Animate your illustrations in record time using Adobe After Effects | Carminys Guzman | Skillshare

Animate your illustrations in record time using Adobe After Effects

Carminys Guzman, Motion grapher

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16 Lessons (55m)
    • 1. Course Trailer

      0:43
    • 2. Introduction

      0:54
    • 3. Welcome to After Effects

      8:49
    • 4. Let´s animate!

      8:27
    • 5. Loops

      3:17
    • 6. Shortcuts

      1:15
    • 7. Copy and Paste

      3:04
    • 8. Glows

      2:06
    • 9. Preparing files in AI

      2:08
    • 10. First project

      6:22
    • 11. Solution to the task

      6:39
    • 12. Ready for it?

      1:21
    • 13. Second project

      5:58
    • 14. Do you want more?

      0:35
    • 15. Rendering

      2:13
    • 16. Final Thoughts

      0:40
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About This Class

Are you ready to bring your illustrations to life? Learn how to animate your illustrations in After effects with the minimum effort.

 If you are a beginner, don't worry! I'll go step by step so that you don't have any problem following the course.

 During the course, I will give you some great tips to speed up your work process and animate your illustrations quickly and easily.

By the end of the course, you will be able to make amazing animations in record times. Along the way, you'll learn how to:

  • Use Adobe After Effects from the basics.
  • Create smooth animations
  • Organize your illustrations to make your life easier
  • Add expressions, effects, layers styles…and much more!

Whether you are new to animation or tired of wasting hours making simple animations, this course will give you the tools to archive great results in minutes.

