Adobe After Effects Crash Course for Creatives - Part 2 | Ryan Collins | Skillshare

Adobe After Effects Crash Course for Creatives - Part 2

Ryan Collins, Video Ad Veteran

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18 Lessons (3h 59m)
    • 1. What Makes a SUCCESSFUL Social Media Video Ad?

      3:19
    • 2. Layout

      7:50
    • 3. Compositions

      6:23
    • 4. Keyframes

      8:36
    • 5. Timeline

      9:53
    • 6. Easy Ease

      5:23
    • 7. Text

      14:45
    • 8. Solids

      11:20
    • 9. Shapes

      13:16
    • 10. Compositions (In Greater Detail)

      14:11
    • 11. Track Matte

      11:49
    • 12. Masks

      8:34
    • 13. Camera Basics

      15:24
    • 14. Null Object

      6:40
    • 15. Wiggle

      9:09
    • 16. Effects

      14:46
    • 17. Glitch Effect

      22:13
    • 18. Hotfit Video Ad Creation LIVE

      55:20
19 students are watching this class

About This Class

Part 1 - Lindsay Marsh teaches you motion design theory include frame rates, resolutions and aspect rations for various social media applications. 

Part 2 - I, Ryan Collins, provide the path of least resistance to making scroll stopping, eye catching videos in After Effects! We cut through the fluff and get you using what you need as quickly and efficiently as possible. Each lesson is geared to getting you putting each tool to creative use immediately!


Missed part one with Lindsay? CLASS LINK HERE

* Make sure to download the video tool kit to join the group, please mention the password when joining! Thank you

