it before. Remember minus six and minus 12 bouncing in there. Gets a little higher, but mainly bouncing between these two. That looks about right, nailed it. You know why? Because I've already played around with this one, but you might have to read yours and lower it to get it between those two. In terms of the music now I'm going to turn that volume back on, little mute button there. Hit play. You can't really hear it because you're hearing it through my mic, but it's competing so it's quite loud. I'm going to lower down. Too low, too loud. Why am I doing it down there and not up here? I don't know. It doesn't really matter if you do it there or can you see that we lowered the sky here by 3.3, there is there. We raised it by 3.3 and we've minus this one down here. It's good to show you two ways of doing the same thing. Maybe just a little bit lower. That feels about right. Let's save it and before we do animations, what we're going to do is we're going to mark our sound thing. We did this. You saw probably a file they imported way back earlier on in the tutorial series. There was markers along. Let's look at doing that for ourselves. Now, what I'm going to do is to make it easy for ourselves. I'm going to open up the slide hear audio. I'm going to get a wave form and go along to what I'm looking for is to where one, two, three is because if you listen, you'll probably when you're doing the tutorial, 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 it says 'two' start the research. I'm going to add a little markers here. Now on a Mac it's Control eight, I'm assuming it's something like option or control or Alt on a PC. I don't know off the top of my head, so you might have to guess, it. You might have to work it out. It is under markers, where is add markers there. Go to layer and go down to add markers and work out with this shortcut. It's really handy if you know the shortcut for this one we use but at it manually the long way. There's my first marker. I'm going to double-click it and this is going to be one, then click enter. You can see a little one, appears there. Then I come along two, two you do your research is that little hump there. That's why I had the wave forms down because you can actually start to see like there's a break too. I'm guessing that is probably three, that's probably four, maybe that's three but it does help you anyway. Shortcut on a Mac Control eight. Double-click it, you end up two, and that is the three Control H. Double-click it. This is just so I can save some time with my animation. Four and this one here looks like five. It's not and finally, five there. Last one and you five. Awesome. That's that, that, that, that now we need to do the animation. I'm going to toy them up. We'll start with layer two, even though it's our first one, we should've named them bidder and illustrator. I've made my bid and I'm going to have to live with the naming. What I want to do first of all is get them all to appear, remember they all slide in the beginning. They just kind of settle themselves. It's called a build when they kind of get together at the beginning. What I'm going to do is do it to the first one and then hopefully we can do some shortcuts. Actually, what we're gonna do is we're going to select them all and we're going to click P because we got them all selected and we've used that shortcut P, we've got position. I'm going to start the stopwatch on one of them and they all start, we get a key phrase for them all. You can bulk doing some of this. After about half a second there's one second there. What you might have noticed in this tutorial, if you zoom in and you start, it goes from seconds, where I can see seconds, to frames. It's 25 frames in a second. So it goes 21 second. It's just like it's showing like millimeters, if that was centimeters or inches instead of feet. About half a second, I'm going to put in a menu key-frame, because that's where I want them to end after half second. At the beginning here, I want them all off screen now we're going to have to do this all separate. You could just drag them all. We'll see how that looks. All of them come off screen. You guys get off-screen. I'm dragging and after I start dragging, hold down shift it locks it into place. What I want to do is list though. At the beginning here and I'm going to get you start dragging, hold shift. Click on this one, start dragging where it's going all wiggly, hold shift. I'm going to palm WAP so they start off screen, just gives them a different pace when they come in. You guys. They'll kind of fly in a different slightly offset and we're going to get them to stagger in because I want them all 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 going to select them all and be a bit more professional about things and right-click one of them. Go to key frame assistant, go to sequence layers, and I'll get them to overlap. We know this thing has been, but it was 2012. It'll overlap back on its self completely. We want to be maybe a few frames different. It seems a little weird. I know. It's that minus the difference. You'll work it out. Have a little play around with it. There you go. You can see with staging them now and that is feeling a little bit better. What I might also do is select them all. Do my easing. That's a bit nicer, but I probably want them to do a little bit. I'm changing my mind and going back and get on with the tutorial then. Sorry. Instead of five, it's 12, five, maybe eight, it's just a little staggered, there you go. One thing that's missing is motion blurs so I'm going to turn it on for the comp, and I'm going to turn it on for all the layers here. How am I liking that? Yeah, it's good. Probably the thing annoying me the most is no easing, and I want to select you, hold Shift, click all of these guys and adjust a bit. Taking too long. That's getting there. Easing as well, select them all. Key frame velocity. Now it's too fast. All right. I'll move on, I promise. They build in, and next thing I want to do is when I start talking, I want, when I say, ''One, you stop sitting your objectives,'' so that I know it's there. What I want to do is we're going to look at something, it's definitely new. We're going to click off them all, no we're going to turn them all on. Actually this is got one first, so layer one is my first, one objective. Now, when we're working before we added a camera and when we added a camera remember, we had to turn his little 3D thing on otherwise it can't be seen by the camera, and the camera freaks out a little bit. We can kind off use it without a camera as well. What happens is if I click the little cube here, the big differences. Watch this, I'll scroll down this guy. He has a few settings, specifically positioned. He has just x and y. He can go that way, and he can go that way, and that's it, but if you turn this on, he gets an extra dimension, he gets this position. He gets the forward back, which is really cool because that's what we want to kind off do. We could use scale, but scale just doesn't work. Watch this. Let's grab scale for this guy scaling, and I could say, ''Oh, number three, a mock-up'', and bring it nice and forward. Problem is, it's the layer order. He's like the layer order happens. That guy is always in front of him and that guy is always behind him. If you want this guy to behind him now, that's great, until you need now this gut to scale up. You can't animate changing layers, because I want this guy to get bigger now, but this guy is always going to be in front of him, so scale doesn't work. If that was a terrible explanation, just know that this guy doesn't work. But this little forward back thing does, because if I grab him and I turn his 3D on and I say, ''You, my friend, have a position and you my friend can go forward.'', but it's not going in front, it's because this guy, where's is he, they all need to be 3D. They wont be playing by the same rules like this guy here. He needs to know where he is in z space, and then he can go forward and he can get behind them and back of them, just go away. So I'm going to undo until I didn't wreck this thing, I'm going to make sure that 3D is on, on all of them. Just a little layers there, and what we'll do is this first layer here, come along, and just before it says ''One,'' I'm going to get it to pop out. I want to lead to selected pay for position. I'm going to, because he's coming along then I wanted to stay there, because what people tend to do is they start doing this now they want to bring them forward. The problem is that from this key-frame to this key-frame, he just slowly creeps forward and looks about weird. What I want to do is put in a blinky frame, so between here and here, he does nothing, and then when he gets to one molding shifted locked to that little marker, which is handy, and you get it to go forward a bit, for a lot. You cannot shift play drag these things, just make them move in bigger chunks, and then you're going to decide where you want it. I'm going to probably put all of mine here in the middle, quite close to the camera, so it does this, here you go. We're going to do, you can cut here in the background, I think. We're going to do a little more of that, we're going to look at copying and pasting keyframes that's worth sticking around for, but the main thing of this one is a getting stuff at Excel but then using the 3D without a camera, just so you can get that extra dimension, push things in front of each other. What are we going to do now? We're going to try and speed things up because putting a keyframe every time is going to be a bit hard, and what we want to do is just before two appears, when I start saying, ''We don't want this too under, I wanted it to disappear,'' so it's not about there. What I can do is I can put it in a menu key frame so that this pretty much picks up that one, copies it sticks at there, so it goes nowhere, and then after a little time, he's going to go back to his home base. Now to try and calculate that is basal. All you do is greater that keyframe because right there remember, he was back at home. Then we made him big and move him out here, but right there, he was where we wanted him, so you just select it with my selection tool, click copy, so just Command C on a Mac or Control C on a PC. Just the simple copy, and then move along before you wanted him back, make sure you got that last selected and just go Command V or control V on a PC. He goes back to where he was. That's a really handy thing to know. That you can copy and paste these key-frames. So we're going to use that to our advantage even more. Two. Where I want two to appear. Let's click on this guy, makes sure he's all 3D, hit p, and what we'll do is we'll set a key frame because two is where I wanted to appear. I want to be a little bit back firth hit this, and then if you're finding it really hard, just maybe move that back there. You'll find when they're overlapping, especially when you're new, it's just a bit weird that that's happening at the same time. You there keyframe, he's exactly where I need him to be, but then when I say they were two, I'd like him to be in the middle there. Now, I like them to be the exact same position, and I could do that, and I could do that, and I can move them across and to get them in the right spot again though, it can be tough. Exact same trick as before. You can copy off different layers. So I know when my play head is right there, that's what this guy, he was in the right spot. I want that guy to be there. You just click on the keyframe, copy it. I'm going to move over there. Make sure you click on this layer and paste. You just go there, you go there, go along, and now it's going to be a bit of stepping repeating. I'm going to grab you, and then tap a full three up here. He's going to go back to his home base, which is that one, copy and pasting then you pops up. Then I'm going to twirl this layer closed or we can just use Layer 2 as our reference to steal that thing in the middle there. We're just going to try and keep it as tidy as we can. Layer 4 selected P, okay? About there, I would like to set a key frame. Then definitely a three, okay? I would like to copy this guy. Make sure you got the right layer selected, okay? Then move along about there, put our menu keyframe and then this guy. Copy him, move him to about there, paste, okay? You can get a bit of rhythm going, okay? Copying and pasting stuff. At least everything lines up, you don't have to stop copying and pasting these dimensions down here. I used to do it, okay? It takes forever. Yes, four is this last layer here. I want to put our key frame in full position. Okay, now you can skip this and there's not going to be anything extra and nice. I'm just going to finish it off. You can hang around if you want, okay? You copy paste. Don't make sure they last like to paste, okay? Come along before five appears, put in our menu key frame so it's between here and here it does nothing. Then get them to go back to where you started from, go home. Yeah, P so just before five, you can start there and then up to five I'm going to get him to go to there, going to layer this time, paste and then it's up to you, I guess to the end. I guess I can see when it finishes, yeah cool. We are in the right spot, put in a key frame, go. What I might do here actually is that we're going to zip off. I'm going to get this guy to zip off first. Now I'm just messing about. Editing my own sound effects, so it gets to there and I might get them all to now zap off. You position, okay? I'll get you to, so what I need is, I'm going to do all these in one go, trying to be all clever, pretty. I can see them all. I'm going to put a key frame in for them all. Let's take them all first. I've already got the first one, so I'm going to ignore him. I'm going to put a key frame for them all, cool. Then I'm going to go and get them all off screen, okay? They're all there and now they're all going to be offscreen what I did at the beginning or slightly different. Wow, they are all going to the same places all. Then I offset these. Can I offset these? Can't think of a way anyway so I'm just going to have them. Who goes first? You go then you go. I talk to myself a lot. Okay, and you can add your own UX roles thing at the end. I've got a UX course as well. Of course I do. I love UX. UX designer or at least. Go check that out as well if you can. I love it. It's cool they've got a nice little run off at the end there like little fish. Now you should totally leave now. I'm just going to add that takes at the beginning, just to fancy this up, okay? When they're all on, I'm going to add some type and I click once. I call this one the five rules of UX design. That's one of the courses or one of the videos in my course. Phases of a UX designer. Okay, what am I going to do with this type? First we need to go to the top. Just