Adobe After Effects for Beginners - Get Started with Motion Graphics! | Andrew Pach ⭐ | Skillshare

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Adobe After Effects for Beginners - Get Started with Motion Graphics!

teacher avatar Andrew Pach ⭐, Animation all the way!

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

Watch this class and thousands more

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

Lessons in This Class

60 Lessons (5h 37m)
    • 1. Introduction

    • 2. 01-01. Class Structure, how to learn it quicker

    • 3. 01-02. What is Motion Graphics and AE?

    • 4. 01-03. Terminology in Video Editing

    • 5. 01-04. EXERCISE - Prepare Your First Movie

    • 6. 02-01. After Effects Interface

    • 7. 02-02. Preferences & memory size

    • 8. 02-03. Importing & Organizing Assets

    • 9. 02-04. Importing .PSD files properly

    • 10. 02-05. Importing .AI files properly

    • 11. 02-06. Relinking Missing Assets

    • 12. 02-07. Composition Settings

    • 13. 02-08. EXERCISE - Prepare a Quick Title with Burn Film Effect

    • 14. 03-01. Timeline Pt. 1 Layers and Buttons

    • 15. 03-02. Timeline Pt. 2 Switches and timeline

    • 16. 03-03. Properties

    • 17. 03-04. Pre-Composing

    • 18. 03-05. Keyframes and Interpolation

    • 19. 03-06. Keyframes in action - transition animation

    • 20. 03-07. Parenting

    • 21. 03-08. Previewing

    • 22. 03-09. Rendering

    • 23. 03-10. Copy Keyframes Between Layers

    • 24. 04-01. Creating Text Layers

    • 25. 04-02. Solid Layers

    • 26. 04-03. Shape Layers

    • 27. 04-04. Shape Layers - Rearranging and adding properties

    • 28. 04-05. Masks & Masking

    • 29. 04-06. Blending Modes

    • 30. 04-07. Track Mattes

    • 31. 04-08. EXERCISE - Transition morphing

    • 32. 05-01. Animation

    • 33. 05-02. Easing Keyframes

    • 34. 05-03. Motion Blur

    • 35. 05-04. Graph Editor

    • 36. 05-05. Null Object

    • 37. 05-06. Basic Expressions

    • 38. 05-07. Working with Audio

    • 39. 05-08. EXCERCISE - Circle with appearing text

    • 40. 06-01. Using Effects & Their Order

    • 41. 06-02. Different Layers for different FX

    • 42. 06-03. Adjustment Layers

    • 43. 06-04. Masking Effects

    • 44. 06-05. EXERCISE - Audio Spectrum

    • 45. 07-01. Transparent Videos

    • 46. 07-02. Time Remapping

    • 47. 07-03. Warp Stabilizer

    • 48. 07-04. Green Screen keying

    • 49. 07-05. Motion Tracking

    • 50. 07-06. Exporting and copying elements between projects

    • 51. 07-07. Basic Camera Usage

    • 52. 08-01. Create a Lower Third

    • 53. 08-02. Create a Typographic Animation

    • 54. 08-03. Create a Logo Transition

    • 55. 08-04. Create a Minimal Title Opener

    • 56. 08-05. Create a Cross Animation

    • 57. 08-06. Creating a pattern over another object with Repeater

    • 58. 08-07. Simple One Line Title Animation

    • 59. 08-08. The Power of the Puppet Pin Tool

    • 60. 09-01. What Now? & Thank You!

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About This Class

In this After Effects course I want to teach you in one place all you need to know to start becomming a motion graphic artist. We will start with the program interface, going on with keyframing and later creating our first animations. This will be a basic course making a great intro to the motion design world. It doesn't matter if you use After Effects CS6 or After Effects CC (we work on CC 2015, but informations about both are covered).


This course will teach you all neccesary & most used After Effects tools, a proper workflow, show you real-life examples of animating and various tricks in the program. This is your guidance and shortcut to professional motion graphic design.

Some of the things that will be covered during the course:

  • Motion Graphics basics
  • After Effects program layout and basics
  • Working with different types of layers
  • Creating our first few animations
  • Simple kinetic typography to use
  • Real-life examples of lower thirds, logo animations & more
  • Cross-usage between Photoshop / Illustrator
  • How to add effects to our compositions
  • Precomposing, matting, exporting, rendering
  • Tons of often used tricks and keyboard shortcuts
  • ...the list goes on.

Knowing After Effects is a lucrative skill to have which is in demand especially in 2015 / 2016 and ongoing years where video will grow as the most published type of content across the web.


So why & for what is After Effects used actually:

  • Improve video quality,
  • Spice up videos with smooth animations,
  • Industry standard for animating (TV Shows, News, Video content),
  • Enhancing Youtube channels content,
  • ...the list is endless.

This course will kickstart your After Effects journey and you will realize that After Effects is and will be one of the most important tools on the market regarding animation & video editing. I want help you achieve your creative goals, wether it's enhancing your Youtube channel, promoting your business or starting your mograph (motion graphics design) career.

So what are you waiting for...Enroll Now!

Meet Your Teacher

Teacher Profile Image

Andrew Pach ⭐

Animation all the way!


Hi! My name is Andrew Pach, to my friends known as 'Nigel'! I am an After Effects / PowerPoint / video / graphic design junkie eager to teach people how to utilize their yet uncovered raw design talent! I run a YouTube channel called "andrew pach" which I do with absolute joy and passion. Here on Skillshare, I would like to share interesting, project-based classes that will make your design workflow a greater experience.

