After Effects CC: The Complete Guide | Phil Ebiner | Skillshare

After Effects CC: The Complete Guide

Phil Ebiner, Video | Photo | Design

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
82 Lessons (9h 60m)
    • 1. Please Enroll

      1:33
    • 2. Welcome

      2:34
    • 3. How to Download Course Files

      1:14
    • 4. Dive Right In - Animate Your Name

      6:58
    • 5. Understanding the Workspace

      5:39
    • 6. Starting a New Composition

      8:15
    • 7. Adding Media to your Project and Timeline

      5:08
    • 8. Basic Tools

      10:20
    • 9. Create a Perfect Shape + Colors

      3:04
    • 10. Working in the Timeine

      10:59
    • 11. Layer Properties

      8:57
    • 12. Animating in After Effects

      7:35
    • 13. Position, Scale, and Rotation Animations

      5:17
    • 14. Animation Tips

      4:21
    • 15. Using the Graph Editor

      5:32
    • 16. Challenge - Bouncing Ball

      1:01
    • 17. Solution - Bouncing Ball

      20:20
    • 18. Solid Layers

      7:07
    • 19. Shape Layers

      6:24
    • 20. Layer Styles

      3:44
    • 21. Shape Effects

      5:54
    • 22. Track Mattes

      8:37
    • 23. Pre-Compositions

      5:34
    • 24. Reversing Animations

      2:14
    • 25. Time Effects

      5:54
    • 26. Blend Modes

      6:05
    • 27. Stabilize Shaky Footage

      4:04
    • 28. Intro to Motion Graphics

      0:53
    • 29. Clean Lower Third

      9:22
    • 30. Logo Reveal Animation

      13:25
    • 31. Colorful Transition

      16:59
    • 32. Mask Animation

      10:05
    • 33. Text Bubble Animation

      13:39
    • 34. Weather Phone App - Part 1

      16:41
    • 35. Weather Phone App - Part 2

      8:21
    • 36. Weather Phone App - Part 3

      6:59
    • 37. Flat Animation Challenge

      2:47
    • 38. Phil Designs his Flat Animation Scene

      12:39
    • 39. Animating Fireworks with the Repeater Effect

      15:02
    • 40. Removing Green Screen

      6:46
    • 41. Adding a Background

      7:55
    • 42. Adding Motion to a Still Photo - Puppet Tool

      6:26
    • 43. Adding Motion to a Still Photo - Ripple Effect

      6:07
    • 44. Intro to 3D

      10:04
    • 45. Swinging 3D Text

      12:11
    • 46. Build Out a 3D Composition

      5:47
    • 47. Animating in 3D Space

      7:38
    • 48. Creating Stars in After Effects

      5:11
    • 49. The Rotoscope Tool

      6:55
    • 50. Cleaning Up the Edges

      7:21
    • 51. Finishing the Rotobrush Animation

      7:33
    • 52. Easy Screen Replacement

      9:56
    • 53. Intermediate Screen Replacement

      13:49
    • 54. Advanced Screen Replacement

      8:13
    • 55. The Puppet Pin Tool

      4:33
    • 56. Animating the Puppet Pins

      3:04
    • 57. Animate Blinking Eyes

      8:21
    • 58. Adding Perspective with Clouds

      7:10
    • 59. Text Animation Presets

      5:59
    • 60. Page Turn Effect

      10:05
    • 61. Radial and Linear Wipe Effect

      3:20
    • 62. Color Correction in After Effects

      3:33
    • 63. Motion Tracking Basics

      9:51
    • 64. Attaching Text / Visual Effects to Tracked Video

      6:21
    • 65. Tracking Scale and Rotation

      11:33
    • 66. Adding Details to Motion Tracking Scene

      4:04
    • 67. Intro to Character Animations

      1:31
    • 68. Design Your Character

      14:32
    • 69. Rigging Your Character

      2:50
    • 70. Animating Your Character

      9:55
    • 71. Adding an Animated Background

      9:12
    • 72. Adding Details to Character Movement

      7:20
    • 73. Adding the Paper Cut-out Look

      5:29
    • 74. Exporting from After Effects

      7:03
    • 75. Exporting with a Transparent Background

      4:03
    • 76. Exporting through Adobe Media Encoder

      4:40
    • 77. Create an Animated GIF

      7:03
    • 78. Audio Tips

      3:20
    • 79. After Effects + Premiere Pro Workflow Tips

      5:54
    • 80. Expression Basics

      7:24
    • 81. Animate a Flickering Light

      17:35
    • 82. Thank You

      0:59
30 students are watching this class

About This Class

Join this BRAND NEW Adobe After Effects CC course to have fun while learning quickly!

If you are looking to make your videos better, adding motion graphics and visual effects is the way to do that. After Effects CC is used by professionals across the world for every type of production from business & marketing videos, music videos to documentaries, feature films. This full course is the best way to jump right in and start making your own videos come to life.

Make videos the way you imagine them!

Practice while you learn. This course includes practice files so you can follow along and actually learn by doing.

By the end of the course, you'll have finished dozens of real world projects to build your confidence.

I'll be teaching the course using the Creative Cloud version, but if you have a previous version (CS6, CS5, etc - Mac or PC), you can still learn with this course.

What's this course all about?

Get ready to create motion graphics that will improve your video quality. If you've always wanted to learn how to use video effects and create custom motion graphics, you can learn After Effects CC right now.

Practice lessons will get you motivated and moving to your goals.

The lessons are meant to teach you how to think like a motion graphics/video effects artist. After Effects is a robust tool that is capable of creating almost any video effect out there. You'll learn all of the basics, intermediate, and some advanced techniques, from working with shapes, text, and textures to video effects, transitions, and 3d camera.

Here is a glimpse of what we'll be covering:

  • Getting comfortable with After Effects CC
  • Starting a new composition
  • Using the basic tools
  • Working in the After Effects CC timeline
  • Adding shape and text layers
  • Animating position, scale, rotation, and opacity
  • Working with shape layers and masks
  • Real world projects such as lower thirds and bumpers
  • Motion graphics principles and best practices
  • Using video effects and presets to speed up workflow
  • Green screen and chromakey removal
  • Visual effects and rotoscoping
  • Motion tracking and video stabilization
  • Creating unique transitions
  • Exporting your projects
  • and so much more!

Knowing After Effects CC is a great skill to have that is in demand and highly marketable. I've landed many jobs with the skills that I teach you in this course.

Go ahead and click the enroll button, and I'll see you in lesson 1!

