Animating with shape layers in After Effects 2020 | Jonathon Parker | Skillshare

Animating with shape layers in After Effects 2020

Jonathon Parker, Passionate MoGraph and VFX Lectu

Animating with shape layers in After Effects 2020

Jonathon Parker, Passionate MoGraph and VFX Lectu

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10 Lessons (1h 36m)
    • 1. Course Promo

      0:56
    • 2. Lesson 1v2 Obtaining the audio

      1:38
    • 3. Lesson 2 Main Circle

      21:10
    • 4. Lesson 3 Dot

      9:52
    • 5. Lesson 4 Line bursts

      21:03
    • 6. Lesson 5 Transforming Circle

      9:39
    • 7. Lesson 6 Zig Zags

      11:18
    • 8. Lesson 7 Ending

      7:17
    • 9. Lesson 8 Stylisation

      11:49
    • 10. Lesson 9 Summary

      1:06
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About This Class

Shape Layers can be intimidating....BUT....YOU CAN BECOME THE MASTER OF SHAPE LAYERS!

This course teaches you some how-to create a range of different animations entirely with shape layers inside of After Effects. These animations will also be synchronized to the beat of a soundtrack!!

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The course covers how to create shapes within shape layers and how to use some of the animation effectors available within shape layers. We will also be using additional tools and techniques to sound synchronize our animations and we will finish by adding an animated texture to our Motion graphics piece.

We will cover the following areas in this course:

  • Creating different shapes for motion graphics
  • Fill
  • Stroke
  • Paths
  • trim paths
  • Wiggles
  • ZigZag
  • Expressions
  • Animated textures
  • Sound Synchronisation

Go ahead and join me in the classes!

Meet Your Teacher

Teacher Profile Image

Jonathon Parker

Passionate MoGraph and VFX Lectu

Teacher

My name is Jonathon Parker, a Motion Graphics and Visual Effects lecturer from the UK.

 

Firstly, a little background about me! I have always been the creative type and always strive to improve and push my creative skills further and further.

 

As stated above I am already teaching in the UK as a Motion Graphics and VFX lecturer – The difference with my courses will be the fact that they come from an educator, not someone doing this just in their spare time! All my courses focus on teaching and assessment. I will teach you a few skills and then set you an assignment to check that those skills have been learnt. I also see the importance of generating handouts and resources for the student, so I have included these in my courses also!