Transcripts

1. What Makes a SUCCESSFUL Social Media Video Ad?: Hi, guys. Money's Ryan. I've been making video ads for businesses professionally for a couple years now. I've made hundreds of videos in nearly every niche imaginable, and this course is designed to get you doing the same. But first, let's talk about the three core components that make a successful social media ad. Let's go. Nowadays, people are absorbed in their mobile phones and devices, scrolling through multiple different social media wraps and platforms and being overwhelmed with images and videos and stuff. So how do we make them look back our video? We need to stop them scrolling. So a large emphasis of the video goes into the 1st 2 or three seconds of the video. There's no time for big cinematic buildups. Now we really need something visually striking to stop them scrolling. Not only that, most people scroll with the volume off, so unless we have a scroll stopping image or relatable captions or text or video in the first few seconds, the lightly score past and skipper's second R script Our script needs to be sir sent. We need to engage with the audience quickly so they know that the video and the product is for them, and we need to keep them watching. We can use relatable imagery attacks. For example, if we're what marked in women's cosmetics will probably want to show imagery off something relatable to the audience. So in this case, maybe a youthful woman with pristine skin. Although you want to be careful with Facebook as they have pretty stringent rules about before and after images and closer body parts and things like that, if we're using tax to hit home the message we want to hear on key points and keep it short and exciting. Remember, you can see the headline and the ad copy very often clients or want to include every detail in the video. The goal here is to generate intrigue and make them read a headline and click your ad. And last but not least, we've got the call to action. So they've watched your video, and now they need the impulse to click. So obviously we could say shop now by now, or learn mawr, but they know what to do. What we really need them to do is do it right now. For this, we could add some sort of exclusivity of scarcity which is This is just Maura marketing thing in general. But why not included in the video? So this could be included in the ad copy. It isn't completely necessary in the video, but for good measure, we could add ah, launch special or limited time offer or something to drive the viewer to click now rather than try and remember it for later. We'll get into making a very own scroll, stopping video ads later on. But first we need to learn the fundamentals off after effects. So I've kept each section shortened sweet, so you can come back and find out what you need as and when we can get making the good stuff sooner. So Alright, guys. So I hope you're enjoying things so far. Don't forget that as part of this course you get access to the exclusive group. There's a link down below to join. There are gonna be adding content in the group, adding content to the course, adding content everywhere, so make sure you join in, let us know where you are with your projects and what you need help with feedback, anything that you like and I'll see you in the group 2. Layout: Hey, guys. Welcome. Thanks for joining. I'm really excited to get get going on this for you. So the first section of this course, we're just gonna go through the basic interface. You know what you absolutely have to know about after effects on. Then, later on, we're just gonna get into making the videos that you've seen. That probably brought you here. You know, the examples we're gonna we're gonna remake those. Exactly. There is just some fundamental stuff that you need to know. But what we are going to do is we're not going to just go over everything, every single thing that you that you could possibly use an after effect because I just don't see that as an intuitive Waveland. And I learned as I needed to use things, I worked out what they are. And then I use them. You know, I looked at the end result. I needed, like I want to animate this text like this. So how do I get that result backwards? And then you end up progressing in the way you want to a lot quicker. That's what I think. Anyway. So in this video, we're just going to be talking about the just the layout, literally. What you see in front of you right now. So this should just be This is aftereffects 2020 on this should just be exactly the same view, guys. So what I've done is I've gone toe windows workspace on default, so just make sure you're in the default workspace. By the way, there was a scream before this where probably asked if you want to open a new project or recent project, I just didn't want to show customer details or anything. So I click new project. So just click new product and you get project and you get here. Eso were in default workspace on. If you're in the default workspace, that means these panels laid out in the default manner, but they can be moved around. Let's just go over the panels. And then just after, I'll show you how you can get back to this. If you are standing with the panel. So ah, in the main panel here, that's highlight in blue, says composition. This panel is where you view anything that you are creating an after effect. So if you've got on animation, run in or if you've got a video going or anything like that that's gonna be displayed Appear. So you know, when you're scrubbing up and down the timeline, this is where you going to see it? It going down on the right here. There's there's a bunch of different panels. So I call this section two if you like. I like to just remove a few of these panels. So toe remove the panel. Just right click and enclosed panel on DA Generally, Aiken the info. I literally I never use that panel. Close panel audio. I don't use that. There's other places where you can look. Audio preview. It does have its uses, but for now we won't need it. Let's just clean this up close that affect some presets. A line. I leave those two panels, effects and presets. Obviously you've got all your facts on presets down here will go into detail on some of these and what they do later. The align panel. We use a lot, so the line is just, you know, I might just flick to align and make everything central in the compositions really handy. Something you can do with text in Premiere Pro just a line you might be able to actually also like, but it's just a bit more awkward. I find Tax just so much easier to use in aftereffects. Then we got libraries. I don't use this character, which is just a really important panel where we obviously you change the characters, the text paragraph, it allows you to change the sort paragraph set up there. And then we got tracker and content aware fill. We'll close these two panels down as well. So you should just have the four panels, like a fax and presets allying character and paragraph down here. We got the timeline. So when you build in your scene or whatever, it your composition will be down here. This is where you arrange a layers on and you can play and and scrub back and forth. So this is where your build ultimately this program do the Edison. I'm being vague because this is just an overview. So we'll do the editing down here on what we're doing down here is previewed up in this panel so you can see the panels go blue. There will come to that now and then. The project is like suppose I import something. Ah, picture of film. A movie. Sorry, MP for whatever audiophile, any sort of files that we bring in. They're gonna They're gonna be registered in the in the project. Also, your compositions will be in this project Panel by here is Well, so we're not gonna go over all the little digits or anything, But it's worth no in just a couple of things with the layout. So with the project panel, you know, you can see it's blue here, So if we drag the project part of my accident, we might take it, you know, over here and then be like, Well, what's going on? So if that happens and we can just go out the window workspace and reset default save layout and it's just gonna pull your panel's back together. But the problem is, remember we made some changes, so that brings us on to the next bit. So, unfortunately, I just lost all the panels that I all the panels have come back that I close down. So audio preview till we just want to keep effects alone. Character and paragraph tracker on DA Constant where Phil can go and then what we do is just go workspace, windows, workspace and then save as new workspace. And we can just call this new one. You can call it your name or just whatever you like on then, If ever. Then you you move a panel on you don't know what's going on the screen, Just go Windows workspace, every certainly one save layout. But just the main thing to remember here is have these four separate onside. This is where you'll be building. This is just where your projects files go. And this composition area is where you preview anything that's currently going on. So also, it's worth no in that at this point, when you every time you open up a file, you want to save the file. So file save as on when you've when you've saved your project file. Ah, you want to step? Also save as well. So if we go down to edit and preferences and then auto save, you just want to make sure that your auto save has turned on because on, But you save straightaway because if you don't save straight away, it's not gonna auto save an untitled project on. I have lost hours doing this. I think I was doing a project for, like, two hours before. Render that. No, Didn't render it out. Went around. It crashed unless everything. So yeah, So just to recap composition, this is where you view stuff. Ah, effects and presets. A line, character and paragraph. We're going to use them all the time. Timeline down here. This where we're going to go over this in detail. But this is where we're gonna make the changes to a composition on the project panel on the left is where the assets will be displayed. On with that. That's pretty much it. That's the overview. I just wanted you to go get the overwhelm out the way you know, straight away. When you open this up, you just It looks crazy. But trust me when I say this that if you just follow along in a few hours, should be making some amazing stuff honestly, doing it's just much. But I like you can absorb content all day, But until you actually doing things and don't be afraid to just experiment, none of the numbers or anything. Just there's no rules that, like completely satin stone when we get through this stuff, so just get stay excited on. Let's get through it. Let's get through these tutorials. You can just hang back and watch if you want, or you can play along while we go through the fundamentals. It's probably worth having a go. But, you know, if you just went into the later sections right now without actually knowing what was going on, it might be a bit overwhelming, but less. When you've done the tutorial bits, you'll go in there confident like OK, I know what you're saying on what it's doing, So it's important to get the fundamentals of the way. But that's enough for me. I'll shut up and I'll see you in the next video. 3. Compositions: welcome guys right here again. Today, we're going to take a quick look at the composition, so each scene in or animation in after effects is built and takes place in a composition. This is the area where you import and arrange in enemy or your layers. So you're layers a made up of any assets you bring in such a footage, images, text or audio. You can work entirely out one composition, or you can pre compose compositions, but we'll cover that in a later lesson. For now, let's look at the basic options on screen. When we select a new composition, we can select new composition here in the middle or weaken go up Teoh composition, impressed new composition or we compress control. And then So it's really not that difficult to We can actually come down here as well collect that little guy. So that's a little pompous composition icon as well, So there's loads of ways we can create composition. But just for argument's sake, let's just hit the one in middle. Okay, so composition settings. So this is where we decide. Where are we going to be showing this composition and what what ratio does it need to be. You know what size didn't need to be? How many pixels armed. So are we showing this on Facebook? Is it gonna be a square Facebook video ad? Or do we want to make a landscape composition because it's gonna beam or you know, of a cinematic piece, whatever. So, composition, you could just call this one like Maine to start out. I usually do something like that. And then the presets down here, This is where you can. You could select a preset if you like. They're just different. So arrangements of composition, size and ratio on pixel density. So here we've got HDTV 7 20 which you can see. It's just a preset for 12 80 by 7 20 which is 7 20 p. Again, that just basically means landscape. So if we wanted a square composition, we we probably won't width and height to be the same. So if we wanted to use the square, we might put 1000 by 1000 or something like that. Or if we wanted a kind of, um, Facebook really gives you the most room when you have a 45 so that would be like 400 by 500 or 800 by 1000. If you wanted more pixels but really honestly, to get going, you could just hear HD TV and just get a preset sort of landscape composition there pixel aspect ratio. We don't really worry about that. I'm frame rate. Um, most like high def videos, YouTube videos. They just run about the frames per second. Generally speaking on, a lot of these presets actually go to 29.97 I'm not sure of the ins and outs, but this is a very popular sort of frame rate toe have resolution. So we've just got a full on duration here. Weaken. This is quite important. This is where we set how long the composition is gonna be. So you know, for most about most of the stuff I make, it's usually like 10 or 15 seconds. Facebook stuff. Generally fire. Find shorter videos work better, but it's not. So you can't. You know you can't really render anything longer or build anything longer. And after effects, you definitely could. So I'm just gonna put, like, 15 seconds here just for an example. No. Put Syria zero on the background colors. black. And that's what the color will be if you if you actually render out the background. But we can come over. I'll go over that later, but you can render it transparent as well. But let's just keep the background. Color is black and we can just, like click OK, here. So obviously we've seen the ways to make new compositions. We compress control and and here Ah, we can go to composition new composition here. Um, we'll go into a lot more detail about this layer, but just a few more little details here. So in the project window, this is where the composition shown on all that really means is So say you have in other editing programs like saying Premiere Pro, You just have the timeline, you know the where everything goes. But after effects builds on that and let it's essentially putting timelines in timelines so you can see down here we've got main. That means this composition is selected, so if we drag off footage and everything down here into Maine will be building out this animation and if we render, will render out this composition as well. But what you can do later on is like build like you could have a completely new composition where you build an animation. It could be like a name coming in or, you know, sparks or fireworks or whatever you're gonna build and you build that in its own composition. Then you drag the second composition. And so if I just show you, for example, let's just say, Ah, we call this name and then okay, and then we just suppose you've got an animated naming here. I don't want to go into a too much cause we'll do some stuff like that later. But suppose you got your name animation here and you go with the different layers. You can just drag that into the main composition on it. It will be in there so you can completely control all of the animation one point, you know, by selecting the composition. So that might be a bit mind blowin, but it's better to just get that out the way now. So later on, when we're talking about compositions or selecting things, you've got a clear understanding, and you can see down here as well. Maine is selected name there and just bear in mind as well friendly tip that whatever composition urine is what you're gonna render out when you go to render. So that's worth bearing in mind as well. I think that's it for now. So, I mean, we're just gonna keep these tutorials is just like a go two points or later on when we're actually getting the good stuff done, if you like. Hang on. I don't really get that bit. You can come back, and I want to keep him relatively short on bmore off them so you can find the information you need quickly when you need it. But for now, Ah, we understand the layer on we've gotta compositions. And I think we'll go into a bit more on the timeline in the next video. Very soon, we're gonna get stuff moving. So thank you again for taking the course. Look forward to sharing my knowledge with you in the next video. 4. Keyframes: key frames are one off, if not the most important aspect of animation, a movement in after effects. While the concept can appear overwhelming at first, it really is pretty simple. So let me try and explain key frames in the simplest way possible. A key frame tells after effects. I want a certain property to be in a certain state at this point, for example, with position key, frame your talent after effects. I want this object to be in this position at this point in time. Make another key frame later on the same layer, but in a different position. A different time on after effects will bridge the two positions with a linear animation. Any property with this little stopwatch icon next to it, it can be key friend, so keep an eye out an experiment. Let's start building our composition. So as we progress through, this course will go over techniques that we've used previously. So the first thing we're gonna do is we're gonna save as because remember, sir, key frames. Let's just call it key frames. Okay, so now this is saved at the top. If we lose anything, it will be a lots of safe. So let's create a new composition. And we could just call this May, and it doesn't really matter what's here, but we've got preset. Selected on 10 seconds is fine. Will drill this process through each video. So we get the hang of it. Now, let's make the background a bit nicer. So layer new solid. Bring this box out on. Let's make this a different color so we can go through a color range here. Why don't we make this a nice? Yeah, Just like a nice blue like that. Cool press. Okay. Make it that comp size. Why not just go to top, right? Put vignette, drag a vigna on our layer. Beautiful. So now we've got a nice look in Vinje on a nice layer. Maybe we can even go down here and make this fits of the screen perfect. Okay, Now let's put some add some tax to the screen, so we haven't covered this yet, but, you know, let's start now. So if we hit the tax tool at the top and then we click in the middle of the screen weaken type anything in here on to keep it relevant? I'm just gonna talk key frame. Now if we double click our text, we can drag the font size on the right. Make this smaller. I'm just click a line on hit middle First school on horizontal. And now we can click anywhere in the timeline when we have the world key for him. Now again, we're going to cover everything I'm doing now in detail in later episodes. But we might as well settle seen now, so if you just watch in awesome hope you're picking up things. If you Braxton along as well, just keep going on, we will get it. So I'm pretty happy with this at the moment. I'm actually going to change my font to months. Or, uh, I'm actually going to change mine, too. Fare, Basse Bold. Because I I like this from so now we fell a fun in the middle of screen, aligned to center. We're going to start playing with some key frames. If we click our tax layer on drop down the transformed properties, you can see we've got this little stopwatch. If you're going to take in anything from this video, just remember this stopwatch. If it's got to stop, watch it means it can be key framed. So here's how I like to work. I go to the point in time. Well, I want my animation to be central, so I'm going to go to two seconds. Click on my layer and I'm gonna set the stop. Watch for position, Andi. As you see when I pressed the stop watch, it leaves a little diamond here. I can even zoom in with this zoom icon and you can see I've got this little diamond. That means at two seconds after effects is going to remember that this text is at this position. Let's zoom back out. Now let's drag our timeline indicator to the start on this position number. Here is the horizontal position in pixels. So what I'm going to do is you can actually click this number and drag left or right to move the key frame text off the screen. So, as you can see as we've let go of the animation is created a new key frame automatically. So once you've made the first key phrase, the rest of the key friends will have happened after you've made any adjustments. Now, if we press space bar Like I said, it bridges the animation between the two key frames. For good measure here, it's worth saying, Let's hit the motion Blur I come, which is this guy here on by default, it's turned the master icon on, and now you can see there's a little bit of a blow with it. I won't go into too much detail on easing or speeds. But if we select both of these key frames now, I'm press f nine. It gives the animation speed up on a slow down. So we get a more soft entry for the word and it actually just looks a little bit nicer. Let's look at the scale property. So the scale property is how large the image or the text is. So if we scale here at the moment as we scale up, can you see if we zoom in? Press hates to get the hand on. Just bring this down and you see this little cross hair or yeah, it looks like a cross there. This is the anchor point. So any property transformations will take place from the Cinque point. So if we press scale again, I'm pressing s to get scale and then we bring it down. Can you see how the text comes from that anchor point? So the problem is, if we scale up now, the text is going to scale to the top of the screen. But we want might want to keep it a line to the middle so we could scale up. Man, go align Central. But let's press control and go up to the pan behind button at the top. Here and now. Double click and you can see the key frame has moved to the center, and now we can align Central on if we let's just press you for a second toe show. Awlaki phones and delete the position key frames because they're getting in the way a little bit. Now let's go back to two seconds, a line that text the center. So if we press why we can select our anchor point so we could drink the drag, the anchor points the bottom left corner. Now, if we scale, we're going to scale up and down from the anchor point there. If we press, why drag the and point to the middle? Um, it'll scale two in the middle, but if we press control and go to Pam behind at the top, it's going to select the pound behind to ano put the anchor point right in the middle. So now if we wanted to animate the scale in, we could click two seconds in like a key frame for scale drag across on. Then put zero in the scale from the stop, and you can see that it gets bigger so we can again press. Easiest press F nine Too easy is this in? And there you go. So that's how the key friends work on after nine just adds that easiest. The motion blur just makes it an overall smoother animation, so we will go into more detail on key frames later on. But for now, let's leave things there. 