Cheers,

Phil

Transcripts

1. Please Enroll: If you want to make your videos look better, you're in the right place. This is the complete adobe after Effects CC course, where you'll learn visual effects in motion graphics to make your videos look like the pros . I'm Phil Evan ER, creator of the best selling after effects. See a six course and I've been using after effects professionally for the past decade, and I'm so excited to teach you everything you need to know to get started. Whether you're making videos for yourself, creating videos for your own business or you want a career in the hot video and film industry after effects is a great skill tohave. I've designed this course, so it's project base so you can follow, along with project files, photos, graphics and videos. The goal is to have fun while learning and to see real world applications of what you're learning in each lesson. If you're looking for a complete course that covers all of the major aspects of after effects like motion graphics, visual effects, green screen and rotoscoping, character animations, kinetic typography and much more, this is the perfect course for you, whether you're brand new to after effects with zero experience or you've opened up after effects a few times, but you want to get more comfortable with it. I invite you to join me inside with our 30 day, 100% money back guarantee. There's no reason to hesitate. Enroll now, try it out, learned some new things. Have fun with me and start making videos better than ever. 2. Welcome: Hello. Thank you so much for enrolling in the after Effects CC course. I'm so excited to have you here in this really quick video. I just want to welcome you talk about how this course works. Talk about the project files you're going to be working with and just have a quick, important message about how you can help me make this course even better. First, how is this course laid out? Well, it starts as if you are a complete beginner. I assume that you know nothing about after effects. So in the first sections of the course, we walk through some of the basics just getting started with the workspace, using the basic tools. But we do jump pretty quickly into how you start animating. And then each section tackles a different aspect of using after effects, starting with the more beginner things like motion graphics and kinetic typography, moving to more advanced things like visual effects, rotoscoping, character animations and expressions. In this first section of the course, you will have access to all of the project files. And so in that lesson, download all of the project files will include videos, photos, graphics and the after effects projects themselves. Now I'm using at this time the latest version of After Effects, which is the 2017 version. If you have a previous version, that's totally fine. You can build all these animations from scratch, but the project files won't work if you are using a previous version, especially if you're using a CS six CS five or something from before. Even if you're using a future version of after effects, it should be completely fine. Off the project file should work. And all of the things we teach in this class are still applicability to you, too. If you ever have a problem or a question, feel free to post it to the class. I'm here to help you. You can post it directly to the class page or send me a message myself. Or a ta will get back to you usually within a day or two. The last thing I want to mention in this video is that I know when I launch. Of course, it's not going to be perfect, and I need feedback from students like you to make it even better. So if there's something that I miss, something that I went over to quickly something that I didn't cover the right way. Just let me know. I want to make sure this is the perfect course for you. So send me a message and let me know how I can improve it. Thank you so much for enrolling in this class. I'm so excited to have you here. And the next lessons, you'll download your product files and then you're going to actually jump right in to doing something really cool with after effects animating your name. Thanks so much. And we'll see you in the next lesson. 3. How to Download Course Files: The first thing that you should do before moving on is download the course project files so you can find those in the your project tab. And there's a this link right here that takes you to a Google drive page, and it will show you these five zip files so you have your project files. It has your music, your photos, your video, your graphics to go ahead and download those unzipped them. Learn how to do that with a quick Google search. If you don't know how it ends up files on a Mac or PC yet, but typically you just double click it once it downloads and you'll find all of the project file is the graphics, music, photos, videos, etcetera. Now these project files are for CC 2017 version of after effects and newer so they won't open in any version previous to that version. But they will work for both Mac and PC users, even though I create them using a Mac cool. So again, that's in the your project tab of the Skill Share folder. Just click that link, download the projects, and we'll continue with the first course. First lesson thanks 4. Dive Right In - Animate Your Name: welcome to the first lesson where we're going to dive right into after effects. What I like to do with my courses is to show you one really cool trick that you can do rather easily to show you the power of the application we're learning. And then in the following lessons, we're going to back up. We're going to learn everything from scratch. But for now, what I want you to do is open up this project file called Write my name. This would be in the project files, folder of the downloads that you just downloaded. So just double click that and that will open up after effects in this project that I've set up for. You know, in this lesson, while this opens up, I'm just gonna tell you. Don't worry about anything. We're gonna go over all the menus, starting new compositions, everything in future lessons. Right now I just want you to follow exactly what I'm doing. Just click where I'm clicking. Click the buttons. I'm pressing. And don't worry too much when you open up after effects. This is what it should look like. You'll have what's called the composition in the middle that has my name Phil. And then you have your timeline down here with Phil's name and then name practice. And these are two different, basically projects again. We're going to cover all of this later. But two different timelines that you can work on your going to be working on the practice one. And then here is my one. So if we go in our timeline and we click up here in the timeline or take this blue bar and move it to the start and then press the space bar, this is what you should see, Phil being written on the screen. That's what we're going to do with your own name right now. Cool. Okay, so all you have to do is click over to the name practice and then click this icon up here. The pen tool. Everything should be set up. So you should see right here next to fill it should have this red slash stroke should be this blue, and then it should say 10 pixels, which is the stroke with the goal with this quick little project is to create something cool that's animated that you can share on social media. That's why we have this square composition, which is 1000 by 1000 pixels. I've already set it up for you again. We're going to cover how we do this in a future lesson. To use the pen tool and to write your name. Basically, what you're going to do is just start clicking within the composition and draw your name. You're not going to click and drag, but you're going to click and then let go and then click and then let go. So, for example, for Phil, I started with the bottom of the P. So I clicked and dragged a little bit to create a curve. And then I clicked and dragged Teoh curve when I clicked and dragged to create more of a curve. Then I click down here. Then I clicked up here. So you're gonna have to think about how you're going to write your name because it all has to be connected. So sorry if you haven't I in your name like me, you're not going to be able to dot your I's so sorry. Third grade teacher, we're not going to be dotting our I's in this one. So notice how I created this. And when I click off of it, we've created this shape layer down here, and that's what we're creating. A shape layer. It's basically a line. Now, if I want to undo this, I can either delete it or what I want to do is turn this off really quickly so you can practice this with your own name. But I'm gonna turn this off and show you what happens when I'm not clicking and dragging. So if you just click and then click, then click, then click, then click. What happens is you create a line, but it's just a square without any sort of curves. It's just right angles, and that might be fine for you if you want that style. But if you want curves, you have to kind of click and drag, so just play around with it. I'm going to delete this shape layer to by selecting it and pressing the delete key on my keyboard. And then I'm going to turn back on this name layer with that little eyeball button. Okay, so now we have our name, but it's not animated, so follow exactly what I'm going to do after you have written out your name. Click this drop down button right here. Click. Add this little button next toe ad click trim paths. Make sure that the timeline marker is at the very beginning. At zero seconds, drop down this menu next to trim paths, click the 100% next toe end and type zero and press return on your keyboard and then click this little stopwatch next toe end, Then go to four seconds. So drag your timeline indicator to four seconds. Click the zero next to end and type in 100. Then press return on your keyboard or enter. Now, if you press the space bar, it will play through this composition and your name should animate on the screen. If you want to change the color of your name with this layer selected so the shape layer one click the stroke color. So the color next to stroke. And then when this color picker pops up, you can change your color to really anything you want. Okay, I think like OK, so now you have your name animated within after effects. Pretty cool, right? This is just the beginning of what you can do in after effects. If you want to export this so that you can post it to social media right away, go to the export section of this course and watch that very first lecture, which is how you basically export an H 264 quick time version of any project. And then that will be great for posting online men. If you do, make sure you tag me at Philemon ER and at video school online. All right, I know you are probably confused. You're probably like Phil. I don't know about this. You went a little bit too quickly. But don't worry. We're going to back up. We're going to learn about the workspace. We're gonna learn about how you create projects and compositions. We're gonna learn about layers and everything in the next sections of this course. But I hope that this was a fun lesson to show you the power of what you can easily do in after effects. Thanks so much for watching and we'll see you in the next lesson. 5. Understanding the Workspace: you and I are going to dive right into after effects now, and we're going to take it slow. But the way that I have laid out this course is to really make it practical. So in this lesson, we're going to work our way around after effects. I'm going to talk through the different panels so that you feel a bit more comfortable. I know how daunting it can be when you open up after effects for the first time. There's so many buttons and titles and panels that are confusing. But I'm not going to make this course one of those courses where I just sit back and tell you. Okay, this button does this. This button does that. This button does this this But it does that because that's not a great way to learn. Throughout this course, you're going to be working on many projects and then full real world projects. And throughout that, you're going to be learning different tools, different effects. And so I really encourage you just tow work through each of the lessons they build upon each other. And so by the end of this course, you should feel comfortable working on real world projects in after effects. If you come across a button or a panel that you're confused about fuel for you to let us know and to post a question in the Q and a tab of the course. Otherwise, we might answer that question later on. So just keep working through when you open up after effects. For the first time, you'll probably get a pop up the start module that ask you to start a new project. You can see here that I have a number of projects that I've worked on in the past. Once you've been using after effects for a while, you'll see all of these projects appear here first. When we're starting, we're just going to click New Project, and that's going to open up after effects like this. I'm using the Adobe 2017 version Creative Cloud version of After Effects. If you go upto aftereffects up here in the title menu and you click about after effects, this is how you can see the version I'm using. Version 14.2 point 1.34 It's the 2017 point to release when aftereffects updates, as they usually do once or twice a year, they add new features. All be updating this course, really, though no matter what version you're using, especially if you're using a creative cloud version, your aftereffects is going to look very similar. So just click in the middle to get out of that menu. The next thing you want to understand is the layout. One thing to know is your after effects layout might look a little different than mine right now, and that's because there are different work spaces. If you go up to a window and then workspace, you'll see that there's different work spaces because there's different panels that you might want to use to do different effects. But you might not necessarily need them open all the time if you're not working on that kind of thing. For example, if I click motion tracking, it will bring up this motion tracker panel on the right hand side. But if I'm not doing motion tracking, I might not need that panel open. So to get on the same page, goto window workspace and then go to default. This will be the default view that will be working through in this lecture and moving on. All right, let's get acquainted with after effects in the top left, you have your toolbar and your menus. A lot of the things that we do in after effects with buttons within the actual program down here can be done through the menus up here. A lot of these options are grayed out right now, and that's because we can't do much without starting an actual project. Below that we have the toolbar. You don't see all the tools right now until we start a composition and a project. But you'll be using a lot of these different tools in this class, most of them actually. And this is really what we use to create our own effects and animations. On the left hand side is the project panel. This is your Basic Documents folder for your project. If you've used Adobe Premiere Pro in the past, it's very similar. This is where you can import media and graphics. You can organize things you can add. You know everything from music to illustrator files, everything you can organize in your project. And this is also where you'll be creating different compositions, which, and after effects, a composition is basically an individual video that you're working on an individual graphic and individual sequence. So if you are accustomed to Adobe Premiere Pro, think of a sequence as the individual video you're working on in after effects. It's a composition. The way that these panels sometimes work is that you have the main tab, and then behind this you have another tab. So here we have the effects controls tab. This is where you'll be adjusting a lot of effects once they're applied to your footage. So that's the project window or panel in the middle. You ever composition. Once we started new composition, which will be doing shortly. You'll see. This is where you actually have your project. On the right hand side, there's a number of panels just by clicking on them, you can open them or close them, so we have the effects and presets preview audio. These are all things that will be looking at in the future and then down below. You have your timeline. This is how you start creating your actual projects to take it to the next level and Seymour of the options. We're going to have to start a new composition, and we're going to do that coming up next 6. Starting a New Composition: let's start a new composition. There's multiple ways to do everything in after effects. Usually there's a button in the interface. There's often a keyboard shut shortcut, which you can get to if you go to help and then click on keyboard shortcuts. This will take you to the Adobe website, which has shortcuts for both Mac and PC users, which is really helpful. And then, lastly, there might be a menu option up here in the top. So if you go to composition, for example, you'll see the new composition button, which will also show you the keyboard shortcut. I'm using a Mac, so it's going to be command and or just click this button down here in the project panel. This brings up your composition settings window. Remember, think of this as an individual video or maybe an individual clip that you're working on. You can always rename this later, but for example, I would just call this after effects one. You can name it whatever you want, Then you have all of your sequence settings. Under the basic settings, you have different presets, so if you're using a particular type of camera or footage, you would just select this one of these presets, for example, a lot of videos that I create. I'm shooting at 1920 by 10 80 pixels. This is what you your standard HD footage is, and I shoot at 29.97 frames per second so I could find one of those presets that matches those settings, such as this one. HD TV 10 18 29.97 That changes the width and height to match that. It also changes the frame rate down here. And you can customize this stuff yourself, for example, if you want to create a square graphic. For example, if you're putting on social media like Facebook or Instagram, which like square graphics, you can just click in the with or the height and type in the pixels that you want. So if we want to square weaken, do 1000 pixels by 1000 pixels, and that would work fine. Typically, you're pixel aspect ratio should just be left at square. If you run into an issue, or if someone wants you to do it differently, you would