&nb... See full profile

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Transcripts

1. Course Promo: Hi guys, welcome to my course in animated Shapeways with aftereffects. Now as you probably guessed, we're going be looking at shape plays and I'm going to go through the different animation effect is that you can use with shape plays, because honesty, they're incredibly powerful. As a little bonus, we're also going to be animating a sound synchronized piece. So what we do with the shape phase is going to be synchronized with soundtrack. And I'll show you where to get Art soundtrack. Let us take a look at what we're actually going to be created. So as you can see, a really nice abstract piece loaded techniques in there. So let's not waste any more time. Let's jump on into the course. 2. Lesson 1v2 Obtaining the audio: Hi guys. So in the first lesson, we need to actually obtain the audio for this project. Okay? So if you go to Google and just type in YouTube audio library, you will need to make a YouTube account if you don't have one, but most people probably, well, if you just go here, click YouTube, all your library to make sure you're signed in and you'll get something that looks like this. What you wanna do is type in here the word beans because that's the name of the track. And I can play it for you, but I know it's the light one. What you'll wanna do is just hover over and click download, and it will download them to your downloads folder. Just a quick mention about the license. You're free to use this audio track in any of your videos, including ones that you monetize. No attribution is acquired. Youtube make credit the artist and link the audio and length the audio library for me video of you uploaded to YouTube. But I'm not actually allowed to distribute this t, which is why I've got a point mu to where you can download it, but you can use it for free and even in monetize videos. So once that's downloaded, what you wanna do is open up aftereffects. So let me drag after-the-fact across and you'll want to import that audio. Okay, so I'm just going to navigate to my downloads folder. And here we go. Here's my downloads folder. Click and drag. And then I'll import my mp3 file and we'll be ready to go. So that's very quick. First lesson on how to obtain an import that audio. And I'll see you in the next lesson. 3. Lesson 2 Main Circle: So I think it's time to start animating and we're going to start with this circle element. Okay? I'm in my file, which file which I've already created. Okay, I'm just gonna have a little breakdown of what was actually going on in here. So if I double-click into one of these, basically we've got three things going on here. We've got an outer circle, her middle circle in a circle. And I basically animated the trim paths of these strokes because that's all they are strokes. And then we've got this, that there's basically this square that kind of animates in the background. We solo this out. You can see it's just a square. I've got some drop shadows given on. We're going to add them at the end. But this is basically what we've got one single animation. And then if I come into here, I've basically got loads of them in years, probably about 64 layers that we go. And I basically offset them so they repeat. Now you will need to go through and make sure that they line up. You can see this piece of music. It's not I don't, I'm not sure, but you can't just like layer them almost like sequence them. I had to listen through and I had to move some of them because the beat comes in a little later here for some reason, I don't know if that's the way after faxes interpreting the MP3 or whether it that's just in the track. I'm sure it's probably in the tracks when I went to when I was fine. But that's what we're gonna focus on in this session. So here I am in aftereffects. I've got my audio here. And what I'm going to do is I'm actually going to create a new composition. And I'm going to just make it here in terms of how long it's going to be. I'm going to just go for 2 thousand frames for now, which is fine. That's in terms of seconds. If you calculate that is a 100, there's four seconds. So then as 40, so that's about a 120 seconds. I fit now, 80 seconds I think. So let's just click here, holding Control. And if we go competition settings, it'll say one minute 20, There we go. Okay, because I was in a few control click here. It'll jump between frames and seconds. Okay? So one minute 20 is what I've gone for. Now. I'm going to drag my audio in. There we go. And we're not going to be does go on longer, but we're not doing a full thing. First thing we need to do is make a background. Now I'm gonna go layer new solid. And in terms of the color of this solid, what I'm gonna do is show you a website which I'm using. And It's c w, l, o, S dot co. So coolers dot co. I'm actually gonna put the hex code in project file view, which I'll upload. Anyway. I went to this website, I explored trend in color palettes. Because by the time you come to the make, this may not still be here. This is the one I'm using is a really good website. So I'm going to go for this one is background. So I'm going to actually copy all of these hex codes for you into a, into a text document so you can use them. So I'm going to click this and all I need to do is it is the right color. But when I give you these hex codes, you just need to copy and paste them into here. So I don't need to copy Basically, it's already got the right one. So I'll click OK and click OK. Let's now just rename this to be G for background. And now what we can do is we can actually start making this circle. Okay, it's true. I'm going to make sure I haven't got anything selected them here. In fact, I'm gonna move the audio to the bottom. Make sure nothing selected. Capture the shape tool a lifts and you can click and drag. Now when I click and drag, I'm gonna hold shift and I'm going to hold control shift. We'll make sure it's uniform. Control will do it from, from where I've clicked it, so it goes out like bad, okay, something like that. Now in terms of the design of this, I'm just gonna put it in the center, somewhat like that. You can use the align BI here. Just click these and center it perfectly. You can't see the aligned window. Just go to Window Align and this one, and this one to align it to the center horizontally and vertically. Now, what I wanna do is I want to get rid of this fail. I don't want it to have a fail. So I'm gonna click the word fail, not the colored box, but the word. And what I need to do now is just click this nun box and click OK. Now in terms of the stroke, what I wanna do is I wanna use these colors in here. So I'm going to go with a, with this color first of all, so copy this just by clicking it and come to the stroke box and just click the color over here. And I'm going to paste that hex code again. You'll have it in a word in a text document, which I'll upload. And I'm going to click OK. Now in terms of how thick I want the stroke, I think I'm gonna go thicker than that and let's go around about 75, I think should be good. And what I wanna do is I wanna duplicate this layer now. So I'll first, we'll rename it to outer circle. I can't spell heavier after circle. And I'm going to click the layer and hit Control and d, or commands D on a Mac. Rename this actor circle to, to mid circle. Just so I know what's going on is really important. And what I'm gonna do is I'm going to scale this one down a bit. So there we go. We can start to see it now or think ground bagged, there