5. Timeline: the timeline is the area where you can adjust any assets in the selected composition. The timeline is located at the bottom of the screen. This is where you bring in your assets into your seen your images, your videos, music that brought into its home line where you can adjust their lengths on their speeds. There's a fair few features on the timeline, but for this video we're going to go over the ban necessities. Let's import a piece of footage. I'm gonna go file import files, video video on. I'm just going to select a random video. Okay, here's a much video of a lake. So when we've imported a piece of footage which we can do by going file import like we just did, or by go in to the piece of footage in the folder on dragging it in to the project, we can then drag our footage down here into this side right hand side into the timeline. As you can see, this blue bars appeared in the timeline. This is the piece of footage on it. By clicking the footage left, click with the mouse, we can drag the footage to the start off the timeline. If we press space bar, we begin to play the footage in the timeline notice. There's a green bar increasing across the time line. This is the random bar. When we import new footage, ins is home line. The random bar will be great. And when we press space by l. Rendah the timeline as more clips or added, the timeline will need to be rear ended each time. So the first time you press space bar to play footage, the timeline might appear a little bit choppy whilst it Randers. Let's have a look at some of these features on the timeline. The first noticeable feature is the time itself, so you can see that we've got the numbers here for one second or 15 frames. So the breakdown here gives you frames and seconds where at 29.97 frames per second, which is about 30 so 15 frames is essentially half a second. So you can see on the timeline whether we're one second two seconds 2.5 seconds, which is indicators by two seconds on 15 frames. If we go just down to the bottom of the screen, you can see that we've got this zoom bar, which allows us to zoom in and now closer to the frames on the timeline now where zoomed in weakens, get much more selective with exactly which frame we want to land on. We can literally drag frame by frame, and there's quite a lot off space so that we can be very accurate. The more we zoom out, the more time will be covered. Andi, obviously, the harder it will be to get bang on the frame we want. So sometimes you may want to use this to zoom in and select U afraid properly. Over on the left side of the timeline, you can see the top. We've got this icon, which shows the composition that we're in the time that we're at. There's a search Manu on. There's a few switches and toggles at the top. We won't cover all of these in extreme detail. Later on, we will cover the graph editor Motion Blur, maybe touch on the shy guy. These, however, should be noted early on, So these small icons on the left are actually pretty important. So if we press the I, the eye is going to hide our layer. If we press the eye again, the eye is going to solo are layer. I'm going to just put some text into the screen quickly. Now I'm just gonna align to the center. You don't have to do this now. We can. You can just follow along just to see how these switches work. So if we press the solo icon next to text or lake, it will just show us that layer. So if we had 10 layers in here and we wanted to just see what one layer was doing weaken just solo the layer and it will hide all the other layers you can calico Julius read for tax to maybe want peak show. Maybe you won't Dark green for compositions. Then you've got the layer. Name the shy guy here. We won't worry too much about that. This hides layers within the timeline. So when we got the shy guy on, we can actually hide these layers. What? We don't need to worry about that. We probably won't do that too much throughout this cross. There's motion blur, which actually we do use a lot so motion. Blair adds a bit of blue to anything moving in the timeline, but we need to make sure the master motion blur switches on a swell so motion blur takes a bit more time to render. So the reason the master switch is there so that you can set motion blur on everything you like, But you don't have to have it enabled to speed up rendering. Whilst you're working on your project adjustment layer of fact and three D layer, we can select these to make it three d if we select the boxes. The mode is the blending mode, which is just like in photo shop. This how much lights being that through will touch on those a little bit later, there's a transparency icon track mark on Parent and Link. For now, let's not worry too much about thes just to remember these icons on the left also just missed one there. If you want to lock this background so you can't accidentally move, it can't accidentally select it. Just press the lot. If we unlock it now, you can see we can move it, so if you don't want to be able to move it, you compress a lot. But here are a few essential shortcuts I like to use when controlling the timeline if we select a layer. First of all, if you drag the layer, this is going on drag whether layer starts on where the layer ends. If this happens, you just press caps lock. It's a disable caps lock when you get that error message on the screen. If you drag the end of your layer, you can make the layers shorter. This layer is locked so we can make the layer shorter. It doesn't actually make the layer shorter, but it moves the start off the layer forward, so it's not going to start from the start. If you do, cut it down this way, if you want to actually move it forward in time, you drag the layer by clicking on it. But if you click the and delay and drag it up, it actually cuts away the start off the sea. So we just click to drag around. I make sure to click off any in any grey space in the timeline. If you want to de select so control and D duplicates a layer. This is a very useful shortcut to know if we click a layer here say are taxslayer breast control and D. You can see we've duplicated layer and control on DZI and does anything that we've just done. Control Shift and D will cut the layer on, move it to a layer above, moved the second half of the layer of or split the layer. That's control. Shift on deep to trim the layer. We can click anywhere on the timeline. Let's go toe one second and press Ulta and left bracket to trim the start. Let's move forward by Dragon. The timeline indicator. That's the blue our appear. We can trim the right side of a layer by pressing bolts on the right bracket. Finally, if we copy anything, any effects from one layer repressed control on V to paste the layer. This also works if we've copied a layer with control and see we compress control on V to pace the layer. Finally, with a composition selected if we've made arrangements to Aaliyah's Onda, we decide that we want the composition to start here, we can drag the work area across on hold shift to snap it to the start on. Similarly, if we dr to six seconds weaken right click and trim comp toe work area on that trims the composition down so that we have a six second composition and that covers pretty much everything that we need to know for now. In the timeline on, we will pick up in new things as we go along. 6. Easy Ease: So far we've been paying after nine to Eazy E's are animations. Now you're ready to learn a little bit more about what's actually happening here on how we can make these animations even better. So let's make a basic animation. I'm going to select my tax tool on just type in the middle as type animation. My actually changed this to Let's go for months around, extra bold and then just a line this to the center, and then we could go two seconds in on our timeline. Press P on Hit the key frame icon. Go back to the start of the timeline. Drag the A key frame like the position on you can see it's automatically created another key frame. So when we let go, we don't need to create a second key for him. So the's key frames are diamond key frames, which means they're linear, which means there's a consistent speed between the two key frames. So that's why this looks like a power point presentation because there's absolutely no smooth in or speeding up or slowing down. It's just from this key frame to this key frame. It's just one speed. So when we're easy, easy, and we press f nine and we get these hourglass looking icons. One is ease in on one disease out, and all that means is that this is going to speed up, and that is going to slow down. So it gives a bit of a smoother animation, as you can see. So with the two icons selected, let's have a look at this speed graph by clicking their cycle on here. The graph editor, right click and make sure that we're on edit speed graph. Now that we're in here, we can see the curve. We can see the speed up and slow down, so this might look complicated, but it's really simple. If we uninsulated the graph editor or de select, you can see these two key frames are just here, except we've got a line show in the speed between them. This is where it gets fun. If we click this line, two handles appear, so if we want the animation to be faster towards the start, weaken, drag the handles the way we want the animation to go. So let's take the right hand on, drag it to the middle and you can see now that the animation is is more to the left, so it's going to speed up quite quickly and then slow down and eat. Have a longer ease in, see how it takes a little bit longer to settle, which makes it really smooth. What we could do is we could drag this left handle to meet the animation in the middle. Now most of the animation takes place in the middle of that gives it that kind of jerky look. You see this in a lot off modern titles and animations, a kind of jerky looked like that, or we could take the right handle and drag it all the way out. So now the animation a warm up and then it will just stop suddenly. So it depends really on the scenario or where you want to use your animation. What other animations Aaron play whether you want some, it speed up and slow down into something else, which we will cover more off. But for now, that's thespian graph. I wanted to get this out of the way earlier, so we can actually start using it because I rarely use Eazy E's. I pretty much used the speed graph a little bit for every animation because I just think having just that extra little smooth Incan just really make it look better. So go and have a play with the animation bear reminds that you can actually key frame anything. So you can actually Eazy e's any key friends as well. So it wouldn't necessarily have to be, um, your position animation if you had a scale animation on you Keep framed. This you can You can actually ease in thes scale animation as well. So I'm just hitting s here a two seconds pressing the key frame, but and dragging the timeline to the first frame Hit zero top zero in there again. Linear. Yeah, Power point Hit both of the key frames. Press after nine. A little bit better go to the speed graph. Drag this all the way. Right? So when you dragged the left handle all the way right, it stops half way. So you do kind of get a little bit of breaks at the end. Nice. Dr. Both handles in Cool. So have a play with that. We're gonna be referring to this speed graph quite a lot as we go through, and it's going to get a bit more advanced, but it just gets fun as we go along. So thanks for watching. See you in the next video. 7. Text: texts and typography on my favorite part of after effects. One of the main doors from its use after effects was the ability to make beautiful, groundbreaking typography animations on how customizable text and typography radia you can animate text in any way imaginable. I often use text in typography videos or adds that require a bit more explaining. You usually find this with software or service based ads, where stock footage and images alone just won't do it. You can make really scroll stopping videos with bold text on plain backgrounds. We see this a lot on social media, and I absolutely love making these kind of videos. For now, let's get a basic understanding of how the tax tool works, so we're in after effects to add text. We've done a little bit in earlier videos, but we click the text or at the top here, or we can just press control and t if we're de selected. So free press control and T we now have the sex tool selected and then just click in the middle of our new composition, and then that's when we can begin to type. So I'm just going to type typography to give a longer word for an example so that we can animate. And then, if we select all the text by double clicking and go to the top right to align on composition, align horizontally on vertically, and now you can see we've got the text in the middle. Andi, if you select the tax layer, you can then use the selection tour, which is this tool at the top, or V V is the shortcut for the selection tool to then move the text around. And if you ever want to get back to just a line to the middle, just simply here, align horizontally on, align vertically without paragraph. We're just going to make sure that the text is set to center text. Now, if you want to change the front of the text, you can double click the text to make it all go read. Go up to the character panel, and then you can actually change the fund from the character panel. So suppose you want to make this a light Montserrat fun. We can just select all the text and collect light if we select half the tax and then we go to bowls we can actually make the tax two different funds and we can change the size of the text as well at different points by just selecting the text that we want to change. If we select all of the text again and then start changing the size by dragon this font size Icahn left or right, it will bring all the text back to be in the same size again if we've got two layers of tax So from Presidenta Sorry. One layer of text but two lines of text from Presidenta. If I highlight all the text, I can use the leading, um parameter to changed the leading or the space and above and below the text. And then when all that is done, I can go back to a line on the lines of the composition so that all the text is aligned a gun. We can adjust the space in between the letters of the tax with the tracking value so I could just select lesson at the bottom Here, make this smaller on bring the tracking out. If I wanted to, I'm not sure that I would want to do this, but just to give you an example. You could do that now. Text has a stroke and a fill option. I'm just going to delete lesson for now. So let's make the monster out or bold again and then align this tow center. If I select typography by selecting the entire word and then click the no fell color icon here, it's gonna remove the fell so you can see that there's actually two icons here. So let's fill this back with white using the color picker if I actually click the stroke color behind and bring it forward. Now, when I select the color picker, I'm actually affecting the stroke. So first of all, let's click the fill color and then less click no fill color, and then let's click the stroke color on we select white. We can't see the stroke of the moment because down here, the stroke width is and set, but we can move that forward to three, and now we have this nice looking outline tax or stroke taxed. There's some more parameters regarding scale in baseline shifts, but I don't really use thes at the moment, so we won't go over those in any detail. There's a fake bold here, however, I tend to leave that off, and I also tend to leave faux italics off. You can use thes, but I like to find funds that actually have the bold italic because there are some differences sometimes rather than just slant in the letters, so I won't usually artificially slant the letters. But you can do that if you like on. Then there's all cap, small cap, superscript and subscript. I don't actually use thes last two I. In fact, I don't really use all caps, but you can change it if you want, so that's pretty much the Texel out there. It's important to remember some of the animations. For example, Track in will be affected by paragraph, whether it's set to left on middle, but we'll cover that in a second. So that's all the basic part of the textile. If we've selected attacks on, then we want to de select because we want to do something else and we've got this text cursor. I press V to go back to the selection tool. So if I've got the text selected and I want to go back to the selection tool, I press V on it gets rid off my textile so you can see that actually, switch is at the top here. And that means when I click off, I'm not gonna be set setting up another tax layer. So there are some default animations that we can do with after effects, but I don't often use them. So if we go up to effects on and go to animation presets, you see this text on? There's a couple of text animations in here. I really don't use these a lot. I think there's more customized ability down in The animator on the tax, but I'll just show you decrease track and I use now and then. But again, you can do this manually. So when I applied Decreased tracking my dragon Answer the taxslayer If I press you when I'm in the layers menu in the timeline Sorry, It shows me any key frames so that you can see this is automatically being key frame to decrease track in. I'm going to drag these key friends. Cyst are, and I'm gonna hold shift to snap it to the start of the timeline. So that's me tapping shift whilst holding down. So now the text starts like this just to be picky, I'm actually going to change this to Monserrat. Thin, Um, I want a fill color and I don't want the stroke. So that's just Tony's off so we can select motion blur here on this decrease tracking has a nice effect. All we have to do if we want to make the animation longer is drag it out and we can actually click on Decrease track in and then go over to the tracking amount. And we can increase or decrease that, depending on how we want the effects of that. And again, we'll go over speed graphs later. But we could make this animation faster or slower. But I don't confuse you with anything there because right now we're just getting used to the text tool. So that's decreased track in one of the preset animations. Now let's look at a custom animation. This animator is how you animate manually. It's how that decrease tracking was made without the preset. So if we go down to attack text on, we just drop down text. I'm going to delete the animator because you won't have this. Um, it's because we've used in the fact. So if we go toe animate now, you can see we've got a lot of different text options, a lot of different animation options. So we're going to do a simple when here that I use all the time we can go position. And now if we bring the position down after we've included the animator and then we go forward toe one second if we drag the stop position up on the range selector, let's go back to the start. Set a key frame, bring the key frame down to zero. Let's go toe the 1st 2nd and then drag this up too. 100% grab both key frames and press after nine. You can see we've got this little typography animation. So, as you see, this animator can get pretty in depth. Andi, you know, always go into want this typography to be seen animating in for now, just a useful tip. We will cover masks later, but last Kyoto, one second where the animation is fully complete, impressed control shift in end toe Adam mask, and now the typography will only appear in behind the mask in a nice E's fashion. And then, if we want their typography toe exit. We compressed control and see on the first key frame a few seconds later. Sorry. Copy and paste. The second key frame. So between here, these are the same. And then go forward to second and copy and paste the first key frame. And then if you want Ault, I'm right bracket to trim this layer down on, drag the work area down. Aunt, trim this composition toe work area. And now we have a perfect Lupin text animation. The animator can get pretty in depth. This is probably a good time to show you, animation composer, which is really simple. Let's take the new layer. Let's put typography again. This course is not gonna be built around plug ins. I'm gonna teach you how toe animate tax further later on. But plug ins are good when you're not using them because you can't do the job yourself. They're great when you need to speed up your workflow. So I've got a plug in here called Animation composer, which does have a free option with some free presets. So just to give you a quick look at what this does with the 1000 text animation pack. If I go to transition presets and tax here, I can animate characters, lines, words and each of these has a dragon drop text animation. So to give you an example of what some of them look like, we can just click the grid appear that's just scroll down. You can see all these amazing transitions have already been made for you and this come really, really speed up your workflow and make things start to look great. So let's just say we want to drag this onto the layer of select my layer and then I click this animation and just enemy and click apply, and it's gonna add this animation preset to the layer. It will take a little time to render, but you can see there even rotate an end. I'm bouncing and you get this great looking animation, so let's do it again. So, animation composer that there's free presets. I'll leave the link in a resource guide. Few, and I'll also leave a link to the 1000 presets, which will give you a lot off other options. So there's a few on here that I really like to use, so I really like this one for going out. So if we select the layer again, we can actually choose this as on outs transition. That's let it run their up, and it's gonna magically fix it so that it perfectly exits the animation by the end of of my text animation. So let's let this render a second because it's pretty heavy duty. The animation, it just takes a little bit longer. Surrender on. Then we've got that out animations. Well, Celeste, watch the whole thing. But we're not gonna focus around use in animation composer For this, I'll leave a a little tutorial on a link and a resource guide showing where toe get this amazing plug in in the resource guide. So thanks for watching. And I'll see you in the next video. 8. Solids: a solid layer is A to D block. Used in after effects, it has basic transformed properties such as opacity, position scale, rotation. Solid layers are often uses backgrounds but can be used as a separate layer to generate effects used for transitions are simply used as a shape in this short video will use a solid layer to create a background throughout the remainder of the course. You'll learn various additional ways that we can use a solid layer. All right, guys, welcome back on this lesson is gonna be a bit more firm. We can actually put some color into the composition and make things look a bit nicer. So we I thought the best way to start this is maybe make a background because I do make backgrounds quite a lot, and I think that's this. Probably the most commonly used stuff. Ultimately, we want to get to the end goal, which is making the videos that that we've advertises with. So I'm not gonna go over anything we don't need on. I'll just take you straight there with the things we do need. So this is pretty essential sort, being able to use solid layers so I'll just delete what we have in here. Make sure that we've saved our project as well. So the order safe saves us and that we've got also save on edit preferences. Also safe just in case, if you are, if you are working alongside me but again, you could just watch. It's not gonna be a long video. So to make a solid we go to layer new and then solid up here on we can name the solid if we like. We can change the height and width and everything like that by default. That's going to be the calm size. But if you've moved it and you want it back, you just hit, make comp size. Then you can click the color palette down here and you can choose the tone and then scroll through the Hughes if you want. So I'm just gonna go up and just make like, a red background here on. I'll give you the color name as well. You could rename this to background, then, if you want at the top, totally up to you how you do that. But that's pretty much how you make the solid there. And then when you press OK, you can seethe. Solid layer has appeared in your timeline. So if you want to select the solid, you can click here on it will select the solid. If you press V when you're selected to make sure you're on the selection tool up here, you can then drag the solid round press control and Z to go back. You can make the solid, bigger or smaller, but we're making a background today, so we don't really need to do any of those things. So if we go up to effects and vignettes appear affection, presets, story and and type V I g any TTE, you can see who are cc vignette, and if we drag this, you can see we can drag it directly on the layer or weaken dragon onto the back directly on the background layer or into the composition. Obviously, if we have more things in the composition, it's not going to land on the solid. So best practice. Let's just drag the effect onto the layer, and you can see how we've got a nice little vignette for our background here. So if we go up to the top left now, you can see in the effects controls, which should have popped up in the top left. So in your project file, we got effects controls here, so you can turn up the amount of the vineyard by just dragging the number. And you do this for pretty much a Justin. Anything in after effects. So we could make it, like, a little bit darker like that if we wanted to. And then the angle of views, like how narrow white the angle is so we could bring it in, Make it a bit now, if we want. And then the center is just, you know, the center of the vignette if we wanted to move it off the side. But, you know, we don't We don't really want to do that for this example. Although, you know, a lot of people do animate backgrounds. Kind of like here. Maybe you want it like that. Uh, I'm just going to actually. Yeah, Why not less. Let's bring this up to the middle on dumb. Maybe we can change the amount a little bit. And then the angle of view on bringing out a little bit. So, yeah, we've got some sort of light effect by here on. That's it. We've created a background. So if we want to lock this layer, we can go back down here like we said in the earlier video, A lot, this layer. And now we can't drag up background around. It's really easy. So the next thing that we could do with a with a solid layer where you can actually use this as an overlay so you can see down here there's if this mode isn't isn't show in. You compress this little switch in the corner on expanded, and then you can see you've got the blending modes. So what I'm gonna do is I'm going to just drag a piece of footage into the competition just quickly. Just a random piece of full age eso I just drive a woman smiling and here literally expect something from from my from my library of video so I can just drag this below on at the moment, the solids not showing through. But obviously, if we change the blend mode up here, um, we can go through these. I know multiple have an effect. You can see that we can use the solid to actually create an effect over the video. And what you can actually do here is well, you compress shift, and then use the plus and minus keys to go through the blender moves quite easily. I mean, look at that. You can get some really cool results. So you it's always worth just, you know, going through these things and see which ones you like. A soft light. Um, pin light looks pretty cool. Bring the transparency down about on that. You can get some really cool effects. Andi, just scroll through and just see what works for you. Onda. We can just get some amazing effects. So you could you could effectively, you know, you can really change how you do things you could make your solid on. Did you could out a vignette or any any layer. Really? It doesn't have to be a solid you can use as an overlay or a czar with a blend mode to just affect the picture below, but yeah, so as you can see, like, you can get some really, really cool of facts here for your videos. So yeah, I like to use solids a lot for that. If you want to make this even a bit crazier. What we can do is we could add a Grady int to the solid. We can go in tight, greedy int, and then you've got Grady ramp and four colored radiant. And if we add a Grady in it, basically, you could do this with an adjustment layer as well. You can click these little buttons to at the tops of select the points of the Grady in on drag them around on. Then you can actually change the colors as well. So you can get some pretty cool effects like this as well. So if we go start of color and like we make it, maybe this red and then end of color and then we make it like a maybe like a light of red. You know, obviously this isn't exactly what I would do, but just for example, we can go through then