Transcripts

1. Course Trailer : Hi there. My name is Carminys and I am the co-founder of Operary.com. We are an animation studio with more than eight years experience. During this time, we have created beautiful animated explaining videos for hundreds of companies worldwide. Our goal with this course is to teach you how to make amazing animations in record times. We will start from the basics and gradually you will learn some tricks to speed up the animation process and apply what you have learned with real practical projects. Are you ready to take your illustrations to the next level? Let's begin. 2. Introduction: As you know, in this course, we are giving you some tips to speed up your word process and animates your illustrations quickly and easily. If you haven't use After Effects before, don't worry, we will delve step-by-step from the basic so that you don't have any problem following the course. I invite you to download all the projects we do during the course. This way, you can follow the instructions in real time and it will be much easier for you to apply what you're learning. I'm looking forward to seeing your animations at the end of the course. Please share your work in the course project gallery so that we can all enjoy your arts. In the next lesson, we will make a brief review of the After Effects interface. 3. Welcome to After Effects: Hi everyone. Welcome to your first class. If you have worked with After Effects before and you know how it works, you can go directly to lesson 5. If it is the first time that you open the program, don't worry, we will focus on the essential parts to follow the course easily. We will work with the standard workspace, but you can choose the option you prefer. The interface may vary depending on the version of After Effects you are working with. We are working with the version 2020. To create an animation, first, we need to create a new composition. We go to Composition and select "New Composition". We can also create compositions by clicking on this box or this symbol right here. Now, we need to name the composition and configure it. We will use a 1920 by 1080 resolution. We set the frame rate to 24 frames per second. Make the composition last five seconds, and click on the "OK" button. To save the project, go to File and select "Save". Find the location, name the file, and save. We can start creating. Now, let's create a shape layer, a square for example. The panel where you see the square is the viewport, the most extensive panel of all. This panel is where we will see the results of our designs in animations. We can also set the size of the window and the image quality with which we want to work. The higher the quality, the slower the animation will be processed. By default, and until we create a background element, it appears in black. We can change the color from Composition and select "Composition Settings". If we click here, we can see the transparency grid. We can also change the size of the panels by clicking and dragging. Very simple. Now let's take a closer look at the timeline panel. This panel is where we will spend more time creating our animations. Notice that when creating the shape layer, it has automatically appeared in the timeline. We can also modify the duration of the work area, as well as zoom in by clicking and dragging here. Besides, you can change the menu controls by clicking the button here. As you can see, the composition that we created at the beginning appears in the project panel. This is where all the compositions that we create and all the files that we import will appear. When importing files, we must press two times on the panel or go to File, select "Import File", and then select the desired file and import. If we're going to import a layered file from Illustrator or Photoshop in the import as option, we must select "Composition - Retain Layer Sizes." As you can see, a new composition appears with the name of the Illustrator file and there's also a folder. The layers are located inside this folder. We can create folders by clicking here, name them, and drag the files inside. If we look to the right, we find the effects and presets panel. These panels will allow you to navigate through an extensive library of effects. During the course, you will learn how to apply them. If this panel does not appear on the screen, go to Window and select "Effects & Presets". You can also search for the effects through the effects window located in the main menu. At the top, we can find the most used tools. Let's have a quick look at the tools we are going to use during this course. The Selection tool, that allows you to select and move the elements as well as modify their size. If we keep the Shift key pressed while adjusting the size, we will keep the proportions intact. The Hand tool allows you to move within the composition panel. The Zoom tool allows you to zoom in or out. If we click, we zoom in and if we click while holding down the "Alt" key, we zoom out. This one is a Rotation tool. It allows us to rotate objects around the angle points. We can change the location of the angle points, thanks to the Pan Behind tool. Select and delete the square that we had created. Using this tool, we will be able to create your magic shape layers such as rectangles, ellipses, and all kinds of polygons. Each shape layer has its own set of settings. From the timeline, we can configure its options. This will vary from one shape layer to another. Take your time and play with them to see how they work. We can also change the color of the field and the stroke, as well as the stroke size. We can activate or deactivate it by clicking on the [inaudible] here. We can change this same option from here both. Now, I want to