should be fine. And I'm also now I want to make the stroke a bit thicker because as we scale it down with stroke gets thinner. So going up to the stroke, I think we're gonna go round about, I think 9495. That will give us the right thickness. And I'm just going to scale this up again. So if we go to 82 to 83, we'll get rid of the line. And so again, I'm going to use the line is slightly out of alignment, so I'm going to use the align features over here, so align it to the horizontal and vertical. And now if we just push this to 84, There we go. Okay, now I also want to change color. So I need to get my little swatch up. I'm gonna go for this one. That blue, I'm going to go and paste that in there. Again, you can get that from the text document I upload. And we need to repeat that process to get one more circle. So Control D, rename it to believe it or not. In a circle. And clean that too. I am going to scale this down again through round about something like the ES6 Section two. But also I wanted to be thicker to match them. So I'm gonna take my stroke up to something like something like that. And again, I'm going to align to the centre and I push this to 67. I think there we go. Now I'm gonna change the color. So again, I'm going to come to my swatch, click this one and you can use any other color scheme you wouldn't mind. I'm just like I said, I'll upload the correct ones for you as changed color. So paste in here the new hex code, and that's what we've got. Now we also want a color in the background. Few member mine, mine had a lighter color. So I'm going to do is click off, make sure none of these layers are selected. Okay? If I'm about to draw square, say, and if inner circle was still selected, I come up here, hold my click down, come to the rectangle tool. If I now draw it, it's within this inner circle layer. So what you want to make sure you do is make sure that none of these are selected. And now I'm going to draw a box by here as fine. And it's done on a new shape player. So we'll just call this the color, and that's our background color. And I want no stroke or nests or click the word stroke, not the color box, the word click None. And I'm gonna come to fill, but first of all, it's going to be this color. And back into aftereffects. Click here, paste it in, and there we go. Now we want to put background color below. And there we have it. Now what we wanna do now is we want to start animating this stuff. So I'm going to start with, let's turn everything off by the outer circle. If I click my dropdown and I come to add, I've got a load of what are called animators in here. And what I wanna do is I want to select the trim paths, okay, so click that. I've now got a dropdown. I can drill down and you can see that I've got this, okay, which is really, really nice and I can do is start by there. So what I wanna do is basically an animate the start from 100 to 0. Ok? And let's collapse these other layers. What we wanna do is we actually want to do that in sync with the music. So if you come down to your audio track, tool down the audio and you've got something called wave form. And let's bring this alphabet so we can see everything. If you zoom in that beginning one is really, really easy. Because you can actually see on the wave form where the beats are. Because at the beginning it's just these kind of like little beats. So let's play through till about, let's say here so as to prevent the same. They go. So I'm actually going to cut my audio to about here because there's two beats just on our own at the beginning. And I don't like that. I want to start at almost like the new bar. So what we've got now is, so there's three quick wheats and succession, which will be the three circles. And then this one, this fourth beat will be the background fading advocate. So. Maybe just give ourself and extra for a number there. What I wanna do is I want to animate this start position. So let's click stopwatch for star to make sure that at a 100. And I think we'll give it 44 frames, okay, it's conferred by 1234 and bring this back down now to 0. Now that animation actually finishes after that beat. So I'm just gonna offset this tracks likely. So what we've got is we've got that okay, that, that finishes and the peak of that sound. So what we wanna do next is get our mid circle. And we want to enable lat 12 down. And I think for frames is kind of, it's not too fast, but you know, it's far as quite faster. Let's go with that. As told our contents lips, what we need to do is select it and go to Add and trim paths again. And here we go to twill downtrend paths. Let's set a key frame, but shape on the start, but take it up to a 100, come forward four frames. So 1234, page down the page up keys are used for that by the way. And Paul is now down to 0. So let's collapse a few of these things so we can see the audio track. And as collapse this one, I want this animation to finish on the peak of that sound. So if I go back one frame, Yeah, I actually wanna move both these key frames just back a frame so it finishes on the peak of that sound. And let's do the same thing for the inner circle. Okay, so let's get rid of the mid circle options. Click in a circle, must go to add trim paths. Tool that down. And let's set a key frame for the start, but bringing it up to a 100. Let's come forward for frames 1234 and bring it down to 0. Now, actually that's worked out quite well. Yeah, that animation finishes on the peak of the third beat. So I like that. Let's collapse that. And I'm just going to bring my work area down to here. And I'm going to play this on repeat just a few times just to make sure it's all sinking up. Because you wanna make sure that on the original one you make, you'll get it sync it up properly. So let's just have a quick look at that. Yeah, I'm like in-house lock in. So what I wanna do now is animate this fourth beat. All right, and this is gonna be what our background color. So I'm going to turn it on and let's yeah, let's just boil this down. I'm, all I'm gonna do for this is animate the scale. So hit us. And we want to animate this scaling up. So it kind of takes the shape of this circle. So first of all, if we animate the scale is just doing it from the center, which isn't what we want. What we wanna do is we want to take our anchor point and Capone tools appear. And we wanna click and drag and put this to the bottom. If you hold Control or Command, it'll snap to this little. Whether should do, should snap now to the bottom by here. Brilliant. So now if we scale, it scales from that point. However, I only want to scale the, I only want to scale the height or the, yeah, the y. So what I wanna do is unlink these. I'm gonna spring down Now, this one to 0. So this second number, hit enter. I'm going to set a keyframe from forward 1234. And I am going to take this up to a 100. Okay? So what we wanna do now is just check that this animation, actually I think I want that, wanted to be a bit quicker. So I'm just gonna make that click and drag that keyframe over and just make that ever so slightly quicker. But what I can see is that animation that finishes where this beat comes in. So you could give it a listen back. It may be that you want to, because it's right at the beginning of the Beat. It may be that you want to offset these keyframes of drag them to the right by one frame. You have a look at how it, how it feels to you. I'm going to listen to mine and then make that choice. So I want to play around and I think I'm going to leave mine there. So what we can do