and just show you how you can. You can really start changing things about on, um, with Grady INTs on. Then the same thing with a four color Grady int you could weaken. Delete this, Grady, um, ramp here and we can drive a four color grading ramp on. Let's just go back to normal blending mode. Four. Color Grady around Whenever you see these little points, if we click the layer here whenever you see these look these little curses, it's so that you can move the Grady Int Center. It's the anchor point off the radiant, so you could make some really crazy looking like Grady in like this. Let's just go back here and just just out a few different splashes in, and then you can just go and change these colors to get them all looking. My show. We could get like a dark pink lab and then have the green to be like a lot of pink. And then the purple change that maybe just had the blue, but but lighter or whatever. And then you can move that talk pink out the way, and you could even animate thes, but it really gives you like a lot of flexibility over how you want to play with these overlays. And then again, you can just go through the blending modes and it's just gonna be applied to everything below. So, like, these solids are really, really quite cool like that. Yeah, so that's it. Pretty much you can actually use solids generate effects as well. So if I delete that and just go lay in you solid if I It could be any color. But I know one that will be used in laters fractal noise. So I'm gonna go to effects and type fractal noise and just drag this on the solid and you can see it turns it into this. This thing this will obviously just look completely crazy to at the moment. But you can use this for so many things, and we can addressed It's a lot. We'll be using it for to make a glitch layer. And then finally, you know, you could you could I don't really There's much more convenient ways of making transitions and so on. And I've got a few plug ins. I personally I use motion, bro. I can leave a link to that. They've got some free transitions and also on, and that it really is. It's just a plug in that goes into after effects, and you can just drag amazing transitions on, and it just makes it like ways e. But if I just put a solid and here we can actually use this. I won't go into key frames and confusing things like that at the moment. We're going to get into that pretty soon, but you can ultimately make this come across and then make it disappear off the screen to reveal something new. You know, when we animate it so you can use soliders transitions as well. We might have a little girl with that later. But otherwise, yep. So, like solids mainly used for creating backgrounds that sometimes as well If I want white text to stand out, I might just make a black solid like this, put it over, and then just press t to bring down the opacity on the solid and then just bring the opacity down a little bit on. Then if I've got text in the middle like this, I'm going to go toe a line up here. You'll see me doing that a lot there, and it kind of stands out. Whereas if this was just a zero, it's a bit washed out, but you put a little black solid behind. It can sometimes give you a really nice kind of, um overlay so that you can see the tax as well, so we'll probably do a bit of that later on as well. But that's pretty much it for sort solids, Grady INTs and blending modes. Hope you found that useful. You can always come back to this video later on, and you don't have to know everything. Now, these are just little stepping stones so that when we get to make in our videos, you can always just come back here and you're gonna find the information pretty quickly. So let me know. Give me feedback on how you think about how we're going about this and how you how you think of the course so far. Feedback of the group. If you need any help with anything, don't be afraid to just shower or give me a message. So thanks a lot. I think that's it for now on. I will see you in the next video 9. Shapes: after a fax gives you the tools toe. Have some illustration capabilities using the shape tools. Although I personally don't use these a lot, I don't illustrate a lot. The shape tools can be used in various ways. They can be used for creating masks. They could be used for creating paths. Often you'll see a shape, a company, a title or a lower third animation. So today will create our name in tax and just add a simple shaper on the edge. The goal here isn't to make anything look amazing. It's just to cover the basic usage of a shape. So let's start by just creating tax. So I'm just gonna put my name. Let's go All caps Rollins groups Ryan Collins on were just a line this to center. Let's take my second name and I'm just gonna make this light. I think we can go then Ryan Collins. Cool. So there we go on. Did what we can actually do here is click this button for transparency grid. So you could obviously you can't really see anything at the moment, but I want to make a black rectangle and I won't see that on a black background. So if we go to fill well, let's go back a second. Let's just click the rectangle tool here. Click Bill on. I'm just going to create Justin almost on a dark gray rectangle. I'm gonna turn the stroke down by Dragon, the number next to stroke down. I might have mentioned earlier that stroke is the outline off the rectangle, and then we can just drag out a rectangle here on when I let go and click in the timeline that rectangle is made. If I press V, i d. Select my shape tool on, I go back to my selection tool, which is this guy up here, and that lets me drag around my shape. Now I can drag the shape under my name, and you can see that it's is you can you can see the shape and you could see my name if we hold shift on, select my name on the shape layer and then go toe a line, you can see it's changed to selection. So if you've got two things selected, we can actually align these to each other by clicking horizontal and vertical. So now that is a perfect shape layer but the shape players a bit too fat. So if I click the shape layer, I can click the square that stop here and I can change the scale. And I could do that the same on the edge. So just like with everything else, the anchor point determines how the properties transform. So I might actually want to bring this just over Ryan. But obviously when I'm dragging its dragon, it's was the anchor point. So what I can do is I compressed? Why select my anchor point and bring that to the left? And if I hold shift, I can or control. Sorry, I can snap it to that left side. So now if I press v again to get my selection tool back, I can actually drag my shape down that so I can animate this in. So what we could do now is just make a simple animation. So if I go down to my shape, layer transformed properties when we click position and scale here on, then we What I can do is I can go back to the sort of time line. I'm just drag the scale down, get it down here and then you can see there's a bit long so we can drag our second key frame on. Bring that back. We don't actually need the position Kiefer in, so you can see. Now we've animated are shaped really basic animation. But what we can do is we compress after nine Easy's these in on. I'm probably going to drag the left handle across with a speed graph, which we've learned on. Then I got that nice, smooth animation on my even. Just bring this back a few more friends, and we get that that basic animation. Okay, what I can also do is turn on motion blues so that when this is moving, you can see there's a nice little Blair on the shape, and now we just need to animate the tax at the same time. So I might actually go a bit further out. Andi dropped down the animate, unjust, animate position. Bring the position all the way down here, so I'm actually using this position, not the position for the layer. There's a reason for that. It's because we're going to use a mask. So if I go to, let's say 20 frames here, sorry, that would be one second in 20 frames. Now that I've dragged the person down, I can use the range selector on Guy can make a key frame at the start, this animation for style at and then I could go to one second and 20 frames, and I can bring the range selector up so that we kind of get this animation. But obviously it's not sat with same speed graph, so its formal a bit behind. So we'll just set the Eazy e's on the animation to be the same. And there you go. It looks OK, but the problem is, we're still seeing it down here. So all we need to do is create a mask. You can also use a shape layer to create a mask. So let's go to here. Let's go to two seconds on, def. We select that whilst we've got a layer selected. If we select the square and then draw around our text, you can see we create a mask. So if we just bring this mask just to below, where are Texas now? The text doesn't appear through the bottom of the screen, only starts appearing behind the mask on while I might actually do is just bring these key frames, or at least bring this first key frame forward a little bit. So the animation doesn't start until the block is all the way and you can play with this. There's so much we can actually do here. But this is just get a basic understanding that if you're not selected and you use a rectangle, your drawer rectangle, if you have got something selected your drawer mask and you can see that there's like a definite edge in the mask. So what we can do is go down. Teoh Ryan Collins here. Drop down masks, drop down, mask one and just add a tiny bit of feather. And then you can see there's a bit of, ah, smoother edge that you don't want too much, father, because you don't want it to affect the final composition. But if we actually zoom in here, you can see that the feather just helps. He's the animation, and if we go too far up, it starts affecting the whole thing. So let's just bring up to there on add motion blur to this as well, and then maybe select fit here so we can see the animation in full. So press alto to drop the key frames, we press shift on and on both layers and then duplicate both the layers. Then what we can do is actually go to layer. No, Sorry, we can right click, Go to time, time, reverse layer. And now if we let's have a look at where these animations finish. So the animations finish here for the bottom two layers so we can trim these by pressing or I'm right, right bracket. And then we can trim the start off the reversed animation here when the animations have finished on. Then what we can actually do is we can get the reverse animation at the end. But this might be a bit long, I reckon, about four seconds and 15 frames. I want them to start disappearing. So what I can do is I compress Ault and left bracket here and I can just drag thes but Onda come over to the I hold shift. Andi, bring the cursor over to the start here and impress left bracket to trim these off. So now you can see that we have the animation coming in on the animation going out for going in. I don't mind it speeding up for going out. I think I want it to go out quicker. So I could actually do is I could change these key frames so we'll just go back to the speed graph and I can select both of these key frames and just by Dragon, the one arrow across, we get a new animation on. I could even bring these further across and let me just get my key friends back so I can Or I could go to these press after nine. Just make life easier, and then we can drag these further to the right so we actually get a quickly disappear in animation. But you can play around with these. I think I want to go back to Let's have a look. We turn these off one of it, father, and on we get these thes layers. Andi, I think just bringing them to the middle. Praise a nice little outro. And now, because that's the full animation, what I can do is just drag the trim. The comments of the work area like this by dragon, the work area and press right click trim cons. work area. Press Al closes down and you can see I've got this little animation. So there's a lot of cool tricks there, and that's going to lead us on nicely to our future Projects were not a I'm not actually gear in this course was making these lower thirds and things. But the techniques that we use in when we get into making the project's these are the kind of things that I do a lot. So what we could actually do here as well if we wanted to. So right now, um, we've just got this shape layer on a meeting in on a transparent grid. We can actually render this out. So if I go to file export and add to render queue, the render queue appears here. So render satins. I keep on best settings. I never really change that. I click on lossless, though, and you can see it's a V I, which is gonna be to bigger file so we can change this too quick time and then changed channels toe rgb an Alfa and the Alfa means that it's gonna render out without the transparent background. So I'll give you a quick example of how that's gonna work. Now let's output this too. We click output to and that's where we save the file folder overlay library Ryan, Lower Third. Let's render this out. Okay, Lets go back into our composition and we can just delete these layers. I'm just gonna grab a piece of footage or on image in one second. So let's just grab this, uh, picture this handsome man by here unless drag him in. Let's just do this. I mean, like, it's not ideal, but and then overlay library. I'm just going back to the overlay library and drag him Roy and lower Third and bringing that into our project. We've just rendered this out. Now I could bring in the timeline, and I can actually, this is just a movie file now, so I can keep this in my project and use it whenever I need it. So if you ever wondered how that's done, that's how it's done. So thanks for watching. Next video will go on over compositions in greater detail on really Start to get things rolling, you've almost learned all the basic essential techniques we need to start making the core stuff that you came here for, so stick with me on it won't be long, and we'll be making some great stuff 10. Compositions (In Greater Detail): Welcome back, guys. So far we have bean building our scenes in one composition. This lesson is going to get a bit more advance, but it's also gonna help set us up for the fun stuff that we're gonna be making very soon. So what I've tried to include in this lesson of the things I wish I knew sooner about compositions rather than working out over the years. So in this lesson, we're going to cover how to pre compose your layers, why we would pre compose layers and some essential tips on compositions in general. So, first of all, how to pre compose. So as you can see at the moment, we've got this animation in our timeline, we're going to come back to that in just a second to explain why we would pre compose our layers. But for now, let's just get let's just turn these two off unless make a new composition. Unless just call this example. So I'm just going to drag some footage into this composition. So I've got my footage here, and if I press space bar, I've got this scene playing this party, and now let's suppose I add some text to the sea and just put party and here or whatever. So right now you can see we've got two layers down here. So what we can actually do with these two layers is we could select these two layers or as many or few layers as you like on then just right click and collect Pre compose here. Now, when I do this, I get a few options. So I get leave all attributes in the example, which is not allowing me to do, because I've gotten both selected Movil attributes since a new composition and then adjust composition to the time span and selected layers. So what's this? What this is going to do? It's going to create a new composition with these two it. So if we press okay here, you can see that we've got pre comp to now. So both the layers are contained in here, so we have to go into the new composition. All right, so that might seem a little bit mind blowing, but let's just go back. Let's take our layers back out. So why would we pre compose? So at the moment, if we apply any effects to an adjustment layer. So if we go layer new adjustment layer any effects that we apply here supposed to reply like a blur. Let's get Gordon Blair here. If we apply, the effect here is gonna apply to all the layers. So if we just want this effect to apply to party, we can right click on, then go down to pre compose. And now let's just take a look at these other selections here. So suppose our these DIY scenes we wanted to finish here. Let's just has all right brackets. Truancy. So if we select Thies to combat thes two scenes, these two layers sorry and then pre composed. If we adjust composition to Time span, it's gonna make the composition this length the length of both the layers. So if we click this, you could see it makes a short composition. But the problem is, here is we can't length unless now. So if we go back on, we pre compose and we don't click. Adjust composition to the time span it leaves. It leaves the composition longer. So what you could do is as you're building your your scene, you could get to hear you could still cut this off. You could still press Alton right bracket and turn that off. It's still going to get rid of, um, you know, you could trim there or actually, we've just got the tax. You can see the tax disappears. This probably not a great example, because the tax blue and let's just key frame the text so hip blaring us there and then go down to zero. Okay, so you can see now the text is coming in party, but the tax goes there. So if we've made the layer the length of the attributes, we're gonna have to go in and adjust everything then to make it longer wears. If we keep it like that, we can always just extend it out a little bit more. One question that I had myself when I was doing these things is like, Well, why not just apply the blue said the text. Because you can do that so you could do that. You could just apply the bliss of the text. But let's give another example here. So if we go to our main camp one, I'm sorry, let's go to Yeah, we turned these often. We if we go to main camp One. You can see we've got this glitch of fact going on. We're not gonna learn how to make the glitch fact now, but the glitch effect is built in here, and the glitch, in fact requires a lot of layers on its own. So we've got this composition here with our fractal noise will learn about. We're gonna make this this kind of glitch fact soon, But you want what I'm saying is you can see there's lots of layers here, so we can't. If we put all those layers in this main composition, it's going to affect this background layer as well. So I suppose the point is, if you just want to apply a fax to the text like the glitch, you need to pretty composed them so they don't affect the background layer as well. So now that we've got that covered, we can also keep the timeline clean because when these layers stopped building up, imagine this is just ineffective. So local this this is all just just just to make the one glitch, in fact. So if we're doing that all the way throughout, just 11 composition this this is gonna look crazy, you know? But we can pre compose thes again, and we could just put seen one here, um, keep the length and then just goto one second and just cut that off. We've got everything or, you know, maybe a bit longer. We've got everything here in this one composition rather than all these layers on top of each other. So again, stick with me as you go through, you'll see where you need to use these things. It's not about knowing all the stuff right away, because it can be mind blowing. So in a nutshell, that is why you would pre compose it. Helps contain the layers to apply effects to particular layers and then also to stop it effect in the layers below and keep the timeline tidy. So as we get into the other projects, I'm gonna be going right click pre composed this on. These are the reasons why. So I hope that explains a few things. Now, there's a few things to consider as well. Suppose we want to duplicate. Let's just take a suit. Okay, so we've got this background here, right? So suppose we want the same. I'm just gonna clothes the's composition that so you could see the compositions build up here. You can close them down. And if you ever want the back, just go up to your project panel on the compositions back there and you can just double click on Dell, Open back up. Sometimes it's scary. You can go like that and go, Oh, where has all my work? On. So then you obviously just double click back in there and it's fine on again. Window workspace reset to save layout. If you need to write still with me, Hopefully you are. So let's say all right, so we like this glitch, but we want another scene exactly the same. We just one sort the footage. So if we swap seen one out now and then we change the footage. Look what happens. So I'm in. I've got seen one here duplicated it. But you see, I deleted the footage, but it's deleted from scene one as well. So if I open seeing one here, and I just bring something else in which God, these random numbers. If I bring these in, you know, I still got this glitch pre compose. You know, I've got the glitch, facts and everything going on there. But it's affected. Seen one as well. So this is the bonus point, really is. If you want to duplicate the composition, you need to duplicate it in the project on This is something that I didn't know for a long time as well. So to duplicate it in the project, just go up to, like, seen one, for example, press control and D and you got seen to Now. Now, if we drag into seen two on, then we bring seem to over here and then open up, seen to and then just delete the footage in that and just drag some new footage in seen, too. When we go back to Comp one, which contains someone has seen too, you can see it doesn't affect the rest of the composition. It doesn't affect the whole time line because it was pre composed. It was copied up here. Another important thing to know if you have another composition. This dis applies to everything, so let me just give you an example. Suppose we pre composed the background here. Let's go to right click pre compose and call this background so this background footage is pre composed. Okay, now, if we duplicate seem one again, seen three appears. Now, if we go into background Onda, we change this or we delete this. It's gonna delete it in scene one as well, because even though you've duplicate, even though you've duplicate it, seen to and it's become seen, three Scene three still contains the same background. Ultimately, if if you're duplicating, seem one and you got seen to and then you go in anything that's pre composed. If you, if we change this glitch in seen two, is gonna still affect the glitch in scene one because we've we've made it. We've duplicated seem one up here to make seem to, but it's still got the same glitch composition. There's only one glitch composition, so we'd need glitch to drag glitch to in on. Then, if we make any changes in here, you know, if we delete this glitch groups, if we go in and you know, like, say we delete a fractal noise which should mass apart glitch, then it's it's gonna happen in due to do so that scene one in English too. Oh, see again, pre comportment. This is why it's not changing. So we would need to duplicate pre come one, bring pre come to in. And now if we go here and then say we really are adjustment layer, we delete that first glitch. So it's like this. Then we go into seen one scene one. The glitch looks like this scene to the glitch Looks different. Okay, so that might have got extremely complicated extremely quickly. So let me just close everything down. I'm not just going to run through. Quite simply, We're just going toe recap from fresh. So Lesko, text Ryan here footage below Ryan. Okay, cool. So if we just want to tidy up the timeline, we can just pre compose, okay? And it's made the timeline. Sure. Now, if we want Teoh go in here and we want to just apply on effect just to Ryan Or maybe we've got four layers and we just want apply effects. The two below. We could go pretty compose Ryan going here, lay out new adjustment layer and everything we apply to Ryan. So if I go to Blair again, everything we apply here is going to affect anything. In this composition, we can even have some more tax. Come in Collins later on, and it's it's going to be affected by that blue. But the background. Well, so I mean, that's what you really need to know. But then, like we said before, if we want to change anything and right, if we want toe reuse Briancon one. But we want something different in there. So we want to change the tax, but keep the effects we need to duplicate in the project window. Ryan Com to bring Ryan conto in. Now, any changes we make inside Ryan come to any changes we make him. Ryan come to won't affect Ryan. Come what? Hopefully that was mind blowing. It's going to get easier. Andi, this is gonna be just valuable information later on. So I think I'm gonna call it a day there before your heads explode. But thanks for taking the time to watch out. Feel free to drop a message in the group. Let me know what you think of everything so far. If I can help you out in any way, then that would be great. So drop a message in the group on. Do let me know what you think and show us your examples as well. Let's go, like, get create in as you want. If you get an idea, just try it out. This was all just very rough. I would never make a video that looks like this, but it's just to give you an example off of how compositions work. Trying to do it from a common sense point of view. So thanks for listening. See you soon. 11. Track Matte: a track. Matte is a layer which allows, like to come through another layer. And after a fax, the two layers are positioned on top of each other. And essentially, whatever you make, the mats becomes a window for the image or video you'd like to show through. So when you select an Alfa MMA or the Alfa Channel after effects, you'll use any pixel over zero opacity. When you select a loomer, Matt, it takes luminant into consideration. So if you've got a Grady Int or there's brighter and darker bits, it will take that into consideration when showing through the window you've created. So what we're gonna do today is we're gonna create such windows with tax and shapes. So as you can see, I've got something crazy going on here. So we're gonna make something similar on. Hopefully it's gonna make sense. So to start off, I'm gonna just delete all this on hope I can do it again. So first of all, let's