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1. Introduction: welcome to the comprehensive aftereffects for beginner scores. If you would like to become emotion graphics artist learned a softer for private use or check out if aftereffect is the rights after for you, this course is the right guy to do so. I will teach you all the necessary basics. You need to know and help you complete your first projects. Let me know. Sit down a PC and show what I have prepared for you. - The entire course is, of course, divided in sections. But the general structure is four hours off basic training which will teach you all the necessary tools to start working and then the workshop where we'll make some exciting, real life examples answer to yourself. Why do you want to take this course? You want to start making motion graphic. You want to make better online courses and promo videos. You want to enhance your YouTube channel. You want to be able to great product for your friends and clients. This comprehensive course will teach you everything you need to know to start working in after. If you are ready to work, hit the enroll button and let's go. I look forward to seeing you inside 2. 01-01. Class Structure, how to learn it quicker: welcome inside of this course. There is some work ahead of us, but the end result will be rewarding. As you well know, a great deal about aftereffect and you will be able to complete your first project. So let me know. Take a sip of tea and sit down at the PC to explain your the structure. And if I design as good as I rhyme, we'll all set. I want to quickly explain you how the courses structural eyes. So it will be easier for you to prepare and work along at first. In the next lesson, you have to download the project files. The project files will help you work along with me. And the most important, there will be a footage folder. This footage folder will have some photos, some icons, an example photo shop and illustrator file a few sounds and, of course, a few videos. We will work with some of the files in our lessons. Let me very briefly explain the structure. The entire course is, of course, divided in sections, but the general structure is four hours off basic training which will teach you all the necessary tools to start working and then the workshop where we'll make some exciting real life examples. I would, for example, recommend you doing one section a day. You could off course to more, but by doing one section a day, you will be regulated in less than a week to first sections that core elements and workflow will teach you the basics and familiarize with the program. From there we will work with the shape, layers and other type of layers. Then we'll go inside of the animation and then we continue with effects and presets. All those three combined is like the bread and butter off after effect. Once we are done with that, I will show you some other most used techniques. These are topics which, after effects is famous for, for example, green screen color key motion tracking, making transparent videos. All those topics had to be included in this course in order to make it comprehensive. The final boss off this course and the moment where it all will be. The most interesting will be the workshop. Here we will work on some real life examples on selected topics. I can assure you that once you are dominant, discourse after effect will become one of the tools you are happy to work in 3. 01-02. What is Motion Graphics and AE?: to get an understanding off what it is that we are dealing with. I want to quickly touch on motion graphics itself and after effects as the program. This is a very tricky combination of words because it has not just one simple explanation, but in the very generic language. Motion graphics, our graphic project that simply move. Thousands of people try to explain what motion graphics is to them and how they see it as a part of the whole graphic design word. On one side, I can find motion graphics are generally short pieces off time based visual media, which combined the language off Phil and graphic design. And this is a very short and precise explanation. Motion graphics use footage and animation to create the illusion off motion. So if I create something in photo shop, let's say I place a text and then I make the text to move in some other application. I begin to transfer it into motion graphics a bit later, when more tools off video editing appeared, Motion graphics was considered a digital technique that combines pictures, words, sound and video. And in this block post from all Boardman, you see a few simple example Off motion graphic design. This is exactly what motion graphic design wants to convey in itself. It wants to explain the story. It wants to express something exactly as John Dickinson wrote a few years back. For me, motion graphics is the satisfaction off executing on idea that moves people. And this is also something which should be on your mind while you are creating motion graphics. It cannot be told that motion graphics emerged in 2010 and people started using in because moving graphics in cinematography we're known for the past decade or even more. Even in older movies. We have some introductions, which shows motion graphics. Example. Just like here in this video, we see different kinds off animations, but they are all related to motion graphics. One particular software, which is dealing very good with motion graphics, is off course. Our beloved after effects aftereffect allows us to use all the tools Adobe brings us to create engaging, interesting and expressive motion graphics. Here's an example. Inter. I've created ones, and I can freely say that this is an example off motion graphics because I have graphical elements, like a background like a video like some text, and it is all moving to become emotion graphics design. This is only one example of using after effects, but after effects off course goes far beyond that. This application is used by video professionals to create engaging motion graphics and cinematic visual effect so you can add visual effects and correct your footage. You can create animations, or you can combine all of those techniques. Inter one piece off art. So I hope if you are watching this video, you are excited to start learning after effects because this is a really beautiful software , which evolves from year to year, and Adobe is making sure that it meets the current standards, and it will be always up to date and one of the leading program in animation design on the planet. So I hope you are eager to jump in with me and diving deeper in the program. I hope to see you in the next lesson 4. 01-03. Terminology in Video Editing: In this video, I will explain some basic terminology most commonly used in video editing, animation and motion graphics. Overall, I will briefly talk about what is a footage. Color channels. What is a key frame for this interpellation? What is rendering masks met and finalizing it with compositing and compositions? Let us start with footage in the video production and motion graphics footage is unedited raw material, which we use in postproduction footage, is mostly related to video. But no matter of use a Photoshopped file, an image or video. You can tell that all of this can be your footage, which you will work with. Maybe you came across a term like stock footage or video footage. These are websites which offer footage files for sell what you can use in your graphic products. Next on our plate are the color channels, see, um way kay and are to be our caller models. So in RGB, we have three channels red, green and blue, and those three channels, by combining the light off each other, are creating a various palette of colors. In video. Off course, we use RGB, and if you would like to edit only one off the channels or preview one off the channels. I can click your on the red. Then I can click on green and on blue. And those three images together create the RGB color palette and create this nice red image . An additional channel, which is added in graphic design, is the Alfa Channel. The Alfa Channel is that transparency now. It's not visible because the entire screen is filled up. But if I will delete this image, I would have the Alfa Channel visible because there is nothing visible in the background. You can also toggle the Alfa Channel an after effect by clicking this button. This is just for convenience. Some people prefer to work in a black background. Some people prefer to see the transparency, grit. Now we are getting to the real juicy stuff. Key frames, key frames are those little guys here which help us to animate anything in after effects. As you can see, I have set a key frame on the position, and as I direct my timer, this layer is moving. So to explain what is a key frame apart for being this little guy, because this is only a graphical interpretation key frames indicate change in the value off a property in the layer. I know this sounds a bit complicated, but he only have to know that key frames are used to prepare animations and change values over time. And now this is why we are heading over toe interpolation, which is one of the most important word interment used in video graphic overall. Because interpellation automated our animation process where the interpolation came from off course from mathematics. But it is so impressive in after effects, let's say I create a round shape. I opened up the shape I opened up the Phil, and I said the key frame at the beginning to make it red. I go a few friends further, and I make it blue, for example. Now I don't have to go frame by frame and change the color slowly toe blue. It is interpolated automatically from red to blue, and this is what is allowing us to create amazing animation in after effects. Because we use mathematics or after effects is using rather for us to automatically interpolate between two values. How cool is that? Okay, Before I get too excited, let me get back to the boring stuff. I'll delete the circle rendering in video, especially after effect rendering is the process off creating our final video output? Former, for example, This is my main camp animation. I could add it to the render queue, render it out and I would have a right video. This is what is called rendering in video editing. Now let me touch on the to next things together because they are very similar masking and matting. Masking is a tool which allows us to protect or reveal a specific portion, often image by default. Masks can be created in after effects with direct angle tool. If you don't have anything selected and I select the circle, it will just create a shape layer. But if I would have this layer selected, the Redwall, which is my image here in the background, and I would click on the rectangle tool or use the circle, it doesn't matter. It would create a mask. The longer I dragged him ask the more off the images revealed. I have messed one here. It has appeared because I have created it and it is now said with the blending Moto at, I could of course, also subtract it to get the opposite off it. If I choose at, I can then work further with the mask, for example, Federer it out. And with a few mouse clicks, I can get this nice blending effect here. Okay, let me delete the mask. So this was a mask. But we also have matting. Methinks is something more natural, and it doesn't have to be influenced by masked like that. I don't have toe create masks. Matt, are something built in our image already? I have this little toggle switches button here on the bottom, and it reveals our moat and track Matte. As you see, I've used a track matte to reveal this red text. This red text is invisible, but underneath there is a shape. Let me reveal it. No track. Matte. This is the shape. It is just a simple white rectangle. But if I set the track Matte tau alpha matte red. This rat tex will be only visible when it will appear over this shape layer. So when it's on the left, it's invisible. But when it's here, the track matting allows us to reveal it with a shape, so as you see masking emitting are very similar method, but masks have to be created and mats come more natural and they are already built in in our image. We just have to influence it with different options. Last but definitely not least is compositing. Let me pull out Wikipedia to help. Wikipedia is, of course, not always perfect source. But the explanation here off compositing is really very good. Compositing is the combining off visual elements from separate sources into single images. After faith is a compositing power machine, it allows us to combine several items and elements in one place to create a visual story or effect. This is all I wanted to give you in the basic terminology off video editing. It might be a bit difficult. You've learned something like key frames, interpolation rendering all at once. But trust me, this will be a basis for you. And next time, if you hear those words, you'll already have some basic understanding off what they refer to. You already know more about motion graphics. Thank you very much for listening to this heart, but I believe Interesting lesson. See you in the next one. 5. 01-04. EXERCISE - Prepare Your First Movie: hello and welcome in this introduction every lesson where you will prepare and complete your first after effects movie. Now, once you head over to Adobe Help and support for aftereffect, there are a lot of articles on basic usage off the program. One of those articles is on the topic off work flows, and while you will not learn everything from those articles, Adobe is implying that it will be good if you start out by making your first very simple movie. And that's what we're going to do right now. In this lesson, I will, of course, explain every detail off what we are doing later in the lesson. Once we get deeper in the program and learn step by step. But at the beginning, I would also like you to complete your first project, render your first movie and see what you created after you're done. All right, I have read what Adobe told us to do and let's jump right into aftereffects. Let me make it full screen and we can start working once you are an after effect. That's it. You're done. No, of course I'm joking. You need to go to composition press on new composition. And here are the options off our composition. You don't have to understand everything here right now. Just go to do it. Make it 12. 80 7 20 p. This will be our resolution off the composition We will prepare and at the duration instead of having 30 seconds or as many seconds as you have. Delete everything. What is here and place? Five seconds. This will be completely enough for our first animation hit. OK? And your composition is created. So now let us start crunching on our first animation. I hope you are following along. You don't have to change an option or do anything else. Just go to layer new and create a new solid layer. Please select the color of the background you want to have in this panel. I'll click here. And I heard, for example, like to have a nice reddish background. I press. Okay, I press. Okay. My background is created. This is my composition. It has a solid red layer and the layer, as you can see on the timeline, displaying for five straight seconds. Now click. And they were to de select this layer. Go here on the top to the text tool. And right. Any award Adobe is telling us You can write, for example, your name. But I want to write something different. Let me write Turbo. All right, I have the terrible text. And by having this layer selected here, you can make it a big bigger and a director panel. If you don't see the character panel, please go to window and open up character. All right? I just want to make it bigger. Something like that may be changing the phone because it's so plain and boring. All right, this on this. Okay, still a bit bigger will be better. All right, I have it in the middle. And now goto window, open up a line. What? You have the align panel opened press on this little button and this little button tohave it perfectly centered. You are halfway through with the animation by having this layer selected and having the play head at the very beginning off our animation press p and click on the stopwatch. A little key frame has appeared. No press once again on this layer and press s toe, open the scale property and also place a key frame right now. If you hit this layer, press you both key frames, would you are editing will appear. Everything is fine. We are going in the right direction. And right now you should be at the point where I am. You should have an empty composition, have a text in the middle and have two properties open deposition and the scale. Once again, you hit you on the keyboard to reveal all key frames which are edited. Okay, we have the two key frames here at the very beginning off our timeline. Now we will start with the good stuff. Let me go toe. Four seconds. Four seconds will be here on the timeline, as you can see and by pulling this little time litigation and I'll extend my friend to see the entire five seconds. All right. At four seconds. I want my animation to be finished for this. I want the tour vortex toe go down and be a bit smaller. This is while we use the position and the scale property to prefer our animation press V on the keyboard or press here to use the selection tool. I'll scroll back a bit and I placed my tour boat text here on the far bottom left site. While this is happening automatically, one key frame has appeared now also go to the scale, and by hitting the 100% make it smaller toe about 30%. You can also click manually and right here 30 all right, and this is everything. I want it from my animation. You can now pull the handle to see what is happening on the screen. You can also click on preview toe ramp review What is happening inside of this animation, and by hitting the space bar, you can stop and play it ahead. Okay, this is our first animation. It's prepared. Now let's render it to a video for that. You do not have to do many things. You just press control or comment. Shift forward slash. This will add the composition one, which we had active automatically to the render queue. We'll talk later about the render options, but for your first animation and first render, we can stay at lossless to specify work. To save it, just click here and select the place where the file will be saved. All right, I have selected the place where my first animation will be rendered. I hit Render I wait a little bit until it finishes, and I go to watch my first prepared animation, As I see the movie has rendered, it is very big because we choose lost less here in the render settings. Normally you always render with Codex. But here for your first animation, it's 400 megabytes because the solid background takes a bit and this is our first beautiful animation. I hope you're proud of yourself. This doesn't look as fancy as it should, but for the first animation you make the first steps. You prepared an animation, you edited some key frames and you render it it out. And this is how your usual workflow in after effects looks like this was the beginning with getting our feet wet with our first animation and proceed to the next section toe. Finally start analyzing the program and creating some nice animations. Thank you very much for listening to this introduction. Every lesson into animation 6. 02-01. After Effects Interface: Hello. Welcome in this video. We are going to take a big picture. Look at the interface off after effect, how it is divided up and some of its key functions. This will be a rather general overview off the program because there are so many options and buttons which we will look into later. But it is important to understand how the interface works as a whole. Here in after effects. Please go to the project files which you have downloaded and open up the interface project . It might look a bit different, but it should be called interface and depending on which aftereffect version you have, if you have CIA six, open this file. And if you have the after effects CC version, please open the CC version product filed. Let us review now off which elements The after effects interface consists as complex it might look Adobe has done a very good job of making this entire program as easy to navigate through as possible. Let me first list a few core items will review and then tell a few words about them at the top left side. We have our toolbox right under it. We have our project window right below it on the bottom health off the screen, we have our layers with their duration, which is the entire timeline in the middle of the screen. We have our composition, which can be also called the preview window. And on the right side of the screen, we have our configurable tools panels with the basic after effects layout. We have our info panel. Our preview panel most likely are effects and presets and a few panels we have opened up ourselves. All panels which are missing can be found in window, and you can always open them. For example, if you miss the efforts and presets panel, you just click here and it will appear on the screen. I wanted to go a bit more into detail about the elements I've listed, and how are they connected together, where? Let me start with the toolbox. The toolbox, I believe, doesn't need as much explanations efs. The other elements have because under toolbox, we have items very similar to older adobe programs like Photoshopped or illustrator. We have at the beginning our move tools which help us to move the composition around to select items and to zoom in right after that. We have a segment off tools which is used for rotation and usage off cameras in our layers . Right after that, we have the most used after effects tools, which are the creation tools. Here. We can create rectangles. We can use the pen tal to create shapes and, of course, our beloved text tool, which allows us to enter text into our composition and work from there. After that, we have our brushes, razors and a few other tools which will explore later. This is our project window, where we load up our assets, organize our project and overall decide which items are used. What's amazing here is that if you click on any element here, you have a little preview box. This preview box not only showed you the time nail so immediately know what's going in this composition and what, for example, going on in this solid layer. You have also the settings off a particle er composition. I'll, of course, explain with detail what a composition is, But for now, you only have to understand that a composition inside of after effect is a group of items which is pre composed to contain all our animation and layers at once. As I click on the composition here in my project, I immediately know that it has this resolution. It has six seconds off duration, and it was, and it's settings are set toe 30 frames per second. So it's a very seamless video, and most often, if you are combining all of your assets and preparing yourself for work, this is all you need to know. To start using a particular item for this composition, I used a photograph with a red background, and I organized this photo into a photos Fuller. If you want toe organize anything here, you just drag and drop it around. I can create new folders by clicking here. A new Fuller could be, for example, called videos, and all my assets could be put into this folder, which will contain all the videos I will not use in my project. Everything off course can be dragged around repositioned, put in tow one another. I won't use that. Now I'll delete a video folder. The photos saw it and main company is completed. Enough for what we have now. Now let us head over to the most important panel. The timeline hold information about all the layers we have in our project and how long the layers are displayed. As you see, by hitting this little time indicator, I can I can scrap through my entire composition and preview what is going on on it. I want to see all six seconds at once. So we need to pull this handle to the end. And now I see the entire composition. This is a zooming in option which allows us to go in detail if you want to edit something frame by frame because in video editing and animations, you want every frame to count When you are doing some project, Let me extend this back here. We have our layers. Want a layer is selected? It will highlight in the composition panel. The composition panel. Let us preview what actually is happening on the screen and a basic workflow and after effects always looks like that. You import some assets into your project files. You put those assets here as layers and then you start editing an animation. As you see, it turns green because it has already loaded. And now, with the preview panel, I can preview what is happening on the screen. This is used to preview the animation you are creating. If you are not satisfied with the animation just hit pause by hitting the space bar, you can shift some key frames to change the animation. And after that, it would have to load again. So let me again press in preview. And if you decided that this looks better, you could go forward and render the video layers on. The timeline can be shortened just by clicking on them and dragging them to the position you want. If you have snapping, enabled they would snap. Here, let me, for example, get rid off the text until the fourth seconds. I don't know. See this red text at all? This red text is the first layer. I only select the first layer, and I want to get rid of it until the 4th 2nd So everything prior to that will not show me the red taste as I over my mouth. After four seconds, it finally starts to appear. Okay, let me go back. Because in fact, I want to see the text. It's essential to this animation. Laters. Inside off after effects off course followed the same hierarchy as in photo shop. Let me show you a brief example. This is our rattle J pic project file, which is the background. You can make the background visible or invisible by clicking on this little Aibel. Aiken, if I would take this background and put it as the first layer, nothing else would be visible because the first layer would cover up the tree boxes, which are here on the bottom, and the red text which is appearing here. Won't you click on a layer element here? It instantly shows me which layer I have selected. Also, this little box indicates that this layer is in three D space. I can turn this off or on if I don't want to move it only in the X or y axis. But I would also like to use the ZX is to make it closer or more deep into the composition . So let me put the red well at the bottom again, everything is visible. You can rece ice each element just by clicking on it and dragging. You will get to know the interface once using the program in real life. I just wanted to show you that each component in the after effects window can be pulled over and replaced. For example, if you are using very often, they're aligned tools. I could not use it because they don't apply to treaty layers. But let me use this now. And I would, for example, want to have the line tools here. That's absolutely no problem. Just take them, dragged them over. And you see this little purple indicator shows me where this will be placed. I could even replace my entire composition with the Align panel if it would be very important to me. But off course, that has no sense in this case, but in some cases you want to replace certain elements, so it's easier for you to edit. I want you to take a few panels and just play around with them, for example, dragged the preview panel here, check out how everything looks. You can off course, pull their handles and precise elements like that, and once you are done, do not be afraid. You don't have to press control Z or something to get back. You can go to the workspaces options click on standard and just reset the standard view or explore another views which Adobe has prepared for us. For example, the minimal or the paint you. I will now go back to my standard view. I'll take on standard reset standard. I'll click. Yes, you can make as many workspaces as you want. You just get here and hit new workspace in after effects CC as I see my composition opened and by the way, you can open each layer or composition by double clicking on it. For example, let me quickly make a new composition. I have come form and now I can toggle between the compositions and if I'm done editing, for example, I place a text. That text is hello. I close this composition because I no longer want to added the hello composition. It was come form. It shows me hello and I can drag this composition here because, as I told you, compositions are simple groups containing many informations at once, and I can use one composition nested within another composition. From here, I can resize it. I can use the rotate to rotate it around and do many other fundings with it in after effects cc near toe. Every composition you have this I can with the tree lines displayed in this I can we have some basic options regarding our composition in after effects? CIA six. This option is not here. It is here on the far right side. The options are the same. These are some global options which you can apply to compositions. Since this is a rather very important feature, Adobe has decided toe place it right here. It takes up a bit off space, but its really useful to have it by hand. You can undocked the panels, you can run with them around. And this is all I wanted to show you about the basics off the interface in after effects. I hope you were clicking along with me to get a bit familiar with the interface and let us head over to the next lesson where we will explore some preferences which will allow us to work more efficient in after effects 7. 02-02. Preferences & memory size: adobe after effects has some specific preferences which you should know about. Let me show you how to access them and how to change them up. If you are working on a Mac, you will have here adobe after effects Just click on it. Windows User can click, edit and by hitting edit. You go down here to preferences and here you can find the general preferences. If you want to immediately go to a category, you know, we want to change. Just select the category right here. If no, please open up, General and will now review the most important options that are here and what we should change. I will, of course not go over each option because these are much options, which in most cases should be not changed, their very properly done. I just want to show you key changes with you can undertake to make your workflow faster and easier In the general tab, you can read true toe, get an understanding what is happening here. But for me personally, the most important option here is revealed preferences in Explorer. I believe on a Mac computer. This is called finder. From time to time, you either one or make a safety backup off your preferences or after effects is running into some problems. You just click here and after a friend's is revealing the file, which is holding all the preferences. But you can, for example, safety back up on another hard drive. If you would like to import some preferences, you can also migrant previous version settings. So if you are working on Adobe CS six and you transition into Adobe CC, you can simply migrate your preferences. Let us continue with the next options in the previous and display panels. There are not much things to change but a general rule, especially if you have a slow computer. You want aftereffect to run as fast and smooth as possible, because rendering video takes a lot of time. So if you have a weak machine, you could, for example, lowered resume quality in the color management quality toe faster and faster. But if not, you can stay by their default. The same goes for the display options. For example, we have one option here toe disable the time days in project panels. As you see, this is the tablet in the project panel. Well, this would not save you money room, but each little option combined together gives you a bit more space to work. So if you have a really slower machine, you can turn this on. But I definitely do not recommend it because it's useful to see the Tamil and it doesn't eat up much room. The next category is the importing settings. In most cases, if you import some assets in your project and you drop them into your composition, you wanted to take the entire length of the composition, so most often you will not change it to a specific time and the next option. The sequence footage is if you load up image sequences and you set a default frame rate. If you have image sequences, which are slower, for example, 25 frames per second, you could change the default sequence footage, import settings, but will not change anything here. The next important section is the great proportional grids and guides. In the grading options, you have some colors and some pixels. This refers to the grid on the composition. You open up all helper grits. With this button, you can toggle the title action safe, which is used just like in television, which tells you where is the safety text to display your text and the action off your composition. You can also display the proportional grid, which is with green lines. Here you can display a normal grid and, of course, opened up rulers and pull out rules toe help you During the work, we will talk about those rulers and helping guides later. But as for the options you see, the rulers are blue, the greatest green and the great, for example, is divided into the little five pixel or 10 pixel sections. If you want to change it, it's off course. No problem. In the edit preferences, grit and Guide section, you can change everything up by adjusting the pixels and the colors. The same goes for the labels. The labels display the default colors off layers you dragged into the composition as we can notice. In our example, I have here three solid layers. Solid layers are displayed as red text layers are also displayed as red. I have here one shape layer and the shape layer is this late as blue. This can be off course change by clicking on this little color and changing it here. But if you want to stick to the default coloristic, it is set in the labels. The next option is very, very important. I would say it's crucial to the entire Preferences section because after effect is a render heavy program. Adobe is telling us that the optimal render settings would be, if you would have three hard drives, one for your system in the application, one for your footage and one for a cache folder. And, of course, this all depends what I were doing in after effects and how heavy is your render. If you're just starting out, you do not have to make such big cache sizes. You can, for example, stay at the default 20 gigabytes. I just have it set to a bit more because I have a second hard drive and this hard drive is my story device. So I have repaired a cache folder on this drive. A general rule here is that it would be optimal if the cash folder is not on the same disk or partition where your system is, So if you have the opportunity to change it, please do this now change it to another partition or days. This will take you up about 20 gigabyte of space. The same goes for the conformity media, cash and from time to time. It's a good practice toe. Empty the discussion and clean the database and cash to make sure that our this is clean and prepared for some rendering. The next option I want to show you is the appearance. If you didn't like the appearance of Adobe CS six more than the new version, you can toggle the brightness up, and it would look similar to the program from CS six. The only thing here is that you have the blue colors. You can adjust how strongly are displayed. By choosing the interactive colors and the focus indicators, you can make them a bit lighter, and they just stand out more in this lower brightness settings. Next option is the out of safe option, and you can tell after effects how often it will save. And you can also choose a custom folder, for example, on another hard drive. As for the memory goes, this is very important. I have currently on my PC, 16 gigabytes off from installed and the distribution is by basic that after effects can take up up to 10 gigabytes off Bram off course after effects. It's not always taken up 10 gigabytes. This is only when surrendering or something, but by default you can leave this settings. It can eat up to 60 or 70% of your room. That's okay, because you still have some room toe work on your browser or in photo shop. The last setting is the synchronization setting. Each time I make a change here, Adobe will automatically synchronized my settings to the cloud. This option WAAS not available in the CS six version because Creative Cloud has started from CC version. So if you are using an older version off after effect, you can reveal the preferences and Explorer and save your file and eventually replace the file or copy it over. But in the newer version, you don't have as many problems. You can either migrate from another older version or just leave the version in the cloud, and you have no problem because they will update automatically. So this is all I have to say in the explanation off the preferences in the program. I hope you have a better understanding off the program now, and though the most important preferences insight off after effect. If you want to find out how you should properly set up your composition, please head over to the next lecture. 