now is I'm going to come out to about here before the next animation starts again roundabout by here. Shift select these four layers. Alter an n square bracket, which will cut the layers, okay? And we want to decompose these. So control shift and see with these Layer selected, so control shift c. And here it is. I'm going to call this what we'll call it circle main. I guess that'll work. And also with my time slider in the same place, I'm just going to hold an n squared brackets, but there. And that's the end of the composition. So we've got this animation, okay? And if we double-click, it's Justin here, okay, so same thing, we just put it in like a little folder. What I wanna do now is I want to duplicate this. Loads are time, so Control D, loads and loads and loads member I had about 60 odd sum. Let's just keep control D for example. I'm not actually going to do all of it in here because I've already got it done. But what we wanna do is shift select them. All right-click and keyframe assistant sequence layers. And you'll get this little window. Don't go for any overlap. Just click OK. And if you've cut yours just before this beaker here like we did, you should have them lining up and relatively well. Now bear in mind with this track. It hasn't been perfect. What you would need to do guys, is this beat goes on for the entire song and I only go up to a bout. I only go up to about 13. Let's let's just have a quick listen because I don't go towards the end. So I'm just gonna pause this recording as I get the final count of where we can cut this composition, right? So I've just checked in mine and our actual composition and land only goes up to 1340 frames. So we only need to duplicate enough to get to this point. Okay? And if you're not working in frames, just control click by here just to make sure you are ok. So it only got my, my final one will actually be cutting around this mark. It's what you can do as you get to this mark, hit Enter on your keyboard and make sure that this work areas set at the beginning. And what we can do is right-click and trim comp to work area. So your composition is now the correct length though, right? But like I said, keep on duplicated in some of these, so I select all of these, Control D, got loads more now, collected, drag them below. And what you can now do is click and offset them to round out there. Now, I guarantee if you were to play this through, their family is probably going to come off at some point, so It's annoying, but what you need to do is you need to now, let's zoom in. You can play through and you may need to kinda come in. You may think why it works up until about 350 frames, but tell you what this one is coming in, perhaps a little late or early. So I would shift, click and shift select all the ones below. And let's say you need to move this forward a touch for example. Well, all of them will move forward a touch, okay? So you need to, you basically need to go through and do that and zoom in as well. Because if you, if you're zoomed out, for example, and you try and move them, I'd probably move them about 1020 frames there with a small click. Ok. So make sure you zoom in and you can do it with finesse. Okay, so let's say this one came in slightly too late, listening through up until this point, they're all on time, but it starts to, is coming in a little bit late for the beat by here, well, just click and select all of the ones below and kind of offset it. Carry on listening through, let's say it's up, it's good now up until 600. But what we need to do is we need to kind of move the rest of these now. So this one and all the others, I need to move them off ever so slightly. And that's what you gotta do. You gotta listen to this soundtrack Now at the beginning. And it's relatively easy because the wave form, it's only showing those beats. But then there's other stuff comes in, in a wave form. You gotta do it by ear. And it, it takes a while to do. But obviously you've seen the kind of final results of this project. It's worth it. So you basically have got a load of the same composition you gotta kinda go through. And if you need to alter, alter each one's pull it forward, a frame of backup frame, then you gotta do that. Okay? Now, I'm going to leave you guys to do that. Because again, I could be like half an hour, 40 minutes, kind of making sure it's absolutely perfect song and leave you guys do that. And I'll see you in the next lesson then, where we'll look at the next part. But by the way, once you've done that, what you'll need to do is select all of the circle main comps shift, select them all, control shift c, and then just put them in another precompile. Circle. Circle, repeat. For example, because it's repeated in the circle. Something like that to click OK. And now we've got all of that within one. And what I do end up doing later is I do end up scaling this down. So hit acts on the circle of peat. And I'll scale it down to round about maybe like 80%, and then I'll move it up. In fact, let's go 60%. No, I don't like that because 65, yes, 65 sent and move it up because we will be having other things kind of happen in by here. Okay, so what will be left with is that make sure it can have syncs up to the same. So listen to constantly make adjustments and all that. And yeah, brilliant. Do that. And then I'll see you in the next lesson where we can add our next little addition to this. Cheers. 4. Lesson 3 Dot: By then, so the next bit we went to look at anime ten is this little thing by here on the left. Okay, so this is the file I've already made a N. Let's just have a quick watch of what we've got going on. So it almost sounds like a little bit of a radar blip. That's what it sounded like to me. But we've basically got this dot go in. A kind of transition in. Arnaud just appears on, so cuts to come in on, travels up for a few frames and then dang for FY frames before disappearing. And then up for FIFO aims down graffiti frames. So for each beat, one beat it'll be beak one and MB p2 is back down. Okay? So I'm gonna jump into my other file now and show you how to create that. So first of all, what we wanna do is we want to actually find where the audio is. I knew it comes in around frame 175. And actually if we look at the audio, we can actually see this extra additional blip by here. I bet you any money that that will be it. Yeah, that's it. So again, it's easy at the beginning because there's not a great deal on the track. We know that these big sort of lumps here are our circle animation and this one's here. So yes, I think around about if we come to here. Yeah, right about there. So what we wanna do is we want to create a line for this. So I'm going to get my pen tool, make sure that none of these layers is selected. Get my pen tool. I'm going to draw a line from a to B just like that. And I want to give it a stroke. And let's find a color. I think I'm gonna give it this medium color. Again, you'll be in a text document, paste it into here such that medium blue. And I want no fill soldiers click-through it, fill and click off. And what else? Let's come into the settings. Contents, shape one. And let's go to stroke. I want to turn this to. So as this line cap instead of BUT captured at around cap. And you'll see now we've got round edges rather than flat edges, which is what we want in terms of the thickness of the stroke. I think that's a little bit too thick, so go somewhere round. Yeah, I think 80 will be to find something like that. Or actually EIS 1980. Actually I'm going to go 65. There we go a