just drag a piece of footage into the timeline. So I'm just gonna drag this cool little say, seeing which we've just seen running back before, which looks really cool. So the first thing you might want to do is I'm gonna put a little scale on this just because I just like to, because I just want to I just want you. So let's just put a little scale. So this this is kind of scaling like this on Dallas. Beautiful. So now let's look at the Alfa Matt. So that the first condom out so we could put city life or, you know, something like that in there? No. Doesn't really matter. Just for demonstration purposes, Let's put city life through there. So if you haven't got this little track matte section down here, it might be because you haven't got this section and bottom left corner this else which he down here, selectors. So if you select that, you should see you've got the track amount option here on now. City life is going to be the window. So we're going to say we only want you to show this footage through the window, which is city life. So if we click on the video and then go to track matte and then we've got the short drop down menu, so there's four options. It's really straightforward. There's only two things to consider and then the opposite. So if we click Alfa Matt City life, you can see that we're only going to see city life. We're only going to see the footage through city life. The text is is our window, so we can even animate this now. So let's put the anchor point in middle. Let's bring this text up and then go down to, like, two seconds. Maybe let's go 1/2 or not, and then just go to, like, a percent on just just these key frames just to make the animation look a little bit better . So let's just put a little bit of, ah, a bit of a thing on it, and then you can see we've got that city life coming in there. So there you go. So if you've ever wondered how that is done, wonder no more because that's it. So that's how we used the Alfama. So the loomer, Matt, Um, in fact, let's look at Alfa inverted. I give you three guesses as to what this does. So, yeah, you can see city lives come in, but it's only showing the pixels behind. So you might think, What's the point in this s o. The point is that you can drag another piece of footage into the background, and that's actually going to show through city life. Although this just looks like there's way too much going on. I've just drag some random footage in there, but you can see you can get really stupid with it. If you fancy so moving on, then we've got the looming Matt. So what the looming Matt does is it takes into consideration whether you've got some soft radiant. So let's just go back to normal here. We've got City life Coming in was a city life, so let's turn that back on so we can see it. So now we've got City Life like this, so let's put a great let's put a yeah, let's just put ingredient ramp on city life. So now you can see that there's there's a bit of darkness on a bit of lightness. So what's gonna happen is if we select this toe Loomer Matt, it's actually going to give its gonna let the Grady int work as well. We can probably get some really interesting effects with this. Let me find a texture or something with some transparency so we can play around. Um I'm just gonna find a an animated textural somebody's throwing. But with me, two seconds it's We've got this glitch texture down here and show there's gonna be some brightness so you can see we got all different sort of stuff going on here. But if I actually tent this or we can even make it black and white, let's do that. If I make this black and white and now I select will put no track matte and I meet this the Loomer you can see it's only gonna show through the the areas. Um, I know it looks like an absolute mess, but it's just showing that I'll actually show through the brightness. But what we could do is go loom inverted and yeah, you'll probably see more of it. Look at that. That looks crazy, Actually, kind of like it. So there we go. Serious. So what? This thing this tax on its own, actually is just If I just so low slow solo the texture for you, you can see this is quite cool. That'll touch the packed up. Downloaded Ah, off! Ah, Facebook. That guy's name is Stephen Macfarlane actually on, and I got tons of these animated textures for an absolute bargain with fears about £10. So maybe maybe I'll leave a link somewhere If I forget. Just give me a shout out and ask me for these text blocks. I think of a £10 for Tana animated textures, all the textures on the file so that I can animate my own ones as well. So just done a really great job. So that's how used the looming Matt. And now the final thing. I think that's worth covering with the track. Matte is. So if we can make a window and we can make it come through and he solved shapes or anything , anything, really, we could make it come through anything. Anything we make black and white it we could. So then theoretically, we could make a you know Ah, a video black and white and then try and make it come through. So what we're going to do now is just get another video. Eso I could get a picture of a woman here, so this woman smiling, and then if we make a black and white on, we go looming, Matt. You can see how the woman is showing through. But then we can also go Loomer inverted. And now look at this absolute craziness. We've got the said he's showing through the woman, So probably taking a bit far by putting video of the video. Last thing we'll do is we can make a scene with shape. So if we go to a new composition, let's just call this. What should we call this? Let's just call this Matt. That would be appropriate. And now we get a rectangle, something like this and just a line this the middle. So anything we make here, the the video is going to show through. So this is where we're like OK, so what can we make here? Why don't we just mass around and makes him some random windows and stuff appear and then see what happens? I'll give you one guess so. Okay, so we go to here and you can see we've got all these bars. So let's just hit p on the's bars, make a key frame, select more, make a key frame on once again. I will just totally massive that they will go back to start, and then we can just bring all these just off the screen so you can see we've got this sort of thing on. Then maybe we can ah, keep for him. Assistance. Eazy e's Andi make the pattern just, you know, a little bit cooler. Cool, man. So we've got this so thing, and then we can just offset these a little bit just to give some more randomness. All right, Cool. So now we've got the picture of the woman by here, and then we go to project. We've got a map composition which we just made on at the moment. We're just getting these bars come across the screen. Let's just go layer transform and fit this to the comfort with. So now, at the moment, these layers of just being pretty rude and coming in and just block in the scene um, so that's not fun. So what we can do is we can just go to our footage and go mode. No, not mold track. Matte Alfa map map Track My Alfa Matt. Matt. And now, when we pressed go, you can see that the lady just appears through the layers like this, which That's pretty cool. So you can imagine how you can get really creative, just making all sorts of shapes and things like that. Bonus a bonus point. Let's go halfway through. Select all these layers on, trim them down on now, less duplicate them if we just drive one. So the top, it kind of separates them like that. Bonus bonus points on top of bonus points here. So now if we reverse thes layers and then sort of drag them back, we should have the reverse animation. Yeah. So we've got this reverse animation here trim the concert of work area and then let's go back into a main scene and you can see they come in, they disappear. So we've got a coming in there on the layers disappear, and you could use this for transitions. You could use this for anything, so that's pretty much it, um, just thinking anything else we need to cover. Really? So we've gone over the loom amount. I mean, you could put a radiant on these. I don't know if this is gonna really We could put great and run like that on. You can see if we put this toe Loomer. Oops. You can see we've got the Grady in and they're a swell. And obviously we didn't. We didn't change it up here, so we didn't but the great remember there. But to be honest, I wouldn't be putting a great in ramp on those bus. Yes, so that's it. So just a just a recap. The mat is the window that lets the light through the mat layer you want on top of whatever you want to show through. So let's just say you've got some tax. You can animate the tax. You set it as the mat. You can animate it, do what you like with it, and the footage is only going to show through the mat layer. The loomer layer takes into consideration brightness. So if you've got a great in or anything like that, then that's going to be considered with the Loomer. Whereas with the Alfa, it's just anything over north Sensor assumes there's a pixel visible that's gonna that's going to be treated as a map. So I hope this was fun. Andi, just go ahead and make your own Matt layers and transitions and animation. Just show them in the group shower. If you've got any questions on most of all, thank you for listening and I look forward to speaking to in the next video. 12. Masks: masks allow you to show or hide parts of a layer similar to attract Matt. The differences. A mask is applied to the later itself. So when you move the layer around the mass moves with it, whereas a track matte is independent of the layers. So a great example of when to use a mask is when anime and text. I suppose you want the text flame from the bottom screen. But we only wanted to appear when it reaches the destination, we can use a we can use a mask. So let me give you an example of this. So, first of all, to create a mask, what we could do is let's just draw attacks here and put masks on. We can just align this to center, so to create and my skill what we could do is when were selected on it. Layer. If we select any sort shaped tool on pen tool well were selected on layer by the fault. We're going to start drawing a mass. So if you have a look, I got there the latest selected, and as I go to draw Voila, It kind of reveals this mask here. So I've drawn a mask over here and I can click the mask to drag it around. I can drop down masks in the text box. Here, I can add feather, which kind of feathers the edges of the mask. So if your enemy and in if we have a look here, you can see the edge of the mask. We can weaken further that end to make it kind of like a harder edge. Or however we want to do that. But what we really want to do here is we want to show when we would actually use this. So, like I said, we could use a track map. But the thing is, if we don't want to move this later on, you can see the mask is stuck with the layer. So right, let's just remove this mask and I'm gonna show you a little trick. So if I press first of all, let's enemy the less animated text first because then it will make more sense as to why we're having a mass. So I've just clicked down here on this tax anime and then position. And then if I just go across Sorry. So at the start, if I just bring this down, bring this all the way down. And then we dropped the range selector. So I brought the position of the animated down. And then as I increase the range selector, you can see that the characters are sort of ramping up. So a set key frame for rains Electorate zero, and then I'll go to one second. Bring that to 100. Okay. So you can see I've got this basic animation I'm gonna just after nine these and just add a little curve to make this animation a bit nicer. That would go beautiful. And then war we can also do is if you go down to advanced here, you can see that we've got characters. You could do this by words. If you just wanted the word to appear like that. A little bonus tip. You know how I like to give away bonuses. So at the moment, we've got masks, masks comes in like that, but obviously you can see it flying off the screen, which we don't want. So guess what will create a mask around this on instead of getting the shape tool trying to get to the edge I mean, we could do, We could We could make this shape whatever she want the mask. But if we click the layer impressed control shift and N for November If you see it doesn't makes perfect mask around it. I want to make sure that we do this when the whole when the animations finished, we don't want to be creating a mask around it when it's halfway through finishing. So now if you have a look, we don't see the animation in on bonus points with breast control. Here, copy these key frames later on. Actually, let's just copy this this second key frame paste again copy the first key frame. Go forward, Onda pace that. Then we've got the mass coming in and coming out. So already we've got a summation looking animation. And then if we just had add motion blur for good measure, Beautiful. So what we could do if we feather this now? If we feather it here, it's going to just cut into the bottom of the mask. So if we make this mask a little bit bigger, they can be kind of fiddly, so we can drag each end and just make this a little bit bigger. And now let's spring the so you can see here, let's turn off motion blues so you can see there's a very hard edge on the S. So this is where we might want to feather the mass. So if we drop down into further here and then you can see if we we add some father kind of gives it a little bit of breathing room when astronomy in him, which looks just lovely juggling now. So we hit that one on then Boom masses coming in like this We've got a pretty sweet looking animation. Yeah, this whole range selected things took me quite a quite a while, so I mean, we're on the subject. Ultimately, what you do is it kind of seems a bit into it counterintuitive. But what we've done is we've moved the position out the way on it remembers the start point . So then we're anime in nothing to 100% of the start point. But we'll go into that later on and maybe do another last minute. Ultimately, take what you can from this, so we've got the mask here. So that's one way to use them the masks for for tax, which looks great. And we've got a pretty much perfect loop here. But another time we might use masses like suppose we want to make it look like something is coming through a television. So what we might do is if I just open up a Let's just drag this into our composition here on and I bring it down here. So what I could do is let's get some footage. So I'm just gonna drag like a random video in here. Um, what have I got here? So we've got people write in a bike. All right, so let's say that I want these people riding a bike to show through their screen. Obviously, we could fill around like that, but it's gonna be quite difficult. Let's put it behind on. What I could do is just start drawing a mask in this screen. So I'm gonna click strike this drive this behind. So if I click on this layer now, what I could do is if I just go to teach Teoh, get my hand tour weaken, just draw a rectangle from here, or we could draw draw the mask with the pen tal. We can do it however we want, really, But let's just grab the this for now on. If I zoom out, you can see it's going to be a bit difficult toe draw a mask like that. So what we could actually do is, if I get the pen tour, it's going to make it a lot easier because the screen doesn't disappear. So you see a clicker. Click a point there, zoom zoom out, and I'm just scrolling the wheel into the other corner, and I just click that pixel there. Zoom out, scroll into the other corner, click that one, zoom out and then scroll into this corner and then click that one Zuma and then assumes I click this dot again, you can see we've got the mask. The problem here is we just need to hit inverted on the mask and you can see we can see our footage through a laptop. Onda. Yeah, it really looks like that video is coming through that laptop, and then there are some cool things you could do. We could go to the mask feather, and then we could just add a little further on it if you wanted to just to give a kind of little glow effect. Maybe that's a bit much. Maybe you just want to bring that down like 10%. And now it's kind of like gives the edge a little blow or whatever you want to do that. But ultimately that is just another way to use a mask. To be honest, I don't use them on awful lot used use it mostly for the typography, but the difference is with this is again, like later on, supposed that we wanted to move this. The mask stays with the laptop as well, whereas if we had a marked layer the map on, we moved it. Then the mat would move and we'd need to back them up again. So that's pretty much it. That's that's how used masks on, but for everything that will need to be doing on a little bit more. So I hope you've enjoyed this on com, which seem in the next video 13. Camera Basics: aftereffects has a pretty impressive camera system where you can use a three D environment or you can simulate three D environment with two D layers. So, as you can see here, we've got you know, that the kind of text and the the images, they seem like they're layered, so you can really have some depth on parallax images and things like that. So the camera deserves literally a course on its on its own. But you know, my cell. I want to take you straight to where you're going to be using it on DA Skipper, all the fluff. So in this lesson, we're just literally gonna go over the camera, the basics and kind of re create this little thing I got going on here. Ah, and that should cover it. Obviously we can. We can animate this a lot more. This could definitely be animated more, and we will do in, like, maybe the project sections. But for now, I want to give you something that you can create that actually looks good, that there's there's worthwhile learning the camera to do, you know, rather than just playing around showing all the different things. All right, So, first of all, we're gonna delete all of our layers on We're gonna start fresh. So first, Wallace, let's actually just have a look at the camera on what we can do. So let's just get some tax here and what Just took a camera in here on, then just align this to the center. So the first thing to note is down here, you can see this little box. And if you can't see this lockbox here than just click the switch is by there not those ones. Not those whose either those ones. So click these little switches. You can see there's three d box. So at the moment, if we go, if we drop down the lay under to transform, you can see we got to Sorry that sank point. We've got to positions. Ah, the X and Y axes up and down. All right, so when we hit this little box, you can see we get the third position here, which is actually the Z axes, which allows us to push pull the layer back into the said access so into the into the gives us depth. So then also, if we go to orientation, sorry. No orientation. We got X, Y and Z here. So you can see we can actually animate the camera in in a sort of three D environment like this. So ultimately, you can see that we've now got these these added dynamics that we can use again. You know, play around, do what you want without, But let's just get Teoh actually getting an example together. So first of all, we can see that the Z axis, we just keep this on zero. And now if we just bring a piece of footage in So let's just bring another piece of image in here and we just scale this. So it's kind of like in the middle like that on. Actually, I think I like to apply curves to this just to make it a little bit darker s so I'm just gonna ply occurs. The fact drag this down makes a little bit dark. It makes it easier to see the tax. So nothing's changed. Yet. We've just got these are both three d layers. But what we can actually do is if we bring the position forward. You see, if we if we push this forward, it it disappears behind this layer. But now we can. We can bring this up all right, so we can change the positions of each layer by here. So that pretty much sums up what we're going to need to do on the layers level. So let's actually create a camera, because at the moment we don't see any parallax or anything, Be even if we animate. This is just going to look like it's scaling. It doesn't actually look lead that any depth. So let's show you how to do that. So if we go to layer new and then camera at the top or control or shift, see? But you know, let's just not do that I'm no videographer. I do have a basic understanding cameras, but for this we can just stay with a 35 millimeter lens. Ah, enable depth of field can give you some blur and things like that. But let's just keep that off and we can put some artificial blur on if we need to. But for now, this is really just to get to grips. So by by default, the default settings on the camera are fine. So if we go to That's an all objects go to layer. New camera. 35 millimeter. Okay. And now with the camera. If we open down P and we we moved the camera position, you can see with what? The zed control for the camera. And now you can see there's, like, a kind of parallax on. If we actually push forward, we're going to get behind the image. Look, So we've already got some control here, and if we go up and down, you can see that it moves accordingly, which starts giving you some really cool effects. So if you do, let's see any slide shows and templates. They've They've usually always got these kind of camera tricks in them. So this is awesome. So far with we can we can zoom in and out and we can animate like this. It's probably also worth no in. Um, just down here. So we've got the active camera here on day. We've got one view. If we go to two views, you can you can see the camera. You can actually move the camera using this, using the second view. But for now, like less No, let's not really worry about this. You can zoom in here and then you can select like you could select the blue that the is that access on on this and move the camera around here if you want to animate like that. But for now, we're just keeping this really simple. So let's just switch back to tow one view. So what I've also done is I've got a bit of a texture. I've got this free dust texture from photo shop supply. So I think if you have a Google, you'll be able to find that, and then we can make that three d as well. So it's probably worth just bringing in all the assets into a scene. So we can really understand what's going on with this texture. We're gonna need to take change this to screen so that we can actually see it. We can scale this down, and this kind of like just adds a little layer little dynamic, toothy. We can add depth by putting this layer in between camera and things like that. So now I suppose we need to just animate a little bit. But before we do, I would just add some some little symbols, so I could do is see this quite a lot. If we put like a little get attacks towards put little plus, let's just make this different color. So I'm just gonna make this like an orange or something like that. That looks fine. So you can get one of thes and let's just make two or three, um, drag them around And then again, we're gonna make thes three d on just drag them under the camera. So everything's three d and under the camera. And then if we go to pee again, we can push some of these in, pull some of them away so we could pull this this one right back. You know what? Let's pre compose the 33 crosses. All right, So if we go into this layer, yeah, that makes easier. We can just move these around. So let's just quickly give two p, pushed them back and pulls him forward like this on. Then we've got we've got a sort of we've got a couple of elements that we can we can move around. So we've got we've got this, these layers like this. I want to get them just out the way a little bit. All right, so this is just just to give an example of how we could use this, All right, so at the moment, we'll make that three D as well. Its at the moment, everything. Everything is three D. So what we need to do now is we need to animate. All right, So what we could do is, um let's say I think we could start by animating so you can see the problems, and then it'll help us work back to the solution so we could zoom, you know, right into the image. Or you can come through the image if you want. So if we start from here so that we've got the image here on, we just keep framed the camera camera position like this. So we're already getting some sort of effect. And then if we press f nine on dumb, we can make a little speed graph adjustment and then go all the way to the end and then just keep going out a little bit. I like to do that. The problem is, when you do this this again, you know, do do you can keep this A simple is complicated you want you want to give you? I don't wanna leave anything on the table here so you can see that that there's automatically a little easy is put in here, So I haven't worked out exactly how or why this happens. But when this does happen, I just make the key frames linear. Go in and I'll just do this manually. So I bring this up here, bring this down, and then if I bring this up, it gives it kind of we wanted to fly in, But then we want the motion to continue so flying like that and then just keep keep going out. So we can just, you know, play around with this. However, you want the speed graph. But I think this works on. Maybe we can just grab this these handles and smooth this out a little bit, Phil around see what works for you. But I think that looks fine. So ultimately, the camera's going like this at the moment. Let's go toe. Let's bring us toe one keep one second. So yet one, and then it keeps going. All right, so that looks OK, but we could add a bit more depth so you can see at the moment that the the texture is already in here. So what I might do is I much bring the tax you forward a bit, but bringing the texture of it closer to the screen so that we don't so that we go through the texture. If you see what I mean there and then also I want the text in front of the taxes. So if we go to pee on the tax as well on, then we can key frame the text itself. So at this point, I want the text to still be off the screen because I want to see the texture. So I wanna go. Andi, I'm going t o keep frame. I'm gonna just these key frames so that the text eases in a bit like this as well. So now you can see that the texture is actually in front. But we just need to make sure that the tax to fits the screen. Yes, So if didn't fit the screen, we could always just re scale the texture later on to make sure that it does fit So at the moment are texture is fit in the screen. I just want to turn the texture often. Align this to the center of the composition, get our anchor point on. Just make sure that at this point, if we go to scale now, make it three d. We just want to make sure that at this point, the texture is full screen. So here we we want the textures to just be appearing here. So if I go to pee on the texture we can we can bring it out, bring it out until it disappears, and then just nudge it forward a little bit. So there. So now you can see There we go. So we've got this. In fact, let's just bring the texture forward a little bit more, even a bit more. And then we want to do something similar with the I'm gonna actually pull the camera tax in . We're gonna put in motion blur on all of these elements Well, and then we'll adjust the the plus signs manually later on. So but this is human. In you go through the texture. We've got the plus signs and then we've got camera like this. But then what we could also do is we can adjust the the's plus signs as well, so that they're actually we can have these out a little bit. So that summer in the screen and some aren't so there you go. So you can really play around with this that I think the main thing to take into consideration is just like get away the assets in the scene on Just animate the camera first, and then you can adjust the scarce. Sometimes you might scale out, and then the you know, the image goes small, so then you can scale up. It's kind of hard to say without you just stumbling across it. But these are techniques, really. Just create a new camera. You can do all this. We're just like a basic camera. You could actually animate anything so you could animate. We can animate these these plus signs so that they carry on on the room. So the plus signs off fly in and keep going as well. Like this. Let's just leave this ran drop a little bit. Now you go and just make sure you got motion blur on everything. It's just in six seconds round. The the camera and three D movement is pretty. Ah, Renda Heavy. So just worth considering that there we go. Boom. You've got these nice or parallax in image. And if you wanted to, we could do the mat layer technique that we did before So we could pre compose everything here and just call this seeing one or whatever you wanna call it. And then we can make a layer new layer. And I make this, like a solid white solid on Just go to scale on, then unlinked these properties so that we can we can do this. And then what we could do is hit scale and then go forward to, like, 15 frames. Onda just put this 20 actually a swap these friends around less. Let's go to zero at the start. You can see what we're going to do here, and then we can just make this the mat layer of the white solid, and we could even have it like that. And then if we just get these key frames, press F nine Okay, there we go. Boom. So just have a play around without that. That's the camera. Not overly complicated. I probably made it more complicated than it needs to be. But later on will do will do this sort of stuff again, except we're going to make it a bit spicier and handsome over Lee's. Make a nice little cinematic title reveal. So stay tuned. Let me know what you think of this. As always, feel free to drop your animations and intros into the group, and I look forward seeing you in the next video. 