Adobe After Effects CC: Lower Thirds Motion Graphic Titles For Beginners | Will Bartlett | Skillshare

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Adobe After Effects CC: Lower Thirds Motion Graphic Titles For Beginners

teacher avatar Will Bartlett, Video Creator & Entrepreneur

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

14 Lessons (1h 22m)
    • 1. After Effects Lower Thirds PROMO

    • 2. 002 Quick Overview Of After Effects

    • 3. 003 Creating Compositions

    • 4. 004 Creating A Basic Lower Thirds Title

    • 5. 005 Adding Animation and A Background

    • 6. 006 Basic Lower Thirds Title Part 3

    • 7. 007 Basic Lower Thirds Title Part 4

    • 8. 008 Creating A Professional Lower Thirds Title Part 1

    • 9. 009 Creating A Professional Lower Thirds Title Part 2

    • 10. 010 Exporting Your Lower Thirds Title

    • 11. 011 Using Shape Layers To Create Another Lower Thirds Title Part 1

    • 12. 012 Using Shape Layers To Create Another Lower Thirds Title Part 2

    • 13. 013 Using Shape Layers To Create Another Lower Thirds Title Part 3

    • 14. 014 Additional Mask Techniques And Final Thoughts

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About This Class

Welcome to the Adobe After Effects CC: Lower Thirds Motion Graphic Titles For Beginners Class!

Adding lower thirds titles to an edit will increase the production value of the video, but creating professional looking lower thirds that animate with multiple layers is very difficult to do in programs like Premiere Pro, or other editing programs. Utilizing masking techniques inside Adobe After Effects can create impressive-looking, high-quality titles that will take your video edits to the next level. You will learn some of the same techniques used in broadcast television commercials and large budget web content.

This class will start off by walking you through the basics of After Effects to bring you up to speed, this will include a quick overview of the various panel windows, as well as instruction on creating a basic lower thirds graphic, to teach you the fundamentals. From there, over several lessons, we'll walk you through how to create 2 additional professional and dynamic looking lower thirds titles, using 2 different methods.

You’ll learn how to:

  • Create Professional Lower Thirds Titles in After Effects CC
  • Export your finished lower thirds with an alpha channel so that you can effectively overlay your rendered title to see the footage below
  • Create and control text layers, solid layers, shape layers, masks and more
  • Animate keyframes to produce modern looking dynamic motion graphic name titles
  • Masking techniques to hide and reveal layers
  • How to create HD and 4k compositions and export

Your instructor for this class is Will Bartlett. He has been using After Effects since 2006 for commercials, feature films, and animated creative projects. He is the founder of an established video production company in Toronto and has been the Visual Effects Supervisor and Lead Visual Effects Artist on hundreds of projects including feature films and television commercials.

If you’re a complete beginner at After Effects, you will be able to follow along and learn how to create professional-looking titles, however, if you’re looking to learn other techniques and functions of After Effects, please check out our other course titled “After Effects CC: For Beginners” where you will get a complete overview of After Effects.

If you don’t have After Effects, you can still take advantage of this course by downloading a free trial off of Adobe’s website.

Meet Your Teacher

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Will Bartlett

Video Creator & Entrepreneur


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About me:

I've been a professional Cinematographer & Editor for 10+ years and a Content Creator for 15. Over the years, I've worked with dozens of production companies and hundreds of clients from Canada and the United States. I run several media businesses including a Toronto based video production company, an online brand that's trained over 350,000 students, and a Filmmaking YouTube channel called Alli and Will.

Categories I specialize in: Video Production (Filming, Editing, Visual Effects), Entrepreneurship/Business, Investing, Marketing and Branding.