tell you the difference between creating a shape layer and creating a layer mask. I'm going to import a photo and drag it into the composition. If we create a shape with the layer selected automatically, a mask is created on it. In other words, we can only see the part of the photograph that is inside the mask that we have created. We can also invert the mask by clicking here. Let's go back with Control-Z or Command-Z on Mac or just deleting the mask. Conversely, if we create a shape without having any layer selected, each shape layer is created. We can even copy colors very easily. From the color configuration, select the eyedropper tool. By clicking on any color, we can quickly copy it. Very useful if we want to copy the color of a design or photograph. I forgot to comment that we can drag the elements located in the project panel inside the compositions in two ways. One is by dragging the elements directly to the project panel. The other is dragging them within the timeline. We can also place the layers easily. With this, it will be enough to start seeing more fun things. In the next lesson, we will make an introduction to the animation in After Effects. See you there. 4. Let´s animate!: Hi there. Welcome to this lesson. Now that you know how to move around the interface, let's have a first look at the animation in After Effects. Opening a new 1080 by 1080 composition at 24 frames. Name it and give it three seconds. Let us start with a simple exercise that will help you understand how the animation process works in After Effects, a ball bounce. We're going to import a scene that we have prepared and previously separated by layers in Adobe Illustrator. Don't worry about this now. In future lessons, we will show you how to prepare your illustrations for the After Effects. Drag the imported composition into the main composition, and then double-click inside the composition. As you can see, we have a ball, shadow, and a background image. Before we start animating, select the soccer ball layer. Then select the pan behind tool and place the anchor point at the base of the ball. As we will animate the scale later, we wanted to take that point as a reference. Now open the transformation properties of the ball. All these properties can be animated. We can also modify its values directly from here. First, we're going to animate the position for which we need to create the first keyframe by clicking on the stopwatch. Now advanced timeframes on the timeline, you can see the frame counter on the left. We can create a new keyframe by pressing the diamond here or directly change the position of the ball. When changing the position, increase a new keyframe. We can now preview the animation. For this, just press zero on the num pad or the spacebar. Finally, advance 10 more frames and copy and paste the first keyframe in this position. Preview again. Now we can see the complete path of the ball. If you are a little lost, don't worry, I'm going to do a detailed review so that nothing escapes you. First, we need to locate the time indicator at the moments of the timeline where we want the animation to start. To create a keyframe, you need to click on the stopwatch. To create another key frame, we need to advance in the timeline and modify the values. We can change the values from the view parts or from the timeline. We can also copy a keyframe. To copy a keyframe, we need to select it first. You can only paste it in the place where the timeline marker is located. Returning to After Effects, I like the timing. We just need to adjust the size of the workspace to the ration of the animation. For this, we place a frame before the final keyframe and press the n key. We can also adjust it by clicking and dragging. We can change the size of the composition to the duration of the work area by right clicking here and choosing the Trim Comp to Work Area option. Now, the composition has the same length as the animation and we have our shifts at perfect loop. But still, we need to do some tricks to make the animation look good. Right now, the animation runs at a constant speed, and this gives it an unnatural look. To solve this, we need to slow down the movement of the ball at the top of the path, pressing F9 or right-clicking the keyframe, select ''Keyframe assistant, Easy Ease. We create an automatic smoothing of the keyframe movements. As you see, we need to smooth the movement of the central keyframe even more. To improve the animation, we have two options. Modify the open Graph Editor or modify the influence of the movements. Let's open the Graph Editor. For this, we must have the keyframe selected. Click on this symbol, right-click ''Edit Speed Graph''. From here, we can't smooth the curve, but it can be a little bit more challenging to understand if you do not have experience in After Effects. Let's return to the useful After Effects view. Select the keyframe that we want to smooth. Right-click ''Keyframe Velocity''. In influenced, we introduce the value 80. At the input and output of the keyframe, the speed must be at 0 since the ball remains still for an instance. Finally, we press ''Okay''. The higher the number we give to the influence, the smoother the movements. As you can see, it is completely smooth. Now, we only need to animate the scale to achieve this squash and stress effects we want. First, we squash the ball. We do this due to the impact of the object on the ground. To do this, we just activate the Constrain Proportions option of the scale by clicking here, and create a new keyframe using the value 120 percent for x and the value 80 for y. The ball must always maintain the same mass. The value of the sum of x and y must always be equal to 200. We advance a frame to the fastest