Animating Illustrations: Fundamentals of After Effects | David Knight | Skillshare

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Animating Illustrations: Fundamentals of After Effects

teacher avatar David Knight, Illustrator & Animator

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

41 Lessons (3h 53m)
    • 1. Introduction

      1:31
    • 2. A Project Overview

      1:19
    • 3. Getting to Know After Effects

      4:12
    • 4. Importing Ai Files & Simple Keyframing

      11:37
    • 5. Preparing Ai Files for After Effects

      2:44
    • 6. Setting up the Class Project

      6:16
    • 7. Learning to use the Pen Tool

      7:30
    • 8. Creating with the Pen Tool

      7:12
    • 9. Learning to use the Shape Tools

      9:27
    • 10. Animating the Owl's Feet

      6:32
    • 11. Animating the Owl's Body

      5:19
    • 12. Animating the Owl's Wings

      2:35
    • 13. Make the Owl Blink!

      3:42
    • 14. Animate the Branch he's Sitting on

      4:39
    • 15. Animate the Falling Leaf

      8:17
    • 16. Animate the Character's Finger

      4:08
    • 17. Animate His Tapping Feet

      2:54
    • 18. Animate His Head

      5:25
    • 19. Animate His Eye Movements

      8:26
    • 20. Animate the Acorn Using the Speedgraph

      11:22
    • 21. Animating the Fox's Head

      3:59
    • 22. Animate His Ears

      2:14
    • 23. Adding More Animation Using Scale

      3:54
    • 24. Add Some Character

      5:08
    • 25. Eye Movements

      5:18
    • 26. Animate the Tail Using an Effect

      5:42
    • 27. Animate the Ferns Using an Effect

      7:51
    • 28. Animate the Leaves

      7:23
    • 29. More Leaves & Swaying Branches

      5:53
    • 30. Simple Moon Animation with Effects

      3:11
    • 31. Animate the Stars Using a Layer Style

      3:32
    • 32. Textures Using Track Matte

      4:23
    • 33. Textures Using Track Matte

      3:11
    • 34. Add Shadow & Animate the Hill Texture

      6:09
    • 35. Adding Tone Using Masks

      6:23
    • 36. Add Tone to Mr Fox

      8:39
    • 37. Add Tone to the Character & Owl

      11:05
    • 38. Framing the Characters

      5:26
    • 39. Final Tweaks

      11:56
    • 40. Export Your Animation

      5:19
    • 41. After Thoughts

      1:37
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About This Class

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Ever just want to jump right into After Effects but feel it's way too complicated? This is the perfect time for you to start!

You'll be learning how to bring an illustration to life using this fabulously creative program. Firstly, we'll take a quick tour around After Effects so you can get to know the interface and from there we'll import and convert an Adobe Illustrator file for use in After Effects and then use it to do some very simple animation so you can get used to keyframing and the timeline. After that it's time to set up the main project using the illustration supplied with the class and then you'll be learning about the pen and shape tools by creating some simple objects which you will then animate for use in the main illustration later on.

During the class you will also learn about:

  • Layer Styles
  • Effects
  • Expressions
  • Masks
  • Precomposing & Parenting Layers 
  • Using the Speedgraph
  • Adding Textures & Stylisation
  • Exporting to Video

This class is perfect for anyone new to animation and will provide a solid and broad grounding in After Effects so you can move on confidently and create your own work or start animating other people's. Animation is also a great way to get your work noticed.

See you in Class!

Meet Your Teacher

Teacher Profile Image

David Knight

Illustrator & Animator

Teacher

I'm a freelance Illustrator and Animator based in the UK with a special interest in character animation & illustrating for children. I studied Drawing at University but found myself gravitating towards children's illustrating whilst I was there and more recently discovered animation and haven't looked back!

You can see more of my work here!