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1. After Effects Lower Thirds PROMO: welcome to our after effects CC lower thirds titles course adding professional looking lower thirds that enemy with multiple layers can had a ton of production value to your video. Edits. Utilizing masking techniques inside aftereffects can create impressive looking, high quality titles that will take your video edits to the next level. I will be teaching some of the same techniques I've used in broadcast television commercials and large budget Web content. In this course, I'll be walking you through the basics of after effects to bring you up to speed. This will include a quick overview of the various panel windows as well as instruction on creating a basic lower thirds graphic to teach you the fundamentals. From there, I'll walk you through how to create two additional professional and dynamic looking lower third titles. Using two different methods, you'll learn how to export finished lower thirds with an Alfa Channel so that you can effectively overlay your rendered title to see the footage below. Will also explore creating and controlling text layers. Solid layers, shape layers, mask pre composing and animating key frames to produce modern looking, dynamic motion graphic titles. If you don't have aftereffects installed you can still take advantage of this course by Dell owning a free 30 day trial off adobes website. Thanks for checking this course out and I hope to see you in there. 2. 002 Quick Overview Of After Effects: All right, let's get started. We have after effects open right now. This is aftereffects CC 2017. And when you first open up aftereffects, you'll have something similar to this. If you don't have certain windows, you can always go to window here and then open up the appropriate window that you'd like. I'm gonna go ahead and explain the various panel windows for new users to bring them up to speed. And then we will dive into creating some simple textile over thirds and then move into more intermediate ones in the next section Over here on the left side. This is the project window. This is where everything gets imported, and this is where all your assets will sit inside your project. So, for example, you could double click over here, and then this would open up on area on your computer. And in this case, we have an assets folder with a file called Talking Head Back on HD. If we wanted to bring that clipping, we go down to open, and that clip is now inside our project. Beside it, we have the effect controls panel. This is for when we add in effect from over here into the layers that sit in our composition. And then once we click on a layer, the effects on that layer will show up here that we could make changes as we wish. Next, we have footage. Now, sometimes this is actually kept in this window here. So if you want toe, move it out, you can just grab whatever you want, written the name and then bring it to a different area. You know, see where the highlighted spot is. That's where it will go when you let go of it. And then you can see here that you can grab the sides and extend them if you want a larger view. So this is the footage window. If we were to double click on the file in our project window, it opens up here, and then we can script through and see what we're working with. If you wanted that larger again, we could do that. Next we have our composition window. This is where we can see everything that we're doing. So our footage will show up here similar to this. But this will be based on what is in our composition down here next we have the effects in presets panel window. This will come with a whole bunch of different effects and you can simply take one click on it, drag it onto the layer you'd like, or you can simply double click it when you have a file selected in your composition above it. Here we have the preview window. This is how to preview back your composition. Once you have some layers, you have you know the play button. One frame back, one for in ford. Last frame for us frame. You can set it up so the number pad zero on your keyboard will start playing. The range will be the work area that is this blue area here from left to right. That entire area there is your work area. It'll play from the current time. That means where your cursor is in the timeline. Down here, we have the resolution. I typically said that toe half if you want it at a higher quality, you go full or if you want to set to auto, that's fine. Appear we have our info. This will tell us where in our composition are. Most is based on the pixels, so you can see the numbers counting up there as I move the most. Around here, we have our character panel window. When we start adding some text into our composition, you can change everything Over here. Down here, we have our paragraph. This works with the text. This works with the character panel window in the text. If you select text, you can format it to the left center or right and your some other options. And then down here we have our main composition window on the left side. Here. This is where layers will be on the right here. This is where the visual off the layers will be, where you can stretch it. Chop. Um and this is where your key friends will show up. This is our render queue. This is where we will send compositions that were finished in order to turn them into a finished videophile such as an MP four or an M O V. If we click up in the project window here and click on the eight bpc, we have some additional options here. I normally keep it at eight bits per channel. But if you're working with a lot of grading colors. You can switch it to 16 or 32 and working space. I normally keep this to s RGB appear at the top. We have a whole bunch of tools on the left here. This is your main tool. You compress V on your keyboard to jump back to it. Once we have a composition created, you'll get access to these other tools and we'll explore some of those in a future. A lesson. And once again, if you are missing any of these windows, you can always go toe window. And then, for example, turn on the audio where the paint But for our purposes, we will not be working with those who will just close them. Okay, so that is a basic introduction to aftereffects. To bring up the speed as we go, we will be showing you how to use and key frames and a lot more other options, like adding solid layers, animating the solid layers, pre comping and much more so we will see you in the next lesson. 3. 003 Creating Compositions: welcome back, and in this lesson we will be creating a four K and also ah, high definition composition. And a composition is basically just a time line or sequence. So let's get started here up in the project panel window. This is where your compositions will show up. You can either click down here to create a new one, or you can go up to composition new composition. Another way to do it is you can actually grab your footage and drag it into the composition , and then that will add your footage to a composition that matches the resolution and information from that footage. However, I would recommend not doing it this way. So let's delete this. You're gonna the press delete on your keyboard, or you can highlight it and press the trash button at the bottom here and then click delete so I would recommend always creating a composition. And that way you know you're working in the proper resolution, as opposed to possibly working with a file that is, let's say 7 20 when you intend to actually create a project in HD or four K. What we're gonna do here is go to composition new composition and I've already created two presets here, so we're actually gonna start from scratch here. Let's go to NTSC Devi and in this 1st 1 we will create a high definition composition. We need to establish what the resolution is. The aspect ratio, the pixel aspect ratio, the frame rate and how long it will be down here to get started. Let's go to with and we will type in 1920. We will uncheck this year so that we can change. The height here will make this 10 80 and then we will lock it back again. And if you see a 1.78 that is a proper aspect ratio which is 69 for HD footage which is 1920 pixels across by 10 80 pixels in height for pixel aspect ratio. When working with HD, we want to make sure they are square, which means each pixel is as high as it is tall. It's perfectly square for for Emory. I always like to work with 23 976 and then resolution. We will keep it as half, and we can change that when we need it for a start time code will keep it at zero and duration. We can change this to 10 seconds and zero frames. Background color is black. That's perfectly fine. But we can again change this when we need it. We will go to okay. You'll notice that if we go to composition and then composition settings, I did not name it. So you can give your name there or you just hit, return or enter on your keyboard, and then you can give it a name. So for this one, we'll just call it H D composition. And now what we will do is click on HD composition, go to composition settings, and you will notice that it has selected the preset that I had already made because it matches the same settings. But if you don't have this and you can click the button right here beside the trash bin and that will allow you to give yourself a name, you can call it 10. 80 p 23 98 or H D 24 frames a second, whatever you'd like and then save that. And then you'll be able to choose that from the list in the future. Okay? And now If you're working with four K footage and you want to create a lower third, that will work well with four K footage, then we can go to with and put in the four K resolution 38 40 by 2160. We will keep resolution and half start time. Code zero duration is 10. And once more you can save this preset as four. K HD 38 40 2160 or four K 23 98 Whichever you prefer. Give it a name. We'll call this 14 k composition. This one will also have a background color that's black will go to Okay, we'll go to Okay. And now we've changed that 1 to 4 k. So now you should have two presets. One for 10 81 for four k. So for us, we'll just keep it at 10. 