click of all of these guys, get rid of them, click U. Okay, U opens them all up but it also closes them just to tidy them all up and I'm going to get this guy to come in once these guys have loaded. What I'll do is I'll start them up at later. At the beginning here, I'll just scale them in because I can't think of anything better, okay? After half a second, we'll get them to go to a 100. It's going to go. It's not very nice, that's all right. I'll make sure the much blue is on for it. I will use my expression, let's go find him. Found my expression, hold down Alt, click him or Option on the Mac, paste it in and see how we go for a little rebound. Yeah, and a little tighter. It's weird, once you add that expression and 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 I need to lower this all down. Now, if I move the position, okay? If I try to move the position any of these, I'm adding key frames, right? Things are going to do some weird stuff, okay? You're like, ''How do I move them all down in one go?'' You could pre-comp them, okay? Select them all, pre-comp them and they just lower the pre-comp down, okay? Or you can select all these guys and click ''A''. One of the options in there, so let's move a little bit down is Anchor Point to transform anchor point, okay? Anchor point, we don't use very much. We've reset at member to get the rotation in the right place and make sure things are scaling from the same toward the bottom as if I click any now, it's a separate position. It's weird. I use this quite a bit when I get to this point, I'm like, ''Man, it's all needs moving but I've used positions so many times.'' Just use this, okay? It still thinks it's there but you've moved the anchor point tricking it so it's a bit lower. This one here could go there, cool. Anchor point can be a cool little get out of jail free card. You want to just make sure everything lines up. Okay, we've got a slight problem. Anchor point move it up because it's using a 3D camera, can you see it's going to get skewed. It's a bit different so when I say this is a great, this is potentially a workaround to save the day. Didn't quite work that. Yeah, better. What you do is don't listen to me about anchor point because that's still handy there actually. But we can right-click and go to pre-comp, okay? Call this one my arrows, okay? Then the whole pre-comp can come down. It's just slow go. To get inside of it, double click it and they're all still where they are. They should still do their thing. Let's go back, close down Arrow and now to have a little look. You see it didn't mess around with the 3D camera because they're all grouped inside of there the camera still works Buddies, that's going to be the end of this very long tutorial. Lots of just watching me work, okay? But I hope you picked up a few things in that one, especially because Excel so awesome at making those relationship models super quick and super easy and then you've just got to animate them in After Effects by jumping through Illustrator. A bit of a hassle, I know, but hey, it's the way we get it done. Let's go onto the next video. 34. Camera 2 Node: Hi, there. In this video we are going to look at two node cameras. Where we get this pan and zoom in to anything. We will also look at editing video backgrounds, but now that I've finished this tutorial, actually, I do not like the video backgrounds, we can do it with a plain background as well. Let us go and do it. First step I have got a file that you can start with. It is under 07 camera, it is called YouTube line chart, or you can use the line graph you made in an earlier tutorial. Here it is here, and it is a little bit different, I just added some ticks for the top and the YouTube logo, and they're just timed separately and they are all using that expression that we've been using over and over again. What we want to do now is we want to use our camera, and let us have a little look first at the difference between a single node camera and a two-node camera. We are going to get a layer new camera, we'll put in one node camera, and we will call this camera, one node, cool. We will put in another one, this is the one we are going to use. We are going to delete this first one, so you might just kick back, relax and just make this camera. This one's going to be camera two node, and we are going to go over here and pick two nodes. That is the camera you, this one we're going to bin in a second, because what I want to do is show you the difference. First of all I want to be able to see my two different views. Of the moment we have got one view, switch it to two views horizontal. This is the top view, it's not very exciting, so you got to click over here. Remember that little blue, low wages in the corner indicates which side you have got selected. I have got this side clicked, and we go from top to custom view one. You might have got an error saying, "Hey remember you got to turn things onto the 3-D." You just got to remember to do that afterwards. What do I want to be included in 3-D? Is I want the YouTube logo, I want the text or the dots, the lines, everything but the background, we're going to leave that off. You can see, they can all be seen by the camera now depending on where your play head is, if you will play heads right at the beginning, you can see, you can't see anything, you will be like, "Oh no." But we move it along you'll will see they can all be seen by this camera. What you can do is click on the different cameras, and it will highlight which we are working on. Now I'm going to zoom out a little bit over here, and show you the difference. I'm going to turn off camera one, great naming then, the two node one, I'm going to turn that one off so we cannot see it. The difference between the two really comes down to under transform. We can change the position, the orientation and the rotation. Whereas a two-node camera, we transform that down, we've got this x1 called point of interest. Let us look at the difference camera one-node, I can adjust this, and I can move it around, I can even rotate it, to look up and down. That is great if you just do parallel movements like we did in an earlier tutorial, but I'm going to delete that one now, goodbye one-node. Let's look at the two-node. We've got this thing called the point of interest, its just like an anchor in the ground. Now until I belong public for life, watch this up here. The position now if I move it, you can see the camera moves, but it is still pointing at that point of interest, it is just like it is little home in the ground and your camera keep pointing at that no matter where you move this, and that is really handy, you can see on the side here, what we are going to do we're going to animate that movement, and that is really handy. If you have to use a one-node 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, and see this point of interest, you can animate that we're not going into in this exercise, but watch this. It's this little tag in the middle, I can start dragging this around, and looking at the camera is not moving, you can see the base of it it's still the same. I'm just like peering around, having a look at different parts. I looked at the bottom there you can key-frame that and then look over here, at this part. That is it. I'm going to delete this camera because I have broken it, and I'm going to go back to Layer, New, Camera. Two-node camera, we can leave the name now. Awesome. All of these guys are made 3-D, we are going to now key-frame that position, so I open up transform, be right back at the beginning, click on position. What we are going to do is over here, we can't see anything let us go to fit. The reason we still cannot see anything, it is just because we can't see the whole animation yet. Let us just move it along a little bit so we can actually see it. See this key-frame here, let us move it along to where we are because it is just too high the beginning because nothing can be seen. We are going to put it here, then we are going to adjust the position. I'm going to drag mine, now drag is pretty slow, I'm going to click hold and drag it, you can see my camera is moving this way. If you hold Shift while you direct any of these blue numbers and in after effects you can see it multiplies it by tens, we move a lot faster. It's molding shift and dragging it. What are we going to do on there? We are going to go over this side, and that is actually the beginning key-frames, so I want you to be over there. If I you hold Shift, that will bang up against the edge, so it is going to start over here, and as this slides in, I'm going to actually go all the way to the end. If yours is like mine, this is here is the work familiar, we looked at this in an early tutorial, just [inaudible] double-click center that, stretch it all the way out. All the way down to five seconds, and we are going to grab this and drag it back the other way holding Shift. You can see I'm going past, awesome. How awesome, it's not that awesome. Let us give it a go, preview. Now, see this little green bar, this is our previewing, it is not keeping up. It's like previewing, playing, previewing, it's buffering is not working, so what we might do is go back here and watch this, the green bar still continues out and we're just catches up. We are going to go to preview and we are gonna go to resolution to quarter, just to go faster and it previews [inaudible] nice and quick now. Awesome. That is what we are doing, just these slow kind of motions, these slope hands just to get a edit of life to our data. It looks like it is doing something we have not done much in this case. More we will do is before we go, we will add a vignette remember, it is a literal style points they're going to do. They will get into some other stuff where we do a video backgrounds, do not go away just yet. You can skip this if you are sick of seeing me put vignettes on things. Layer, new adjustment layer, that adjustment layer at the top, we are going to rename call it; Vignette, can have a small vignette that is not even close. Anyway, let us go over to effects and presets. Over here we are going to do this one. We can do lume-tree color. Drag it onto this over here, go to vignette. Just drag a little bit to the left. What is happening is just going to add that to it is probably, it's a little bit much, but and I told you overcook vignette whenever I do them. Let us go up a little bit higher. Maybe minus point zero there it goes. A little more subtle. Come on. Gives it that film effect. Nice. Next thing we are going to do is hit Save and we are going to go back. We are in fixed controls going back to Project. A line chart is our first example. Let us just select it and go Command C, Command V to copy and paste it will Control-C, Control-V and a PC. Right click and rename it. This one going to be a line chart with video background. I saw you this because it just cool edit video backgrounds. Up here in a dubby search I am going to do now, what are we going to stick in the background? I like, often I like the word abstract is but the word abstract in and by default member, it won't, it'll 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 them are pretty hide core for the background of this. All of them probably we need to be washed out. Okay, so pick one. This one looks kind of cool. send it to my library, I'm going to drag it across, add to my video. It's going to take a second. It's at the top, so I'm going to put it just above my background. Play this back. Now what you'll notice is that when I'm at the beginning here, we're actually at the moment, it depends on what you want to do. I've left this is just playing in the background. It's not being tracked by the camera. This is a okay for this abstract background, but it' says there is something in there you might want to keep it moving with the camera so you just turn the 3-D on. What you'll notice with the 3-D on it, it can be seen by the camera now, but it's actually not wide enough. Can you see it was the size of the original but because we've moved the camera to the side, we're seeing the edges. What 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 full K vision. Which is a lot bigger than H-D. Now it's moving along with it. I think I liked it being not 3-D , I'd like just sitting in the background there and now it doesn't have to be so big I would put it back to a 100 percent. What I would also do is I'm going to 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'd have to pay for it because it's really interrupting the background there. We did that with the hue and saturation and drag it onto this line here, over here. Drag the mass lightness down. We can see out data kick back. Two-node 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: Hi there. In this tutorial we're going to look at masking and we're going to cut a hole in our doughnut. You're looking like, "Hey, we've already done that before with the big circle," but this time it's an actual hole in there, not just a red circle that matches the background. Let's go and learn how to do that in After Effects. To get started, I go to your exercise files and open up 08 masking, there's one called Pie Chart Image Mask, open them up. I've just made this really basic pie chart like we did before, but it's got that secret trick where it looks like a doughnut, but really it's just a regular old pie chart with a colored circle in the middle. I'm going to undo that and put it back. We need to do it the proper way. Why? Because if I turn off my background, it's actually just a red dot. You might have a video in the background or some images or moving it across the screen in front of other objects. Lots of reasons. What I want to do is we need to keep it, so I'm going to rename mine. I'm going to call it My Mask. What I'd like to do is we're going to use something called a Track Matte. What that means is we're going to use this layer to mask the layers underneath it. Now the problem is that Track matte can only do the one directly underneath, so I can't mask this one as well. I couldn't mask the layer above it either. It has to be wherever your mask is. I'm going to use this as my mask. It has to be directly underneath. To get around that I could either have two of these masks and do these two separately, or I can just select two of these and group them by pre composing. Right-click pre-compose and I call this my pie chart. Now this mask layer can mask this pie chart underneath. To do it select pie chart and you might be on switches, toggle this button here so you can see Track matte and you say I'd like to track the first one here, Track matte mask. It's doing the opposite of what I want. There's an option in this is Alpha Inverted. Nice. It's going to play looks exactly the same as it was before, except now when I turn that background layer off, it's an actual hole. If I need