little bit better, a little bit thinner. Okay, and we're gonna be using the trim pads animation on this again. So let's go ahead and just get to a frame. That thing, what quite an wireframe, but we can line that up later. Right? So what I wanna do is add a trim paths. So click here trimmed paths, and let's come in. What I wanna do is I want this to kinda stuff from the bottom. So I'm going to take my start and I'm thinking I'm just going to go to 9000. So in set to keyframes for there, that's when it comes in. So let's also cut this layer. So it starts on this keyframe. So Alt and begin bracket and begin racket key. Which is right by the Enter key, and it just starts that labor here. Let's now come forward to 123. So we've got 123, maybe four frames that we go. So just come forward a few. I know that it's a bandwidth this distance. But again, later we can kind of sink it up and check, make sure they're keyframes match. Okay? What I'm gonna do now with the start and the end, I'm actually going to bring the start all the way down to 0 and the end down to ten, okay? And hit enter. So if we zoom in to these keyframes, all we've got happened in between these two keyframes. Now is this travels up, it doesn't actually travel app, but that's the effect that Gibbs. Okay, so 121234, let's go an extra frame. And what I wanna do now is come back down. So 1234. And we need these keyframes again. So you can either write in 95 start and a 100 for end, or you can just copy these keyframes and paste them. And so Copy Control C and paste minus layer. Let's make it a new layer. Ok, that's fine. But what we can do is basically just go 90 for this one and then a 100 for this one. And basically back down the bottom. So that's what happens. It goes up and comes down, these, these ones. But here what I wanna do is select them, hit F9 on keyboard, which will turn them to easy ease keyframes. We don't have afternoon and a keyboard just right-click, keep him Assistant. Easy 0s. Okay, so it kind of goes up there, fast, lingers there for a bit longer and then comes down really fast. But also we want to get rid of it at the end. So if we come forward one more frame by hitting page down, what I wanna do is I wanna take this start all the way to a 100, okay? And I'm going to alt and end square bracket key. Actually come back a frame and alt end square bracket. And what we've got now if we hit b and then computing hit, and it'll just play this area back. What we've got is this little animation. Okay, so what we want to actually do is we wanna move this. I think this, this is the little peak where the sound comes in. I know that from experience could have done this, this kind of this project before. So I actually want this to start in line with that. So let's just move that backward. I wanted to start in line with the new sound coming in. You can listen through in line yours up effectively. But what, again, what you need to do guys is just listened through, making area short listened through. Does this kind of work for you? So let's just mute my microphone and play it through, see if it works me a line if it lines up properly. And that is lined up properly for me. Okay? And that's all you gotta do. Now, let's rename this to dot and m for animation. And what we wanna do is we want to duplicate this and we want to align all of these up. So let's duplicate to first of all, OK. I know now that this comes in with the beginning of that. And this one now is second one needs to commune with the beginning of this one again. So we're going to offset it. And now I've got a feeling, I think I'm a member as about 15 frames from one to the other. So 123456789101112131415? Yes. 15 frames between the two. And for the most part it should match up like that. So I'm going to get these Control D drive him to the bottom or below. I'm going to come forward now. And again, let's come to hear because I thought it'll peak or we can go forward 15 frames. So 123456789101112131415 years as a guidance. And what you can see is actually, let's come in here. That's not match it up with the beginning of new CSR touch out so you can come forward about it, or you can kinda come by here. But I think I'm going to go over here. And you want to keep on duplicating these and lining them up for the entirety of this. Now, the actual dot animation that ends are ranked about kind of, I don't know where it ends, but it doesn't go on for the entire longevity of the song. Okay? And again, we've built the animation. We've now just going to duplicate a load times and then make sure that it matches up throughout an asteroid. That's the long bet, but unfortunately that's the bet you guys are going to have to do. So. Yeah. Keep on duplicate and you'll have loads are copies. And I'm just going to pause this recording now where I find out where this sort of dot animation plays to this radar blips doesn't go on for the full thing. I think it's stopped by here, but I'll just see you now. So I'll play mine through now. Found work is up to us around about it just before 1000 frames, say 972 h. So what I'm gonna do is I'm gonna mute my microphone and play it through segment here. It's when that high hat comes in and again, so roundabout. So between nine hundred and thirty and nine hundred and sixty round about in there. So you'll need to duplicate these all the way until this point. And then once you've got all of them, you can just shift, select, control, associate, select all of them. Control shift and c and.com or whatever. And it'll just be all of those dots then in a single princomp. And we're gonna come back later and we're going to add some motion blur and stuff to it later. But yeah, you guys do that and get that polished up, sync them all up. And then I'll see you in the next one where we're going to create this slip, these little line burst things for the high half that comes in later. So I'll see you guys in the next lesson. 5. Lesson 4 Line bursts: So welcome back to this now fourth lesson where we're going to be having a look at creating these little line bursts, which are really, really quite fun. Okay, so what we're gonna do is we're first of all going to look at my finished version just to see kind of what we're going to be creating, why and how. Okay, so what I'm gonna do now is I'm just going to mute my microphone and play the piece for you. One of the first preview that in it was going really slow motion, so probably sounded really weird. Anyway, what we've got is we've got these little blinky things. Ok, I all have done is make one, duplicated them because there's actually ten little beats in there. Okay, so we've got 12345, okay, if I come to the end, actually you can see them. So we've got 12345678910. Ok. So it goes from right to left, plays this one twice because this is 56, comes back 78910. And let's have a quick look. This is, this is where I'll show you how to make this now. So I make it right just for these keyframes. I then precompetitive and I've got a comfort each and I've just moved them. If we have a look at the position for this one and a position for this one, position for this one. You can see that I've moved them like across horrors horizontally. Okay. I've moved them across in the sort of acts. And then what I've done is I've gone through, I've listened to the track, and I've kind of thought we write, what point now do these need to commence? You can see you've got these two, for example, which have really, really close together, then is a big gap between this one and this one. And I will be showing you a little