See full profile

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Transcripts

1. Introduction: Hi, everybody. And welcome to this class, which is animating illustrations in after effects. I am David Knight. I'm an illustrator and animator in the UK On today we're gonna be turning this really flat static illustration into a beautiful, fully animated composition. Recently, a well known design portfolio website surveyed its members to find out what skills they must want to life, and the number one skill that came out on top was animation. If you take a look around, you'll find that an emotion is everywhere. It's an advertising is in information commercials. It's used in marketing campaigns. It's used a new I design issues all over the Web, and this is because it's a really, really good way to communicate a message. So maybe you're on illustrate were already I knew I looking to take your work in a different direction on this Wilberger class for you. Maybe you are a designer, and you are thinking of adding to your skill set. This would be a good place for you to start as well. Well, maybe you just copped on animation itch that you want to scratch, and you would be starting from scratch. This would be an ideal class V as well. So what are you gonna need for this class? You will need after effects cc 2018 or later. And don't forget to download your project files. Have fun and make sure you upload your finished animation to the school show project. 2. A Project Overview: Hi, everyone. And welcome to this first lesson This is just gonna be a project overview. A quick walk three So we don't get lost it on the way. So first up we'll have a look at the interface was set up your workspace and then we're gonna import an illustrator file and convert it into after effects for meant and from there was set up the main protect. Then you're gonna learn how to use the pen in the shape tools. I'm gonna get you to create a leaf in on a call which you're going to animate later on. After that, we'll animate the hour in the branch he's sitting on, then will animate the figure on the leaf that you created earlier on Next up it's Mr Folks on the Acorn you created. I will do the leaves, phones and then finally the morning the stars. Now we've almost finished. We can add more interest with some textures thing we export the animation to video and all that's left to do is upload your finished an emotion to instagram or you prefer Social media platform and that's it. You become an animator. So just a rica in the next lesson, we're gonna learn about the after effects interface and then import of file, so let's get started. 3. Getting to Know After Effects: before we get started properly in the lessons. I just wanted to say a couple of things about my own experiences of using after effects. When I first started out, I used to feel like this on a fairly regular basis, I think mainly because I was used to using photo shop in Illustrator and the tools do look similar. And there are crossovers, but it's obviously behaves very differently. Also, you don't need fishable illustrator to create really, really good illustrations that you can animator and after effects. It's a really creative program in its own right, so just stick with it and you'll get that. So hello, everyone. Welcome to this first lesson, Andi. In the first part of the lesson, we're going to just do a quick walk through off the after effects interface, and then in the second part, we will imports under the Strait of File. We're gonna convert it into after thanks for months. We'll do a really simple animation just so you can get used to keep framing on the timeline , and we're also going to look at something cool and called parenting layers as well, which will be useful later on. I just want to say that I am using a PC for these lessons. So when I refer to the control key on the keyboard, if you're using a Mac, it will be the command key. Okay, so the first thing you want to do is open up after effects on. If you don't have the same layout on your screen in front of you, as I have, I need to go upto window workspace trapped under standard Click on that. Or you could just click on standards over here on the top of the screen. And these are the panels you get with the standard layouts, and you can, either. Grazer panels. You could end up the Panelists, maybe around the screen like that on you. Karen. Put back again. You can customize your workspace so you can leave with around the Previa areas if you want Teoh. And if you did want to save a customer expects, have you got to stand it and you can just savers and you were expects here. Click on that, give it a name and it would appear appear at the top of the screen with the other ones. If you close down a panel and you want Teoh back again? If you go to the window, drop time when you hear and find it, just click on it. It will just place it back over here for you. But for our purposes and these lessons, we're just gonna need one panel on. That's the effects of presets panel here. So if you close and all the others, I'm excited. So you just have this one enough. That's for him. Over here we have the project panel we have down here that I was planning on the timeline and those were alive. As soon as we import something a clear we have a Siris of drop down menus on. We will work our way through these progressively with the lessons. One thing I do want to show you there is a pickup to edit come down to perch on. This is something which is good to do on a regular basis. I do at the end of every one day. If you click on all memory and disk cache, it's actually great out because there isn't anything to delete it The moment If you click on that, it'll ask if you want to delete it and he just click. OK, just trying to that on a regular basis, because from time to time after facts becomes really slow. And if you do that, it'll free up the memory and the performance will improve. Underneath these drop German news, we have a series of tools which we will be using some off, but not all on. If you just hover over each one, you'll find that the name of it comes up, and also to the right of that in brackets is a keyboard shortcut. And I would urge you to learn nice because, say, it does very speed up your work for you. So for the time being, I think that's all. And in the second part of the soon we're going to import that illustrator file so we'll see that. 4. Importing Ai Files & Simple Keyframing: so welcome back on. So we just get on and import that illustrator file. We could do that several ways you could use a Cuba would shocker which be control I only keyboard If you navigate Teoh this this thing illustrator file in your animation project folder Click on it. Make sure you have this option selected and then import. It's we could also. So I'm gonna undo that. So controls heads. You can either go to file on good under imports on again. You can put the fire that way. So same drill, same option selected import. That's I'm just gonna undo that once more. Or you could just double click here on imported this way as well. It's going toward the file and here we have the protect protect panels on live, and if we drop down into the water here, we can see all the layers. What we want to do is trouble lies down here into the last pound. So if you just double click on the composition now, we want to select all these layers and we could do that by getting control a on the keyboard. Or you could just select one off the layers, hold down shift and then click the one at the top and it will highlight a Well, as for you that way no, it want to do is right. Click on. We want to create shapes from back today as I click on this option here and there, we have it after facts has converted days illustrated files for us and saying, What we want to do now is just click off and select or the illustrator files. So you hold down control and then click. Well, each of those files. There's strata files, then, just so they go like that headlight on your keyboard. So if I just cycle through the layers down here, you'll see that they get highlighted on the screen in front of us as well. And I think what I'm gonna dio is just change the background. I'd prefer to be white, so if you controlled, carry on your keyboard, bring up the settings for the composition, just couldn't background color and make it watches. Whites cook. Okay, that's better. Now if we look, if we 12 down saying one of these these lies this to see what's what's in it. So we got contents here. And if I told on the it will reveal all the individual elements on that layer and then below that we have something called transform and thes Thea Animation parameters for each individual layer. And we have these options so we can trends. We can animate the anchor point, the position, the scale irritation and the capacity which is just the translucence off a layer, which is quite useful if you want to make something disappear. So I just click on that again. Teoh, hide it. Over here we have the timeline on and currently it's It was set up at six seconds, and we can also reduce the area of the play area by dragging this little fella here across the screen, which I'll say relevance of that in a minute. And we can also increase the size off the timeline. So if we wanted to see individual frames, for example, we can do it that way so we can zoom in and out that way. So I'm just gonna drag it back again. So what we want to do now is a really simple animation. And if you cook on one off the wing outlines here So you eat a lot more to Andi. He just seemly and so that says it on your keyboard and then just click on your mouth. You'll see that this is the anchor point for this particular layer. And we need the anchor point to be up here because if we write states, for example, if we animate this rotated around that point, I say, is going to look a bit strange. So that's what will happen. So what we need to do is move that anchor point when we do that, using something cool, the pain behind two, which is up here. So you click on it or used to keep with Chilcutt, which is why I just come over here and just make this anchor point appear like this. So up to the shoulder. And then what we want to Dio is bring up the rotation parameter for that particular layer on. We can do that by 20 down again, going to transform and finding in town here. So his irritation parameter Andi, make sure the time on indicator This thing here is at zero frames and you can tell where you are on the timeline by looking in this little box here is Well, so when we leave this, it tells us what frame we're on. So make sure you're in Syria frames Come over here to this little stopwatch icon and just clicking it on either Here on the timeline we've created off asking for him. And what I'm gonna do is move this indicator along, Teoh. 12 frames there tells me that were 12 frames and I just put a value in here. So we want to give it a minus value for it to go from left to right. So you can do that two ways. You can either click in here, just type any minus 15 for this for this particular instance, or you can click and drag on that as well. So I just put it back to 15 and then made a long Teoh one second here and we're going to copy this first key frame so the wing just goes back. Teoh the body, make sure you're on your selection tool. I'm still on the pan behind toe surgery. Use a V. We can just click on it. Onda, we want to copy this first key frame. So if you select it by clicking on it. You hit control C and then make sure time an indicator is where you want Teoh. Copy it to control. Be copies. The A frame for us and now I'm going to see leaves the play area reduced to play area. So when I play this animation back, what it will do is just play that area for us. Now you can play an animation two ways. You can either hit space bar when your keyboard or I prefer to use on the zero on my number pack. So I'm gonna hit serial my number parent, and then we have it. It'll just play that particular area over and over. And that, my friends, is a really simple animation. Now, if we just seamounts, which would be the whole town's ed and then bolts on your noticed, the icon changes to a minus sign. Click out like that, and we can also move on the composition around the screen by If you hold down space ball, little hand appears, and then, if you left, like even grab it, we can also resize the composition as well. So we go to this truck plan when you. I just hit fit at the top. It'll fit it to the screen for you. Now, if we play the animation again, suddenly hits their online on the band. It's a fairly pedestrian type of animation, isn't it? It looks pretty unnatural because the wing is moving at the same speed from start to finish . And in the real world, this doesn't happen because objects speed up and then they slide down. So I'm just going to show you a way. We can fix that. If we go to the circle outline land here on, we just want to bring up. We just want to find the animation parameters again. And I'm gonna drop down and transform. And this time we're going Teoh, change the position parameter. So I'm gonna make a key frame at serious seconds. Sorry. You can position that is your key frame on. I'm just gonna leave it, so I'm gonna leave The player stated two seconds and then I'm gonna meet the timeline indicator. Teoh one second on 12 frames. Say that's fine. And these are X and Y values here for position. So if I change this one on the X value, it means from after writes on the wife highly obviously makes it vertically. It's going to bring it back to anywhere, and you can change this family by either clicking on dragging like that. Or you could put in a value so put in 6 50 Cool. Do that again. You could just make sure you in the selection to grab it's on, drug it across the screen that way. So I just played that animation. So it's there on my number parent, and you can see that the cycle is moving at the same speed across the screen. Well, what we wanted to do is speed up in Sweden on the way we do that as we something called Eazy e's. So we use these key frames of the moment is key frames are accorded any accu frames, So what I want to do is highlight both of them. So I'm on my selection tool. I just click and drag over that area to highlight both of them, I believe timely, and then I hit F nine on my keyboard, which what happens? They change into this Aligarh shape, and now if I play the animation, the object will speed up, and then Slater, which looks a lot more natural. I think now there's just one more thing we need to have a quick look out before we finish. And that is something called parenting layers, which I mentioned earlier. If we just close down this now, now, show you why this is important. If we drop down to this this letter here, click on it. And if I just drag it around the screen, you can see the component parts the other layers Don't move with it. And we obviously need to remedy that. We do that by using something called the parent, which is they're still here. If it's not on your screen right now, if you come over here right click and then make sure that this deception is ticked that should bring it up on your screen for you. Now we're gonna do this in a logical ways is a really simple registration. So the wings need to be attached to the body. So I mean, I like breath the wings. I'm gonna country One of them described this tool. I drag it Teoh the our body and I really the same thing again with his feet like this. I have done the same with this people's as well. And then now and five million. This party around the screen he moves has one which is exactly what we want. You can also use this drop time than you here to parent layers, which is quite useful if you're you've got a project with a lot of layers, which we will have later on. And if you want a bit of homework, you could just play around with the animation parameters for each of these layers. Remember, if you drop down into the layer, you find again and to transform, drop down and transformed on, try making some key frames along the time line and see what happens. And in the next lesson, I'm going to do a very quick tutorial on how to prepare illustrator files for animation and after France. So I look forward to seeing you there 5. Preparing Ai Files for After Effects: So, everyone, welcome to this next lesson on today. We're just gonna do really quick tutorial on how you should prep your illustrated files before you and put them into after effects. Now, here's the illustration that we were looking at in the previous lesson on what I've done is I've put some of the layers together, which shouldn't be basically so when you create administration after effects all illustrator, what you need to make sure you do is you create separate elements on separate layers so you can animate them. Because if they're all bunched together, you're gonna have on all three have a long day trying to animate those on. Also, from time to time, you might get files from clients. That's I like this. So there's a bunch together when they shouldn't be on. You need to separate them. So we're gonna do is just have a look at that. It's very simple to do, and it doesn't take. So what I've done is I've set this up. So the wings are on both layers are on one layer and also his feet, and we need to separate them out. So well, I do soak up to this. We're here. I got to this money I dropped down Teoh, this option here, which is released two layers. So if you just click on that and then what you need to do is highlight these two days on, just direct them out like this and then deletes the original air. And we've got the wings now on separate layers. So I just book various back above the body, sit on top of the body, and I'm gonna do the same thing with the feet. So I got to this option again, released by his, grab his feet to drag him out, and then just deletes that original lamb on that's essentially it. Now you've got all your away, the elements you need to generate on separate layers. And it's a simple is that so? If we just hop over Teoh after a fax on just import that file, I'm likely to just today songwriter, import this, pretend that I sizes import it, drop it down there. And remember, we highlight all the other strata layers, right click. And she's this option here. Aftereffects convinced all the files fee. I'm gonna hold my control key down and just selectable The illustrated s on, then just did it. And that's that. It's a simple isn't. So in the next lesson, we're gonna have a look at the main project. So we're gonna import that on. I'm gonna show you how to work on a project with lots of layers, so see there. 6. Setting up the Class Project: everyone. Welcome back on today we're going to start our journey animating this main project. Andi, I'm gonna show you how to navigate around a project with a lot of layers because this project has other players. I'm gonna show you some people with short cuts on. We just have a look at this in administrators. Well, just with an eye on the previous lesson. So what we want to dio. First of all, it's just got to file on open, protect here or control R on your keyboard on Never get Teoh Animation Project Folder and just click on the main project on opening on after facts were with positives in the project panel on If we scroll down here, we can see all the layers associated with us and that's a lot of layers there, 62. Those first thing we'll do is just have a quick look I could say at the fire in Illustrator and you can see that when I created this, I essentially created all the elements that I thought I would need to animate on separate lines. By the way, this original night Sky Illustrator file is available in your project folder and if you feel confident, imported yourself and set up a project yourself. Okay, so now we want to try and make some more sense of what we're saying here. So we got all these layers slightly mind bobbing on. We just want to try and rationalize this process a bit. So what we're gonna do is we're gonna start off by calculating the lows, and this is really easy to do. So if I never get down here and finds So I start with a fox lap here, we just come over here and right click on the color kind of the color box, and then we have ah, bunch of options, a bunch of colors. We can change this too. So I'm gonna change that particular latter orange straight away. We know now that that's a fox, I because his orange and what we'll do is we'll, um, high like the rest of those last. So I'm gonna keep that one highlighted. Just dropped until we find the last one which is here, I think. And I'm gonna right click here Got orange. And there we are straight away. They're much more identifiable as a particular lies. So what I'm gonna do now is to reduce the preview area. So I'm gonna just remember weekend, um, we looked at customizing workspace. Well, it's a bit like doing that, so I'm just gonna make this a lot smaller. And now I can see on the lines about more easily. On what I'm gonna do is color code the rest of these layers on, and I will see on the other side. Okay, say, that's all there is done now. And if I just show you what turned so you can copy the race if you want Well, you can measure and colors these colors and my sense t. Okay, so I just changed a previous area back to where it waas so we can click and drag it back that way. Well, we could just reset the workspace. I coming up here on hitting reset. And I'm just gonna close down his powers that we don't need If you have done it that way and they closed the panels town again, I just place the wrong panel. So I'll go to win Day on. I want the effects. Pretty thanks. Panel about area. Okay. The next thing we can do is we can use something called soloing layers. We just come over here and over over this circle. You can see it, says Solo hides all non solo video, essentially that what it means is it will isolate that, particularly from the rest of the composition. And I say what I mean. So let's go to the Fox again. That's highlights all his last, and then I'm just gonna click in this color. So I've sold those layers, and essentially, it's isolated him from the rest of the composition, which makes it a lot easier to work on. So it's a lot less busy. And also, when you come to play back any animation you've done, it'll free up the performance there as well. The other thing that's really useful to know the keyboard shortcuts for the animation parameters is on. And rather than having to 12 down into a lower each time, you want Teoh animate something I'm going to transform. You can just use the keyboard shortcuts. So if I'm on a particular land, I want to bring up position parameter hit me on my keyboard for position on. I appear again to make it disappear. It's off irritation. It's T for rapacity. It's a foreign ca s for scale. Now, they're also gonna be times when you want to bring up more than one of these at the same time. That's gonna happen a lot. So we got scale here, as as an example, I want to bring up the capacity as well, so I'm gonna hit Chef told my shift and then hit T for rapacity. I'm a bring a position. So that's piece. I'm still holding out a shift on its a foreign car on. Then it's ah for