80. And we will rename this to HD composition so that we are working with the HD one. Okay, now we will take our talking head footage. We'll grab it and bring it into the composition. And now you can see that we have a layer in the composition. This shows us the composition name that correlates with what's in our project window appear we can turn that layer off so we see nothing. If we don't want to hear the audio in the layer weaken, Turn that off. We can sew. We can solo the layer. That's if other layers air. Here we can click that button to so it we can lock it so that we cannot do anything. With that layer, we can change the blend modes. We can parent it to another layer if we want to control it by another layer. And over here we have the visual representation of this layer so we can grab the beginning and trim it if we like or the end. In our cases, we will undo twice, and you can see that this ends before our 12th duration in this composition. And that's OK for what our purposes are. So in our case will just pick a decent looking shot here, and then what we'll do is right. Click, go to time, freeze frame and then this entire layer will be frozen tojust that frame and then we can stretch it to the end. And now we have a whole thing toe work with and the reason we want to do this is because this is just for reference. We're not actually going to be exporting this file in it. When we create a lower thirds, what we export will only be the actual lower thirds title and the rest of it will be rendered as an Alfa Channel. And that means that it will be transparent everywhere except for where are lower thirds. Title it so that when we take that file and bring it into our editing program and drop it above footage like this, then it will show up and we will see the footage behind it. So for our cases, this is perfect. We have in HD composition created. We've brought in our footage. We've made it the length of our composition just to reference. And in the next lesson, we will create a very simple lower thirds title to get started with your first lower thirds 4. 004 Creating A Basic Lower Thirds Title: Okay, Welcome back. In this lesson, we will be creating a text layer that will sit above our footage in our composition. So let's go ahead and do that right now. There's a couple of ways you can create a text layer. You can either go up here to the tool section. And now that we have a composition created, these tools show up. So you can either click this and then just start typing or you go to layer text. And what that does is you can see the red line that was created here. And down here there is an empty text layer. Now it's highlighted for a reason. That means we can just start typing right away. And then whatever we type will show up down here as well as over here. Right now, we're defaulted to Helvetica and we will just start typing. Okay, Once we've typed our title, we will change it back to the regular selection tool. You can either click up here a press TV and you'll notice that because there's a way background, that's probably not the best color to use for the text. So over here in our character window, we will select this year. Move it over so we can see our composition. And we will select a color that that better suits this composition. Okay, so just for the example, we will make it read. We don't want to make it blue because the shirts bloom. You don't want to make it close to white because the backgrounds way little Okay, the font size is 1 25 and its regular. If we wanted to make it larger, we just click and drag. Or we can click and type in whatever font size we want. Okay, so let's go ahead and bring that down to roughly where our title will be. And the reason they're called lower third titles because they sit along the lower thirds of your image. So that's where we have it right now. This would be the upper thirds. This would be their lower thirds. Now, if we wanted to edit it, you just double click, and then you can change whatever you like. Or if you select your type tool, you can click somewhere in it, and then you can go in type from there. So in our case, we will command A to select all, and we will justify everything to the left. And that means we'll have to go back here back roughly in the place. So it's double click. Go to the right press enter, and now you'll see that it is justified to left and we can start typing in position. Okay, Now, in one layer, it is possible to change the text size of parts of it. For example, like that. However, most of the time you'll want to create each one on a different layer, because then you have the options of moving each one independently on each layer. So what we'll do is because we're on the type tool. We will click at the end here and backspace to do. Eat that, and now, instead we'll create another layer, so we'll select nothing. Click the type tool and we'll click right below it right when the image changes, so a puree would edit this one. But instead we'll click a little lower and then you'll see credit, another layer ready to be typed in, and we'll call this content creator. Okay, we'll go back to our selection tool and now you can see we can move these around independently. Okay? And you'll see it snaps. If you don't want it to do that, then you can uncheck the button right here. And then you could move it up wherever you like. But I actually like the snapping one. If you want to get a closer while snapping zone that you can use your up arrows in your keyboard to go up or press it down to go down right and left. Same thing. Or if you hold shift while doing that, it will go by 10 pixels at a time. Okay, so now we have two layers here, one at 150 and the next one at 78. So that is a super basic lower thirds title, and in some cases this is all that you need. But most of the time you want to create it to look a little more higher end. You'll maybe want to put a background, and you'll want to have some animation so it animates in, animates out. So in the next lesson, we'll add a background and do a basic animation 5. 005 Adding Animation and A Background: in the last listen, we created the text, and now we will start to animated and add in background as well, so that it stands out a little more and looks a little more professional. So to do that, we need to create another layer. And just like in other editing programs such as photo shop or Premiere Pro, everything is based on the layers and how they stack. Right now, our bottom layer is the talking head, and that means it's in the background. And next we have the two text layers. If we were to take this layer and move it to the top, then that means the text layers are behind it, as you can see here, there, below this layer. So that's why we don't see it. So it's grab each one and move them back up on top. All right, we need to create a new layer in order to have a little bit of a background here. So to do that, we need to create what's known as a solid layer, and that is basically just a solid color that will fill the screen, and then we can crop it down to the size we want by using a mask case. Let's go toe layer new and we'll choose solid. The sold settings will open up. We have names so white solid one. Right now we will just call it lower thirds background. We want to make sure it's the size of our composition by pressing this button and for the background. What we can do is try something like this. For now, just like a gray color, we'll click. OK, you also click OK and now you can see that it has filled the frame. That and that's because it's at the top here. So we want to do is go into our composition and drag that to above our footage but below our text. And then those will appear. And then now you can see here that this is set to 33. That is our view magnification. So if you click there and change that to something a little smaller, then we can see around this, and the reason I want to do that is because up here you have the rectangle tool and you can either use the pen tool to draw around, and Macon area selected that crops everything else. Or if we undo that, you can very quickly use this rectangle tool. Or, if you hold down, you can get other shapes here. So for us, we'll just use the rectangle tool you can very quickly select from the outside of the composition. Here, you can very quickly click drag and create a rectangle shape just like that. So let's go back to our selection tool. We will click fit, and now you can see the outlines of the mask because this layer is selected in the mascot selected. So if we click down here on nothing that will be de selected. So if you want to adjust the name, we can click on the name in our composition here and then use our aero keys to find adjust it. And let's say the background here is a little too long. We wanted a little closer to the tea. We can make that change by clicking on lower thirds here and then clicking on the top mask layer and then hold, shift and click the other ones that both are selected. But the other ones outside of the frame or not, and then you can click and hold And then, you know you can move this as much as you want without affecting the other side. But if you hold shift at this point, it will snap so that you can move it without going up or down so that it maintains its perfect horizontal shape. Now let's say we wanted it to be a little bit transparent. We can do that by going into the lower thirds, and we can either do it right on the layer or we can do it within the mask, so I'll show you both ways. So in the layer you can either go down here going to transform. And then at the bottom, there's opacity. We can click and drag until it's as transparent as we'd like it, or if we want to do it a different way, we can do it on the mask so we'll go to mask capacity. And that will essentially do the same thing. And just to show you quickly have a mask, works, you can feather the edges. You can see what that does. We'll reset At zero. You can make the mass smaller or expand. It appears the mask path that defines where the points are and then appear, it said to add. We can change it to subtract, and that will show everything that's outside of the mask. So we want to create it has add, and we bring the mass capacity Backup 200. Okay, Next, we will make our screen size a little larger, so we'll bring this down. We will grab here, you make it a little larger, and then we'll notice that this has 49%. So we'll go down to you. Let's say 33% so that we have a little bit of a border and then now it will do is we will attach the content creator. We will go to the parent section. The Pickwick here will grab it and parent it to the lower thirds. And then we'll also grab the other title. And also pick with that layer to the lower thirds background as well. And that means that any movements we do to the background layer, these will follow because they are attached to it. So, for example, on this layer inside transform. If we play around with the position, you'll see the text follows it, or if we change the scale size. The text also follows that. But if we were to said these two none so that they are not parented, then the background layer and the text do not follow each other. So when I undo that too, that both of them are selected and that way we