bit of a trick later on how to make this a little bit easier. But I've matched the ten and then I freeze them. And then basically a group of ten by here, a group of timber there, and we've just got them and they only come on about actually deleted and you can delete these last two. I won't bother actually, 12345678. So that's eight times, which is technically 80 of the little buggers. But they go. So what I'm gonna do now is I'm actually going to show you how to go ahead and create this for our composition here we got these two bits in so far. And I've gotta feel in, let's have a look at this audio track. I've Got a Feeling. It's a roundabout by here. I think that's when the audio wave form gets a little bit more mental. So when I meet myself, meet them Mike and less just given a little play. Yeah. So it comes in there and you really can't see where each individual click is. So that's why I'm gonna show you another little bit of, a, little bit of a trick, okay? First of all, let's disable the, this, this, and this. Just the, I just sweet and kind of a bit more of a clear idea of what we've got. What I'm gonna do now is I'm gonna get my pen tool. And I'm gonna zoom in. And I'm going to click and hold, shift and click again. And I've got a line y. Actually, I've made a mistake. Look, I've got this selected, so was actually started drawn a mask on there. So I want to control z and undo. That's why it's important. Make sure none of these are selected. And now let's click and then Shift and click again. I've now got a Shape Layer and I've got a stroke. So that's why we weren't seen anything before. Now in terms of the color on this, I think I'm just gonna go and get this color. Again, it's in a text document for you as click the stroke control V. And it just makes it more productive, which is nicer stroke. I don't want that to be so thick, so let's try ten. I think ten will do for now. We can always thicken it later if we wanted to and write. What I'm going to do is I want to start animating this. But first of all, on a lightness to center down here and turn on. So click and turn on Title Action safe. And what I wanna do is I want to connect this to align and I want to move it. So it's in the center, something like that. In the center of this casa. And then I'm gonna move it up. Okay, so hold Shift while you click and drag along and move it up to offset it from the center? Or are they going to do is get my pan behind tool or anchor point tool and just move this anchor point to the center. So if you hold control, it'll snap. So what we've done is we've basically, we've moved this to the center, pull it up a bit, got the anchor point tool and put it right at the center. Okay, so now what I'm gonna do next is get the trim paths again. So let's come here and go to trim paths. And what I wanna do now is I want to animate the start and the end. So what I want is frame one. I want my end to be on 0. And on frame one I also want my starts to be non-zero. So let's give them a keyframe. And as come forward, say two frames or free frame, something like that. And then I want each of these to be a 100. So what we've got if we kind of play through, is we've actually gotten nothing happening. And what we need to do is offset our start frames by one frame. So click and drag and pull them now to the right. And what we've got now is we've got this animated, however minds animating down. So what I'm gonna do is I'm going to zoom in and I'm gonna bring these keyframes just back a little bit. If you're Zan animating the wrong way, I've gone from 0 to a 100 over three frames. And obviously than I did offset these firms just we can see what's happening. What I really needed to do is I needed to go from a 100 to 0. Ok? And it's because if you start your click up the top and then down the bottom, what we started up the bottom and then to the top edges make, it makes a difference. So what if yours is going backwards excitingly forwards. Let's just offset these again. As I play forwards, it kind of androids towards the center and I don't want that. So these keyframes by here, I'm gonna change these to 100, these first keyframes. So 100. And 100. And then these ones by here and we'll change to 0. So just inverse as x basically. And again get the start, offset them by one frame. And what we've got now is this going out. So cos three frames, this animates outwards. Okay? And that, to be honest, if you can do that, that's the most basic part really. Or that's the fundamental part is what I should say. Well, I'm gonna do now is just come to this first frame, for example, Control D on this layer. And the hit after the rotation. And I'm gonna type in 90, so it rotates around this center, 0.90 degrees. So what we've got now is two of these coming out, okay? Actually, I am going to do is hit you on these layers and see these final frames by here, these last ones, and hit F9 on my keyboard. And on these ones F9. So it kind of doesn't easy ease towards the end. Ok. So don't bug thermos, fine. I'm now going to get this run control D Again just unfolds, we can see it and hit R to rotate. And I'm going to change this one to 180. So we've got another one now, but here, I'm going to duplicate this again and hit OK. And I'm gonna change this to 270. And, and so what we've got now is a cos three frames. We've got this animation. Okay, really nice. What I might wanna do is select all of them. Shift select Control D again to duplicate the four of them. Bring these now to the bottom, just below. I'm gonna get the rotation and with this one, but here I'm just going to drag until a bottom one says 45 because I know they'll all be offset by 45 degrees. So there we go. I've just got a degree too far. So let's just gather to 45. There we go. So now that all of us are offset by 45. And what I want to do with them still selected is I want to drag these forward by a frame, just one frame. Okay, so if we hit you on all of the layers, Maya to show all of the keyframes. And let's bring this up and zoom in. And this layer one should actually be at the top. What you'll see is we've got one starting early, which is these four. And then these ones start a little later, okay, and finish a frame later. Now these bottom four ones, I want him to be a different color. So I'm going to go and get this color by here, copy to my clipboard. Come back in with these four selected just click stroke, takes that new hex code in there. And this is what we've got. So we've now got this still animation where we've got Bess, okay, is still, it's almost like, I think they're called accents in motion design. So we've got one and now we need to start duplicate in and creating a sort of rhythm of these with ten of them that go to the beat. Now just thinking about it, I think what I wanna do is I, the second for the coming of frame later, I actually want to offset these by two frames. So I'm gonna select all of those layers again. So 1234. And just pull them forward, an additional layer. So now we've got this. And yeah, that just looks nicer to me. One to actually now I think I'm gonna move them back. Look, it's up to you. You have a look at the design of yours. I think I actually prefer this, yeah, so any offset by one frame. So what we wanna do now is I'm just going to trim these Dang, Okay, so come to the end of our animation by here, and select all the layers. Alt an end square bracket key. Or you can come back a frame, actually an ALT N square bracket key. And then I'll come to the beginning alt open square bracket key. And we've got