select these. But for most of the projects you're using, just leave it at square. Next you have your basically your timeline window options. The duration is an important one. This can also be changed later. But this is where you set the duration of your composition, which is different than again referring to Premier Pro where if you started new sequence, it can basically be as long as the video you add. You can keep adding clips. It could start out as a minute, but then, as you add more clips, it turns in two minutes 10 minutes an hour with the after effects. You set the duration in the beginning, so if you want a clip or an animation to be five seconds long, then you would set it as five second long like it shows here. If you need it to be 10 seconds, you would change this to 10 seconds. For example. There's gonna also be changed later, but it's good to start out with something shorter, like so background color. This is the background of the composition. This just depends on how you want it to look while you're editing. This doesn't actually change. The background of the video itself will be showing you how to add a background color in a future lesson. This is Just think of it as the transparent background so that you can work in your project . Some people like a white background just to see what that looks like. Typically, I'm just going to leave it as black when you're happy, just click, OK? And now you can see two things happen. One in our project tab Over here we have this composition and then down here, our timeline has sort of opened up, and you can adjust your timeline to zoom in and out. You can see now that our timeline goes from zero seconds 25 seconds and then you have the frames in between 10 frames 20 frames than one second to zoom in. You can take this top bar the time navigator, and zoom in by dragging to the left. Well, right. There's also this little slider at the very bottom for you to drag in and out, and that allows you to zoom. And then now you can also use the plus or minus keys on your keyboard. Just a few more things about your composition panel down here at the bottom. You have different ways to adjust the view on the left, you have this percentage. This will depend on the resolution of your screen. You can zoom in according to a percentage, and this will zoom into your composition at that percentage. So if you would just want to set it at a smaller percentage, you can choose like 25%. So this is moving your 100% resolution composition and shrinking it to 25%. If you wanted to just match the size of this panel, you can choose fit upto 100%. And now you can adjust the panel size by clicking on the edge and dragging up or down. And this is helpful because often times I'll find myself adjusting the size of these panels so that I have more room in the timeline, for example, and that way the video or the composition adjust while I change that panel. The other thing I want to mention right now is this resolution. Right now, I have it set for full, and this is the playback resolution, not necessarily the export resolution of your video. And this helps if your computer is a little bit slower, often times my aftereffects students us. My computer's running slow. It's it's lagging the video. It plays back. Choppy. How do I make it playback smoothly. Usually the issue is that you don't have enough memory or ram processing power in your computer. I recommend at least 16 gigabytes of RAM on a Mac. You can see that information by clicking the apple button and clicking about this Mac. You can probably find a similar setting on your PC as well on in your computer settings. So here you can see that my memory is 16 gigabytes right here. Even still, when I'm using with using high resolution footage like four K footage, I do get a little bit of playback lag. And so to fix that, we can actually decrease the resolution of our playback. This will play back at a lower resolution, so you're seeing a little bit lack of quality. But that's better than having a choppy playback. In my opinion, the last thing I want to talk about right now with this composition panel is this button right here, which is the toggle transparency grid. But it so see if I click that you get this checkerboard of you when you see the checkerboard think transparent. So if you actually wanted to export this video right now with transparency, what you would get is just a blank video with nothing. It wouldn't even be a black background, even though the background of our video is set to black. Remember what I talked about in the composition settings, which you can get back to if you go to composition, composition settings or command K on your keyboard. See the background color is black. If I set this at White, for example, click OK and then click. OK if I click the Transparency grid, but and again it still shows that it's a transparent background were going toe. See how this comes to play when we create graphics like titles, and we want to put them onto other videos in the future. But just know that you can click this button to see what in your composition is transparent . That's the basics of starting new compositions. In the next lesson, we're going to be importing graphics into our project panel, and then we're going to be moving on and actually working with our composition and adding new layers 7. Adding Media to your Project and Timeline: a lot of what we'll be doing in after effects. We create from scratch right within after effects, so creating things like titles and motion graphics. You can build most of that right within after effects. Other times, though, you'll be using after effects to apply visual effects to video clips. Or you'll be using photographs that you created and you'll be adding effects to that. Or maybe you'll even be adding music and sound effects right within after effects. I typically do that in Adobe Premiere Pro because it's a little bit easier and more efficient for me, but you can still do it in after effects to import media into your project toe work on. Just go to your finder folder or your documents folder, and then you can simply drag any asset into your project. Been So. For example, if I wanted to bring in this picture of a King ARU that I shot in Australia, I could just simply drag it and drop it in after effects. And you can see that when I get that plus green button, it means that I can drop it into my project panel and then the other ways you can import are just by right clicking shoes import and then choose file. And then you could go to your folders through this. So, for example, if I wanted to bring in some music can pick this music Click open or I could go up to file import Again Import file. Let's import of video. For example. Do this video sample and click open once it's imported. I definitely suggest organizing your footage. I typically create folders or bins for the different types of footage. So, for example, I can create a new folder by clicking this new folder button and then call it Video, for example. And then I would put all of my video clips in this video folder or if I'm working on multiple compositions within the same project, which all tend to do. I have many compositions, right within one project. I might separate them into different folders. For example, I would typically have a name for these graphics, but I would call his graphic one, and then within this graphic one folder, I would put all the music and all the photos that I used for this graphic. And within this folder, I might even create sub folders four photos, for example, and then put the photos within that folder. I find it is going to help you a lot. If you learn to organize your footage, there's no right or wrong way to do it. I think you've just kind of have to figure out what works best for you. And it might change depending on the project. But please keep everything organized as you work through your projects. It will just make you a better after effects user in the long run. How do you actually work with this footage or all of these assets that you're bringing in while you basically add them to your timeline? There's different ways to do that. Let me take this photo, for example, and drag it into my composition. There's two ways to do it. You can drag it right onto your composition window itself or down into the timeline. Now let me show you what happens when I drag it onto the composition. See, it just pops in right there and you'll notice that this layer has been added to our after effects timeline down here, and it's been added to this entire sequence or this entire composition from start to finish for all five seconds. Now let me take the same photo again. Drag it into the timeline. But you'll see now that as I drag from left to right, there's that little icon that moves left and right in the timeline bar, and this is where it's going to start. So if I wanted to start one second, for example, I'll just drop it right there. And now you'll see that this photo starts at one second. I can move the current time indicator to the right and see where this one starts, but you'll see that I don't see that photo that I just added down here, and that's because it's beneath this other king room photo. So if I want, I can drag this second King room photo this layer right here above the other one by clicking on it over here in the left hand side of the timeline above our other king room, and you'll see that it actually added it to sort of a different position. This 1st 1 it added to where I dropped it. Let me delete that one more time to show you so if I want to move, drag it and drop it in over on the right hand side. I can do that. Now again, I'm going to move this beneath my other king Guru layer and you'll see if I scrub through just by clicking and dragging through this composition. It goes from this photo to that photo. So think of after effects as layering different media assets on top of each other. Whatever is on top will show, and the next lesson will be using and looking at some of the most important tools up here in the toolbar. 8. Basic Tools: I'm gonna go ahead and delete these two folders and media assets because that was just for example, so I'm just going to select them in my project panel and then click delete. And now let's go over the basic tools. If you hover over them and just pause for half a second, you'll see the name of the tool pop up with the keyboard shortcut. This first tool that is sort of your standard mouse tool that you'll be using for most things you do in after effects is just the selection tool. This allows you to click on things, and then once you have different assets, shapes, titles, layers in your composition, allows you to click on them and move them around. The next is the hand tool, and this actually moves around the composition window itself or the video itself in your composition window. For example, if I said this to 25% and then I take my hand tool, I can actually move this composition around, and this is beneficial if you have something that you want to zoom in on and then you want to move around your composition so that you can see it more clearly. Speaking of zooming, you can zoom in with the zoom tool so I can zoom in. Now, zoom out. Once you have the zoom tool selected, which is keyboard shortcut Z, you can press option on your keyboard and then click to zoom out Option on a Mac. And then it will be Ault on a PC for PC users. That's another way. Other than using this drop down menu here to zoom in and out of your composition, I'm actually going to bring back my King Roof photo show so I can show you kind of more what this looks like and what these other tools do. I'm gonna drop this and on my composition. And I wasn't going to show you all of these things until next lesson. But let me just show you a quick way to zoom in and out of a an asset that you've added or to scale it up or down. If you press s on your keyboard, that brings up the scale property. You have these percentages here. You can just click and drag to the left or right so you can see I can zoom in and out it's not necessarily zooming into my video. It's just scaling up or down the asset that I'm using. So if I want to fill the frame, will put it at about 49% now. You can see more clearly if I zoom in, for example, and let's change the resolution to full so we get the highest quality possible. And then I take my hand tool, which another quick tip is. If you just press the space bar on your keyboard, you temporarily get the hand tool. And then when I un press the space bar, it goes back to the tool that I was using. So, for example, if I'm using the selection tool, I can use the space bar to move this around. Let me zoom out really quickly is only zoom out of 50% and then I'll just space bar hand told to move this around with the selection tool. If I click and drag this photo, it's actually moving it around the composition. So if I want it on the right hand side, I can do that on the left, up, down, etcetera. That's different than the handle, which is actually moving just the composition window around. Same with zoom Tool. You're not actually zooming in on the video or the media is just zooming in on the window. The playback. The next tool is the rotation tool, and so if I click that and then I click on a layer, so I have to have a layer selected. Then I click and I drag around. I can rotate this image left or right. Say you do something and you don't like what you did. You can quickly undo by pressing Command Z on your keyboard. We're going to skip the camera tool, which will be covering in the three d section of this course. And then there's the pan behind tour. This is a little bit confusing, so I'm going to try to explain it as clear as possible. But this has to do with the anchor point of each layer. The anchor point is symbolized by this little circle with the lions coming out and sort of a cross section. You see that it's right there. It's kind of hard to see, I know, but it's right there in the middle of this layer, and what this does is it anchors all of your different properties to this point. So remember when we scaled this photo up and down down here with the scale property? So if I zoom in and out, where is it zooming in and out from our Skilling up and down from its scaling up and down from that point right there in the center, the anchor point? What if I move this point down to the left, which I can do by clicking on our pan behind Tool or the anchor point tool? I can drag this anger point down to the left, and now, if I scale up or down its scales from that point, see how that works. And so the anchor point is going to really come in handy later on when we're changing how we animate different layers. This will also affect the rotation. So if I go back to the rotation tool, it rotates from that anchor point. In the rest of this lesson, we're just going to go over these three other tools. The rectangle or shaped tool, which is also the mask tool, the pen tool and the text tool or the type tool thes. Other tools are a little bit advance and will be going over them in a later lesson of this course. First, the rectangle tool the rectangle tool. Or, if you click and hold it down, you can see that there's more options, such as the rounded rectangle tool, the lips tool, the polygon tool or the star tool. This allows you to create shapes. You will be able to create a new shape if you don't have anything selected in your timeline . So what does that mean? If I click on this king ruler, it highlights this layer. You can see that when I click it, it's this sort of bright purple. If I click off of it just down here in the timeline, it sort of becomes a little bit darker. If I you have that rectangle tool and then I just click in my composition window and drag. You can see that it creates this rectangle, and I can change the shape and size, and eventually we can change the color as well. And when I do that, this new shape layer appears in our timeline. Okay, let me delete that. I actually believe that layer. Now I want to show you what happens when I have the Kinga Reus layer selected. And then I have this rectangle tool selected. And then I try to create a rectangle. What happens is I'm actually creating a mask of this layer that selected cool, right? So if you want to crop or quickly cut out a piece of your photo or any of your media assets , you can do that with with this shape, tool or what becomes a mask tool. Let me undo that and say, We want to create a circle or an ellipse, as they call it. We can choose that tool and then just drag around our king or his face. I'm going to show you how to create perfect squares in the next lesson. Let me undo that. The next tool is the pencil. While this is selected, what I can do is just click around, and it basically creates a custom shape. So every time you click, it creates a new point, and then you have to complete all of the points in a complete circle for it to actually become that shape again. With the king grew layers selected, it creates a mask for this king rule air let me undo that on day one. Do if I click off of the King Guru and then I click with the pen tool, I do the same exact thing. You can see that without the king grew selected. It creates an actual shape layer. So you're now learning that these two tools the pen and then the shape tool they have to things that they can do. They can either create masks or they can create shapes. Let me delete that one. Lastly, we have our type tool, so with the horizontal type tool or free click and hold. You have a vertical type tool. You can select that, and then you just click in your of composition, where you want to add type. Click. It adds that empty text layer down here. And then if we start typing hello, you can see text over on the right hand side. You'll also notice that the character panel popped open, and this is where we have all of our text options. You can change the font. You can change the style, you can change the color, and we're gonna be going over more of these options in a future lesson. but feel free to play around with these settings now. It won't change anything unless you have your text highlighted with your text tool or your type tool selected, or if you go back to your selection tool now that selects all that text and you can change these settings. So if I want to change it toe white text, I can click the text color, which is this window right here that brings up our color picker. And then I can drag around and change to wait, for example, if I want to change the font and just choose a different fight if I want to change the size via this method, which is different than the scale method that we showed you down here and then changed the text pixels or the font size pixels, those are the basic tools in after effects. And as you can see, there's so much in after effects, and I hope you're learning. So far it may seem like we haven't covered that much, and it's true. There's so much more to cover, and this course has already been, what, 30 40 minutes long? So I hope you found it beneficial. So far these lessons are really the basis the foundation. And as we move forward, we're going to get more into the real world aspects of it. But hopefully this has been helpful. And in the next lesson, we're gonna be going over mawr of these different options in the timeline. 