part of the animation and embed the values. We are looking for the ball to stretch with speed. In the upper part of the animation, the ball stays still for an instance, so it must regain its natural appearance. We reset the value to 100 and 100. In the [inaudible] frame, the fastest part to drop, we copy and paste a keyframe that we have previously created on the fastest part of the ascend. In this case, it's not necessary to put a keyframe in the last spring since at this point the animation restarts from the beginning. Let's preview again. As you can see, it does a weird thing. It is because you have to smooth the central keyframe just like we did with the position. Select it, F9. Right-click ''Keyframe Velocity'', and we set the influence on 80 percent. Now yes, we have the bouncing we want. Okay. Now we only need to animate the shadow. To do these, create a keyframe by clicking on the stopwatch, advance timeframes and lower the scale on 80 percent to give the effect, that this shadow becomes smaller as the ball moves away. Now, advance to the end of the composition and copy and paste the first keyframe. We drag it a little to the last frame. In the center keyframe, we smooth the movement with F9, and then we apply the same influence that we have applied to the ball. In this case, it was 80 percent. Preview and fabulous, we already have for animation finish. Now, I invite you to download the projects. Your task is to bounce the basketball or the yellow from the beginning. You can find the balls by clicking on the eye symbol right here. You can also disable the rest so they don't bother you. Get fun and good luck. 5. Loops: Hi, welcome to this video. In this lesson, we are going to talk about the loop expression and how it can help us speed up our work process. It should not be confused with the loops created with the ball bounce from the previous lesson, since in that case, the loop was created because the animation ended and we started again. It is very easy to apply the loop expression. To start, we will make a simple animation position from one point to another. With F9, we move the speed at a sense. When previewing, we see that it makes a single movement. To apply the expression, we need to click on the stopwatch while holding the ALT key press. Next, we write the loop out expression. As you can see in the 2020 version of After Effects, as you write the expression, different options appear. It is much more intuitive to write expressions. We proceed on the node path to preview. We see that the movement restarts again and again without the need to create marking frames. Interesting, right? Now, we are going to add a variant. Inside the parentheses, we are going to write ping-pong between quotation marks. Now, preview. Animation now comes and goes throughout the composition. We can separate or bring the keyframes closer together to change the speed of the animation. Imagine yourself doing this over and over to the end of the composition. Finally, I will show you one last variant. Let's change the animation path a bit to see better what the following binding does. Delete the ping pong text and write offset in preview. Look how interesting. It continues making the same animation, but in this case, it also continuous scrolling. We go to the first keyframe. Select the two keyframes and drag them out of the composition. Preview and see how the ball enters the screen alone and continues its movement without having to do anything else. There is another variant called continue, but I have never used it and I don't see much use for it. In the next lesson, we will see what chockers are and how to use them to speed up our work process. 6. Shortcuts: Hi there. In this class, we are going to talk about shortcuts. Shortcuts are going to be a great way to speed up your work process. The most used shortcuts are the ones referring to the properties of the layers and the tools that we use most commonly. Let's see how to open the Layer Properties, with a single click. Press ''A'' for the anchor point, ''P'' for the position, "S" for the scale, ''R'' for the rotation, and ''T'' for the opacity. If we hold down the Shift key, we can open several properties at the same time. Now, we're going to see how to access the main tools with just a click of a key. Press ''V'' for the selection tool, hold Spacebar for the hand tool, "Z'' for the zoom tool, ''W'' for the rotation tool, and ''Y'' for the pan behind tool. It is all about practice. I have left you a PDF file with the most useful shortcuts so that you can download it. 7. Copy and Paste: Hi everyone. In this lesson, I will teach you how to save time using the copy and paste action in three different scenarios. To copy and paste keyframes, to copy and paste expressions, and to copy and paste effects. Let's see how to copy and paste keyframes with a simple rotation animation that we have prepared. As you can see, we have only animated one movement. To complete the cycle, we copy the first keyframe and paste it a few frames later. As you already know, the keyframe is pasted where the time indicator is located on the timeline. Now, I'm going to show you how to paste keyframes on another layer. Select the three keyframes and copy them. Next, select another layer and paste them. As simple as that. Perfect. Now, let us see how to copy and paste expressions. As you can see, we have the same animation from the beginning, but we then loop out ping-pong expression, applied. The red ball and the blue ball are also animated, but they do not have the loop out applied. Right click on the rotation of the yellow ball and select, Copy Expressions Only. Next, select the rotation of the two balls and paste expression, and ready. We have seen how to