these. What I'm gonna do now is come forward and just select more control shift and c. And we'll call this line and M for line animation and alt open bracket and then just come forward frame by frame has finished here. So ALT N square bracket. And basically now what we've got is this, this one little, one little animation. So what you want, what we need to do is we actually need nine more of these first of all, so first of all, before we do that, let's turn on our background to see where they fit in. So I'm gonna get aligned animation, scale it down to around 50 to start with. And there we go. Something like vat. I'm pretty sure that five or FET. So what we wanna do now is duplicate one. Move air to hold Shift as you click, move it to the left and duplicate it and put that to the bottom as well. Duplicate this. And select the bottom one should hold in shift click and drag now, and try and get an equal distance between these. And then duplicate it again. Make sure you get the bottom one, control and shift click them across, something like that. So that's four and control D to get the bottom one, shifting clerk. Same distance between them. And there we go. Those five are now going to shift click them all. And if we now just click and drag them all together and line this one up with this. So tidal action safe. And there you go. You've got your five there and you can turn title actions safe off. Okay, so this is what we've got. These are our five little animation thing, emojis and column wherever you want to line burst, don't call him. So what you wanna do now is you actually want to listen through because 12345, and then you have 678910. So that one's actually going to play twice because you've got ten little whatever they are like high hats or something or little bleeps. I don't know what, but now they're little bleeps They are. So what you'll wanna do is you'll want to find where each little watched McCall It is. For each little bleep a's. And in this one you can't actually see the little peaks. So what I do with this little trick is either I can play through it. I'm gonna meet their citizen, play any audio for now, which kinda defeats the object you might think. But I'm actually trying to show you something. If you play in foo, right, have no Layer selected. If you're playing through on the keyboards, you've got a little star over by the on the right-hand side of a Windows keyboard. You've got your 1-2-3, 4-5-6, 7-8-9, or in life three rows and then you've got a star key above the nine or on that right-hand side. Ok? If I play through my composition now and start hitting the star, you can see that these little markers come up. Okay? So if you were listening to the track, what you can do is play a 3u unless say you've got ten. Whenever you hear those, you can just hit that. And then you'll know where each little bleep bays and he can match it up. Ok, so that's one way to delete these listed. Go right-click, Delete all markers. If you have a layer selected Leslie audio layer and you hit play and you do the same if puts them on that layer and right-click. And you can click them individually and move them around. Productivity object. Or you can right click them and delete all or just delete an individual one. So that's one way of right now. The other way is, let me, just so I couldn't see the wave form has wondering why, because I need to get where I wanted to do now is let's zoom in surround went by here. What I tend to do is if you hit B on the keyboard, and this can forward a couple of frames and hit, and it's only a few play through now. It's only going to play here that I'm only going to play those 1234 frames. So what I tend to do is bring it down to two. And you can hear each time I do this, I can move it forward and click in here and play. And move it forward another frame and play. And I can share the first beepB is coming in, okay, so I can turn off all of these. And I now know that at this frame bang in the middle, this is where my first little bleep comes in. So I'll get this layer. And I think I wanted to be halfway, let's say I wanted to be there where it's note, let's say halfway through its cell bleep where it looks like that star. So what I can do now is move forward. Keep playing. And thus for the, that was the first one. Remember, I'll play. I was the first one. And just keep going until you hear the next slot. And it's just going to play them on. There we go. Our next one's coming in but may go up to here. Yeah, aspect better. So I know I can come to this frame, turn this layer on and ban round deprived yet, but they're, so if I just go and play back the spirit. Now there is a third rung coming in sweats. Just alter this a little bit. Those two, those two and now sync. Okay, I'm, what you'll need to do is you'll need to do it for there's ten of them. So like I said, you've got 12345. Then this fifth one repeats again to 678910. So let's have a look at how mind lined up. I've gotta remember which one this is now. Line burst. Nowhere was at ten line bursts. So this is how mine ended up. Lockett's. We've got 12345678910. Okay. And if I play this with the audio, Let me just meet my mike. That is what you're going for. Okay. So you go in for bat. Now once you've got ten of them done, you can then select all of them. So Shift select all of them. Control shift c and you'll precommit them. And I ended up coordinate ten line bursts. And then what you wanna do is sung, just going to delete my ones in here. So I'm gonna actually show you an example that I've done. So you've got, you make ten, let me line up free competent, and then let's go into my comp. Bear with me a second comp one final. And I've got ten line bursts. So I've got my ten by here. And then let's just minimize all these cyber, this line burst comp, I've got these, my ten is the ten line bursts. If I double-click here, here's each one lined up. And then linguist comp, I've now got ten, but they're ten, but then I basically duplicated all of these. And I've now offset the Swift got eight of these layers now. And I just went through, and you can see here, zoom in as not much. There's only about one frame to frame gap between these two. But as we come further on, I think is a bit more of a gap between things like three frames. Yeah, three frames it in IE. So you just want to duplicate each set of ten line bursts and kind of go through. So just to reiterate really, really quickly, you've got your life. If you double-click here, this is our little animation. We've then got do ten duplicates of them and they're offset and they play through like that. Member goes 12345678910. And then what you've got is we've got the sets of ten which are pre comped, and we just line them up with the main audio track. Then what you should then have is you should have something that's starting to look like this. Let me just turn off the audio within here. There we go. And I'm going to turn off my mic and I'll show you what you should end up having. Okay, so that's what you guys should have. You won't have this sort of noise texture over it. We're gonna do that right at the end or you won't have this, they'll drop shadow will do that right at the end. And what I'm gonna do next is I'm going to show you how to do this still sort of simple animation. You can see the keyframes here. And then we'll finish off by doing this zigzag animation. I'll do this sort of like how I did this or final thing with us from really, really simple. And then finally we'll look at stylizing it with this soft photocopy texture and some drop shadows and stuff like that. So that was a big one, big lesson. Next one will be a little bit more simple. Give that I'd go and I'll see you in the next lesson. 