to go in and edit this pie chart here now, all I got to do is double-click here or up here called it pie chart, double-click. Go inside these my two layers, I can make into my adjustments, can play around with it. When I'm finished, go back to my simple pie charts with back to where we were before. Nice little hole. All right, turn their back on, so that is masking 101, just using a Track matte. Just make sure that it's directly above the layer you want to mask and if you want a mask lots of layers grouped 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: All right, we are going to do this, where our pie chart masks out our images underneath, in other words, looks very cool. Let's go and do that now in After Effects. All right, first thing you need to do is in the exercise files, open our Pie Chart Image Mask 2. Great naming Dan. Basically we're back to where we were before. The difference is, we've just got the circle in the center here. Why? I just want to keep this tutorial as 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. What I want to do first up is we're going to bring in our image, so just double-click over here in our project window and inside here is one called Mask Image-Gardening Tools. Bring them in. Okay. Remember from the last tutorial, a track mark can only work with a thing directly underneath it, so we're going to need two of these. I'll put this one here. You might have to re-size yours to make sure it is covering completely our pie chart and it needs to be directly underneath. Tool sales is this one, which is that gray bar. If you're not sure, it's that one there. We want another version of it, so I'm going to select my JPEG, copy and paste it, and I want another one just underneath my base. Cool. Let's turn off the base for the moment just to make life easy, we're going to work with these two. The tool sales, which is the gray bar in this box. All we need to do is select on the JPEG. Go hue, my friend, Alpha Matte "Tool Sales," which is going to lie directly above them. It has to be there. It will mask just fine. Cool. That's the first bit. Yeah. The second bit the same, very similar actually is, I'm going to turn the eyeball on these two. All I need to do is say hue, okay? The last JPEG here, I want it to be the pie chart base, I would like you to use as an Alpha Matte, and it works. Watch. But the problem is they're the same capacity, so this one is working, okay? But it's matching perfectly with this one. What we'll do for this bottom J pink is we'll add under "Effects and Presets," go to hue, grab "Hue and Saturation" add to this one here, this JPEG and lower down until you are happy with a good clear enough difference between the two. Okay. That is how to mask images using After Effects. What we might do now is, remember we talked about, we had that center. It was this dumb thing in the middle here. I could use that as an Alpha Mask. I could leave it here because the background is the same but the center needs to slice this out. What we're going to do now is blow your mind with masks inside masks. Remember this guy can be used as a mask but only for the thing directly underneath them, and we want to do it to all the stuff. What we do is we right-click them. We say pretty composed, we've grouped them all together, so we're going to call this my " Pie Group," now you can reach out to the guy just above him and remember that was inverted. This is the opposite of what we wanted before. Difference now is that it's a big hole in the middle. If I need to edit the pie chart, I need to double-click the group, go inside of it. There are the layers that I just put there. Have I blown your mind? I hope not. Maybe I have. It does get like that. You might forget that last little bit and just carry on with the big circle in the middle. Let's get on to the next tutorial. 37. Masking Version 3 Opacity percentage slider: [MUSIC] Hi there. In this tutorial, we're going to do this, with this image wipe thing goes. We've even both percentage counter back. It's an easy one. Let's go and do that now in art graphics. First thing is, we're going to make a new project, then we're going to make a new composition and I call this one Color Bomb. In HDTV we're going to make it five seconds long and make sure the background color is black. Click ''Okay.'' We're going to bring in an image. So File Import, and I'm bringing this jpg Color Bomb and I drag it on to my stage. I'm going to lock it so it doesn't move. We're going to draw our little transparent box. It slides across it. It's like that. Remember that color circle that we use to create the donut on the pie chart. It's not that fancy. It's easy to do and the effect is pretty cool. We're going to go to Layer, New and we're going to make a new Solid. Make sure it is black, and give it a name. It's going to be called Transparent Box. We're going to slide it across. But first of all, let's change the transparency of it. Down here and click on Transparent box, click T for transparency or opacity, and get it down to something that looks good. You can slide it across. Mine is at 65, it's clear definition of that line there and put it back to where it was. Go back there. We need to add some key frames. My play is right at the beginning. I'm going to click on the layer, P for position, start the stopwatch, and after some time, I'm going to get it and click it and hold it and drag it holding shift just to get it going across. If you're finding that hard just drag this little slider as well. Now this is going to be 90 percent. So 90 percent of people of creatives use Photoshop as part of their creative work. Now 90 percent of this color burst, I'm not sure how you calculate it, so I'm just going to guess it, which is if you're a data scientist and you're watching me probably this whole tutorial series, you're cringing when I'm just going, that'll be fine. You want to calculate it properly, I'm not in this case. That's it, moves across. We need to do a few things. We're going to do some parenting first of all. I need to add the easing, first thing we always do. Let's get a look at this and then we'll get some stuff to parent to it. Carry on because it's a few little tips we're going to learn. We have used the easing to get it to look nice and it told a backup now. I want to add a line so it's a little bit clearer because that's fine, but I like a little line across there. Move your play here along so you can see it's completely stopped. Grab your painter, pick a stroke color by clicking this box here, I've picked an off gray. The size of this may be three pixels and I click once up. I'm going to make sure it's just high enough to cover that part of the color burst, holding down shift. I just click once and then holding down shift click once again. Now I'm going to have to zoom in a little bit just to see space better. Move across. It's there, just going to move across a little bit, so it's right on the edge of that transparent box there. Trouble is, it is not connected. What we can do is make sure your play head is all the way at the end so they're both lined up and then all we do is paint them. Let's actually rename this one here. This is going to be my line. Parent them, I would like my line to fall on my Transparent Box, please. You guys be buddies. That's parenting, a few other things that we're going to do are textbox and at the end we'll bring in our percentage timer again and the cool thing about that is we can just cheat and I'll share a cool way of cheating. When it gets to the end here, I'm going to grab my rectangle tool, makes you got nothing selected. If you do have something selected, like if I have my transparent box selected then I start drawing at objects, becomes masks. I don't want to do that I'm going to undo, so as to make sure we got nothing selected down here, then grab the rectangle tool and draw out a rectangle for my type. Now, mine's already preset because I was playing around with this, practicing this tutorial for you. What you might have to do now is go up here and click on the color, pick black. Could do with fill and transparency down to something else. I'll go minus 65, stroke on the outside, I don't want then I click on Stroke, click None. I've got my little box for my type to go into. We're going to put our text in there. I've got some text in the exercise files, but it's not that much, but I'm going to go out and grab it. It's in the 08 file, our mask and it's got Photoshop. I'm going to grab this text here and grab my Type tool, click once, paste, and mess around with the type. I'm going to maybe adjust that a bit just to get it to fit in there. Problem again, it's not playing along so make sure you play hit is along with it. It all stopped and then say you too parent this Transparent Box. Everybody's following the Transparent Box. Nice. The next thing we're to do is we're going to put on our percentage counter. We don't have to do it again, so we're going to cheat and steal it from another project. Once you've done a lot of these things, you do a lot of copying and pasting, or stealing, or File Save As, and just adjusting it because this one here be particularly easy to adjust for lots of different data points because you just change out the image in the back, change the text your way. What we're going to do is double-click and hit import. We can actually import other aftereffects files. In your 08 Masking, I've put one on encode 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 you hit on number counter, what happens is it brings it in, these number counter into this little group. That's everything that was in that project. Inside of here, there's the compliment and what we can do is double-click it. It's there, something I made. You might have some font problems because I adjusted this middle one here it's the last. I like it, it's free, it's part of Typekit. All we need to do is here I want that and that. I want the 53 percent and the percentage sign. They're on two different layers, hit Copy and close down this Comp. Now I'm on my Color Bomb, I'm just going to paste and move it along to about there. We need to adjust the numbers now because at the moment it's working, spacebar. It's the keyframes on 53 that are most important, so I have that selected, these are keyframes. What I want to do first of all is probably drag this one back to the beginning, and then, because that's the one at zero, then this next one I want to be wherever this thing finishes, it finishes about there. You come along buddy. The other thing is that the data is wrong, so it's 53, with this selected, click on this one here called Effects Controls. If you can't find it, go to Window and go to Effects Controls. I can't even find it, it's in here somewhere. What I want to do is change it from here and I want to change it to 90. I know where it is now. There it is, Effects Controls. That's it, we've borrowed it, it's working, we need to parent it. Do the exact same thing just make sure because you parented back here, say is the beginning here, and I parented too early Transparent Box. It works, but that's a reference point. Watchbye, so I'm going to undo, before I parented both of these, make sure my playhead is where everything stopped and then bingo parent to the Transparent Box, it's the Pied Piper box. Everybody follows him. Let's kind of begin at the edge. I'm going to add motion blur because it looks cool. I'm going to close all of these down. It's easy to drag across them all. Make sure it's on the whole project+. It's going to take a little bit longer to preview. You might not like it, I do like this. That my friends is a cool little transparent wipe to show our data, and we learned a few things for parenting and how to steal from other comps. 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 going to get a line to follow the building here. We'll get that text to type on as well. Look at that. Nice and easy one. Let's get into the tutorial. First thing we're going to do is we're going to bring in our video. I've got a new project open. I'm going to double-click the project window and try and double-click it. We're going to bring an Aerial moving dolly. Now this particular technique, I'm going to make comp from it. This particular technique was really good if the artwork is just moving in a straight line: up, down, left, right, diagonally, as long as there's going straight, this technique is super easy and quick. We're going to work on something a little bit more complicated in the next video, but let's get this one out of the way. What I'm going to do is I'm going to rename my comp because it's got the same name as that video and that just makes it confusing. I'm going to call this one my Pointy Line. Cool. I've got this video here and what I want to do is maybe point to one of these windows. I'm going to start at the beginning, I'm going to put in some text. The text is going to go on a bit of a black backgrounds. I'm going to go to the rectangle tool and one thing to do is remember I'm going to start drawing now. If I use my rectangle tool, when I have a layer selected, it's going to create a mask. It's not what I want. I want to click "Off". I got nothing selected and I'm going to draw a little box down here. It's on its own layer. I'm going to give it a fill color of black, I'm going to give it down here hit transparency. Lower the opacity of it. It's going to allow my text to be seen but not be too big. It's not big enough. That'll do. It's going to strike on the outside and we're going to add our type, it's in our exercise files. Called Night Fact, this Night Fact does not exist. I couldn't find a really good one online. I started to find something interesting, but I couldn't so I made one up. We're going to grab the type tool, make sure nothing is selected here, click once, paste, I'm going to break it into two lines, I'm going to move it down here, I'm going to make it a bit smaller. That's the wrong one. That's the font size. That's a factoid. Now, we're going to do a line. We're going to grab the Pen tool and like before, if I have this text selected and I start drawing on it, it actually creates a mask on that text, you see no new line appeared. I'm going to undo, just have nothing selected. Grab the Pen tool and the stroke here I'm going to make this gray white, I'm going to make it five pixels wide. I'm going to have the line going from here. I'm going to pick a window up here. I don't even know which one. I got to pick one, that one. I'm going to pick that bottom left corner. I'm going to click off, play it through, that is obviously it's not attached to it. Back to the beginning here. To get it to animate, we're going to open up this. Shape Layer 1 is our line. I'm going to rename it and call this one Line and pull it down and inside of here we're looking for contents, we're looking for shape, we're looking for the path, and