14. Null Object: a no object is an invisible object which is used in after effects to allow you to control the properties off different things that might sound confusing, but hopefully this clears it up. So at the moment, we've got all these circles just flashing on the screen. So what we can actually do if we want to control them all at the same time, we can actually use a no object. So let me just show you how that works. So right now we've got all these circles flashing, but suppose we wanted them all to be movin left to right. Well, let's just show you how that looks. Obviously, if we go down to a position on here, we could select position on the mall. Ah, select position and then key frame and then move across on. We start, keep framing the more. But you know, that's all going to get very messy very quickly. So what we can do is we can create a new no object like this layer new. No object. To be honest, I really don't use an all object a lot. You can pretty compose, but there's reasons why you wouldn't pre compose sometimes if you make a pre composition and you want to move some of the shapes but keep the background, you'll actually the composition edge will be shown, whereas if you just used on all objects to control the assets, it will be shown. And then also, if you got like music in your main composition, and then you want to pre compose some stuff to move it around. When you go into that composition, you won't have the music anymore. So sometimes you just create a Nile object to take control off loaded layers so you can see we've created the null object here. By the way, all all these shape players, I've just duplicated the same animating shape and painstakingly repositioned them across the screen. But now, to be honest is about 10 layers on. Then I just duplicated them. I'm moving around, but this is what I want to show you. So right now, if we select all these layers of just hit shift and then see this little Pickwick by here for grab that Dragon on some null object now, anything I do with the null object controls everything with the with shape players. So let's also make this. Ah, three d, then all objects. Three D. So now I can control in our Aiken. I can move around on. If you see this little red thing here, this is actually the null object. So I've actually got one point where I can literally drag around the entire compositions. So if we go here, you can see I can move everything around like this. So, yes, so you can see everything's pets, a moral object, nicely. So, one example. I could bring the Nile object back here. I know you could use a camera for this as well, but let's say we just bring the whole object back, press position, and they go forward here. And as we're going through, we just want out. Take the null object forward. Let's go to, like, 1000. Ah, and then you can see the Noel objects gonna gonna bring all the layers forward so we could get this kind of animation like this. And we've got this this perfect look. But we could also we could position we could take the metal object here. We could say half way. We wanna Luke thes layers around, and you can see that all controlled by that Noel object. So really, it's quite hard. It's funny, because when I came to meet this video is like, why wouldn't I just pre compose? Because let me give you an example. So I suppose this is the difference if we pretty composed Well, this is already Comp One, but let's say we select all these layers were right click and then we re composed and we call this circles comp right so we can move circles comp around. But if you have a look now you see the layers of getting cut off at the edge. Whereas if we've got them null object on, we've got all these linked to the null object. If okay, let's go to let's go to pee the position. If I move thes around, the layers aren't going to get cut off, you know, when you pre compose, you actually cut the layer off. So what I could do is I could animate the Nile object from here, and then I drag it up and we can get you know you can get this this sort of animation like this, and it's anywhere anyway. With that, we move the null object. Now it's going to affect all the layers below, so it could be really useful for that sort of thing. Suppose we did pre compose the the layers and pre composed these and call them circles. And then we make the circles comp smaller. We've got this little circles camp here, and then we duplicate that a few times. Say we want thes cell circle comes going off over the screen on their own like this. We could offset these a little bit, so they are kind of random. Let's make them all a little bit bigger. Let's go to To do so, make these circle comes like this. So now if we want to make these a bit more random, what we could do is we can, ah, assign All the circle comes than said that. No object. Let's just delete the the previous Now go layer new null object and then we assign all the circles comes then we could control all these compositions like this so we could keep frame the position Here, bring this across the right on. Just add a bit more randomness to ah effects by dragging him all over at the same time. But I don't want to go into too much detail on this because we might not need to use them like Noel object too much. It can be used to control the cameras well, but I just don't really use it that much in that way. And I I want to stick Teoh to teach him what I know and one of good with. So I had to include this because I know I do use Noel objects now and then. But really, it's just for group in things, too, on moving them around from from one central point. So that said and done, we can take this on, bring it into our next project, so I'll see you in the next video. 15. Wiggle: expressions in after effects allow you to use a little piece of code or a formula to set a certain set of rules for properties or attributes in after effects. So that might sound or pretty mind blowing. But it's pretty simple, and the best ones get started off is wiggle its stomach. I use a lot, and it allows you to randomize properties and after effects. So in this video, we'll just go over wiggle. I'll give you a quick look at it, expressions on. Then later on, when we are using different expressions, it will make a lot more sense is how it works. So right now we've got the wiggle floating on the screen, got a flicker in background, a flickering glow on and it's all happening at random. So what we'll do is just delete all these layers and let's just start again. So I've just got a texture here. It's like a this dark backgrounds of tax year on. It's gotta be a light coming through. So sometimes what I like to do is make the light look like it's kind of flickering. So I also I did a vignette to this compositions, so I go lay a new adjustment layer. And then I just added a vignette And keep this one on the top spring the vigna maybe bring a vignette in a little bit. All right, so now we just type out our wood in the middle so I could put wiggle like this Maybe will drop that down to light. Okay, line this to center help if I had it selected. All right, cool. So when you want to create an expression in after effects, what you need to do is any stopwatch, so you can see the stopwatch that we used to key frame Anytime you have a stopwatch, if you press ault and you click on the stopwatch. So, for instance, opacity. Let's actually just bring the capacity down to 80 to start. Now. If we click Ault and click capacity, you can see this little box appears at the top, where it looks like you're going to do a little bit of code in again. Sounds scary, but it's really simple. There's lots of different codes also different expressions, which is a journey you can go on on your own. But for now, we'll just use one that we will use. So if we want to get this light to flicker, so at the moment, wiggle is just staying as it is, I actually add a little glow to wiggles. Welshofer Go Style owes glow through a glow on the glow radius. Maybe bring that out low intensity, bring it down a bit on, then glow threshold. We can bring that up a little bit. Just play around with it until it's like a reasonable glow. So now if we wiggle the opacity, we're going to make it flicker. So what I do is I click in here in the line of code and we type wiggle, and you can see as you start type in. It gives you the different expression windows. So as you sort of build up your knowledge, I still want to learn a lot more about expressions. So we open a parenthesis here, and then there's two numbers that go in separated by a comments of the first number is how many times in a second you at the or the frequency. So let's say wiggle 10 and then comma, and that means wiggled 10 times in a second. I want this opacity to vary by and then the second number. You can put the intensity. I think that's the definition. All double check. So in 10 times in the second, we want this to vary by, let's just say 10. So at the moments that 80 so what will happen is 10 times in the second, it'll pick random numbers 10 either side of 80. So now if we if we like over this, first of all, let's look at the wiggle. Let's look at the animation, so I'm not sure if you can see it's just it's quite veins. But as you can see, there is a little flicker. And if you look down at opacity when I scrub the timeline, you can see how it's jump in the different numbers 10 times in the second, it's going above or below 80. So what we could do is we could make this 20 to make this more intense just for demonstration purposes. And now we're just rendering out, and you can see that there is definitely Mawr off a over wiggle on screen, more of ah and expression. So now we're getting that kind of flash look, so we get in that that that sort of flashing look, it's rendering at the moment, so we can't see it too well. So what? Weaken Dio? Also, if we if we copy this so we can click on the expression click copy and then we can go down toe a background layer, go to a passage, impress all and click Oops, wrong on the Alton click capacity. And now we compress controlling V and just paste wiggle. I've applied the wiggle to the adjustment layer because I'm an absolute plonker. So let's drop this down again. Oh, click on a pass, tingle, wiggle. And now you can see the background is flickering as well. So then, if we turn off the solar of the layer, it kind of looks like the background on the foreground are illuminating because of because of the light. So now that we've got the wiggle on the capacity we can actually go to position on, we could click bolts on here and we could do the same. We go wiggle 10 20 now you can see it's actually gonna wiggle around in the middle so I might not do that for for this text in this scenario. But this is a good way to simulate a screen shake. If you wanted to make screen shake, you can actually get a composition, and you can add a wiggle expression. You could make this insanity if you wanted. You could pour 100 million, could you? Per 100? There you go. It's just going. It's going crazy. I think that the frames per second you wouldn't even see 100 because there's no 100 things you could actually go completely bananas on. Just put this, you know, 500. And now wiggle. It's just going crazy, you know. But you can actually use this to make some pretty interesting effects, which we will get onto. But the main thing is to understand that you press all click on a stopwatch, and that's where you type your expression, so we will use different expressions at a later date. I can show you one more expression for now, so let's take our wiggle away and then let's draw a circle So I get this ellipse tool hold shift to drag it out as a perfect circle, and then we can kind of bring this towards the middle. Now on. If we get this circle Good on our lips Drop down the stroke out dashes Sorry. Let's drop down dashes or we add dashes. So you hit the hit The plus here, Um and then we can change. The dash is like this. You can see that we've got officer down here, which which rotates the wheel on. And we've also got I actually want to make that love within a Let's put the stroke at five . So we've got this kind of circle thing here, So if we go rotate, we could rotate like that and we could animate the rotation. But what we could also do is we can go Alz and then just time on, uh, times. And then we could put 10 or any number in here, and it's just gonna give it a continuous rotation. And the number just increases thean intensity. So now it's going a lot quicker if we put time 100 but we could put time 10 here, and then it will just we can just keep this animation going so time and wiggle, there's two expressions that we are going to use in the coming projects. But again, you just see how simple it is. It's also worth bearing in mind if there's ever a red number here. That means there's an expression applied on. If you want to remove the expression, you can just it. Disable it by clicking this little icon here, and that removes the expression on if you click. That turns the expression on again as well. So sometimes you might get a template and the numbers are red and you're not sure why they usually linked to a slider or they got an expression applied. So that should be why, so I'm going to leave it there. We don't need to go into too much detail on this. So hope you've enjoyed this lesson on. We're getting really close to actually making some awesome video. So thanks for sticking with me and I'll see you in the next video. 16. Effects: there are literally hundreds of effects in after effects. Each effect also has its own set of parameters, which you can change in an enemy. And you can really use these building blocks and combine them together to make pretty much endless amounts of effects. I'm gonna go over a few of the effects that I use quite a lot that will use in the upcoming videos today. But this just gonna be a short video, just toe punch, some ideas at you on. Really? I want you to go off, have a look at what affect you confined, how crazy you can make your text and typography look and just bring it into the group. Let's make this group a place where we can share and grow and create to gather and really just come up with new ideas and inspiration. Because sometimes that's hard to sing in. This whole thing is being inspired. So today, what we're gonna do is just go through the effects that I use. First of all, I'm just going to give you an example of how to apply the effect. So if I bring some footage in behind our facts here, you can see currently there's no effect. So if I go to noise, I'm just gonna type noise up here. And then I drag noise onto effects on we turn this up. You can see that noise is just apply into the effects layer. I fight, press go here, you can see we've got this and I would never like put this motor noises just for an example . So we've got all this noise going on on the effects here. Something's considers if you want the effects to apply toe all the layers instead of a plane them to each. What you can do is go to layer, you adjustment layer, and you can start building on the adjustment layer and make the adjustment layer. You kind of like your facts pound than everything underneath is going to be affected. So you can see we can turn the noise up a little bit on now. The noises actually affect in the video of the people on the bike. Andi, I'll just put it up a lot obnoxious amounts so that you can actually see. Obviously, we wouldn't do this, but and you can actually start to stack your facts on here. So if we put a bit of noise and then like suppose we're gonna go to curves and I had some color correction that's all going to take place on this adjustment layer and or affect the entire thing. And then if we drag the effect adjustment layer below effects is just going to apply to behind the effects layer. We can have a look at the blur effect, so there's quite a lot of blurs, so you'll see what I mean. Now, if we type blur in effects, we get all these different blurs. But today we're just gonna have a look at Radial Blair on fast bowler. So if we go too fast box blur this one. I like this one because it doesn't take long to render. So if we just hit Blue Radius here and then come back to start on weaken key, frame this just up in the top left. You can see that we've got to start what we can keep friend. This just like it's any other a sort of attributes. And then we can go toe after nine Eazy e's on make our animation, and we can get quite a quite a sharp looking Blair animation. There are Next Blur is Radio Blair. So let's just delete our effect from here. And then if we go to radio blue, not CC radio blurred, normal, really a blur. You can see that we've got this kind of blur, which can really give you some crazy effects. So let's put a radio Blair on, and I'll show you how one way that you could use their. So let's just put the amount up a little bit set Zuma's well and then anti alias in we can get that high doesn't really doesn't really matter too much. So we've got this. But if we duplicate this layer and then we delete the radio blue, we can still get the normal text. And then we could probably reduce the opacity a bit on this background on we kind of. It kind of gives our text a bit off a blurry Look, this is quite good for when you want the old school film looking effects. All right, so a vignette needs no explanation, really, But I'm going to give it one anyway. So if we make a new solid on, just make this any color. We've been using vignettes quite a lot, But let's just have a quick, deep dive. So the vineyard adds that nice sort of edge on. It's just Sometimes you might want to bring the focus into the middle of the screen so we can click on the vignette and we can change the amount we can bring that up and we can change the angle of view. Which brings this the circle sort of closer to the middle. So this this you just do it by, I would probably go, you know, maybe made by their doesn't. It's totally down to preference how you want to use your vignette. So moving on, we've got motion tile, which is just fantastic of really like this can give you some some amazing typography effects. So if we delete the medium red solid below So motion tile, as you can see, have dragged motion tile onto the effect and up here we got tire width height. I'll put with output height. So if I bring these numbers down, if I put this down to 20 you can see it tiles. The effect tells the tax. So if I put height and width to 20 we've got this actually really cool. Look in on this is going to save like a lot of manual work. You know, if you were gonna go and try to put this together by typing effects 1,000,000 times, that's gonna take forever. So if we scale this down, it scales from the middle of the the one tax. So see how the effects applied around and you're not actually controlling the So you can really animate these and make this wild. Now, there is this face selection on here. So if you move up and down here, you get face like that. So here's ah, cool little trick that I like to do. So if I press ault and click phase and then just put time times 100 it's gonna just put their face on this automatic cycle like this. So it's just gonna continually, um, rotate. And then if you want the other letters to go the other way or to appear like their going both ways, then another way that you can do this is to just keep from the tile centre and then go forward on the Sumer on the composition. And then if we go forward and then we drag the tile centre up. You can see that we get this sort of passing animation, so it looks like they're passing. It looks like a fax is going past a bit quicker. So you can just play with this until, you know, until you're happy. And now if we just go back and then zoom out a little bit here, you can see that we've got actually got pretty funky looking animation and then we could just go time, time, stretch. And just to speed this up without playing with all the things again, that's a lesson. So in case you didn't see what I did, there is well, right time, time stretch. You can make this ah, slower or faster by just changing the time stretch. It just changed the speed of the footage or the composition and then obviously motion blur so we can click motion blur here, and it would give a little blur effect. These are moving pretty slow, so it's not gonna make much difference there on it makes it more difficult to Randa. So if you want clarity or legibility than motion, blur can sometimes take away from that. But I do like motion blue. When a man Imean tax or titles in Let's just make this a 12th composition before we move on . Okay, so the next effect is called reap Tile wrapped. I'll reptile. It kind of does a similar thing. Let's just get a piece of footage in here. I'm just gonna grab people riding a bike like this and then bring this up and then say we go layer new solid. I might just put a black solid in between. Just give us some clarity on the text. So say, this is my composition like this. Um, you know what? This dark, I think say we've got this and this is my composition pre composed these layers on. Just call this camp whatever. So if we add reap tile, then we get a similar sort of thing as motion tile. But instead of everything getting smaller and fit in the screen, if we add reaped our we can expand this composition to the right so we can make some interesting so projector style transitions and things like this. But for now, we'll just focus on this itself so you can see we can change between check of flip horizontal on. That would be the same for just a line. This to the center again. And then we drag the left out. We can actually do this. And then if we duplicate reptile on, we put check of flip V and then we just sat these two back to north, back to zero, and then we drag the up on the down, out. Um, I just want toe. Let's just remove that black solid so you can see that we've got the tile around. And then if we resume out, scale this down, we consume these out as far as we need to on. You can also get some randomness. You can change these so you could have unfold. Um, turn clockwise. You can really make some some crazy stuff here. The only time I would really use this is just sometimes when I wanna add, add a bit of a crazy scene usually and typography and stuff like that, or if you zoom in, you know, you might wanna animate it. So it goes, like to hear a little bit. If we just put Repeat, you could get a sort of animation where it kind of comes by here a little bit on it just gives you just a bit more of a dynamic scene. You could you could do all sorts of stuff with reptile, but I leave you to experiment with that. So the next effect is curves, which just gives you sort of color correction. So if I go to curves here, so like a good example would be if I have my text like I just had there, except I'm gonna put this in white so we can't really see it too well because I've got curves on the layer below. It gives me I can I can change the I can reduce the reds. I can reduce the greens or increase the greens and helps me just make ah, you can have a warmer tone or cooler tone if I reduce the blues on boost the Reds. You can really start playing around with these on to get your own cool effects on how you want the scene to look. But if I just want to make it darker, I can go to the RGB and just drag theology beat down on the top right on. You can You can really get creative and play with thes. Let's just delete. Let's just delete that. Let's put it back. So moving onto the next one, which is kind of going to come in together with it if we go to tent on drag 10 on 10 it makes it black and white immediately. But we can change the white than to any color that we like. So this is where you can get some really nice looking scenes or facts like this. So you can see now when we go to tent, Um, we've got this lovely sort of seeing like this. And then if we keep this at White on that now we have a look at our curves. We can actually use curves toe to make this as black and white as possible if we wanted, like, a silhouette sort of effect, which, if used in combination with Matt layers, if you think about it, you can get really creative. But I probably wouldn't be doing that, but it just can come in useful if you want to change your image, color correction and stuff like that. Um, the curves condemn definitely help the tax pop out, so the final effect. I'm actually gonna leave this for separate lesson. It's called fractal noise. Andi, if I just show you quickly, let's just go later. New, solid. So fractal noise. Um, drag fractal noise on here. Fractal noise we can make. We can use this for so many things. You can change the brightness. You can make specs. You can change it toe looking in sermon, different ways. But I want to leave this because we're gonna be using fractal noise and separate less. I'm gonna make two lessons. One is on making a glitch of fact with an RGB split on. The next lesson is going to be on making, like an old film grain with a few different effects, mostly using fractal noise. So this was just a quick low down of a few things. You'll probably start seeing these effects pop up. If you see an effect that you like that you want to know what it is, let me know. But if you find something cool in new that you want to use I know warp. I never really use this button. Sure there is so much you can do with warp. You can really make I've seen people make some crazy stuff using these effects. Like, look about, you can make it look like a three D. I don't even know, but yeah, after effects just has so many so many different effects. I really want you to go and have a look and see what you can bring back to me while I'm looking at there. So just one. Sure, you warm or so we've got bad TV as well, by the TV is fantastic. You put by a TV on it combines the load of a faction, gives you this really old school looking TV effect, which I love as well. But really, it's just a combination see on the side wave warp, but you can adjust all these. You can animate them and it's just wave war box blur, color balance, Venetian blinds, which you can use a sort transition as well. There's so much you can dio I could just go on all day, but you don't want that. We want to get to the good stuff. So once again, as always, thanks for putting up with me for a bit longer. Go and play around with the effects. Maybe just maybe just even start guessing text on the screen. Andi, just go through the affection. Start experiment in, Chuck. Everything on the text, if you like. I'll leave you with that. Thanks for listening. Let me know how you getting on so far. Post your examples in the group on there. Look forward to speaking to in the next video. 