9. Create a Perfect Shape + Colors: Before I move on to the timeline, I promise that I would show you how to create a perfect square or circle. So first I'm just going to delete these layers by selecting them here in the composition panel and just deleting them to create a perfect square. Take the rectangle tool, and then, while you have it selected, just click the shift button and you can see that as I drag out, I create this square. You can see that it's being created from the upper left corner. What if I want it to be created from the center? Well, let me delete this Italy this layer now with the same tool selected. If I click and then I hold shift and then I hold command, which on a PC would be the control button. You can see that it creates, and it grows from the center from where I clicked. Cool. Now, how about a circle? It's basically the same thing. So if you go to your lips tool and then if you click and drag, you'll see that now it's just an oval. But if I hold the shift button, it's that perfect circle. And remember what we did Teoh create the circle from the center from where we clicked, we held the shift button down and the command button that's on a Mac. It would be the control and shift buttons on a PC. Okay, so now I have this shape. I'll go back to my selection tool, and I can move it around my composition. Here's another quick tip if you want to align it to the center of your composition, so you wanted to be perfectly in the centre, horizontally and vertically. Go to your align panel just by clicking online and click vertical center alignment and horizontal center alignment. The's buttons right here allow you to adjust where your layer is according to your composition. Now, how do we change the color of our shapes? Well, there's this Phil button up here, So with this shape layer selected, I can click the fill color right here, and I can now change it. So if I want a light blue circle, I can do that. You also have this stroke option, so right now the stroke. You don't see it because it's set to zero pixels. But if we want a stroke, which is a little hard to see right here. I said it's to 15 pixels. And now, as a white stroke, I'm going to turn off the transparency. How do I do that? You might have got saw me going over there is this button right here? So let me turn off the transparency. So now we have that black background, and this is great, because now we can easily see this image in our shape with the stroke. If I want to change the color of the stroke, just click the color next to the stroke. And now I can change it. Maybe I want that sort of red and blue look super cool, right? And now you have a red stroke. So those are just some basic things to know about using the shape tool, how to align layers to the center. And now, in the next lesson, we're going to be going over more of the options down here in our timeline 10. Working in the Timeine: next. Let's look at the timeline. So I have that perfect circle that we created in the last lesson. I'm actually going to turn off the stroke just by changing the pixels to zero. And I'm also going to add my King Room photo back onto the timeline, just dragging it beneath my circle. Cool. So we already learned how to zoom in and out of our timeline just by dragging this top bar or by zooming in down here. You'll also notice that there is this other work area bar. If I press the space button, it's going to play through all five seconds of this composition and you'll see that aftereffects is automatically set up to just repeat toe loop the play so it's gonna continuously keep playing. And that's because in after effects, often we're creating these little animations, and we just want to see it over and over to see how it looks instead of having to press the play button over and over. What if we were creating some sort of animation at the very beginning of this and say, this is just a basic animation where our circle pops on? Well, how do we do that. We can just drag this shape layer over to the right and you'll see that now it's off at this time. And then if we dragged through, it's on. Now that's not really an animation. We're going to be covering how to actually anime things in the next section. So coming right up. But now if I play through this is going toe pop on right there. Let's make it a little later at 10 frames, for example, go back to the start. Okay, play there. Now it takes a while for it to go through the five seconds and then go back to the start again. Say, we want to zoom in on this time frame, for example, the 1st 2nd more easily take your work area bar, and now we can drag this in toe one second, for example, and you can see that it's highlighted. Now if I take my time indicator and I move it into this work area, then I press the space bar. You can see that it loops the play just for this area of the workspace, which is super beneficial as you create your more intricate graphics. One other use for this. Let me bring back our video clip. So let me bring in this video sample and then a quick way to create a composition based off the size and settings of your actual media asset is just a drag your media asset into the composition button. Right here, you'll see that it created this video sample composition and then down here it's the right size, so it's the same aspect. It's also the right length. So it's all two minutes and 20 seconds of this video, which was a video for another class of mine. Say you have a video clip, but you only want to add graphics to a certain part of it. Say I want to add a title graphic right here between five seconds and 15 seconds. Well, I can take my work area bar, and I can move this to around five seconds. Then I could take the end of it and move it to 15 seconds. And now if I zoom in just with this bar right here and now I have this set up so that my work area is going from six seconds to about 15 seconds. You can see that If I click in the middle of this work space bar, it moves the whole work area to move the end inner out. You have to click on the end of the work area and then drag. So that's how you can sort of zoom in and work on a specific part of a clip. What if we want to actually just trim this whole composition to this specific part of the clip? Because as you're working on this project, you might not even need everything that's to the right of this sort of work area. If you go up to composition than choose trim comp, toe work area, what happens is it trims it to that work area that we had set up. So now it's just that six seconds to 15 now, we can't go ahead and zoom back out from this. You see that now are Zoom Bar. If we use this, it just allows us to zoom in and out from that six frame six seconds to 15 seconds. That's one thing to note. We can't, of course, undo this, or we can go back to composition and our composition settings, and now you'll see that the duration is nine seconds. Say we want this to go for 10 seconds. If I put in 10 seconds and then click. OK, then I zoom out. Okay, Here's another thing with your timeline. Look what happened at the end of this video clip. You'll see that. Oh, this video clip actually disappears. You can see that there's this little cut point right here. And that's because in the previous part we went to composition trim to Compton work area. It actually trimmed this media clip or the video clip to the cop area as well. So to extend this, what we can do is just hover over with our mouths over this end of the layer and drag to the right. Now, if we go through and scrub through, this video plays through till the end of our work area. One keyboard shortcut that I like and is really helpful is the command left or right bracket shortcut For Windows users, it would be control left a right bracket. So if I press command and then I press right bracket with the king grew layer selected, it actually moves this layer up. I can choose the command left bracket to move it back down. So this is how you can reorder layers just on your keyboard. All right, that's a lot with the timeline over here on the right. But there's all of these buttons over here on the left, and we'll be going over all of these things in future lessons as they become more applicability. But the things I want you to know our first on the very far left, is this little eyeball icon. And you have these different columns with these buttons where if you check on or off, it includes that little icon. So turn off this layer, which is what the eyeball icon is for it. You can just press that I am all for the layer, and it makes it basically disappear. It turns it on or off. We don't have any audio in these clips, but we do in the video sample, and that's what this next column is the audio. And so if you want to turn on or off audio for a specific layer, just turn that on audio honor off with that column back to our other composition, gonna move my time indicator to this point where we have both layers. This next column is to so low layers, and this might be more beneficial or easier to understand if we have more layers. So let me duplicate this shape. Layer one to quickly duplicate it. A layer instead of going up to our shape to one, creating another layer. Weaken. Select it in our timeline and press command, D or control de for you Windows users. Or you can also copy and paste by selecting it. Pressing command See and in Command V that's control for PC users. So from now on, if I ever say command, it's typically going to be control for PC users. Sometimes it's different, and so you might be confused and you'll have to go up to the Help Keyboard Shortcuts menu. Just find out what it is, or you can always ask me in the Q and a tab, and I'm just going to move this layer over to the right. So now we have three layers, and this solo option allows us to basically make only one of those layers appear. So if I click solo shape layer one Onley, this layer appears same if for the kangaroo, it makes all the other layers disappear automatically. And this is beneficial. If you have projects where you have dozens or hundreds of layers in a single composition which actually has happened to me and in the past and you want to really just see one layer , you can use that solo button. The lock button right here locks this layer. So now I can't move it around. You'll see that it does this little highlight when I try to click it and I can't do anything to this layer, and that's beneficial. If you're done with the later and you don't want to do anything, mess it up, move it around. Just click the lock button to the right. You have this drop down arrow and so you see that if I click this drop down drops down more options, we're gonna be covering thes things, which are more properties for each layer in the next lesson. So I'll just skip over that for now. The next is this color option, and this is the color of your layers. So you see that the photo layer was automatically this purple color this violet and then the shape layer was this blue. If you want to customize the color of your layers, you can click that color block and then change the color. And this is helpful for organizing your compositions. Say you have again a bunch of layers. You want to make sure that you can easily find the right layer. And if you know that, hey, all my red layers are text layers, for example, which this isn't, then it's easier to find that the source name is the name of your layer. If you click that source layer text up here. It changes to the layer name, and this is how you can actually rename your layers in your timeline to be more organized. So instead of shape, layer at one and shape layer to which can get confusing in the long run. What I would do is I would select shape Blair one and then press the return key on your keyboard that highlights this title, and now I can call this Circle one or Blue Circle. Then, if I go to this second layer and I changed the color by going up to the fill, changing it to read, clicking on the title pressing return, then call it Red Circle. This is just an easier way to again navigate, making you more efficient. And that's pretty much as far as I want to go today. In this lesson, I know that this lesson in the past lessons it's more of that. Hey, Phil, we're just gonna go around, go through all the menu options. This is boring, but don't worry. The next few lessons are going to get a little bit more interesting. We're going to start animating very soon. We just have to cover the basics right now, So I hope you're learning. Help your understanding. If I'm going too fast, please let me know if I'm going to slow, please let me know. But also be a little patient because there's other learners who are starting from scratch and need a little bit more information. Thanks so much for watching and in the next lesson will go over more of the layer options that are within each of these layers 11. Layer Properties: let's talk about our layer properties to do that, I'm going to delete this red circle. But I'm also going to just leave this blue circle on and our photo I'm just going to extend this one to the left and extend this one to the right. You'll see that when we created the shape layer that we automatically have some of these options already opened the contents and the Ellipse option and the transform menu. Every layer has the transform menu. So if I go into art Kangaroo later and I click this drop down button, you see this transform menu that pops up to open up this menu? All we have to do is click this little drop down and you'll see all of the transformed properties. Anchor point positions, scale rotational and opacity thes are transform properties for every single after effects layer. We already looked at scale. This is how you scale up or down a layer anchor point. We already kind of saw that with the pan behind tool. This is just the representation of it in pixels based off of where it is on your composition here. So if I take my pan behind tool, and then I click on the anchor point and I move it around. You can see that it actually moves. The anchor point number is down in the timeline back with my selection tool. If I move this photo around my composition now, you can see that the position is also changing. We can also change these things just by clicking and dragging these numbers here in our timeline, or by clicking the number and actually putting in the exact number that we want. So if we want this to be at 100% scale, we can put in 100%. If we wanted to be at 25% 25% you'll see two percentages for the scale, and that's the width and the height percentage. And these air typically locked, which you can see with this little link icon, which is the constrain proportions option. If I want to be able to edit the scale of the width and height individually, I can click on that to unlock it, and now I can stretch this photo with the different scale. It's for with and height so you can see this is also scaling from the anchor point. So it's killing from this point, and you'll also notice that I can go negative. And so when I go negative, it actually flips the image. If you wanted to flip exactly from the centre, an easy way to put the anchor point in the exact center is toe. Hold the command and shift buttons down, and you can see now as I drag the pan behind to around you see these crosshairs pop open, and this helps you and it kind of locks the anger point to the center horizontal and the vertical center lines. If we wanted to be in the center, weaken, drag it and it snaps to the center. Now you can see if we flip the scale. It flips exactly from the center of the an image, which makes it a little bit easier. We have rotation, which we also saw before with the rotation tool. If we rotate that change of that and then the other thing we didn't see is opacity. So this is the transparency of this layer, also known as opacity. 