this is the path we're going to set the key-frames for it. We've got a key frame at the beginning, then all the way along now, my window actually disappears off screen about there. I'll show you how to fix that up. I'm going to get to about there, there's the window, there is there before it disappears. Now to move it, it can be a little fiddly, you still need the Pen tool. What I find is I'm going to close all this up and I'm going to click down here into no man's land, so I have nothing selected. Click back on it with my Pen tool. I'm going to click the line that I want to change, make sure your play heads back at the beginning here. No, it's not. Back there. Click once. You can see the difference between these two lines. One's selected, one's not. You'll know by dragging it. If they both come with you, you've done it wrong. Click off, click back on. It's a little fiddly. Now, I'm going to move it over here. Frame 1, it starts there and it just follows along. Because it's a nice straight line, we're going to preview it. It's going to follow along nicely. if you've got any bend on it, it's going to be a little bit tougher and we'll do that in the next tutorial, but that's how to get lines going. Now, ours is going pretty slow and it looks quite cool when let's say we do it so that maybe that pint glass comes up nice and fast. It looks quite cool. You can point at things like pie chart that's coming out and get it to move around. If you only came for the line, that's it. I'm going to do a couple little things with the type just because we're here and it feels like it needs to be done. First of all, we're going to trim up the video because it gets to here and then the line disappears off and then it's hard to do so I'm going to get it to about there before the line. It finishes at about that 12:04. I could go to composition settings and just change it from 12:04. I could type it in there, but what most people do is they'll use this in here, the workspace area. We've used it before where we tied this in. Remember, you just want to preview in a little loop. What we're going to use is we're going to hold Shift grabbing this end, that's the big gray box. Hold Shift, it's going to 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. Now it's locked this in but off. It hasn't changed the movie, your video hasn't changed, or been edited, just the compares. Your video just runs off the edge here and doesn't get played. Now, it's going to get to the scene and stop. That's how to trim up a video. The other thing we're going to do is this text here. I wanted to type on like a typewriter. This is a nice easy quick trick. Under Effects and Presets, type in typewriter. Typewriter, click hold and drag it, add it to the 40 percent text layer. It's pretty much ready to go look. Type. There are adjustments you can go and do. Under here you can drill down and look under Text and this is Animator that's being applied. Cool it down and these are the two key frames that are being applied. I find actually just clicking on it, hitting view, give me the two key frames that I need. You could speed it up by bring them closer together, or slow it down by splitting them apart. Somewhere in the middle. Feel like I could say Jason Bourne in some country doing some special stuff. But anyway, that's our little line thing. We're going to save it there and work on something more complicated in the next video. I'll see you over there. 40. Real Life action infographics 2 Camera tracking: Hey there. In this video we're going to do some tracking motion, and I'm going to track part of my glasses here and gets some ticks to attach to it. You can say see those little dots. Luckily, we don't have to do the manually. So what happens when I preview it. Let's get a full screen, and look at us. Hey, that attaches to my face and moves around and it's pretty automatic. Let's go and do that now in after effects. First thing we're going to do is we've got a new project open in my project window. I'm going to double-click in here to import, and I'll bring this one called Track Motion.mp4. More pitches of me talking. Let's make it comp from it either right-click it and go to new comp from selection, or you can click and hold and drag it down to this little icon here. It makes a new comp. So here's my comp down here called track motion. There's my MP4 on it. Now I'm going to zoom out so you can see the whole thing. More pitches of me, exciting, and I've wiggled round while I'm talking in this. You have a preview and listen to it, but it's me rambling on. I moved around like an idiot so that's there's something to track. Otherwise if I just keep still obviously, it's not going to be very exciting. So let's have our playhead right at the beginning, and the first thing we need to do is open up our tracker window. If you can't see it, it's over here. Go to Window and go to Tracker, open it up, have this layer down here selected, and click on the one that says "Track Motion," not camera. Track motion. Here, this little target in the center here. Now one thing before we move on is that we've actually dive. That's our composition that we're looking at a second ago. It's actually opened up our layer. We've dived inside of it. Remember the beginning, we showed you how to double-click and you get lost inside of here. We're actually inside of here now. So if you lose this tracking point, you are like, "Where they all go? " Just click on this option over here. This little toggle here is what we're going to use to track. What I'm going do is at the moment is quite small, so I'm going to zoom in and just make it a bit bigger. To make it bigger, we've got our selection tool and it's going to make that bigger and make that bigger. The two square's bigger. I'm going 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 or the target in the center so just drag in the lines here. See here, you can drag them and it's easy to drag. I'm going to zoom in and what we're going to do is pick a targeting point. It's really easy on mine because I've got my glasses here. There's this little square. The cool thing about that square is that it appears the whole way through the video. 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 well, that's not so good because there's a bit of reflections on my glasses. That doesn't have a very good contrast there. You might use the edge of the mouth or nostril, something that appears the whole way through. Okay? Remember we're going to drag it along until we find the center of that. Cool. So we've got to squeeze in a target. What do they mean? This outside square is like a general search area. This, I say have a look in this area because you can see it moves around. So I'm just giving it some boundaries to say look inside this area for this guy. If it ends up jumping outside of here, it's going to lose the track point. The reason we have this outside square is that it's quite system demanding for after effects that go through and start tracking data. So if we have this like massive covering the whole thing, it's going to take forever to look inside of this in every frame. So just keep it as small as we can. You might have to trial and error. I can see that. Does it dive out? Nearly. Okay. So I might just move it so it's a little bit across there. Cool. So that's my tracking area back to the beginning here. This inside area here is what you put around like a unique object. So my case, I'm going to put it around this glasses here. Okay. I'm going to make it a bit bigger. So this lens here is a nice, easy thing for after effects to track. Its got a top and a bottom and a middle and signs and corners. So it's just really easy for after effects to say, "I can follow that." It might be around the whole eyeballs. Say you track in the pupil with a target and just put it around the eyeball here. Because I got glasses on, they make a nice easy thing to track. If you checking a car, you might put it around the number plate, but track a certain letter or work it out for your specific need. Now the target thing, here's the important, but that's the thing that we're going to target. I want to track that guy there. Cool. So outside bit general area, inside bit the specific thing to make it easy for after effects to not lose this target. 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, and we can see everything and we're going to click this one. Where are you? There he is there. So there is two options; there's Analyze forward at 1 frame, or there's Let it go automatically. So one frame just does one frame. We'll just have a look at it because it's interesting. 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, as long as this thing keeps on targeting it's little part, right there. Just going one frame of my video over and over again. Now, if yours keeps losing it, there's a problem. It could be that the things moving too fast so it gets all streaky and blurry and you might have to go through and readjust this thing every single frame. That will drive you mad, but be aware that not everything can be tracked. So play around with this. Go forward a few friends to see if it does keep tracking. If it does, great. We can have the automatic one and see how well it does. If it doesn't, what you might do is decide, that's not working tracking this thing here. You might track the other side. You might check my ear, my mouth, try different things. Okay. So I'm going to hit this middle, play, analyze forward, and we're going to kick back, and hopefully it's going to do it automatically for us. Cool. It's going reasonably fast frame by frame. You can see it tracking through there. It's almost lost the tracking point. It's lost it. It's back. So we watching that tracking point and you've got to decide. It went down little bit but because this thing is a bit more of a generic follow is almost as following the motion of my hit I'm not worried that it got off the center, and got into the corner. So you've got to decide how pixel perfect you need this thing to be. 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, and let's zoom in along now. Okay. Has it tracked? I looked away I wasn't really following it because it took a while. I'm watching the little dot, I'm just watching this target here. You can see. Follow the dot even when I went all the way out here, I followed it nicely. Now if you find yours doesn't, you're using the exact same file as me. Couple of things to check is that you might have to play around and maybe expand this outside box, maybe readjust this middle box and maybe pick a different target, should work though. Also if you get lost remember, you back here, and you're like "What happened to all the dots? They were there but now they're gone." Let's just go back into here and there they are. So we've got this far. What do we do with this tracking data? Weirdly, we can't just attach ticks to it like we want to. I want to bring in that speech bubble. So what we need to do is we need to do one little trick for after effects. So let's go back to the beginning here. So a little trick we need to do is we need to create something called a null object. Remember a null object is just an empty layer. Think of it as just a completely blank, empty layer. That null can follow these tracking points, but that null doesn't do anything. But what you then can do is you can get your speech bubble to track the null. So it's a bit of a way to make it work. So you say layer, I want to null, please. It'll empty nothingness down here in you track panel, you can say I would like to hit a target. Yes, I'd like to target to be that null. Click "Okay." Then the last thing you need to do is click "Apply." Would you like to track X and Y? Say, "Yes Please." So now we've come out of that tracking layer. We've come back into my comp, but now my comp, whereas remember before it was completely blank. Now it's got this red dot all across it. That's my null following around. Look at it go. The null doesn't do anything if I hit "Play." Okay. So there's nothing there but now can bring in anything and get it to parent to that null. You could grab the Type Tool and start typing. What we're going to do is over here in my project window, I'm going to bring in my Speech I just made this an Illustrator. It's not very special. I'm going to drag it in. It's got a nice big long shadow. I don't know why I did that. Just wanted to cast in the background here. So where do I want it to go? It's up to you. Just put it somewhere, and what we'll do is we'll parent it just so you can skip ahead if you want to. So the speech bubble, I'd like you to follow the null. Okay? Remember the null follows those tracking points. Cool. It's not bad. Cool. That's it. You track the motion, then you get a null to follow that, and then you parent something to that null. What we're going to do is I'm going to unparent it. I'm going to get back to the beginning. Unparent it because I want the speech bubble to pop out as well. So we're just getting into some generic animation now. So you can skip ahead if you like. So what I'd like to do is beginning here I'm going to hit "S" for scale. I'm going to get it to come along. I don't know, maybe this far into it. Second-and-a-half and I'm going to hit "Scale". Now am going to start the stopwatch. I'm going set it to zero, and after just a little bit of time, I'm going to get it to go up to a 100. Okay? So actually what I'm going to do is I'm going to do something different. I'm going to undo and show you what I did wrong. Okay. So that's great. I want to do this, but I didn't want a scaling from the bottom. See that? There's the center of rotation or the anchor point. I want to adjust that first. Okay. So I'm going to grab the anchor point tool. I'm going to put it to the end or tip of this speech bubble because that's where I want to expanding out of. Cool. Now I'm going hit scale, now am going to hit zero, come along for just a little bit, I'm going to pump it up to a 100. It's just going to look a bit cooler coming out of there. Does it look cooler? It's up to you. Cool. Instead of easing I'm going to use my expression. I'll paste that in there. That's not what I want. I want this thing, copy it, delete that, paste it in, and hopefully now it's going to do a little bouncy thing. Cool. Now, it depends on where, you have your play head because if I might play it here and now parent it, it's going to follow it from this point on. So it's going to be coming out of my eyeball. Look. Watch. It's weird. So what I'm going to do before I parent it is just get my play head right back at the beginning. Okay? I'm going to say you parent into the null from here. Only that much stuff. 