17. Glitch Effect: So when I was recording Ah, the glitch lesson One thing led to another and I kind of ended up with this. So I think what we're gonna do is just the first part of the lesson. We're gonna go through just how to make the glitter fact and the the RGB split. And then, if you want to stay with and go all the way through until we're making this, then then we'll do that as well. But I don't see why anyone can't do this. So, first of all will just delete are layers here, and we'll start a composition again. All right, So here's my project window. I've got a couple of assets in here just some things that I'll go through as we go along. So if we go to tax, that's just type glitch. Let's get that in the middle on, then, just like a line this to center. Let's let's even make it a bit bigger. Less Let's go. Let's go big. All right, Cool. So first thing we're gonna do is make a new solid, and then we're gonna put on a fractal noise on this solid. Right? So there's this effect called fractal noise. We can just go and get that from the effects on. Direct that onto the solid and you can see it gives This is really weird looking effect like this. But what we can I should do is we can change this fractal noise and we can animate it. So at the moment, it just looks kind of soft. So what we can do is we can go from noise typing. We can change this, the block at the top here, and you can see how we've got squares. This is basically the layer that's gonna be the form. Form the effect. Really. So if we turn the contraception the brightness down, you can see we can start to separate the blocks a little bit. You Can you come really experiment with this? A lot of channels will just say tune up to this number or whatever and lives you just play around with it like I change. Change the glitch every time. So you can really do what you like there. Then if we go down to transform one thing that we are going pretty much do every time. Well, actually, again, you could you could just leave it like this if you want to, so we'll go toe width and just put this whatever. Let's just say for this 1 500 and you can see it's gone a bit wider. Now, on the height is just the blocks. It's just the blocking nous of the glitch. If you go lower than you've got, like more of a TV static, if you go higher, you've got, um, chunky blocks, like why don't we just go for a chunky block effect? And then you can also turn the complexity down so you could have this all the way down. So it's literally just blocks like this, but I'm going to keep their complexity it about I want I want to go with them kind of down the route of with what we saw. So I'm gonna keep it about here, Onda and yeah, but about what we were sort of looking at just a second ago. So I'm going to keep this down here, and then when we go down to the evolution, you can see we've got evolutions options here. There's a few ways we can animate this. You can see if we turn this. Ah, wheel. We had an animation. You know what? I decided? I want to make this love it. Okay, so we can turn the wheel. We got animation, but we've also got random See down here which, if we drag that also animates the easiest wave. I think it's just go all and then click Alton random seed and just hope times a time and then put a little multiply on the expression we can change this toe Whatever we could go to 50 on. It's gonna be a pretty, well, even fifties really fast. If you wanted something chunkier, you could even go like five on Just, you know, you can get a chunky, chunky, sort of choppy glitch if you want. Let's go 20. I kind of like that. All right, so you can always come back and change this at later date. But at the end of the day, this is the layer that's gonna form how the glitch looks. It's then what we need to do is pre compose there. So there was a one work so well pre compose this. Call this fractal noise on keep move or attributes since a new composition text. Ah Jara Jara. Next thing we need to do is create a new adjustment layer. So layer new adjustment layer, and then we want that go up to effects and get a displacement map a drag displacement map onto the adjustment layer, and then we go up to displacement maps. Layer on. We're gonna click adjustment layer and change that to fractal noise on. We're going to turn the fractal noise off. Now you can. Sorry, it's an officer. You can't see it now. You can see we've kind of got a little collection coming through here. So this is where the fun really starts. We can change the max horizontal on max. Vertical displacement of the glitch like this so we can pull this out here and you can see we're already getting a getting a kind of a glitch effect. So I'm actually gonna go into ah, glitch. Um, I'm gonna bring the complexity down a little bit, and I'm going to make this a bit thicker. I just just want to make it a bit. Decorate the Inca, maybe like this. Let's try that. All right, So let's go to adjustment layer, and then they go so you can see, we can get this this random effect and this this glitch in fact and you can let you make this is wild as you like. So all we need to do now, really is if we trim thes layers down and then go forward a few frames and then trim them again, you can see we're getting that PolitiFact Another way to do this. So something that I've been working on is with the address mint layer free press t and goes to the capacity on we bring the opacity down. It kind of, um you can see that we can set a key from for a past 80 Turned up to 101 key for him later . Go across on the time line, another key frame and then another key from late room Put it zero and I will always try to do is copy and paste along that timeline along the adjustment layer, we could make this ASL long or assures we want by just simply move in the key frames. And then what we could do is if we if we placed him again, so you want to just him a little bit more we could actually go up to our adjustment layer. See, on this one, we want to change how animates how it looks. So we could make two key for him to go forward. One key frame so it doesn't interrupt the rest. The movement. Bring this in and maybe want to make this more of a vertical lech. We can we can bring this up the vehicle on. Then all we gotta do is go go forward a few key frames again. If repress you, you can see we've got a max horizontal vertical layers here. Go forward again and then just, um we can actually copy thes two key friends and they go here and then paste him again. So now will go wide, wide. And then we got a vertical one like that. I like more of, Ah, chunky stock. You're looking one. So we've got this choppy looking glitch, which is great. Now how do we go about the RGB split? So if we open up all our layers by pressing new again, and then what we can do is duplicate the glitch and now we can just fill this with any color. So if we just go down, Get fell. Duplicate glitch to we could done. Let's go. So I like the colors were before it was kind of cyberpunk e We had, like, a pale blue. And then we could duplicate again and changed the fill color, too. Like the pink. And then all we gotta do select these two layers and go to screen mode and then just offset them a little bit. So, as you can see there we get this Sof. Look, I'm just want to make this. Yeah, make them a little bit darker like this. All right, cool. So So we're kind of getting somewhere, but obviously we don't want this all the way through so we can just trim our glitch layers . Ah, trim our our colors layers, and then we can just duplicate them and then just put them under each time we have. Ah, a glitch. We can just drive them, put them under each one. But this and then if we I don't really mind having them one key frame out before and after . So how we can get really crazy with this is we can start. We could animate thes these layers so we could get these to go really crazy. So let's just take one. For example, let's go Ault on position and go wiggle but a wiggle key frame and just go. So 20 so 20 times in a second I wanted toe wiggle 250 pixels so you can see that we've got this animation going on. So if we solo this layer, we've got this going on. We could even go. Let's go. We could go 500. So it really goes all over the screen. But we could do is we cannot postural eyes time so that we skip out some of the animation. So it gives us more of, ah of a chunky look again less animation In between, we could turn the posterized time up a bit frame rate tune up So we get more of ah, and then on this one, we might do the same with the green. So you've got the green layer so we could go pee and then click all in anger, wiggle. We just go five and then go. 1000 if we want 1000 might be a bit much. Let's go 500. So five times is going to go 500. And then again we could go pasta rised time. Bring that down. Really? Just get as creative as you want with this, you could even drag. You know, you could drive the pink one out here if you want it to. We could even just chop a bit of this often, Gopi and then wiggle and and go five mango 2000 or something stupid like that and then just I'd postural ized time. So it's kind of like, gives it like, a bit of a delayed. Maybe if we turn up a bit, we'll get a bit more and we can really mess around with their glitch. So I mean, that's pretty much the glitch. So we could actually just we compact this comp up if we wanted to, and then we can start having a look at an image in the background. One thing that I've just remembered is we can actually add a glow to the glitch now as well . So if we go down to glow like this, and then we can make the glow threshold. So why isn't the closure? That's girl clue. There we go so we can bring the Let's get a little glow going on here so it doesn't have to be too intense or anything, so we can get a nice oath low. Um, kind of like that. And we could add a flicker to the glow as well. So the lo radius we could we could animate the glow radius. Or we could animate the glow intensity. Um, doesn't really my They're all gonna have an effect. So if we go to glow radio some wiggle, wiggle and then we go 2020 you can see we've got a kind of a flick of their right. So now we've got ah, glitch animation on So looking pretty good on. And I just want to you increase the pasteurized time on this. We haven't got a wiggle expression on. Here we go. 10 500. We'll just put it to frames after, um, we're just bring pasteurized time down there. All right. Sorry. Glitter factors looking pretty cool so far. So what else we could do is let's just pre compose all this new and call this glitch, and then we can add some depth to the scene. So this is where we're going beyond just the glitch fact. And we're actually making something a bit more interest in so you can drag some sort beams in here. So I had some beams in my last. You just gotta be careful if you have a loop. If you have a looping video, you kind of If the beams go in, you kind of want him to go out as well. So I leave a link, Teoh, where you can get all these all these for free, So that strike the beams in and we've also got a tax to here. So I dragged this texture and if we changed the overlay off the big beams, you can see we could start see the texture. This is what the texture looks like on his own. If I turn on off the dust, that's what you can see. So what we could do is we can we can bring down the the volumetric lighting a little bit, and now you can see because we've pre composed that we've actually got it kind of in this composition as well. You can see the glitches and effect in the background because we've got it pretty composed . So what we can do now is We've got the glitch in now, which will look great so less I'd like a layer in a new adjustment layer on. Just add a vignette on the vignettes, going to kind of just bring the edges in a little bit. So we focus more on the glow on the glitch. All right, so that's looking pretty cool. Maybe we can scare the glitch composition down a little bit. Problem is, if we scale the composition now, it cuts off of the edge. So do that less so. No weaken dragsholm particles in a swell if we want I've got you could get tons of free part cause I leave a link so you can see commit this composition beggar And then we change the blend mode on the particles. I'm just gonna find the best one. I think light and work pretty well. Yes, sir. These particles great would lighten. So we're kind of getting somewhere now another little trick that I had so on. The glitch here, what we could do is go into the glitch on you can You can really play around there so I might be taken it too far. But if we just grab, like a light leak. So I had, like, this pink light leak. I was like, how else can we make this glitch look insane? So, a drag like this pink lightly, Kin just make it bigger. Andi, bring it behind all the glitch and everything like that on. I was like, Okay, so what if we What if we a mask this light leak so we could draw like a mask around, just literally Just draw a mask around this light leak. So we'll click on light leak like that, draw mask around it, and then we can go down and feather the mask. So we've just got this better light like this when we can drag this anywhere. And now the lightly is going to be affected by the glitches. Well, so we could just trim the light leak. And now you should see that the light leaks getting distorted as well. And it's just given a mental little glow. We can even animate the lightly given monitors so weak about wiggle 50 50. So the light leaks move in. And then we could just duplicate the light leak dragon end of the next layer or so we get a different part of the light leak, we could ah, drag the layer down until the light leaks going again. There we go. Should we got a bit of the lightly here? We could just have, like, a little splash of that lightly. Just a flash and then just duplicated again or dragon at the lightly can. Um, you can change the mask on this is suppose. So if we got to here, we could actually make this mask different shape if we wanted to go to hear who wanted to. But it just adds that little bit of color. It's not if we go back to the main composition and then it finally, to get get more of a bit more of a rock and animation, we can add a camera. So we go lay a new camera, I just click, OK, And I make everything, uh, about with me. We can make everything three day, except for the adjustment layer. We don't need the address mint later to be three D, because that is the That's just the vignette. So we've got we've got this going on, so we could actually just animate the camera. Go 20 frames forward. Bring the camera in a bit. Go 20 frames back. Bring the camera out of it. Go 20 friends forward. Bring the camera in a bit. Go 20 favors back on, then just reset the camera. Here. The animation is looking a bit. It's not great. So what we can do is care key friends here, just ease it in. Play around with that key frames to get something. I think I don't think we need so much of an animation. There we go. Just two is good. And then we could also put a wiggle on the glitter effect itself as well. So we could go position here and then we could go all wiggle and I just put 2020 maybe even 5 20 And then that's pretty much it you can see before this really crazy dynamic looking wiggle on and yeah, Ah, crazy dynamic looking literal fact. And I mean, you could you could edit this again and again service in the house that I might do as well as just chukka blue light leak in here on. Just change the blend mode on this one as well. So if you have a look at the background, you can see it actually makes a difference. We can actually see the the background. So it lights up the background so my even just just like attorney Little blue light leak in here. Bring the capacity down a little bit just to make the see more dynamic, but yeah, there you go. So that's the glitch. Fact tons you can do without. Go and play around with the adjustment layers on the glitch and the displacement maps, and I'll see you in the next video. 18. Hotfit Video Ad Creation LIVE: Alright, guys. So today we're gonna just take a look at some social media rides and pretty much explore a few angles that we could use when making an social media rad cover. Like, you know, some of the principles, the script right in and how you come up with the idea on. Then we'll go into just using some of the technical aspects. Unfortunately, I can't get the music going with the ad of the moment, but I will show you the ad completed with music. But we'll have to build the ad without music just because I'm having some trouble with my audio interface at the moment anyway. So let's get to it. So I thought I was trying to think what's popular at the moment. And Jim, Jim stuff seems to be really popular. And I was thinking maybe we could make an ad for a for a boot camp because the thing is, I've got stock footage here so we can without riel product for a job or product shots. It's going to be hard to do a clothe them range or a brand or anything like that. So what we could do is just explore a supposed there was a boot camp on. I have done a boot camp video before, but let's just let's just start one from scratch. So the first thing I'd be doing is looking at the script Onda with the scripts you wanna hook, really? And we could have will explore the different resolutions but visible the script. So what? What is the end goal? What is the end? Ghostly and goal is for people people to sign up to a 30 day boot camp. So how do you hook? How do you hook the the user in? Because they're going to scroll passing in the first few seconds. That's really where you need to be hooking the viewer in so we could have. It's going to be some sort of footage and tax combination, but really, you want the title to stand out. So what makes this boot camp different from anyone else? Anyone else's boot camp? And then another thing you need to really consider is that Facebook don't allow you to guarantee results or anything like that. It's ah, it's a gray area, so you don't wanna say, like, lose £10 like, ideally, you want to say drop. Oh, you could say dropper Jean size in the days. Yeah, something like that. With the title you want numbers Something that gives people a clear expectation on what it actually is on what they're going to receive. So get fit on, have fun or get fit the fun way. The three days eso it's a 30 debut. Kant's a week ago. I'm obviously going to rush this a little bit because I don't want to just sit here talking junk. Well, you guys Ah ah, watching. So we'll just say get fit the fun way Shred fat, make friends the only, um And then we need some sort of reputational Ah, thing or a guarantee or something. You know, something that isn't just generic. So I might say I might actually say I'm from Cardiff. So I'm going to say Cardiff's biggest No, we don't say biggest Cardiff something boot camp. Oh, we could just say the hottest boot camp in Cardiff. There we go. Something like that. Sign up now and handsome sportscast e Only three spots available. Okay, so we could do that. And then So now we've got the No, We got the script we've got this written out. But how does this look in terms of, like, the video, So get fit the fun way. So this could be, like, so seen, one could be here, and then we got get fit the fun way, and then we're gonna flick through, flick through some classes like this, get fit the phone way, flicked through some classes. Um, shred fat quick flash, too. Um, activities make friends show group session the hottest boot camping Cardiff. And then maybe we could have something explosive or high energy here with this tile and then sign up now. And I actually thought this this would be quite a good video. So this one, it just shows kind of like I like, I like ending on quite a dramatic thing. So it could just show this and then this could flicker and then go off on show Sign up now or something like that. Um, so let's get a new project. We'll save this. We also need to consider what ratio do we want This. So, um, aspect ratio. So if we have a look Ah, if we have a look at Facebook ads library, which were on here. So most of these air Square, because when you're scrolling through square takes up a lot room landscape videos generally don't do very well. So there's different options we could do here is Well, we could have, um, sorry. Landscape videos can do well, but you know, you want as much room as you can. Really? You want to get the most advertising space. So 400 by 500. I'll give us like a kind of, ah fat vertical when we could have a banner here and we could say the hot, hottest boot camp in Cardiff like this may be at the top. Yeah, I think that could be good. So let's have a look how that looks. So we'll get new composition here on. We'll make this one. Um, let's make this 1 400 wide, 500 across. And we'll just make this a Let's just make it 15 seconds. But we won't necessarily have taken hold of 50 seconds. All right, so see how we've got, like, this fat sort of screen here. And then we'll rename the first counter to Maine on DA. Let's just also save our project. So we just saved this. I could just put this in here and just save it. Is Jim Project All right? Cool. So now we want to set up our we could we could put the Texan. We could do it. How? Everyone But first for let's look at Just, like, making a banner. Maybe we could have so we could go appear on. I like that. I would probably get a grid. I would be tempted to get a grid for the banner. Just get a sort of proportions here. You've got this proportional grid. We could maybe use one of those at the top. It might be a bit maybe a spirit thin. Um, what other grades have we got? I think something, something general like that on. Then you could pull a ruler down here is well, and get it on the grid if you wanted to. So they're sort of like on down here. So you got the grij got the ruler on. Now, when you bring us solid in, you can snap it to the ruler, which you can see is bang on the grid. All right, so we can then go toe layer and you know, let's not do a solid so we can do a rectangle here. I'm just going to set the framework. So you see, with the ruler is snaps to the ruler, which is which is pretty cool. And then when we disable these grids to savor the grid on disabled the rulers as well on the guide, there we go. And then if we press V and we just like click off Yeah, we've got we've got this screen. So if we go to fit like this Yep, So that's so that's that's how are our ride Could look, this is where we could fist it all. So now what we could do is like, maybe we could have the tax of the top eso forget the tax tour, and then we can put the hottest The hottest boot camp in Cardiff could probably even but an emoji on there may be, um and then if we just get a different fun. So I like Baba's now new bowls because it kind of gives it is quite narrow, and we want to just make sure that this tax layer is above the shape layer so we can go to our tax now and we could make this red. Okay, We can use our line to bring the sites of top on, then maybe down. What you