can easily set a key frame here so that we can animate it on screen and off. So it's undo that. So it's back in our main position and we will start to creating a key frame down. Our timeline we always want to do is set a key frame for end position because we've already created it and designed it to look like this and we will set a key frame position right there. And then we will drag our timeline to the beginning or we compress home on our keyboard. If we're using one of the larger keyboards and then at this point we can create a key frame for right there, and you can see that between zero and one second we have a key frame in another key frame, so if we scroll between them, you can see that nothing happens. That's because both key frames are in the exact same position. They're both set up at 9 60 by 5 40 Okay, so what we want to do is at the very first key frame. We want to make sure we're on that. And the way to confirm that is that it will highlight over here. As you can see, if we're off it, it will not highlight. But the second we go on a key frame, it will highlight. So let's make sure we're on that one. And then what we'll do is we'll take the position and we will click and drag it off screen . And now you'll see if we scrub through to the one second mark, it will animate on. Okay. All right. So if we press the play button up here in our preview, that's what it looks like. It will stop that. Okay, so we'll go to nine seconds and we will set a key frame, cause that's the position we want before it starts animating. And then we will go to the end or press the end key on your keyboard. If we have the longer one, and then create a key frame there. And now we have two key frames at nine and 10 and you've probably guessed that on the second key frame, we want to animate it off. So with the timeline, cursor on the last frame will confirm that that is the last frame. Because this is highlighted, we will again go to position and drag it off screen. Okay, so now let's watch what we have so far. So for a second it comes in and then it's counting for seconds 567 and then when it gets to nine, it'll start animating back end and then it loops again. All right, so we have successfully created a very simple, animating lower thirds. And at this stage, if that's all we wanted, we could now turn off our background layer so that there is nothing there. And then we could export this with an Alfa Channel, and that will be a Finnish file that we can import into an editing program. And once we dropped on the timeline, this will show up in our footage will be seen 6. 006 Basic Lower Thirds Title Part 3: All right, welcome back. Let's turn on our back earlier. And if you're not seeing it, that's because we have the solo button selected on those layers. So it's close this up now to make this look a little better, I would suggest matching colors in your scene. So because we're using a background and the shirt is blue here, it might make sense to add blue to the text instead of the red. So let's go to the text layer and change that. So we'll go to the 1st 1 will go up here, we will choose the eyedropper, and we will select a blue on the shirt here. Okay, And then we will adjust it so that it works a little better and we'll do the same for the bottom this time. Let's maybe use the other color on the shirts, the black, and we'll just change that just a bit. And then we can also go to the lower thirds, go to layer sold settings, and we can choose a color here that maybe fits a little better, so I'm gonna lighten it up. And also this is a little tall. Generally, titles look better if there are a lot more wide. So what we can do is take the content Creator one and go up a bit. We can also take the name title and go up with that, and then we can go into the lower thirds, go into the mask and because we haven't created any key frames on the actual mask, we've done the animation on the layer itself. We can move the mask itself and it will stay that shape throughout the whole animation. If we were to have said key friends on the actual mask, then we have to make this change to every single key frame. If we wanted that change happen through all of it. So in this case, with the layer selected but the mascot not selected, we will click on just one of the corners and you can see that this is highlighted and the other three or not. So we just want to hold shift and click on the two bottom ones. So those air selected, Then we will click and hold on one of those and again hold shift at this point so it snaps in place and bring it up just a bit. Okay, So that is how you adjust the background mask later. Once you have created it, another thing we can do is apply ingredient to this. So it's not just one consistent color we're going to hear and type in that will bring up a few different options. I like to work with the Grady Int ramp effect so we can either grab it and drag it onto that layer or with this layer selected, weaken DoubleClick and then up here, in our effect controls. Because this layer is selected, we will see the effects on that layer. This has the ingredient ramp effect, and you can see that we have the start color, black and and color white. So we want to make these to a little more consistent, but one of them a little darker. Okay, so we'll go to maybe that and the other one will make it much later. Okay? And it hasn't done anything yet because the start of ramp and end of ramp are in places that do not really do anything for us. So let's grab the first start one, and we'll bring it to their and you can already see what that has done so well, grab the end one and bring it to their. So now there is a greedy it ramp that goes along the background layer, and if you want to click this one, we can do that. Or if we wanted to grab this one and bring it there. And if we hold the space bar and then click and drag, we can move the whole layer to reveal something that was off screen, and we'll grab this one and bring a little closer, so that is a little more of a quick changed. And then it's consistent over here. That just gives a little bit of life to this. Another thing we could do is add a drop shadow. So it's going to drop, and we will bring that to this lower thirds background here and by default. There's just a subtle drop shadow. So what we want to do is increase the distance to double and will increase the softness to 10. And now there's a subtle drop shadow so we can press the effects button here to show you the difference. So if you watch down here, you'll see, and that could have some depth to the lower thirds in order for it to stand up just a little more and also keep in mind. Because those effects have been added to this layer, all of the effects will still work and follow the key frames. 7. 007 Basic Lower Thirds Title Part 4: Okay. Another thing we can do is move the timing around so that the animation happens a lot quicker. In order to do that, let's go to the lower thirds down here. We'll close the mask. We will open up the transform and that allows us to see the key frames. Or what we can do is press you on our keyboard to reveal all the key frames and a layer. So let's close every emotion. An example of that. We'll click that layer, impress you and then just the key frames on that layer will show up, and this makes it a lot easier. When you have multiple layers with lots and lots of key frames, it'll just reveal the key frames that makes for easy changes. And visually, it's a lot easier to understand what's going on. Okay, so between zero and one second here, let's grab and select those key frames. And be sure when you do that, to not select the actual layer, but to grab on the empty space so that those air both highlighted and then we could move those if we want, and now nothing will happen until it reaches this point. OK, and show an example of that a little more. So we're playing it. Nothing's happening. The key firms here, and that's when the animation starts. Okay, so it's undo. To go back to here will undo once more to get it back to the beginning. Right off the bat. I think the animation is too slow. So let's zoom in by other pressing Zoom in here, for we can press the plus button on our keyboard and let's go to about 14 frames or so and dragged this key frame to there. So now the animation will happen between 14 frames instead of 24 frames. Okay, so let's go to 16 if we think that's too fast. Okay, so I think that's pretty good. So let's reflect that on the other side will squirrel, but in the end, it doesn't need to be exactly the same. You could count the frames if you'd like. All right, so now let's play that and it comes in very fast. And then once it gets to the end here and it meets our justice fast, that looks pretty good. Okay, at this point, you have some text. You have a grading ramp you have a background layer, a drop shadow, it animates in and enemies out. So this is pretty good for starters. And in the next few lessons, we will be creating some professional looking lower thirds that have a whole bunch of different layers and that animate in different ways. So I will see you in the next lesson. 8. 008 Creating A Professional Lower Thirds Title Part 1: All right, guys, welcome back to the next lesson in this one, we will be creating a new one from scratch. Let's go ahead and import our image. 