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? Yeah, it is. So the only way round that really is to manually move at every key frame. We did this earlier on. Remember we're in here and we said one frame forward. We had to move it. One frame forward. Move it and you have to do that. Sometimes it'll track the 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 work out really well. So half the time works, half the time it doesn't. It's really cool effect anyway. That's going to be it for this one. Let's look at the next video where we do some manual tracking madness. 41. Real Life action infographics 3 Manual madness: Hey there, and this video we're going to do the last one of this tracking. This one, we're going to do it manually frame-by-frame. It's going to be monotonous. I'm going to show you some tricks to speed it up, but there are just times we just manually need to track things in after effects rather than trying to rely on things like motion tracking. They work some of the times, but not all the time. We'll also do the red box there. We're going to do that where we're going to use limos instead of opacity and of course we'll use the typewriter effect. All right, let's get in there and start making. We're going to continue on with the same project. You can open up a new one if you like. It doesn't matter. We're going to make a new composition. We're going to call this one line madness. It does get a bit maddening. We're going to have it five seconds, colored background, black and we're going to bring in a file and it's called 'AdobeStoc', it's in '09 Real Life'. We're going to put it in here. It plays, it's got this cool letterpress, old-school hand powered. It's foots pushing down this thing in old-school letterpress. So we want to follow some bits and pieces. Now it looks like it goes up and down, but it doesn't. It goes around and around a circle because of all the gearing. So we can't just use our technique from earlier. Remember when the New York just slip past nicely. It's not going to work. So we have to do it manually, keyframe by keyframe and this is true of lots of real life action stuff. The camera tracker and motion tracker thing works occasionally. You end up just manually going in and fixing it anyway. So in this case, what's going to manually do these little lines? So what we're going to do is have nothing selected because remember if we have our pen tool and this layer selected, it doesn't create new layer, just makes a mask on top of the video. So pen tool, nothing selected. I am going to select about there and I'm going to pick, I'm going to zoom in and I'm going to probably use, what I'm going to use, probably going to use the top of this bolt here maybe just the center. The center is always there. I can always see it. Great. So that's my first part. So now what I want to do, I'm going to zoom out so I can see everything. I'm going to click off, make sure you play hits at the beginning and I'm going to open this up and we need to get the keyframes going. So I'm opening the 'Shape Layer 1'. I'm going to rename it. I'm going to call this one, my line. We're finding this one called 'path', set the timer going for path and now we get to work and basically we got a frame-by-frame move this thing. So let's get in there. The one thing to do remember is to click off, click back on with the paint tool, where is my line? Then click on this endpoint once and you'll notice there are different colors and if I get the wiggle, it's attached. So what I'm going to do now is, I'm going to show you how I do it. Okay, I'm going to zoom in, doing it manually. What I actually might do is follow this thing here. It's a little bit clearer to follow. You can't move the timeline alone and you move it up and you move the timeline alone and you move it up and you go bananas. Now, you might think, man, there's got to be an easy way. Camera tracking or the motion tracking works some of the time but I often find specifically short clips as five seconds long. It's going to be fine. It'll take me maybe four, five minute but you can spend half an hour trying to get camera tracking working and yeah, so my advice to give hands on and just get into the rhythm and just stop moving along a few key frames using a few shortcuts and I'll show you those now. So instead of moving the timeline along and then trying adjust it. It can take forever. So what you do is you hold down command on a Mac or control on a PC and can see down your cursors and the arrow keys up, down left, right, just tap the right arrow and just move. You can see my timeline is moved along one frame, you go forward and back. So I'm zooming in and then next frame, along, next frame and you do get into a better rhythm. You can get even more shortcuts going because if I go command to the right and I just use my cursors without command. So just my cursors nothing else holding down keys. I'm just tap this thing around. If I hold shift when I move it, it moves around in big chunks. So we're getting a little bit short cutting now, but, so command right, to go along a frame and then shift using my arrow keys to move it around in big chunks and then I can let go of shift and just tap these just to do little baby pieces, say command, big pieces. Command plus big pieces, little pieces. Command right, shift up, down, left, right. So what we're going to do now is, speed this up because you're like, man, I've got the hang of it. How long can this take and I'll time myself and see how long it takes. We've been messing around a bit and it's been really the way through. If 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. Lets go through fast mode. All right, I'm back. How good does it look? Let's have a look. I was out there for about, I don't know, seven minutes, six minutes, something like that. It follows pretty perfect, frame by frame. The problem, I guess is that, you can barely tell that it's so perfect. So you might have skipped every second frame and done it. Now, if I was doing a live action like the last tutorial, totally need line, because it's so long, you're going to need to try and get tracking going but just know that a lot of the time, plural grunts are lining pixels up frame by frame. All right that's going to be the end of tutorial. We're going to finish it off like you saw in the intro with a bit of a box and some type. So you can hang around. I'm going to make sure nothing is selected, grab my big rectangle tool, give it a fill color of red. I'm going to give it no stroke. I'm going to draw out a box like this. We've been lowering the opacity up until now. I'm going to call this man, give it a name, 'Red box'. Great then. So we're going to transparency and a closer let down and lowering it down and that it looks okay. It's faded box. It looks good on black but for colors are just washes out, I feel it does anyway. So we're going to look at something called 'layer modes'. So with that selected, instead of using opacity, we're going to go from, you might have to toggle from switches to modes. Remember track mattes from earlier on from parenting. We want modes and I want to switch from normal, and if you're from Photoshop or any other design program that uses layer modes, it's the same here in After Effects. It will really depend on which option. There's no different one to use. 'Multiply' is pretty consistent. You can see there it's codes you see it just interacts with the background differently. Unfortunately you have to go through and click all of these to figure out, do I like ''Lighting'' or do I like 'Soft Light?' They all have really 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 Multiply, I think. Multiply, its dark, but it kind of mixes with the background a lot nicer and I'll add some type. So in your exercise files, there's one called 'letterpress fact'. I'm going to copy that and then here we got the type tool. We've been clicking once a lot of time and just typing it in and manually putting in returns. I'm going to click hold and drag, so it's a box and it's got an edge on it. Now, I'm going to paste that ticks in. I have to lower the fonts so it fits in. Cool. Let's go to fit. My problem with that type is, it's probably not going to be readable, may be, is it small? We're going to add that type, I've picked 'Courier' just because it looks like a typewriter. So let's add that type effect. Select typewriter, drag it on and hopefully it's going to go along there and then start typing. Awesome. All right, one last time through we can watch a little line go up and down and we will little type command. 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 MP4s in particular. The universals' sharing video file. We're going to do a really super-duper, high-quality version and then we're going to do one that is really low in file size, but still really good quality. Let's go and do it in this video. First up, go to 10 exporting and open up export line graph. This is the thing we're going to be working with. We made most of this earlier on, I've edited a few little extra bits. To export it, you've got to make sure you export the comp, you don't export the project. Because sometimes you go up to here. We're going to go to this one that says add to Adobe Media Encoder. If that's grayed out, it just means you've got no comp selected. So you got to say, I want this one, the line chart one. Select it down here in my timeline. I want you to go to Adobe Media Encoder. Click on that. In the background, Adobe Media encoder is going to open up to a separate program and there he is. There is my line chart. Hopefully by default, it might not, but we're going to pick H.264. This is the really common codec that's going to give you the most common play on all devices at the moment. It's going to create an MP4. Everything else, to be honest, isn't used. With using MP4s, its the main go-to thing at the moment and by default it's just going to work. We're going to hit play and it's going to start to render. You're going to watch it down here, my one is belting along because it's not that complicated animation. You might have an animation that's got a bit of a camera work and motion blur and blur is going Gaussian, blue's going on, a fix, and that exact same animation might take 10 minutes, because there's so much to do. If you are doing something like man Dan's went quick, why is mine taking so long, it might just be that actually there's lots to do. I've got lots of animations on here that are really short that I'm doing for my own personal work and they just take a long time. It's go off, get a coffee time. They can take 30 minutes, if they're really long, they can take hours. It's a overnight job. To be honest, I've gotten nothing now that goes over night. They're all short little things for the Internet. Let's go figure out where I put it. In my exercise files, this didn't exist a second ago. That was the thing we opened up, and this thing is being created. It's the same name as my project, but it's added this AME extinction on the index. Adobe Media Encoder. I don't like it, does it anyway though. I'm going to open it up and there's my MP4. 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. I'm going to preview it, and that is an HD quality ready for the Internet. Awesome video thing. That's the quick way and 99 percent of your work is just going to be exporting it in MP4, uploading to YouTube or Vimeo or to your website or to your WordPress site, or whatever. Can go to TV there's no reason that can't go to TV It's HD. That was nice and simple and pretty much that's what's going to work most of the time. I'm going to show you a couple of little things you can do to get the file size down. Let's say yours is quite big, mine is 1.5 megabytes. I'm going to open up another file now and see if I could do something a little bigger. I found this one, its one we did earlier, we've got a camera going now, things are moving around, there is a video background. Let's have a little look at the difference, same length, basically the same animation. Let's have a look at exporting it. We're going to go to composition, we're going to go to Adobe Media Encoder, and I'm going to have to switch to Media Encoder. Here it is. This is the first one that's done, it's darkened out and its ticked, it's finished. This one here's going to go into the same place. We're going to do two renders. We'll do one on high-res, to see what the file sizes and see how long it takes, and we'll do another one and try and get the file size supper small, because we might be using it on a website that just needs to load fast or you're e-mailing it to someone. Let's click play. How much longer is this one going to take? It's not going to take a huge amount longer. It's estimating around. It's not a two minutes, it's dropping down quite quickly. What you'll find is, as long as something's moving. It kind of guesses wrong, and as soon as the thing stops, this line is going to start moving again and then it's going to go back up. 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 this star base we've made. I'm kind of just filling now while it goes along, you get the idea. We'll get the editor to speed it up. Go. It's done and guess it took a long time. That little seconds counter meant nothing, it kind of took about double that. Went and got a glass of water, I am back. Let's go and check the file size. Back to my exercise files, under exporting big files. Here you see is, I know it's only 6.7 megabytes, but it is like a lot bigger than the 1.5. It's a good few multiples bigger. Let's go and look, and let's say we need to get this. It's going to be on our website and we want to keep the file size really low. Let's look at a little bit of that. What we can do is instead of having to go back into After Effects and re-export it, you can actually just grab this one and say make a copy. The cool thing about using Media encoder is that after effects doesn't really do anything, you can just go back in here and start working. You can close it down, and after a media coder doesn't need it to be open. What we're going to do is we're going to use H.264, and where it says match source, we're going to click on this. What we're going to do is, we're going to look at how to get the file size smaller. We can untick export audio because there is no audio in this one. Got no audio, going on. The main thing you can do is actually reduce the actual physical size of the file. You can see here on the video tab, at the moment it's full HD. Can turn that untick that. I might put it down to standard definition, 720. It's not going to half the size, but it's going to be a lot smaller, but let's say I can't do that. It needs to stay the same size. What I'm going to do do is I'm going to come down and the main thing you can do is I'm scrolling down here is bitrate settings. This is the magic potion. The way to think about this is, if you know sort of other design products, this is the quality slider. You can actually go particularly low. You've 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 of 12. You're giving it some boundary, say try 10, but up to 12 if you need to, what we can do is we can get it quite low. We're going to go down to two and maybe add a height, maybe at five. You can go low. I want you to take out around two quality, but actually you can go up to five if you have to. 