100% opaque means that it's fully there. None of it is transparent. If we put it down to say 50%. And then we toggle on the transparency of this composition. You'll see that there is some transparency. Say we move this kangaroo above our blue circle and then we turn on our blue circle again. Now we can see the blue circle behind our kangaroo. That's because we're at 50% capacity for this photo layer. I can turn off the truck toggle transparency grid, and you can still see that this circle is behind this photo layer. So let's bring that back up to 100%. All of these transform properties have their own keyboard shortcut, and by the end of this course, you will be well aware and fluent in using them. So for anchor point, it's a for position. It's p for scale. It's s for rotation. It's our and for a pastie, can you guess what it is? It's actually not O which would make so much sense, but it's actually t, which you can think of as transparency. So, with any of these layers selected, you can bring up those different properties. And if you want to quickly close down this layer instead of just clicking this triangle but in which is relatively fast. But I think keyboard shortcuts make everything faster. You can use any of those buttons, for example, s to bring upscale. And then when you press s again, it closes down the scale property so none of them are open. T t again closes it down. You can also select multiple layers in your timeline by shift, clicking them or by control, clicking them or command clicking on a Mac. And then you could bring up any of the properties together. So scale TVA, rapacity a for anger point and so on and so forth. So if I drop this down and open it up again for the king grew image, we've gone through all of the transform properties in the shape layer. You'll see that you have your transform properties, but you also have this contents drop down. This is different for shape players, and you'll see this with Shea players. You won't see the contents for layers like photos. And here is actually the ellipse and let me turn off our kangaroo so we can see the lips. This is the lips shape that we created in this layer. The confusing part is that we can create multiple shaped within this one layer. We're gonna be going over shapes in much more depth in the future. But let me just quickly take the lips tool with this layer selected. If I click and drag, you can see that I'm creating another circle. It doesn't create a separate layer. It creates another ellipse within the contents of this one shape layer. So if I turn this on and off, it's both of those shapes in one, and underneath this ellipse layer, we have more options. We have the Ellipse path that stroke the Phil and transform properties. So there's individual transform properties for each shape layer within this shape. Clear, confusing, right. And within these transform properties, there's more options for shape players such as skew, which skews a shape or skew access, which changes where it skews from confused. I know it is confusing, and you're going to learn these things as we go on as we use them. But just note that while all layers have the basic transform properties, some layers have different properties. For example, the mask layer. So let me delete the blue circle, which leads both of those circles we created, Actually, I mean, undo that and show you that you can drop down our contents folder. And then if you want to just delete one of these ellipses weaken, select that ellipse and then delete it if you want to delete the whole layer entirely, just like the layer itself and not the content layer down below and delete. So if I turn on the king room, then we create a mask. Do you remember how we did that? We went up and used the shape tool, such as the rounded rectangle tool or the pen tool. Let me show you the polygon tool because that's a good one to know, too, with this layer selected. Now I click and I drag and I have this polygon. It starts out as a Pentagon with five points. Now we have this mask, which is another option underneath this layer. So if I open up the mast tool, we have masked properties, feathers, opacity, expansion, all these things you can adjust the same way by clicking and dragging to the right or left or by clicking and in putting a specific number. I think that's a lot to grasp right now, Go ahead and play around with your layers. Play around with your timeline. Play around with all these properties for your different layers, and in the next section, we're going to jump right into animating in after effects. It might sound confusing, but once you know the basics of it, it actually is relatively simple. So get comfortable with everything that we've learned in this section so far, and I'll see you in the next one. 12. Animating in After Effects: welcome to this brand new section we're going to be animating in after effects. So throughout this course, what I want to try to do is challenge you based off of what we've learned in previous lessons. So sometimes I might ask you to pause the video and do something. A lot of what we're doing in this section and in future sections were building completely from scratch. And I want you to get into the mindset of I can build it from scratch in after effects. I don't need a template. I don't necessarily need the project files while we do have project files for some of the projects so that you can see exactly what I'm doing in this section were creating everything from scratch. So what I want you to do right now is to start a new composition and make it 1920 by 10 80 pixels and make it five seconds long. So go ahead and pause this video. Do that and then I'm going to show you how to do it. If you forgot. All right. Hopefully you paused the video to create a new composition. Remember, we create click this, create a new composition. But in we said our settings 1920 by 10 80 then for the duration. I'm just going to choose five, and I'll call this animations next. What I want you to do is create a perfect square and center it toothy composition. So again, we've learned this in the past section, so you can do this on your own. So pause this video, create a perfect square. How about you make it a white square and put it in the very center? It doesn't matter how big or small it is for this example, though, so pause and do that all right. Hopefully you pause. So to create a perfect square, choose the rectangle tool from up top under Phil or next to fill, click the color and select white, so it's going to be white. Now click in your composition and drag while holding the shift button down, and that creates that perfect square right to center it. We have our ally in panels over here on the right hand side, so click horizontal and center alignment for vertical. So now we have our perks. Worry. Let's talk about animations. Two. Enemy in after effects. We use what are called key frames. Key frames is related to the word frames. And, you know, with video we have frames. We set our composition to 29 97 frames per second. So in every second of our video or our composition, there are 29.97 frames. So if you zoom in on our timeline really far, you can see each frame. 12345 get it. So a key frame is telling after effects that at one point in time, we want ex whatever type of property to be this. So, for example, let's bring up opacity. Remember how to do that? It's t on your keyboard. Or, if you drop down your transform properties, you can see it under opacity. I'll just bring up it with tea, so ah, rapacity is set at 100%. Let's go to one second on the timeline, so let's go all the way here to set a key frame. You can click the stop watch icon, this little stop watched next to opacity and you'll notice if I bring down all of the transform properties. And even if I dive into contents, you can see that some of these things have those stopwatch icons, and that's because you can set key frames for many, many different things in after effects. Again clicking T To bring about pastie, click the opacity stopwatch, and that creates a key frame. You'll notice that on our timeline, right at one second, this little diamond appears. Let me move my indicator over to the right. You see that little diamond? That's a key frame, and that's telling aftereffects that at one second we want this square layer to be 100% opacity. Let's go back to zero frames or zero seconds. If we click on our opacity and say we choose, set it to zero press return to lock that in place. What happens is we're telling aftereffects that at zero frames we want, though pastie to be 0%. So what happens between zero and one seconds? There's this animation or this transition from 0 to 100 so if I scrub through this, you can see that it creates this fade on effect. That's what opacity can be used for for fading on objects or layers. I can move around these key frames, so Aiken click them. I can move them around. So if I want a longer fade for it to go two seconds, we can move the distance between the two key frames from 0 to 2 seconds. And now our fade is longer. See that, or if I wanted a lot shorter, we could make it half a second. Like so I can delete key frames so I can just select one and delete. Or let me undo that Command Z and select both and delete one thing you'll notice. Let me undo that. Let's go back to where we had just are one key frame at one second, you'll notice that as soon as I change the opacity to zero that a key frame was automatically set. I didn't have to click the stopwatch to do anything. In fact, if I set art, opacity does something different than the 100%. And then I clicked the stopwatch. What happens is it deletes all the key frames or if we go back again and ah, rapacity that 100% and I click this now it again deletes everything that we've done so far . So to create a new key frame once you've set one key frame on any individual layer. All you have to do is change the value of that property. So if I drag this down to zero, that is set Now I say we want this toe fade on and then fade off. Let's go toe two seconds. We can set this to zero and now we have our object fade on to 100% then fade off to 0%. How do we get this to fade on and then pause at 100% and then fade off to zero present? Well, we can either go in between these second and third key frames and either change the opacity to 100%. Or I can copy and paste key frames so I can select this key frame. Copy it on a Mac that's command, see on a PC or to be control, see and then paste it. Command V. Now, between these two key frames, nothing happens. It just stays at 100%. That's the basis of most things were going to be doing in after effects. And the next lesson we're going to take it a step further and start animating other properties, and there are some key things that you'll need to know, especially when animating things like position that's coming up next, and I hope you enjoyed this lesson. 13. Position, Scale, and Rotation Animations: let's move on to some other properties. So to get rid of all of these key frames, remember, we just clicked the stopwatch again. But once we do that, it actually stays at the value where our timeline indicator is basically. So if I click this there, it's going to stay at 0%. So I'm gonna move that back up to 100%. So let's bring down all of our transform properties. Let me just make this a little bit bigger fit up to 100%. All right, so now you know how toe set key frames. So it's rather simple to create a position animation. So say we want our square to end up here. Let me take my selection tool. We'll set a key frame for our position, so decide what time you want it to end at this position. So we'll do one second and said a key frame for position there. Maybe we wanted to pop up from beneath this composition itself, So I went back to zero seconds, and I'm going to drag this down and you'll see as I start dragging because I have a position key frame, we give this sort of lying with little dots stretch between the two points. You'll also notice that as I drag down, it's kind of hard to make it precisely going perfectly vertically up without going from side to side. Will the lock it in place press the shift button? And as I do that now, it's kind of locked in place like so, and it locks her horizontally or vertically. So now, if I drag down below are composition, then let go and then let me bring in my work area so we can see this animation and then press the space bar bar. We have this animation of this square popping up cool, right? We can actually add multiple animations to the same object. And that's how we get things to B'more. Intricate. So maybe we wanted to grow while it's moving up on the screen. So at one second, let's set a key frame for scale at 100% and then go back, and sometimes I like toe. Leave it on. I don't want to go back to zero seconds because I can't see the square, so I'll just go somewhere right here in the middle where I still see the square. I'll decrease the scale toe where I think I want it. And then because I don't want to just go like pop up and then all of a sudden grow, I want to be growing the whole time. I'll just drag this key frame for scale all the way to the left, and I did that just so that I can see what I'm working with. So let's play through this. So it's growing as it's appearing on the screen. And let's just add rotation. So let's rotate. So this will be the final resting spot at this rotation. We'll go back again and let's rotate to the left. Now. The problem that I see is that our anchor point isn't in the center of this object. So what happens is it rotates from the anchor point, which is a little off center, which actually looks kind of cool. But if we wanted it to be from the center, you're gonna have to do a little extra work. We'll take this pan behind tool, so let's move this back to the center, and then what we'll have to do is see where the position starts. So if we'll go down to where the position starts. We have to put our timeline indicator over this key frame or it's not going to work. And then we take our selection tools and let's move this down. So now it's rotating from the center and it's moving straight up. And remember what I just did. I press the space bar to move my composition up or down. You'll notice that outside of our composition that we still see the outline of our square. And this is just a way that, after effects lets us sort of see what's happening outside of our composition. When we have a layer selected when I don't have that layer selected, you see the square, but you don't see the path that it's on. A good rule of thumb, though, is if you want your animation to be from the center of an object, make sure that you set your anchor point first. All right, now we have this pretty cool animation of this square popping up. What if we want to change the rotation? This is just a reminder that if we want to make it rotate even Mawr and we want to change this 1st 1 Remember, we can't just go in the middle of these two key frames and change the rotation. Say we want it from negative 36 to negative 94 because what's happening is now it's going from negative 79 to negative 94 then back to zero. You'll wanna go all the way to the first key frame in now with our time indicator on the first frame key frame. Set the rotation to whatever you wanted to start at like 94. Another way you can do that is just by deleting this key frame and then moving the one that you just set all the way to the left, where it started, or really wherever you want. So that has a little bit more of a rotation. And that's how you change key frame values after the fact. In the next lesson, we're going to be making our animation look better and a little bit more natural. 14. Animation Tips: to make animations look better and more natural. There's a couple things we can do in after effects. One thing I want you to do is wave your hand in front of your face Right now. I know it sounds a little silly, but just wave it in front of your eyes and do you notice anything about the motion of your hand? It's really blurry. That's called motion Blur, and it's just natural that things in our natural environment when they move the way our brain processes them, there's a little bit of blur. What's different in this animation is that at every single moment at every single frame, our square is perfectly sharp, and that's not natural when it's supposed to be moving so you can add motion blur in after effects. And that's one of these other columns in the timeline. Is this one with these three little dots, and if you hover over it, it's called motion blur, and all you have to do is check that button and enable it for our entire timeline. And that's what these buttons up here do. So you see this three little dots, one that's enabling motion blur and So now you'll notice that as soon as I check that on, you get a little bit of blur on the edges of this square. And as I go through and Scripture, you see that little blur, and that's a little bit of motion blur that makes it look a little more natural if I make this animation even faster. So I bring all of these key frames in to half a second, which I can do by selecting all by clicking and dragging over and then selecting one of them and dragging them to the left. Then play through this. You get even more motion blur because the faster and animation, the more motion blur you get off on. I typically like toe add motion blur to most of my animations. The other thing that you can do to make your motion look more natural is playing with this speed right now. Between these two key frames, this square is moving and rotating and scaling up at the same speed throughout this entire animation. So from this frame to this frame, it's moving at the same frame speed as from this frame to this frame. But in nature, things ramp up. If you bounce a ball on the floor, it starts off slow, and then it will speed up, and then it will go slower as it reaches its resting point. If you start running, you don't start running at your top speed. You ramp up and so to ramp up animations. What we can do is called Eazy e's and after effects. Let me just do that with position. So let me press P to bring up position. And now I just have my key frames here toe. Add Eazy E's to a key frame or to a set of key frames. Select those key frames or just for one right click the key frame, go to key Frame assistant and then choose Eazy E's. Or you can just select them and press F nine on your keyboard. So that's what I'll do now with that Eazy E's. You get more of a pop to it. It's that speed ramp, but it also has a sort of like pop action that I think looks pretty cool and looks a little bit more natural. If we extend it to one second, it'll look a little bit better, but you'll also know that now, when I extended the position to one second, I didn't extend the scale or rotation to one second. So I want to do that. So what I can do to quickly bring up all of the key frames for this layer is press you, you on my keyboard and that brings up all the key frames. Now I can take my scale in rotation and move it to the right toe one second. And if I want, I can Easy's these other key frames so I can select all of these press F nine or right click and choose Eazy E's Now with that motion. I think it looks a lot more natural and you can see it can't slows into that final resting spot in the next lesson will take it one step further, using an advanced technique that I think you'll understand. You just have to dive right into it, and it will help you change up the speed ramp of your Eazy E's 15. Using the Graph Editor: to play even more with the way the speed works with this animation will use what's called the graph editor. The graph editor button right here opens up what's called the graph editor. Obvious filled. Right? But we don't see anything down here. Let me just extend this panel. The timeline so we can see a little bit more. We don't see anything. And that's because we have to choose our key frames that we want a view on the graph editor first. You can also do it later. But with these selected and then clicking the graph editor but and we see these lines and these lines on this graph represents the's speed of this value change. So for the position you can see and if I want to just highlight one of them, I could just choose that property over on the left hand side. I can see that the position starts at zero pixels per second and you have the values on the left on the Y axis of the graph, and then it ramps up all the way to the middle or it's at 1000 pixels per second. So remember how he was talking about with Eazy E's, it ramps up and without Eazy E's, it's sort of this linear. It's always moving at the same pace. If I check off of the graph editor, then I choose my position, key frames and then click command. Click them Teoh, clear that Eazy E's. Then go into the graph editor. You can see that the speed is this flat line right here. It just is always about Well, it says exactly what it is. 767.43 pixels per second for this entire animation. Let me undo that. So we have our Eazy e's. This is the speed graph. If you don't see the speed graph, you might have to go to this