001 We will create a new composition. We will choose R H D composition preset 10 seconds is fine. We'll click. OK, will drag our image down into our composition and then we will right, click it in the composition, go to transform and fit to cope. And this is the image will have to reference in the background when we're creating our lower thirds title. So the first thing we need to do is create some text. So let's go to the text tool. And this time I'll create on the right side. So we will click there and we'll type in the name of the person just making up a name here . We'll bring that roughly to the spot. We will create another title here below it, and we'll give her the position of entrepreneur. Okay, we'll go back to our main selection tool. Remove that roughly into place will increase the size of her name. 90 and entrepreneur will actually go down. Teoh, say 70 at this point, we can zoom in a bit. All right, So let's just move these over just a bit. And now we'll save this project since it's an actual lower thirds that we will be keeping. So go file save as, and we will call this lower thirds. What? Okay, so it's click on the first text here by their cooking. Their or in the layer will change this fall into its a light. Okay, that looks a little better. Will bring it up just a bit. Okay. Next, we'll start creating some background. There's will go to layer new solid. And for this one, let's make it something similar to the background here. So we'll choose the eyedropper and then we'll just adjust it a little more. Something like that, I think. Sure, it's a comp size press. OK, we'll drop it to above the background there, and then we'll go back to our rectangle to like we did it. In a previous lesson. We will draw shape. Okay, Something like that, I think, looks good. Okay, then next we'll click on the layer and then we will grab the very bottom one here so that the other three are not selected. We will click on it, hold shift and then drag. It left a bit so that it has an angle the space below the P. Here. I want to make sure the space on top. So we will grab that one hold shift, Grab that one of the top two are selected and we will use the up arrow to make it a little larger on top. Okay, And then we will grab both layers here by holding shift in selecting both. And then we can hold shift in, press the left arrow on a keyboard or click and move them. And I think the name should come down just a bit again. And the next thing we'll do is create another layer, and I'd like it to be the same shape. So instead of creating a brand new layer and trying to match it, what we can do is just click on this and duplicated by pressing command D or controlled the on the PC. Now we have two layers here, but one is on top of the other. So with the top one selected, we will hold shift in, press the down arrow on our keyboard or click and drag, and now it's just a little lower and we can do the same going left. That doesn't look very good right now because the same color let's actually take the bottom one. Put on the top here, okay? And then let's grab the top one, which is the lower one. Now that we've moved it and we will go to layer sold settings, then they will change this. Let's say, ah, light blue, And then we will bring it to below that layer. Now, maybe you will make it a little darker. Okay, Maybe will make the top one a little later. Okay. Next will add ingredient to this. Okay. And then what we'll do is go into this layer and we will copy this code. And then at the greedy it ramp to our top layer will go to the top color. We will paste in that code. We'll do the same of the bottom, and then we can just make it a little darker. And then we will place the's in a certain area and then move them to the position. So just so it gets a little darker on this side. Great. Something like that, and then we'll do something similar to the bottom. So in the bottom layer, we're going to solve settings. We will copy the code place on ingredient ramp, go up to start color paste in that code, and you seem to end color. Okay, And then this will make a little darker and again place those roughly in the spots and then moving around to see what it does. So you can see here on the bottom right side. That's kind of filling in. So I think about halfway looks good, and that will make this the darker color. All right. And that gives it a bit of life. And I think maybe the top one could still be a little brighter. So let's go ahead and go up to that. Okay. Next, let's add a drop shadow. We will place it on both layers, so on the top layer will go into effect controls. They will increase the distance to 10 in the softness to 10 and then on the bottom layer will do the same. And then on the top layer, we will change the opacity to 25% and will change the direction to more to the left, and they will do the same to the bottom one except believe opacity at 50. And now let's say this entrepreneur has a logo. We can add some sort of other element here, all right, so we'll create another layer here. And because we still have that code copied, we could go to paste again. And then we will bring it down to right there. And just so we can work and see what we're doing, let's go down to a passage and put it to about 25% or so. And then with that layer selected, let's go up to the rectangle again. We'll click and hold, and then this time will change it to the rounded rectangle tool and just off screen. Here we will click and leave it something like that. Okay, so now that we have that selected, let's go back to the opacity. Bring back up to 100%. Let's go back to our main tool. Okay? We'll do a similar drop shadows so we can go to edit copy after the new one and go to edit paste. That's what that does, but let's make it a little softer. So let's go to a passage to make that 25% and I think it could be a little smaller. So with just the layer selected and not the mass selected, let's click on one of those little dots appear that will hold, shift and click on the other ones that we want to select. So we're just select in the top half, and then we'll just click on one of those hold hold shift and then we can move it up or down. So in this case, let's make it a little different, and then we'll do the same of the bottom. Click on one of those old shift click on the other ones. Okay, lets go of shift and then click any one of them and hold hold shift and we could do the same to the bottom. Okay, and let's say we didn't want it to run off the very end. In that case, what we'll do is click on the side ones here, hold shift, let go of shift, click and hold one of them, hold shift and then break into their and we'll do the same to the other layers so that they're hidden behind it, so we'll close that layer will cook in the top one. Here, click the top rate part of the mask. Hold, shift, Click the bottom right. Let go click and hold again, hold shift again and then drag it to their will. Do the same one to the bottom. So now we could make some fun adjustments to make it look a little better. So I think the bottom title here should be a little smaller, so we'll go to 60. Okay, and then we will use the arrow keys to move it up a bit. Okay, that's looking better. OK, I think that's looking better. And then we'll move the bottom parts of the backgrounds as well. We'll take the top layer first, so we'll click on the bottom part, hold shift in the click on the other one. Then we can use the up there was to find adjust it, and we'll do the same to the bottom one. Okay, and then on the top piece will do the same again. Use the arrow keys and maybe move the whole thing at once. If we click on the mask, it'll select all of them That you can use the down arrow keys and just fine adjusted there . Now, at this point, you could add a logo in here and for our purposes. We will just mock up something really quick, so we will click and hold this. Go to the Ellipse Tool will fill it with Let's say you know the same color. There we will click and drag hold shift so it makes a perfect circle, and then we can grab the shape layer here, bring into the middle, then you zero keys to have just it, you know, So it's basically in the middle. And then let's say her logo is a letter e in the middle. So just, for example, it's just put a big E in the middle that will make it the same color as this and will make it much larger. So you get the idea. It's a pretty terrible logo, but for our purposes, this will do just fine. So its parent, all of those three together. So for organization, we can click on that back square layer, then call this square blue. This top shape layer one is the circles who called circle white, and then the ease named fine. So it's grabbed that parented to the square blue. We will parent the circle white to the square blue as well, and we might as well also grab a drop shadow for the circle and maybe for the EU as well. Okay, and we'll just reduce it a little bit and seeing what this one people, but a seven or so. All right, So there's are lower thirds. Let's go back out to fit so that it shows our whole image. And actually let's go back to 33. They would get a better feel of how it looks. So at this stage is a few different things we can do. We can choose to animate this entire thing as a hole into the frame, and the easiest way to do that is select all of the layers except for the background one, and then go to layer. Pretty composed will choose the middle option, and we will call this lower thirds pre Kump. And then now all of those layers exist within this pre comp, which is in our main composition. So if we double click on our lower thirds ProComp, it'll open up that composition with all the layers and you'll see we do not have the background layer in this one because it exists in our main one here. So let's go back to this one here. Okay? So now that we have it all in one layer, we can go into the position here like we did. In the other lesson. We could go to the 16 2nd mark, enter key frame, go to the beginning into another one and then on the first frame, weaken, bring it out and then that's what it does. That's not bad, but I think it would be much better if the pieces animated individually. So that is exactly what we'll do. Let's undo. So we don't have key frames on this one, but we'll keep this main one because we cannot effects straight to this if you want, or just the scale of the position, and it makes it really easy to, you know, adjust everything as a whole. So let's go back into here, all right. Now that we're in the pre comp, we can start animating each one. Let's go to the 16 2nd mark or, in this case, let's try 18 and now we will do is highlight all the layers and then we'll press P on our keyboard and that will open up the position for all of them. And if you run into space, you can just grab the middle part here and now with the most elected, we can click on any one of the stopwatches and it'll create a key frame at the 18 2nd mark for every layer. And as you can see, there's a bunch of key frames that have been created Now will go to the beginning and we'll do the same thing over here and now. It's also created all those because everything is selected. Now we're doing it individually and we can start changing the key frames around in the speeds and everything and get a much more creative and dynamic looking higher end lower thirds title. Now to do that, let's make sure we are on frame zero and we can confirm this and that we were on the key frames by seeing the highlighted key frames over here, and the easiest way to do this is select them all again and then just move any single one and they were all adjust But in this case, we don't want to do that because if we hold space bar move over, you can see that everything is moving at the same time the same distance when, actually it would work better if it was just off screen, because then each piece would animate from the same starting point and it would look a little better. So let's undo that. And now, because these two, our parented we actually do not need key frames on those instead, we'll just be doing key frames