8. 02-03. Importing & Organizing Assets: in this video, we are going to talk about how toe import footage in our project and how toe organize it properly. Will Importing footage in after effects is very simple. All the assets and foot is your importing will appear in the project panel by default. The project panel is here on the left side and tow import anything you only have toe double click on this area. You can also right click and hit import, importing a file or just goto file import and press here file please. Now open up aftereffect toe work along with me and try and import you first few files. You will have your footage folder As I am recording this lesson, I'm still collecting files for the entire course. But I already have some photographs, some videos and some other files. Please double click on the photos folder and select two photographs by hitting the left control or command key and selecting a few and hitting import. Right now, we have imported a few assets in tow. Our project panel double click here again and now import some videos. I will, for example, select two videos here and import them into our project in the product. I immediately see that thes files are images. These files are video footage. Here we have some basic information about the video, like the resolution, its duration and the Kodak in which is was surrendered. Well, if you do not like any off the names, you simply click on any file and hit, enter or return. This allows you to change its name. For example, city and these every video. Please remember about this simple short term because it's used in after effects for layers and for everything. For renaming, you only have to press enter. Now let me populate this a bit more. I create here and create a few compositions, maybe three or four compositions. And I hope you now begin to understand that once you are importing more and more assets and sometimes that's really 50 or 100 different files, you should be organizing them in some folders, For example, I should separate my compositions from my assets and footage. I have the video footage and my photographs. Let's say I want to have the photographs and the videos. In one folder, I click this button to create a new folder. I could also select all items here and just drag him over. Entered this folder. A new folder is appearing, and I'll call it footage, maybe even for my own information, I'll call it. It's completely up to you how you want to name it personally as I'm designing something, I like to make clean names and put them into brackets, because brackets and the hierarchy are red as the first folders. So very often I'm doing something like that footage and they create a new folder. Crump's like that. I dragged all compositions here and now I have a completely better understanding off what's going on in my project because I can immediately go to my compositions. Open up the compositions, which I need, he reckoned off course, close them down, but I have quick access toe all my files. Also, you need to remember that sometimes after effects is creating those folders and footages for ours. For example, if I would like to create a background here, I hit control or comment. Why? To create a new solid and you can notice right away that after effects has created a solid folder. This is a native option in after effects, and it's great that is putting the solid into one folder because as I create more of those solid, for example, they want another layer like that, a rat one. It could be smaller. You will be working with those solids. I'll copy it, and they automatically are in the solids folder. I have copied the same solid several times. This is why only one is here and not several of them. Importing footage, images and videos is very simple, and please always try to stay organized within your project. Importing Photoshopped files and illustrator Fars is not very much advanced, but it's very important toe import them properly to be able to work on animations with them . It's crucial for you to know this before we start designing anything in after effects. So please head over to the next lessons where I will show you how to properly import Pius the AI files and what problems you might come across while working with those files. 9. 02-04. Importing .PSD files properly: in this video, I want to show you how to properly import Photoshopped files. What are the different import settings and what troubles you might run into at first? Let me open up photo shop. I will talk about what is a composition in after effects. I will tell you that compositions in after effects are similar to groups in photo shop, and now you will see the first example. Why? Because once you are importing Photoshopped files with groups, those groups create separate compositions inside of after effects. This is very convenient because you can open the group's right away and work with the layers. Here we have three example stems. Let me maybe close the guides so you see the stems and they have some effects on them. I will release one of the color overlays to make one black, and the rest will stay as is. We have a square at Rangel and a rectangle, and now comes in the entire beauty off. Working with Adobe softer because Photoshopped illustrator aftereffect. They're very tight together in terms off the native tools, and you will see that adobe after effects is also handling those layers tiles. So it's not like you create something in Photoshopped, you save it and you have absolutely no more control in after effects. But certain elements and effect can be used natively also within after effects. Let me move toe aftereffect importing, as you've learned in the previous lesson, can be done by double clicking in the project panel, I double click. I go back to my PSD and AI finds folder. Currently, I have one file here. I will use this temps. You can click once on them and on the bottom side you have import is footage, compositions to retain the layer sizes or a simple composition. I can go it footage. This time I will take on import. And now there appears an important window. Do you want to have creditable layer styles from photo shop? Or do you want toe? Merge the layers to make the project a bit lighter to make it easier for aftereffect. And if you are sure that you will not need to edit those preferences, let me import the file both ways, and you should do this. Also, please open up after effect and import this temps file At first. Let us stay with this option. I hit OK, And now what happened? On the left side we have a new composition called Stamps and we have a new folder called Stan Players. This is something that aftereffect does for us not only with imported the PSD file, but we also got all the layers separate because if you would like to use only one layer here and use it right away, we can drag it right from the layers panel. Also, as I told you, that groups are compositions the rectangle square and triangle So we could say eventually the after effect is doing even too much for us. But this is only for our convenience. Because we have free access to the PSD file to the PSD layers and to the PSD groups. And I can go, for example, light within the stems. It also copied over my rulers and guys, which is also very useful. Now let me go inside one off the rectangles. This rectangle is a composition Since compositions are similar to group As I'm telling you , I go to photo shop. I see this group itself has no effect. Only the layers in sight off this group have some effects, so let us head over to aftereffect. I have direct angle group composition. I double click on it. And now I arrived at the two layers that we had in photo shop. As I will open up those layers here, I opened them. I see the layer styles panel appeared, and we have the inner shadow, the color overlay the stroke. And he could also add new elements by right clicking on the layer going toe layer styles. And we can either at the inner glow, the bevel and ambos, the Saturn and more options, just as you do in photo shop. You write like here you go toe blending options, and you have all the different tools to work with. So as you can notice, we have the same native tools. Maybe they are a bit harder to use an after effect because you have to open the panels each separately. You have to work with their separate properties, and this is getting really difficult. One enhancement that we have. We can press the tilde key by holding the mouth here and expressing on it to enlarge one particular element off after effect to the entire screen. Let's do it the other way around that will take here. Press on the stamps, hit footage or composition to import immediately and composition. And this time around, Murch. The layer styles inter footage as I hit OK, A new folder, of course, disappeared. A new composition has appeared. I go inside. This composition stems, too. I go once again inside the rectangle and as I opened up the Layer seven here, it will not have the effect because those effects will be flattened and merged. Entered this layer just as if you would open up photo shop, hit on the layer and rest. Arise the layer style and this is how you can work an import property. PSD files. So always remember that you can use the native tools and have them still insight off after effects for future editing. Also notice that grouping is very important in terms off. How many compositions do you want to have insight off the after effects file? Because if I will have three groups here, I will import it. I will become later in the stems three separate compositions to work on. Thank you for your attention in this lesson. The next lesson will be about importing illustrator files. This is also very, very important, and illustrator files are like the best to for using an after effect because you can create and convert them to shape layers and scale them infinitely. So stay tuned for this upcoming lesson to learn how to properly do it. 10. 02-05. Importing .AI files properly: in this video, we will talk about how to properly import illustrator files. Let us start right away. I have an illustrator file with social icons prepared. We have here several art boards, but I would like, for example, this arbor Toby imported. Now, how to achieve this If you go straight into aftereffect import the file I have here eight. Our board said I imported maybe as a composition I imported. It's now insight off after effect. We have eight art board set and the illustrator file nothing else. As I double click here to open up the composition, I see that only one art birth has imported. The layers are not separate. So how can I edit the Facebook? I can the Twitter Aiken separately, I wanted to create some animations. But right now I have completely no control over this. I could eventually right click on the illustrator file. Since this is a vector file, you can create shapes from a vector layer. But this doesn't help me as much because now insight off this shape layer in the contents off this shape layer, I have 20 different groups. Each group is an icon and I have to open the group and I have to. Pat's here. One Pat is the icon. One Pat is the background and this is completely not optimal for working with illustrator. So what? You have to remember about toe work with separate layers here and after effect, you have to do the same in Illustrator. It can't be like that that one layer is holding all the information about all the icons in the world. You would need to have the icons on separate layers. Now let me first hit the art. Bored to hell on the left are you see, this is art bore one and that why it was imported Because it's the first art board. I want one of those colorful art boards. So let me click on each artwork and just delete all the rest. Now I take the selection tool to delete all the icons I don't want. Ideally, this and I'm left with one art board. What can I do to make separate layers off those icons I see on the bottom here? Some guides. I'll also take them and delete them to clean up my project and less step I want to take is to make separate layers for those icons. Luckily, you don't have to press new layer import new layer import for each icon. I will delete that you can simply right click here on the top and select released two layers sequence I will release. The layers are only the first layer is as the main layer. But I can select all the other layers. I paste them over the first layer and I no longer have to use one master layer. I would delete it Now I have perfect layers to use an illustrator. Let me save notice. Filed toe one art board set. I goto file safe ass. I save it. This one one our board set safe. Okay, the options are fine. I goto aftereffect. I double click here. I select one art board said I import it and now I can choose. So I want to merge the layers off course not. I want to import a composition. I want to remain with footage Dimension I click. Ok, And what do I have now? I have a composition one art. What set? And I have access toe each layer separately. I could now go on, create animations on the timeline work with the icons copied them over to other projects and compositions. And I have full control off what is going on because they are now on separate layers. If you are importing something from illustrator, it has to be on separate layers, depending on what you want to achieve and what you want to animate. This is something very important to remember for the future. Thank you for listening to my explanation on how to properly import illustrator file to prepare them for animation in after effects. 11. 02-06. Relinking Missing Assets: Sometimes when you move files or rename your project files, you will run into such a dialogue box when you open up after effects and your project as I hit. OK, I see my Bagram has disappeared. Don't get confused if you see those rainbow color bars instead off the graphical elements, because this is indicating us that after effect has lost the link connecting the original footage to the after effects project. If you want to quickly find the files which are missing, you can type in here. Miss after effect will automatically sort out the files which are missing. Then you can double click it and re link it with the footage you have changed or the fires you have moved. I will do this right now. I'll double click on my photograph. I will find the photograph in my footage files. I know it's in photos, and I have changed the name to read Will x x x just so I can show you this example if I would have all those images in this project after clicking on this one, Image after effect would also search all those file and identifies he confined to replace them right now, I have replaced my asset and my project is working properly again. This is how easy you can re link footage If you lose the connection between the project and the original footage, this was too easy for you. Am I right? Don't worry. Harder lessons will come ahead. Please open up the next lesson and it can move forward with our after effects learning. 12. 02-07. Composition Settings: let us talk about what is a composition and how to create it. Witten aftereffect. You can think about the composition as a sort off group or a container, which contains layers. Enter informations. It's very similar to groups in photo shop. In photo shop groups can contain group object like layers, and those layers can have effects or other things of flights to it. In aftereffect, compositions deal as those containers, which contain information about what is going on in our videos. You can create a composition by going here on the top to the composition panel and clicking on new composition or using the shortcut control or command plus N. You can also use this button as a shortcut to quickly create our compositions as I click on it that composition settings pop up. This is my first composition, and let's call it first test police open up after effects and follow along with me. Under the basic sections, we have the presets, the size of our composition, the frame rate and a few other things like the duration. With the presets, we can choose a pre defined composition setting. For example, Powell is the European standard in television. NTSC is the North American standard in television, and we have some other composition settings, like HD or Film four K and two K. These are all different options and settings. But if you're creating animations mostly which will be used on the computer screen on YouTube on your website, you'll most likely not use those presets. Just take this first preset a TV HDTV 7 $2029.97 frames. I will select the preset, but I want to go through the options with you. Well, the width and the height is pretty self explanatory. This is the size off our working canvas. Our composition will have this size, and everything we put inside of this composition and will be bigger will be either trimmed . All we will have to scale it down to put it into this resolution. Next, we have the pixel expect ratio, and in 99% of cases you will leave it out on the square pixels because you want to create your videos and animations for you do for your websites as we were talking before, and all of those media's like computer screens after pixels displayed in squares so you want to leave it at scores. If you're working something towards cinematography or with filming, you might want to look inside all their options. The frame rate for me personally. In my project, I most often used 30 frames per second. Frames per second means how many still images will be displayed during one seconds. The basic standard for videos if you are recording something, is 25 frames or 30 frames. Let me select 30 frames for our first test. That was the roof into full and on the bottom. We have the duration settings, which will tell us how long will our composition last? You can change up the duration. The first are the frames. Then we have seconds, then minutes and then hours. The maximal length of a composition in after effects is three hours, but that's definitely completely enough for what we are doing and for animations. And if you want to quickly type in, for example, five minutes, you plus five dot dot that dot means zero for frames and 04 minutes. If you want five seconds, you press five dot and this automatically create five seconds off duration. In our composition, you can also write 500 after effects will interpret this. You can see a little preview here as five seconds OK are composition is prepared, the background color can be left to black. I hit OK and my first composition is appearing on the screen by default after effects opens up the composition in the layers panel, we see our timeline and the composition is open in the preview window. As you can notice in my project files. On the left side I have two videos and the composition. The composition. The composition has a little different icon, which is similar to the icon to creating a new composition. Now, once I have my composition, I can drag those videos inside off my composition. Let me, for example, take the first video, which is a time lapse of a city. I drive the composition, and as I see in the product, that composition is as I see in my project preview. The composition is 12 87 20 resolution, which is exactly the same as my composition settings. This is why it fits perfectly into the canvas as I scrub. True with the timeline, that time lapse is happening and I have started to create a video. Now let me hit on the Facebook address video. This video is a bit bigger. If I drag it here, it will go beyond the canvas. And I have no several ways off adjusting that. Let me make it may be to the front as the first layer, so it will be visible. So this is the Facebook video. And now what can I do to adjust it? I can either pull the handles and hold the shift key to make it smaller and somehow fit it . Or eventually I can hit control or command K and change the size off my composition to be as big as the Facebook video. This is just on example off how you could adjust the composition. Toby. Exactly like your video. Now what other problems you might run into creating composition. Let me say you an example. If this video would have 25 frames, my composition has 30 frames. Each second contains 30 frames. This video would have toe emulate working in 30 frames, so a few frames would be interpolated. This maybe wouldn't stand out as much, but in complex videos and in professional videography. You want to try to work with footage, which has the same frame it as your composition or even the other way around. If you want the composition to have the exact settings, like the video you are importing, you just drag the video and drag it over this little button. This will create a new composition with the exact settings, like the videos. Now the composition would have this resolution, desperation and this frame rate. As I hit control or Command K, I see its current settings. The Facebook Address video has the settings, this frame rate and desperation. If you are creating layers, for example, let me take a layer, maybe the polygon tool, and make it very, very big. Now it would be too big and not cover inside of the screen. You can always go to layer, go to the transform options and select fit to camp. This will fit the object you have and make it smaller. The same goes for video. If you would like to have this video, the video would be too big, and you would like to resize it with one click. It would just go to layer, transform and fitted to the screen. All the composition can be opened by double clicking here and closed the same way. If you, for example, didn't want to see those handles here on each sites, you would go to the preview panel settings here, goto view options and just de select the layer controlled right now, even if I have this layer selected this Facebook layer, the handles would not be visible, and I have more freedom while creating something like additional elements. If you want to open them back into the preview window, just go to view options and open up the layer controls again in the preview window. Not only compositions, but layers can be visited. Also, if you want to do some changes on the layer, for example, paint with a brush you can open up the layer, close it down, and now the composition has the informations about this layer. Soto quickly recap in a few words what we have learned in this lesson. Compositions are containers which composite our layers inside off after effects. You can create composition by going to composition, new composition or editing the current composition settings by going to composition and composition settings. You can change the wit, the frame read and the duration off any given composition. You can, of course, also nest one composition into another composition. Here we have the first test composition, and I can direct the Facebook address composition one time. Here, I can drag it a second time. I can duplicate. I can. At effect, I can make it invisible on the timeline. Everything can be composited within one container composition. That's all I wanted to share about compositions. As the work progresses, we will learn more about aftereffect. Thank you for listening to this lecture. 13. 02-08. EXERCISE - Prepare a Quick Title with Burn Film Effect: in this lesson, we will have so much fun. I'll teach you how to make a title like that with the usage often effect with pre composing with loom, omitting and some other fancy stuff. So go right in and try to create your own. You are still not prepared to do everything I will show you. But just have fun with this exercise, and you will surely be able to follow along and create one of your first animations in after effects. Let us start right away. I click on this icon and I create my first new composition. It is aged, decides 30 frames and 10 seconds long. Please right click, Select New and select a solid at first, make a black solid. I'll make a completely black solid and then create a new one because we need to solids and make it a white one. Those layers will reveal the stuff we want to show, so I select now window and I select the effects and presets and I select film Burn The CC burn film is a great effect and I have the play had right at the beginning. I person the key frame to make the first key frame. I goto one second and I can be certain where I am by hitting one second here because we have turkey frames. I have to be precisely on one second. Okay? And at one second I want to burn to reach a level off 100. So the entire screen is covered in tow. Black. Now I go forward, depending on how long my title should stay on the screen. Let's say it will stay for three seconds. So at about four seconds, I once again check here If I have four seconds, Okay? I want to place a new key frame. And to do this I click on the white solid. I press you to reveal all key frames and I click on this button. This will add a new key frame and boat off. These key frames have a value off 100. I go again, one second forward to five seconds. And now the burn can have zero. So the burn flows in, stays on the screen and then flows out. That's everything you need to have prepared in order to reveal something. Now I click on both of these. I right click and I select pre composed. You can also use the shortcut control or comment shift. See, this will pre compose, and I'll call it met. Reveal. Er okay, because I want to remember what this layers were about. All right? I don't need so much information, so I click this button and now let us prepare the title text. This will be very simple at first, a select title. Here, let me select something bolder. Maybe the Baba's fund. Okay, that's definitely more bold. And I select Bullock for here are maybe even stay right. I'll see in the moment. Okay, let's start out with Grey. The first Another second title will be a subtitle. Subtitle here Maybe I select another phoned. So they are not completely the same. I don't think to find anything interesting, but it doesn't really matter. Let's stay with the school form. It will be a bit wild, but that's OK Now I can select another color, maybe read. Read this. Okay. And from the character settings, I make it smaller so it fits the screen a bit better. All right, we are fully prepared. These two should be also pre composed because this will make it easier to change the name of it. Right? Click on these two. If you have the two text boxes prepared, pre composed, and I'll call it change title here because always, if I want to change the text here, I'll double click on this composition. I can double click here, and I can change the text as I want, for example, to your name and your tag line or the video title or something else. Okay, I'll close this composition. Let's go back to Camp One, and the Comp one name isn't convenient at all. So I select control and Command K, and I rename it too tightly simply. Okay, we have our title prepared. What is the last step we need to take? We need to put the mat, reveal er above the title. We need to click on the title and in the track. Matte options select the last one Loomer inverted Met, Met reveal er, if you don't see the trackman and remote options, you can go on bottom here and open them up with the second button after effects wants to make it convenient. So if you don't need those options, you always hide them, but in this case I will use them. So I will select the second track. Matte I place Louima inverted Matt and now watch what happens. Instead of a boring reveal, we have something really, really cool. That text is slowly revealing as the mat reveals the screen. How does this work? The aluminum at uses the brightness settings off this layer. Everything which is on black is revealed. Everything which is on white is hidden, so want This screen is fully revealed. Also, this text reviews and this creates such a nice animation you can really see the title appears. It's not boring. It's a really cool animation, and later it disappears as the screen fades out. To make it even a bit more interesting, I can click on the change title here. I activated three D for this layer so it can move not only up, down left right, but also four and backwards on the Z axis. You don't have to know everything about it. Just activate the treaty. Click on it, press P toe, open up the position and you can see I have three values. The X axis, the Y axis and Z X is if I deactivate the treaty layer, I have only X and y Okay, let me activate it. Because I want to work with the 3rd 1 I clicked on the Turk value. Maybe I go to the beginning somewhere here. Okay, third value negative to 20. Okay. What happened? This revealed psalm or in the back. Going forward to me. I'll click a keeping here one second later. I make it zero. So it comes back now I only take those key frames. Place them on the left side so they start and watch what happens. Instead of just a boring animation, I'll go slowly forward. The title shows up and reveals slowly. This recreates a night animation and you can change the key frames. If you wanted to appear a bit quicker, a bit more smooth, we are nearly done. Really? Now I have to select those key frames in order for them to not be so boring. I select the 2nd 1 right click key frame assistant. Easy East. What happens now? The animation is a bit different. You can notice, but it's still not quite there. So you select both key frames. You go to the graph editor and make one slight adjustment. The graph editor allows us to edit Dickie Frames more in detail. I hope this is not to advance. We are going slow here. You only have to select those two key frames. Okay, Here, maybe select disk you frame. I pulled this little handle towards the middle. So what will happen now? That text, the value will go very quickly at the beginning. And then it will slow down. Why do I wanted to do this? Because I want the text to very quickly come and then slowly fate into the place into the right place. Okay, let's preview it. You can notice it. It starts really quick and swift, and then it stops for a while. And this creates a really, really nice motion here. When its fate out, we can do the opposite. I will select those key frames. It starts somewhere here. I just paste them. I select both off them. Rightly key frame assistant time, reverse key frames. I don't have to do anything. It will automatically go out off the screen like previously just it's reversed. I can make them a bit closer because I don't quite like the motion. OK, it should start a bit earlier, right? And that's it. That's how you make an interesting title like that in the grand scheme of things. This is what I wanted to teach you how to prepare for such a title. I hope this was a great exercise for you and after effects and really quick thing to do to make your videos have it better with interesting titles. Thank you very much for your attention in this lesson. And I hope I'll see you in the next one. 14. 