button, which says Choose graph type and options and select speed graph because you might be on value graph. This is another graph that shows the value of your property. So over here you have it starting at 13 8.919 and that's right here in our position. And then it goes down all the way to 5 40 There's lots you can do with the graph editor, but in this course were mostly going to be looking at this speed graph. So how do we change up the speed? You'll notice that we have the key frames down here, which, when selected, they have these handles these little yellow handles coming out from them. If we click on the yellow handle, you can see that I can drag it around. I can drag it up and down, but I don't necessarily want to do that. I just want to dry it to the right or left. And if I drag it to the right, what's happening? It creates more of a ramp, and so it starts out even slower than before. So for the first half second, it doesn't ramp up to speed as quickly as before when the handle was back here. So now we're ramping up the speed from zero. It's on Lee going around 500 pixels per second at half of frame, and then it really spikes up to 2500 pixels per second. What does this look like through that little pop at the end? So it kind of slows in and then it pops up at the end. Let's reverse this. So let's take this first handle and put it all the way to the left. And then we'll take this second handle for the second key frame and dragged to the left. So now it's gonna go really fast and then really slowly go into its final resting spot. One thing I like to do to give it just a little bit more of a pop is grab the handles and drag them both in. So let's drag both these handles in. So now it's going to go all the way up to 5000 pixels per second in the middle. And you can see this creates this sort of cool pop effect, and we can do this with the scale to or with rotation. So maybe we want most of the rotation toe happen at the very end of this animation. Just select rotation. Click on your key frame down here in the graph editor to get those handles and drag to the right. So now there's not going to be much of a rotation here. But at the very end, there will be this fast rotation kind of cool, right? Or maybe you want it to be the opposite, but you can play around So the graph editor is a cool way where you play with the speed of your animations. Now, if you've gotten this far and you're mostly comprehending what I am talking about Bravo to you it took me years before I even started working with the graph editor. So you're learning things that professionals are using all of the time in their animations . And I wanted to just dive right into this topic because I want you to be making animations that look professional right now. Ah, lot of newbies. When they're starting out with after effects, they create these motion graphics and effects. But they look so simple, the motion doesn't look natural, and that's because they're not using things like Eazy E's or the graph editor. So I hope you feel proud of yourself. I'm proud of you. And in the next lesson, we're going to be creating a bouncing ball effect. So this is more of a real world application, putting everything that you've learned so far in this class putting it together, and we're going to create that animation coming up right next 16. Challenge - Bouncing Ball: with all the skills you've learned in this class so far, you can put together an animation like this, this bouncing ball animation. So I challenge you to do that right now. In the next video, all be following up with the answer. I'll be going through how I did it. But I'm only using skills that we've taught in this class so far, putting it all together to create something that looks like this. If you don't get it exactly right, that's totally fine. I'll show you what I did and it's okay to be a little bit different. You get a sort of preview of what I did here. I've got multiple layers. I've got these clouds in the background moving to the side and got this sky the ground. And then, of course, this bouncing ball. One clues that I'm using a lot of easy easing and the graph editor to make this motion look more natural. All right, so that's my challenge to you. Go ahead and try it. And then in the next video, I'll be showing you how I did it. 17. Solution - Bouncing Ball: Let's build this from scratch, So the first thing I'm going to do is create a new composition. This composition is 1000 by 1000 pixels wide. The time could actually be four seconds. My animation is a little less than four seconds. I'll call this bouncing ball to, so that's pretty good. Frame rate. 23 976 That's fine. And then I'll click. OK, first, let's just set up the background. So what we'll do is use our rectangle tool to create the sky, and so I'll choose my fill color as sort of a light blue. And one thing that I don't know if I taught yet, but if you want a square or a rectangle to fill your frame, all you have to do is double click the rectangle tool up here, and that creates a new shape layer, and it fills the frame cool, right, and I'll rename this sky, so clicking on the shape layer pressing return, then calling it sky. Now let's go back to our rectangle, change the fill to gray whips. Now, actually, that's a good lesson for you. If you have this Skylar selected, and then I changed the color. It's going to change the color of this layer, so I have to actually select off of that sky layer. Now choose Phil Color and change it to like a gray. Then I'll just create a rectangle for the bottom. I'll rename this ground. So these are our two background layers, and I'm going to lock those so I don't move them. Don't do anything to them. I'm going to wait to create this clouds. So now I just want to create the ball so I'll take the lips. Tool, click filled changed the colored like this bright red than to create a perfect sphere. Shift click and drag came, so it doesn't necessarily matter how big it is, but something like that looks pretty good. I want to make sure that the anchor point is in the center, because I'm actually going to add a little bit of a stretch to this ball when it bounces. So choose the pan behind tool. It's kind of confusing because this looks like it's the anchor point for the layer, but it's actually the anchor point for the ellipse itself, so make sure that you don't have the lips selected but the shape layer itself. Now you see the anchor point. Now I can click it and then using the control button on your PC or command. But on a Mac, just drag and it locks it to the center when you kind of drag it to the center. Now let me rename this ball, and one thing that will help me out is just to color this red, so change the color. So now I know that this layer is the red color. Awesome. So the first thing that I want to do is add some motion to this. So basically, it's going to start up from above the frame, balance down, hit the ground and then bounce up a few times, so I'll show you the original in one more time. So it starts out. Drops one. Bounce 234 then kind of like a little tiny bounce at the end. So let's use our key frames to create this animation for a position. Bring a position with the keyboard shortcut P. Now let's move this up above the frame of our composition holding shift so it locks it in the vertical or the horizontal axis. So it doesn't move to the side now, once it's above frame. Just said a position key frame. Now I want to start out doing this kind of orderly. So what I'll do is go to 12 frames and now drag it down, holding shift again until it reaches. And it's just touching the cement. So if it goes a little bit over, it's fine because that kind of looks like it's on top of the cement and not just like hitting it. And your view is completely vertical with it. So that looks good. And then we'll go back upto one second. And I'll just use this number right here to drag up the vertical position, something like So we can play around with the positioning later because if it goes too high , it looks a little natural, unnatural, depending on the speed. Now I'm going to go to 1.5 seconds, which is basically where this 12 frame mark is, and I want to move it exactly where this key frame was, so I could just copy and paste this, So copy it Command C on my Mac control, see on your PC and then command V to paste. Now I'm going to go to two seconds and I'm going to move it up. But not as high as we went before. And the cool thing is that you can kind of see the key frames. It's kind of hard for you to see. I know, but there's these little squares. Those are where the key frames are that we set. So if we go here, that square is right there on that key frame and you can see it. So I know I don't want to go above there. Go to 12 frames. I still have that key frame copied so I can press command V and paste that key frame. Now let's go three seconds. Let's go up just a little bit back to 12 and then we'll just do like a little bounce at the end. It doesn't have to be as long. Just up. Go forward and paste again. Now let's play through this and you can tell me what you think is wrong with this. The motion is all wacky. The way that a bouncing ball bounces and the speed of it does not look like this. We can add motion blur which will help a little bit. So check on motion blur for that layer and then also for the timeline itself. Still not great at all. Another thing we'll do is add Eazy e's. So select all of these right click key frame assistant Eazy E's. So that ramps the speed. But it doesn't ramp it the right way. If you think of a bouncy ball, what it should do is should go down really fast, hit the ground really fast, and then when it goes up to this point, that's when it slows down. It slows at the peak of the bounds, and then it goes down in it, gain speed, and it's gaining speed until it hits the ground and then it shoots back up. And so what we're going to do is at thes key frames where it's at the top. We're going to go into the graph editor, so click graph Editor. If you don't see this and it doesn't look like this, make sure you're on the speed graph, not the value grass. And now with these key frames, weaken, select them and take the handles and drag out. So for both handles of this key friend. We're gonna drag to the left and to the right, so that eases the motion and it kind of hangs there in the air, bounces down and then go to that next key frame. Then let's drag out those handles. Go to the next one where it's up in the air, drag out the handles. It doesn't have to be perfect. We can play around with speed later, and lastly for this very last one, got the little handles over there. So let's play through this, okay? It's getting better, right? It's not perfect, but it's getting better. One thing that I don't like is that it comes down to slow and so there's different things. Weaken Dio. One thing we can do is shorten the distance between this key frame and this one. So if I move this over here to the right, it speeds up. Another thing we can do is actually move the ball further away so that the distance that it has to go is further meaning it will go faster. So let me zoom out and show you what I'll do. So if I change this to 12.5% then I go on this first key frame and I drag up. I can actually start the ball from way up here. Now if I show you it goes a lot faster. All right, so this looks good. But the motion when it bounces on the floor doesn't look so good. It's still sort of ramps down. We don't want it to ramp down. We wanted to spring back up automatically. So with the graph editor selected, go into your position now for these handles for each of these key frames, where it's bouncing on the ground dragged them in. So it's an even faster bounce so good the next one. Drag it in like so this one. Drag it and and then for the last one right here, we'll drag it into Okay, so now if we play through this one nice, it's looking better. Okay, there's one more thing that's kind of a natural, and that's the fact that between each balance, it's the same amount of time. So it's one second from the time it goes down, imbalances to the top, and then from this top to when it pops up again. And that's not natural, because when the balancing ball bounces. The amount of time it takes for each balance gets shorter and shorter and shorter. And you can see this if you bounce a ball outside. So what we want to do is make these key frames for each bounce shorter. So for this 1st 1 I think it's fine. But for this 2nd 1 we should make it a little shorter. So let's take all of these key frames, drag them in a little bit, take all of them, drag him in now. We could keep doing that for all the key frames, but let me show you a quicker way to do that. It's a little bit better, so on. Do what we can do is I select all of these key frames, not the 1st 2 Then I clicked the last one holding option down on a Mac or alter. If you're on a PC, click the last one and draggin, and now that squeezes all of these key frames together, and it keeps them uniform. So those last ones. Even though these ones are a little bit closer together, it's still squeezing them together at the same sort of rate as these ones are being squeezed together, so that looks good a little bit faster for this bounce. Now let's select these ones, not the 1st 4 now and again, holding option down. We'll click the last one and squeeze it in. And now let's just see what this looks like. Okay, this last bounce right here is definitely a little too long. So let's actually just take these in Dragon them quite a bit. Probably this last one to just drag these in. So it's a combination of using that all click and just moving things around. That's how I use aftereffects anyways. Okay, maybe it's a little bit too short for this last one, so we'll just extend it. Sort of a dramatic bouncing ball effect. Cool. So this looks pretty cool. I think the motion is very close. You can go in and tweak it and keep playing with it, but I want to move on to another technique that I did, which was actually adding a little bit of a squeezed to the ball. You can see here when it reaches the ground, it kind of squeezes, and then it bounces back up, and that's to show the impact of it hitting the ground. Okay, so we'll use a scale animation, so bring up the S or scale key frame, and we want to go to when it hits the ground right there. How do we know that's when it hits the ground? If we actually bring up P, we should actually put our timeline indicator there first and then scale. So let's first just set a key frame. So now if we press you, we can bring up both key frames or all the key frame set for this, and we're going to start out at 100% so we can move this key frame over to the left, but here we want it to be squeezed. So let's unlock the constrain proportions lock. So now we can change the with or the high individually, and then let's just squeeze the height to something like 70. What this does, though, is it also moves the ball up, or it doesn't look like it's hitting the ground so well, just actually, with the selected, we can just hit the down arrow keys or shift down to move it even further. One click at a time or one but in press at a time. Make sure you're on the key frame where this position is, though. So now let's go to this next one and up here. It should be at 100%. So let's just copy this first key frame. Paste it. Let's go to this next one and you'll see that there's sort of an error. I can't move my time indicator right on this key frame. And that's because when we use this little trick where we selected multiple key frames and we did the option or the Ault squeezing of these key frames, sometimes it moves the key frames off of the exact frame of our composition. I know that's a little confusing, but what we can do is just take this key frame and just move it to the side slightly. Now let's squeeze it. I'm gonna squeeze it a little less. Last time it was at 70. This time I'm going to be a 80 again. I'm going to move it down, though, so it's hitting the ground at this key frame. Let's make sure that we have our scale selected and then paste it so it's at 100% again here. We can't get to this key frame. Exactly. So I'm just gonna go close to it, move this key frame to the side. And now I'm going to set our scale squeezed to 90% and then just make it go down this a little bit Another way. You can quickly go from key frame. Two key frame is the J and K buttons on your keyboard. If I press k, it goes to the next key frame. If it I pressed Jay, it goes to the previous keep bring so I can just scan through these And now here I can with my selection tool selected. I can set it at 100%. So make sure I have it selected in an impressive command pace because I stubbed that selected que to go to the next key frame. This one will just set to 95%. We went down slightly, okay again to go here and select the layer and press paste, and now I'm just going to leave it at 100% because for that last bounce, there's not as much pressure and it's not going to really bounce that much. Let's Eazy e's these bouncing, so are the scale. So it's select all of them F nine on your keyboard. Now, one thing that looks a little funny is that it starts to squeeze before it even hits the ground, Which doesn't make sense. Why would a ball squeeze while it's in mid air? So we're going to have to go into our graph editor for scale. So select scale key frames. Click the graph editor and now we're actually going to go to the value graph. This is how we adjust the value so you can see that here on this first key frame, the height of this ball is 100% here, and this key frame is down to 70. So we don't want it to be at 70 at this point. So I'm going to take this handle and drag it up, kind of like so So it actually doesn't really squeeze until it hits the bottom. Then it bounces up, reaches full peak size. Then again for this one going to drag its like that key frame, drank this handle up so you can see that we're actually staying at 100% until right about there, where it balances on the ground. And lastly, for this key frame, same things like that key frame point dragged the value up for the beforehand of this animation. Awesome. I really like how this is coming out. I think it's even better than the original one that I made. Now let's add just that last detail of the clouds. So take your rectangle tool. Make sure you don't have anything selected on your timeline. Let's change the fill to white, and actually, it's the lips tool. Sorry, not the rectangle tool. Now let's just click and create one circle. Remember how I talked about shape layers? You're actually creating individual shapes within this one layer. So if I just keep creating circles, I can create sort of a cool cloud. And it's all within this one shape layer that we