on the bottom pieces here. Okay, on the square blue, we will grab the 9 60 here and we'll go right just off frame. And then on the bottom one here it's actually rename that will hit, Enter and call it late background, and this one will call it blue background. So in the light background, we'll do the same thing, and that will be just off screen. We'll grab the blue just off screen. We have the titles again just off screen, and a tip I have is sometimes between key frames. It'll do some really weird things, and when that happens, that's what's called auto busier and to fix that you want to select the key frames that you think are messed up in this case will just do all of them. And you, right click on any one of them, go to key frame interpolation and just make sure that spatial interpolation does not say auto busier. So in this case, it does. So we want to make sure that set the linear. Okay, so now with them all said the linear, it'll animate perfectly in between those and you can see they came in at different times, which is starting to look pretty cool. But the background one still coming at the same time here. So let's make the white one come in and in the blue, follow the white one here will come in and then the blue one will be just behind it, Which means we need to make it further in time. So we'll grab those key frames. It will just offset it. Violence 82 frames. How about one key frame? See what that looks like? And now I think it be cool if we grabbed all of those ones except for the square, and made them come in after the square comes in. That looks pretty cool, except you'll notice that the text comes on top and we don't want that. So let's grab our text layers and bring them below the square. Okay? And then there you have a much better looking lower thirds animating in instead of just coming in as an entire layer. 9. 009 Creating A Professional Lower Thirds Title Part 2: Okay, so we will pick up where we left off here. So we have a beginning animation, but we don't have an end. So in order to do that, place your timeline cursor towards the end and then simply select each layers, key frames and command, see or control, see on the keyboard, and then command V or Control V. If you're on a PC on the keyboard and paste them onto further down in the timeline, we'll do that again. Copy paste, copy paste and last one copy paste From here. What you want to do is select um, right click on a key from assistant and go to time reverse key frames so that it actually works properly. And you can offset them a bit if you want to make it go off similar to how it did at the beginning by simply just, you know, grabbing those and moving them all around. But I think it's fine to just animate out as is. The next thing we can do to animate it in a little better is by adding Eazy e's or an Eazy E's in to the end key frames and the way to do that is select the key frames that you want to do this to, and then go into the graph editor here and you'll see that those have now been selected on the far right here. This 1st 1 is easy, Easy. If you click that you'll see it makes a nice curve with all the key frames, so it's just zoom in just a bit with them still selected. So we have some squares here. We have squares here just to the left of the squares on the right, which is right here. You want to grab any one of those and you can see when your cursor changes. That's when you know you're on one of those because we have everything selected. If we grab one of those, click and hold and move it, they will all move. So what you want to do is drag them to about just before the half way mark between those two. And then this way, if we get out of the graph editor, you can see that the key frames have been changed to Eazy e's type of key frames, and what that is doing is the animation will come in a lot faster. And then when he gets closer to the end point, it'll take a lot longer to get there. So will come in very quick up to about 75%. And then gradually slow down and make a nice, easy ease. Stop into the end Mark. And to show you what that looks like, we will click down here to un select everything and then pressed zero on our number pad on your keyboard to play it. Okay, and you can see as it gets to the end here it takes a lot longer, slow down, and that makes a much smoother animation. And they'll notice in a lot of modern, lower third titles that they use this technique because it does look a lot smoother and a lot more professional, So we will do the same thing to the end. Let's hold all of those going to the graph editor. Now you'll see all these air selected. We will once again use Eazy e's. We will zoom in, go all the way to the end, and now, because we're working with the ending part of the animation now, work on the left side, on the left side, where all the squares are. We have our busy a point here, and we will click and hold and then drag it once again just before about the center. And that'll make a nice, smooth ramp until it's just off screen, and then it will disappear really quickly. Okay, so let's go back to fit up here. We will de select everything. Get out of the graph, editor, Zoom back out. Then we can go back to the beginning of our time and watch it through. Que five seconds, six seconds in the whole city otra And from here, you can just start moving key friends around until you're happy with the speed. For example, if we wanted it to come in a lot slower, we could do that if you wanted it really slow. And then it will have a very fast Gautreaux in a really slow intro. So depending on the type of project you're working on, slower or faster, might work better. Typically, fast would be more for corporate stuff. And slow would be more for, like, documentary stuff or more serious stuff. All right, so now let's go back to our main composition that has our pre competent and we'll go to the beginning and you see that that's what happens here. So it's played with this. Been watching right to the end. So if we were to export this, we would just turn off this layer here. And this is all we would get If you wanted, you could change this position. You could change the scale of it. But if you do so, you'll notice that it'll crop a bit because we're scaling it. And in this area here is now the edge of frame. So in that case, what you want to do is take the position and move it right too right to the edge here and then, you know, readjusted to ah, the bottom part again. 10. 010 Exporting Your Lower Thirds Title: all right. So now that we have a finished lower thirds title that animates in animates out, it has Eazy e's on. So it looks a lot more professional. We have multiple layers that come in at different times. At this point, we're ready to export. We've made sure that our background images turned off so that we have a transparent part here. We can now add it to a render queue. Let's go to the composition. Add to render queue Now render queue opens up and it has sent over our composition at the bottom. Here we have a few different options. Always ignore the best settings and the log. We only want to work with the open module in the output to section. So down here, let's click on lossless and let's make the format quick. Time for the format options will go into PNG and that's all we need to do there and then for the channel we need to add in the Alfa Channel so we can choose to export the RGB. But if we do that, then the black will be rendered with it. If we choose the Alfa, then the colorful part will not be exported. Only the Alfa Channel will. Or if we choose RGB plus Alfa, then it'll export are lower thirds and include the Alfa Channel. So that's what we want. Okay, and you can tell it it's an Alfa Channel by the plus symbol at the end here. Now we want to make sure that we are exporting the same resolution that our company was set up in, which is HD, So we can click on resize if we want to make sure that that is the case. So it is the case. 1920 Maternity resize quality is high and in this case we aren't actually re sizing. But it's always good to check this. We will click on OK and if we wanted to save it, it has a preset. We could also go to make template and then save it 10. 80 p p and G plus Alfa And now we go to the output to we will click on Comp one and the output movie too Window will open up. This is where we can name the file and pick a folder for where it will be exported to And once we had saved weaken, then hit Render, and it'll start exporting our image into a stand alone dot m o V file. So let's go ahead and name this so lower 3rd 1 and then we'll hit, save and then hid. Render and you'll see the blue line here. This is what it's doing, its rendering it out. This is the elapsed time, and then so right now we have a minute left. This is the total amount of frames we composite or stop it if we want. And once it's done, we'll have the finished father. We can bring into an editing program and overlay over footage and have the finished animation already pretty rendered. All right, so that's done. You can see this great out now, So if you want, we can do it. That it now because we don't need that. And let's say we wanted to make some revisions like we're working with the same title, but multiple different people. So at this stage, we could go to file, save as and make a copy and then go into the lower thirds and change the names. So we have an aftereffects project for each person, which is always safest so that you're not accidentally changing some of the source files and changing your original lower thirds title as well. Alright, guys. So that is a completed lower thirds title in the next one, we will try a different style and I'll see in the next lesson. 11. 