03-01. Timeline Pt. 1 Layers and Buttons: in this video, I'll explain you everything you need to know about the timeline. You come across the different options on the timeline, nearly with everything you do in after effects. So it's very important to get familiar with its layout and to learn a few options in its set up right at the beginning. The timeline covers the entire bottom area off the program. Let us start with the taps which are here. Those types are compositions. Once you open the composition, it opens in a new tab on the timeline panel. You can click on the X sign to close different compositions and open up a few off their options in this button, about which we will talk later. Okay, I'll close the second composition. Let me go back to the main composition and start explaining the timeline. We will start at the far top left side, and here we have informations about where we are on our timeline. You can know this on the timeline. This composition has about six seconds off duration and they are playing 30 frames per second. The timer on the left shows you where you are on the timeline. You can click and wreck around to move around. The timeline on the bottom. We have frames and the frames per seconds off this particular composition. If I hit control or command and click here, I have the frames on the top because sometimes when you're doing animations, you do not want to work with time. You want to see frames because you're editing something frame by frame. You can also hold down the bulky to move slower because normally it goes very fast. But if I hold the old key, it gets me a bit slower. The same is with the shift key. The shift key. Make me go very fast here. Okay, I prefer the seconds. So I once again hit control or comment and click here to have the seconds as the first. And if I would like to navigate here, I can press and I can go to one second by hitting one and a dot. If I would only write your run, I will go to the first frame because this is listed as frames, seconds, minutes and hours. Next up is the search mark. It is sometimes used if you want to open up a different property in the layer, for example, the scale for all of the layers I hit control or comment A to select all layers and I write scale. This will open the scale property for each layer. This is a neat little a shortcut if you have to edit several properties each time in each layer the same thing. Okay, let's not talk more about the search bar. Now. There is something very important to know about layers and compositions on our timeline. Those items are the layers which we are working on. Those layers are inside off the main come composition. Several options we are editing are related to those icons. But you can notice that, for example, this icon and this icon looks the same. Also, this little icon and this icon looks the same. So why do we have it twice here? Because those icons are specific to each layer and those icons applied to the entire composition. I can, for example, turn on the motion blur for the 1st 3 layers, but they will be not visible until I turn on the motion blur for the entire composition, and this is a general rule to remember. Okay, let's not skip parts. Let's go from the far left site on the left side. We can turn on the visibility turn on or off the sound. If you want to hear the sound of a certain layer, for example, this video has some salt in it. I pressed double L to view the way form. Well, it actually doesn't have a real sound. But since this is a video, aftereffects tells us that it has a sound channel that's not important in this moment. The next is soul layers. Once you click here, you can display only one layer in this entire composition, and this is a very useful option. For example, I would like to see the text, but I'm not certain where the text is. So I just pressed the solar layer here, and I can see the text layer is on the top side. The solar layer is not available here because those two layers are linked with attract meant I will turn off the solar layer. Next up, we have our block option. The lock auction is very useful if you click something and dragged around by mistake. For example, if I'll click here, I would move the adjustment layer, I would move the background. But I never want the background to move. What I have to do is click the Locklair and now I cannot click on it. I can open it, but I can not change any effects. I cannot touch anything until I will unlock it. Let me close it down. And this brings us to the next item. You probably already noticed that I'm clicking very often on this triangle. This triangle opened up the properties off each different layer. For example, this layer has some effect on it. It has a for ical or radiant. Let me maybe place it back in the middle. Everything which has done to a layer, for example added effect change. Its size is added. Key frames can be found in the properties. We will have a separate tutorial about the properties because they are very, very important right now, you only have to see an overview that each property can be found here. As I entered in the full Cora gration effect, I can edit the effect here. But I can also open up this property, open up the four color Grady int and added my options here. This is when it comes down to properties. I have every possible property and I can even at more. But we will jump into that later. Next up is our label color. We can change the label. Carlos, as we have learned in the lesson about options, we can click, change the color, and this is also useful if you want to select all labels with the same color, I click on this red label I click Select Label Group, and this will select all layers which are affected with the same color. Next up is our layer number, and this is very important because sometimes you're hiding layers like we'll do in a moment . I will hide a few layers. I wish I them down and I can see I have number one and immediately number five. This tells me that somewhere underneath in this composition not visible to me right now are a few layers. I'll turned his back on and let us go forward. These are the names off the layers you can notice on the topside, we have source name and if I click ones here, I get layer name because you can have the original source names and your private layer names. I ought, for example, like this to be called Text this to be called video and maybe this layer to be called adjustment. Now, if you want to remember how the original layer was named, he only click here and you have the source names, Facebook address, mawf, text and adjustment layer one. But if I goto my private names, I have adjustment text and video. I made a small mistake here. Sorry for that. Okay. This is when it comes to layer names and source names. A few more things I want to show you because some of those things will have its own separate tutorials. But for now, a nice function which I showed you a while ago is shying players shying allows us to hide certain layers. For example, I've made those three red solid, and I know that I will no longer need them in my current state of events. What I can do is click this little shy guy. It will hide behind the wall height this height this and activate the shy layers for this entire composition. This will hide or reveal the layers which have too shy button activated. I can go back just by taking it, but for now, I don't need those medium solids, so I'll show them off. Next up is our collapse transformations button, which will talk about later as well. But for vector layers, you can notice, it says continuously, rest arise. This button indicates me that this is a vector layer, and I can scale it as much as I want. It will be always perfectly visible, and after effects will rest, arise it continuously. The next button is to turn down the quality off certain layers. If some layers are very heavy, in most cases, you don't have to use this button. But if something is very heavy for your PC and you want to lower its quality just for the sake off your work and that you work faster, you can lower down the quality by clicking on this icon. This I can indicates that it will have lower quality. Let me go back to the original and move forward. The next button allows us to turn on or turn off effect off a layer. As I click on my Redwall, I will unlock it I have here to effect the trite on and the curves I could turn this effect off turned this effect off. But if I would like to do this with one click, I can click here and turn all effects off for this particular layer. I'll turn them back on and let's move forward. We have three buttons here. The motion blur the adjustment layer and the three D layer. This allows us to turn motion, blur on for layer to make our movements more realistic. Let me maybe turned this on for this layer because this is moving and for the entire composition. And as the red text animation happens, you see, it gets a little blur exactly like here. Without motion blur, it would just have a static movement. So if you want your animations to look a bit cooler, you only have to turn on motion blur. Motion Blur should be used not for every animation, but it depends on the product you are doing. I will turn motion blur off for this composition, and for this layer, this little Aiken shows us that a particular layer is an adjustment layer. You can turn this on and off for other layers as well. This layer is an investment it has a four color Grady in because I just wanted to pop up some colors. If I turn this off, the entire screen will turn white because I have the blending mode said to soft light and the opacity to 100%. If I go to none, I will only see the grade in. But I wanted it to be an adjustment layer. So I clicked this and I made the blending mode too soft light. Now it better visible and it only adjust the layers under it. That hurt, I can hear, is very important because it turns any object into editor Dimension. What means that our dimension Let me click this shape layer and press p. I have the position on the X axis and on the Y axis. But here I have turned on three D and I have another access, which is the Z excess. Dizzy access allows us not only to move left and right, but also operate on clothes. And far this is very useful to create, for example, simple animations that it would fade off or you can work with to view cameras. Let me quickly create two views on the left side. We see this image from top on the right side. We see this from front as I see it from top. I can move this layer, Toby closer and more far away on the right. You see the graphical interpretation off what I'm doing with the Z axis. Let me turn one view back again and continue explaining that things on the timeline. 15. 03-02. Timeline Pt. 2 Switches and timeline: it takes a bit of time, but we need to get through this together to get a deeper understanding off how to edit our product. On the bottom side, you have three switches and the tree switches. Allow us to open up more options in our project. This is also why this toggle switches. Most button exists because once clicking on this button you can notice on the left side it searches. Between this view and this view, you can also use a shortcut F four to change it quickly. Why does adobe do this? It's very simple because when you're working in after effects, you want to keep your work space in general as clean as possible. So you do not want to have everything open while you are working on Lee when you need it, you want to have your navigation as clean as possible. So it was easier for you to work. And Adobe has implemented those shortcuts and buttons for us so we can add everything manually. You can also right click here, click columns and open up every column you want separate one bite one. Okay, since I showed you what can appear, let me briefly touch on it on the parenting. We will talk later, so I'll switch off the parenting and open up the transfer control panels. Here we can use the blending modes and the track matte. We will talk about blending most and track met separately. But for now you can see that for each layer, you can set another blending mood just like in photo shop and use the track matte as alpha matte or Lou moment. In the original and inverted version. I will hit once again F four to hide those options. And as the last but not least, I'll reveal the timing options. Let's say that I know that this video place for 10 seconds. I would like it to play for two seconds and disappear. The quickest way how to do this is stretching it with this button and everything, which is on blue or on yellow, and the older versions off. After effects like CS six can be clicked and adjusted. I'll adjust the time off the movie by stretching it down to two seconds. I place it here above it's visible for two seconds, and then it disappears because it has only two seconds off duration. Now that we know everything, what is going here on the left side, let me close the durations and moved to the editing on the timeline itself. Now working on the timeline itself is very similar in each video editing software. No matter if you use Cam Tasia. Final cart Sony Vegas screen slow If you perhaps saw those programs that timelines are, they're very similar. You edit video clips, you trim the federation and your shuffles on effects around. So that's our timeline. We can zoom in and out with this button on the bottom side or by clicking and dragging the handles in the time navigation start. This will either zoom in from the left or zoom in from the right side. You can also use a shortcut right next to the zero button on your keyboard. You have the plus and minus signs with those two buttons. You can also zoom in and out. You can zoom in s clothes that you see each frame separately. Let me now Rhys Ice is back to the full size and edit a few things. Here we have our work area start and end. If you decided that your animation will not hold the entire duration. But it will start by 2nd 1 Let me maybe moved the timer exactly to the 1st 2nd I'll right here one dot as we've learned and press a shortcut b the end, then allow us to trim their work area exactly to the place where we are. I press control Z because I want my animation to take 123 seconds. I will go exactly to four and now press and on the keyboard, this will trim might work area down. If I want to preview my work and I pressed the play or stop button, it will not render above the working area. Layers off course can be trimmed by moving our mouth cursor to the beginning off the layer and just dragging to make it shorter. Let me maybe make the adjustment layer shorter, and I can drag it around and see how long the adjustment layer will be displayed. You need only to be aware of a few things because this is an image. An image can last for hundreds off. Second. I can make it longer as long as I want, but if I would go to my project. I have another composition here. It's called another camp. Let me open it. Very briefly. I press control K. This composition has five seconds off duration. If I place my composition here, this another comp, I will nest it into this camp. You see, it has a little indicator in the corner that the duration off this particular layer is restrained by some options and I can not make it longer. I can, of course, trim it. But I will not be able to make it longer unless I use some tricks like stretching it or going into the composition and changing its settings to be, for example, 15 seconds long. Now the entire composition would be longer. But also be aware that if you make a composition longer, the layers inside will remain as they were before. So I don't have to resize those layers like that. I would go back. And now the composition that I'm editing would have inspiration extended to 15 seconds. This is something important to remember about. Let me delete this composition and show you a few shortcuts. If you want to quickly move your time indicator toe the in or out. So put off this layer, you select this layer and you press I for input or oh, for output. And next useful shortcut is, if you would, for example, this layer to start from this place. You can use the left or right bracket heat, depending if you wanted toe end in this place or start in this place. I wanted this layer to start it one second. I'll move my timer toe one second and I Oprah's there. Left bracket key There are off course. Many shortcuts like you can move a layer one layer down or up by holding control or comment and using the bracket keys, you can go up and down with a particle are layer. There are plenty off more shortcuts which will not cover in this place because for the beginning to get an understanding what is going on on the timeline? What are layers? What are the different options off layers and how you can trim them around? This is perfectly enough. Now you have a deeper understanding on how the Timeline panel is connected with all other panels and after effects. It's connected with the effect with the project with compositions with the preview window. Everything else possible you determine how long a layer is displayed, how it is displayed. You preview all properties here and you add it all key frames here. Thank you for staying tuned in this extensive lesson on what is the time I and what you did need to learn here. From now on, it will get only easier right now. You know, a big chunk off after effects. More. There are still a few elements to cover, like the graph editor, but slowly and surely we will get there. Stay tuned for the upcoming lessons. 16. 03-03. Properties: Hello. Welcome back in our composition. In this short lesson, I want to touch on properties. What are properties and why are they so important properties once I hit the triangle, as we've explained before, all the different options and possibilities you confined inside of a layer are called properties. The anchor point, the position, the scale. All those options are separate properties. Now. Different kinds of layers have different properties but to speak. In general, properties are very similar, and a property by definition is always the same. It's one separate option insight off a layer. Now let me show you a few examples. Around here we have the Red Will Jay Peak. It's an image, and a image has a few separate options off its own. Here we have the material options. These are specific options toe an image, but overall each layer. But in general, layers, by basic, have their transform options. Those transform options are related to the anchor point, the position, the scale. We also have the opacity and rotation, and it all depends. What do we attach to a certain layer? Let me make quickly a new composition. I have a new composition and I'll show you something very interesting. I make one rectangle. Let me maybe filled with any color. It can be great. Its OK. And now, by having this first shape layer selected, I place another rectangle here. Now watch what happens. My shape, layer shape. Players are specific types off layers has now two rectangles. They are placed in sight off the contents off the shape layer content is something like a container a group. For this, we have global transform options which will apply to both off those rectangles. As we move the position, both rectangles move as we change the scale Boat off those rectangles will be bigger because both off those rectangles are on the same layers. But if I open rectangle one and rectangle to you can notice they have their own properties and this is what might look complicated. But this is actually the beauty of the program. You have so many properties to work with and you can add it so much things that it gives you complete freedom off what you are doing. For example, we have our rectangle to here I have the fill option and inside of the fill option, I have my gray color. And if I would like only to work here inside of the properties, I would not always have to find the fill option. The stroke option. I can change the color right here. I'll change it to a red color A few lessons. Before, we were talking about terminology. Things like rendering composition and so on. And property is just an important work. Like those words before. Please remember that properties are those options here inside of after effects, each layer has its own properties and those properties can be adjusted. They can be changed. It all depends which layer you are editing. I also wanted to show you that if I had any effect here, let me even Treaty channel. It doesn't really matter. As I added a new effect until the shape layer the effect is also appearing as property. So everything, really everything you're doing to a layer if you change the color, the size, all those changes you are making are reflected insight off properties. If I change the black point here, I can always go to this effect inside of the properties and I have the same options here. This is only a graphical interpretation, and the same things are shown in another panel. But the properties hold everything every information about a layer together and put it in one place for you. Thanks for listening. This is all I wanted to explain when it comes to the properties. And please keep this in the back of your head and you'll start using the proper terminology while working in the software. 17. 03-04. Pre-Composing: any time you have a composition, what's made up off many different layers, just like we have here. If you would like to gain more control over those layers, you might want to consider using that pre composing function. Pre composing is something amazing. And as we've talked previously about compositions, it's related to that because you can take a few layers and put them into one container, which is called a composition. As you can see on my left side, I have a few compositions here. I have my main come open and I have an example Come, which we have from a previous lesson. Let me know, show you how compositions work and how to fit this all together. If you want to have everything under control compositions at and level off extra depth into what you are doing, let's for example, take this animation. We have this animation here on the top, which is made up off one shape layer and one text layer. If I'm doing any adjustment to this composition, I would not like to hurt this little animation. So I take this layer, I press the shift key. I also select the shape layer and by hitting control or command on Mac Shift see or right clicking here and hitting pre composed, I can create a pre composition out of those two layers. Let me maybe call it red animation. And as you can notice, this little red animation is now a separate composition. Now, what are the pros and cons off a pre composition? The vesting inside of a pre composition is that you can always access all the layers which are inside those layer have a completely separate working area, and I can, for example, at effects here, and those layers insight would remain the same. I would not hurt this text layer and this shape layer. A little problem, however you might sometimes run into, is if your original composition is longer. Let me go control or comment K, and I'll extend the duration off my original composition here 2 20 seconds. Now my composition is longer. I can, of course, make all my layers longer my background longer. But I cannot make this composition this pre composition longer because a composition has its own settings. I would have to go manually inside of its composition. Press control K here and extent. Also, this compulsion, it's rather rare. Did you run into such problems because while designing, you already know that the certain elements you want a pre composed will be displayed only during a few seconds. So once you are pre composing them, you already know. Why are you be composing them? Let me show you another small example, which is very important, which we were talking about when explaining the timeline. But I didn't explain it fully. It is regarding this little button which has collapsed transformation. I'll make a new layer. Now let's make me make a big text. It will say, Wow, now I add a few shapes to it. Maybe with the Ellipse stole some ice here. Some ice here and I have a shape layer and the wild text. I take them boat I press control or command shift. See, I pre composed them and now I have this composition. If I take my selection tool and I move this composition, it's cropped on the right. By default, compositions will be cropped. But if you would like to remain the informations and display all the layers to its full extension, you need to hit the collapse Transformations button. This little button will allow the entire composition to display, no matter how big it is, by default after effect is uncheck ing this because if you are pre composing something, you most likely wanted to be a small as possible. But if you are for example, animating it and you needed to be bigger, you just open up this option and inside off the layer, no matter how big it will be, it will be always displayed inside of the composition in which it is placed. That's all I wanted to explain you about compositions and pre composing. Now this is an essential option you'll use very often inside of after effects, so get used to it. Write this down in your mind. An action item for you, for this lesson is going inside after effect, creating a few layers and pre composing them on your own. I want you to create three compositions and place one composition inside off another composition off course. Don't try to place the same composition inside of the same composition because that's not possible. Create one composition, pre compose something and use those pre composed items to place insight off this composition. Thank you very much and see you in the next lesson. 18. 03-05. Keyframes and Interpolation: in this video. I want to explain you. What is a key frame and what is interpellation? Key frames is the actual tool which allows us to create animations. Let me open now the properties and show you how key frames are set and what they actually are. I have a little WiFi I can hear. I'll open up the properties, I have my transform options open and I have the anchor point. The position that scale, all these are properties and on the left off them, we have a little stopwatch. Let us maybe work with the scale at the beginning. Off the composition, the scale off this icon is 120%. I will press the little stopwatch. And on my timeline, a little key frame has appeared. A key frame represents change in the value off any given property inside off any layer, I will move a few second forward, maybe to the TERT. Second, as we see on the timeline, I'm exactly at three and I will once again either click this little icon to create a key frame. Let middle it Dickie frame or eventually since on this layer, key frames are active because the little stop what is on blue? As I change any value in this scale property, a key frame will set automatically. And that's the whole juice and beauty off after effects. Because we can set key frames at the beginning, the icon has 120% off scale. At the end, we have 160% off scale, and I don't have to go manually here and here and here and make it bigger and bigger and bigger. Because those two key frames their values between those two key frames are interpolated between those two values. Aftereffect is mathematically counting the values to make them flow seamlessly between the first value and the second value. Depending on what type off key frame you have, it will count faster or slower. But in general, interpolation automated our animation process. We only do a few things. We set a few key frames and they are automatically animated within after effects 19. 03-06. Keyframes in action - transition animation: So let us create one off our first simple animations. Please go to your project files and open up the key frames and interpolation file either CIA six version or the C C 15. If you have the newest version off the program once you open the program, the same screen should appear before you. You should have the two icons and several layers here. Please go to the left side and turn all the layers on by clicking on the 1st 1 and dragging down. Now we have solid layers in front of us. I would like to reveal those bottom layers with a nice transition. The transition will be made off those layers. Let me use key frames and a few tricks. To prepare this animation, go to the very beginning off the animation. Place your timer on the zero second. Now, please click on the black solid could be on your keyboard toe, open up the position property and hit the little stopwatch. Now I want my transition to take about maybe one second, maybe two seconds. I will see how it looks and we adjusted later. Once you have put your timeline on the 1st 2nd click on this black layer and start moving it. I will press my shift key to remain on the same access, and I will place the black background just outside of the composition like this. Two key frames have appeared, and now I have several possibilities off editing. I can take the next layer and also plays the key frames. Or I can select those two key frames. Hit this layer and click Control V or Command V. If you're under Mac and the same key frames will be added to the layer, which I have selected here, let me president peaky What has happened? Those key frame were added exactly where the timer is in our animation, but I wanted those key frames Toby here in the front. That's no problem. We can, of course, adjusted, and I'll see later that I have made a mistake. So I will select the second layer. I pressed the I key on my keyboard to go to the input. I select the key frames, and I just drag him over here to the first place. An animation like that would be boring, so I either can take this layer and place it a few frames forward or I can take the key frames and place them a few frames forward. This would create a nice animation that one layer is fighting after another layer you can do as you want. You can either move their key frames or move this layer. Okay. I decided that I am moving the key frames. I will first copied them and then start moving. I control. See those key frames? Control V control the Contrave. Now I select all five players. I press you on the keyboard to reveal them. I could also press P to reveal the position property I have all keep brings visible. Now I want to click my page down key three times for each layer 12 tree. Select the key frames. Move them here 12 tree. Select the key frames and move them here so they will be placed a bit forward. 123 Key frame here and want to tree key frame here. Now let us preview the animation. We are doing well. It's OK, but it's very plain and boring. What you can do inside of after effect is select all key frames. Right. Click on them Goto key frame assistant and press on Easy East. This will ease the animation. We'll talk a bit more extensive once we go inside off the graph editor. But for your basic animations, it's enough if you easy is them in or easy Eastham, Both sides, you see graphically Those key frames have changed because now they are easy east from left , an easy east at the outside. This has changed the motion off the key frame. Now let us preview the animation. It already looks more interesting, but still the animation is going on. I have my little reveal, but I would also like to hide my layers. This would be no problem. I select those key frames once again, maybe place your timer on the 5th 2nd and press control V. But what do we have now? Now we would have a little error because it is revealing and it's revealing again. This creates off course problems in the animation. I can get rid of this by right clicking on it key frame assistant and time reversal of key frames. Now the key frames would be changed because at first we moved this composition to the right we copied the key frames. And since we time reversed, um, it will now copy from right to left because this little key frame is on the end, not on the beginning. And this would be how I can hide my entire transition. I'll select both key frames. I once again go to my key frame assistant, right click key frame assistant. Easy, easy. And I can now preview what I have done in terms of transitioning into my first animation. I press the space bar. I have a nice reveal. The econ is growing bigger and its face away between the Black War. These are the basics about key frames and interpolation. I know you realize what an amazing tool that is. This will change your point of view towards graphic design overall, and you'll start to like motion designed because those key frames allow us to do such amazing things. Thank you for your attention in this lesson where I was explaining what are key frames and what is in their relation. And we made a simple animation to practice this honor real project. Thank you for your attention and head over to the next lessons 20. 03-07. Parenting: when you need to create an animation where elements in the scene interact with each other, you should learn about parenting because it makes the work easier in the department. With parenting, you can have one layer. Take control off any other layer or group of layers inside of your composition. Parenting allows you to link layers together and to copy parameters between them. Let me show you that on a few simple examples in this lesson, please open up after effect and follow along with me. Create a new composition and press control. Why? To create a solid background for your composition once you already go to your toolbox and create any shape you want. All right, I press V and I copied to start two times over I press control, see under Shape Layer and Control V to create a new shape layer. Let me maybe quickly change the color off the shape layer by clicking on the star, going to fill and making it. For example. Let's make it white, and we are ready to use this as an example. Parenting is used in the Layers panel in the Layers panel. If you don't see this parent option you can right click on it hit on columns and hit. Parent parenting allows you telling each object to another object. Let's, for example, use the first Star. If you decide that the biggest star is the parent off those little stars, I select both stars. I can either use the pick with and click on this shape Layer one. Or I can manually used to drop down and decide that for shape. Layer number. Tree the shape layer number one will be the parent. What happens now? Each time anything happens to the parent, for example, it gets smaller, it gets bigger, it is moved around. The parameters will be copied over. They will not destruct the other layers. The other layers are still independent. I can reposition it. I can change its color, its values. But each time anything is happening in terms off the size or rotation or position to the parent, it will affect the Children, and this allows us to save us a lot off key frames. If I, for example, press, are on the keyboard to open up the rotation, I placed a key frame on the rotation. I go a few seconds forward and I rotate it maybe 300 degrees or even two times that at this key frame we have two times and 300 degrees on the first key frame. I should place zero and now are stars will start to rotate. Well, they are too far away. So let me grab this one and grabbed this one and preview the effect. Both off the stars will rotate around because the parent is rotating normally. You would need to place a bunch of difference here, a bunch off difference here to rotate them around. But here we have two key frames and two options, and the parent is taking care off everything I would like, however, this white to rotate also and is green to rotate around it. Well, this will be no problem. I could just press are copy. For example, those key frames. If I want the rotation Toby the same. And now the white one rotates independently and around the main layer because the main layer is still its parent. But it has also an independent movement in these key frames. If I take shape, tree and make the second shape its parent, they will all rotate now around each other. Let me make the green a bit smaller. It's made smaller towards anchor point so I could use why and reposition the anchor point. So it's easier. And now let's preview the animation. All layers are rotating well. The composition is a bit too small. Now. Let me adjust that by upping the height off the composition, making the background a bit bigger. And now we will see everything without any problem. We have a nice little rotation with only four key frames. How else is parenting? Youth Parenting is also used with no layers. No layers are so empty, empty objects, which you can use insight off after effect. You right on the layers panel you hit new and you press no object. There's no object. This little object here can be, for example, the parent for all of those objects. And you could, for example, hit control or command shift. See recompose everything. I could use the middle ear and make the pre camp one its parent by selecting that. And now if I select a new layer and move it around, those icons will also move around, no matter where dinner layer goes. This animation is remaining inside of the composition because we have been parented. But outside here, then the layer is a new controller. We can make this bigger, make the smaller we can key frame this row taters, and it will still remain the same within the composition. So this is one of the ways you can use parenting, and it's a very effective and powerful tool because it can save us work. We can work with less key frames and its overall better for the outcome and rendering off the project. I hope you learned a lot in this lesson and thank you for holding true and listening to everything you can had now over to the next lesson. 21. 03-08. Previewing: in this tutorial. I want to talk a little bit about the previewing. I have created a simple animation here with a moving image and some floating texts that I want to make sure that I have done it right. So I need to preview what I have done. You can notice here on the bottom. I have some sound in this composition and there are mainly three ways off previewing your composition. You can preview only the video. Only the sound or boat, the video and the sound to have the complete image off the composition you are working on, depending on what you need, you have the previous options here on the right side, in this panel. If you don't see this panel, goto window and open a preview. Now, since we will talk about preview, let me make this bigger and show you a few of the shorts cause we use. Let me do this. Now. I had space and my animation is currently loading. Since it's a very simple animation, I don't even need to wait. It's loading on the fly. I instantly see that the background is moving, but the text is not moving. I should parent a few layers The first text and the second text should move the same as the snow valley in the back room. So I hit parent, I parented with the snow Valley. Now I need to preview it again because my animation has changed. And let me tell you about the shortcuts with the space bar you make a normal preview with the point on your number. Pat, you preview on Lee the music and by hitting the zero ke on your number Pat, you preview both the video enter music. Let us do that Now I hit the zero key on my number pad and both animation and the music is playing Also, the text is floating around with the back room. This creates a really nice animation. What else there is to know about the preview? You can change the shortcuts here depending on which shortcut you want to use. Or you can jump around frames by hitting those icons. You can go home right to the beginning and hit play from here and this will be the same as you would hit space bar. You can notice that I have a mute button and a looping options button. I'm most usually open up this looping because normally before you make a decision about what to change, you need to see it a few times. And if it's a short animation like this 78 seconds, it's not a problem to view it several times I can also trained the working area. If I would, for example, want to preview only the first portion off the animation, let me maybe do it like that. I also UNM You did so now when I hit space. Also, the music will play because the entire composition is a muted and it'll loop around in this working area, which I have selected. If you really have no time and have some complex animations, you can always lower the resolution off your animation, either. By clicking here and making that quarter, you see how the image got worse. Now it would be much faster to preview it. If I go to quarter, you can also adjust the resolution here on the bottom. Another very useful thing is to skip certain frames I usually do. I usually use one, but you can also skip five frames at the time, so only one frame each five frames would load. This would really speed up the process and watch how quick it would be now because only a few friends will load. And then we have selected 1/4 off its previous quality, so it nearly instantly loads up. But the animation itself is a very choppy, and I don't see what is happening on the screen. So it is up to you if you want to skip those frames or not. Very often, I do not keep anything. I eventually lower down the resolution because this is very helpful. But if you want to get a full preview, you go to full, you extend the working area and you watch your entire composition. Remember that in the current after effects version, the video is muted by default because music is something secondary and most likely, music is added either in post production or as the last item. Because first you wanna focus on your animation and you don't need to preview aerial sounds . This is something for later. We'll also talk about music separately. Later in this lesson, I wanted only to touch on the previewing options. I hope you found this tutorial Useful. Thank you very much for listening. And you can head over to the next lesson to continue with our aftereffects journey. 