copy and paste keyframes and expressions separately. But what if we want to copy them at the same time? Very easy. We return to the initial animation. In this case, only the yellow ball that already has expression applied is animated. We select the property and copy. Next, we go to the rest of the layers and paste. Simple right? Finally, we're going to see how to copy and paste effects. Select the yellow ball, go to effects panel and look for the Noise effect. To apply it, make a double click on the effect. Now from the effect controls panel, we can configure the effect. As its name suggests, these effects creates an animation with noise. If you can't see this panel, go to Window and select Effects Controls. Very well. Now we only need to select the effect and copy it. Select the rest of the layers and paste. We only need two clicks and that's it. During this course, we will use this resource on many occasions. 8. Glows: Hi, everyone. In this class, we are going to talk about layer styles. They are similar to the effects. Just like this, they have their own set of settings. We can access the layer styles by right-clicking on a "Layer". Select "Layer Styles", and choose the option you want to apply. In this case, we are going to focus on the Outer Glow option. In its configuration, we see that it has many options to configure. We can change its color, its blending mode, or shape, and size. But we want to talk about an option that is very fashionable nowadays, adding noise. Thanks to the Layer Style, we can add noise very quickly with outstanding results. Of course, we can also copy a style layer and place it on another layer. Now, we are going to apply Inner Glow. For this, we right-click on the "Layer", select "Layer Styles", and select "Inner Glow". In the same way that we order glow, we can change the color, the size, add noise. As you can see, it is a speedy way to enrich our illustrations. I recommend you look at the rest and play with your settings. With these, we will be ready to start doing the projects. In the next lesson, I will explain to you how to prepare your designs in Illustrator to be able to animate them efficiently in After Effects. 9. Preparing files in AI: Welcome to this class. We are going to see how to prepare our designs in Adobe Illustrator and how to import them into After Effects. Here you can see the sign of our first project, it is a simple design. To do this, we have used a pencil and geometric shapes. For the preparation of the file for after effects, we have separated everything into layers. If you work with Photoshop, the concept is the same, separate by layers. You can see the organization of the layers here. The idea is to layer the elements that you are going to animate to make your life easier in natural effects. The organization is critical. For example, the dogs poles are located on the same layer as the boat because they will move at the same time. The same goes for the two cells in the eyes. We have also added a layer for the closed eyes and on the other hand, the ears are not united since we will animate them separately. In this phase of the process, you must be clear about what your animation will be like to prepare the illustration for After Effects [inaudible] in the future. Notice that some elements go outside the limits of the composition. We need to enlarge the composition by clicking here and dragging so all the elements are inside the composition. We need to do this to make sure that all elements will be seen correctly in After Effects and avoid cuts when animating them. Remember that you can download the illustration file along with the rest of the projects. See you at the next lesson. 10. First project: Hello, and welcome to this tutorial. Now we are going to create our first project. Are you ready? Open a new 1,000 by 1,000 composition at 24 frames. Name it and give it three seconds. Now it's time to import or Adobe Illustrator design. Drag the imported composition into the main composition. We are not going to animate the top two layers yet, so we're hiding them for now. The first step is to link the dogs parts with it's body in such a way that when the dog moves the rest of the parts follow this movements. For these, we select the layers of the body parts. Click on the "Pick Whip" and drag to the layer of the dog. If you look to the right, the name of the layer to which it has been linked appears. It' can also be linked by choosing the name of the layer directly from here. We will also link the dog in the sails with the boat. Check that everything is well-linked. Let's animate the ship. To have better visibility, let's just activate the layer of the sea waves. Place the anchor points centered on the base of the boat so that the boat rotates on these points. Go to the beginning of the timeline. Open their rotation add a key frame and slightly rotate the boats to minus six degrees. Advanced 12 frames and rotate it up to about four degrees. Select the key frames and smooth the movement by pressing "F9" key. Next, apply the loopOut ping pong expression as lesson five. Now we activate the sea wave layer again. Preview. Now we want to copy the rotation movements and paste it on other layers. To do this, select the rotation and copy. We go to the dogs layer. Place it's anchor point, advance one frame respect in the beginning of the animation of the boat and with the selected layer, we paste. You advance another frame and place the anchor point in the dogs mouth. Paste again, the rotation that we had copied from the boat. If you notice, we have been doing a slight displacement of one frame in the animation of rotation between the different layers to imitate inertia, it makes the animation looks more natural. Good. Now, we're