011 Using Shape Layers To Create Another Lower Thirds Title Part 1: in this lesson, we will be creating another lower thirds title. This one will be a little more dynamic, and instead of using solid layers, we will use shape layers. So let's get started here. Let's create a new composition. We'll make sure it's 10 80 10 seconds long, and this time, instead of going toe layer new and create our backgrounds using solids, we will actually go down here so that our composition is selected. That appear we will grab our rectangle tool. And then if we just grab and make a selection like that, this will make a shape layer down here that is different than going to layer new solid and then using this tool to make a mask in that solid layer so you can see if we close these up here. One is a solid layer that has a mask on it, and one is a shape layer that has a fill color of a similar color. So those two are totally different, and they have some really cool, different uses. Typically, if you're just using pretty simple background stuff, you can work with solid layers. But if you want to add a border for example, which is called a stroke in after effects. You can see here that if we go to a regular tool, if we change our fill color of the stroke two more prominent color you'll see that we have a border. And if we make the stroke larger that so many pixels it will be so. That's a much larger border. And for our purposes, we will just delete this all there. So with the shape layer, you're able to very quickly create borders, and you can also go inside here and you'll notice that there's a contents tab. And it has, like path stroke Phil and a lot more options. You can also click on add and add some different things here. For example, you could go to twist and you'll see that twist. Property will open up, and you can get some really cool options that you would not get with the traditional solid layer. From up here. We'll add another one here, such as Peter, and you can obviously see what this is doing, its repeating. So there's three copies. If we wanted, you know, a whole bunch, we can offset them and you get a really really cool effect fairly quickly using shape players. Okay, so that's just a quick introduction to those. So what we'll do is we will wipe that, and without creating a solid layer and clicking down here in the composition, we will click on our rectangle. We will make the Phil a somewhat dark gray color, and then we do not want to stroke. So we'll click on stroke and go to the first option here, which is none, and then towards the bottom. Here we will create our first background for our lower thirds, and we'll try something like that. We'll go back to a regular selection tool. We'll click on a shape layer and duplicate that by pressing command G or controlled the on the PC. And then on the bottom layer, we will click, hold, shift and then dragging down so it stays in the same alignment as the top one. And once that's done, you'll see that our anchor point is not on our layers over here. And if we were to rotate, for example, by going down here, you'll see that it rotates around the anchor point. So for these types of animations, we do not want that, So I'm gonna undo that. And in order to get this to the center, what we do is we click on this tool here, which is the pan behind tool. You click it once, then hold Commander Control in the PC and the double click, and that'll snap to the center. So let's do that to both of these. Okay, let's go to the bottom one. And what that will allow us to do is if, for example, we go back to the rotation now, it'll rotate perfectly around that which it's a lot easier to animate with. So let's undo that, and that will make the bottom one a little smaller. So we'll grab the bottom part here. Something like that is fine. And the next thing is, what we can do is go to our pan behind tool. We will grab our anchor point and drag it to the center on the left here. Then we'll go back to our selection tool. And now, when we go to the right side here and click and hold and then drag it, it will change only from the right side, and the left will stay in alignment. You could do the same thing and drag it that way. Okay, so it's just the justice. And the reason we wanted it on the left side is if we put it back to the center and then try to do the same thing, you'll see what happened. It's relevant to where the anchor points. And now with the bottom one selected when we use the arrow keys in our keyboard to bring in a lot closer, okay? And then we will change the bottom color by clicking on the bottom one going to fill and then making this one much darker. Okay, maybe we will make the tough one also a little darker. Okay, now we can start to name needs, so let's go to the top one. It will call this late gray background. We'll click on the bottom one press, enter on the keyboard and type dark gray background. Okay, once that is done, we'll go up to the text and we'll start creating some text. Here. We have Helvetica in bold OK, so we'll just start typing here and you'll see that the anchor point on this text layers the bottom left that works well for us. So we go to the top right here. Click and hold and then hold shift. So that it skills? Relatively. If we didn't hold shift, it would do this. And that's not what we want Till told shift and will scale it to roughly within the size here. Okay, maybe a little smaller. And it will bring this down. And because the snapping his own, it snapped to the center. Okay, that's looking good. And it will create another text layer. And once again, this one actually isn't on the very bottom. So we'll just take the pan behind, Tool and make sure the anchor point is in the bottom left. Grab the top, right. Hold shift and drag it to something like that. We'll use a scroll on our most his human. Okay? And then we can lock that to the center and then click, hold shift and bring it to the left to align it with the title of the top. Okay. And then, from there we can go to our bottom layer and at this point will bring our pan tool to the left side, go to our regular tool, and then we'll grab the left and then line it up with the length of our text. Okay, so that's we have so far. Let's bring these two up a little closer. Let's grab the entrepreneur. Hold commander, control the PC and select the bottom one. We'll zoom in just a bit, hold space bar and then bring up the view. Then you zero keys. Okay, that looks a little better. Okay, so we'll zoom back in. Next. We will create another shape layer. But instead of using the rectangle tool that creates a completed mask on the shape layer, we will use the pen tool, and it will take advantage of the stroke on this one. So let's go and click on the top corner will do the same at the bottom. Here, we'll try to make sure that it is a straight line and it as close as we can to the top and bottom. OK, then we will click on stroke. We will turn it on by going to this one here, and then we will change the stroke pixel size to, let's say, 15 and we can see that it's not quite as tall. So let's go back to the selection tool. We will go in that layer. We'll click on path and then are two points that we created will show up and then we can zoom in. Click on one of those you zero keys and make sure it's as close as we can get. Can. Maybe one more to top. That's the convertibles in back out. Okay, And then because this is a stroke, we will change the stroke color to see more of a blue. And then we will do the same thing on this side. So it's create another shape layer. We'll zoom in nice and close to the for this one. Okay, so it already has blue and 15 So that's great. And it looks like it matches the height. But just in case we will go into that layer, click on path, grab the top one. Just make sure the top part is a little more solid. It would do the same for the bottom just a bit. Okay, let's go to fit. That's what that looks like so far. Maybe we could go down to 12. Both of these cailed zoom back in. I will close those up 12. 012 Using Shape Layers To Create Another Lower Thirds Title Part 2: okay, and now we'll clean up the composition of it by pre composing a couple of the items, and then we'll start animating. Let's grab our entrepreneur. Bring to the bottom. We'll grab both of those goto layer pre composed will make sure that the middle of selected and we'll call this entrepreneur. All right now that is in one layer, and we'll do the same to the top so that we just have a single layer for this single layer for this. And then each blue Aidan will also be a single layer. So we'll grab our name and our other top of gray piece. Pretty composed. Make sure the bottom is selected and we'll call this name title. Okay, now that this is done, we'll go over to one second. All right, so let's go to shape layer one, which is our top one at the moment. So let's rename this what makes sense. Let's bring this to the top, and we will name this blue line top and only in the bottom one blue Live bottom. So click on our top layer. We're going to transform, and you'll notice also that our anchor point is also not centered. So I will make sure that is centered. Will do the same for both. Okay, then in transform will set a key frame on position. And then we will also set it on scale. But first will unlinked the scale properties for the heightened with, and we'll set a key for him there for scale. Okay. And we'll do the same for the bottom one into the transform. And we want to make sure we're not doing that into the shape transform and still at one second position. Uncheck the scale and go to scale. Okay. And then we'll go to about eight seconds or so and we'll take our position on the top one drug it all the way to the right. It will take our bottom one and drag it all the way left. And it doesn't have to be perfect as long as it covers the edges. Okay. And we'll go to the beginning and just ran. Preview that and then read at the beginning. Here, let's have the blue lines. We'll make the top one go up. It will make the bottom one start from the bottom so we'll take the position of the top one here and we will raise it up. So let's say somewhere about there will take the bottom one to position and lower it to somewhere about there. Now you can see what it's doing right now because it's set to auto busy. A. So in order to fix that, lets like just the position ones right. Click, go to key frame interpolation and change auto busy to linear. We'll do the same to the top and you'll notice that it does a linear transition now. All right, so next will go to the second key frame and we'll set an anchor point key frame on both of those. And then we will go to our 1st 1 and we're going to change the anchor point to the bottom and on the top one will change it to the top. Okay, so nothing has changed so far. But the reason we want to do that is because it gives us the ability at the very beginning to scale it from nothing at the very bottom, as opposed to the bottom and top. Scaling towards the middle at the bottom here will go to scale, and on the right side will change that to zero and at the top will change the scale. Also 20 on the right side. Okay. And now we have this animation, which is almost there. So now we just need to go to the middle section here and change the scale to 100 so that we have a key from there and the same at the bottom. Okay, so this way we have an animation just like that, Okay? And that's looking pretty good. Now, what we'll do is we'll make it more dynamic. So we'll go to the top layer here, and we will select the position. Key frames go into the graph editor. We'll select all of those will go down here and hit this button here, which is easy ease. We'll zoom in just a bit. Can