22. 03-09. Rendering: Once you finish your animation in aftereffect, you are ready to start rendering. Rendering is the process where after effect will great another file outside of the project . Most commonly, it's a video file, but it's also possible to render image sequences or audio files. Let me show you the few settings we have in our render Cube. Once I have finished my animation like here, I would like to create a video file out off it by having my composition opened. I goto composition and at to render Queue. I can also use the shortcut control plus M or control shift and Ford slash toe at the current composition to the Render queue. Once I've done that, I have three options here. The render settings, the output module and output to the render settings are some general settings like the resolution. The output module selects the Kodak and the compression and output to select the folder where the finished file will be. Let us briefly overview those options in most cases. In my work, I only change the output module, but let's briefly overview Virender settings. I click on the render settings, and here I can set my resolution I can either stay it full and have the same resolution as my composition. But if, for example, your client would like to preview the work, you can send him a lower quality file with a lower resolution for preview proposes. You can also make some quality presets, which you can quickly select here and access a few more options. For example, you can trim the work area to either render only the work area or render the entire composition most likely. If you have selected a smaller work area, you want to render only that. You can also change the start time and the end time off the render within this lower box. Another option here is to lower the frame rate. You can either use the compositions frame rate or manually lower it down as I change the value here. The frames on the end change as well, but I will stay a 32 the original size, and I'll go to my output modules by default. You have lossless selected here, but the lossless former will create a very big video file for preview purposes. You can render it the lossless file, but normally you want to use some Codex to lower the size of the fire you are rendering. I will click on lossless now, and let's preview the different options we have here. This boxes overall very important because you will come across it very often in the form of settings. But it also depends if you are on Windows. If you're on Mac and what Codex are installed on your PC, a very common used former is the quick time. Former most PC users and Mac users have the quick time Codex installed and will have no problem playing the in movie file. Once I have selected my quick time, former and I would also ask you go inside after effects, open up any project, edit to render queue and click on the lossless settings. Now, once you have selected the quick time settings, goto the former options and the former options in the former tab, we select the cold air, which helps us render our file, and this will determine how big are if I will be. I have, for example, the H 264 Kodak selected, but it is possible that you will not have those Codex because I have installed them on my PC. There are a bunch of Codex year, and by default you'll have animation selected. I have it in Polish year, but you'll most likely have animation. Here. You can select the animation and you have some basic video settings. Depending on which Kodak you select. Each colleague has its own settings. This is a very simple animation and we definitely do not need full quality. So select animation or any code that you want to try out and lower its quality. I will even go down toe 50%. I will select. Okay, basically, this is all I have to you. I can click OK, and I'm ready. But But I would like to quickly go over the rest of the options because they are very important. Quick Time is a former which handled transparency in videos. This means that under the Channels panel, you can select either RGB or even RGB plus Alfa. This is very useful if you are rendering lower tourist logo animations because you can rendered transparent videos and put those transparent videos over normal videos. I'll explain this later as we progress with the work. Just keep in your mind that transparent videos are very important, and the quick time former handles transparency. Not every video format is handling the offer channel. On the bottom. We have our audio output settings. My default after effects will check for us if we have audio or if we don't have audio, but you can manually turn it off or on. You can also lower the quality off the audio sampling. If you want your video file to be a bit smaller, I select okay, and my custom settings are set. The last button Output two is very simple. You only click here and specify where your file should be saved. I selected the place where the file will be saved, and I am ready to render now. The last thing I want to show you in the render settings before I hit there under Button is that you can save presets to the output module by clicking on this triangle. You see, I can pre select a few options and I can also make templates. You can also access the render settings, templates and output module templates by going toe edit templates and, for example, selecting output modules. Here I can create a few new templates. I can edit the current templates, and I can duplicate one existing template. I've migrated to this version off after effects just recently, so I don't have any templates. But in CIA sixth, I had, for example, several movie template with different quality. Because each time I render a video one time, it's bigger. One time it's smaller, and depending on the animation I had, I needed different render settings. And to save time, I made a few templates for myself with different quality, different render settings, and it was really easy to select once it comes to the rendering. All right, here I am currently regulate my settings. I'll hit the render button. If you want to see some informations, you can open the current render settings. This was a very quick animation, so it rendered very fast. But normally, if you have a complex video, you can see some informations like how big the file is, how big it will be once is rendered and a few other settings Let me do one additional thing . Let's go to see a six. I'll go edit template output module. I saved my template, My C six. I go to see, see edit template output module and let us load my old settings. A few off those settings will off course not load because because they are overlaying each other. But the different M. O. V settings and a few settings that permitting are all implemented in the newest version now . So this is how you can quickly migrate your old template, intell new aftereffect versions. So there is no problem doing that. That's all I wanted to explain about the rendering. We are starting to explore aftereffect deeper. You already know how to work with the composition, how to use the timeline. And now we also know, how do you render your finalized animation? Let us proceed now with the material to the next section. 23. 03-10. Copy Keyframes Between Layers: Keyframe, keyframe, keyframe. With this tutorial, I want to show you a couple of things about copying over keyframes to other layers. I have two objects, a blue and the purple one. And I'll only use the transform options from the Shape layer to make it easier. On the first one, I have a position and a opacity property already key framed. As you can see, this is a very simple animation. It goes down and the opacity gets reduced. What if I want to copy the same keyframes onto the other object? As you can see on the position I have five hundred and five hundred. And here we have 1700. So disposition value is completely different because this object in another place. When you copy keyframes, you can select them. You can press control C, And you can copy them over somewhere else. But you are not copying keyframes. You are copying values that the keyframe represents this one key frame, as I have my playhead here, represents those values. When they move forward. This keyframe represents those values. If I take both of those keyframes and they simply paste them over to the other object. It will not magically move downwards here, because those position keyframes placed this object in this place, I made sure that the anchor point isn't in the middle. And as you can see, yes, we have the same animation, but I wanted this animation to Hatton and displays, not in this place. So as you can see when, when copying over keyframes, it's not always so simple. Also, if I click on the opacity, I wouldn't be able to copy those keyframes. Aftereffects informs me those data is spatial and temporal. We are working in space, not in percentage. You can only copy over keyframes to properties which have the same type of data. For example, here too, the opacity, those position keyframes like those here, who traded can be also copies to the anchor point because the anchor point is also set in data and spatial data. But it again messes up this object completely because previously the anchor point was in the middle of the object. Now the anchor point is put here where the values are. So be very careful when copying over keyframes because it's not always as simple as you would imagine that you take keyframes, you take another object and press control v. Yes, keyframes are copied over. Actually, you are copying over values. And if this object has completely different values and is in a completely different place on the screen. When it comes to the transform options, it will just take over those same transform options. To explain this topic in this ALU would need several hours. But here I wanted just to inform you with this video that copying keyframes and between layers, of course, it's possible that the need to mind what those keyframes actually do in order to know where to apply them and where to be able to copy them. Thank you very much for watching this video and see you in other ones like that. 24. 04-01. Creating Text Layers: I'm really excited to start this new section, where we will explore the different kinds of shape, layers and over our layers, which you can add in tow. Aftereffect. We will start with the most commonly used to that tax, too. You can access the text to. You can access the text tool by clicking on this little Aiken or by pressing control or comment T. This will instantly select the tax tool. If you ever used photo shop, creating text layers and after effects is really all the same. We have our character options and are paragraph options. You can hide or reveal those options by clicking this icon next to the outer open panels option. If you are working much with text, you can also select another workspace for it. There is a workspace called text. As I click on it, the character and the paragraphs panel are placed here on the right, so I have easy access to them. All right, let's preview how to add text to Aztecs. You can do two types of things. You can either click on the screen and start writing, but you can also select the type tool, click and drag to create a box. This box will create a shape in which the text will be placed. Click as I start writing inside of this box there. Text. Of course, it's not going beyond it. This is because we have our paragraph options and here we can adjust the justification or the placement off the text inside off this little box. Well, the Texas Off course too big. So let me select the text and this will lead us to our character options. I think you should open up after effects and check out each of this options for our example . I instantly see the text is too big. Their spacing between the text is completely wrong. So let me select all of the text inside the box. I lower its size. That's my first step. I see I didn't select all of the text, So let me press control or comment a and make it and make the size 50 or 100 pixels. This should be better. Okay, we have the types, but still the spacing is completely awkward. So I want to go select the text and instead off having pixel values between the spacing I press on this little drop down and I press on automatically, this will automatically at just the text. Apart from that, you have other options, are setting the stroke. You can, for example, set a stroke around them. You can select if the Phil should be first or the stroke should be first, depending on what you need, you can make all the letters bigger, smaller, skewed and all options. Would you regularly confined in text options? Sometimes you want to run into some trouble that you don't see. Those options do not worry about this. It's only because all panels and after effects can be smaller or bigger. So if any options are hidden, you would see, for example, such a small window. You only have to click here and extend the window. All right, we've covered the little options we have here. Let me add another layer by having de selected everything as I click, a new empty layer is appearing in Myer Layer panel. I select text one I created. The textile automatically saves our last options. So once we have made a text which looks like that, the new text we are typing will look exactly the same. We have the one layer. What if I would select a fund that no one has? For example, I'm creating an animation, and I've selected a phone that someone doesn't have on his PC, and I want to copy the after effects product for him. There is a little work around. I can select the text, and this icon tells me that the text layer is a vector layer. That's also perfect because no matter how big the text will be, it will always remain 100% sharp in terms off quality. But I wanted to show you something different. If you have the text here, you can right click on it and create shapes from text. Now, I would not even need this text layer because I have the shape layer, which is holding the information about the text. I can off course no longer edited. Those options will change nothing here, but I have a new shape layer which allow me to change in its contents. Each letter separately. Each letter has its own fill, its own stroke, the merge pats and to transform options where you can scale, skew, rotate and do every possible thing you want to do. You can also open up the transform panel and make global changes to the entire layer. If you would like to have this better group up, you hit this red button and here the first position is the group. If you want to group everything properly, you select all the letters, you put them in the group, and now you do not have to go inside of each letter separately. You have also global group transform options, and those options will apply only to those letters. This is good because a shape layer can have multiple informations, and sometimes you don't want to use the transform options, but you want to use to transform options within the group, which are only applying to those three letters. This were the different types of working with text. You create text layers just like an editing program. You add a text, you write something down, you change its options, and then it's a simple layer inside of our timeline. This is how we work with text in after effects 25. 04-02. Solid Layers: welcome in this lesson where I want to briefly touch on solid layers. What are solid layers and why are using them Well, there are a couple of ways how we can use a solid layer. This is like an backbone and most often is the first element you're adding in your aftereffects project. I got the habit off adding solid layers just to start out my projects. So I don't see the empty screen. Let me maybe first delete the image. Now I have an empty plane composition. I can toggle on and off the transparency background. But to start my work and to start visualising what I am doing, I can set a basic background for my entire work area. So that why I will create a solid layer You can create a solid layer on several ways, just like everything in after effects. You can either go toe layer new. You can right click Also here on the layers panel, right click, new solid or you press control argument. Why open up the solid settings and instantly create a solid layer? Now what options do we have here? At first, we should name our layer if we select a color. For example, a yellow one after effects is trying to set a basic name for it regarding to the color. But if you know that this will be a background or this will be an adjustment layer, you can also rename it accordingly to the project. I'll maybe used him as an effects layer, so I'll call it effect. Now I can go down to the width and the height, which is the site of the solid layer. By default, the solid layer will be as big as the composition because solid layers are there to cover something up. But there's nothing wrong if you want to create smaller sorted layers and play with the width and the height of it. If you have made some changes and would like it to go back, you only click here, make comp size, and it will jump back to the full size the next. We have units by default. It's off course pixels, but there is something what people are missing. You can also create a percentage of the composition. For example, if the solid should be half the size of this composition, I make it 50% now I have a solid which won't cover the entire screen. Let me maybe hit OK and create the first solid I have the salt on my screen and solid are used either to cover something up or to apply effect on them. Or, if you really want, they can be the same, which are adjustment layers. You can create an adjustment layer from a solid just by enabling it. If you remember with this button now, it will turn invisible because this will be considered an adjustment layer, which should adjust the layers under it. So what's really the solid layer? You can consider the solid layer as a freestyle air, but you can do anything with. For example, I would have the balloons. I would like to overlay the balloons with some callers. I could go to the effects panel here on the right, choose, choose the great in effect and place the great and effect right on my balloons, then lower its opacity. Change the blending mode, for example, toe ad, and it would be added to my image. But I don't want to destruct my image in any way, so I delete this effect. I go to my solid layer, and I even called it effect. I'll place this effect here. I will up the opacity. Are you choose a normal blending mode. Let us make this visible, maybe lower down the opacity. And now I would have a nice, simple effect without destroying the balloons image. I can, of course, recites this layer because because the solid layers have the same fixed transformation FX. Like every other layer, they have a position, scale, rotation and opacity. What is the basic visibility off the image now? It could also open up the toggle switches, change the blending mode, maybe toe ad, and I would create a similar effect without affecting the original balloons layer. You might want to remember that solid layers are somehow the backbone off every composition . Usually I delete everything, and once I start designing, I create a new solid layer, and the right color can even set the right mood and tone for your entire compositions. So remember about that now it's a bit too small, and that's how you use solid. You can, of course, create as many as solid as you want. They can be used at in effects. They can be used as a cover up. They can be used as a background. It really is up to you and your creativity. Please be aware that this tool exists here. 26. 04-03. Shape Layers: in this video, we are going to talk about shape players. Shape players are a little bit different than solid layers. They give us more flexibility editing the actual layer. Let me go ahead and create a new composition by hitting control or command and hitting. Okay. And I have my composition ready. Since we are so smart and know what solid layers are, please get control argument why and create a background to work on. I will maybe select a yellow color. Something like that. This will be our background for the work. Now you can create shape layers on three different ways. You can either create some text and then convert districts to shape by hitting on the text layer and create shapes from text. This would create a shape layer. The second way to do a shape layer is hitting G or hitting here in the toolbox, that pan tool and just drawing around. You can draw around. You can close the shape down and this would create our shape layer and inside of this shape layer in the content, we would have our shape number one. This shape would be created with the path or you can, of course, use the rectangle toe and create the shape right away. On the beginning, I was talking about masks. Remember that if you want to create a shape layer separately, you need to have everything unsolicited. If I would select this solid layer and draw the shape inside of the composition, it would create a mask, a mask. It's something that reveals only a portion off a certain layer, but I didn't want to create a mask. I wanted to create a new shape, so I d select the solid layer. And now I can click and create my shape layer. Now, I wanted to show you what we are creating separate tutorials about shapely because they are so amazing. Insight off after effects. You see, I have created this shape. This shape covers only a portion off the entire composition, so I have my shape layer, an insight off its contents. Contents. It's a group which is holding information about what is inside the shape. I have my rectangle one, but why is the anchor point not here inside of the shape in the middle, only in the center of the composition? This is because the shape layer number one is the size off the entire composition. The portion the green portion we see here is only the rectangle. I can have the shape layer selected and create several of those rectangles. Now, I would just have four rectangles, but all of those rectangles would be still inside the shape Number one. And what use does this have? You would, for example, like to have separate rectangles on separate layers, not on one shape layer off course. That's no problem. The shape layer is only holding all the informations so you can do transformations in book . Let me show you an example. We have the first rectangle. This rectangle, as I open up its properties, has its own properties. The rectangle pad, the stroke that Phil and the transform rectangle Number one. Those transformations will only be regarding this first rectangle we have created. If I adjust its rotation, only this first rectangle will rotate. But if I go to the global transform options, these are fixed options for the shape layer number one. Those transform options will apply toe all the rectangles because those transform options are to the layer, and those transform options down here are to the rectangle one. OK, we covered a few properties, a few options. Let me show you. If you perhaps never used photo shop or after effects and you don't know what our direct angles and what options do they have, let me quickly go through them. At first we have a selection. Do we want to create a shape or two is still to want to create a mask. I will have direct angle one selected and, as previously if this is selected, will start to create a mask to reveal a portion off our layer. Okay, let me controls leaders. I don't need this mask. I want the shape options to be visible. You have off course they fill, which can change the color this stroke, which is the border around direct angle and the add button where you can apply additional options, which will talk about in a moment in the fill options. You can click on this text to see what other Phil options you have. Sometimes you only want a border, of course. So you select No, Phil, by having this selected the entirely middle Phil would disappear, so I have no Phil solid Phil, linear ingredient and radio graded. Depending on what look you want to achieve, you can change things up inside off this first rectangle. Now I have my Grady until I could go down here to the colors, added Dick radiant and change the color, for example, to a red green one. I know this looks ridiculous, but this is only an explanation. Here on the upper site, we can adjust its opacity. We can lower down the opacity off the red color and lower or just the opacity off the green color. You can play around with big radiant. If you would like to adjust where the green starts in end, you just go to the end point and you drag it around so you can work with their colors. If you want to quickly change the fill options, you select the left old or option key and you click on the field. This will cycle truth. No Phil Phil collar first, radiant and second grade in the same goes for the stroke. You can have those Grady in stroke or no stroke at all. Shea players are so special because they don't only have that transform fixed settings like , for example, the solid does the solid is a simple there. It only has its position, scale, rotation. You can, of course, adding some effect, but by default it will not have more properties while the shape layer, depending on what shape you create, each separate shape has its own options, and you see this is growing complicated. I would of course not explain all of those options because this would go forever. Let me, for example, select another shape. Maybe the startle ingredient is already applied. I didn't want the great didn't I want a stroke? I was assaulted, stroke. And I want to know Phil. I opened the police star, and you can notice that the police star has some different options than direct angle. As I opened the police star Pat one, I have my inner radius. Outer radius in a roundness is these are options which a rectangle doesn't have. You can create a shape like that and play around with those options to see what they are able to create. You can also create simple animations only with the native options we confined here, For example, look how interesting this is starting to become inside of the stroke options. I can find the color option. I can get it green, for example. But even a key frame here. Go forward, change the color, and I will have a simple animation changing the caller. After that, I can, for example, adjust the dashes. I can add dashes because by default they're not available. But if you add dishes you see the entire composition is changing. I will go crazy and make the dishes a bit bigger. Now I can do another animation. I can select the inner roundness. It will have this option. And as I go forward, the inner around this will completely change. For example, toe this amount. The same goes for the outer runs. Let us change this everything a bit up. Now it's a bit too big, but I wanted to show you that the native tools in sight off the shape layer allow us to create amazing animations and overall adjust so many options that it gets interesting very quickly. In the next tutorial, let us talk about the add button a bit 27. 04-04. Shape Layers - Rearranging and adding properties: Shea players are even more amazing that I showed you in the previous tutorial because I wanted to show you something specific only to shape layers. We have all those properties, a multiple number of properties, the police start the transform options. But the thing you need to know is that you can adjust, delete and change up properties. Let me maybe close all those down because I'm not seeing anything now and I go inside of the stroke. I know this police star Pat has a stroke, but I have messed up. I didn't want the stroke actually to be here, so I hit the stroke and I simply deleted. Now I still have this shape. The post are still exists. As I opened up the police start, we have still the same options we had here previously. We even have the key frames, but the fill option, or rather, the stroke option has disappeared. Now, how can I fix this? And that's something really amazing and important to remember. You can add specific options inside off the shape layer. Once you are editing it, I can click on the add and at the beginning, we can at a group to put everything inside of a group. Later, we have the objects we want to add. Then you have the basic properties like Phil stroke grade infield and great in stroke. And here we have a specific effect, only applying to shape layers. I will not go through every single effect because this will take very long as the work progresses. And as you learn after effects, you'll slowly understand those options. I want to show you that few most important things. Let me go back and create a Phil. Now it's looking a bit weird, but this doesn't matter. Maybe let's only change the color because I hate this red color. I click on the shape I have the Phil and let's adjust Ifill to a mellow turquoise blue. This looks better for the viewer and farther. I Now I have a little mistake because I have the filled double. I don't delete one Phil, and this is what it's my result. Why are you using other options? Let me maybe copy. Dispose Star. Copy it five times now. It's all the same. Police stars, but let me shift him around. It's but it's the same color, but I wanted to show you that you can group items. I can add a group an inside of this group. I want four off those police stars. I put them in the group and now I can edit them separately. I have one Polished are somewhere here and I have the group of police star under it. I can open the group and not only can I change everything off each separate police star, but I have also new global transform options for the group inside of the transfer mop tions For the group, I can apply effort which will apply only specific to this group. So please remember, a shape layer has its own transformer options. But each thing inside of the shape layer, each vector item has its own properties and effect. Now, what are some of the most important effects here inside of the group? I could, for example, use the repeater. The repeater is often used in after effects to repeat certain effects. And as you can notice, every Peter can repeat a simple group. Let me maybe delete a few off those police star because it's growing a bit too much. Now I have the repeater, and I can simply copy it over as many times as I want so I can create one group. And instead of creating 100 layers, I can just create 100 copies like that later. Of course, you have the own options for the repeater, and each single effect has its own options. For example, the Packer and Blow or the merch pat. Each one of them has their own options in the repeater. We can, of course, change the position. We can offset it differently. We can scale it. We can rotate it. You can get very creative here, for example, creating something like that. Let me maybe at another effect, I'll add the Parker and bloat. Now, this would get heavy, but we aren't seeing this very good. So let me close down the repeater. The Parker and blow is very interesting because it has only one option, but it allows us to either bloat or Parker any shape we want. And you can create some simple transformation effect only using the packer or bloat. So, as you can see, there are so many interesting animations possible inside of after effects. Once you get a hold of it a little bit. You will start to understand that it's not as difficult because always it's only a single shape. And remember that inside of shape players, you can change up different properties by putting them in different groups and positions. I can take the polar star, put it in this group, and I will have all options now inside of group number one. Thank you very much for your undivided attention. In this lesson, I know it's getting a bit complicated, but shapely are essential to understand. To be familiar with the after effects interface and to start working with the program without any problems With shape players, you can create buttons. You can treat layers. You can create complex items or simply animations. 28. 04-05. Masks & Masking: in this tutorial, I want to show you a few things about masks. We have touched on a mask in one of the first lesson where we were explaining the basic terminology inside of video editing programs and aftereffect. But let me touch on it one last time, so you need everything you need to know. Please be patient going through those lessons. I know you would like to start creating and using after effects, but from my perspective, I want started using after effects. Before I really knew this program and I quickly realized that working in the program but being limited you are doing much worse and working much longer if you don't know the basic tools. So masking, masking, just like in photo shop allows us to hide or reveal a portion off our image. We have our were trailer we were creating in our previous lesson. So let me touch on this now I create a text bloat. It somehow stuck in my mind once we've added the Parker and bloat previously, so I have the blow text, but I would like the blow text. So how to be revealed with this weird object, not just visible like that. This looks very bad, so I put the text here. In the beginning, I select my shape and I go through my faith tools. I will use the rectangle toe to create a mask. Right now, I would just create a rectangle tool, but I only clicked the second button. As I were telling you previously, this second button will allow us to create a mask. Let me draw a mask around it. Now what has happened immediately? The mess is covering up everything which was visible from the shape to the mask we have drawn inside of the shape layer. A new mask property has appeared and the mask has its own options. Now the basic functionality off masks is hiding or revealing a certain portion. Often image. You can create a mask and then use the standard mask or inverted to do it the other way around. What's also similar to inverting subtracting At this moment, I'm adding the visible portion off the mask to this shape layer, but I can also subtract the portion I have drone from the actual shape layer, so depending on what you are creating, you can cycle through those options. The most used are, of course at and subtract. I'll use the adoption. Let us open up our mask and the mask has some very useful tools. At first it has the father, which allows us to expand the corners off the mask and say, Adjust the feather it slowly, faith in. Then we have its opacity, which, of course, adjust the visibility, how visible or opaque it is. I will remain on 100% off this opacity, and the mask expansion is also something very nice because because it allows us to expand the original mask, so the entire shape layer. So as you can know this, we could create a nice animation, either by using the mask, father or the mask expansion. Let's try something here. I would go to the beginning and I would keep frame. Damask feather. This is my final image. I want to see so I'll move this key frame toe about one or two seconds, and I will start out with a heavy mask. Feather, as you can notice after effect, is automatically putting a key frame here because I have the key frames active on this property. So I have a heavy mask. Feather and I also want to lower down the opacity. Let me click here to create a key frame. Let me make it invisible and about 15 frames forward. I wanted to be entirely visible. So what animation would I see now? I would see a simple revealed thanks to a mask. The object in the background was very weird, but normally you would use a more symmetrical object and let this little option. We would have a nice reveal animation revealing the world. What's also great is that you can create several masks. One shape layer can, of course, have several off those masks, so I can reveal different portions, and each separate Messed could have its own options. Right now, it's not really usable because we have the reveal, and this would look even more weird. We are going in the wrong direction here, but I wanted to show you that it is possible to create if you have a layer and it has masks on it, you can double click the M Key to quickly reveal its properties. Clicking once will reveal the masks, and clicking twice will reveal its properties, so you can see that masks are very important to after effects, so we have quick access to them, just like to the opacity or to the rotation. These are very elementary properties, just like the masts are elementary toe editing shape, layers and other layers. So that's it. You went through the masks. You know something more about the masks? I want to talk also about the track matte and the blending modes which are very similar. And by help, with all of those options, we can start to create some interesting things. 