irritation. So those are all the animation varieties and I just make some key frames on the time I knew and then just closes Closest back up again. I really quick way to bring up key frames on the layer is to hit you on your keyboard. And it would just reveal the key frames you've made for that particularly which is another really useful I'm short cup. And if you wanted to reveal all the key frames for your projects, you are It's, for example, had control a which would highlights oil oil as and then if you hit you on the keyboard, it would bring up along the key frames you've made on. These are the ones I've made as an example in this instance. So I'm gonna close this up the game, just click off the layers, and that, my friends, is pretty much it. And in the next lesson, what we're gonna do is we're gonna have a quick look at the pentacle. So you wanna learn how to use that? And then in the second part of that lesson, you're gonna be using the parental Teoh. Create a leaf outline, which he will animate later on your place in the composition, so I'll see that. 7. Learning to use the Pen Tool: Welcome back, everybody on in today's lesson, we are going to be learning how to use the mental up here on. Then, in the second part of the lesson, you're gonna be using a pencil. Teoh, create the outline of the least that we've talked about which you animate later on. The first thing we want to do is create a new composition on. We do that by going up to composition, click on the composition or had control and on your cable would. And over here we have the set up off the composition, and we need to make sure that we got same parameters. So it's six seconds. It's 24 frames per 2nd 800 by 100. Just rename the composition leaf on, then click OK on. The new composition appears in the pressure panel here on if you want to navigate between the's compositions. If you click on here, you can go back to the original composition. The night sky one. Andi, just click on it, going to come back to leave. So if we got to the parental and left Wigan hold, you can see or the options available for the pencil. We're just gonna be using the top four here on the keyboard. Shortcut is G. So make sure you were on the top tool here on. If you haven't got a fill, you probably have got a default sort of white. But if you haven't given a color, so just click on it and give it a go Any car you want And we also want to make sure the strike has a value in it. And you can do that by either clicking on it and typing in the value clicking off. Well, you can just drag, click and drag the value like this. Okay, so make it about 20 so we can see it now if we just come over here Teoh screen. I just click anywhere on the screen like this on the mental created shape for you like this on A soon as you do that, it creates a new shape for you down here in the layers panel. Now I'm just gonna click off. And if I click back on Andi But you're another shame. What will happen is it will automatically draw it on the same layer. So if I drop down into this on going to the content. We can see that shape to. This one here has appeared on the same layer. So if you don't intend that if you don't want to be on the same lane, make sure you click off and I could say it's a good policy to stick. Click off when you finish doing something in after effects and we know already know we can change your parents by changing the fill color. We can also take the fill off altogether. So if you click on this option here, okay, it takes away to fill Onda. We can also drop down into the shape here. And if we go into the stroke option on Dante, this option here line cap says it's gotta but capped at the moment, which means that the ends are flats. I'm gonna get around, Cap. Just click off it so you can see that's where I ended up face those ends. And also, if we want to give it a we want to round off the corners on the joints as well. We can do that as well. So I'm gonna get from around enjoying just click off so we can see again and there you are . Right. So now I'm just gonna delete this layer, and I'm gonna draw another shape with mental. And so I'm gonna hold down Shefki. And this effectively would draw perfect horizontal on. That's cool lines. No, If we want Teoh, move these individual points around, we can do that. But spy hovering, we make sure we're still in the pencil. Just hover over these points and we can drag them like this. If we wanted Teoh move more than one at once. We can do that as well, so I'm gonna highlight 22 thes converted Cesaire called on the whole downshift. I know I'm gonna just click and drag so it leaves those independently of the other points as well. And if I want Teoh add points, I can go up to the mental dropped anti the ad Vertex tool. And then if I click anywhere on the month, it will add those points as well on. We can also manipulate those. So if we just go back to the original parental at the top, we could just move those around free one to you, like, say, so I'm gonna undo that. So that's control said on the keyboard. And then the obvious tool after that is the delete via text. Also remove face as well. And if we have an open path like we have here and we want to close it up, what we would do is just go back to the mental to strike that down so you can sit a bit but easier on you. Click here, click there and it will close the path up for us. I was just click off. No, if we wanted to open that part up again Or actually, what I'll do is I'll add some no points to this. So if I had a point here a point here on and take off and if I wanted to open up that path So open up a gap between these two points, it's gonna zoom in so we can see it a bit better. We're back up to the mental, the original parental. Andi, highlight these these two points. So I click on one hold down shift, click on the other, and then I got a right click on one of them. I'm gonna go up Teoh musk and shape, path and I'm gonna click on placed on what it does is it opens up that path for us. Did you remember? If you want to move the competition around the screen, you hold down space bar unless clerk and we can also fit it back to the screen by using this drop down menu, I can sense. Okay, now probably the most important tool we're gonna look out for the parental is the convert Vertex tool, and this allows you to create shapes that you want to create. So if you click on that or he's still on the pencil and you used to keep with sugar, which is just holding down the okey, if you come to one of these these points, you'll see that the icon changes the mass changes. If you just left looking drag, you can see that pulls out these handles, and these are called. Bessie handles Mrs. Essentially, how you create any shape you want you want to create for your registrations. Once you get the hang of ace, you'll be flying. Now if we want to manipulate individual handles. So what? I grabbed that both of them made. I hold down the control to the control key and then just go back to the handle. I can put it as an individual handle as well Excite. And that, my friends, is pretty much it for the rental. It is. It is a tricky tool to master. But as I say once you get the hang of it, you can pretty much do what you like an after effect. So in the next part of the lesson we're going, Teoh, create that leaf outline using a pencil, so I'll see there. 8. Creating with the Pen Tool: Now we're gonna create that leaf we talked about using a pencil on. First thing you wanna do, I think is just delete this layer. So just hit delete on your keyboard, selecting it on double click in the project panel. I never get to this leaf outline file in your folder. And just important footage is fine. And just drag it down here into the last panel On first we want to dio I think it's just to reduce the capacity on it. So use the people Chilcot, which is t and then just click and drag and where Jesus the a pass ity. So just make it more translucent and then we can pick off seeming so I said on your keyboards and then we'll go up to the mental, make sure you're on the top option here. Um, make sure there's no feeling here. So if there is a feel good to fill, choose this option. Click. OK, Onda, we will give the, um the outline a strike value of seven. It's quick off, okay. And fessing already is just for the outline like this. Okay, so that's fine on. And what we're gonna do now is we're gonna go t the convert Vertex till and I'm going to zoom in on I am going to start trying to shape these lines, See the outline behind it. So I'm gonna click and drag here contract here. You just want around off these corners. Essentially So Fuller's handles outs. It's working away rounds methodically like this. So it just trying to get a very, very rough outline on. Then we can when we can correct it afterwards. So that's that's okay, I just see might say, is that ultimate keyboard? Right. So we need to make some adjustments here. So you seem in here on gonna get back up, Teoh the original pencil at the top, just over over these points here and you'll see that's something. We got some more options. So do this. Just try to follow the outline as best you can, really doesn't have to be perfect. Obviously. Just see if you can follow it, because it definitely is a good exercise for you to get to know the little nuances of this tool because it is tricky. I admit it is tricky on. I think we could probably just put a point in there as well. Just give it a bit more shape. Seamounts on. That looks pretty good to me. And we also want Teoh create this line as well and we want it to be on the same last. I understand that. Make sure I'm on the same layer cut to the Penta, will make sure I got that mental selected. I'm gonna click here. I just beyond the point just beyond the outline. And then I'm gonna drop down here with the Vertex tool. I just want to get this Just put it a little bit so we can give it some. So it's not completely straight. I'm just gonna go back to until the guy in into Pakistan, like that's seem that's again China. My test. Um, I had a point there, destroyed. It's fighting us by time, and then I'm going to go to the shape here. But I'm going to find that I'm gonna find this line in the contents. That safety I I think I'm just going to increase the value of the strike a little bit, so I'm gonna give it a strike of nine, and that's just a little bit thick. I wish is a bit better. I think I just want around off the end of the leaf, The leaf path here. So again, I'm going to go into this shape T I'm gonna 12 down. I'm gonna go down. Teoh this strike here and I'm gonna find the line cap here. I turned it into a Roman Campion. That's perfect. So that looks fine to me. That's looking good. And now we want Teoh. Add some color to it as well. So close up this shape. I'm gonna take your pastie off this song and increase it again. So increase it 200%. Now we can see that we followed the online quite quite low hands. So we want to add some fill, Teoh believe. And in actual fact, what we'll do is we'll renewing this this shape there. So if you click on it, it return on your keyboard. We just couldn't leave and then took off Onda, we will talk back down. Insurance will find the shape one which is here and what changed thestreet color. So I'm going to click on this. He's the eyedropper tool, and I'm gonna come to this lighter color here. It's Chris Collins I'm like, OK? And we've changed the leaf color. And we also want to change this strike color to this doctor. Talk of color here. So I'm gonna trick in here. Same thing again. You see, I drop it will come over here quick in this area. Come off. OK, And then we just want to change the shape to strike color as well. So I have highlighted it here using the eyedropper tool. Same drove. Okay, Okay, that makes it okay to me. I just close it up. We're going to delete this now. We don't need it. And then I'm gonna seamounts. And there we have our leave. So if you have managed to do this well done, it's a tricky It is a tricky tool to use, as I say. If you haven't just keep keep with it and you'll get there in the end. And in the next lesson, we're gonna have a look at the shape tool on using the shape to on the Penta. We're going to create that acorn, which we're gonna later on, and I'm right and drop on the fox's head. So it's either 9. Learning to use the Shape Tools: everybody in today's lesson, We're gonna be using the shape tools up here on D like to run will use the check tour and the parental to create an acorn, which you're going to animate later. One. So first up, we need to create a new composition on Let me use the keyboard shortcut, which is controlled, and make sure my parameters are right here. So six seconds 24 frames per second, 800 by 100 and cool. I'm gonna cool their composition. Ankle click on there, Kate. And now we have these three compositions and using that you can navigate between despite clicking on them. Now, let's have a look out of shape tour. So if we got to shape tour here, left, click and hold on, I will show you all the options we have available. So we'll use the rectangle first And just make sure you gotta strike in the field so you can see it. I'm gonna give it if you haven't already and give us a black stroke and I'm just going to strike it because I make it 20 again. Now what I'm gonna do is left, click and drag on the screen here and down here Aftereffects draws a rectangle, and we know it can change the appearance. Just like with the parental. We can change the Phil. We can give it no field by clicking on here, and we can change the width of the strike. And we also know that if we drop down into the strike here, we can change the appearance of the corners as well. So I'm gonna come back up, close that, and I'm gonna click off because I don't want to draw another shape on that particular layer . And now I'm gonna hold a shift, click and drag, and it will draw you a perfect square if you haven't already. That's what it will do if you do that. So that's just leave. That's on. This one is wrong, and we'll go. Tiu The Ellipse, still thes are fairly self explanatory, but play around with them so good to the lips tool. I don't wanna live, click and drag, and it will create on the lips and again if we want to create a perfect circle. If you hold time, shift on, drag a drawer again, and that's essentially weapons control circles to your heart's content, and I've remained on the same layer and you could see it's just stacked. Eliza Dempsey's on top of one another town of content. So remember to kick off if you don't want to draw in the same way. And if you do, you make sure you are on that layer. So I'm going in today, times and now I'm gonna come to the startle, which is slightly curious. So click and drag that it creates the shape on resuming. You can see, um, attention. It could be a star. How it looks a bit strange on if we go into the police star, so go down. If it's not a really been going to the contents, find the police star drop down into the party start path here to click on that drop down, and we want to go to the inner radius. Yet I'm just click and drag and change that Friday. I know it looks much more like a star. There's now, and if we want Teoh around of theaters on the Thean er corners as well, we can do that by changing these values. So that's just rounding off the inside of the star on the answer, and this also effect change there as well. Right? So that's pretty much the shape tools song and then delete that would integrate into shape . So go up to her lips. Actually, before we get started, just say something else. When you use the parental all the shape tours, it's quite useful to use sometimes to use a grid, because you can get after facts to snap the objects to downgrade. I show you what I mean. So if I got to view here and I make sure that this option is selected, snap to grid and then if I draw, for example, a rectangle, it makes it a lot easier because it's almost like it's magnetic. It will find those lines, and it would draw it perfectly on the great for you that's quite useful. Sometimes he's a pencil, but I don't use it very often myself, so I'm gonna get rid of that. I can t that came back up to view just dropping down, relieving corruption so we might again like that. We'll go back to the shape toe juicy lips. Well, just make the strike about 10 for this. Just create a shape like that said, click and drag on the screen and sort of make it like an egg shape and then go to the mental tree. She's a top option here on and just do something like this. So I'm gonna hold down shift when I look across here because then I got a perfect horizontal come down to about here on make a shape, my bags, and then we're gonna go up to the pencil. Well, come time to the compact plain text to I'm just gonna track without, like, say, hands on many natural. I'm still on the pencil in the hot, very with these points just to drag him in like this, as it's just gonna kind of match it Teoh the original Ellipse and works so much, so I can. And then I'm gonna track these points hands. Yes. So that looks okay to me. And then we want to give the speak on shape at little tail, so make sure you cook off. Okay? Back to the pencil. I just taste something like this. Look in here your whole time shift. So I got a perfect flight school, and then I'm going see this dragon like that I'm gonna make it get thicker as well. So I just drank. Strike option appears strike value, and you can see that they're all on one layer on. We want Teoh round off the end of that as well. So I'm going to go to shape T, which is that line. But I'm going to go into the strike and I'm gonna find backup, give it around camp. And now freezing. That's just click off We got essentially, We got the shape of the acorn that we want. I know you want to give it some color, so I'm going to come up into the field. I'm gonna cheese an autumn color, which I think is somewhere. And the greens I try and give it a sort of Ah, try and give it a green Soviet every killer. So click on that. Okay, because I wasn't actually hadn't actually selected the land. It hasn't done anything, so we need to make sure I want it. And I'm going to go Teoh the original lips and they appear again. I'm gonna try and turn the color again. Toilets. So it's it's kind of, um the first Ellipse will the Ellipse on. Now we wanna change this color as well. Cheese the same color. And I'm gonna make a bit darker, pick on them and just drop down. And Kalapani there on now I want to change this little tail to the same color, so I'm going Teoh. Now, this is just a strike. So we want to make sure we choose a strike. Click on the drop. It'll hear clicking this area here. Click. OK, and then we want to remove, um, a strength from the original lips So quick on the ellipse. Just drag the value off like that and we cook on the second shape. Say, this is this shape here and again. Just took off on drag of highly away. And I'm just gonna kick off and have a look. Yeah, that looks OK. It's a It's not quite perfect. Doesn't have to be, but I'm just gonna change. The service is slightly so I'm on the second shape. I'm just going to so I can bring reason available. I'm gonna just never get down here as well. Uh, it's comprende. Toe, find this point here When the handles maybe just trying pick off on, then we have our record on. Before we go, make sure you save your work. Actually, I think we could also just change the name of us in the shape. Marries Well, so called Acorn Kick off on and And in the next lesson, we're gonna start animating one of the characters who will start animating the hour. So it's either 10. Animating the Owl's Feet: everyone. Welcome to the lesson in this particular episode, we're gonna be animating this guy here, so just make sure you have you a project for the open on. We're just gonna scroll down to the outer layers, Remember, we color coded them in an earlier lesson, and here they are. And what we want to do is seldom so you just quickly allies, um, in this column here and also make sure the ill Bryants there. Actually, we don't need that right now. So take that out. And then just assuming so if you had said on your keyboards assuming and he's a bit pixelated So what we wanted Teoh, if you have the same problem, you go t this drop down menu here. This is the resolution on. We'll put it on full on very eyes of it, shopping out on what we what we want to do is animate his foot to begin with. So we're going to start with his left foot. So if we go to his left foot, click on that on me at the time line indicator back to zero on hit play on your keyboard because we're going to be moving position of the left foot. So make a key frame so quick in to stop much? Yeah, on May 5, frames town the time line and just make sure you've got your selection toe. I liked it and just grab it. So I just grabbed the foot's on, moving up like that. And then maybe the timeline indicated to 10 frames and then moving back down again on May have t 15 frames. This will tell you how many frames your on here on Meet him again on your night is every time we made his foots, the, um, key frame is created on the timeline and then just made to 20 frames, like So I'm putting back down again like that. Okay, Now, let's see what we've got. So just move this to the left, which reduces the size of the area here on grab this little billy work area endpoints. Put it back down like this. So when we plant, it will just play that area of the timeline. So if you hit zero or space on you keyboard, that's fine. So move this area out again to just click on it and drag it on what we want to do is now moves to one second, 10 frames on. We're going to do the same thing again, but the first frame we want to keep for him is this one here. So we want to make sure that it starts from that point, so we can either copy that. So if you highlight the key frame are clicking on it turns blue. You hit control C on your keyboard and then hit control V. Copy it automatically. For I do that. I want to create a key frame for that point. You can see the stopwatches highlighted so we can create the key frame. Same clear from a game there. I mean, the 55 seconds town. The five frames done the time right again. And we're just gonna meet him up again, like so and then five times more, My friend. Smoke made in town number five frames is up. They're down again. That looks looks reasonably okay. Try and make it reasonably symmetrical. So just play around with those points and again grab this little fella here, put him across. It's all right. See what he does. That's fine. And I just automatic a on what we're gonna do is easy is key for him. So if you highlight them all hit F nine on the keyboard and then we're gonna move to three seconds. And so the foot has moved this way on. We actually wanted to meet back again. Say, if we there already highlighted. But if I know if you just I like them by selecting the selection to just drag it over all the key frames control see on the cable Control V and it copies of those key frames and what we want to do is right click on them when they're highlighted to go to the key frame Assistant on with time reversed the key frames. So what should happen now is the foot should