we just select the right one here? We will bring just before the middle point and the same on this one. Okay. And then we'll go to the bottom one will do the same thing. It's like mall. Easy eased. Grab the right one. Bring it to the around the middle. Do the same on the front one. Okay. And now the result is this. It's a lot more dynamic love or modern looking, and it doesn't start going across the screen until these key friends. So that is the point where we're going to start animating the background layers that they scale and reveal themselves as the Blue Line animates across the screen. To do that, let's minimise these two, and now we're going to make some masked points for the name title. The idea here is we will create a mask that animates across the screen, where the left side follows the blue line all the way across perfectly so it looks like the blue line is revealing. But really, it's the mask that is revealing the back layer. Let's go to our rectangle tool, and without clicking anything, we will make a mask that is just a little larger, that are layer here, and we do not want a stroke. So it looks something like that. We'll rename this top mask will bring the anchor point to the center and then move it to the right. We'll go back to our selection tool, and then on this point we can go down to and then in our sequence here will go down until the blue line starts to anime across, which is right there, and we will unlinked and then critic Key frame on the scale. And if you want to know where we should be creating it, you can click on the blue, hit you on your keyboard, and it will reveal where the key frames are. We'll go to the next ones and we know that's on one. And then on the scale here at one second will take the width and we'll bring it all the way across to the middle there. OK, and now that that is done, we can close this up and then this will be the mask for the name. So we'll bring that above and then on the name title will go into the track matte. And if you don't have that, you can click toggle switches here and then go to name Title and choose Alfa Matt. And what that is doing is following the mat we just created all the way across. You can see it right there, so it's using the information from the new mask to reveal the bottom layer, and you can see that it's actually turned off the mask clear because the Alfa channels being used from that later. This doesn't look too great right now because it doesn't match with this. And that's because we have the easy ease key frames on. So we'll just that in a minute case, let's go to the bottom. If you go to the very beginning here, we will make another shape layer. It's a little smaller civil Zuman and give ourselves some more room here. And then, with nothing selected, we will create another mask. Same idea, just a little larger right in the center. And you know something like that is fun. We're going to transform. And just before we mess with this, we will make sure that our anchor point is in the center, and once again you hold command and double click or control and double click on the PC, and that'll bring the anchor point to the center when you have the layer selected great and it will move it to the left. Great. Once that's done, we willen link, click the Scale to make a key frame, go along with the right and then we will take the whipped again and bring it all the way over. Okay, Once that's done, we can name this. I bought a mask that could be closed off for now. And then we will bring this above the bottom piece because this is the one we want to mask out. We go to Alpha Matte and then you can see that this is doing the same thing now in order to make it follow. As I was saying before, we need to turn the key firms into Easy's. So to do that, let's go to both those layers, press you and then we can other highlight them. Or we can just click on scale because that's the only key friends you want to work with and then going to the graph editor Select um, tournament of the Eazy E's Grab the right here and bring it just before as well, and then do the same to the bottom one. So grab that. Grab them Eazy e's just before. So let's see if that did the trick, Okay? And it looks like it did so we'll go to 100 give ourselves a little more space here, and just make sure that throat the animation, it follows it perfectly Okay, so let's go to fit and we'll give it a view, all right? That looks really great. Now, instead of spending all that time recreating those animations for the ending, for it to animate back out, you could simply just grab everything recompose. It will call this lower thirds pre com. Okay, and then we will duplicate it. And then at the five second mark or roughly in the middle, we'll grab the top. One will, right click, go to time and time of her slayer, and then if we turn the bottom layer off, you'll see what that did. That just reversed it. So now it animates out. So at the five second mark, select in the top layer. We can drag it all the way to there and then grab the bottom layer and drag it all the way . And then, from there, let's zoom in just to make sure that we're not overlapping any frames, we'll turn the bottom one back on, and then just to make sure there's no changes between the two of them, so that this layer is the regular time, one that hasn't been reversed and then this one is reversed. Okay, Let's give that a watch and it gets through the loop here to the second part, and then it will anime that Okay. And you will notice that at the very end, it doesn't quite finish here. So in order to change that, let's just go into anyone because both of them are the same. What we can do is just grab all of them and just move it down by one frame. Just given extra frame there of nothing. Then we'll go back here, then there is solved. 13. 013 Using Shape Layers To Create Another Lower Thirds Title Part 3: Todd. Another element to this or another design style that you can corporate into your lower thirds. Zoom in here, go to our pen tool. It will make a point right there. Midpoint here and then one there decided we will go into contents. Click on path. Go back to our regular selection tool. Just make sure we're grabbing the end one here. World shift. Just make sure it's a straight line, OK? And if we hold both those, then click and hold shift again. We can grab those down so that this space is similar to this space. You could go just a bit more is, since we have no Phil on and the stroke is that the three Let's make the stroke color almost white. That's what that looks like. And then on the shape layer, we will add a trim paths. Okay, we'll get some extra options here and now you'll see at the start here we can animate the line to from starting as hole all the way or from the end going the other way. So this allows us to create a starting point that continues, and then, at a certain time, the end will follow. So our animation enemy 10 goes across and then let's say just as it finishes will have a line that comes out. And then when it gets to vote here, the end will follow, and then it'll end right here. Okay, So what we'll do is a set of key frame at the start and end, and then we'll make both zero, and then we will go to two seconds in for now and will make the endpoint at 100 then we'll make the start point. Also 100 then we're gonna offset both of those just a bit. So the result is this okay? And then we can once again make those key frames Eazy e's. We went to our graph editor, then we'll check that out, okay, and we'll go back to the just towards the end of the animation, which is but there that's looking better. And then maybe Okay, so that just adds a little bit of an element to the bottom here. If you wanted, you could do the same thing to the top so that you have one at the bottom with top 14. 014 Additional Mask Techniques And Final Thoughts: so we can just turn that off. For now, let's say instead as this enemy tin, you want the top one to come down as is, and then the bottom one instead of it doing the same thing. We just wanted to come out and be revealed from the top layer. In order to do that, let's go into our lower thirds title here and then once we're in the pre composition, we do not need the beginning part of the animation. If we were to do that for the bottom blue line, so we'll click on Blue Line bottom hit you. We'll make sure that the key friends where we wanted to stay and then doing the other ones okay, so now it does this. And then we will also remove the key frames that animate that layer on which is on the mask . Claire. So if we hit you this time, we won't be dealing with the scale. Instead, we'll be dealing with the position so it's going to position and will make a key frame right there. We'll zoom in event and because we're working on the mask and this is said to Alfa if we adjust this. You'll see what's happening here. It will be revealed as we animate it. Okay, so let's move that key for him down a bit because that's the end point where it is revealed . And at the beginning we will simply just bring that up almost like nothing, and you'll see what it does here. And you'll notice that the blue does not animate. So you could choose to pre compose your bottom layer with the line and then do the mask so that those actors one layer and the blue will be revealed as well. Or you could create another mask for the blue line bottom layer and have that reveal at the same time as well. So in our case will just keep that off in this what we have. Okay, and again, we can make this look much better. But easy, easy. In those key frames, that could be a cool way to reveal layers using shape players. All right, so that brings us to the end of the course. At this stage, you can send your composition to the render queue and then choose one of the presets you made earlier, or start from scratch just like we did. And because it's a lower thirds title, you want to make sure that it does have an Alfa Channel so that when you bring it into your editing program, you can actually see the background. And it's not just a black labour around your lower thirds title once again going to format options and then you want to pick a Kodak that you have available, such as PNG, and then turn on the Plus Alfa Channel. You might not have PNG just go through the list until you have one that allows you to show the plus Alfa and right off the bat. I know that animation will and also Apple Pro Rez 4444 in our case will keep it as PNG, and then you can send it to a spot on your computer that you'd like, name it it render, and then you'll have the file ready to be brought into another program. Thanks for checking this course. Oh, please leave us a rating in a review and we'll see you next time