29. 04-06. Blending Modes: in this video, I would like to briefly touch on blending modes. Blending modes are perhaps not used every time you work in after effects, but they are an important to you need to know about and understand just a little bit to be able to manipulate photographs or layers with blending modes. Sometimes you can even have items with white backgrounds, and just by using the blend mode, you can blend a particular layer into an entire composition. Since you are already familiar with the timeline, you note that the blending boats can be activated and change in this place. If you don't see the blending moat, either right, click your goto columns and open of the moat. Or use the toggle switches button to make our Moz visible in our layers. Now, to explore the different modes we have, please open up aftereffect press control and to create a new composition. I have a new composition, open double click on the project and please import two different photographs from our Footage folder. You see, our Footage folder is growing. I'll go to the photos and please select one dark image and one bright image. I'll, for example, select the Snow Valley and the serial image, and now I can prepare my composition to work with blend moat. At first, I'll drop down the Snow Valley. I will zoom out with the scroll wheel, and I'll make it a bit smaller. Just so it is visible since I have my capsule button activated. It was invisible because it wasn't refreshing life that's normally used to save up a memory . Okay, I have my Snow Valley image inside. Now I want to place my cereal image also here, but since it's so big, I first make it a bit smaller. I shifted to the left side, I take my rectangle toe, and I would like to have about health off this image. So let me mask it quickly. I have my mask like that. Now this image will help me to explore the different blending mode. One last thing I want you to prefer. It's create another layer. Police create a solid by hitting control or comment. Why great Aniko or solid? It doesn't really matter. Hit on the solid hit effect. Generate and generate an advanced lighting. This is a built in after effects tool, which allows us to create lightnings. If you are very curious, you can play around in this effect by changing the turbulence or anything you would like. But basically what I wanted you to have is one background layer, one image, another image and and in effect, so you can check out the blending modes now to explain blending moat in very, very general pixels off one layer, which is above are mixed with pixels, which is one layer under it. So if I blend in this effect this lightning effect to a different mode, it will take the pixels and somehow blend them with the image which is in the background. And I would like you to explore the different blending mode. If you want to be a real blending professor, you need to read about the blending modes because they are explained Boat and Adobe website a few simple explanations and, of course, also on Wikipedia. Most of the moats are explained here like multiply screen, hard, light, soft light and, as you can see there explained mathematically. For example, the screen blending mode allows us to blend the values off the pixels in two layers by inverting them multiplying and then inverting them again. So this is the effect you can achieve with this green blending mode. Once you get deeper, they are going more advanced. You don't have to learn all of this. You only have to get an understanding off what blending modes are. That's why I recommend opening aftereffect, taking the serial image and checking. It's different blending modes. For example, Those blending modes were work with the dark channels, the next blending Most will work with light channels, and as you see by the divisions, they are grouped in several different groups. You can check out what will soft light bring, And the good thing here is that we have dark colors and bright colors on this image so we can check out how it blending mode applies to white colors and dark holes. So please go ahead, check out this image and check out all the different blending mold once so we get an understanding off what can be achieved with them. Apart from the normal photographic blending modes, we can even work with their Alfa channels, so selecting the smote on the bottom will most likely delete a portion off the image because they are deleting the channels around it. Be sure to check those as well. If you want only to work on the image, just disconnect this layer. Select the cereal and work from there. The blending moves can be very helpful if you want to create soft effect. I have the serial. No, already. I see I have some mask here, but I want to create another mask. Let me maybe create a lip Stal, create a mask here, delete the previous mask. And now I can select this mask and expanded a little bit to make the image bigger and feather it a little bit around the images ending here on the right. So this is my little mistake. But I can adjust this a little bit with the mask expansion or by selecting the cereal and placing it on the right side. Now it is nicely blending inside of the image, and this is how you create simple blending effects with the blending Moz 30. 04-07. Track Mattes: in this video, I want to explain more in detail that track matte options. The track matte options allow you to determine and work with the transparency from one layer within another layer. Be sure that you will have the second button enabled here to allow us to see the moat. Entrapment. Let me create another layer. As you can notice, the first layer doesn't have the track matte options. This is because in order to activate the treatment, you are always referencing upwards. So if you are setting the track, make for the woods layer, you're referencing to the transparency off the actual shape layer, which is above, or any other layer which would be above here. You can see no matter which layer is on the top, it will not have the drachma adoption. Okay, now, eh, Condolezza yellow background. Let me show you the example. Here we have a shape with green Phil and white stroke around it. I also like the woods layer. Go to the track meant and choose alpha matte shape layer one. It will create a sort of a mask and delete everything around it. If you want to do it, the other way around. You can also select all format inverted Alfa inverted Met will leave the middle blank and everything which is around will be visible. Another very interesting option is the Loom Amat, the Lumen. It reveals everything which is on white and hide everything which is on black. Since those colors are medium, we have some transparency here, another way around. If this shape layer would be black, the middle would be invisible. Let me select the Phil you can notice once I turn it toe black, it's invisible. Once I turn it toe white, it starts to get visible. So depending on the color off the actual image above and its brightness settings, you can change the visibility with the looming. Matt, If I would be to apply, for example, a ramp effect on to this layer. Depending on what colors I select, I can hide in the reveal a portion off this image. A ramp effect is a simple Grady int. I can, for example, select the start place to start here. And depending on where I dragged the black color, this portion will be invisible. And where I dragged the white collar. Those portions will be visible with the Lumet. You can, of course, also select the inversion. So these are two options to keep in mind. This is a nice way off using the blending with help off track matte Something to notice Here is once I have applied the track matte no matter which track matte I select, the layer above is invisible on the timeline. This is because we are only using the illusion off this layer the transparency off this layer to determine how the layer under it would look so I can't have both visible because this would distort my effect. I can, for example, duplicate this layer, delete the effect. And now I would have to slayer above here I would work with the loom Amat. I could, for example, blend this layer or make it less visible to reveal a portion off the image under it. Now, let me delay the shape layer and let me show you something else. Both off. These layers are off course tight together, but they are still independent, so I can take the first shape layer and I can move it around to change this place, and I can do the same for the background. I can affirm it. It I can select the woods, and I can select the background. If here would be a person on the photograph, I could, for example, select the place with the person to make it visible inside of the circle. Let's, for example, assume that I want to duplicate this layer as I click comment or control de, this layer will be automatically placed above. Do not mess with the layers under it. This time, however, I want it to be a background. I will place it in the middle, and you can notice that we still have to track much enabled because it was duplicated. I would like to use no track matte here, click on the woods and place it as a background image. I can somehow fate it, so I right click on it. I go to transform and I go fit to come because I don't want to be fiddling around with it. As you can see, track meds can be very powerful, especially powerful, especially when connected with masks blending modes and the usage either off the transparency or off the brightness. Thank you very much for your attention on this lesson. I know it was difficult, but you surely must be happy to crunch through those lessons because with each of second lesson, you're learning something new, and this will definitely benefit your overall graphical knowledge and understanding off the processes which will work on. 31. 04-08. EXERCISE - Transition morphing: in this lecture, I will show you how to make a cool transition, how to use it in the video and even how to reveal to videos by matting this transition. Hello and welcome in this lesson. As you can see on the timeline I have here two videos, these are simple videos. And let's say this is a project you're making and you would like to have a transition between them. I will show you how to make a transition with the morphing shape technique I first control and and I make a really short composition. Let's make it two seconds. Okay, now I will work on the transition I want to make. At first, I'll open up some guides I can open, for example, that title action safe. So I'll have some great here. Now I'll press control are to open up the rulers. I'll pick a ruler because I want to have one guy in the middle to make it perfectly in the middle. I come closer with the scroll wheel and I place it exactly in the middle. I press on my pen tool. I have a red corner selected. This is all right, and I'll start to draw. I draw something like this by holding the shift key. You can do the same. Please go above the fold. So you are a bit more far away than here. Now I go down, I go in the middle. Oh, sorry. I didn't press the shift. I place it in the middle. I placed it here and I closed the entire thing down. I have to move this point to the middle. This is no problem. I just grab it. I move it and everything should be okay. All right. I opened up the shape layer, my content, my shape. And, of course, my pet number one right. At the beginning, I want my first key frame. All right. I have my key frame. I go with the page down key. 12345 Frames forward. And I want to grab this point and start transitioning into the design. I have to select a path. Well, this is easier. I just make a new point. Delete this point and select this point. And I have this one no selected. Now I can start working at disposition five frames forward. I want the transition, Toby, About to this place. Now I go again. 12 tree, maybe tree, maybe five. Let's stay with five and I go five frames forward. I select the outer point and I placed them like that just to have some fun. If you want to be a real nerd, please open up the guide. An exact great and you can be pixel perfect here. I'm doing this really quick, so I won't be pixel perfect. Right now I go. 12345 frames forward. And they placed this on the bottom. Now the edges are not covered. So I go. 1233 friends, forward. So the edges are perfectly matched. Now, what did I create? I have a really simple transition, and I see it's a bit too quick. So I select all key frames. I press the left old or option key, and I dragged them out a little bit after effect. It's automatically spacing between them now. I hit right click key frame assistant Easy East. And let's preview the animation. Let me diss elect the Great because it's a bit disturbing for the I. Okay, I have a really nice simple transition. Now, once we are here again, a few friends for because we want only to transition, transition in and transition out. I'll go 12345 friends, forward with the page donkey. I have to make a new point here. For example, If I want the animation to be like that and I start dragging it down, I drag it here. 12345 This will be a bit shorter like that. Like that 1233 friends forward. And our transition is for now prepared. I could take it and use it as a ready transition to spice it just a little bit up. I select the shape layer I press control de or command the if you are on Mac to duplicate this layer Now I want to stagger this layer by, for example, three frames. I had the left old key, and now I press page down. If you're pressing, page up and page down, only the timer is shifting. If you press all or option key, the entire layer is shifting. 123 Okay, I have the second layer selected. Let me select another color. Maybe a darker red I can for example, only adjust the brightness like this one more time. Control de left old 12345 I hope this will look OK. I select the fill again brightness A little bit down. Okay. Basically, I have my transition prepared. Let's preview it by hitting the space bar. Well, nothing too fancy. It looks okay. I can use it. So in the place where I have the videos and I would like to transition between them, I can use my new composition. It was called Composition to let me be a little bit more professional here and press control or command K frenzy, transition red. I go to the first composition and I can select the transition and place it here exactly in this place. Now, watch how I can transition between those two videos with my new animation. Just like that, we used the shape morphing to create a nice transition. And please don't be concerned that I'm using after effects cc here in CS six. Everything is the same as before. So let me show you the last really awesome trick here. I don't want this reveal toe happen like that because the red isn't working here. I would like that. The second video is revealing the first video to do this. It's really, really simple. Just place this second video here. It can be exactly here or depending on what information you want. Maybe the first part won't be visible. But this reveal the second reveal will be visible. And I person the second video and I select trackman all format transition red. If you don't see the track matte press F four or here on the bottom you have the buttons to enable certain options. All right, watch now What happens? I have my transition hyperspace and the new video is revealed like that. I should duplicate this layer, put it on the bottom and make this layer shorter. Maybe pressing old and the right bracket key Now everything would work perfect. I would have the transition. I should of course, select No trackman. Now I select this video. I crop it to this point and watch my end result. I have the animation. The video is nicely revealing and the video continues on. Of course I have the placing the wrong I should start before this Black appears I should make it like this exactly. And now everything is done properly. I have a nice little transition between those videos. Thank you very much for listening. And I hope you expend this morphing shapes technique. 32. 05-01. Animation: I'm so excited to open up the animation section off this course. We are slowly arriving at the point where everything we learned until now we'll start to get used. Before we jump into topics like the graph editor or easing key frames. I want to show you a few basics about animation. In general, there are two types of animation. Static animations, which don't use the motion path, and the nations like that and spatial animations. When they click on it, I see emotion. Pat, here, let me start from here. I have two different objects here. I want to show you the difference between them and how to navigate through key frames. I can see there is an animation going on in boat off them, so I select both off them and I press you on my keyboard to reveal all the properties which are holding information about a key frame. I see that the scale and the rotation is adjusted. As I start scrubbing through my timeline. I see the motion between them is different. The 1st 1 moves faster, the other one start slower as they go along. They both rotate and they end up in the same position. This is because those key frames are, Hlynur said. These are normal key frames, and those key frames are east in and east. Out easing will be explained in the next lesson, but you get the idea that easing key frames allows us to change the velocity off any animation as they placed them one over another. You see, the key frames have the same change. They do one big rotation, and they are growing a bit bigger to 130%. But the animation itself is different between them. Depending on what kind of style you are aiming for, you either used normal key frames or you ease them in. Once you are on the timeline, you can add additional key frames and navigate through key frames. With those options, we can click the left to go to the previous key frame or the right to go to the next key frame. You can also set additional key frames, either by clicking on this little diamond or just changing any parameter, and a key frame will be set automatically. You can simply select any key frame on the timeline and drag it along. There are a bunch off shortcuts, which allows us to create some interesting things in after effects. For example, if I would have more key frames here, I would have my ready animation. And after I have finished this animation, I seem this animation is less than two seconds, but I wanted it to be three seconds. This would be no problem. I could select all those key frames, hit the left old or option key and just drag him out. All the key friends I have selected would drag onto the composition accordingly, to the place I want. They are snapping on uneven places, but that's no problem. You can adjust this by going to each key frame and clicking ones on it and shifting it to the side. Now I would have them perfectly set on frames. Let's go to the special movement because this is very, very important. You see, I have the same option here. I have east key frames and normal key frames. Now what is different between those animations? The bottom one has the anchor point set on this object, and the upper one has the anchor point set on the composition. Both of these animation used the position value. Both of these animation go to the same place, but they want above. Has this in the weird place that because I didn't set the anchor point and I made a mistake making this animation, I should click on this first object, go to the pan behind tool, and either and adjust the anchor point right at the beginning while I was setting the key friends. Because now the entire motion is wrong. I would have to select this key frame and place it somewhere so it would animate properly. This is very hard to manage. And if my time and is in the middle and I repositioned this object you see the entire motion path has changed. I can use, of course, the busier handles to adjust emotion. But it would be difficult to go back toe in your emotion. The mistake I have made here and you will probably also make this mistake often is that I used the position off this entire layer. If you remember what we talked about properties and shape players, I should not use the transform options, the basic options I should go inside of content. Open up the Ellipse open up that transform Ellipse One tools and the Ellipse one has its own position settings. So let me a justice Now I press you I select the bottom one. Let me to select the upper one. I select the bottom one. I delete its key frames and I go to contents Libs transform lives And I used the position only from the Ellipse tal not from the entire shape layer. Now I could go to the beginning, set a position key frame, go forward Change its position by holding the shift key to remain on the same access. I have another key frame now and watch what would happen Right now I have the key frame selected. So if I would shifted a new keeping would appear. But let me go Control Z If this key frame is not selected, only the object will be selected. I can shift it around and the same position key frames would be used. I would I would not mess up with the motion Pat. No matter where the motion path is going, the motion path will always stay the same. Let me bring the previous object to view again This previous object has its motion pad visible. And as you can see, this animation is linear. The key frames are normal because those dots here tell me that the animation is going in the same speed. If I would select the key frames, go to my key frame assistant and Eazy e's them. You see, the spacing between those dots have changed because because at first it would go faster. Then it will slow down a bit, and it will go again faster near the key frames. So this is when it comes to basic animation informations. Remember that we have the emotion pat, and we have static animations. The motion pet can be adjusted. And remember that one time you can animate an object, and another time you can animate an entire layer. 33. 05-02. Easing Keyframes: in this video. I want to show you the difference between the different easing in and easing out settings off key frames. We have touched on this a few times, but let me explain it one less time. So we will have an understanding off how it is graphically represented on the timeline and how it actually looks and affect our animations, letting make use off the knowledge I already have and shy those layers because I will not be needing them. I press a four and I shied, Um, and then I activate the shy for this composition. I have no less things to worry about. Okay, I have my four layers. Those four circles are going forward with a simple animation. You can see that with each different easing. The animation looks a bit different, so let me hit space to preview the animation. The first animation is a linear animation. The second animation eases in, so it starts quickly. But at the end, it eases in a different approach, is under easing out the easing out, start slower. It goes faster than the most soft settings off. All is easing in and easy out. It starts lower it accelerates and then it eases out on the end. Depending on what solution you need, you'll use an easing accordingly. Easing is very simple. You only have to select the key frames and press F nine to ease them in and ease them out. You can also right click on them Goto Key frame assistant and choose Easy is Easy is in and easiest out. Graphically, you have to remember that easing in is shown from left, were easing out is shown from right so our little diamond can change on the left side and on the right side. If both sides are east, we get this little hourglass item and what you are working with key frames. There can be off course different kinds off key frames on one simple animation. In one property, I can have all kinds off key frames on one timeline, depending on what property I select, there is no limit that if you use easing in, it has to be across the entire timeline. The types off key frames can be changed off course, not only for motion animations. Any given property can be animated and east in, no matter if it has emotion pad or it stays in place. All animations can be taken an east. We'll look into advanced easing in when we start using the graph editor. For now, this is enough about easing. 34. 05-03. Motion Blur: in this short video, I want to show you how to enable the motion blur for an animation. You've probably already seen this before, but adding motion blower, that's a bit off realism into our animation. So we have our simple animations where those circles are going to the right. Now let me turn on the motion blur maybe for the two bottom off them to enable motion blur . I only have to select and enable the motion blur for a layer and then enabled the motion blur for the entire composition. So I will select my bottom layers the shape layer number four and I believe the shape layer number three. Ok. And for both of them, I want to enable the motion blur by clicking on this little icon by having both layers selected as I enable it. It will be enabled for both layers simultaneously. All right, Right now, if I had previewed the animation, nothing what happened? But if I activate the motion blur for the entire composition and they start moving, I can notice a little blur is appearing. This is making the animation a bit more realistic and depending on what you want to achieve motion. Blur is sometimes adding great flavor to the animation. You have, however, to remember that motion blur is very intensive for the PC. So if you have some heavy animations, they will render much slower. Once motion blur is enabled, I will hit my space button and you can see as the animation progresses, a little motion blur is of light. This looks very effective in some sports footage or some more sophisticated animations where we have more interesting motion pets than a plane movement to the right. So this is how you can at and apply the motion, blur effect into your composition, try it out and shift the different motion blurs for different layers, want you are creating something. 35. 05-04. Graph Editor: in this video. I want to talk about the graph Editor. The graph editor is very important to making our Cree frames and animations stand out even more. You will begin to realize what an amazing tool that is. And why did we talk about normal animations and spatial animations which have the motion pattern it. So let us go to our beautiful animation with those East key frames. And what else can we do with them? If you would like to work along with me, if you would like to work along with me, please go to your footage folder and from the project files. Open up the number 15 graph Editor, the graph editor is activated here inside of the timeline. The graph editor is a graphical interpretation off the key frames we have on our composition. Now, Right now, this might look a bit complicated, but as you can see, if I select those key frames and I click on the graph editor, only those key frames will be displayed inside of it. Now, why does it look like that? This is because we have two types off graph Editors. We have the value graph and the speed graph. The speed graph shows us the speed off the animation and the velocity off the key frames. While the value graph represents its values, you can see I have my position at negative 500 it is displayed here. And as the time progresses, my position value goes up 2 300 pixels. And this is represented here because here we have zero pixels. Here we have a negative 500 somewhere up here we have our positive 300 by default. If you have automatic selected spatial animations which moved the position will have the speed graph opened and normal animations, for example, for the scale. As I opened, the graph editor will have its value opened by default. But you can off course changes by going here either to the value or directly to the speed graph. The more interesting option is the speed graph, because it gives us because it gives us full control over our animation. Let me show you an example. We have our first animation with those simple key frames. I will select both key frames. I will go into the graph editor and on the graph editor. You can edit the entire motion. I can, for example, select the first key frame. This is the first key frame. This is the second key frame, and I can pull the vizier handles. I can change its value or I can ease them in and out with those button as I could do this Previously, let me extend this a bit. This will automatically extend. If you have this, I can select it once I make it bigger. Also, the value graph will grow bigger. If I would de select this magnification, I can. As I drag this up, it would not change its values. So depending on how you want to work and how much you want to see, you can use them magnification tools. All right, I would like I would like to select the first key frame. This is this little key frame on the left. Go to the graph editor and press on this little icon. Don't ease it out Now. Notice what happens. The basic easing starts slower, it grows in speed and then it goes here. But you can also click on this key frame, pull on this handle and achieve a completely different animation now under end. I would like to have it also slower and make a kind of a mountain here. So I will select the magnification and let's create a mountain Now what will happen now? The animation will start slow. It will go very fast and then it will slow down again. These things could not be achieved with the simple East in an east Out But by using the graph editor, you can adjust each parameter off each key frame. I can also select multiple key frames and select them at once. For example, I would like all of those four motions go up and down like that. So I select all the key frames. I will pull the handles at once and I will completely shuffle with the animation notice. They have different values because they will already different as I have selected them, I could adjust it. But that's OK. I just want to see different motions and let's now preview the animation and what has changed. I'll press play. You can see I have completely different motions. Extremely different is the out motion. Now let me check out. What did we create here? Oh, yeah. This is the 1st 1 would you edited And we made the mountain here extremely high. So it goes very, very slow. Then it quickly adjust emotion and then it goes slow again. And we have exactly that here and sometimes in after effects, you want to create emotion like that. If I would turn on the motion blur, this would look even more interesting. I would have a really quick motion here and here. The motion blur really kicks in. You can also adjust how strong the motion blur is displayed in a composition. Let me go to control or command K. Here we have our composition settings and on the advanced step. I didn't talk about this previously, but you have here motion blur and you can adjust the shutter angle and the shooter face as I reduce or change the faces emotional or also adjusts. So if you have really at two heavy motion blur, just go to your composition settings advanced and you can play around with the motion blur . This is white motion blur is enabled for a composition. Really. The usage off the graph editor depends on what animation you want to create, but you can see that there are absolutely, absolutely no limit in terms off how you would like your animation to look. You can go to the graph editor and you can work either on the value graph or on this Pete ref. If you find those key frames to intense, you can always select the key frames. Use the shift key, use the shift key again and reduce their outgoing velocity. You can also double click on the ski frame, and here you can edit the speed and the influence off the yellow handles. I can notice I have a very big, outgoing velocity. If I reduce its influence, it will lower down there. Speed amount. On the beginning, I could also select the key frame on the middle and produce it a little bit so it wouldn't be as intensive as it was before. Now I want also to adjust the motion at the end to emotion like that, and now it would go a little bit slower. It all depends on the effect you want to achieve and what you edit in the graph editor. So thank you for listening through to the explanation off the graph editor this is a really essential toe in the animation process in after effects, and I'm really happy that you wanted to listen about it and to learn about it. 36. 05-05. Null Object: in this video, I would like to quickly explain you what are no objects, no object itself are just empty layers. But in combination with the parenting options, they can be really powerful tools to move and shift around certain layers. We have already talked about the text layers, solid layers, the shape layers, and now I want to show you how to use the new object I will create. For example, a light lights can be used in after effects. And, as you see these are emulation off real life lamps and what's a bit difficult and lambs that they're hard to grab. You sometimes grab the Y axis. You sometimes grab the X axis and sometimes by mistake, grabbed the Z axis. Additionally, additionally, sometimes you pull the light itself and you reposition it. Right now, I've clicked the background by mistake, so this is a problem when using lights there can be used. But there are some difficulties clicking on it and editing them. What sometimes does help is using two views in the two views. I have another spectrum of using the light, and it's a bit easier to move it in disease space, making it clothes or putting it far away from the composition that I can take it and adjusted like that. But if you want to gain a bit more control about the light by not clicking anything by mistake like I do now, you can, for example, use the no object. Let me show you how to do is I create a new nil object I presenter and I am Name it X Y light movement. I will remember that this layer is helping me to move the light and they'll object is something invisible in the composition, but it really exists within after effects. Let me switch back to one view. I have the light here. I'll place also my new object around here so it's easier for me. And now I say, Hey, light one, remember that, then a layer is your parent. Now I can select a new layer, click on it and move it easier around. I could, for example, open of the P for the position properties and move it around here. Now I want to add another layer a separate one, for example, for the Z axis does the access will be also tied together with the previous No. And I will say, Hey, Neil, object. When it comes to the Z axis, remember that additional object will deal with this. I will enable the treaty for both of these layers. I go to the position, and the turd value will allow me to come closer or get far away from the composition. I could off course also do this year, but if you want to have clarification and quick usage, you can have, for example, two layers. For that, please notice that you can double click on the light and change its intensity. It's cone angle to make it bigger or smaller and the feather off the actual light so you can achieve really nice effect with lighting itself. Let me select until objects now, and I can move my lighting as I want. I can select dismal object and work with easy access to make it smaller or bigger. I could even create some animation reveals just with a few key frames like that. Please remember about the possibility to use nil layers, no object to control other layers and object. You can simply use the parent option, make the nil object apparent and then perform some actions within the objects. The same goes if you use a camera, a camera inside of after effect, emulate a real life camera. As previously, the camera itself is a bit hard to handle with their camera options. There are pretty difficult, so it's sometimes easy just to use the options a little bit and then adjust the camera position itself with a new object. This is also very known destructive because you can place key frames on the new object and the camera itself would stay untouched. Thank you for listening about the no object, and I hope you will remember about this nice little feature. 