move out and then move back again. So you play. Yeah, that's absolutely fine. That's great. That's what we wanted. Now what we want to do is theme the other foot. But rather than having to do that all over again, what we're gonna do is we're just delete the right foot. We don't need it. Click on the left foot again and hit control D on your keyboard, Teoh. Um t predicate it on if you hit you, it will bring up with the key frames for the second foot and you can't see it because it's buying this one. So what we're gonna do is highlight all these key friends. Make sure the time I'd indicator is back it zero and we want to meet. So if you grab this, you can move. The foot's over here like so if you don't do this, it will completely mess up your timeline. So you need to make sure you've highlighted or key frames on your back. It's 00 back at the point that we started on. No, we don't want this foot to move in unison because it won't look went right. So what want to do is just offset it slightly, some extra. All the key frames are highlighted. Just drag them so they line up midway through the other points. And if we play that now, the Shourd's yes, you should get a reasonable shifted on the branch. So that's fine. That's absolutely fine. So the feet are done 11. Animating the Owl's Body: now we want Teoh animate the our body so it moves with the feet on to do that, we're going to open the position parameter on the our body. But I s a click on our body hit P on your keyboard typing position and also hit Shift Our That also brings up the irritation property as well. So what we'll do is we'll deal with the rotation first. So clicks not much. Move, Teoh. 10 frames on Change the value 86 kick off and then move Teoh 20 frames and copy that first clear frame. So highlighted Control C Control V Make sure the indicator is on 20 frames. That's the first bit. Okay. And then we want to move. T T one second, 10 frames. What is copy? There's all those key frame, says Control V and that's the first picked of the movement down. And now we want to move the position of his body. So move back, Teoh 10 frames and hit the position. Stop much, creates a key frame and then move. The timeline indicated 20 frames and what we want to do is move the body like this, so make it down to let's say 595 So if you click in the box and put that value with click off, what you see here is the body is moving without the rest of its parts. Do you remember? We need to parent the rest of the parts to the body. Say we'll do that in just a second. Let's just finish this off. So if we move Dionte one second, 20 frames on what we wanted, Teoh is click a key frame there. So I click on this point here to create a key frame for that point. And then Muti two seconds on, we will move this stand, Teoh. Let's see. Try 575 See where he is. That that's about right. If we move time, I indicated back to zero. And what we're gonna do now is parent the layers to the body, the other layers. So he wants Teoh, apparently both the wings. So why lie about the wings on disk? Grab, There's still here. Make sure it connects with your body and you'll see now it's it's parented to the body, and we also want to do the islands as well. So to the al body and the pupils as well. So they all move with the our body. If we just check and see what we got now, just move that. See what happens. Should all move now. Yep, their way up. So it's a bit mechanical, but we can change that in a minute. So that's the first pitch Dry got out a game. Now we're going to dio second. So move Teoh three seconds now just company. The rotation Key frames fast. Say control. Vague. So I control control. See then control V. I just click off and then clicking the center. A key frame here, and it's telling you that the value is six degrees and we wanted to be minus six degrees because he's coming the other way. So if you right click, come to it, it value and just put in minus six. Excite so we shouldn't leave. It's very odd. It's moving the right way. Now on, then the same Should We don't need to me that we can just highlight right click edit body minus six should be fine. And now we need Teoh. Move the position value as well. But what we can do is copy those key frames that we used here in the position parameter. So make sure I'm sure the timeline indicator is at this point here, which is three seconds. 10 frames. Copy these, control. See? And then control V. What are we gonna do? We are going to reverse time overseas key frame assistant, Time of Husky frames. And hopefully now, when we play the animation, it should be looking a bit better. So every player on then he goes back the other way. So that's fine. That's good. Still a bit mechanical. So what are we gonna do? We're gonna I like these key frames. That's right. We're gonna ease them. So f nine them yet. That's a bit better. And he's moving. He's moving both ways. Now that's fine. That's absolutely fine. So that's the body down that looks OK. Now, on what we're gonna do next is the wings on. Make sure you save your work. I keep going to say, Keep saving you work. So control asked on your keyboard 12. Animating the Owl's Wings: next time way want Teoh? I don't make these wings so that they move, making me look a bit more natural when he moves down the branch. Say we are they right wing here and we open the rotation parameter. So are in a keyboard. I'm like a frame and then moved to 10 frames. I just change this funny in minus 12 and then click off and then move to 20 frames. Like so anyone a copy The first key frame. Paste it to the new place in the timeline. So control C B. So let's see what happens when he makes now. So the wing just tips to the right as he moves and then comes back again. So that's fine. And that's copy those key frames Teoh one second and 10 frames. So it lines up with the movement. So control C v. So look at that. Yeah, that's fine. And now we want to do the other wing as well. So we will gone wing left. We've all the way down here. Press on your keyboard to bring up irritation parameter on that wing like a key frame moved to here on this time. Make it just plus 12. Just 12 because it's going the other way this time. Andi, squeal! Copy the first key for him again. Then we can just copy all of those to this point on the timeline. So I like them. The selection to control, say, control of a Let's see what we've got now. So let's play the animation. Okay, we're getting there now. On. That's high. Like these key frames. Enough. Nine on the keyboard. Plan a guy. Yep, that is sticking. That's looking fine. Say, now we have done the wings. 13. Make the Owl Blink!: So we're getting to the business. And, um, this little animation now and what we want to dio is not gonna make the islands, which, if you click on this night here, you'll see it's actually the same color as the body, obviously, because we don't want to see them. So if you just click on the feel for it and just make it a bit brighter so we can see it just for the purpose of animating it If we just zoom in now like that on DWI now this is a bit trickier. So we scroll down so 12 down, going to contents and shape one and we want Teoh click on well, 12 down on path because what we're actually gonna animate is the path of this shape. Say, click on path on, Just click, um, on the stopwatch for path there. And then we're gonna move five frames. Make sure your five frames, and then we want to drag the shakedown, say, and we contact that way. So if you make sure you're on the selection tool and you just highlight one of the points like that now we can drag it down like Sorry, I will do the same with the other like that. It doesn't have to be a perfect just needs to cover the eyes like that. And then we made another 55 to 10 frames and just copy the original. The first key frame said I'll go back up again. So, Joe Copy. So I control C Control V, and what we're getting is a blink. So we're going it a bit more character, and we're gonna just go another five key frames, 15 K frames. What is copy all of these key frames. So control C control V. What we should have now is he are blinking. Say, if you hit zero on your number part of space bar. Okay, well, just make sure we're actually covering the whole. Yes, we are saying that's fine on we will add two more key frames by copying these. So, how many times to be wanting to blink? Let's go to t seconds on copy these key frames and then let's go to four seconds and again . Copyrights, key frames. Then we're going to ease them. Sorry. Hit F nine. And now let's play the animation. See what that's looks to see. What that looks like. Okay, so it looks a bit weird because the color is lighter. So let's turn it to turn it back to its original color. So it Phil. Yeah, I drop it'll and just select this color here and then Okay, click off soon. That's let's see what he looks like now. So play the animation again, and I think we could just make a little bit more random. So it's hard of these key frames. Make them a bit this way. Onda Also these as well. So let's Maitham t Let's try that. Played a game? Yeah, that's better. That's a bit more random. Looks a bit more natural. So now we've done the eyes. 14. Animate the Branch he's Sitting on: now we only have a couple of things after day. We want Teoh. Scroll down! Teoh, This branch a remember just said, Oh, it's a quick in here and we'll bring the branch back and click on. Um, click on that. You can see where the younger point is. So we're going to retake the brunch Up and down, Onda. We want to bring up the rotation parameter say R on your keyboard. We're just gonna match his movement. So we had stopped much irritation on the branch. Then we may have it to 10 frames and we're gonna give it a value of plus two no more. Just move at time T 20 frames, copy the first lap. So the first key frame, And then we moved down to 10 frames and we're just marrying this rotation movement just as a guide. So if we highlight the key frames could be them. Same down here on the game here eased a so f nine. And now we want to make sure that the hour stays with the branch when it moves, so we need to parent. So we need to close some of these wires down so we can see what we're doing. Do you remember the quick way to do this is to select a lair and hit you on your keyboard and to bring them back again. Select Claire and hit you on the keyboard to see the key frames again. So we want Teoh Select both the feet. Andi, make sure you parent it, so he's apparent to all to the punch. Small brunch on You see that Now it's parented to the branch, and we also want to, apparently, our body to the branch like Sorry on, Let's just play Play that. And now it's really starting to look like it's got some character. And I think one last thing we could just is maybe offset these frames slightly so they're knots completely, um, in tandem with these movements. So we just select irritation que frames for the brunch I just made in the couple of frames that way. Play that again and let's see what we get now. Yeah, I think that looks a bit better, so make sure you save your work control asked on the cable on. The last thing we need to do for this character is we want throughout the leaves Teoh the ranch, which is very simple. I say that what we need to find him first. So it's got t. So it leaves. How if you hit the solo button again here, there we have the leaves to that branch on what we wanted. Teoh it is. We want to parent this to the point so they move up in terms of the branch, that simple I rather than dragging still all the way down your layers. If you just click on this button here and we want to find the Al branch, so I just look for that. Sorry. It's the Bryant Small, isn't it? So that's what we want there. And now if we zoom out and we play the animation, it's starting to look a little bit more natural. We will animate these leaves later on, so they move as well. But for the time being, that's why so say for work again. And that's the our character done 15. Animate the Falling Leaf: so everybody. And welcome back on in today's lesson, we are going to start promoting the main character who's sitting under the tree. But first we need to animate the leaf that you created in the rental lesson. That's just unsightly. There's bring but 1,000,000 illustration like this on this. Make sure click off those layers, Look up to the top on. First thing we're gonna do is just double click in the project panel. Double click on this JPEG in your animation project. Forward of the leave Trajectory Day breaks a double quick that were imported into the composition the main project on. And now we just want to drag it down onto the top of the layers here. Like Sorry on gun. We want Teoh also drag you. Sorry, you leave composition down and stuff of that like that. The first thing we're gonna do is just sort of those on. Then. If you click on, make sure you're on belief composition. I would bring up the scalp parameter, so it s on your cable little severing of irritation. So shift on. And also the position parameters. Well, so that was she Shift B on Just grabbed irritation and right. I believe this way and then will reduce the scale. We take it down to about 17%. That kind of looks okay to me. We can always change it later on and then just drag believe up to the edge of the composition. Remember, we can move the composition around by adding space bar on love cooking. So it just drag a town of it so we could bring it into picture. And now what we want to dio is make sure that the time I'm indicator is on zero frames on. Make a key frame in the position, stop much, brings up first key frame and then just move. Teoh, Let's say 11 2nd 20 frames, which is here. Go to the leaf, which is just have short on Drag it down roughly. Teoh that point and then we want to go. Teoh say it's got a three seconds 10 frames on. Drag it down to there and you notice where creating key frames as we go along. And then we could go along to say for four seconds 10 frames Save a gang and then we'll go t fight. Five frames. 12th 5 frames 10 10 five seconds. 10 frames. Cut onion for the announcement point. And I'm just inside a six second mark for final point. There. Now, what we want to try and Dio is create the same trajectory. Ask the outline we've got here now. You could You could actually do it any way you want, But I'm gonna do this way now if I see him then to this point here, if we just line it up and when I click on that point, you're noticed these two other points appear on this behaves a little bit like mental. So a little bit like there's busier handles and we can line it up this way. So we're learning up the treachery off our animation This way. It doesn't have to be perfect office sleep. I just pull that one as well. And I admit it is really tricky to begin with, so just bear with it. Track this one across like that says something like that. He thought one that's a bit more. Well, I'm gonna come down to this point, sport out of it more so just play around with the points, come down and see this point here track that one as well. And then you can only just see the handle for the final point, which is here. It's a few Z man government. We just need to strengthen our line. Announced my pants. Okay, I'm gonna see my answer. That said keyboard on. We've got a key frames on the timeline, but now we're gonna play this animation, so that looks pretty boring to May is pretty pedestrian, isn't this Is moving at once feed. So what we're gonna do is we're gonna use the key frames. So if you make sure you're on your selection tool, I just click and drag to highlight all the frames key frames and then hit F line on your keyboard on The Keeper. I was changed to the east frames. It's gonna click off, and then I'm gonna play the animation again. And that's looking better already on what we can Dio is at a further level of realism by rotating relief as well. So what do we do? We go over to the rotation parameter here. We make sure that the timeline indicators packets zero frames and so we make a make your first key frame by clicking the stop watch rotation. Stopwatch on may belong to your first key frame. I just put a zero in this site off these two options so it could put a one on. What we're saying is, we want it to rotate to one rotation between this cave frame in this cave, right? So as we just play about and it's moving drug voice, which is fine. And then we're gonna move Teoh this key frame on. I'm gonna just rotate it a little bit more like this. And then I'm gonna move. Teoh, Excuse for him. I think between here and here, what is Rotated a little bit the other way. So I'm gonna click and drag it Really worry like this. I don't I'm gonna move on. Teoh Pronouncement Key for him. I'm irritated again. Clockwise sets like that's and then with the kind of fine okay frame. I'm just gonna pathetic. So it looks like it's flat on the floor and then we're going Teoh highlighting highlight this key frames on Isam. So if nine again And now hopefully when we play the animation, it's gonna look a lot better. So I'm gonna hit zero on when I'm a parent to play, and that's that's looking a little better. I think, Yeah, I think that's fine. So job done, that's the leaf animated. And in the next lesson, we're gonna start animating the main character. So the main character sitting under the tree, we'll get him to move his head so he watches a leaf fall down to the ground. We're gonna make him tap his finger and his feet on. We're also gonna move his eye on making Blanca's well in the course of stagnant. So I'll see there. And don't forget to save your work. 16. Animate the Character's Finger: next time we're going, Teoh animates. We're gonna start off for animating the characters fingers that is gonna be tapping his finger on. So we want to do is we're gonna solo his last. So we dropped onto all these red lines who and just highlight, told him Island hit solo. The reason we can't see him is because this particular layers in the way so we're just hide it within that. And now we can say the leaf is fighting town in front of the character on what we want to do is zoom in. So is that keyboard, and that's his fingers. Middle thing is gonna be tapping away on his knee. So I'm gonna scroll down, um, and find that that particularly I said, there it is. Finger, if you can see here The anchor point which I moved when I first imported the whole file. I moved it Teoh the shoulder of his finger, if you like of such a thing. So it rotates so I gotta bring up the irritation. Private, sir, I just rotates around that anchor point, which is what we want. So the first thing we want todo with this finger iss on zero key frames. We're just gonna make sure that that's just touching his knees. I'm just gonna make that minus 10 kick off. She's still not quite there isn't. But so minus 14 That's okay. So we'll make a key frame. So clicking the stop watch and then move along. Teoh, Just five frames. Remember, we can tell where we are looking at this point here. Let's just give it. Try giving a value off just five. Smooth. She left it up. Yep. That's okay. And then I'm gonna move Teoh 10 frames. I'm gonna copy the first key frame, so make sure it's highlighted. Its blue control C control. The what it does is it copies it to where the time an indicator is. I'm gonna move to 20 frames now. We're gonna do exactly the same thing again. So I'm just gonna copy. That is key frames. So I'm gonna control, say, control V. And now when we play that So let's have a quick look at it. Actually, Summary Gees, the area of the timeline, and then I hit play. Yeah, that looks like a to me. And what we want to do is just play three the whole six seconds. Now we could quite easily just replicate the key frames all the way down the time, right? But I'm going to show you a little short cut today, So we're gonna introduce another one I went today and it's something called an expression, which is a little bit of code, which we're gonna tell which will tell after effects just to keep leaping. That's along the time line for us. So what we want Teoh as we wanna old click in the stopwatch here. So if you hold on your key and then click it should bring out this little box here, and then we're gonna type in here on expression. So I'm gonna type the out on bond. The out needs to begin with a higher case. Uh, and then I'm going t But in two brackets like that and then I'm going todo silicone afterwards, and then I'm just gonna click off. And hopefully now, when I play the animation, it will just keep sleeping for us so heavy, kind. And there we have it s so we've animated his finger. That's great on what we can do with so's, we can just decides key frames as well. So if my planter cane? Yeah, that's great. Okay, so we'll move on to the next pit, which is his feet. So we're gonna make his his feet. 17. Animate His Tapping Feet: Okay, so let's get on on by make the feet. So if we just scroll down to find what we want is his left foot so right foot left she area . I just close up that finger and just, um, seamounts on grab the illustration, dragging my that. And here we have the left. She hears the anchor point around which the shoe will be animated to bring up the rotation parameter for the left shoe. By heading on your keyboard, make a key frame zero frames and then move Teoh seven frames on. Just give the rotation of money of two cough on the move. Teoh 14 frames Could be the first key frame. Says control. C control V and then made the time indicated Teoh two seconds. All right, All the key frames and copy them. I don't move, Teoh. Four seconds. Copy that. Make any Now, that's the first parents nice and easy on the second, but it's gonna be even easier. So I'm going to highlight those on a stone and then went in with a D rather than doing the whole thing again with the other. She are just gonna copy this one, so if you make sure you live on that lab control de to copy it and then just drag this down on t the right. She So So it's above the right shape and then grab. It's I just line it up. It's best you can without she there. It's a little bit off something like that that looks OK. I'm going to delete this this original she the right shape. So I think that click on the left shoe on. I want to bring up the key frames have been copied. So you on the keyboard and what we're gonna to is just offset these key frames like this. Now, when we play the animation, he should be tapping his feet. So let's try that. Yeah, I don't think we got the offset quite right. Say, just needs to come on one more frame to try it again. Yeah, that's but And if we just zoom out so we can see the rest, the character here play the animation again, and he's starting to look like he's alive. His name. Next up, we're going to start off with his head so it follows the directory, I believe, was a floats down 18. Animate His Head: Now we're making some real progress on. We want Teoh animate that, so it follows the leaf as it flows down from the trees. This will take a bit of guesswork, I think, say, that's just seen rats on. Let's move back to the beginning of the timeline on we'll make a key frame. Um, let's just find his head. But before we get started, I just remember we need to do is actually we need to make sure that these this hat on, his hair parented to his head. So when it maize the hat on the hair of seeming with it and so does his island and his I So I'm just gonna make this a bit smaller. So we conceal similar layers. And if we start off with his hair, so there's his hair and his head is here. So go to the parent tool. Just drag it on, see the head. So I know the hair is parent it to his head. His hat was around, needs to go to his head and also the islands, which is there people as well and the I as well, So that should be fine, and I'll just try that again. So it was kind of coffee that I think no, what we wanted. Teoh is seamounts. See, that's a criminal on. Find his head again on Just bring up the rotation of animation perimeter by. They are on the keyboards. Come back to use Cherokee frames with the time an indicator on making key frame there. Now, this is gonna take a little bit of guesswork, I think so. Let's try moving down to say one seconds on and we want his head to start moving up as the leave drops. So I think what we'll do is we'll give that value of, say, 15 mr 15. So let's play that three by dragging. It looks OK and thrown. Let's move along. Teoh Tribal 11 2nd 18 frames in one second, 18 frames And I think we could just move his head up a little bit more. Give it a value of 25. Yeah, that looks OK. We can also we shall we always play around with this later on and then let's move along to let's try it two seconds. So somewhere around there has had his head needs Teoh, just straighten up again. So that's 2 10 So let's try to 10. I will just But his head down a little bit like this looks OK, so it's move Teoh 11 and then we'll move along so the leaf is almost in front of his face. So right there, I was just gonna tilt his head a little bit more the other way. Sorry, just just comes up a pit bull. So it was 11. Let's try 13 type of argument. I think it could be 15 minutes trying. 