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 two what needs to be five. You can do it twice and the file size goes down and the quality goes up, but the processing of the rendering takes longer. It's up to you whether you got the time to do it. 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 info-graphics are not going to be, nobody's going to go more. That was pretty bad because that little bit of quality wasn't there. You might disagree. Let's click "Okay", and so we've got a custom one now it's going to go into a similar place, but I'm going to call this one at the end here. I'm going to call this one. Low res click, "Save", kickback, hit "Play". It's going to take a little longer in the encoding because I've gone into two paths. We'll speed this one up properly now, lets go. That one took forever and let's go and check it out. Bigger files, there's two in here, Low res is one. You can see the Low res one is a lot lower in size. Let's check the quality. It's going to be a little hard to do because you're probably watching it somewhere where, all places have their different quality options. I'll be your eyes and ears. Low res is at the bottom. This one at the top. I'm getting in real close. Wait, there. They are exactly the same. I can't see the difference. You can save a lot of file size by going in and playing with the bit rate. That's the main thing I do if I need the file size to be nice and small. If you're going up to something like YouTube, you probably want to keep it as high-quality as you can. If you're going up to social media and you're not too worried about like they're going to see it on a phone or something quite small, and you've got to dumped loads of them up there. You probably want it as small as you can so that it's not taking forever to upload. The new thing I'm. Guess I'm just giving you the skills to go on and be awesome in After Effects. That's going to be the end of exporting MP4s. Let's get on to a couple of the other export options before the end. 43. Exporting for Microsoft Powerpoint: [MUSIC] Hi there. In this video we're going to put in our line chat into PowerPoint, and when we go to the next slide, prepare yourself. All right. Autoplays. Cool. Blends in with the background and looks all nice. All right. Let's go and do that now. We're going to export our little infographic here and get it out to PowerPoint. There's not much we need to do. Okay? So we're going to go to Composition, we're going to Add to Adobe Media Encoder, and probably the biggest thing for PowerPoint, isn't going to jump to video encoder, is the file size. Look at this one hanging up in 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 going to 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 who's presenting might not be using our super capable laptop and things just can go awry. So my advice is H.264, click where it says, "Match source." We can do a little trick where we get a video and down to encoding. We're going to make it nice and small. Two by five, that's my one. I'm going to leave the VBR at one and if this physical size here doesn't need to be as big as it is, I'm going to make it standard definition, regular old TV, which is 720 pixels high. Cool. I'm going to give it a name. Instead of calling it Live Chat_2, I'm going to put it in this same folder we did it under exporting. It's going to go into the same AME file. I'm going to call this one Line Chart PowerPoint. Let's click Save, let's click Okay, let's click Go and Do it. While it's doing it, we're going to jump and be super-efficient and keep working. While it's going, is I'm going to export what's called a poster image because the moment the beginning of my video is blank and that's what's going to appear in PowerPoint. It's going to look like nothing. What we want to do is a poster image. So get your timeline along until you got a nice good view of everything. Go to Composition. There's one that says, "Save Frame as." It's not going to export the whole movie, it's just going to export just this one frame. Okay. We're going to go to File, and it ends up down the bottom here. Yours might look a little different. Can I get rid of that one? Yeah. Yours looks like this. Where's it going to go? Just click Render. Makes a happy little noise. I'm going to close down that render queue, go back to my comp and let's go check out the files that are created. Two of them, that's my poster image. I'm going to rename this one and call it Line Chart Poster Image. Okay. There's one in here called Export Line Graph, and there's my PowerPoint version. It's very small. Okay. I've got it down to 0.7 megabytes, even down from the other one we did; it's because we changed the physical size of it. Let's go and look at how to put it in PowerPoint. I've got PowerPoint on a Mac, it's almost exactly the same on a PC. There's just a few little buttons lists on a Mac, you got more control on a PC. Okay. What we're going to do is going to get a new from template. Why? I don't know why. Okay. I'm going to find one that I like. Do I like it? I'm going to use this one, Facet. Cool. I'm going to undo that. I'm going to insert a title slide, okay? There's already a title slide. Okay. I'm going to adjust this one here. This one's going to be my Social Media Report. Okay. Cool. I'm going to add a new slide, just a regular old blank slide. There it goes there. Cool. What I want to do is I want to put in my video. I'm going to 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. Let's go and find my Export Line Graph. That's my PPT one. Click Insert. Now, even the standard definition is quite big, so I might even go back and make it a little smaller. We are going to have a lot of different infographics in here. What you need to do is go and test it on the kind of presenting laptop and realize it's probably going to go horribly wrong and work towards that. Make the videos really small. Make sure the quality's there. If I click on this one here, it looks good. Okay. But you also want to make sure the physically, a little bit smaller. So I might make this may be 500 high cause I've got it quite small in here now. A couple little adjustments we're going to do is that when this thing is playing, I want it to autoplay at the moment when this thing loads, this thing autoplays. What I want to do is when we get to the slide here, I want it to autoplay. Then we'll update the poster image. Because at the moment, by default, if I click on my video up here where it says, "Playback," it's when it's clicked. So the presenter has to go and click it. That's often not what we want to do, is we want the person to move to this slide and just stop playing and stop at the end. With it selected on playback, start when clicked or start automatically. Let's go into Presentation Mode. Just have a little look. If I go to View and go to Presentation View, you see it just started playing all by itself. Lovely. Okay. That's autoplay done and it just pauses at the end. I'm going to hit escape, get out of my preview. The other thing I'm going to do is you can see here, if you have it when it's clicked, the other way of playing it, there's nothing appears. Okay. So I'm going to 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 instead of looking like it's just hanging out here doing its own thing, I want to match the background color, and the poster image is going to help with that as well because there's a big color change. Watch this, it's this color and I hit play and watch it get a lot darker when it starts playing. Okay. Just to do with the video codecs, there's some strange things that go on in the compression, but the cool thing is is that my poster image is the same color. What we're going to do is click on the background. Go along to Design, find your Format Background. Actually, we're not ready for that yet. We need to do the poster image first. Click on the video, go to Playback and we're looking for Video Format and we want this one called Poster Frame. Okay. We're going to go Image from File. We've created that one, it's in 10 Exporting. There it is there. Our poster image, Line Chart Poster Image, click Insert. You can see it's the right color now, so it matches it and when it's not playing, it's actually looking good. Okay. But when I play, it looks nice as well. We're going to match the background now. We have to do it once the poster image is up because we're going to steal the color from it to match the background. If we did it while it was still that light color, nothing is going to match up. Okay. Background selected, it's got a design. Let's go along to Format Background. Okay. Where it's solid fill here, color, and I drop this down, I'm going to get more colors [inaudible] and I steal this color, click Okay, and now our little video is just a little bit more integrated into my PowerPoint presentation. Let's go back to the title slide. Let's go to View. Let's go to Presenter View. Okay. There's my title, and I use my arrow key to go along, and woah, look at that. Pretty. Okay. That's it for this video. The big thing is to remember is this thing doesn't need to come in a Full HD, especially when you're scaling it down, okay? Play around with how big it can come in and how good it's going to look through the projector, through the laptop and more importantly, the projector it's getting used on, if it's going to be a presentation. If you go into your, maybe your video bit rate, make sure it's nice and low; two and five seems to work nicely. Exploit that MP4, then make it autoplay. All right, that is the end of this video. 44. Animated GIF: Hi there. In this video we'll get a look at creating this. This is an animated GIF that can go out via social media and be shared via 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 going to look at the way to do it. You don't want bending like this and the file size is huge, let's go and look at all the tricks and tips to make a GIF and to make it super small for your sharing social goodness. First thing we'll do is open up something to export as a GIF under 10 Exporting, let's open up this one that says pie chart GIF. I open that up. That's our first project. What we're going to do is go through the process. We'll show you the do's and don'ts for animated GIFs. The actual physical process is not that hard, but there's a few things you need to take into account because file size can blow GIFs out of the water and there's things you can do to minimize that. We're going to export this one as is. This is little thing going on here. How long is it going to be? The length is quite important. Five seconds is quite long for a GIF. Twenty seconds is really long. Anything more than that it's probably not even going to work. The shorter it is, the better it is. That's one of the things we need to do. All I've done is my work area. I've dragged the end of that because that's where it finishes. I'm happy for it to loop from there on. I'm going to "Composition". Lets go to "Add to Adobe Media Encoder". Cool. In here all we need to do is make sure that it's an MP4, which is this dropdown here, H264, leave everything preset and what you'll notice is I'll just show you in here. You don't have to go in but you'll notice that it is clipped to my workspace area automatically. You can see down here, you see it's already clipped and it's clipped to my work area. If you want the whole thing you can switch it there. Cool. That's the only thing we need to do. Where are we going to put it? I'm going to put mine on my desktop and now a AFX files. This is going to be pie chart and this one's going to be full color. I'm going to save this one here. We're going to do another version. We'll get into render at the same time to jump back into After Effects. Cool. Some of the problems with this one is that we edit a vignette, you can see to the top yet unlock it. It's edit this gradient effect all the way through first delete that. It's going to reduce the colors a lot. It looks like just one or two colors but there's actually thousands of colors that make up this gray blend. I'm going to get rid of the vignette. Try not to use any gradients. Some of the other things you can do is get rid of things like motion blur. Because when these things are moving, it's actually generating a whole bunch of other colors. It's not just that purple that we're using. There's a bunch of mixtures of that in the background to make this blur happen. See this made just put 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 many as this. The motion to off can say file size as well. It's up to you whether you can live with it out having motion blur, animated GIFs you just have to really. Smaller the file size, the faster it loads and the better it does in social media. I'm going to export this one as well. Lets go to Media Encoder. That's why I love the Adobe Media Encoder. You can to read it After Effects the option just underneath. You can go to there, and that will stop After Effects working while it's rendering, whereas this you can queue them all up here and when you're ready hit play and go back to After Effects and start working. I'm going to save them onto my desktop again. I'll call this one Simple Colors, click "Save" and we're going to hit play and it will just render them both out. The one thing you'll notice is down here you can see it's playing through. It's rendering this one and it's taking a while, why? Because it has to random motion blur in all these extra colors, mainly the motion blur. It chugs along doing it and we'll speed it up now. We're back. I just want to show you, you can see how fast the second one goes because there's no motion blur in our gradient. After Effects likes it more as well. Let's go now and convert them into a GIF. To do it the best way is to use Photoshop. I've got Photoshop open here. This can be a bit stressful on your machine, so you'll notice I've closed down After Effects and Media Encoder, the less opened the better for this, could be how cool your GIF is. We're going to file open and on a desktop we have AFX files, then here there's the tools, so the simple 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 MP4. They're exactly the same files but this one has a vignette and motion blur on it so it's physically nearly twice the size. Lets open it in Photoshop, all we got to do is click "Open", they can go to "File", go to "Export", and go to this one here you have to use Save for Web if you using the new fancy one, export as, you're not allowed to. Save for Web Legacy. That took ages to open. If you're finding yours takes longer time to open, don't