can actually do here is Well, if you want to, is let's just see if we can scale this properly. So at the moment it's scale in both ways. But if we press, why on bring the anchor point? Ah, if we dragged the young point down to here on, then we scale. We can scale it down. So it's the same size. So now if it's the same size and we select the shape layer on, we select the hottest boot camp in Cardiff and go selection there. We cannot like if these two are out of line, let's just move them out of line on. Then. If we select these these two layers and then hit a line to selection, then it's gonna align perfectly. And that's perfect ratio as well. We could have this maybe in italics, and we definitely want Semak summation marks in there as well. Shall we mean it? Yeah, and then So we got that together. So what you could actually do is you could pre compose this if you wanted to eso click both the layers and I'm right Click on Pretty composed and we could just call this banner or something like that and then you've got the banner of this heart. But that just means people from Cardiff who were scrolling through we're going to see that , especially people who like boot camp. So I want to lose weight. So it's gonna call out the audience. It's going to call out the audience on and also give them an idea about what this thing is about. All right, so the hot sport camping Cardiff So we could go to. First of all, I don't do any animate in or, you know, special effects or anything like that. I probably usually be laying this out with some music given the kind off additives. But I think what we'll do because I can't do the music, unfortunately, eyes will lay it out, and then what I do, I can go and just adjust it so it goes in time in the music. But I'll make sure you see all the techniques and everything that we do now. OK, so the hearts would come, but in guard, if so, so we could put, uh, shred fat the fun way Oh, Gap fit the phone way Get fit the fern way So we can just lay this out now So I'm just gonna go through and I'm just gonna go like, think about the timing on the video. So this is just placeholders so we could have get fit the fun way shred fat, um, was a script. And then I might just do a second on that. And then what? So it's April now, eso Maybe we could say, get a head start, get a head start before summer, so get fit the phone way. And then we could just put here quick flick off fitness footage, Something like that. So get fit the fun way. Maybe a second and 1/2. I thinks enough to read that. Get fit the phone way on. Then Baba Baba Baba shared fat make friends. And then there's a script again. And then we just give this a name like maybe we could make a little logo or something afterwards, But we could call it, um, hot fit Cardiff Summer prep camp. Or we could call it hot fits pre summer blast and then we could duplicate this again and go get ahead of the competition. I'm week ago, get ahead of the company, get ahead of the competition. And then we could just go sign up today, someone of that. And then maybe at the bottom, we could put only 30 spots available or something like that. Or we could we could even put it here. These are just placeholders available. All right, Cool. So, actually, I think here, I'm gonna I'm gonna leave blank spaces for the footage, so get ahead of the competition. No, not get Has a competition. I'm thinking now more along the lines of, like, beat, beat people toe be unfit for summer Anyway, let we can we can worry about that after this is really just to give you the idea of of how we go about the process of making the ad. So, like, there's a few things we could do really? Here we could start animating the text, or we could start putting foot gin. You can pretty composed the text if you want to get out the way. I generally built quite a lot before. I have to pre compose. I don't pre compose very much. I'll pretty compose when I, like, Absolutely have to. Celeste, you check the Simon, so get fit the firm way. Just a bit longer. There. Drag these forward. So get fit the firm way. I'm thinking, like, four clips here. Bom bom bom bom like flash in shred fat make friends. Bomb, bomb, bomb, bomb, hot fits pre summer blast. Okay. And then 13 seconds. We could trim this to the end, and then, uh, let's not enable up on. Then we can just trim this composition to work area. Boom. All right, cool. So well, let's just Let's just say we've got that. That's fine. So now what I might do is like, I want inspiration of how this is gonna look. So a lot of time. I like to go Teoh motion arrays pretty good. They got good templates. Ah, it's my Internet being playing up. So what I might do is go toe add library on, and I could actually search in the ad library. I could search like boot camp or something like that. All right, so I found this video on. It's literally just people working out so you could have and I'd like that. You know, you could just have a simple I'd like that. But we're gonna try and make it that much site in. Plus, people need to see their tax on the screen. Well, they don't need to, but, I mean, you're scrolling through Facebook. Most people have the sound off, believe it or not. So, like, if we go to our downloads now, I'm just gonna drag some footage in that I've downloaded from storey blocks. So if you go to video, we can just put 100 foot gym in here on. We kind of want their more organic looking ones. Where? Ah, group people. Groups of people. Yeah, they look like they're having fun. I think I think most of this is Ah, I don't know that already. So I've got a bunch of Jim footage here, so we're dragged the gym fortunes of project file. Now you can see I've got all these. I've got all these different things. Thing is, when you're making these videos, you go think right. Do I want the text or do I won't the video Like, what are we looking at here? You know, so what I might want to might do is get something dark. So download. Maybe I'll download this clip and then we can apply some adjustments to it or some little bit of color correction. So let's just say the first clip. We want something kind of serious, you know? I'm gonna put the bandits of the top, so we've got the banner at the top. So, like this, this shot is pretty good. That shot is actually like, really good for what we want, and I might snippet and just bring it forward a bit. So we get a little jump and we see her eyes open. So, like, we get this sort of thing. So obviously we can't see the tax year, So there's a few things we could do. The first thing that we could do is we could check. We could change the text to start, but I don't think I want to do that. So I'm going to zoom right in on. You can see there's just a little bit where the scene doesn't, um, there we go so they don't overlap. So there's a few things we could do here. The first thing we could do, which is probably on the best idea so we could put an adjustment layer here. We can go lay a new adjustment layer bring above our footage. And now week, anything we apply to the adjustment layer is going apply to both both of the piece of footage, which is good, because we we've snapped it. And we don't want to be dragon effects around all day so we could put a tent on here. Maybe just to remove better the color. Um, it's going to be more of a back. One thing we can add a little bit of color, but maybe we have this a bit more bit darker. Weaken book curves on here. Andi, we could put a curves adjustment on here one week a potentially drag this down. We could go for any sort of approach. I could really get that. That high contrast in crociere make the serious this tax. I think the first thing to do is make this white. Ah, Well, mate, this white like that, you know, we could have a more serious look in. I think we're going to do is just bring her back and kind of scale it up a little bit as well, so yeah, that looks that looks all right. Doesn't look too bad. It's kind of a serious serious. Tell my going for Yeah, I kind of like that. And then we'll What we'll do is we'll get some police holders in for the footage and then we'll animate the tax. After on what we could do as well is like, we can always just copy and paste this adjustment layer, make tweaks to it. So all the footage is kind of the same, but I want the 1st 1 to be a bit darker. I think I might even put a vignette on this as well. So if I go, it's Avignon. We drag that on there we go. Where? Property. We're getting a, uh, a much more serious second town. Maybe not that I think that looks pretty good. And then we could have, like, a a lecture factor, the next scene or whatever. So now we're gonna flip through some footage. So what I could do is just go to just to get this, get this thing go in. We can We can get 44 videos here and just drag him in here. You can see the banner is actually too low. So if we press v click the banner on, we just bring it up a few clicks like that. There we go. Well, actually lock this banner as well by pressing down here, and that means that's not gonna move. So what I could do is I can just stagger these clips so we could stagger them like this. Um, there is actually a really handy tool on animation composer. This plugging is free. No, all of the tax and everything that you can buy additional tax and stuff. But the plug in is free if I can find it and you can go to more tools down here and go to transition shifter, I'll do our whole tutorial on this after and then if you press, do you can see down here, it's steps, everything forward one frame so we can just go. One, 234512345 Even if you just step it until they're there at the end, you can see Okay, so now that we've got that placeholder done, what we can do is we can trim these off. Bring this down on then, Ah, we can just dilly our our tax because this was just a placeholder show where that that's going to go and then we can just adjust the clips so that we get the right part of the eclipse. So if we go click all the clips and go layer transform and then fits comp ICT their organ at least be the comp fight they might not be. This is the problem. We've got a group exercise where people are generally, you know, next to each other, not on top of each other, because that would be in order group exercise. But the problem is, it's gonna be catching that in this kind of resolution. So, like, you know, ah, horizontal resolution might work better for this kind of video. But don't worry about it because we'll just adjust the videos so that they so that they fit and we'll make it work. So we got our for team building videos and here will do the same again with this one layer transformed fits calm pipe. Look at that. It's actually ah, it's working out pretty nice already. So we got boom, boom, boom, boom. And then again, the next scene is Ah, I love how this is going already shred file. So I'm thinking we go boom. And we have this, like, these big red titles. You know, we have get fit like this. We have get fit. We won't get fit to be like here. And then we can have the fun way. I know I'm jumping the gun here, but just showing you how I might lay it out sometimes. What you What I like to do is just think each scene Does it look like, you know, if you think from a graphic design point of view, does it look plausible for, like, a poster or or an actual ad? So we're going to do here is I'm gonna change this paragraph to the left and then align Allow this to center again. Eso that I can just a just despot. Um but But here So now I could move this around, but like, I think Central makes sense, doesn't it? The only thing is, it doesn't look central because of the top border. Maybe I'll make this a bit bigger or we'll just play around, make sure that we've were actually get in there So look how we want. We could even increase the track in, just like Lindsay says in her design videos. It's like a jigsaw. How you put these things to gather and on it is really dance personal preference in the FC in the essence of time on because we want to show more techniques. So I'm not gonna focus too much on this this bit right there. Second, let's just see, actually, I'm just intrigued. It might actually look better like that. And then maybe we could put now, I personally I don't I don't rate the brackets very much. And we could actually put this to the laughter bit. No, I think it's gotta be Central. My actually put this central now as well, because we are and show we move her up so that we see her eyes. Yeah, and then what I'll do is I'll duplicate shred fat. Bring this across. Just so you know, I just find that quicker than changing this lot sizes and then we'll character just bring this down with that ally in this one to center. So then we've got get fit the fun ways, shred far, make friends. Let's get another four videos off group workouts. That's really what we need. So we could go here, and then we weren't people laughin Jim laughing. Maybe we can type that in storybooks. There we go, bitch. Easy. But you know my work. That's cool. People hanging out, people hanging out there. That's been O t t. All those girls taking Sophie's in the gym. Yeah, I like that one as well. Some really good shots in here. That's quite cinematic looking, you know, serious kind of Dude, I think that could be quite good as well. So I think maybe maybe we don't want that cost us yoga, Ana, that's quite a good dramas. Well, I'm gonna get the eight megabyte. Well, because I'm not waiting for that. Okay, Sure. In folder. All right, cool. So I grabbed four more clips. Now I'm gonna bring these and go layer transform again and fit these to come height on. Then again, we just need to make some adjustments. So what we'll do again is I'm just gonna bring bring these compositions, assume out, bring the start to the play head. I hold shift. When I drive these on, it snaps mostly to suddenly had zoom in a little bit and then I'm gonna go toe animation composer, transition shifter. I'm just gonna hit that until they're kind of equally so. I learned to swap these these two around. So I want the people chatting at the end, people chatting at the end. So we're gonna have Boom. Uh, also, we want the we want the gym guy up here, and then we want the people chat in down down here because you chat at the end, Guys, you try at the end. We don't chat your in the session so we can go to time on this one. I'm gonna go stretch, and we're gonna make this 300% so it's basically slo mo. I will bring this across on then these girls chatting here, we can maybe we can get them in. It's quite a wide shot, you know? I'm not going to use that one. I don't think it. And this one is quite court. Bigas. Well, it's all right for now. You know, I would I would be considering, like, what fits in the shop? Let's get one more. All right, let's just drag these girls and I know they shouldn't all be taking selfies in the gym. But, you know, there's not a lot we can do to stop that. I mean, people are going to dio what they want to do. So we can drive these girls and like this and then trim that composition and then get this guy awkwardly stroking his head. All right, Cool. So we got make friends. Let's have a look at it so far. So get fit the fun way, and then we can I think for the good they get get ahead of the composition bit There was that guy looking really serious. I kind of liked that one s Oh, let's download him again like this. Onda, We can just come in. Come on, do download. All right, So I was recording on. Then I somehow pause my recording toe, let something download on. I carried on on and pretty much finished the video and then realized that I still not recorded, so I don't know if anything's changed here So far, we've got get fit, shred fat, make friends three days. Um, are you ready for the challenge? Hopefully, that's where we're at. Ah, no, we will continue. Our we've got some adjustment lays in here. We can go back and do these again after. Actually, I deleted the adjustment layers just to gets back. But we did have that 1st 1 in. We just didn't have these ones. All right, so we're ready to keep going. So what I actually did I ended up just making the end screen. I just got this text in here Hot fit The days of summer challenge on To do this. I edited all this in the same tax box. So if you have a look hot fit if I If I click this, I can double click the the tax that I warm and we can just change the size of this separately from the rest. So ultimately, I tweak the text a little bit on Bond came up with with this this hot fit three days of summer challenge. So So we've got the tax in the video laid out. All right, so I think the so we got the serious dude here, and then it flicks to this on. And I think this is where behind the scene we could actually go and use our unused scene of the gym. So, like like this? I think this would be a pretty cool sin Two years on, um, where the gym is just empty and and if we go layer transform fit to come height. And then we just go lay a new solid as well because obviously we can't see that tax. So we want a black solid in front above, and then we just press tea and bring down the A pastie until you can make it out. All right, sir, it's looking pretty cool. So the next thing we were thinking about just a just in these a little bit. So let's take our first adjustment layer down here and we compress duper gay and weaken, duplicate it and put across or like lips. Except the thing is, these look really dark so we can go up to a fax controls and just delete the curves. And then we've just got the 10 on the vignette on the adjustment layer, and then I think that looks pretty good. And then we could just duplicate this and bring it along. The good thing is, any scene has the hottest boot camping hard, if with, and that's what stops people scrolling. So then let's just place the adjustment layer above all our all our footage so you can see our foot. Just just the videos here. And you can see how you could easily pre compose those layers. Is one see these layers? There's another scene, but I don't think we need to. I just I just don't just the way I am. All right? So get fit the firm way. Shred fat, make friends three days of summer. Are you ready for the challenge? And then maybe we'll just trim these these two down a little bit. Okay, Cool. I'm happy so far. So the next thing I want to do is just like the background between the text. I just want to fill the background out a little bit. So one way we could do this is we could add a tax just so we could go to earn Splash already had a metal texture there. We could, but pretty much any sort of texture in here, we could have anything. I mean, that looks pretty cool as well, but we want something that kind of looks a bit hard core, so that kind of looks Chalkias. Well, it's dark, so let's just download this thing on. We can put this texture into our composition. We just put this right on the bottom. So if we dragon and then drag it to the bottom of the composition like this. So we've got shape. Layer one. I'm not sure what the shape Leary's. If I delete it, I might find out, All right, so let's just delete the shape low. I don't think we're doing anything without Maybe I'm wrong. So if we go layer transform and I definitely want it to be the right height if I because it's a wide image, if I fit the come to the with its going to school, um, well, let's just look. Yeah, exactly. So that doesn't make any sense. So you want to fit the comp so the lower kind of angle So if we go layer transform fits comparable height, it does this sort of thing, which cool on, then we could do. We could tend this. Maybe we tent this a little bit. Well, we got adjustment layer duplicate, so we keep keep it consistent throughout so we can get we can adjust it and then we get the same except we will remove the curves. We got the same thing here, except I think on this one we do need It's be a lot with darker, but one cool way that we can do this is if we get an overlay. I've got some volumetric light in here. So if we get a let me show you something. So if I drag this volumetric light in him, scale it down, you can see we've got these beans. If we put ad, if we change any blend mode to add it takes away the black. So what we could do is we can put this in front, off the texture and then will kind of overlay the texture. So when I put this toe ad, um, let's actually change it too hard light. I think that was about a blend mode. So you can see now that the light actually effects that the backgrounds. So let's go all the way through and you can get these volume magic like lights free from, ah chef stock. I think it's stuck a leave a link in the resource guide and then if we go toe overlay library as well. I've got some more stuff in here. I've got, like, a subtle dust, which I'll I might put this in front of the light so that we've just got a little bit more going on. So if I drag the soul dust in a swell and then we can again scale us down scales to settled us down and change this to add because it removes that black, you can see that we've got dust dust flying long as well as, ah, the volumetric light in. It's just gonna get a little bit slower to render now because we've got quite a few crazy things going on. All right, cool. So we're almost there. Ah, we're almost there with with what we're gonna do in in this project today, it's just let it render out and have a look. So the text a bit static. So what we could actually do is we can make this tax fly in and maybe slam. So if we go, if we get a layer and then a new camera Onda, we just call this one. We just get a standard 35 millimeter camera. Bring this in to our text on then just trim it off. Zoom in here. We could go. Maybe seven frames impress P. Make sure the Texas three d and then come back. Andi, zoom out. Oh, this is happening because we've got a two node to node camera? I think so. If I go to layer camera settings made this one node camera, it'll actually go behind the screen. And then we can add some blur to that as well. So we're going to get this fly in like this, and then we can trim the camera, and then we can duplicate the camera and also come down here and then make this three d as well. And it's going to do the same for for each each one. And if we put motion blur on the this one as well. So we're going to get. And then if I go layer new adjustment layer on, I trim this down to about 45 frames and then I add a tent, and then we can just swap the colors we can get. We can get this Ah fact here. Okay, so at the moment, the animation is a little bit. We just want this to be a flash. So what we could do as well is we could key frame the camera so they actually speeds up. And then we could do the same to this camera here. We could have probably done this before on duplicate our little flash again. And then as it as it lands on that last key frame, we can have our a lot of flash here. And then also, if we really wanna go crazy with it, we can go to motion, bro. On. Just add a shake again. You don't have to. I love this Plug in as the I only have to plug ins. Ah, animation. Composure on motion, bro. On that they allow you to at these little shake. So I think the shake here is really gonna change things. So you really get an impact. So I go up, I'll drag the the shakedown. Yeah, you can see that. So what I'm gonna do is I'm going to do this same thing for all the text on the so for all the animation. So I'm just gonna go through I'm gonna come appear. I'm going to duplicate the shake. I'm gonna bring it down there and then and then I might just do it one more time with the camera. But actually just let this one swap because it's the same scene. So I could literally duplicate all three of Ah, these assets down here. I could just hit, duplicate here and then click war and drag them up until we are above this next taxslayer and bring this across. We just want the start to be in line the same, and it fits perfect. And then we just make this 13 d as well. And then the 30 days of summer is going to do the same. So let's just have a look how this is looking so far and see if there's any extra stuff that we need to do. Eso One little thing I'd probably do here is I'd leave the shred fat because it's kind of just disappearing. We wanted to disappear when this flies in, so maybe I'll bring. I'll come forward here with the camera and just bring shred fat forward a little bit more because we want to keep it in there. So I really want to be see in shred fire staying. It's going. I'm not sure why it's going here. Maybe it's because of this camera. All right, cool. So we'll do. Is just I'll trim these two down so that shred fat disappears and then make friends flows in like this. So if you have a look now, we get this really kind of bold looking. Yes, quite impactful. On what? We're gonna actually add some sound and stuff afterwards as well. I can't. I can't have the sound now. I'm really devastated about this. I wish I could just do the sound with you guys, but on again, we got the same thing appear. Serve the state days of summer. Just rendering this. I was just going to take a little second, so I think this is looking pretty good. I don't think we need a lot more. We could probably get some. Uh, we could probably have some little animations in here. You know, maybe we could have a little glitch transition in here. Ah, if we wanted to. So we could let you just make, like, make a new, um, solid here and then just get another call this fractal and then add fractal noise at fractal noise to are solid and then what we can do is just make this like, blocky. Here I bring the contrast brightness down. I'm just making it. However, however, I like it, and you should, too. And then complexity have been it down a bit because it's kind of like Jimmy. We want it kind of more modern looking that looks fine, Transformed for 10 off the scale in We'll make this thin on will make, um, wider. Like this. Bring the much about their looks fine and go Teoh Evolution here. Alz click time times 30 And that's going to make this. They spend no evolution. Sorry school random seed. Drop down evolution options or click on random. See times Time Times 30 gives us the expression. If you haven't already, then there's lessons on this. Very. The glitch lesson covers this thing in detail so we can go pre compose and call this glitch like this removal actually use in, and then we can go. We can turn the officer we can't see, and then we go layer new adjustment layer, and then we just add displacement to the adjustment layer and then link that to the glitch , and then we drag both of these down. So that may be just We just have a little glitch before this seen here. All right,