15. That looks better. Then let's move further along the time line. Too bad there said. That's what That's four seconds. It's good for 10. Let's make him start to look forward. A guy like this, not too much. And then that's made the long Teoh about five. Somewhere after five seconds to stop. Five. I'm gonna drop his heads. The otherwise sorry. He's looking right down now like that, and I think rather than we've has had any more, we could just move his people to look at that. Leave as it lands. So what will? Two is at six seconds. We're just like this. Back to the right. That's fine. Onda, Let's just easy is key frames. So nine copy on highlighting all mine on your keyboard. So let's play that animation back. So he zero on your number, parent? Yeah, that looks okay to me. That looks pretty good. Yep, That's looking absolutely great. So what have we got left to do now? We are going Teoh making blink. I'm also gonna move his people around, so we'll do that next. 19. Animate His Eye Movements: So now we only have Ah, a couple more things today we want Teoh make the character blink. And we also want to move his people around when the leaf drops down, Um, in front of him. So I think what we'll do first is well, dio the islets, I will make it blink. So if you zoom in, which is is that on your keyboard on? Let's just drop down and find, um the right lamb on its the island that we want and we can actually see is people at the moment. So I'm just going Teoh got to the pento, Make sure I'm on the top, the top option and just just made it up slightly so I can see his people. We want to make him look quite so sleepy as well. So don't reveal all of it. I have seen that look at that exactly to me. So bring your time on indicator back, Teoh zero. Make sure you can see what you're doing. So I just grabbed composition like that. That's right. Pixilated, obviously, because we're waseem writing. So I'm gonna drop down to our down into the contents and to the group and we want to find this option here, which is path. So if you 12 down into that and here you go stopwatch on path, which refers to this this path that creates the shape Cingular Click on that. That's or key frames I learned what I want today is I'm gonna move Teoh five frames. Remember, You can see where you are here, and we want to make sure that we can select one of these points are gonna go Teoh the selection tool. Okay, I'm just gonna drag over. One of the points are that I know it's highlighted now, and I'm just gonna pull that down so it covers his eyelids. So it covers his eye on the white of his eye. I worship. You have to take the other one as well. Yep, that's fine. Just put it down. So you can't say any more white like so and then make Dante 10 frames on a copy of the first key frame. So that's control. I don't control. So I control C control V. I'm leave made his first blank. And then what we want to dio is I'm gonna make it down to 16 key frames are gonna copy those key frames. Highlight over control C control V and then I'm gonna move along. Teoh, two seconds onto here, I'm gonna copy all those key frames. Control C, control of you gain. I'm going to see Mats. I'm gonna have a look at that's animation. So I'm gonna plants hitting zero on weight when I'm a pad Mothers. That looks pretty good to me. So we'll leave that as it is now, we want to animate the people, which is gonna take a bit of guesswork because people is very small. We just need to figure rounds where the leaf is in relation. Teoh cycle of the leaf folding and his people. So we need to zoom right in. Andi, let's just go up. Teoh the Leafs, I we know that the leaf reaches home about. That's three time was 3 10 3 seconds, 10 frames. So what we can do, IHS, We will never get turn Teoh the people. So that's when the people that's the people that we want to bring up the position parameter . So if you had a on your keyboard, what you want to do? First of all, it's just make a key frame where we are and then move Teoh three times. And I'm just gonna me, the people across the screen slightly So I was just slightly younger. Grab it with my selection to just believe it to this point here. They're gonna see Marantz to see where we're at, and then I'm gonna maze belief down, Teoh that point there. I'm gonna make another key frame, but I'm gonna copy this one. So that's just control. Say, control V and then just leave it back a few frames and then lo be one A day is seem back in again on just for at this point here like that and hopefully kind of lineup with Leave this . Have you made it a bit more this way? See, Matt Cain. Andi, That's progress the animation inside me today for a bit further. So it's at that point, we'll copy this key frame against the company control C control. Let's move it back a couple of frames and then and then let's just me this Ziemer seems like it again. I'm gonna make his people a little bit more signs. It's gonna make it about their. So hopefully he's looking at the leaf. Now that's a That's a game and then the leaf comes to settle on the ground. I think what we'll Teoh at that point, it's just send sent his I back to the original point here. So if we copy on this key frame against I control C control V moving back a few frames and then I'm gonna copy the original position, which is here. Control C Control V. Hopefully that doesn t that. So let's try playing that. So if you hit zero on your number plate Okay, so I'm gonna Ziemer. I'm gonna have a another Look a time and that doesn't look quite right. Doesn't say it's just out of sync. So what's happening is, um, it's just having a look. I think we could probably move on the original key frame, So this may have went there. I think we could make that back a bit. Copy their eyes. Just a rag. It's back this way. Let's just try that now. That looks a bit more in tandem with belief, I think. But by all means, play around with the settings on. You could find Sheena yourselves if you want to. So that, my friends, is the completed animation for the character on what we should do, I think is just have a look at the whole composition. So we're going, Teoh, I'm gonna It's cries up. These is lay aside, respectful. The last I'm gonna hit you on my keyboards and then I'm gonna make sure cough And then I want to find the soul. Eight layers I'm going, Why don't they? The man layers unsorted them on will say And so the leaf on Now let's play the information So we got the AL which is animated on his branch on Now we've got the character and the leaf that you've animated So you play the animation through now? Yeah, that's starting to look alive is notes. So in the next session, what we're gonna do is going to start animating this character here. The folks Chelsea. There 20. Animate the Acorn Using the Speedgraph: everybody. Welcome to today's lesson. We're gonna start animating this guy today, and first thing we're gonna do is make the ankle and that you created. So drop it on his head and then we can animate him around that. So without further ado, that's, um, introduce. Actually, first thing we wanted Teoh I think as well so his last. But we have, with all the others, say that's make sure we highlight Alistair's. I just sort of them like that's that. Skates on kick off. Now we want to import this file. So double click in your project panel and then your animation project. For that, you will find this acorn trajectory J packs. I just import that. That's footages. That's fine. And what we'll do is we'll just drop it down onto, um, lies like this way want Teoh. We do need to make this. We need to talk. We need to drop the opacity on this so I bring that up by heading to on your keyboard and just drop it so you can see the fox and the line of the acorn as well. And then, if you cut to acorn in your project panel and you're I got on top of the J packed like that , Andi. That's obviously weighty, Biggs. Massive. Say First thing we'll do is we'll bring up the scale parameter. So that's class on your key boys and just drop it down to a size. That's probably fine. So that's seven. Let's make it nine, actually, since hydrated a bit. Okay, I think that's better. So we'll keep it at nine. And then if you zoom out hands, take the ICU on up this way and actually we need to rotate it as well. So I want Teoh bring up the irritation parameters. Well, so that shifter on the keyboard before we just nudge it to the edge of the screen, just rotated. Say it's around this way and then we can move it out of shocked that, and then we want to bring up the position perimeter for the acorn as well. So that shift P. So we've brought up. There's three different parameters on what we want to do now is make a key frame on 20. We're gonna go to 20 frames, actually start from there and just make a key frame by clicking in the position stopwatch and then we're going to move Teoh one second. Well, we need to do is just drag bake on town since todo home. So by that point, because he's kind of ducked his head a bit as well. So I'm the impact would look like animated as well when we want to move Teoh 1 10 on move this t second point. Yeah, and then we want to move to 1 20 Drug drug. They come down here and then Morgan and moved two seconds. Andi, pull the icon at a shop. So what about that point there? Now we want to try and line up the trajectory again. So it's got to the top point cook on. That is one of these handles. This means that slightly that way to this point, you could see the handle. Let me take one step there. So I'm gonna police one up a swell lose at this point, it's pulled out. What? Okay. Can we turn to their spot in points again? We don't want that circle. Look on the point to bring up just put it in my guts is his tricky stick with it then for the final and does the handle more. Just bring it in. So there we have. We find that literally entry on the position parameter. Andi, if we play that, so I'm gonna reduce the play area, and then I'm gonna play on that. I'm gonna hit zero my number to clear the animation. And that's the first pit. And we're gonna be size key frames. So after nine, them, like the information again on it still doesn't really look right to me on this. Something else I'm gonna show you, Um, which is called the speed graph. What we should do first is just creating new composition. So that's control. And on the keyboard, it doesn't matter what you called it. Just cook. Okay, on, then destroy shape. So George Square in the bosom of the screen, make sure that this is in the center of the square, so I gotta go to the pan behind to appear, click off a minutes on a destroyer rockets into the center of the square, click off government your selection tool, and then bring up the person position parameters. I hit the I make a key frame on zero seconds, then just koto saying 18 frames and just a drag, dragged the objects across the screen, reduced to play area like this. And then there's play the animation. And do you remember in the first lesson we looked at linear key frames, which is what this is. So the object moves at the same speed across the screen on thing. We can change that by easing them. So now you'll check maze by speeding up and slowing down. Well, there's something else we can also dio Just a minute polite down a little bit more as well . Andi, you need to make sure they have used your key frames for this option to come up as well, so it won't work. Make sure you on on the layer on on the animation parameter you were using. Before you click on the graph editor here. I'm just gonna expand the area that more. Now, if you haven't got this right click in this area and make sure that's edit speaker off on the option is ticked. Click off and then I come back to the position again. Now what? This is telling me that without period of time. So over those 18 frames, this object is speeding up So this is speed up beside here, and at this point it reaches its maximum speed and then it starts to slide down again. Well, we can actually, we can manipulate this a little bit more, I say, if I wanted to speed up more slowly, What I do is I just drag the graph that way like that Soon Now it speeds up more slowly and then it's It slows down really quickly. So just try, try playing that animation. Okay, so you get the idea, and then my Auntie Ada obviously do the same thing the other way. Something will happen. So it speeds up really quickly and then slows down more gradually. And I wouldn t that second trolls aids and just play around with this and see what happens when you change the shape of the ground. So that's trying. So that's much more balance. It speeds up, it slows down pretty much at the same right now. What I'm gonna do is go back. Teoh The night sky the original position on what I want. Tol the acorn today is just a between these two points here I want it Tiu I'm come down a bit more rapidly. So I'm gonna make sure I'm on the position parameter. I'm gonna go and see the graph editor. And it's this first point that I went to manipulate. So I just tried it out a bit more so we can see it click on here. I just drag this life like that and they took off. And now play the animation and see what you can. And I just think that's a sort of a heavier acorn, if you like. That hits him on the head of it a bit more strongly. Yeah, that looks a bit better to me. So you can play around this big graph you contrite between are the key frames as well. But I'm gonna leave mine like that. And now, finally, we want Teoh Handsome rotation to the ankle. And so let's just make a key frame at 20 frames. And then I'm gonna move Teoh one seconds and I'm going to say that I wanted to write takes . They say it's gonna rotate once. 6 21 3 60 By the time we had some on their heads, just try it out. Yep, that's fine. And then between here and here. Let's move it on. Um, not quite so much. So I might just spending my guts and then down here By the time he hits this point here, I'm going to say that it's rotated like that. And then as he comes off screen just very tight once more and then made the key for amount of shots to wear isn't too short. And we're gonna use this key frames so I find and you can play around with the speed graph . This well, with this So the speaker off would come up if you I'm selective rotation on the speed graph . So you could if you like. How quickly, um, Theokoles rotates as it falls through the air trickle for gain. I'm gonna fit this to the screen. I don't play the animation. Now. I still looks a bit weird, but it won't when we start to move the fox. So when the American hits him on the head, his head is coming. It's gonna bounce about. So in the next lesson, that's what we're gonna do. So I'll see that 21. Animating the Fox's Head: So next we are going to make his head move intended with the echo instructing him so we can get rid of this trajectory. J pack. So let's just delete that and we can close of those key frames. I think Animal head town Teoh, the Fox head. That's just, um, make things that have a bit more visible because what we obviously need to do now is parents his head to his body on his ears, to his head and so on. So what I'm gonna dio is take all of these these top for top three, top for parent, into the head. Yeah, that's OK on his left ear, quantity is heard as well and canned. The head needs to be parented to the body on this wife, which is what sits on the front of his body. There needs Teoh be parented Teoh the folks party. So there's a folks body in the full ground and one in the background, which is there just to give it a bit of perspective, Onda. We will parents those two together as well. And then we've got the fox tail which needs Teoh girl in one of the bodies and I think that's pretty much it. So that's just wine. That area against Paul put up a couple game like that ons we want Teoh, click on the fox head layer. Bring the timeline indicator back to zero. For the time being on, I'm gonna zoom in and we can see the anchor point for irritation of his head. And hopefully all the other elements should move with him now. So bring up the rotation parameter on his head on. What we will do is we will move Teoh just under. So the acorn strikes him one second. So we come to 29 frames, make a key frame that and then leave Teoh one second on. Give us a value of knowing. Then click off and then move. Teoh. Just a couple more frames. So one second, two frames give it a value of minus four, take off and then live along Teoh One one. Time on, just returned finally to zero back off and then just highlight these Keith rings on Eastham like this seamounts. Let's see what that looks like to play the animation, but it looks like I haven't parented one of his ears, so I just do that. So that's just left here. Life here. Yeah, I think that should be on his head, shouldn't it said it's trying. So I played the animation again? Yeah, tell me up. So that's the next part of the animation done. I think what we'll do next. Israel do his ears. 22. Animate His Ears: zoom in and that's fine is right here, which is here, and hoping up irritation parameters is Ah, and we'll go back. Teoh Just before the strikes. 29 frames again on make a key frame in the stopwatch Here. It's a quick on this so much I'm in tow one one second and give this a very off Let's give it 12 and then live Teoh. That's made till about one 17 says one second. Seven frames. Let's try a value of minus seven. So I click on putting the valiant click off and then move Tiu. Say, 1 14 Let's try 1 14 on this Returned. The value backed is over. Thanks. He's the key frames F nine and then play the animation. Three. Yeah, that's OK on what we'll do is we'll make it easy or just copy these games for I am so sorry . If you control, see them. So you copied them. We can go up, T I didn't copy and then we'll go to his left ear, which is here. I will open up the rotation perimeter. So this and then just moved the timeline indicator back to where we pasted the first for him. Uh, copy that. And then we'll be wanted. Teoh. It's just offset from slowly, so we don't want them paying at the same time, I'm gonna try moving forward. It's just try one and then play the animation. Yeah, that's OK. I think maybe we could try. Maybe one more frame. That's too. Let's try that. Yeah, that's okay. That looks a bit more cakey, doesn't it? So, no, we turn. Is is 23. Adding More Animation Using Scale: Now we want to add a bit more character by just playing around with scale of his head on impact on his body as well. So if we go Tiu head back to his head on, we just bring up the scale parameters. Well, so if he shift s to bring that up on, bring the timeline indicator back, Teoh just before the impact. So maybe go to 28 frames instead of 29. And here is the scale parameter, so make sure they're not connected. So just untech this if it is, if it is constrained because we want proportions to move independently of one another, says Eamon, set on your keyboard. So make your first key frame 28 frames and then move t one second and then add the following values. So we want Greece. Um, just a one time on decrease. Decrease that by the same amount. So that's turn to 90. So we sort of squashing his head and then we're gonna move. See? We'll move toe 10 for let's say, on return, this body's practice e 100% 100% under and then just he says, key frames. And now we're going to do the same thing with the body. So we're gonna play around this kind of the body's every go to the full ground body, and when I click on it, you can see that's the foreground on I mentioned he's got a background body as well. It's just to give him the sense of a bit of perspective. So what I did was I copied this one. I'm place to bind them. One. No, because these two things are parenthood. We should only need Teoh at any animation. Teoh one of them. So we will open up the scale parameter for this particular full ground. Buddy, I'm game will go back to 28 frames. Make it make your key frame here. 28 frames. Move Teoh one second Scale it up by when I six Reggie stopped by the same amount since 94 and then we will make a long t one are full. I'm returned. These values Teoh 100% Tako friends and then just seamounts. Let's see what difference that is made. So oops, I need to adjust, he says. Key frames flying. There's and then play the animation and that looks a bit more drastic for sure, but something's gone wrong because his head not lying about his body properly. So let's see if we can just figure out what's going wrong there. I think probably what I didn't do. His parent is head to the body, and hopefully that will sort that out. So, yeah, as his head. I didn't parent it. So I'm gonna parent it to this body here. Yes. And then I'm gonna play the animation again. And you? That's what the problem was. So now we have quite an animated folks. Yeah. That's looking pretty good, I think. 