worry, it does. Let's first of all just export it as is just to see some comparable sizes. What we want to do is stick it on a preset and start with the top here the GIF 128 color dithered so at least we know we're all on the same page. It's going to take a little while to readjust this whole thing. You can have a maximum of 256 colors in a GIF. That's why you get that weird grainy look from a GIF. The lower you go the smaller the file size the quicker it will play, so 128 in this case. I'm going to go all the way to the maximum 256. This square here is will the colors that it can use and let's just click "Save", put mine on my desktop, in my After Effects files and it's click "Save". This can take a little while as well, depending on how big you GIF is. Let's do the second version. File Open, there's another MP4 and it is the simple color vision. Let's go to File, Export and Save for Web. Everything will just run fast because everything's easier. It's going to use the same as last time so I don't need to change anything. Just going to wait for it to stop. Let's hit Save. Same thing, save, kick back and relax. Let's go and check the file sizes. My desktop, a fixed files and here is my two GIFs. There's one and there's the other one. You can see the difference in size. Still quite a simple animation but without the motion blur and the vignette, it's a lot smaller. It's about a third the size. In terms of file sizes, if you get near two megabytes, you get into big this one I could live with this. The only trouble with it is that it will take longer to load cases. Say you're putting up a Facebook or Instagram, it just won't load very quickly because the file size is so big, so the lower the better. I think there are some restrictions on file size for Instagram. That's a double check. But they both look good. I'm previewing mine on a Mac by hitting space bar. If you're on a PC, I'm not sure. Maybe right-click and open it up in Internet Explorer, that'll be able to preview it for you. This is good. It's an 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 Photoshop and close down the full colored one, is I'm using simple colored version and I'm going to File Export, Save for Web and what you want to do is play around with the image size here. Mine is in full HD. There's never a need for full HD animated GIFs. You have to wait for this thing to stop spinning and then we'll put it down to a better size. You might also play around with the format. We know the Instagram and Facebook like a more of a square format, so you might design it in after fix. Because this one here would do really well as a square one because there is nothing really going on the sides here so I can adjust that. It's probably easiest to do it in after fix before you come in here. In here, what size is it needs to be? Have a little look at recommended sizes for your specific social media application but let's say I want mine to be 500 pixels high. The other thing we need to double check down the bottom here is looping. Mine looped once by default, if you wanted to keep looping, that's pretty much how everyone wants their GIFs. If you take this one here, it'll just keep playing and playing. The other thing we might do is that we are using 256 colors, but we just don't really need it because it's not that big a deal. Well, not a lot going on so I can get to 128 that Jim really does exactly what I need it to. Looks fine by keeps a file size down. Once this is finished, we'll click "Save". I'm going to save it out here, and this is going to be my 128 colors. Let's just see the difference. In here my exercise file is 128, you can see it's a lot smaller. It's about half the size, the least is still looking pretty good. There's enough colors making it happen and it now loops. That's how to make an animated GIF. Let's look at things you can't do. Our little biograph was perfect but if you use one of the exercise files in here, so I'm going to do this in Photoshop. I've made a little Live Action version. In your export files, so this one called large GIF dot mp4 so I've made this little video. It's only 1 second long. I just want to show you the difference between simple stuff like our lovely biograph that just has simple colors even with a vignette. Then this one here, which is live action, which is got millions of colors. Let's see what happens. In Photoshop file open and let's find him. He is in my exercise files number 10. Large GIF. First of all it might open. It'll definitely open here, sorry. The bit that it might not open in is export Save for Web. You might be sitting here for a million years for this thing to load. Especially if it's more than a couple of seconds long. I've done this with longest stuff with full action, my Photoshop just wouldn't do it. We're going to do the exact same settings as we had before, we'll leave it at HD and the colors wise we'll put it to 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 stuff, save. I'm going to call it a large GIF and stick it in here and my exercise files. Then we're faster than I expected it to have a little look at how big it is this top After Effects files. Here is my animated GIF, it's only 17 whole megabytes. Our earlier one, what did we get it down to? Our smallest one was 0.1 Megabyte, this is up to 17 and it's only one second. This one here is about five seconds long. There's just some things you can't do live actions, not good. Simple colors are great. Let's have a little look at two last things before you go. One is that we went through Photoshop, file open and we did the Export as Save for Web to get our GIF. In a previous version of Adobe Media Encoder, remember when we use After Effects we say save to Media Encoder and opens up in here, we pick MP4 and then we pass it on to Photoshop to make. There was actually an option here that said export as animated GIF. Animated GIFs became super lame and nobody wanted to do them because video was cool and new. They removed it from this. Double-check that your version of Media Encoder like this was made in 2017. Check that when you got the new versions that I haven't put it back in here. I mentioned they will because it is becoming popular again. Just check, you might be able to skip that step. I said there was two more things, that was one of them. The last one is to check out this man, his name James Curran. He does animated GIFs, period. The cool thing about his is that they loop perfectly for ever. They've got some sort of like hypnotic thought but I can watch them for hours. You can just look at his and get an idea of pure animated graphics and that loop perfectly. There are just brilliant loops that he's come up with. It's only a few seconds long, but you can just keep on going. There's lots of stuff in here. Let's have a quick little look. I love this stuff we did. Go and check out his for ideas especially how we get his looping. If you want to actually see his technique on YouTube is how to create GIFs, Adobe Creative Cloud, this one here is the 13th of April 2016. That's go ahead with an interview. It's quite long but it's really cool and I found it useful anyway. My friends, that is the lowdown on animated GIFs. Let's get onto our class project next, exciting. 45. Class Project: All right, so it's class project time. What I've done is and you exercise funnels, there's one called 11 Class Exercise and there is an MP3 in here. It is a voice over for a company named Craft Espresso. It's a fictional company. I'd like you to create an info-graphic for that. Have a listen through. It has no rules, no restrictions, I'd just like to see it at the end the case. Go through, build an animation. If you run into any problems or if there's things you like, oh, I wish I could do that though, drop me a comment, I'd love to help you out. When you're finished, upload it to either YouTube or Vimeo and send me a link. I want to see it. Know from me, the people that actually ball that going and doing these exercises, are the people that really remember the course. It's not until you actually have to do stuff on your own before you like, oh, thought I knew that? Go through and figure it out, go back to the videos and creates real learning. CMEA files, I'd love to see it. No restrictions on what you can do. It can be simple, can be amazing. You can spend 10 minutes on it, you can spin it out. If you think it's lame, don't worry. Everybody's going to start some ways still saying that to me. I'd like to see it. Remember, you can also use this in your own portfolio, so stick it up on your side. You could use it as an animated gif or put it up as a YouTube link. You have total rights to use my voice over and craft espresso doesn't actually exist. You can create a logo for that if you choose. Let's get on to the last of the video series. 46. What next: We're at the end and what do we do next? My advice is don't forget to do that class project. It's amazing what you'll learn by doing that. You'll learn more doing that class project on your own than following another 50 course lid videos, I promise you. Drop in your results, see what you do. I'd love for you to post them on something like YouTube or Vimeo and share a link with me, I'd love to see what you're up to. The other thing you might do is, I've got another after weeks courses for motion graphics. It's a bit more generic motion graphics than it is like the specific course and there's a lot of other things that we cover. That'll help you boost your after effects skills. It's pretty fun some of the stuff we do in there too. We covered a little bit of Excel and Illustrator to supplement this course, I've got full courses on both of those software. If you want to become more awesome at both of those, go check them out. Other than that, this is the end. I've got a chichi next. But that's a chichi, this is my last like me talking to you. Thank you so much for being part of this course. Last thing is, leave me a review. Remember reviews are super awesome for me, and my course, and my career. But yeah, I'll see you in the next tutorial, hopefully. All right, bye. 47. 2021 After Effects New Features : All right, the very first feature that I want to show you is Roto Brush 2 and this distracting text. Roto brushing if you don't know, it's a way of masking things out so that we can get wiggly text. That's super distracting, bouncing around in between me and the background. Roto brushing 1 has been around for a while now and it was okay. Roto Brush 2 is pretty amazing. It's using machine learning, which Adobe calls Adobe Sensei. It just stops from that frame-by-frame, either dragging your pin tool anchor points around or cursing Roto Brush 1. It's pretty amazing. It's just come out of beta so everyone should have it now. Let's jump in and I'll show you how it does and we'll do wiggly text because it looks cool. All right, Roto Brush 2, we are going to go to New composition from footage. I've got a new project open. If you want to play around with the exact same example, there will be a link for this file below this video, download that and you can import it, turn it into a comp, here it is on the layer. To use Roto Brush is this option here. Roto Brush has been around for a little while, Roto Brush 2 is what we are using. So it works the same way. It's just way better. If you've never used Roto Brush before, double-click on the layer you want to mask out. You'll notice you go from being in the comp where we just were inside the layer. That's important if you're doing Roto brushing you get lost otherwise. All we need to do is click hold and draw a really bad version of me. So just like the outline go on the inside, you don't even have to get close to edge. Just somehow magically goes, do you mean this person? It got close. It's moved a chunk here, so you've got to be a little bit better. All right, do you see the purple magenta line? But look at that. Scrubbed the edges. It's perfect. Okay, I've picked an example that is not absolutely perfect because I want to show you our real-world. So I'm going to zoom in a little bit, command plus spacebar, for the hand tool. You can see my ear here. If I want to add the ear, what I got to do is just not holding anything down, just paint over the ear and say actually get this for me. It depends on how much detail you want and how much time you want to spend painting things in. But these bits are probably useful. My glasses, people need ears. You can remove bits, let's say it's got a bit that you don't want holding the option key on a Mac, Alt on a PC and you can stop painting around. We are going to keep this quick, so I'm going to zoom out. Actually, it's got a fit and what I want to do next is just make sure my planes right at the beginning here, and I'm just going to click Freeze. I'm not even going to do a full Roto Brush, I'm just going to see how it works and get click Freeze, kick back, relax and you can join me in a little bit, we'll speed it up. Now this is going to be pretty good for. It's not a high-quality video. It was shot in HD at the lowest quality setting I've got on my camera and then compressed to be used in this exercise file but you'll notice that. See all these little purple lines, they're falling pretty good. If you've used Roto Brush 1, you'll notice that about the stage, it's starts creeping into the background and then grabbing the window, and then grabbing everything and losing half your head. But look at it. I did nothing, you paint in the ear and it's doing a pretty amazing job. So I'll speed it up and I will see you in a second. All right, it's done. So mask is made, you just got to come out of your layer into your composition and there's my mask. Against black there is some bits we need to touch up. We can either fix it with the reduced cheddar, it's a good start and feathering just a little bit. It's coming together and we shift the edge in just a little. You can shift it negatively or positively. Okay, I want to shift it a little bit. Nice, feel like little bulb on the top of my head. The trouble is that bulb is, there's like a tiny little bit of hair lift. So it's accurate. It doesn't look very good. So what we'll do is we'll add some text behind it, and we'll do that thing like you see at the beginning. So I'm going to add some text, and this is going to be capital secret. Okay, move to, put it in here, turn Caps lock off otherwise nothing appears, down here in your layers, put it behind. But yeah, that's Roto Brush 2. Now I'm just going to add foreground and background color to cut me out. Please do it, just because, I'm going to have one in front and I'm going to fill the background with the rest of the background. I'm going to copy and paste this layer so there is two of them, one of them get behind, the one behind with it selected, a fixed control. I'm going to turn the Roto Brush off. Going to fill the background out and look at this. Hey