37. 05-06. Basic Expressions: expressions and after effects is a scripting language, which allows us to control various parameters and create complex animation by applying them . Previously, we were learning about parenting, and you could link one layer to another with expressions. We can not only link together layers, we can link together certain parameters, so one parameter so one property will influence the other property. For example, you can have the rotation off one layer to control this scale off another layer. The expressions in after effects is a rather advanced topic, and this was supposed to be a basic course, But you will come across expressions no matter if you do. Very simple projects or very advanced project expressions in itself is a programming language, but we can use the pick whip to create simple expressions without touching anything else. So let's go ahead and check out a few examples, as you remember, and the parenting options we had this little pick whip, which we could link certain layers together with expressions. We have the same option possible you can at expressions toe any property or any effect you want insight off aftereffect. Let me open the transform options I have for example that position property off this yellow rectangle. I would like my ex access on the yellow rectangle to control the size off the purple one. So I'll open up the purple and I see I have my scale. I will click on the position on the yellow. I will goto animation and click on at expression. Once I've added an expression. You see, the position is turning red, and I have several options here. These are the options regarding the expressions. Expressions itself appear on the timeline. And as I told you, this is a programming language, so you could write your script right here, another way off. Applying expressions is very simple. Just by having the property selected, hold the left, bulky or option key and click on the stopwatch instead of creating a key frame. This will open up the expressions. I wanted the scale Toby linked with the X axis. So I will have to do this, not here on the position, but on the scale. Let me click on the scale. I will hold down the left old or option key. I will take on the key frame I used up equip and I link it with the perimeter I wanted. I wanted the X axis on the position. You see after effects automatically wrote the script for us, and this time it got very weird because the anchor point off this object were set here and maybe change the anchor point. So I placed the anchor point here. I moved his back on the screen. Right now, it's very big. I could not make it smaller because it's a linked with the expression. If expressions are active, you can't do anything else. You can set key frames on this particular property because this property is controlled by something else than key frames. As I click on the position value and I start to shift it, you can see that the scale off the other layer is controlled by the position value. The Y axis doesn't do anything because it's not linked with the expression. The X axis, however, is controlling the scale off the other object. Later on, if you will work an aftereffect, you'll slowly start to learn expressions, but at this point, you don't need to know much more. I would like this purple to be much, much smaller because this amount in the position is making it way too big entrance off the scale so I could simply click on this expression. And before this semi colon is set here and the expression end, I could divided by tree or even for Let me divide it. And now it's much, much smaller now It would make sense because because the value on the position sets to 600 would give me about 150% off scale. Now it would do much more sense in terms of how it looks, because previously it was very huge. The 600 position was making me 600% off scale. I want you to know that expressions can connect anything, and they were inside of after effect. 38. 05-07. Working with Audio: in this video, I want to show you how to work with audio inside of after effect. It isn't as advanced as Audition, but we have some basic tools where we can edit audio. Overall, I would recommend you to use way files or some high quality files, because if we use em Petri, they will off course work. But MP three are compressed files and later on, if you are finished your animation, you are a rendering the product from aftereffect, also in an compressed former. So the sound quality my lower down a bit if you compress it twice, so it's better to use those non compressed files like way for Flag. If you have them available now, go inside aftereffect double click on the project panel and from the Sounds folder import the bird whistle sound. This sound would get perfectly along with the woods picture. So I've imported the woods and the bird whistle. I will now create a new composition, withdrew its image by dragging it under the new composition window. I had my previous settings set to four seconds, so I hit control or command K and make it 10 seconds. OK, now I can import the sound. And how do you work with sound? Sounds are very simple. They have only a few parameters. We have the audio levels, which is the loudness off the actual sound. And it's away form, which shows us, which simply shows us the way form. Of course, we have quick access buttons to those options by hitting L on the keyboard toe. Open up the audio levels or double clicking L L L to open up quickly the way for Let me close everything down. Let me make this layer longer. I would like to preview the sound for this. If you remember from the previewing lesson, I need to press on the period on my number. Pat. It's a simple bird with I first want a bird whistle to fate in So I will press Once l. I will press on the audio levels and go to a negative degree off minus 48. This is the maximum for sound. At this value, it's completely silenced. I will go two seconds forward and then I wanted to play at zero decibels if I had the Napa zero on my keyboard, I'll preview both the animation and the sound. You hear that right now the music is fading in now I can work with the way for inside of after effects. You not always have so much place to open up the way form. For this reason, you could eventually use the markers. Markers can be set either here, if you want to set them on the timeline or by using the Asterix key on your keyboard to set them on a certain layer. Markers can be set on any layer. You can even label them by double clicking on them and write something here. I could, for example, take this marker here. I could right here that the music kicks in in this particular place. Well, this is no music. This is a simple Birtwistle. I wanted to show you all the options we have by using the markers. Now I will get rid of the markers because I have enough placed toe work with the way for Let me a mute the preview option. And here it once again E could try some animations together with this bird whistle, for example, as the whistle goes louder, I want the image to pop out a little bit for this. I'll click on the woods. I press on the scale. I press a key frame. I place this key frame a few frames back because at the beginning it will have 100% of scale. And now it will pop a bit because the whistle is so intensive. Hear the whistle ends so it gets smaller. I go forward, it gets again a bit bigger. I just play around with it. And as the first little and it should get back the 100 scale I want also some rotation animation. I will rotate it just a few degrees to the right and to the left with keef rings. I press you Underwood, so I will better received the key frames and I will try to snap them in the same places. Now I can get back to zero and preview how my animation would look and how it would react to audio. I would off course need to ease them a bit because right now this looks ridiculous. Let me see if this looks just trying to get better. It's not perfect, but this would be a start. This is how you can work without your insight off after effects. So outer layers inside of after effects are layers just like any other layer. They only have separate options regarding the sound. 39. 05-08. EXCERCISE - Circle with appearing text: In this tutorial, I will show you a simple technique how you can make a circle appear and some tax afterwards as well. Hello and welcome in this tutorial. I think this will be a great warm up for you. Once you arrive and aftereffect, please select this button to create a new composition. I would create a new composition. This composition will be off the size. This composition will have a resolution off full HD. It will have 30 frame rate and adoration off. This composition will be four seconds long. Let me hit. Okay, Once the composition is prepared, please. Right. Click here on the timeline Select new and select a new solid. Now a solid layer is a background for our entire animation. Now I'll select a little Select something grayish, but not as dark light. Great. Okay, this will be my light gray and this is completely fine. Now I'll select this locked down so it doesn't get in the way and I cant click it anymore. One time preferred. I'll go to my toolbox and I'll click and hold on the rectangle to because I want an ellipse So I will select the Ellipse. I'll check the collars. I have a white fill color and I have no stroke. I want to make sure. Yep. I have no stroke and I won't fill. Perhaps a red filbert. Not a strong. I want a washed out kind of reddish. Okay, this will be fine. And now I'll go to the middle off my screen. If I don't know where the middle is, I can always click here and open up my title action. Safe screen. Okay. I want a circle Toby around this size so I make the circle like this. Okay, the night click on the shape layer and I press s on my keyboard. I hit the stopwatch to read a key frame and I press 0%. I go a bit later, about 20 frames, and I make it 100%. So I haven't innovation like this. Boom. Now I can select those key frames I can, right click key frame assistant, Ease them in going to my graph editor and ease the key frames. This left this to the left is to the right. Okay. And this will be my initial animation boom. It pops out now I'll duplicate this so I have to popping circles. Boots. Okay, now I can at the text My text will be 50. It doesn't really matter what So I select a white collar for the 50. I make the 50 bigger like this press p like position on the 50 Select a Stop What? This will be my ending position ending position can Here in a bit area The text should not be visible. How I make the text invisible until it reaches this object. It's very simple. I just place it as the 2nd 1 And this is why I copied over the shape layer Because I can take the 50 I can select Trackman and I have all format Now the animation won't be visible until the text appears. Here is the text in the right place. Let me make sure like this I also right click key frame assistant Easy's gravity it or And I make a different easy like this Boom. Let's preview What do we have? If you don't like this animation, you can place this later or you can also take those key frames and make the innovation quicker Boot Once you already with everything you should have a simple animation like this . My name is Andrew. Thank you very much for watching this tutorial. And I hope you did learn something in after effects with this one. 40. 06-01. Using Effects & Their Order: I was very happy when I opened the animation section. But now, as we've come to the effect, I'm even more happy because we are slowly rounding up the entire basic knowledge. We need to have an after effect. In order to start creating interesting animations, let me start to touch on what our effect, how are they applied and where to find them. Effect can be applied toe any layer, for example, to our woods animation. We have our words image, and we can apply additional effects to it. Effect can be found in different places. On the right side, we most likely have our effects and preset panel. Let me direct this up so it's bigger. And here we have the categories in which the different effects are divided up. We can also go to the effects panel by clicking on effect and fighting our desired effect. As we apply any given effect onto our layer, for example, a radial blur. The effect will be opened in the effect controls panel for the particle are layer. If you, for example, close this by mistake, you can always go back to window and open up here on the bottom side The effects controls panel The effect controls panel is back on and we have the properties and the parameters we have in the effect we have added, we can find the same effect in the properties off our layer by clicking on the layer and hitting E opens up all effect we have applied to our layer. If I open the effect, I have the same options as in my effect controls layer. But the effect control layer is a more convenient way to stack up effect. Because if we go for example to generate and at additional effects like this, we have complete control here on the left side. We're here in the layers panel. It would take very much place to edit it and I would see nothing else than the effects opened. And it will be very hard for me to add it. So I'll close no down the effect by hitting once again. E and I can edit my effect in the effects panel. One last important thing I want to show you here is that the order off the effect is very important. Let me at in another example effect, for example, goto color correction and at that color balance, I will switch the color balance off different colors. Just so it looks a bit different and I have a heavy blue sky. No, I'll click on this effect and go towards the top one effect at the time. As I shifted towards the top, the effect slightly changes. This is because that way, at first we add the color bones and then we showed the light sweep. So let me make it as the first effect here. If I would at this effect as the 1st 1 it would change up the other effects because this effect was applied at first to the composition. So the composition had at first it's colors corrected and then other effects were applied. If this effect will be the last effect, at first those defects appear and then we change up its color balance at the current state effect can be selected and be selected by clicking on this little icon. Let me place them back again, or they can be turned on or turned off here for the entire layer. This is all I wanted to explain you for the basic usage off effects inside off after effects. Now we can dig in a little deeper in the topic 41. 06-02. Different Layers for different FX: it would really take forever if we would go together through all the effect, let me show you hear a few key effects that are used very often. At first, we often want to change the color off the background either to a fill color or match it to ingredient. And we have a few simple effects for that. As we select our solid and we hover over to effect, we can generate either a fill or ingredient from in after effects. CS six This was called Only Aram. I also like no, The fill the Phil is a very simple effect which fills the entire selected layer with the color. You can change the color as you want by selecting it with the color selection toe. The next effect is also very useful. You go to effect, generate and you generate a great and ramp. A Grady in dram is used very often because it applies a simple Grady int. You can select the start color and the end color. Let me maybe select a red one at the start and at the end, something blackish or dark right like this. Now you see those little handles here on the top and on the bottom side these are the places where the color starts and ends. I can select the color and place it here. If I want to adjust the Grady Int, I could also key frame it and at first it would start here and later it would change its position because we have the position values to another place. The same goes for the second color. We can select the second color and play with it around. Another very nice option here is to select the radio lamp. The radio lump allows us to go from inside towards the outside with the Grady Int to create nice effects. As I were talking before, Remember about the order where you apply effect. If the fill effect would be on the bottom, you would see nothing because the fill effect would be applied as the last one. So the first great and appears But the gray didn't will be covered up by the fill effect. If I d select the fill effect, I will see the Grady int. If I place the Fila at the beginning, the film will be invisible. Integrate Viant will cover up the fill it's really a matter off clicking on the effect and using them. Let me go to a picture. We had the words before. I create quickly a new composition. I place in the woods. So we see the picture and on the effects panel, please play a bit around with the blur options. For example, using the Gaussian blur. All the blur effects are very interesting, and they create interesting effects off blaring out our composition. We can also generate backgrounds inside of after effect by going to the effect generate. And here we have several. We can generate some interesting effects, like a beam, for example. But always remember, certain effects destroy our image and composition, so they should either be applied to a solid because a solid covers our entire composition with pixels. If you would use the nil object, you can be certain that you will see the effect. But if you use the solid, all the effects to use, for example to generate something like a soul pattern will be applied toe each visible pixel. While if I would select a new no object, go to the effect and generate the same effect as previously on the effects panel. The previous effect is always here. I would have nothing, because then the object has no visible pixels where the effect will be applied and the cell pattern does nothing. Why on the other layer on the solid layer, the soldered layer had pixels all across the compositions, and the cell pattern was generated. You can play around with the effects and depending on what you want to achieve, just play around with those buttons. And remember that something really interesting is that you can also key frame every effect so I could keep remit here. I could then place another key frame here. Give frame, also the offset and the evolution. Maybe go here, change the evolution, changed the offset, and by making it play, I would have a simple animation here. Now, depending on what I want to achieve, I would need to switch between different options. So these are the basics where you need to be cautious. What layer are you using to generate effect? Some effects should be applied to an adjustment layer because an address mint layer could have a mixing color effect and the color effect would go over to the other layers, and if they wouldn't be visible, you could just select at or lighten or other blending modes, and the effect will be visible. While the new layer doesn't hold any information about pixels, so it's an empty layer. You learn certain effects. Want to start working with aftereffect. I just wanted to make you cautious about the different type off layers and different Use it off the effect. Thank you very much for listening here. These lessons are very important, and I believe, and I believe they are also interesting because adding effects toe after effects, as the program is called, should be the bread and butter off your daily workflow. So you need to learn the few basics, and then you'll start to understand everything. What is going on inside of the software? 42. 06-03. Adjustment Layers: adjustment layers give you the ability to apply an effect to an invisible layer. The position off that layer allows you to determine how many layers this adjustment layer will apply to and which portion off the layer should it affect. It's perfect for some color treatment and overall composition adjustments. Let me show you an example of how you can use the adjustment layers and why it's useful to use them well. We could apply our effect directly onto the woods layer in our image, but I would not like to edit the image. I want the image to stay safe. And if I decide to get rid off the adjustment layer, I only de select the adjustment layer. I will not have to reset this layer at all. So I have a very simple animation here, just some Texas appearing and the image is coming towards us. But I would like to get a little bit deeper with the cars so we get a bit more wet. An autumn look inside of after effects. How could I do this? I would right click click a new and at an adjustment layer. You can also go here on the top two layers new, and at the adjustment layer, the position off my layer will determine which layers the address mint will apply to. If it will be the first layer, it will apply toe all ears. If I will place it here, it will apply only to do it. If I would have even more layers under here, I could, for example, pre composed those two layers, and the adjustment layer would only be inside of the pre composition. But I do not want to do this now, so let us bring out some more colors from here. I will use the effects panel and go to my car correction tools. These are very useful when it comes to editing images, and I will use the levels. If you're familiar with photography, you will know a bit about the history. Graham. You see, we have your a variety of colors, dark cores and white colors. So on the left side we have our dark brightness settings. And on the right side, if I pull this handle, I have my white colors and white settings. As I drag it towards the middle, the image gets lighter, but I wanted to squash and crush a bit off the dark colors and bring them out a little bit . So I will move this left handle a bit towards the middle. Let me see. What effect does this bring? It really adjusts the dark cores. I want to find my optimal level. It will be somewhere around here and I think I'm done with the color correction. Now, I would like to add another effect just to tend it in one simple color. Because as the words fight and I would like to see, for example, one core around it so the viewer will be focused on the actual letters. I will select my adjustment layer, go to effect once again color correction. And I will select this time my 10 color because I want to tense the entire image to s similar color. Now here I can map the black pixels and the white pixels toe any color I want. I will select something in the mood off spring and autumn, For example, a washed out color off orange or yellow. Something close to that. I think this looks OK now. My adjustment layer does apply to the background, but it doesn't apply to the text if I would move my adjustment layer as the first layer. Also, the text would be influenced. But I don't want this in this composition. I want only the background to be influenced and adjustment layers are layers like any other layers, so I could, for example, mask it out. I would like this portion off the image to be somehow fathered and blend into the entire composition. I hope you remember how to do masks. As I have my layers selected, I will go to the rectangle tool. I select an ellipse and I'll draw ellipse around here. Now this is exactly the opposite off what my intentions were, so I will only select inverted. Now it's closer, but I still have to adjust the mask because right now the circle doesn't help me at all. Since the mask is a shaped object, it has a path. I can easily adjust the pat by using the panto. I can add a new point and simply add it and drag it around with the busier handles. The best year handles allow me to gain full control off how my mask looks an important tip in after effects is if you hold the left, old or option key on Mac, you can get rid off the best year handles and have it set to linear. If you want some roundness here and have the best year handles back, you hold the left older option key and you click on it again. So let me adjust it mask a little bit on this side. It's a bit too big here. It should be direct out like this. Maybe I will make a new point here, adjust the bottom a little bit at one more point here. One more point here, and it starts to look the way I wanted it to have. All right, now I have the mask somehow prepared, and I also want to go to the mask options. And of course, Federer it because right now it starts and ends abruptly. And this is definitely not the way we wanted it to look. So I'll feather the mask and now it looks way better. It blends in into the scene. It should be adjusted here. But let me leave it like that. Now I will click on the adjustment layer. I pressed t I keep framed the opacity. I make it 0% in a few seconds. Inside of the composition, I wanted to be visible. Now I can select it Key for him. Assistant. Easiest them in, and we can preview What are adjustment Layer did bring inside of the composition with a few simple steps. You made a really nice effect off course. We should change the front because it's really ugly. It's, I believe it's the simple aerial front, but I wanted to show you the possibilities off using adjustment layers. Remember that adjustment layers in order to be adjustment layers need to have this icon selected. If I d select it, it will become a sort of a solid layer. And that's definitely not the style we wanted to get here. So let me leave it as an adjustment layer. And if I would like, I can ever work with the blending modes to achieve even more style to my composition. Now using, for example, the multiply looks really great here. Thank you very much for listening to the explanation about the usage off adjustment layers 43. 06-04. Masking Effects: in this video, I would like to show you the last thing we will talk about masks, and this will be how to mask certain effects. Let me at an image into our composition. Then I'll add an effect inside of it. I go to channel and use, for example, many Max, because this is a very intensive effect so we can see the results more clearly. I will increase the radios so we really see what happens. I increase it, and now we have a very intensive effect in our image. However, I would like this affect only to be applied to the ball with the cookies. How can I achieve it? You probably can figure out that this can be achieved with masks, but there is a certain option you need to know about. If you would like to do this, I will select the Ellipse to and try to create a mask around the cereal bowl. I will create the mask by holding the shift key to remain with the same proportions. I would draw a circle. Now I want to go to the mask and adjusted a little bit. I'll click on the path I look like on the selection tool. And I will try to move the mask in the appropriate place. Now, this would be okay. And how could I make that? The entire image will be visible and the effect will be applied only to this visible portion. I need to go to the effect. Open it up. Open up the effect. I've added the mini max here, Open it up and on the far bottom. I have my compositing options. As I add in compositing By default it will select the first mask which it should be applied to. Now this mask allowed me to apply this effect Onley to the portion I have selected as I go to the mask effect I see I have a blue I can hear now This indicates me that this mask is composited with an effect. And I have also a little blue dot here in the effects panel. What else could we do? I could go to the mask and you see by default. It's now set to add if I would like to mask the entire screen and leave the cereal without the effect, I would only select Subtract this way The effect would be turned the other way around. Now I have my usual masking options. I can, of course, remain with the Ed. Then start having fun with the father and I could fatter this affect inside of this composition. You notice immediately that we can get a very interesting blending effects by using this technique. If you need to adjust the mask itself its path, you select the pen tal, you go inside the mask. You can add new points by clicking and dragging them around. And if you would like to get rid off those points, you hold the left control or command key and you click on the selected point. This way you can adjust the entire mask to your liking. You can work with the busier handles and extend the effect as you want. Thank you very much for listening how to mask effect and now able. If you are prepared when it comes to the knowledge about masks 44. 06-05. EXERCISE - Audio Spectrum: Have you ever wondered how people make those animations on YouTube, where the sound react to their logo or something? Similar particles are flying around and the actual logo is reacting to the music. This can be done with the algae spectrum effect. Let me add in an example, song I've downloaded. This song is very bass heavy, but it will be okay for an explanation. Now let's select an image. I select the bridge image, and I create quickly a new age deep composition. I create the composition. I place the image insight and let's make a few adjustments. First, I want to transform and fit the image to the composition. Then I want the song to be direct into the composition. Now I have here only 10 seconds, the songs off course longer. But for the sake of this tutorial, this should be enough. You can see this is a very simple song. Let me preview it for a few seconds. Nothing too fancy. But it will be okay to explain a few things, so I'll create a new solid just to make an overlay color here and select, of course, another color, because this is unacceptable. Maybe something t like that, all right. And I lower down its opacity by pressing T and bringing down the opacity. I could also play around with the effect like the color correction and play with the effects. But But I will not do this at this point. I will create another solid for our actual out of spectrum control. Why? Once again create another solid, no matter what color will be selected. And by having this solid selected, I go to effect, generate and generate audio spectrum. Now the audio spectrum is already generated and I only have to select the music which will be linked to this effect. To do this, goto all your layer and select the layer where you have your audio. I have the example techno song and you see something start to appear. As I told you, this song is very bass heavy, so it has only lower tones. So I'll need to adjust the starting and frequency. You see, the audio is already reacting to their song. But since it's a very bass heavy song, only the lower sounds played nothing else. So I should adjust this start and frequency depending on what effect you want to achieve. If you would like that out here only to bump on the base, you should set the frequencies low. If you also want to hit the mid tones and higher tones, you should make the frequency about 3000 or something like that. I have a very low frequency, so I'll start with zero and and with the rank of 500 Oh, it's actually set to one. I'm sorry, and now I could preview what I have achieved after my preview loads of it. I can see algo start. I would like, however, it to run in the circle because my logo is a circle. Let's assume that this will be also no problem. I could select the rectangle toe and create a mask inside of this shape. I would create a mask in the middle. Then I only have to go to the path and select the mask Number one as my algae spectrum. You see it is limited because the mask is very small now, and if I will, for example, up the thickness a build extend the maximum height off the actual music, it would be constrained by the size of the mask. This is easy to adjust. Just open the mask and use the mess Expansion toe. Make it bigger right now. It would be okay, and the music starts playing. You can play around to the cores, do overall adjustments and start to make it a bit more interesting. You can explored its options to know more about it. Something important is if you want to select site a toe plate from Insight side, be toe play from outside or both sides. If you want this effect, I'll, for example, select only the insight now. Hi, Could I upgrade this a bit? You can always duplicate this layer. For example, just kid control. The make this layer bigger and you have no to audio spectrums. This is how they achieved to several cars. These are several audio spectrums, and each one of them probably has a bit different frequencies and some other options. You can apply a glow effect. You can start to play around with the effects. You can change its colors. You can add the blending modes. For example, toe ad just the color a bit. Two more bluish one and we are getting and more interesting effect as previously. The background itself is very boring. So let me hit a new solid. I will create a quick vineyard by creating a new black solid double clicking on a circle so the mass will be automatically applied. Then I will hit inverted, open up the mask and feather it heavily. This is a simple effect. You can remember to create vineyards. Now the audio starts to look a bit better. I would still need to copy to several times play with the options, put my logo in the middle. I could also add some particles in the background because, as you see, some particles are flying around here. This can be also achieved in after effects. You have to effect for this. Let me create a new solid layer, depending on what color I select. Probably the particles will be off this color. So let me select a rat solid. I have the red solid on the top. Here I go to effect simulation, and I can either use particle system or particle work. These are both similar plug ins. Let me select the particle world, and right now it looks very boring. So at first I would like to intensify by selecting a birthrate off three and one second off life for the particles. It's OK now. I'll go to the physics because I don't want them to drop to the bottom. I will reduce the gravity to zero. Then I'll increase the outgoing velocity and the lines will pop very, very quickly. Actually, their lines itself look very cheesy, but you can adjust this in the particle options as I opened the particle. I have several options here, for example, changing it to star. I know for a fact that the motion Politiken looks really interesting or, for example, the darkened and faded sphere is also very interesting regarding this animation. Now it doesn't have the right colors, and it doesn't blend right, so at first I should place it behind the animation. Now it blends a little bit better, but I should also adjust the blending moat. By adjusting the blending modes, I can find something which will look interesting. For example, the multiply well, it isn't perfect. I still should play around with it. Oh, maybe something blue darkish like that, and the particles would pop out and start playing off course. They should be less visible and overall more adjusted because right now, this doesn't look, but it all depends. What do you need? And how long do you spend on editing it? Once you get a good idea, you can start copping the effect and making something better. Now, this doesn't look good at all. A select side be. It is also important which some do you select and how do you play with the layers? So this is how people on YouTube make those animations playing to their songs. 