24. Add Some Character: okay. And now we will add a bit more Leadsom subtleties to his character. So we're going Teoh gonna make him blink. We want to make him look a bit miffed that the echo and hit him on the head. So if we come down, Teoh the islets, which we can't see at the moment. So if you click on that layer, I just change, Change the color. Just make it a bit darker. That that should show up. There it is, little sharp now on. And what we want to do is go into so drop down into the contents and we want to go into this shape, everyone to find the path here. And then I opened up the stopwatch there, and then we will move. Teoh Got a 104 actually, no. We need to make a key frame key, framer. One seconds on path like that on May along Teoh 104 and Zuman. This is tricky. Make sure you're on the selection tool. Just highlight one of the points there. And then just to wreck this time, slyly like this, I'm gonna see Matt. Yeah, he looks likely. You exploit them if they're I think, which is what we want that will move toe 1 25 It doesn't need Lex prepaid off. That's codes. I'm not the 1 25 And now we're going to make him blink if I just make one key frame. So I'm gonna copy this key for him here and then in a major 1 25 and pull this time. So make sure you're on the selection tool again. Highlight one of these points. Just drag the oily down like this. Make sure you cover the white, and that's the first blink. And we want to repeat that process. So we're gonna move. That's may have Teoh 1 27 this copy that you frame. I don't know if that's too fast or not. So we'll just play that to see what it looks like. Oh, yeah, he does. Look, Peter, if doesn't on skates, and actually, that's a bit too fast. The plank is too quick. I think so. We have a bit further down the timeline Strike gain. Yeah, I think that's OK, and we'll just drag this out. And so we got the whole area and we're just gonna copy these now. Um various points on the time worrying we could sort of make it quite random, I think. Say, I'm not gonna go to Tito on Copy that again. Yep, that's okay. And I'm gonna all the way down here to say and I think I'll leave it at that for the time being. So let's play that again and see what it looks like. Let's change the color back to the original. Say, make sure I stood on the islands. You see? I drop it toe Teoh cheese his color here, z man's planet plan again? No, I think he's probably playing king of it too quickly still. So what I do is I just delete thes go back, um, to this key frame here, I'm gonna drag female frames. Time The timeline on a cane. That's probably T's fire. But you know, that's about our rights. We can ease these key frames. I don't want to play the whole animations striking back. No, let's a copy of those key frames again. So I think we were on to turn, so I get to turn Just copy these ones ongoing Teoh 3 20 So we just want to make it a bit random. And then let's see Mats play the animation cane. Yeah, that's nice. That's really nice. So it's just a question of playing around with these until you get the nuances that you want. 25. Eye Movements: Now we're gonna just finish off his I by moving the people around, going to find the folks I and I think I have. This is a good instance of demonstrating why you need to put individual elements on separate layers. Because I haven't actually done this in this instance. I have conquered some of that. So what we want to do is we want to create a separate. We want to create a new layout for the people because it's on this mayor with the white of the eye as well, which is not good. So what we can dio is click off that layer and then come up to your lips tool, juicy lips toe and saying writing I just try. Oh, and make sure you gotta fill up here, which is black, and you've got no strike on it. It'll so make sure the strike product is there, right, and then just hold down shift. I just create an ellipse, which is roughly the same, was same shape and size. That's what's on your screen here. Go to the pine behind, so just make sure you say we go back up to the top of the screen That's where your shape has been drawn on top of all the other layers. And we need to bring this points over here. So it's pretty much in the centre off the lips like that. Come back to your selection to I made a shape over. Um I've got the original. We will call this people. So if you click on the layer, it retired and then type in people and then we'll change it. Teoh the orange very notes of folks. And now we need to drag it down. This is this is a bit tricky. So craze this pre Vieri rope and we want to drag it down onto the folks eyes, just dry groups, you know? I'm sorry. Over here, click off the air, distract it down. So it sits on top of the folks. I like that. That's absolutely fine. And now what we want to do is go down in the contents off the fox. I get rid of that pupil which is here, so we can just take this. I hear that should hide it for us. So that was a bit of coke up. Sorry about lights. And but, um, it might be like a sage is useful to show you that. No. Zoom in. Um, two people hands. Make sure you're on that lab. Bring up the position parameter. Andi, move the timeline indicator. Teoh. When 17 make a case. Right, Then leave five frames. Teoh won t. I just made, um people over here like this and then what we wanted Teoh, move Teoh to 10. She's just that on make another key frame. So copy this one actually on placed it here on. Then move five more frames to 15. I moved people over here and then all we wanted Teoh is move Teoh about three. So 3 18 on And we want to cookie this key for him, and we want to copy this key frame and then made it on the five frames from the which would be 3 to 3. And we want to send, um, this back to the center. So that's company the original key frame, which is its original position. So control control V control C control V getting greasy mats on. Let's just play that civil we've got. And it's just it's just, um obscured by the blinking. But that's probably I can Actually, that's probably OK. I'm really just to highlight dies and, um, Eastern seem right out. Now. Play the animation again. And if you're not happy with feel free to play around with the position of the people on the timings of it as well, you might want to change the timings, so it's not obscured by the banking. Andi, that's pretty much it for the folks. We just go. One more thing to do, which is his tail. 26. Animate the Tail Using an Effect: So now all we have left to do is a tail on. I'm gonna introduce another elements for this. We're going to use our first effect. And if you never get over here Teoh Effects and Presets Panel. It's quick in the box of search box and type in C C. Friend, I would bring up something called CC pendant We'll want to do is click on that, make sure we can see the folks tell their over here. Just click and drag. Drop it on to his tail like that. And over here with a project panel was the effect becomes alive. And if you want to go back, never get back to your project. You can do that and then back to the effects controls as well on if we just arrange these two points for a free. So this one about the tail, it's one roughly near the anchor point. For now, if I change this file here, his tail band. And so if we keep from that, we can actually spend his tail backwards and forwards. So I'm going. Tiu turned out to be right, and then we're going Teoh, we're going to find this effect on the actual layer. So if I drop down into the layer on who we are effects are here Sisi bandits. So click on this. We just want to use this parameter here bend parameter So we make sure we're on Zurich you frames. I only want to Dios give us a value of six, so I could never have sex. Click off and make sure you cook. So watch as well, which I didn't. Then we went to move Teoh one second on give it a body of minus six. Kick off, then we want to move t two seconds. I'm copy of the original Que friend So control C control V east those frames half nine. And now we're going to give this a little part expression as well. So we don't have to keep copying the frames. And what we do is we Hold on, hold on the keyboard on clicking here. And it brings up this option here to type in Theo expression. So retyping blue. I'm a high case on our political eyes. Brackets card. Click off on Just play that animation. Yep. So his tales blending for us. But what We also want to do is give it a bit of a sneaky look. So we're gonna use the rotation priority as well. And we're going Teoh, offset. It seeks thes key frames. So just make this area a bit smaller. Drug it up. So if you had, are when you keep over to bring up irritation. But if we, um if we also use you so remember, if you use you to reveal the key phrase already on the layer So we got the rotation body on the penn body here. What we want to do is just make a key frame. Um, on Syria second, cso clicking here on we made along Teoh. One seconds. I will give this a very off minus five. What we do is we move Teoh seconds. We copy of the original K frame and we want Teoh. Copy the expression that we used to believe. That expression which is on Sisi Bend on. Copy it to irritation. So if you click on here, right click, I'm going to copy expression only. Then click on rotation on just hit Control V. You've copied it. You know you copied it of thes values. Change from blue to red So now this has a leap out expression on it as well. What we want to dio it's just off sent this. Say we need to offset these frames by highlighting over them, just moving them to about this point of the keys on the on the timeline. I know. Let's play the animation again and you can see is it's just a bit more swishing his tail. It's very subtle, but it's effective, I think. But that is the folks pretty much done. Let's uncertainties layers. So let's put him back in the picture. Highlights. Oh, the folks, lass, I just inside of them click off Andi. Um, that must mean yes, there's one more which needs to be unsightly. Don't get up here. Let's just reduce the layers. Panel events fit to fit this to the screen. I'm playing the animation now, and that's looking really good. Eso we've done the three characters we need to do next up. We are going Teoh animate the friends. We're going to animate the friends using that effect we've used in this lesson as well, so I'll see them 27. Animate the Ferns Using an Effect: Hi, everybody. Welcome back on. In today's lesson, we're gonna be animating these phones, so I'm gonna show you how to do this one, and then I'll leave you Tiu Tiu the other three. And we're gonna be doing that using that affect we used on the Fox's tail cc of ended effect and also the rotation you. So what we need to do festival is fine. That so it's this one here find foreground, left. And if you sort of that I'm just assuming on then I come out of here and type C Sagan dudes if you grab the effect and drop it down onto the layer and we need to set it up, remember? So we need Teoh. Move These points want younger points on the other, just above the phone. I just want to show you a slight problem with cars with Sisi abundant in my experience. Anyway, if you you see, see, bend its with an animal which is on the edge of the screen like this, I would say so I'm gonna change the value of it over here, click off what it tends to do is just cut off. Just shares off part of our element Onda way we can get around This is we can pre compose a layer after we have done animation. I say what I mean um but would do the animation first. So we just need to undo all this. We need to get rid of Sisi pendants Keep. I'm going back with so control is that to endure that before we start Now we need to move this in land if you like. So just wave it in away from the edge of the screen. And now we can grab, sees event. It's drop it onto that layer again. We need to set it up again. So make sure you make the point. Stay here is the other point Appear urns If we drop down into the layer Finally effect on the air Find CC bandits on make a key frame at zero frames. So quicken you stopwatch. Here I make this family minus 15. Click off on move to one second, 15 frames. Might this value of 15 cough and then move T three seconds. You can see where this is going. So well, copy the first key frame control C control be And we're gonna niece, those key friends. And now we want to add a loop at expression as well on. Do you remember the way we do that is we old click on the stopwatch brings up a space for us to type it in there. So I got a type interview. Hi. Case I out on open tries brackets going on So we can all after its trick off. And hopefully now, when we play that it will just play in a loop. Says you're a sway, Keep swinging away. Three the animation. So that's great. Now we want to bring up the rotation value as well, So make sure you this layer, if you had on your keyboard on, we're just gonna match the values in the same places. So minus seven is finds a Mickey frame 10 Is there a frames? Get a one second. 15. Make the body plus seven. I go to three seconds. Could be the first came from a gain highlighting be soon and then just hit you on your keyboard to bring up the, um, other key frames as well I don't want to do is copy the expression that we just typed for this onto that. So if you left so right click on that. Go to cook expression. Really drop down onto Irritation Control V. And when the blue values changed her Reggina, you've successfully copied it. So I'm gonna offset this these frames like this, so make sure you've highlighted them Dragon back like this. I know what I play the animation. You should have a nice wish. Gentle swish it swaying in the breeze. Yeah, that looks like a to me. I will just leave it like fact now with a pre compressors. Before we do that, I just explain what? Pre composers. So we're just unsightly this layer Bring back my in composition hands I'm gonna drop down Teoh the Fox Lions. So I'm gonna highlight all the folks lands I'm gonna write, like in this area. I gotta go to go. I'm going to go to pre compose. So I pre comprised say yes. I want a pre composition good. Name it Anything he wants Onda. Although layers disappear Essentially, what pre composed us is it places those layers has fox lasts and a pre composition which is here now that sometimes Selves problems. It's a really useful tool. But it also creates problems as well. Because if we wanted Teoh animate the fox now we would have to go into the pre composition at the expense of seeing the rest of the illustration on the way we do is we double click on. Here's the folks he's isolated from the rest of the composition. That might not be a problem, but if you were trying to line something up with another part of the animation, you can see why the problems might begin to a car. So I'm gonna undo that. So controls at 20. Okay, Back T night sky, and then I'm gonna click off those will come back. Teoh, Richard Animation of the phone on. We want to just pre compose this. So I Right click. I had a pre compose. It's telling me it wants to call it this. That's fine. So I took Okay. I know what we want to do is I'm just gonna move, um, the anchor point for this pre comp. So I'm gonna go to the front line to wait while my keyboard and just leave it here like that said it just doesn't matter. Just just roughly over the phone and I'm going, Teoh said of the layer again to spare. Bit easier, I think. Come back to my selection to, and now I'm gonna place the phone back at the edge off the picture I'm gonna zoom in on. Then, if I cycle three psycho three animation, you can see that it's no longer clipping the edge of that element. So that's how you solve that problem. So when you come to do the phones yourself oversee, let's go back to the main composition. When you come to do this one here on the right, you will need to do the same thing. I just time with this one. But with these two phones, you can just apply the CC bender effect and you won't have a problem. It'll what I suggest you do is just play around with the timings for each fan, so don't make them identical hands. I will see on the next lesson where we are going. Teoh start to animate believes as well 28. Animate the Leaves: So I think we'll start off with the our leaves over here. One thing I wanted to say before we go on is you can I see whatever you you click on a layer and after effects, you see with the guides around it, and sometimes they get in the way. So these green lines, um, in this particular instance, if you want to just take them off for a bit If you had control shift H keyboard, it just removes them, and you can see the illustration better. Anything is. You do need them to navigate around various players, so we're gonna put them back. So I'm just gonna have control shift again to bring up. We're going to start off as I say by animating these leaves. And we're going to use that to Sisi. Bend it. The fact that we used on the Fox's style. So let's go, Teoh. This lay leaves out on typing CC pine Lewites over here in your fax panel on the click and drag and drop its on C. I'm there and what we're gonna do is sort of the lambs Well on the leaves have disappeared . And that's because we need to set this up in the right way. So I'm gonna make this point down here on it's not always obvious which points you get where? So what I do is I set them on right over here, and I just check that the leaves are gonna do what I want to do. Well, animate them. So that looks okay to me. Ah, Now I never get down. Teoh The effect on the on the layer drop down into CC. Bend it here. Um, make sure your timeline indicators on zero frames and we're gonna make a key frame. Now I won't be going to do is give it a value off minus 25. Okay. Okay, Kickoff. And then we're gonna move Teoh. 1 15 I'm gonna make a another key frame, and we're gonna make it 25 and then we can I don't see three seconds. Could be the first key for him. Just a size frames. As this key frames click off and then bring up the option to type in an expression, say Ochlik and then title only click off. I'm just played animation, so make sure plays all the way. Three. Yeah, that's fine. Okay, so we'll move onto the next set of these so I just click off their bring back the my administration, and we're going to do these ones next. So in the center, Andi, believe that ISS this one here. So it's certainly those again on again. We're gonna UCC blended. So drop that down on sees out there on again. The braves disappear until we sent this up. Se put one point the one point time here? I don't know. I just fly with e in perimeter here. That's fine. That executive me on, then we will drop down into the layer time here, find the effect a cease dependence on Come back t this key frame like a key frame. It's Iraqi frames on Make the fight a minus 10. So we don't want it to be exactly the same as the other one. And we're gonna come to just one second this time. Give it a value of 10 and see two seconds. Copy the first key frame again. He says key frames and then click off. Actually, that's expression. And then play the animation. Yeah, that looks good to me. And now we want Teoh. Bring it back. Bring back my administration. We're gonna do these sleeves up here and remember, because they're on the edge of the composition. If we put Sisi bend it onto it, it will share off Italy's will lose some of this element. So what we want, Teoh is finds it's late 12 celebrates and then just bring them away from the edge of administration and then just drop cc appended onto that layer. Those So it was 12. We go on, it disappears again. So we need to set it up. Say, this one stays down here. It's one guys up here. All right, on, drop down into the layer. Find the effect again on make sure you about That's Sarah. Make a K frame and then we will give it a very off 15 and then middle on T 1 15 Give it a value of minus 15 t three seconds. Could be the key for him again. He's those frames. Click off. Okay, Type in your expression, then cook off on and play the animation. You haven't exactly to me. Bring him back on. Now what we want to dio Do you remember we went to pre compass before we move him back to the edge of the screen. So what we do is read Will, right, Click on that layer, Got a pre compose click on its, asks us what we want to know. What I'm gonna leave it as it is. Think OK, I know if I just seamounts, we need to find that's his his the anchor point. We could leave it there. It doesn't really matter too much, just made it back. I'm in the direction off the edge of the screen here until you're happy with it. And we're just you see her case? No, just play. Play around with it until you're happy with it and then fit the animation back to the screen and then display the animation on. See what it looks like now. Now that's starting already. Good. Starting to get really alive now. And so the next part we're going, Teoh animates the powers of the trees, give him a very gentle movement and also a few more leaves. But we're just going to use irritation parameter for that 29. More Leaves & Swaying Branches: So I welcome back on, we're gonna get on and do the rest of the lease. In fact, I'm just gonna dio the power here. You really gentle movements Rotate these leaves a little bit on these leaves on this power and I'm gonna leave it That you're welcome to play around with the leaves are a few more punches. I think couple more you could animate if you want to, it's up to you. So first of all will find these leaves here. So let's scroll down Teoh So they won't believe Stop rights. And also, we want to parents thes leaves to this branch. So just used the tool here and drag it onto the branch. Right? I know we've parented that to that. That's good on. Let's just drop down into the leaves, actually. Well, sort of these as well. That's about 10. We're just gonna write eighties really gently. So I bring up the rotation parameter says a on your keyboard, make a key frame and leave this If it's at seven, make it minus seven. And then what? We want to dio Ismay of tea 1 15 Give it a value of seven. Mr Three seconds. Copy the first frame, highlighting he's those frames and then we're going to click off. Oh, clicking a stopwatch on a nattily parrot expression. Cough. Play the animation. So that's just a Gento gentle irritation. Andi also I'm going to move and to make this above the boring. So it's in front of the barge. Now we're going. Teoh retakes the branch very slightly as well. So confronts rights on bring up the rotation parameter conductors. Every frames make a key frame. Here I make this funny minus one, and then we will move Teoh. Just move along to one second. I like the value zero. It's that's a very small movement and then made a long T two seconds. Could be a first came for him. He stays off. Nine. I'm going Teoh as the they pants expression again, Really? Pick off on that says check the animation. Say that it's it's worked. There we are. We've got a really gentle, really gentle swing in the breeze, so that's great. So that's the first time. The next time we want Teoh screw you want? Yes. Always say uncertainty always bring about the main administration crab registration. I'm now We're gonna dio thes leaves here, so we need to go backup. Teoh. I think it's this one here. Yep. So that's layer 11. Cramp. Irritation. Promise? I says compact Zero on the keyboard. Make a key frame on Change the value t five and then we want to come to one second. I'm just gonna say that Come to one second, Make that body minus five. And then hello T seconds. Computer first came for him. Haysom click off and then click, but he pants cough on and play that. So, yeah, that looks fine. That's absolutely fine. And now we just want to add that little bit of movement to the other branch as well. So you come back down. So we want the branch. This one here 29 on. We want to say that so we can see it. Great rotation. Make a key friend on, then move 2115. Give value of two that will move to three seconds. Be the first K for Eastern. We can just copy this expression here. So rights click on here. Could expression only move to the rotation value here could control V and then play the animation see what we can't. So now we have our movements. I'm gonna answer these layers, come back to the my administration, fit it back to the screen and just play the animation throw going. See what we've got on that study to that Really nice really. Looks alive now. And next up, we're gonna gonna make the moon and the stars, so I'll see that. And don't forget to save your work. 30. Simple Moon Animation with Effects: So I welcome back on this. Listen, we are gonna be animating the moon, so gonna make them impulsive. It make it look a bit crazy on Denver Guinea, A mate, the stars. And we're gonna give them a bit of a twinkle as well. So let's drop down. Teoh those layers on. Let's find the moon layer here. I just make a copy of it. So if you control d on your keyboard brings up mean to you just put it down and drop it down below this one. And then So those layers, in fact, weaken solo thes style is as well on. We're gonna use a couple of new effects that we have news before. First up, we're going. Teoh, increase the scale off the second way. So, so increase. It's funny, Teoh 123 and then bring up the capacity values wells that shifty on your keyboard. Make sure you're on the layer on reduced the capacity to about 40. There are other events. That's fine. And now we want to ride those effects. So the 1st 1 we had something called it a blood. It's got fast blast typing fast there, you just typing faster comes up. She's fast legacy. Drop it onto your second rely on and give it a value of 18. So it's appeared up in our effects control panel here. That looks OK. Ah, Now we want to give it some noise, so we just want to add a bit more interesting. So if you type in noise, uh, she's this one here and drop it down on C drop down into the layer on the amount of noise we're going to give. It is 25 on defusing writing. You can just see there's a little bit of distortion here, which would just add a bit more interest to the animation. Okay, so now we need to Dio is animates the first man. So I'm gonna make it just to scale it up a little bit over the time line. So I come back to zero frames, bring up the scale irritation, bring up the scale value, make a key frame here, and then move Teoh 1 15 and just increased the value t 105 come 23 seconds could be the first key frame. He needs those frames and then click off and then add your expression out. I'm just play the animation back. Yeah. Now we got our crazy Plus, citing being that's great, that's really great. So in the next part, we're gonna do the stars. 