going to animate the tongue. For this, select the layer and apply the wave warp effect. With a double-click, we apply it and configure it status. Wave height, leave it at 10. Wave width at 107 and wave speed at five. Now, adjust the duration of the sea wave. In this case, we want to imitate that the air comes from the rights and we configure the pinning on the right edge. Applying this right edge stays fixed. Let's see what happens. Now. Copy the effect and paste it on the ears and check again. We slow down a bit to follow and check. Perfect. Now paste the same effect on the sail layer. We remove the pinning as here no edge needs to remain fixed and we lower the speed to three. As you can see, it looks a bit strange. To fix it, we have to increase the values quite a bit. We leave the wave heights at 20 and the wave width at 364. That will be fine. Copy and paste the effect in the sea wave layer. We slow down a bit to two. Check over. Perfect. Or say that dog looks great. The wave warp effect is an useful effect that will help us quickly create attractive animations. We can use it to animate Harris, waves, clouds, fumes, and much more. It's your turn now animate the background clouds with a slicy slow motion and animate the fish jump. The results should be something like what you're see the screen. If you're last, don't worry. In the next lesson, we will teach you the solution to the task. Good luck and see you in the next lesson. 11. Solution to the task: Hi there, welcome to this class. In this tutorial, I'm going to teach you how to solve the task of the previous lesson. You needed to animate the movement of the clouds and the fish jump. I know that the animation of the clouds was very easy for you. We simply create a keyframe at the start of the timeline. We advance to the middle of the timeline and slightly move the clouds. We select the keyframe and apply F9 to smooth the movements. Finally, we apply the loop of pingpong expression. We copy the expression and paste it in the position of the other clouds, and we already have the animated clouds. The animation of the fish may have created more problems for you, but it's normal. If we tried to animate the jump through position and rotation, it can be a little bit difficult to achieve natural movement. Luckily, there is a more effective and much faster solution. Animate the position and let After Effects take care of animating the rotation for you. Let's see how it works. First, animate the position in the first frame. Advance to our frames and create a keyframe at the highest point of the jump. Twelve frames later, the fish falls again, and we apply a curve to the movement. To do this, we click on the points of the path in a stretch, something like that. Now, we need the fish to rotate at the same time. For this, we right-click on the layer, select "Transform", "Auto-Orient", "Orient Along the Path". By doing this, the object follows the path we are looking for, and we don't need to do anything else. Now, we want to give the effect that the fish comes out of the water. For this, we create our example with the same color as the sea. Be careful not to have any layer selected when creating the rectangle. To see the fish underwater, we apply the blending mode Lighten to the rectangle. If you can not see these options, click on "Toggle Switches/Modes". Now, it only remains to animate the waves created by the fish in contact with the water. For this, we will animate its scale. The formation of the waves must coincide with the contact of the fish with the water. In a few frames later, we animate its opacity so that it disappears little by little. This is perfect. We duplicate a layer and move it to the time and place where the fish falls in the water. Let's have a look at the animation. Sorry, I just forgot to animate the eyes close of the dog. To get started, we need to animate the opacity in the eyes close layer. Let's select the two layers. To select several layers at the same time, we can select them by holding down the Control key in Windows or Command on Mac. If we want to select all the layers that are between two layers, we hold down the Shift key and they will be selected. Going back to the animation, we move to frame 9, for example. At first, the dog has the eyes open, so we leave the opacity at 100. We don't want the eyes closed to be seen yet, so we leave their value at zero. Next, we move one frame and invert the values. Now, we will see the eyes closed. We move three more frames and click on the "Rhombus" here here create a frame with the same value as the previous one. We will continue with the eyes closed. Now, we move one more frame and invert its value again. We will see the eyes open again. Perfect. Now, we move above four frames and copy and paste the first three keyframes that we have created before. We first copy and paste the keyframes of one layer and then those of the other. It is important to do it this way because if we copy and paste the two layer keyframes at the same time, the layers will be duplicated. Ready, now, we have our animation finished. Our sailor dog is looking great. Do you want your animation to last longer? It is very easy. Go to the "Composition", select "Composition settings" and multiply the time value by the number you want, for example, by four. Duplicate it until you have four. Select the four layers. Go to "Animation", select "Keyframe Assistant", "Sequence Layers", and that's it. Animation now lasts 12 seconds. 