can enemy. But it has all of these different ellipses. So if I closed that down and let's rename this cloud one and I'll drag this down beneath this ground, or at least beneath the the ball so that the ball goes in front of it and now is at a little bit of motion Press P to bring up the position, said a key frame wherever you want, and now I'm going to drag that keep them to the very beginning of this composition. Now we're just going to drag the left just a tiny bit. Subtlety is really good with animations, and now I'm going to move this key frame all the way to the right. See how I did that? Sometimes, instead of moving my timeline indicator all the way to the end or to the beginning to set my key frames, I just said it. And then I moved the key frame where I wanted to go. So that cloud is moving. You know, it's it's moving, actually relatively quickly. Let's create another cloud. So with the lips tool with no layers selected down here, I can just again click here, and I'll make one for this one a little bit smaller. So it looks like it's more in the distance, and in fact, when you have a cloud or something moving in the distance, it appears as if it's moving slower. So I want to make sure that I make sure that the position animation is slower than the cloud 11 is, and by slower. I just mean it moves less so at the beginning. Press Peter, bring a position, said a key frame. Let's go forward in time. Now let's just move it. I'm just gonna move it to the right a little bit. It creates a little bit more of, ah, dynamic effect where the clouds are kind of parting. I thought that was cool. And so now that last cloud in the behind you know, it looks like it's further behind, Really, it's, you know, it's not a three d space in this after effects composition, even though we can do three D work in after effects, and we'll go over that later in this course. But here we have this cloud moving in the background cloud moving a little bit faster in the foreground and are bouncing ball. Awesome. What do you guys think? Were you able to get something relatively close to this? I know there were a lot of sort of more intricacies that I went through with these graph editor and the scale in the squeezing, but I hope that you were able to follow this project. You know, maybe this isn't something that you're going to use in a real world situation for your own brand or company or one of your videos. But knowing these techniques and knowing how toe be intricate if it have those little subtle motions, have the little subtle sort of squeezing of the ball after it bounces, Making sure that the timing is good. Making sure that you have that motion blur is all good. We can turn on motion blur for the clouds as well. But since the clouds are moving so slowly, you're not going to get much motion blur. If they're moving faster, you would awesome. I hope you enjoyed this lesson and this section of the course. If you have any questions, please let me know. Otherwise we'll see you in another one. 18. Solid Layers: Welcome to this new section of the after effects course. This section is diving deeper into shapes and solids. In the past sections, we've looked at shapes, and that was when we used our shape to up here. And we created shapes so you can see that we create shapes down here. Solids are a little bit different and they have different properties, and you can do different things with them to create a solid go upto layer, new and solid. Also, just take note. While we're here that this is a cool way to create some different types of layers, such as a light layer or I camera, these air things will beginning to in the future. So if I choose solid, it brings up this window where we can choose our solid settings. You can give it a name. You can also change the color, and this is going to be a full frame sort of color or shape. It typically matches your comp size, or you can just click this button to make it the compass eyes. Then click OK. When you do that, it automatically pops up in your timeline, and it also pops up in this folder over here, which is a different kind of cool thing compared to your shape players. Because if you want to reuse these solids in different compositions, you can actually do that right from your project. Been rather than recreating it as a shape layer. All right, so let me actually rename these. Just so you know, this is solid. This is shape. So we also learned that with the shape players that if you double click the rectangle tool , it creates this shape layer that's the full size of your composition. So, actually, I'm gonna delete this original shape we created. And now call this one shape because you might be wondering, OK, we have a shape and a solid. What's the difference if I turn off and on the shape you're like, it basically does the same thing, right? Well, they do play different purposes. One of the reasons why I like using solids is that sometimes when you apply different effects to a layer, if you want it to be applied to the entire composition, you might need to use a solid layer. Something will get into in the future as well. Another thing is that the way that you create masks. So with a shape you can't really create a mask. If I take my for example, Star Tool and I want to create a star mask with from the shape it doesn't do it, it just creates another shape. Yes, I can turn off the rectangle, and now I have a star. But it's a little different than creating a mask with a solid. If I do that with a solid, let's turn off our shape and let's take our polygon tool and I have my solid layer selected and I created a mask. You can see that I create this shape, but what's actually happening is it's just sort of a cut out within the salt layer. Think of it as if you've ever baked cookies and you've ruled out your dough, and then you get those little cookie cutters and you, like, stamp it onto your dough. It's basically stamping this shape onto it, but everything outside of it is still there, and we can actually delete this mask if we want to undo it. Or if you see now we have this mask within our layer, we can invert it so just by clicking this invert button. Now we have this solved layer with this cut out beneath it and let me just show you how that works by bringing in our kangaroo photo and that's in the background. Let me just make sure it's the right size turning off the solid scaling down our king Aru Let's turn back on our sod So now we have this mask and we can take this mass We can move it around and there's also different options within the mass properties that you don't get with a shape layer such as If you see when I drop this down you have feathering and you also have mask expansion which expands the mass using the same sort of shape that you created it with earlier. This is a great way to create a quick vignette in after effects. Let me delete this solid to create a quick vignette. Just press command Why? Which is your new solid button or control? Why? If you're on a PC, make it black click OK, and then click. Ok, now we have this solid that's the same size as our composition. And if we want a perfectly oval then yet choose the lips tool DoubleClick, which creates this oval mask. We'll need to invert it. So we're getting closer, and now it's just sort of this frame. And then we can use feathering to feather out the edges so we get more of oven yet and then depending. If you want it brighter or darker, you can decrease the opacity of the mask itself. Or you can decrease the opacity of this entire layer. It's the same thing you're doing. But see this opacity is just for this mask. But if you bring up the transform properties of this entire layer, you also get the opacity of the layer. So let me just turn this honor off. It's a quick way to create that vignette, and adding vignettes is a cool style. Don't go overboard with it. I know some people tend to add vignettes, toe everything they do, but it is a nice sort of cinematic style. Then, of course, we can animate all of these properties as well. If we want it to expand out, we can set a key frame for the mask expansion as it is. Then we go back in time, then we can shrink her mask expansion. Let's actually make our opacity 100 so we can see what's happening numbers, drinking it all the way till it's completely gone. Negative. 528 pixels. Now let's play through this and then you have this nice sort of reveal nice sort of reveal one quick last thing. This doesn't have to do with vignettes or solid layers, but one way to create a more sort of dynamic look with photos is what's called the Ken Burns Effect, where your photos sort of subtly grow or shrink or move from side to side. And you can do that with an easy position or scale animation. So I'm going to with my king, grew, Bring Upscale, said a key frame for 49%. Put that at the beginning now said another key frame for just 2 53% but that later on now we can play through this. It's a little fast, so I'm just going to extend that a little bit. That's a nice little opening animation with the vignette, and that's done with the salt layer than a little scale animation cool. So that's a bit about solid layers in the next lesson, we're going to be going back to shape players because there's Mawr, things Hagen to with shape players that we definitely need to cover. 19. Shape Layers: Let's talk a bit more about Shay players. So I have this new composition gonna take my rectangle tool, and I'll just create this rectangle in the middle. I can align it if I want in line a line. We've seen some of these options before, but if we drop down under contents and under rectangle, you can see that there's more intricate stroke and Phil options. Here's where you could change the color. So if we want to change the color down here, we can and you can see that it's changing up here. Another thing you can do, though, is drop the opacity of this individual shape. So why would you do that? If you want to create a more intricate shape, it might not make sense to have a bunch of different shape players, but rather to create your entire shape right here under this one layer. Now I can go in with my rectangle tool. Let me just click contents to get out of the rectangle one and say we want to create a house so we can add a door right here. If we want, we can change the color of that door. We could add a roof if we want. We can use the pen tool to do that, because using the pen tool were still creating shapes in this layer. And let's make sure that our opacity is up for these two. So let's go under the oh pastie for the roof. No, this is just really quick stuff. It's not the best house ever, but you can see that now, instead of having a bunch of different shape layers. We've created this basic house all within this one layer. And what does that mean? While we can control it all at one time, we can make it grow or shrink. We can move it around. We can rotate it rather than rotating every single individual layer and repeating to move this entire house all at once. Another option that you'll see is the stroke option. And to really see this clearly, I'm going to delete this layer, and then I'm just going to take my pen tool and then I'm just going to create a simple snake shape. So I'm just going to click Click, and I'm also going to drag while I click so that I get a curve in my shape so you can see that curve. If I didn't click and drag, I just get a straight shape with sharp edges. So I want to undo that. I'm just going to click, click, click. Now you'll see that this doesn't look like a snake, and that's because it's using a fill. But it does. Emma stroke the stroke is what happens along the edge of your shape, and you don't have to complete a shape if you don't want to. So if I want to, I can go into the fill options and we could turn off our Phil and now appear weaken. Turn on our stroke. Okay, that's cool. But snakes or while if we wanted a gray snake, they don't have these sharp edges where their head or tail is. It's kind of rounded so we can go into our contents down to our shape one and then into stroke one, and we get changed the end of this stroke. So that's where this line cap is changed that from but cap to round cap. So you have now a rounded edge. What if we want a dotted line? We can do that with the stroke down here we have dashes. Click the plus button toe, create dashes, and then play with these dash settings to create larger or smaller dashes. And you can see if there's they're really small than it ends up being coming one line. But if you want them smaller, you just have decreased the stroke with. Now you start to see the little dots, so that's kind of cool, too. Click plus again, and you can adjust the gap in between the dots. And this could create some sort of neat animation. If you want. By animating, you can animate the offset. So let's clicked the stopwatch icon for the offset at zero seconds and then go upto 1.5 seconds and then just move it forward a little bit. Now let's play through and you have this sort of motion going through cool way to create sort of a wave effect. You can also animate the different points in a shape, and that's the path. So let's close down, stroke and bring open the path. So here, if we click the stopwatch next to path, it tells after effects that at this point we want all of these points that we've said it's hard to see, but we have 1234 We want them to be right there. Let's go forward to a little under a second. Now let's take these points and move them around. You'll notice that if I just click right now and drag one, the whole path moves. And that's because both the path one and path down here selected Just uncheck that and click path up here. You don't want this paths like, Did you want just this path once elected? Now we can move these points up and down. Now, between here we have this motion. If we wanted to go back to where it was originally, legis copy and paste this first key frame. And now we have this sort of wave of facts kind of weird, right? You can even go into this point right here. Let's make sure we're just on path one. It's like the point, and we can play around with the way the curve works by choosing the handles for each point and extending them, rotating them, moving them around. Weird, huh? So this is how you can create some really organic intricate motion with after effects. And that's all just using a single shape layer a stroke, adding some dashes and using a path animation. In the next lesson, we're going to learn about layer styles. 20. Layer Styles: another cool thing in after effects are layers styles. I quickly created this composition with a background solid white layer, a Thiel rectangle and then this text layer on top. You can add layer styles, toe any layer, even shapes or images or video. Just right. Click the layer goto layer styles, and you can see the different layer styles. So you've got your traditional drop shadow, which is cool. And when you do that, if you open up your layer, you'll see that there's this new layer styles panel or option down here. Drop that down. You see the different layer styles you've applied because you can apply multiple. Drop it down and you have the different options. So with the drop shadow, we can play with opacity. We could play with the distance from the letters. We can play with the spread, size, the angle, all kinds of things. And we can also enemy this kind of stuff. So if we want to animate the distance, let's set a key frame there. Actually, let's move this key frame to that end of where we're at. Then let's move it a little bit further away, and we create that other key frame. Now, if we play through this, you get this sort of cool shadow effect. We can apply different effects to the shape layer itself. So right, click that layer styles. Let's do a bevel and emboss So you get this sort of babbled look around the edges and we can go into our bevel and emboss settings, play with size or if we want them, that going to be a little bit bigger. We could also change the angle of the shadow, which is kind of cool again, creating this sort of three D effect. Now, this is, you know, you got to go back to your graphic design principles. This doesn't look terribly good, but you can see all the kind of cool things that you can do with all of these effects. The ones that I really like are the drop shadow I still use drop shadows sometimes and then also inner shadow is pretty cool too. So let me delete the drop shadow. Let me show you what inner shadow does in her shadow, and it creates this sort of cut out look. So it looks like these letters are being cut out from the background, and that's because the text color itself is the same as the background color. If I change the text color of this character to something different, it doesn't really give that sort of look. But it's because the background and the text is the same color. You can also add a Grady in overlay, so goto layer styles greeting overlay. Let's go into our grading overlay menu. And then here we can change the colors by clicking Edit Grady in. So here we have our ingredient editor, and the way that this works is that you choose your colors and you put stops. So here we have white and black. You can see the bottom is white, the top is black. So if we want it to go from maybe sort of like a red to a blue, we can do something like that. And then we change the way that the Grady it looks down in this menu so we can change the angle if we want. We can change the style from Lanier to radio, for example, and then we'll go back to the angle and play around with that a little bit more more of an actual Grady int. And so you can see you can do lots of things with layer style, so I'm not going to go through all of them. I think it's best for you to go through them yourself. But if you have questions about any of them, don't hesitate to post a question in the course at all. Stroke is another one color overlay. These are all great effects or layer styles that you can use. 21. Shape Effects: if you thought we were done with shape players while you're in for a surprise, because there's a lot more that we can do with shape layers, and that's under this ad, but in their kind of these shape effects, like I like to call them. So I've created this circle and I want you to do that right now. So go ahead and pause the video. Do it and then I'll tell you how to do it. If you forget composite video, create it. Okay, let's go. So hopefully you created it. I just added this background. And then with the shape layer, I created this circle using the shift click to create the perfect circle. And then I turned off. The Phil and I have the stroke set. Lincoln said. 25 awesome. So in our contents we have our lips, which we've seen before, but we also have this ad button. If we click that, we see