31. Animate the Stars Using a Layer Style: So Okay, let's move on. And I don't make these stars. So I just dropped on Teoh the very first start here. Move over here, Clarity's and we want to get a glow as well. And I'm going to use something of a layer style. We could animate these stars in a number of ways, but I'm gonna do this way so I'm gonna use a layer style And I'm just going Teoh animate the scale parameter game So we're just gonna pass it, pass it So it's it grows bigger and then smaller and hopefully like a twinkling style So we can do got Teoh. Make sure you're on the star layer. Go to layer. Come down to layer styles, Find the outer glory option Here, click on that. Just click off when you can see that the store has great direct. And if you go down to their stars, you have all the options. You can play around with that. I'm not gonna change any of them because I think they're fine and then bring up the scale for that. For that lasts. I s on your keyboard. We're gonna come back to zero frames on. So the scare is currently 20. So I leave it at 20. Then I'm gonna move Teoh 20 frames and I'm going Teoh, increase it to 25. Remove another 20 frames T 1 10 and then copy the flask. A fine piece ties, and that's your first start on. So we're gonna do one more, and I'm gonna offset the key frames. And then you're gonna do the rest. Which you need to do is just very the scale value for your different stars. And like I say, we need to offset the key frames. But I'll show you what I mean. So come up to the next time and got Teoh Layer last times again, given an answer guy and then bring up thesis cal parameter. So I had us on your keyboard. Make sure, um, make sure we're back on zero k frames on and I'm going. Teoh can frame second value, so it's 15 to begin with. I'm gonna make it smaller, so I'm gonna make it five. That little great backup Teoh 15 again over that time. So control copy Control V and then I'm going Teoh, He's as k frames. And also we want to add believe that expressions to these, these two, These two animations. So I'll click on your stopwatch and type in your blue planet expression Click off and then just right click. Gotta cook expression only click on the second body, control the and that we can see. We've copied Teoh a second layer. And now I'm gonna offset these key frames. So I'm just gonna pull them to the right of it. Pick off, play the animation on their We have reason to of our stars. So I'll leave you to do the rest hands in the next lesson, we're going to start writing textures to the hill, onto the tree on. We're nearly on the home straight now, so I'll see there. And don't forget to save your work. 32. Textures Using Track Matte: So it was starting to get Teoh the points in animation and administration, actually, which I love, because now we can start already playing around. We turned the hard yards. We done most of the work and we can start to have little things to it, which will give it more character. And I love that part. You can spend days doing it if you if you had a mind to anyway, so what we'll do today is without some textures to the trunk on. Then later on, we'll had some textures to the hill, maybe a shadow down here, um, of the trade trying. So what we will do is we will drop down to find the trunk. Here it is 28 on. What we need to do is import a couple of textures. So we're going to use something else today, which is called track months. And it's a way of masking textures onto other objects if you like. If you don't have this option on your screen now, you can double between the two modes. So if you click on here, it should bring that option up for you. So if you double click in the project panel navigate to your animation project folder and go to textures on the 1st 1 we want is this one here. So you want the trunk texture footage is fine as an option and just imported cook. Okay on it should just import it for you there. So this is a fetish up file on. We're gonna drop this down onto the layers and just drop it on top of the trunk layer there on. And here's our texture on what we want to do is me. That's slightly to the left. So it's just on part of the trunk, their mightiest, Yeah, so about their play around with it. And we want to mask out this. This bits here on the way we do that is we create another lie, so make sure you're on the trunk control, Do you copy it? Drag it up above this trunk texture and then click on the trunk texture. Go over to the track, back the track matte option here. And then you struck her money and find deception here, says Alfa Matt Trunk Teoh, and click on it on. We have successfully added a texture to this side off the trunk, and we can play around with that if we want to. So I'm just gonna maybe move it a bit more. I'm just using the arrow keys on that. That looks okay to me. So now we're going to do the same thing again. But we're gonna add a dark texture to this side of the drunk. I won't be to us. We same drones hurt imports. We want this one trunk texture, dark to import that. Okay, okay. And now we want Teoh. Drop this town again onto the trunk. On this, the original drunk. We can move this around, Teoh. Roughly where? Everything you want it. We tried apart dire. And then what we want to do is create another copy. So control de to copy the trunk again, bring it up above, um trunk, texture, the dark trunk texture, tongue, Twister. And again go over, Teoh. Your track might option. He's the drop down money on. We want to do Alfa Matt Trunk three. So click on that and then we have it. So we've got our textures. So that's the first book of adding textures. Teoh the composition under the next pitch. As I say, we will do the hell on. We will add a shadow as well. So see, there 33. Textures Using Track Matte: So I welcome back on today we're going Teoh adds some texture to the hill in the first part of this lesson. And then later on, we're gonna add this shadow cast by the trunk where the moon. So that's actually for a start. It's getting a bit chuckle book over here. So I'm gonna delete some of these. I'm gonna delete these. We don't need toe. And we could just actually clear up all of this as well. So I'm gonna create any folder. There's a folder option here. Great new folder on just talking lane. And then if you go the current, all the current files there on, then just drag him into the main folder and close it up. Have a great deal of space for us. So come down to the hill option here. Just double click in your project panel. Navigate textures in your animation project folder on We want the Hill Texture Lights and Put That's and then drag it town on top of the Hill Desire here. What's gonna Certainly these liars just make it a bit easier for us to see, and what we wanna do is arrange this play around with it as much she wants. So I'm gonna leave it about about their come back down to the original hill there. If you creates another hole, Last control d drag it up above the hill texture the navigate across here to track matte on we want to offer meant the seconds hill less I will do that and that's created our texture . Now we're gonna do the same thing we want Teoh bring in this one hill texture dark so important that and then drag it down. I don't see the original who layer on we want to drag it down so it's kind of fits anyway, So you get an idea of where it should K, but you can move it around. You could even scale it up if you wanted to, so we could, um, I've been on the scout parameter. Make it bigger if you wanted to believe it like that on the same thing, we did the same thing again. So we create another hill texture lasso control d Drag it up above the doc texture. Drop back down to that layer and then cheese album until three. And then we have our textures. That's that's pretty simple, isn't it? So let's go back to the administration on you. That's looking OK. Looks fine to me. And I just fit that back to the screen. So in the next bit of us and we're going, Teoh just animate this a little bit. So the light texture is gonna move around on and we will start a shadow here which is caused by the main in the trunk. So it's here in the next part. 34. Add Shadow & Animate the Hill Texture: Now we're gonna animate the light texture on the hell. Let's move it around a little bit. Tiny big. Are we going Teoh at a shadow here as well? So that's never get down. Teoh are old Hill textures down the bottom here. So just celo theory Journal Hill on the light texture here and then open up the position parameter for, um, this there. Come back to zero frames Mike a key frame and then just at Memphis along to 1 15 on Make This Valley 3 27 My God, it's then moved to three seconds, a copy that came for him. I've done eased and then just made writings is a writer, and you can see this little handle here. So grab one of them and drag out the line. The trajectory. I don't say I don't for the other one as well, so you have a sort of a nice shape. That's that's That's perfect. I know he went to out of a parent's expression. Teoh this position so I'll click typing, really? Let's and then kick off on that scene. That's I am play the animation. Yeah, it looks just perfect to me on we will and sort of these liars. And now we're going to add our shadow on We're gonna do that using the pet. So if we come out to the pencil, make sure you're on the top option on the film we want. I already got my films selected to say what you want. Teoh is clicking here canceled. Just drag. Um, so this is the color you want for your pento. So, you see, I drop it to Tiu. So, like, that turned back time to the hill, make sure you're on your parental. Just like a shape. Something like this. Okay, so something like that. And now we're gonna use the convert Vertex to a song. And I just got the mental selected. I'm just gonna hold hold. I just want a had I would have bend to the line on the same on this one as well. It's not quite so much so I just fiddle around with that. Tell you happy with what you got. Okay, I'm gonna go with that on. Actually, you know, when we use the pentacle after effects creates a new and or automatically deposits at the top of all the other layers which isn't always ideal. But hey, you can't have everything and we will rename this. So if you click on that return type in shadow and now we're gonna drag this all the way down to underneath these textures, so I'm gonna just drag it down the layers panel. Just keep putting it on. Hopefully, your manage to navigate down Teoh here so it needs to be on top of the hill. The original hole there underneath the texture is so just drop it there and there it is. That's that's fine. Now we want to add some effects to it. So the first thing I want to add is something called Rough Nature's. Have you type in roughen. We'll bring up the rough images effect on. We're gonna pull that over and drop it on top of the shadow. My thoughts. I just changed the board of our area to 9.5. Sure, if you click off, it's just so it's We have got these uniformly straight edges anymore, and now we went to adds a perfect really is before, So it is good. He's fast blur typing. First Blur way uses foster legacy and drop it down onto the shadow, and we're going to give it a live body off five and then took off. Okay, that's fine. On the last effect we're gonna ease is the noise clapping noise. That's cheese noise dropping onto a shadow layer on. You can. You can play around with this. I'm gonna give it value off about 15. Click off. There's a noise that seem right now I'm gonna fit it to the screen. I'm gonna click off so I can see. See what I turned? I might fool around with it. A my not It's up to you if you do as well, obviously. So now play the animation. Let's see what it looks like. Yeah, that's that's looking really nice. Now. I was always there and my friends were going a In the next lesson we're gonna have Sometimes we start adding tones to these characters, and then we're pretty much there. So I'll see you in the next lesson. Don't forget to save you aware 35. Adding Tone Using Masks: Hi, everyone. Welcome back Today we're gonna refund task of adding time to our composition, which already really bring it alive. And we're gonna use this. We're gonna do this using something called masks, which we haven't really looked at so far. Say I just want to show you what we can do with masks. A really simple way of writing time. So if we create a new composition, so control, call it. What have you want? Click. OK, and then just got to the shape toe, Uh, create a rectangle. We don't need any strike, actually, so I just make it a color directing on like this That's fine and creates, actually leave it at that time being. So now we're gonna create a mask using the pencil, And if you make sure you got the top option selected and if you just come over here, you can see that if you over over these two icons, this has tool creates mosque, and that's what you want. So if you're in this option here, it creates a shape, so it'll just draw. I feel that shape like we dates earlier in the lessons on if we click on this one. I just make sure you're on the layer. Just your Gunvor shaped like that. Now what this does is it masks out the rest of the shape essentially on. We confined the mask on the last. So if we drop down, drop down into it to find the mask here and it's my come over here and just invert the mask . It will mask out the area that be originally drive. So I just do that. Now, this is pretty useful if we went out some tone because if I let's just delete that mask, actually, so come back to our original shape and say I want to do adds a bit of like tain to this shape. If I creates Chief Liquors said control D, I'm gonna give this one a slightly lighter color. Yes, And then I come up, Teoh my mask too, and make sure that I got this option. I'm selected again. I'm just gonna mask out this part of the second square, and then I'm a cook off. So we've we have the appearance of a one shape, but it's actually t shapes, and then I'm gonna come down into my my shape layer t So that's that's the second layer on top of the first. And if I drop down into masks here, we have some options, so I can feather it. So I'm gonna give it some feathering. And when you father something, it just was the edge like that. I probably don't need to play around with the capacity. Actually, I could so I could dropped on the capacity as well. I'm gonna kick off, and suddenly we have the effect off. Um, sometime. And we could add effects to this as well, so we could have some noise that's had a bit of noise. It's well, which is what we're gonna tell you, by the way. So I just increase the noise. A pair affect controls panel click off. And there we have I've got Italian, and if I play the animation, the great thing about noises it term it does this. So you don't know she have to do anything to it. But it just adds a bit of interest to what you're looking at. Head back over to the night sky composition. Andi just struck down and find the trunk layer here and celery, it's We're going to create a copy. Said Control D and I just rename that something, so I'm gonna call it. I'm gonna hit return. Well, I've got selected and I'll call it like time and then hit Return again and then got Teoh the Phil. I just choose a color value close to whites, but it's not quite wide. Okay, then, while we sit on that, make sure you're still on that on that layer cup t the pencil. I'm actually cheese Assumption here till creates mosque. Now we're gonna create on mosques. I just do something like this. That's fine. Just needs to be on the edge. Really? Just pull these up how to shoot. And we could just actually use the convert for text tool. Just bend this. Find another matter as well on this one, okay? And then go back to the mental place it just on the edge of the trunk. Come back, Teoh This layer that, like Tony Blair, dropped down into it. Find the mask, click on mosque, and for the feathering we will. So I give it a value of 50 and also for the capacity younger. Drop it down to about 45. Kick off area, and then we're going to answer these layers so we can see what it looks like now and then composition and the kick off fit it to the screen. On that, we have our first time. That looks great. So next that we're going to do the folks and then after that, we'll dio this character here and then we'll turn to the how and then we're pretty much there. So don't forget to save your work, and I will see in the next lesson. 36. Add Tone to Mr Fox: so everyone on and welcome to this lesson. We are going to be adding some more time and today we're gonna turn to the fox. So let's just scroll down to his layers and we'll start off with his head. It just creates a coffee. So, control D I don't see name on that on that layer on, just drop down into the layer into the contents and you can see there are actually three elements on this one layer. So we want to make sure we're on the head here when we can't see the pencil. Actually, stay on the head before getting parental. Just go up to the fill value full color. Just make it a bit darker. Something like, uh, click. Ok, that's great. And now we're gonna draw a mosque over this area. Here we come up, Teoh, until I'm actually jeez, three option to create a mosque and then draw something like this. Okay, I just made it up a bit as well. So something like that, it could be really rough, actually, because we're just going Teoh at some feathering to it. And then if we come down to the mask, which we just drawing, which is here. Drop down into the mask and then just drag a feather body until you're happy with it. So 17. Harsh. I'm gonna leave it on about 12. Click off. I'm gonna see that. And there's our first detaining the folks. So how is he? Was that the next? We're going to do his body here. So we need Teoh. Close that up and we need to find the front bodies. I remember I said he had two boats, so he's got a a black body which is darker here on the front party here. So, folks, what a full ground on what we wanted to you with just one is just again. We're going. Teoh creates a copy, and then we're gonna go toothy color here. We're gonna cheese white. Okay, Okay. And then what we're gonna do is draw a mask. So again we choose the mental cavity. This till creates mosque. I do something like this. Okay, we've got our last there. We could maybe display around without making a bit smoother. Okay? And then I'm going to drop down into the mosque here, find a mask on. Just feather it. Okay. On, then We need to drop capacity as well because we don't want that much white. It just needs to be a hint. Really? Okay, I'm gonna click over. We can just change that if we want to. It's probably a bit strong to as well. So drop it down a tiny bit more. That's 25. We want to stay away from the join here. So these are two separate elements, and you could just see, um you can just see where the joint is now. So if we just made them last back down this way, it should hide that it's really took off. Yeah, that's probably OK. I still say it's actually sorry. Come back to mask again. I'm gonna get to my second toe. So I like that number. Could put it town. Yep. So that's our second bit of turn. Pick off eco Friendlier. So that's pretty subtle. And then we're going to add sometime along here. So we want to dark in this. I think so. Again, we come to the fox body foreground. So we want to click on the original one again, create a another lasso control d So everyone Teoh drop down So We're just creating this car set a bit darker on now. We want todo up Teoh mental again. Make sure you go to the the mask option selected. This might be a bit trickier, so I just follow this. I draw something like this trying for us. OK, Come outside here. Like a game and just a regular to about very well myself when we feather it because it will . Hi. It's much I'm gonna change it anyway. Nothing like a bit of perfectionism. And then we will drop down into the mosque on find a mask. I don't just drag it out to feather in it until you're happy with the tone you got. Click over. Good to see Matt Cain. Okay. Yeah, that's looking nice. All need to do now is add some tone to his rather magnificent town. So we go down, we find his tail and there it is. On we creates another layer. So I got Fox. Can't Fox Tell T. And I'm going t just add a bit of white tone. Teoh the outside of his title here. So just to suggest this a bit of middle, I try it. So what? We need to do is again Go up, Teoh. Actually, let's go down into the contents. Because again, this is a This is another language to different element science. So we got the whites tip on the main tail, come into the contents. You have got white click on tail, come up to the colorful, make it white. Okay. And then why you're still selected on that? Make sure you cheese the moss on a game. We just want to ads just like this. I wanted to already sick again, right on the edge of the title like this. And then we'll drop down into the mosque, find the mosque, and then we will give it. Give it some feathering like that, and that's obviously too strong. So we're going to drop the capacity as well. We can drop it right down, I think. Just as color hence click off. That's probably still too strong. Yes, it is. I think it is. You know, I don't think it is. So I'm gonna come back down to this and just trump capacity against are dropping time. Teoh 25. Which is what the capacity was on the light on his back to say Yeah, there we have it. So in no time at all, we've added our tone to our fox and he's looking. It looks quite cross, doesn't he? But can you see how it does that? What a lot of character to the illustration. So in the next lesson, we are going, Teoh do the same thing with the man He is sitting under the tree that finally will get around to doing the day. How as well. Don't forget to save your work. I'll see you in the next lesson. 