12. Ready for it?: Welcome again. I'm very happy that you made it this far. It means that you got to really make amazing animations in record time. As a second project, you will make the animation that you see on the screen. For this project, we have tried to make an attractive and dynamic animation, but with a minimal efforts to achieve our goals. For this reason, we have only separated the necessary layers, to achieve the desired results. For example, the trunks and legs together with the arms, are united in the same layer. In this way, we save a lot of time and the result continues to be very good. Also, forearms and hands has been placed together. When animating the face, keep in mind that when moving the features of the face down, the ears must go in the opposite direction and above all, be careful to link the layers. All the movements of the animation have been seen during the previous lessons. So I invite you to try to carry out the project by yourself. I know you can do it. In the next lesson, we will see how to animate the second project. 13. Second project: We are going to animate our second project. Here we go. We're going to create a 1080 by 1080 composition, put 25 frames. Give it five seconds, and we import the Illustrator file. Let's start by parenting all the layers, the mouth with the face, and ears, and hair with the head, and also the face with the head. The rest of the body parts are related to the body. When moving the body, all its parts follow its movements. Let's animate its position in a range of 20 frames. We apply Ease Ease with F9, and apply the loopOut pingpong expression. Next, we place the ankle points in the forearms so that they rotate on that axis, and we animate the rotation of both. We apply Ease Ease with F9, we copy the loopOut expression from the body, and we paste it on the forearms. Let's have a look to see that everything is going well. Perfect. We go to animate the mouth, we want to give the impression that the girl is breathing through the mouth. For this, we animate the scale, smooth it out with F9, and paste the loopOut pingpong expression back. As you can see, it is the same process all the time. Let's animate the face. We animate the position, and smooth it out with F9 and paste the loopOut pingpong expression. For the ears, we animate its position. Remember that they must move in the positive direction to the face. Very good. We smooth the movement again and paste expression. We're going to animate the scale of the shadow. When the shadow rises, the shadow become smaller. Again, we smooth the movement and paste expression loopOut. Great, it's looking perfect. Finally, let's animate the hair. We apply the Wave Warp effect. We adjust the direction the waves will follow, and we adjust the size of the waves to our liking. You can choose other values different from mine, the important thing here is that you like the results. Finally, we establish the Pinning option in Bottom Edge because from here the movement will start, and we want it to be fixed. Perfect. We go to the cloth waves layer and apply the Wave Warp effects again. We adjust their values. In this case, we want the waves to move laterally. Here, I don't see a need to adjust the pinning and preview. Nice. It will only be necessary to apply a little noise to the brightness of the sun. Just make right select "Layer Styles" and select "Outer Glow". We change the color and adjust the values to your liking. We add noise. Our animation will be ready. As you can see, we have only applied the knowledge that we had already learned during the previous lessons. Guys, in the next lesson, we will see how to export our work. 14. Do you want more?: If you want to continue learning new tips and tricks, you will love my new course, crazy loop animation with after effects. We will start developing the idea. I will show you how my work process is and then we will design our project in Adobe Illustrator. On the way you will learn how to add crazy textures and effects to your animations. Finally, we will bring our design to live. Hope to see you there at the end of this course. 15. Rendering: Now that we have our jobs ready, we can explore them. For this, we go to Composition and select "Add to Adobe Media Encoder". Media Encoder helps us explore, practice more efficiently. Keep in mind that a composition that we currently have open will be exported. First, which is the codec. In this case, we will use H264. It explores the video in mp4. You must use format for web. Regarding the output resolution, we can choose the "Match Source", High or Medium Bitrates option to avoid mistakes and explore it in the same size in which we have worked on the project. In this course, we have made short in loops animations more focused on social networks like Instagram. For this type of animation, it is better to choose the "Medium Bitrate" options so that the videos don't occupy to many megabytes. Finally, we choose the location where we'll explore the video and give the file a name. To finish, we click on the "Play" button here. You can also explore your animation as a GIF. To do this, go back to "After Effects" and send a video back to Media Encoder. We choose the codec "Animated GIFs" and the option "Animation GIF, Match Source". Again, we choose the location where we'll explore the video and give the file a name. We finally click on the "Play" button here. With this, everything will be ready. Once the process has finished, you can open your video and then start moving it on social media. 16. Final Thoughts: I'm so glad you made it to the end. Congratulations. I invite you to apply all the knowledge you have learnt by creating your own animations. I would love to see them. Don't be shy and please upload into the course project gallery or tag me in your Instagram posts. Look for references, get inspired, and above all, practice. If you enjoyed the course, please leave me a review. I will be very grateful. I hope to see you again in future courses. Thank you.