everyone, I've got some exciting news. If you want to mute that guy, he's over here. Look at that. Let's print this out real quick. All right, so now my computer is stressed out. It's reasonably good it's just recording video whilst doing it. It doesn't like it. Look at that. It's perfectly in the background. Obviously you can spend a lot more time doing it frame by frame to get it going a little bit better. More traditional Roto Brush techniques. But again, we could be spending the whole half an hour learning how to Roto Brush. Other things you can do with Roto Brush 2 is you can send it from standard to high-quality, which you probably should if you've got the time. Here version 2, you can set it back to version 1, if that's what you want to do. Also decontaminate colors is great when you've got the opposite. So I'm contaminating the background with my big orange hoodie. But if you had a big orange background and a white hoodie, it would be contaminating me. So you can turn this on, and it will stretch the edges and you can play around with decontaminating the edges and moving in and out to try and get that color cast to stop prepping around. One thing before we go, let's look at a fix, is that a wiggle. Wigglerama because that's cool. Crank up the positioning to 500-ish. It's given a little bit of nervousness. Now back to the beginning and preview. That is Roto Brushing 2 and Wigglerama is not new, but hilarious. If you've never done Roto brushing before, get my after fixed course, if you know how roto brushing works and you stop using it because it wasn't very good, give it a go now, you'll find it gets a lot closer and a lot quickly using the Pinto and moving anchor points around. You know what I mean. Before we move on, this is where I set your homework. You are like, homework? I didn't sign up for any homework. You don't have to do it. But if you do and you want to practice because that's how you remember things, I want you to do a couple things. The prerequisites is you need another head shot, like my version. Okay, but find either a vision of yourself. Find something from a stock Library site, like Adobe stock or Shutterstock or whatever stock you use or Pexels. Okay, there's lots of free stuff on their video. Take that, do your masking with Roto Brush 2, and then the word that goes behind them, I want you to do something with it. Might slide it, you might wigglerama it. You might find some of the other effects, but I want the word to be something positive. Beautiful, happy, joy, wonder, something like that behind it. I want you to share it with me. So upload it to Vimeo or YouTube and share on Twitter, Instagram or in the Facebook group. I'd love to see what you do and how you practice with Roto Brush 2. If you've never done it before, it's a good place to practice. If you use Roto Brush 1 before, I would like to hear your experiences of how good Roto Brush 2 is in comparison or bad, depending on what you're working with. Let's move onto the next new feature. All right, and this is the next feature, the features are called taper and waves. It's things you can do to struck, gets this blue thing spinning around my body here. Basically, it means that we can, now without using fancy plug-ins and stuff, we can play around with taper on strokes. You can see thick at one end, skinny at the other, that's taper and wave, as you imagine, it's the wavy stuff, so non-wavy, wavy, and put it all together and it looks like this. The actual animation is called Tapered, which will do just because you really need those to really get that good feeling of this new feature. Let me jump in now and let's show you how to make it. Tapered wave strokes. What we need to do is first create a stroke. So what I'm going to do is I'm going to grab my pin tool. Hey, that is one of the new features for 2021, can you see the pin tool. Has that little white square with a circle in it. It is suggesting that we had about to or make a mask, doesn't know what I want. I want to make an actual shape. So these have nothing selected down the layers panel, just clicked off. You see that little symbol change to a star. That's like after fix symbol for I'm a shape layer. I don't want to mask stuff, I want to draw our shape. I'm going to have no fill by clicking in here, click on the word fill, click None. Pick a stroke color, anything you like. The width you can change later on, but however big you want it now, is going to be the maximum width the stroke can be. I'm going to start drawing, actually undo that. I'm going to make sure I'm way back at the beginning. I'm going to draw something that gets down there and goes along here. See the stroke there, [inaudible] like 91. Okay, that's as wide as it's going be. It's going to taper at the end, like you saw at the beginning there. But something like this. All right? So in front and back. All right, and the taper is actually just straight up in my Shape layer. If I got my Shape layer, and find the contents, and I find my shape line, and I find my stroke, down here, these are new, taper and wave. So I open up taper. It's like the width to an Illustrator which I love. Grab the start length and drag it up, and [inaudible] up here. Hey, look at that. It's nice. You can animate that over time. Okay. So let's do that. Let's go full start length. You can do the end length as well, so get it skinny at both sides. Okay, I can see some cool animations happening in here. I'm going to have it at zero. Okay. Zero even. The other options it's got is the width. Let's look at the start width here. You can actually start it to be a certain size, rather than [inaudible] at the end. What I find it's quite nice is this easing. You can make it a little bit more blubby. Okay, can you see that? [inaudible] Is it uniform? Okay, in terms of the way it goes from skinny to thick at the end here, easing gets it a bit more, I don't know, organic. That's all we're going to call it. So that's taper. Let's have a look at wave. Crank up the amount. It'll depend on the size of your line as well before whether you get really scrunchy ones or really tight ones, but crank up the amounts and then go and play around with the wavelength. You can see, look at that. Okay, so you could do these through plugins and expressions and stuff, but now it's just the nice animatable feature within strokes. The taper one has been, I don't know, something that people have been wanting to do for a very long time, and now it's here, 2021 we're here. Obviously you can animate these, this go from for a bit, let's crank it up and have a look at the phasing. Look at it. It's great. Now, tapering is nice, and wave I guess is not nice, but it's there. But it probably only really becomes something really cool until we use something called a trim path animator. So let's have a little look at that. Actually before we move on, you can see the end here, it's a little bit hard to see. It's got a really flat end. The unfortunately named butt cap. We don't want you, butt cap, we want a nice round cap. So before we move on, let's go butt cap, lets go to round cap, and you can see a little bit more bulbous end, and let's close all this up. Under your shape layer, contents, add, let's find a trim paths. This is where this tapered thing becomes really nice. So close the let down again. Under trim paths, I'm going to have a look at the start and the end. Trim paths really, often you start with the end. Okay, so I'll make sure my play is big at the beginning and drag this down to get it back to zero. This is what we want to animate over time. So you might want to go from zero, start a little stopwatch, move along some time, and then get it to go all the way out to a 100%. That might be what you're looking to do. You could animate that wave along so it keeps wiggling. That's not exactly what I want, so I want it to do that, but maybe just after decide on how long you want it to be by dragging your CTI, drag this little play hit along. So you get it to be how long you want your blob to be. Okay, then you start messing with the start. I'm going to grab the start. It's going to start at zero, and then move along to just after this key frame. Okay, so just after the end finishes, I'm going to drag this up and get it down to that smaller size there. All right, so let's have a little look. Bloop. Yeah, trim paths is what we want to do. What else do we want to do? We're totally off script in terms of new features, but [inaudible] showing you them in isolation isn't what I'm about. Let's actually get them working. What I want to do is I just want it to disappear after this one. Shortcut, you may know it or not, hold shift, it will snap to the key frames. So I want to get to that key frame, and actually want to grab this layer and actually say you, my friend, I'm going to, holding shift again, it will snap to the play-head. Okay. I just wanted to finish there so that the bubble disappears after that second goes away. Let's add some easing just to make it look nice, and before we move on, select them all, right-click them. Go to keyframe assistant, easy ease, looking nicer. What you want to do is we're going to get it to go behind my head. Again. If you want to move on to just the new features, you can skip along, check out the timelines below. But let's get it to go in front and behind my head here, and the trick is, before you start doing that, we need duplicates of it. So it's best to get all your animation tweaked first before you duplicate it. Okay, so I want to add some motion blur, so turn it on for the actual composition, turn it on for the layer. You see it gets a little bit blurry. You'll have a bit of motion blur. How fast do you want it to go? It's up to you and your timing. I'm happy with that. If you want to adjust that afterwards, select all the keyframes, and my shortcut is the hold down the Option key on a Mac, Alt on a PC, and you can drag either of them, if they're selected and can you see it proportionately scales them up, rather than just moving one of them. They all stretch in a proportional manner. There you go, that's [inaudible]. That's good enough. All right, so now we've got two of them. We need to do that behind and front thing again. That's what we did with the roto brush. With the secret in the middle. I've got a shape layer above, which is what I want. I want it to be above here, but I do want it to be behind at the top there, so we need two of them. So I'm going to copy and paste it. So we've got one above my, let's turn the back off as well, so I've got one above and one below my cutout version of myself. So the one behind we don't need to do anything else because it's running behind. Let's turn an eyeball on the top one off. It's doing exactly what we want it to do. Because the one at the front only needs to appear here. So we need to make a mask. So click the top one, put an eyeball on it. I'm going to turn the one behind it off. Let's give ti a name. Click on it, hit return on the keyboard. This one can be Blob top, and this one here it can be Return Blob Bottom. Okay, so let's turn Return Blob Bottom off because he's all good. Blob, top. Blob, top. All I need to do is get him to where I want them to be. So here I want him to be visible, but not when he's across my forehead. So what we need to do is put a little window in, so we'll use the Rectangle tool. It's pretty easy. Make sure that top layer is selected, and just draw you in. Actually, can you see the shortcut, well, the little star next to me? What does it mean? Is it going to make a mask? No, it's going to make a shape. That's what that little star thing means. I am a Shape layer. You need to make sure. I don't know. I thought that seems like a really simple upgrade, and then I'm like, I've only been using this beta version for a couple of weeks now. Does everybody do it? I don't know. Masks when they should be shapes, shapes when they should be masks. So click on the masks, and actually just make a little window on top of me. Actually over the edges here. Undo. Okay, so I wanted to just cover this whole bit. So he's only visible here and he can't be seen at the top. That's where this guy takes over. So this is lovely transition between the front one disappearing here and the back one filling it in. Let's turn the background layer on, and ready, steady, go. Well, look at that, looks good as a loop. Let's get the workspace down here. Space bar. Look at how cool it is. What is it? I don't know, I think it's just social media stuff. You can just do anything. I feel like TikTok and Instagram stories have allowed you to go, I don't know, as a designer suddenly you don't have to worry about it anymore, you can just put stickers on everything and things can blob around. Let's do stuff. Anyway. So there is the new taper and wave, but of course we've had to use trim paths to make it, I don't know, make it exciting. This is what a concentric shape repeater looks like. This is the stars, there is a ride of things going on here, but it's the stars expanding out with its lines. If you're thinking, hey, can we do this with a regular repeater? You could but we had scale problems and yes, there's always a plug-in, but now you can do it built in to After Effects. Don't go looking for concentric shape repeater, it's kind of like the result that you make. All that's really happened is offset paths, which is not new, but then copies to so yeah, that is the upgrade. You can do these cool mesmerizing star things plus look, you can do it with your name as well. We'll do both of these now, there are slightly different techniques, but really offset paths has copies. Let's draw a little shape. Let's close down all the layers. Type U on your keyboard. Type it again a second time to close it all down, a nice little shortcut. Now this applies to shapes. You have to use one of these guys, polygon, ellipse, rectangle, star. We'll use star. You could draw it with a pen tool, copy and paste it from Illustrator, get an SVG from somewhere. Make sure you have No Layer selected and you can see the little star next to your icon. If you're not in your Mask, click on this option here. I've got No Fill, works better with No Fill, Stroke Color, Stroke Width we can adjust afterwards. Draw yourself a star. I'm at the beginning of my play head here, sorry, my timeline, drawing out star on random angle. You can adjust the width afterwards, something like that. Now where it is, under your shape layer, toil it down and have a look at contents. We are going to add a, where are we? Can't see it, brain not working, come on brain. Offset Paths, that's what we want. This is not new, it's been here a while. What's new about it, I've kind of introduced it and Adobe's introduced it as Concentric Shape Repeater. Don't look for that, that's just the fancy name they've given. We've added Copies to Offset Paths, but the nice thing about it though is w