a bunch of different options. We have things that we've seen before, like Phil and Stroke. But there's also these ones down here. If I click wiggle past looks what? Look what happens as this animated sort of wiggle effect and we can go in here and make it even more wiggly. By changing the size we can change the details of, there's a lot more of them. We can change the points to that smooth instead of that sort of sharp edges, and we can play through it. So you get this sort of organic wiggle to this shape layer and let me delete that wiggle pass. Another one is this zigzag, which is similar, but it's not animated. So with the zigzag A you can go in here, we can create some zigzags. We can also animate these things. So if we want, this sort of pau sort of look can create more ridges, create sort of a gear type thing that's pretty cool to now. This doesn't change with time. It's not animated, but it's just for style, one that I love, that I'm going to use a lot in this course and for a lot of my projects is trim pads to go ahead and click. Add trim pas. Now nothing happens when you do that, but what you'll notice is that when you drop down trim pass. You have this start and end percentage. Click the end percentage in just drag, and you can see that we have this circle growing on with their percentage. This is how you can come up with some really intricate animations. So say we animate this the end from zero than toe one second to 100. Now we have this circle being drawn on, and this will happen for any type of stroke or any shape that you create with the pen tool using the stroke. If it had a Phil, let's just turn on a fill. You'll see what happens. I typically don't do this because it looks kind of funny, but maybe for one of your animations that you might. I want to use that. But I typically turned the fill off. When I'm using trim pads, I'm going to Eazy E's, these key frames selecting them right clicking key frame assistant Eazy E's. So we get more of a little pop. Let's even go into our graph editor. Make sure we're on the speed graph. It's like these key frames and drag them in to create more of that little pop action. Cool. That's pretty cool, and we can add some motion blur, make it a little bit more organic. That's pretty cool. Okay, so that's cool. But let's make this really intricate really fast. There's another thing in the ad, but in called a group, and that allows us to group multiple shapes or multiple effects into sort of a folder. So if I take the Ellipse and drag into the group and I also take the trim paths into the group now those two things are combined, and we can actually copy and paste this group right within this shape layer so I can duplicate it by present command D or Control C Control V to copy and paste on a PC. Let's open up Group two And now let's go into our Ellipse in Group Two under the Transformed Properties for the Ellipse and scale it down. Okay, so now we're skilling it down. We have two circles. Let's also play with the stroke of this one, so it's dropped on the stroke. Let's make it even skinnier. So now if we play this, you can see that it's starting to get a little bit more interesting. Okay, that's cool. Let's duplicate this group to again and let's go into our lips one, and actually let's make this a little bit bigger. So into the transform Ellipse one make it a little bit bigger, like so. This looks kind of cool, but let's reverse this animation. So let's delete these key frames. Now let's set the start to 100. So now we're going to animate the end from 100 to 0. So at this second point, we're going to set a key frame for the end at 0%. Now let's go to zero frames and set this to 100%. So now it's animating on the opposite way, like so, let's play through this pretty darn cool. And of course, you can keep going. Keep animating, keep duplicating. And that's how you get more intricate effects like this. We're going to continue on. But we'll also be covering some of these other effects in future lessons and real world projects. Feel free to play around with them and just start creating your own motion graphics using things like the trip has animations 22. Track Mattes: welcome to this brand new section of the AFTEREFFECTS course. In this section, I'm going to be going over a number of skills and effects that you should know how to do in after effects because they come up so often they don't really fit in with other sections about shapes or starting out your animations or three the year things like that. So I'm putting together them here because before we move on to those more advanced real world situations, I want you to know these ones. So the 1st 1 we're going to be looking at is how to make objects or text really any layer appear out of thin air like this. And by knowing this sort of effect, you can do something like this where it appears as if it's coming out of a line and you actually know how to create a line like this, and you actually already know how to create the animation for the line like this. It's a little bit trickier than what we've done before, but let's walk through this entire animation. What this is basically called is a track matte animation. All right, so starting new composition, you can name it whatever I'll call it Track matte 1920 by 10 80 pixels Duration. Five seconds is perfect. Let's start out with our background command. Why for Mac users control Why for PC users call his background. And so now we have this background layer, and I'll just lock it so we don't do anything to it. Next. Let's add some text, so I'll just take my text tool type in the middle. Say hello now with this. Let's make sure that it is a lying to the center, horizontally and vertically, and you can see that I'm using Open. Sohn's and bold open songs is a free font you can find online before we actually animate this text. I want to talk about track mats, so to explain this, it's best if I just walk you through it. So take your rectangle tool, make sure that you have a fill set. You don't need a stroke so you can turn stroke 20 and create a rectangle that covers your text like so doesn't matter what color it is. All right, so this is basically a shape that we're going to have our Hello text appear into. There's another column that I want you to look at in your timeline called track matte. And if you don't see that, it might be because your screen is too small and there will be a button down here that says toggle switches modes. Click that button to make sure that the track matte column appears. Change that for the hello layer from none Toe Alfa Matt. And make sure that your shape layer is above your hello text. So select Alfa Matt Shea Player one and I can just rename this actually track matte. All right, so what happened was the track matte actually turned off, but we're still using it because if we take our text with our selection tool, click on it and move it around. Look what happens. The text appears where this rectangle is, but not where it isn't. So now you can imagine we're just going to animate from down here toe up here, So let's do that. So bring of your position for the hello at one second, let's set the position key frame where it is now and then say Let's make it slide in from the left. Actually, if we want so Let's drag to the left and I'm holding shift down so it locks to that sort of line. Now we can play through and we have this text popping on. We can do our things. Like adding motion. Blur enabling motion Blur F nine for Eazy E's Go into our graph editor at our pop. You're all very accustomed to this these air just the techniques that I used to make my animations look a little bit more dynamic. So now you can see that text popping in cool. So how do we make it poppin from a line? Well, we just have to put a line right at this point over here, So the easiest way to create a line is with the pen to also take the pen tool. Set the stroke to, say 10 pixels. And now just create a line click at the top and then shift click at the bottom so that it creates a straight vertical line. And now we have that line going across there. If we want to make sure that it's perfectly horizontally centered or vertically centred, rather click the line tab and click the vertical center alignment. So now we have our text coming out of this line, which is a pretty typical effect. You see, in modern commercials and modern videos. How do we animate this line on? Do you remember what we did in the last section is called a trim path animation. So under our lines. So let's just title this line, go in and add trim paths. You dropped on the trip as men. Yoon, we have our start in in possess percentage instead of animating from 0 to 100. What we're going to do is actually set a key frame right now how it is for both the start and the end values. So that's that One second. And then if we go back in time and actually we're gonna play around with the timing of this . But if we go back here, let's move the end percentage to 50 which moves the line to the midpoint between these two points and then the start to 50. So now in between here, let me just turn off our text so I don't see that for a second. We have this line growing on. I'm going to add Eazy e's make these a little bit faster add motion blur to this, then I'm also going to see when our tech starts to appear. Oh, let's turn on our text layer So our techs appears right as the line is growing. Maybe I wanted to go a little bit later. Oh, I'll just click the text layer and drag to the right a little bit upsets the track. Met the text later. Track to the right, just a few frames. So now we have this line popping on and hello, text sliding on, and we can quickly maybe make this line disappear once the Hello text has gone through the line by copying and pasting are starting and ending key frames. Copy paste. And now let's go forward. We can copy and paste thes second ones. You'll notice something that's a little weird with the motion with the 2nd 1 and we'll see if we go into our graph editor that the timing is a little off, and that just happens when you copy and paste key frames. So if you want to add that pop weaken, select the key frames, drag them in, make sure that we have them both selected for both the start and the ends. I'll just click the start ones at a little pop, just dragging in the handles for both key frames. Okay, so if I select both of them by shift clicking, they should look pretty similar. Now, if we play through, pops on, pops off, pops on, pops off, you'll notice, though right here. It's kind of weird that you have. You probably can't see it, but I can see the line right here. You know, that's just a little glitch. And after effects, if I turn off motion blur, it's not there. But with motion blurts on, don't know it necessarily why it's still there. But to get rid of it, I could just trim the right side of this layer. I can either click and drag this to the left. So then it just disappears after this frame right here. Or if I undo that, there's a keyboard shortcut that I want you to know. Option right bracket. So option right bracket or all right bracket for Windows. Users will trim the clip from the right side if I want to trim from the left side. Aiken do option left bracket. See how that worked a new option left bracket. That's a quick way to trim layers. So now we have that animation cool, right? That's a track matte animation. You can do a lot of cool stuff with that. In the next lesson, we're going to learn about pre compositions. 23. Pre-Compositions: in this lesson, we're going to learn about pre compositions, which is basically a way to group multiple layers together. To see this in action, go to your documents and go find the drone shot that's available in the downloadable project files. So that's under the video folder. Bring that into after effects and then let's drag that into a new composition. So now we have this composition that is just this drone shot. Then let me just trim it to this area Ryan around nine seconds when the drone is flying over the ocean or the hill and we're seeing the reveal of the ocean behind. So about eight seconds or so and I'll go up to composition trim, come to work area. So now we have this nine second clip. OK, so that's ready. And the reason why I did that is because what if I create a title like this that has multiple layers? Shea players, a track matte layer, a text layer, and I want to be able to put all these layers onto another clip? Well, I could actually go in. I can select all these layers by clicking one of them and then shift clicking the top one or by control or command, clicking the individual layers and copying them. Command, See going to my new composition and pasting command V. So now I have all these texts. But look what happens when I copied and paste them. The order is all off, so we need to move the trackman above Hello, the line above everything and now it works. But if I want to move these things around, if I want to make everything smaller, say I want this text toe, just be a little smaller. Or maybe I want to add a drop shadow toe everything instead of going in and right clicking , going to layer styles and drop shadow for each layer. There's an easier way to do this, going to delete all of those. So I'll go back to my track man, and what I can Dio is pre compose this. Select the layers you want to put in one group, right click and choose pre compose. Now it's going to pop up with a window that I asked you to name your pre composition all call this hello title and then just click. OK, what happened in this composition that we're working on the track. Matte is those three layers became one and you'll notice that the hello title became its separate composition in the project panel. I can open it up by double clicking it there or just double clicking this pre calm player here in the timeline. So here we have those three layers that we pre comped. It doesn't include the background. Now, if I go to my drone shot, I can take this pre comp the hello title drag into my project and see here we have the hello tax appear now. Hey, I can say, Oh, well, I want it all to be a little bit lower and smaller so I can move it down here where the hill is so you can see it better. I can bring up the scale of this entire pre composition, scale it down and say, OK, maybe that's good, But ah, let's try it up here. Oh, I actually like it up there. But now I want a drop shadow. So here I can right click, go to layer style, had a drop shadow and now we can see that there's the drop shot applied to everything the line and the text, so I'll go in. All adjust the drop shadows. This is just sort of a a more stylistic thing for me. With drop shadows, I typically like to increase the spread and the size and decrease the opacity, so it's a little more subtle. I don't like those big, hard drop shadows, so something like that is typically what I like. That might be a little too harsh, but I you can change it according to whatever you prefer. So that's basically what a pre camp is. Well, run into this issue or this strategy of using pre comes and future real world projects. So just keep that in mind. One other thing to know is that the keyboard shortcut for pre composing is command shift, sea or on a PC control shift, see, and you can actually pre comp pre cops. So here I could take this drone shot and the hello title, and now I can command shift, see pre comp it. I'll call this drone with title. Okay, so this is getting pretty mada, But I have this drone with meta title and now I can change this pre come. So I can make it smaller. I can duplicate it. Command d could move it around, duplicated Gan moving around. So now I have these three shots three little screens because it's all in one pre comp. So I'm gonna undo this So we get back to this point here where we have the hello title on the drone shot. And in the next lesson, what I'm going to show you is how to easily and quickly reverse this animation without having to go back in and key frame all of the different individual layers. 24. Reversing Animations: there are multiple ways to reverse an animation. We could go into this composition and weaken, bring up all the key frames for all of these layers by selecting them all. That's command A to select all the layers in your timeline and then pressing you to bring up all of the key frames that we've adjusted. We could go through in enemy all of these key frames individually for each layer, but there's an easier way. So let's go back to the drone shot, and the way we're going to do this is through time remapping and reversing layers. So let's actually first cut this layer at the point where we wanted to start the reverse animation. So let's go here it goes on. And then maybe around here is when we wanted to start reversing. So let's trim this composition. Remember the keyboard shortcut for that option right bracket or ault right bracket for Windows users. Now let's duplicate this layer so command D to duplicate or control de for windows, then right click this top layer, go to time and time reverse layer. So this actually reverses the animation. It's hard to see. So what I want to do is drag this top one. The reverse, Which Aiken title reverse. So I know what when I'm working with but it up right next to the end and now animates off. So let's just play through it so you can see exactly what's happening. The top hello Layer is with the rivers, so everything is going to happen backwards. So it pops on. Now it pops off. So that's the quickest way to reverse an animation by pre composing first duplicating your layer and then reversing the top layer and then, of course, putting them together. If I wanted to extend this, I can just move this out to the right. Extend this right here until it meets up. And now we have a longer pause before the animation starts. Okay, cool. Thanks for watching in the next lesson will die of a little bit deeper into playing around with time in after effects 25. Time Effects: Let's dive a little bit more into time and see what you can do in after effects. For this video, used the puppy shot that I've added to your video folder. Add that to a new composition just by dragging it in. So first, let's talk about freeze frames. So if you go to a point in your video and you want to freeze the frame, for example, maybe you want to add a title or, you know whatever you want to do. Good at that point, right click good a time freeze frame. So this is going to create a freeze frame for this entire layer at this point. Now what if you want it to play up until this point and then freeze frame, let me undo this. There's a couple ways to do this. One would be to literally just duplicate this layer like so command G. Take the top one good a time freeze frame and then trim it to this frame. So this