45. 07-01. Transparent Videos: in this video. I want to show you what are transparent videos. It all comes down how the video is rendered. We were talking about rendering at the beginning off the course. But now I would like to show you a real example. We have a simple animation here. It couldn't get any simply er But this is a great example. We have a square composition here and one object in it. This object as I turned my transparency Great on I can see the video is completely transparent apart from this star. So I'll click on the composition one hit control shift and forward slash toe Add them to the render queue And I will do this twice because I want to files to render The first video can stay as lost less and it will be an A V I extension As I click on the lossless settings I see my channel is set toe rgb. This will render a normal video when it comes to the second video. However, I would like it to be transparent so I can place it over any video and the background would not be visible. I will render the second file as a quick time for Mitt and in the channels I will select RGB plus Alfa. This will render at transparent video the quality off the animation Codec is set to about 50% and that's perfectly fine. First, such an animation we don't need any more quality or any other coding. This Godric is fine and let me know where. Under both files, both videos have rendered and I have opened another composition and it really doesn't matter if I used Adobe after effects. Come Tasia Premiere pro Screen flow. All video editing Softwares are handling transparent videos. Let me import them into our project panel. I'll import the two fights I've created, and if I would use the normal video, place it at the first so it's visible. It would have a black background and it would be basically not usable while the transparent video. If I place it here and place it on another place, you can notice that this video has also an Alfa channel. So here the video has rendered only with the RGB settings and transparency is not included , While the second video, the M. O. V. File, which we were rendering as transparent has also an alpha channel inside of the video, and any pixel which wasn't affected by other layers is invisible. So this is something very important to use when you are working with video. And when you are rendering, you need to make sure that if you render for example, lower turd or videos, which you want to use above other videos, you should render them transparent. If you, however, want simple videos, for example, you do some logo introductions or something they can be rendered like that. It all depends if you use a background and where you want to use this file. So this was an example on what are transparent videos, how to use them and how they look in real projects. I hope you found this information useful. And remember about that once you are working with your project 46. 07-02. Time Remapping: If you're curious how people slow motion or freeze frames of the video, you can achieve all of this by using time. Remapping time Remapping is really something amazing in after effects, which you'll certainly like. Let me import some footage. I'll double click on my project and I'll import the dark city Time lapse, and the slam dunk slam dunk is a piece off sports footage. It will be perfect for our purpose and let me click on it. I see it shot at turkey frames. The other video is also shot at nearly 30 frames, so this will be perfect. The more frames the video is shot at, the easier it is to slow it down because once you slow down, you need more frames in the second to be played. So I'll first start with the dark city time lapse to show you what can be achieved with time remapping to enable time remapping for a certain layer, you goto layer time and select enable time remapping Now what is time remapping? The video is playing as you can see for certain straight seconds the video is playing on. It's a regular time lapse. I'll hit space bar for a second. So it previous a bit. You see, this is a very simple video, so it loads in real time. Let's say I wanted to play for three seconds, but I want the entire animation here. I owned this entire video to play in three seconds. Once I've enable time remapping I can achieve all that using only key friends because right now you can see a little time indicator here on the left side and every key frame I place represents a certain amount of time. So, for example, I have here two seconds. I will set the key frame now, everywhere. I copy this key frame. Still that two seconds will appear on the composition. Now, if I would copy this key frame here and the video play now, it would play until two seconds. Now this entire portion with freeze frame. Because we have two seconds on this key frame. And as I scrapped forward, I still have two seconds. So let me go forward. You see, the video is not playing at all. But to come up for this, this part would need to play a little bit faster than normal because because we've somehow lost two seconds. So the proper way to do this and not to mess with the entire footage would be to move this key frame here. Two seconds forward. Let me control Z and show you how to do this. I would need to extend my composition. So I see what's going on. I'll set it to 20 seconds, so I have plenty of room to work with. I would like to freeze it as before. On the two seconds I placed a key frame here, I select boat off those key frames. I pushed them forward to the 4th 2nd Then I copied this little key frame. Control C Control V and this part will have a frozen frame while the next part is playing on normal speed. As you go inside of the graph Editor, you can see what's happening here. I click on the timing map and I have a perfect preview off What is going on here? Remember that it will be useful if you have the value graph here. Because if we go to the speed graft, we will see a curve like this. So, at first, the video place at one second per second because it's normal. Speed then stops and then it plays again at one second per second. I'll go back to the value graph because it's better visible here. And as you remember, as we were working with the pen tal, I could use the left old or option key to pull out the busier handles. I want also to achieve that here because this is very abruptly, it plays normally. Then it just stops. And this doesn't look realist. So I would like the best. Your handles pull them out a little bit to make the motion smoother. Now, on this pizza footage, it won't be s visible, but it will be better visible on the slam dunk. Let me click on the slam dunk, put it any new composition and do the same, right? Click on it time and enable the time remapping. All right, let me preview this footage. This is a simple sport footage with a slam dunk. Let's I I would like to freeze right about here because this looks very interesting. So I'll place a key frame here and I select both of those key frames. I put them a bit to the forward. I need to remember that this key frame is somewhere about here. If I need to see it again, out need to extend this composition. I said like this key from and I cooperate here. Now let me preview. What did I achieve? It stops and he shoots the ball. I would like it however, not to completely stop. I'd like some slow motion going on here. This is what I can achieve in the graphic that or I select the time remapping. I also enable it here and I place it bit towards the top. So it will go at normal speed of the video. Then it will be east in entered emotions some or like that. I can also use the shift key if I'd like to stop here. But I don't want to stop. I want slow motion to be played here. Now let us preview. What did I achieve? You can notice. It's very framing and choppy a displaced. This is because this footage was shot at 30 frames per second. And these two seconds right about here would need more frames If I would like to seamlessly slow them down after effect has, however, a solution to that. I can click on the slam dunk I goto layer frame blending, and I can use the frame makes or the pixel motion. The frame mix works a bit faster, and the pixel motion renders a bit slower, but in general you want to use the frame mix. The frame mix will try to blend the frames, which are choppy inside of the composition. So let us preview this now. It's still a little bit choppy, but I think this looks good enough. So if you've wondered how people make those stop motions and animations and projects, this is how you can do it. I can also time reverse by clicking on layer time and simply time reversing the layer. What this does, It only changes the time. Remember key frames. You can see I have the time remapping, and now it goes from top to bottom instead. Off this way, this would play the footage backwards. The backwards playing video has this red dots here, So I delete the first and let me do something overly cheesy. I will select this video and on the slam dunk good, for example, make some animation or so color correction here you can do something simple by selecting new placing an adjustment layer. I have this adjustment layer. Now I'll go to effect, go to color correction and select any effect I want. I would, for example, select the curves here and I'll adjust the curve to make this video pop something like that . And I'm sorry. This will be very, very cheesy. I place it in the moment where start to stop motion. I hit my left bracket key here. Then I go a bit to the forward I press alter or option and right bracket key to close it down, and I duplicate this adjustment layer. I place it forward, duplicate Ford duplicate forward, duplicate forward and I have the most cheesy effect in the world. But this is how it's usually done. I'll play space, and this is how you could make a simple video animation by slowing down footage. Time Freezing frames are using the time remapping in general 47. 07-03. Warp Stabilizer: if you have some shaky camera footage, Aftereffect has a built in tow, which can help you to stabilize it a bit. Let me import a sample video I made with my phone. I will make a new composition. We were playing football, and since it's rather cold, it's already November. My friend looked like that character from Mortal Kombat. No, all right. And since this was shot with a normal phone, of course my hands were shaking. And the footage itself, as you can see, is very, very shake on the address. You can see it's very shaky. Good that we have our Mortal Kombat character in place. He looked like smoke from Mortal Kombat. You gonna click on a certain layer with the foot that you have goto animation and enable the warp stabilizer. You can continue working in after effects while the stabilizer will read the frames and try to stabilize the image. Now let us watch what after effects did for us. There are four different methods off the warp stabilizer. We have the position, position, scale, rotation, the perspective and the subspace warp. Since I was standing in place, I don't need any perspective or rotation, I would only need toe crop. The address with the position mattered. You can off course, scrub true and see perhaps those methods give a better result. This foot, it is very, very shaky will rather not be able to do much here. But we certainly can crop after edges after effects by default, stabilizes crops and outer scales the footage. But I would like first to see how bad off a camera man I am. So I also like stabilize. Only this way I can see how shaky the actual footage is. I can scrap to the timeline and I will see how much my hand was moving. Why recording the video now? You have a few options here. If there's only a portion off the video, you would like to adjust by yourself. You can of course, do this, for example, by adjusting the scale and keep framing it. But if you want aftereffect to do this for you, you select these options. I can stabilize and crop it because this portion off the video waas not affected with the shaking off my hands so I can establish and crop it. And now I could manually adjust the scale. If I would like aftereffect to take care of this, I can select the stabilize crop and out of scale so he will do this for me. I can see that the footage still shakes a bit, but it is much, much better than before, because we've cropped out the edges. And now it's the actual footage, which is shaking, not their entire composition. So the warp stabilizer gives you options to stabilize the position. If you have some more dynamic videos, like, for example, some GoPro footage, if you're writing on the bicycle or doing something like that, you could use the position scare and rotation mattered or the perspective method. You need to play around with those matters and check out, which will give you the best results. You can see that the scale and rotation method also zooms in and zooms out the footage, so sometimes this may be useful. But for this particular case, I wanted to have a stable shot only on the person in the middle, so I would remain with the position matter. Thank you very much for listening on what is the warp stabilizer and what it's able to do in after effects, and I'm certain that you will remember about this technique and use it in your future projects. 48. 07-04. Green Screen keying: in this video, I would like to show you how to delete green backgrounds from footage which is shot on some green screen. As you open up after effect, import a piece of footage from the videos folder and we have the iPhone scroll here. This iPhone scroll Let me create quickly. A new composition from it has its screen green screen. Now we can key out this area to make it transparent and put anything in the background we would like. So as I have my iPhone scroll selected, I go to effect and I have my keying effects in the king effect. I need to select the key light 1.2 to remove this green background. Key light is a very simple and usage. We can simply select the screen color and it will try to keep it out and make this part off the video invisible. So let me go ahead, select the darkest green color I can find here. I think somewhere around here those colors a tiny bit darker than here, so I'll select it. And after offense automatically will try to make the middle transparent, as we see also the background got a bit transparent. And let's say I wouldn't want this to happen. I only wanted the screen of the phone to disappear. So let me adjust it. With a few options, you can preview different modes and stages off the actual king. By hitting the View option interview option, you can preview the source file back again. You can, for example, also check out the screen meant the ideal effect here would be if everything would be white and the kid out screen black. But as you can see, I have some great color here. The hand is nearly white, but it's not completely white, and the screen itself also is not pure black. It has some great elements on it, so the great ones are not completely transparent. They are nearly transparent, but not 100%. So to adjust that you can go to the Screen Med and work with the clip white and clip black , I can reduce the clip white and I see immediate results. All right, we got rid off the great colors around here. Now I need to adjust the black just a tiny bit, so I will select the clip black and grow this amounts to about five or 10 and it should be OK. About 10. We get rid of the gray color and we have now a batter. Matt, let me also check out on the edges and the edges are also very clean. This is the edge which was cut out. And as I see my source file and my final result, the final vote starts to get better. OK, I still have some issues on the background. This isn't necessary. But I could, for example, reduced the screen balance. It will get rid a bit off this effect and as I see my my source and my finally result, the background looks the same in the source as in the finally result and depending and the effect I have achieved is fairly good. Remember that this also depends off the quality off the actual footage. The better the quality, the less compressed it is, the easier goes the editing. Let me see if the edges are OK because this is overall and green screening the biggest issue as I go a bit forward. I see this time has a little green around it. What could I do to get rid of it. There are a couple of options, one particular very easy option. It's simply to use the screen, met again and just screen shrink and grow it by a little amount. I could shrink the screen a bit, for example, by two pixels off course. I need to select a negative amount, and the negative amount would get rid of this green around it. Now I think this footage will be prepared for usage. I could go to my project, import some images or something else. For example, the Red Photo again. I will place it in the background. I used my rotation toe rotated down. I place it on the bottom, and I can see that the middle off the video is transparent and I can put anything on it. That's how the weather forecast is made and all effects in movies. Green screening is something very important, and as you can see, it's fairly simple to perform. If you have the right piece of footage, let's say you have a clean background like here. You would also like to get it off the background because you want something else to be shown here. I could try to keep it out with some other options, for example, going to the effect to the king effects. And you should play around with those effects I could use, for example, from the king Options. The color range. I have the color range, and I need to select a color, which I would like to get rid off. I was select a medium color from the background, and you see it nearly affect the hand, so I would need to twist and Matt it a bit around. But as I increased the fuzziness, I can get rid off the background pretty easily at this point because I selected the wrong color. Perhaps I get also ripped off the hand a little bit when I shouldn't. But it's OK. You can adjust the values here or going simply again to effect color range again. I have another color range, and I would select the color more precise now to get with only off the white colors. Let me get back to this color so the hand is visible. Something like that. Okay, duplicate this effect one more time, Select this color, then get rid of this color. And until I have got good result. I would continue working like that. I could also mask out this portion off the video. So green screening something very important and effective in the entire video production area. 49. 07-05. Motion Tracking: in the previous lesson. We made our green screen, but I would like to make it a bit better with some motion tracking to track something inside of the phone. Let me go in the iPhone scroll. Get rid of the bottom effect because I would like the background to be visible. Now I have this image here and I want this image to slide. S three slights his finger around the screen. I'll quickly do this with adding some position key frames. I go forward and as he starts to hover, I will start to key frame. As he puts his finger up, I'll move to image. I go forward. It still moves a bit as he scrolls again. I scrolled up and I do this a few more times just so we have some footage to work with. Now let's check out this motion. Some motion is happening, but we see that the image is staying in place while the phone is shaking and moving a little bit. This creates an unnatural experience for the viewer, so I should track the motion off the actual phone and applied his motion also to the image . This is done very simple aftereffect has a built in to for that, and it's really amazing. I'll double click on the iPhone scroll to open up this layer, and I goto animation and use track motion. Track motion opens the tracker. Let me maybe place it here, so its better visible. I'll make it bigger, and at first I need to go to my first frame. Now I need to select a point which I would like to track inside of my footage. Luckily, the footage is really great that there are not many colors here, and it will be very easy to track this green collar or this black caller or, for example, the finger. But I will select this green color here, and it should work perfectly. I zoom in with my scroll wheel. I hit the space button to reposition, and I select the track point. I place this track point here just about in the corner, and I make it eventually a little bit bigger. So this is the area where this pixel will follow, answered for certain points. If I have prepared my track point, I can start to work with the motion tracking. You can click here to start it automatically or click a few times here to analyze one frame by frame. I click, and I see the tracking is going very good as I click away. So since I'm certain it will work, I'll could play and the motion is being tracked. I need only a few seconds. Let's stay at this and you see, this is the movement of a phone. We have attracted emotion and you can apply it now toe other layers. I can edit the target, which it will be applied to by hitting, edit target and applying it to a certain layer. Since I already have position, keep rings on my rattle. I don't want to destruct those position key frames I want to create quickly a new object. This will be, of course, our beloved nil object at the target, and I will select a nil object as the target for the motion to apply it to let me also show something. As I select the iPhone scroll and press you, it will reveal the tracker. The tracker has an intense amount of points because each position has its own key frames and as I make it bigger, let me show it to you. I have really a bunch off key frames and you need to be aware of this. Those key frames will be now applied to the position value off another layer. So I have edited the target. I've selected the no, I will apply it applied boat dimensions. And now the new object. As I press you has some position key frames, very intensive ones. Now the new object will fly around together with the phone. I'm nearly done with my animation. Let me close this down. And if you remember the parenting options you need to say hi, Red will remember that the nil object is your parent and you should follow him. Now My animation is ready, and I can preview my result how I tracked emotion and how this looks. Now I have pre rendered the video of it and let me hit the space bar to preview the effect . The person is scrolling and the image follows the phone itself. You can notice that the motion off this image is floating around with them tracked. No object. It isn't staying in the same place. So this is how motion tracking issues and you can apply nearly anything to this. Let's, for example, say it's an phone review you are doing for you too. I was right here. I should, of course, make it more fancy. But this will be the iPhone review and the iPhone review should be tight together also with the new object. Now I can place it here, placed on graphics here. And this is how people are making those reviews. Let me prove render this a little bit okay. I have managed to pre render it. Let me hit Space Bar to see our final result Here. You see, this little text is following along with the phone. This creates a really great effect you should know about and remember about it and make use of it in your own product. 50. 07-06. Exporting and copying elements between projects: I wanted to share with you a quick tip which you might find useful. You may come across. They need to copy certain elements from one after effects product toe another project we'll normally aftereffect can't open to project at one time. I can only do this if I have Adobe CS six and C C installed on my PC. But normally I can't have two instances off Adobe CC opened. So what's possible to do if you are an after effect and you want to copy one composition to another project an after effect, you can collect the files and then copied over to another project in after effects CIA six . We could go to file and select collect files. The same option in Adobe Sisi is available under file dependencies. And here you have the collect files option. Let me go to the C s six version and select collect files. Since this is a very simple project, it has only one layer inside of the composition in the collect source fires. It selects for me none product only. But if there would be more footage and more files, I could also copy all the footage for the selected composition or even for all compositions . If you would like to share the file with someone and you have the footage files in random places over your PC. This time I was still a project only because I only the project and I will hit collect now . Once I want to collect the files, I go into my footage folder and it will create a new folder for me. Let's maybe type, share calm, and this will be the name off my folder. I click safe and after Effects has created a folder for me. This folder has appeared here under share, calm and inside of this folder. I have the project, and if I would have some footage files, those files would also appear here. I allow head over to the other instance. Off aftereffect. Double click on the project window. I will find the folder where the files are saved under the share comp. I'll open up this composition and I have the entire project imported. This project had one composition. It was Comp one here and it had one layer with two objects in it. As I opened up the composition or I nested into my existing composition. I have the same layer. I can go inside the composition, the layers. Here I have both elements imported from one after effects filed to another. So this is how you can change comes between two projects. Or you can share the fires with someone which doesn't have the footage on his computer. You can collect the entire package collective files and send them over to someone so he can import it into his after effects. Thank you for listening to this short tutorial. 51. 07-07. Basic Camera Usage: A camera has plenty of uses and can be really simply explained in one tutorial. But I want to show you the capabilities of camera. Let's say, for example, that you have a scene. You want to zoom in on certain parts of your scene in order to add a camera to After Effects, you can right-click and edit as any other type of layer. We go to New and we go to camera. I will not explain all the elements right now because this basically requires your camera or DSLR knowledge. But if you know a little bit about lenses, you can use the 50 or 35 millimeter lens. It would be perfect to showcase those type of work. We have two types of cameras. One node cameras, which resolved over one object on our screen. And to note cameras for the majority of work, we want to stay on the two-node camera. Okay? I have added a camera into offer fact, what has happened? Basically nothing until we make our layers 3D enabled. If we enable 3D, you can see the camera already influences what is displayed and why is it blurry now, this is blurry because if you know a little bit about lenses, the elements here are affected by the depth of its field. It's much, much better displayed if I switch from one view to two views. Here, is the camera perfect? Now we see what's going on, on this screen basically. Now we slowly get an understanding what's going on in the screen. Because if we open the camera options, we have Camera Options and transform options. Transform offerings are just like any other transform options, but the camera options allow us, don't be afraid of all those options. Allow us to change the depth of field and the focus distance. We can turn the depth of field off. This way, everything will be sharp if you want to keep it on, you can always change the distance where the depth of field is. I can simply drag that up. And the depth of field will be here. This is good if something is in the background and you would like to have, for example, grass in the background to be blurry, but the object in the front to be sharp. This is why you use depth of field for this kind of animation. Of course, I can keep it to off. We can go into the camera and work with its transform options and simply change the position. Here and a dare. You can see I would move around with the camera. But since this goes usually a bit messy, the usual simplest way to work with cameras and to move them around your screen is to right-click, select New and select a nil object. Let me put it above the camera and simply parent the camera to the null object. This way, we don't have to worry about messing up the options and position properties on the camera because we can always work with the new. I need to enable 3D for the needle as well. And let me show you how you can zoom into different parts of the text. Simply, the new is now basically the camera. So I'll move to the left side. I'll come closer on the z-axis. As you can see, I'm becoming this nice animation already. Okay? At first, I want the height to be sent around in the center of your screen. I will keyframe the position. Now here. Maybe 20 frames forward. I want this to be on the second text. Will I manage to do this? Okay, now I can zoom a little bit out. Of course, this will be a pretty ugly animation, but I wanted to show you the capabilities of the camera. You can see on the left side what is actually happening to this screen. If you would be watching from top? What's flying, I can move. It may be a little bit vacua, five frames staying in this place, a place, another keyframe. And going forward to around this part and showcasing the third text. Now, this is the ADI animation I made. I will not easily keyframes because that's not the point of this tutorial. In this tutorial, I want to show you what will happen now. I have, this is again a simple normal ones Queen, but this is a scene. And at the very end, I set another keyframe. And moving here forward, I'll zoom back out to the original screen. A couple of minutes later, I simply switch back to the middle of the screen. This is approximately what they wanted to achieve in this animation. This is potentially a really bad animation. Or by using a camera, you can fly around your scene and you can even go a little bit more advanced. Bye, changing the orientation of the camera. You can see I would rotate the camera. If you want to select an showcase object from the left side, from the right side, just remember those objects are now 3D objects. They can basically be showcased from any way. If I will write it this camera, you can see all these texts will become like further away and behind. So a camera allows you to rotate around the scene. But this is a very advanced and very difficult to achieve unless you really know what you were doing. It requires a lot of practice. Those are the capabilities of cameras. 52. 08-01. Create a Lower Third: in this tutorial, I'll teach you how to prepare Lower turn nineties from start to finish. Let us preview our end result and then start working. I started a new composition HD size 30 frames per 2nd 10 seconds long. I click OK, and I can start working now for this kind of work where we need some precision. I would suggest you open up the great so it will be easier to draw the actual lower TERT. I'll come a bit closer with my scroll wheel and I can start working. I will select the shape and I will try to create the first part off our lower turn This size should be okay. Let me preview it a bit. All right? It's good enough and I will de select the shape layer, run and create another shape. Once I have my two shapes preferred, I should select the color for them. I was searching a bit around in adobe color until I found this. So I will work with those colors. I have two monitors, so I switched it back on the right side and I'll simply pick with the colors Now I want to select my first rectangle up in the layers panel. Click on Phil, click on the Pickwick and select the proper color. I will go for this bright one, and for the second shape layer, I select the rectangle. I select the fill again and choose a darker color. I will quickly rename my layers so they don't get messed up. I select bottom and this will be the upper. I place it as the first, so I don't get confused. If you want to remain with those rectangles, that's no problem. If you, however, would like to change those shapes, you could do so with the panto. I select a pencil, and I have to make one adjustments to those layers. They are rectangles, and they have a rectangle pat with some options. I would like, however, to change the pat inside of here, so I select the rectangle. I right click on it, and I converted to bestir pat this, get rid off any options, but the shape is now a paired. Now I can adjust it a little bit by adding a point here and deleting the point. This is something I wanted to achieve. I'll do the same for the second rectangle. I go inside the rectangle, right click on the rectangle Pat converted. Now I can select the path, select the panto, and I can edit or at new points. I'll add one point here and one point maybe here I delete the remaining point, and this looks good enough. I think we are prepared to add the text now. An important notice in adobe after effects. CS six. You can't convert them to best your parents want. You are drawing a rectangle you need to hold the left old or option key won't you are holding the left old or option key. It will automatically create a pet instead of a shape so you can see the first rectangle is the rectangle. Pat would its options, and the second rectangle is only a pet where I could edit the point. So remember on aftereffects, Year six, you need to hold the left old in adobe after effects CC. You can simply right click and converted to bestir path before I add the text. I would also like to animate those two rectangles, so I select the upper. I see the anchor point is up here, so I press why on my keyboard and I place the anchor point here on the left side because I want those to scale up from left to right. They will be invisible and they will pop out from the left side. I also like the bottom one. And by having the pen behind to selected, I placed this anchor point also here. Now I can select both off them. Let me close everything down. It will be better visible and I press on the scale. I want to also work on the X axis off the scale. Not on the Y axis. This is I handling the constrain proportions. And I work with the first scale. I see. I have a little mistake here. Let me go once again to the bottom. Somehow I messed up with the anchor point potential problem. Now I can work with the first left scale. I select both layers and I press 0%. I place key frames here and I want to go two seconds forward. I see. I've made another mistake. This composition is too small. So I press control que And instead of having only 10 frames, I want to make it 10 seconds off course. Sorry for this little mistake I select. Okay, I make it bigger. I should also extend the layers to 10 seconds. Now it's OK. I'll place the key frames on two seconds and on two seconds it should be 100% to make this animation one second long, I place it on the 1st 2nd I press want paid down. I select the key frames and I press shift. So they snapped exactly to the 1st 2nd Now this is how the animation from left to right will be looking. I select all key frames. I go to my key frame assistant and I Eazy e's them. Ok, now I can add the text. I select the text right away and place the first text calling my name. And perhaps I should change the phone because this looks like from downtown Abbey and not like the lower turd style I'm going for. So let me select the front they found to select that I'll not search too long and I duplicate the text and place the bottom text here. Both my text layers are prepared, but I want the text layers toe f