37. Add Tone to the Character & Owl: Hi, everyone, welcome back. And in this lesson, we are going to carry on adding tone. Teoh this character here and then we'll probably add sometime. Teoh. Yeah, this Well, see how we get on if nobody just do that in the next lesson. Just one thing. Forget get started Because there's so much going on now in this animation, it might slow your machine, your PC or you might write down, um on your performance might suffer if you play when you play about your animations. And you can just remedy this a bit by dropping down, Um, the resolution so you could drop it down to 1/3 at the expense of, um, What you see on the screen so well picks tonight a bit more, but it is just quite useful to do that. If if you're having problems with, performs your your program, okay, so let's drop down Teoh, which we start off with. Let's do his jacket first, so we need to find his body, and that's that's what thats when we went there, and what we will do is we will create a never layer so control de to copy that layer and then We will just have a concerned look at the contents. So we want We want the main body because we want this color here. Family want to make it darker, Say, just dropped down and the colors came there. Make it darker. And now we want to create that mosque. Just a Moscow, Um, all of it, except a little bit here. So go up to the pencil. Make sure you're on this. Total it up here. Let's just see me and see what we're doing. And I'm just kind of you make sure I'm on this toe. Almost forgot there. So you want Teoh? Remember that you're creating a mask, and then I'm gonna just straw something like this. I was gonna me that across like this. That's probably OK. And then we will drop down, find the mask here. I just give it some feathering. Not too much to see you get a hint of a shot. A very it s on the nosey minutes. If we could probably just means that of the red as well. No playing go. So I just highlight this point here. No. Contracted. Yeah, that's fine. Okay, so let's stay his head next. So I'm gonna give him a better turn around there to his face. So let's find his head. Uh huh. His head is there, so make a copy, sir. Control D. This has checked the contents of his. It's just his face when they're so that's fine on. Go up to the Phil here on make the color. But Dr and then we're going Teoh amuse Alaska again. So up to the pencil. Make sure in the most ill do something like this. Okay? And we're going to feather that we were going to the mosque When Mars. That's in furthering the girl. Frivolity. That's pretty goods. Maybe. Just pull the center point. I need to select that single point. It doesn't have a look. Yeah, that's fine. That's that's not bad. Yeah, Okay. He's got his time. And the last thing we're gonna do for him is his hat. So it's coming to his hat, which is there. Make a copy on we're gonna make this whites se Tenet writes up to the mental. Just a mask. Just gonna do this. Something like that. It really needs to be the arteries hat. Okay. Complex and lights. I will drop down into the mosques again, some feathering, and I'm gonna drop the capacity, right Time on this as well. So it was just a hint on. We can also give it some noise. I think so. Gravity the effects in pre sex talking noise and then drop that time onto the hats. And I'm just going to give it a nice your turn. Constantly. Noise There. I've put it on the right. She That's why we don't want it on the right. She so make sure you're on the right layer. Try again, say, dripping onto his hats about 10. Yeah, I could just about it, So I tried a bit bored drinking. Okay, click off. Yeah, that's OK. Now, actually, with us just to quickly do the arrow. Um, sorry. His body layer. That's the only once go to the content that she saw. You make a copy for so control D on a trip into the contents and we want the main body. So drop on to this one. Here, find the fell appear just jumped onto a darker color. Okay on. Then we find, uh, until master do something like this, people just gonna It's point and then I'm going. Teoh, find the mask again. Contents on. And that's further this strike 20 on 25. Okay, it's got a nice graduated. I just do it. I'm gonna drop their past because it's a bit dark. So drop it about 70 75 76. Pick off. Yeah, that's fine. And we're going to give that guy a bit of noise as well. So drop the noise onto his body and again give it a value of about tongue. But just just experiment. That's if we conceive that. Yeah, we can see that. That's OK. Kick off. See, that's fitness to the screen. Let's play the animation now. Uh, yeah, that's looking really, really nice. Just casting my auntie, the character. I do think he's just this This shadow here's a bit dark. That's just my preference. So I'm gonna change that. So just stop the animation and get back. Teoh the man find the body to and I'm gonna drop down into the mask again. I'm just gonna trump their capacity on this appearance. So trip it. Time to say, Let's try 75. That's probably too much. Try 85. Yeah, that's a bit better for me. But it's up to you. You can play around with all these values and, you know, we're pretty much there. We just Scotty, I'm gonna add a bit more attain. Just gonna had a bit of shadow around the rest of the composition around the main, but here and we can just have a bit of shadow to this. This is heading background, and then we're done. That's fantastic. Well done. Um, so in the next section, the next lesson we're gonna do that, we will just add the final bits of tone. And then after that, we might has tweak a few things. 38. Framing the Characters : everybody. Welcome back on in this lesson. We're just gonna continue with adding final. That's a tone Teoh Animation and then wait on. And we're gonna start off by adding some tone to this hill down here. So just in a never got in town here, we want this one here hill background, and we want to make a copy of that. So control D on just dropped down into the contents on DCI's group to you because that is the actual hill. This little path is the seven group here. So cut to the Phil, make a darker color, and then we can okay to, uh, pencil, make it into the master. I just say something a little bit like this. Just move around. It says something like that. Then we drop down to find the mosque. We want to go see the feathering option. Not some feathering turrets Might make it quite high. So just over 50. Okay, I think that's a bit dark as well. So we will capacity. I just wonder. Hangs ready. Dropped it much. Type in 25. Okay, that's better Here. I know. Let's just as one more. One more thing. So I'm gonna Kleiza pool the open layers. So I've selected them all control A I just keep hitting you on my cable and it closes all the open layers, make sure cook off, and then I'm gonna come down to the sky, make a copy of the sky, and then we want to make a shape a little bit like this. So up to depend too. Got the master. So you want to do something like this? Actually, we need to just change the color. So come to the selection tool Mario on just cheese. A darker color. Okay, so that's quite dark on. I'm going. Teoh, use a pencil again. I'm gonna just mask out. I'm just gonna draw. I'm running central characters. This maybe I need help. It says something like that. And what we need to do actually is invert the mask because it's around the wrong way. So we want this dark tone on the answer wrenches. So, Katie, this guy downtown los, I just click inverts. And now we're going to see at our furthering say, just keep going. So they had a very soft graduated time there. It's too dark for me, so I'm gonna drop down your past, his world, so I just just want a hint of it, really? So you don't really notice it's there. But it is there because it frames the characters quite nicely, dropping down capacity and click off they have. You have a very slight sort of the lights of barrier three circles these characters. But like I said, experiment with that and then we will. That's a noise as a final touch noise. Drop it on the sky and again we'll just try to try different values. So I'm gonna get a value of 10 see if I can see that. Yeah, there's just still a little bit of noise, which is all. We won't really fit it back to the screen kick off. I'm going to save it, control us on, and that, my friends, is are completed animation. But if you got this far without tearing our hair out, well done, I take my hat off to you. This has been a challenging set of lessons. I hope it's giving you a really broad experience off some of the things you can Teoh in after effects. This one more thing I think we will Teoh in one more lesson. Just do some tweaking, so we just tweak some things on by changing her will to thousands. 39. Final Tweaks: So now we've pretty much finished. We're just gonna make a few tweaks on. We're gonna start off by just going out to the leaf. The animatedly just certainly that one, Andi. Just sort of these static leaves on the ground as well. Because what we need to do is make this a seamless transition from the end of the animation back to beginning when it loops. So if we play it now, you'll see there's a bit of a jump because these leaves aren't perfectly lined. So what we need to dio is we're gonna remove this statically. So this is I believe, this one here. So I just I just You can either delete it or just take it out like that and then cycled through to the end of the animation. So this is the falling leaf just lies on the ground. My crafts. It wasn't far off, but it needs to be seamless. So what we need to do is create a copy of this. If you control De and then drop down to the one underneath, opened up the key frames, so it's it doesn't move anymore, So take them out to lead them and Now we have a new static leave here which is perfectly aligned with that one. So when this one falls and then it cycles through to beginning again, you don't need to see Yeah, so that's the first thing we need to do. That's done. So that's uncertainties. Next up, this is just a minor thing as well. Just bug to me a bit, so I'm gonna change it. You don't have to change if you don't want to, but it is quite useful to know we talked about pre pre composing I'm layers in an early lesson. This is a really good time to pre complete something which will solve the problem. So I'm gonna get onto the Dallaire's hard on here. Just so all of them, including the branch he's sitting on right this and it's just a minor. Great by got about it. It just doesn't quite line up with the products when he only works. When he walks out on him, it comes Teoh about here. He's not quite on the ground. She looks like he's just sitting above it. Say, that's my gripe. Now, if I tried Teoh move the our character, I'd have a real nightmare because all the key friends were getting my stuff as well. And so we can solve that problem despite pre composing it. So I'm gonna pre compose it. So selected all of them, got a pre compose, could it out. Okay. And there he is. He's on his own little composition. Now, Andi, this is the anchor point for the composition. So for all his layers, I'm gonna change it. I'm gonna move it. So I'm gonna go up to Penn behind till I'm gonna just drop it on him about here. And now I'm going to just tweak this a bit so I can move all his lads without worrying about the key frames. So he means to there it's about at that point, Yeah. So what? I'm gonna Teoh is going to the rotation Fatty, and I'm gonna try spectating him to the left. Oh, yeah. So I just change the value to minus three. You know that she Yeah, that's fine. I think that's OK. And that's why pre composes Really useful sometimes when we'd finished animating him anyway so we wouldn't have that problem of trying to find all the key frames on the layers were having to go back into the pre composition. If you see what I mean, there's something else we could dio I think with the fox as well in the ankle. So if you just hit control on your keyboards and escaped to the solo button should just unsettle of home, you click and then click off again and they will find Fox less. So I like told the fox layers. Yep, And we also want the acorn. So he's got control so I can select that one as well. I'm gonna settle with them. You don't have to do to see them, but it's just something we could we could try. So we're gonna just may come the impact of the acorn a little bit more dramatic, so it one seconds they can't hits him on the hands. We're gonna go down. T folks had the 1st 1 click off all these layers, folks, heads on this path, we're gonna add a few points to it. Say I'm gonna drop down into that layer into the contents, go down to their heads. Two other elements on that layer find the path trip down into that click on that come up to your parental, make sure I'm actually forgets about you. Just need to add, um, some points. Some united three points to this part like that on. I'm gonna win tonight. I'm sorry. On a sorry. Two frames, maybe three frames before the impact. The path looks like this. So that's the path of the shape. We're gonna go to one second where he gets clunked on the head. I'm one. That among the selection tool, I'm just gonna draw over in like rats. Should be had selected now. Yeah, I just might believe things that have been this way. No, just pull that down slightly crafts. And then I'm gonna leave team or frames a cookie, the original key frame like that. So when when he gets conked on their heads, it is just a fascist. His face a bit more. You probably won't even see it, but I thought we could just try that. So it's up to you whether you want to try. I don't know. Then with the acorn, I thought we could just officer the key frames of it. So I'm gonna have a rational actor. I've already done it originally. These key frames were lined up like this. So these are the rotation values just offset from event my fats click off. I just played animation now. Yeah, it's a minor thing, isn't it? I mean, you can't see it, and you can decide whether ads or doesn't add to the composition is up. Teoh Sunday selectable money. As against the control A. I'm just gonna unsightly that. This one I should bring back all alas. Yeah, prevention it. That's very And now we want to just changed some capacity on some of the leaves. So start off with layer 11 which is a set of Lee's here. Bring up their past Ebadi's So at t on your keyboard, I just broke. I'm the capacity down to 90. Just makes it slightly. See through on 10. Come, Teoh. So come to later. 12. Same thing again. Bring up the capacity. I just drop it down to 90. So it just That's probably a bit to my church, isn't it? So get 95. Okay, that's the wrong one. Sorry, this one. So try that on 95. Okay? Yep. It's just a subtle change. And I want to take these ones as Well, I think so. That's leaves top left. That's layer 13. I'm drunk. Capacity there into 90. Yeah, that's kids. And then we're gonna do these ones as well. These ones in the background on those would be down here. So be under or your Blairs on its face. That's it. There on. I'm gonna take time to 85. So there have been lighter as well. But then one other thing I noted was that we could we could add a bit of tone to this brunch. I didn't in the original, but let's give it a guy. So you're Italian. T that brunch, which is brunch, right? You make a copy, and then we're gonna draw. Actually, which has changed the color First, make it a nice like color. Then we're gonna draw our Masco directs. So something like this good apprenticed with mental as well. It's just sketching you too. Um, facts. So you just want it all right on the edge, being a crisis pattern. Oh, I think that's another point. That's okay. That's that's working for me. Took down into the mask and find the feather option. Give it some feathering and then we'll drop the opacity right down as well. Just a suggestion. Just their hands. I'm gonna take off. That's okay. Maybe a little bit more. We are, Yeah, Minor things. It's up to you whether you do this or not. But, you know, play around with it on, then the last thing that does need to change for sure is it's to do with the falling leaf on where he's looking as it falls. So will come down Teoh his layers on just so those layers. So all the red ones And we also want to solo, um, before in leaf, which should be the top one on Let's just cycle through. Here it comes. No, I think between this points and then that point can't see. So I take off his guides. So he's still looking ahead. And that's just to do with the other key frames of lined up. So if we go down Teoh Hiss pupil, cough those layers and find the key friends say, make sure on that layer you on your keyboard. So that's where the problem is. It's these two key friends, because between there and then that's when he moves his I we wanted to move, Probably from about that point. So it's a gradual movement. It's true right now. Yeah, that's definitely better. And if we played through now, yeah, that we are. It's not so harsh, and that's pretty much it, guys, um, all we gotta do now is we're into the animation. 40. Export Your Animation: So I head up Teoh Composition on. We're gonna add it to the render key on. Then we are going todo lossless. Here, change the A V I form. It's a quick time on what we will do is change the quick time movie After we've exported it into an MP four which we can in turn then up like social media you could directly export it . Teoh MP for if you have Adobe Media encoder What? I'm gonna do it this way and we want to make sure that the output goes Teoh your animation project folder. So just save it in there and then you just hit Render that sound means that we've rendered the video. So if we, um, go to a project folder there it is on if we right quick and we look at the properties because it's enormous, it's 200 megabytes. So we're gonna have to change the Internet before. Like I say so. What we will do is there are a couple of ways we can do this. If you got photo shop, we'll do it this way. So if we guarantee open, import the file okay and then got to file exports. I says run! The video is to click on that option on here. It says is asking if you want to render it to this full moon, which we dio Onda. We want Teoh select the folder we want, sire. I wanted an animation project and then hit Render. So that's one way of doing it. Um, if you just have a look in here now, as the MP full good properties of its any full megabytes now, which is fine now, if you don't go finish up, don't worry, because the other way we can do this is we can use a bit of open source software called ham break, which is do the job just as well. Have you got a Google and typing handbrake? Put tarps fr after it, just search it. And here we are. We have ham break, open source, video translator, and you could options for our windows on other platforms as well. So I'm for Max as well. So install this and then when you've been still did open up the program on and you will hopefully have the screen and then we want Teoh import that file so we'll go to the original quick time movie, which is here. I put that up. I click on video, make sure it's on this video, KADEK, which is young people. Kodak Onda. We wanted to go Teoh. You want to go Teoh a Project Father game, she said. I'm going to save it in there. It's gonna ask me. Actually, that's a kind of sortie safety. It's a slightly differently. Okay, so we're all set up and then we just hit in code summary down here, it's shrinking. What it's saying and that is it's going to slow down, that's that. So let's just Christ on this. Let's open up a photo again on I'm interested, actually See if it's compressed to anymore. So it's actually if you did a handbrake. The file is, there's not smaller, which is probably a good thing. So my friends, that is the end of the class. Yea, we did it, we got there and that's fantastic. Well done. I hope you've enjoyed. I'm following along with us, and I hope it's inspired you to stick at it with the after effects. It's a really great program. It's so creative when you get the hang of it Like I said before, you don't need photo shop or illustrator to make really good animations and registrations in it. We could have actually have done the whole thing on day after effects if we wanted to. So I'll see you next time and thanks. Thanks very much for following along with this cloth. 41. After Thoughts: If you're watching this video, then I guess you made it to the end of the lessons on Die. Take my hat off T because it turned into quite a mammoth in the ends. It wasn't what I originally intended, but the course I did which got me into animation, was very broad and it was quite challenging. It was long as well, and it was for beginners. And I learned so much. And I guess I wanted to give you something similar. I wanted to give you a really broad grounding and after effects because it's such a creative program from here. I'm really hoping that you can go on and get on and do the things you want to dio. So I'm sure there are videos are included, which I probably didn't need Teoh on some that I didn't in Crete. This is my first school share class and I'd love to hear from you would love Teoh your feedback about what you've what you've been doing. I'm very fund of character animation, and I'm thinking about putting together a shorter set of lessons in relation to that. So let me know your thoughts on that as well And if you'd like to see some more of my work , you can find it on david my telestrator dot com. So thanks again for following along. I'll see you next time.