6. Lesson 5 Transforming Circle: Okay, so I'm now gonna show you the next part, which is this little funky animation by here, really, really simple one. But I'm just going to show you how to do that. Now you'll notice when we get to what is it, frame 7760 AM there. You'll notice a few more bits come in, but there's so many bits go in on the edges. Died. I was listening to it for ages and I couldn't define all of the single beats. So there's one that sort of sounds like the click of a fingers or snare drum or something. And I've just use that one. So from roundabout here, although more beads come in, but I'm just highlighting an animating the main one. So I'll mute my microphone and just play it for you and you'll see what beat it is then. Okay, so really simple, really simple animation. We just got to keyframes every sort of, I think it's about every 2022 frames. So yeah, what we're gonna do is we're going to jump back into my complex. I'll show you how to create that. Okay? Really simple one, this one thing I've said that before times now. Drill, right? Okay, so let's jump on in. I'm gonna get my circle till or Ellipse tool as it's called. And zoom in. And I'm gonna draw. So click and drag and a few Go Control. And oh, now I see I've got that layer selected, so make sure you're not doing that. No Layer selected. Now click and drag and hold control and shift. I'll go something around about that. Okay, so this is my circle. I want my stroke to be thicker, less give 25-year, 25 ago. Now, in terms of the color, I want to pick a lighter color, blue. So go there and paste that in here. Got a lighter color, Bingo. So that's my circle setup. I've changed the color. So now what we need to do is we need to start actually animated it. So let's go to that point in the music now, where the clicks start coming in. And I think there's going to be around about 700 desk spike by here. Actually you can see the waveform gets a little bit more busy around here. So if I just, okay, so again, earlier I told you a really good way of finding the specific beat. So I've just hit B on my keyboard and can fall a few frames and hit n. Now what I'm gonna do is I'm going to work through this. And let's just zoom in a bit more. I'm now basically gonna play back just these two frames or three frames until I find that actual click that I'm on about song, meet my mic as I do this. Okay, so I find that I'll click and it looks as if it's that spike, but that it is this frame. So 775. Now, bingo, what I wanna do is I want to animate this. And what I did is I animated a pucker and bloat. So if you just drop down, go into the ad, and this time instead of a trim paths like we've been using so far, I'm Liza pucker, and bloat. All I wanna do is come in and I want to animate the amount. So this is the point where I wanted to actually change. So what I'm gonna do is I'm going to go, you can play around and do whatever kind of value you want to go over that shape. But I'm actually going to go out here. And minus 50 seemed to be the sweet spot. Bingo, it does go out a little bit. We can scale this down later is not too much of a problem. I'm going to set a key frame for the mount, and that'll change then on the actual beat, what I wanna do is go back to frames. So page down or soy page up twice. And I'm going to take this back to 0, ok, and hit enter. So let's also trim our layer. So it starts here. Or actually I'm a trim the layer, so actually starts here on the actual beat. So Alt and open bracket key. So what I've got is if I, for argument's sake, I'm just going to bring us back a little bit. You don't need to. This is what we've got, very simple animation, but I'm only start in it from here, so that keyframe technically isn't needed, but don't worry too much about that. What I wanna do now is I know it's about, I know off the top my head is I think it's 22 frames until the next one. So if you hold Shift and press page down, you'll jump forward ten frames, so 1020 and then 12. So if my estimations are right, that should be where the next little signed byte or whatever you wanna call it is. So let's just preview back that a little bit and see as well. I think it might be this bit by here. Yeah, so that's the next bet. Okay. It's that little peak. So you always want to check. What I'm gonna do now is I want this to snap back to the other, other shapes. So I'm going to take this back to 0. However, now in-between these two keyframes, you'll see that's, that's what it animates over a long period of time. So what I wanna do is I wanna go back to here, go back to frames, and type in minus 50 again. So what we've got, it goes, if you've watched over here, it goes 0 to minus 50, then stays minus 50. You've got another key frame for it, and it goes then minus 50 to 0. Okay, so let's have a quick watch what we've got by here. I'll mute my microphone. Okay, so that's your animation. What I'm gonna do is I'm going to copy these keyframes. So Control C, I'm gonna come forward, I think is around about another 22 frames is what I thought, but less skill to go. So 1020 and then two. And let's bring this to have a quick little Listen. No, it's not there. There's probably this peak by here. Yes. So again, I've identified as that little peak. So what I'll do is I'll paste. Keyframes and I actually want to move that back a touch to changes on the actual one. And I'm gonna come forward and make sure by shortening ness, makes sure that this happens on the right Beat. It might not. Ok, let's come in a bit more. So I want that last keyframe, that second keyframe to actually be on the beat. So let's check. Yes, it is. So let's now, oh, let's preview back those four and pop this out and just play back those forward and see how it sounds. So brilliant, that's how I wanted it to sound. And what you guys are going to need to do is you're going to need to copy and paste all those key frames until I've Got a Feeling is around about here. Looking at wave forms, there's not that much. But wherever it goes to just copy and paste them now. And let me do that, suppose and comeback. So hopefully now if you've done that, what you need to do next is I'm just going to rename this to PPACA. And below stroke, there we go. So that's the stroke of the pocket and bloat, once you've done all of those, all of those keyframes, I'm first of all, in my one, I need to scale this down. So I'm gonna ask, I'm just going to scale this. Tell you what I'm gonna do first is I'm going to centralize that. So if we get our pan behind tool, click and drag and hold Control and it'll snap it to the center. Now if we get our scale, would scale it down like that, maybe move it in. Just a touch. Let's see where everything is. And yeah, it's a little bit closer, so let's move it back out. That's fine. Okay, so brilliant. What I wanna do now is I want to get this, duplicate it and put this one below. And we'll rename this to pocket and bloat and we'll call it fill. And what I wanna do now is go into the contents, go to the ellipse and I don't want to stroke, so, but I want to fill. So turn the eye for stroke off and the eye for the fill on, come to the color. And actually we can source the color instead of going into here and copy and paste in another one. And I'm going to get the eye dropper tool and change it to this color by here. Okay, so what you've got now the same animation and it'll do that. Okay? Now, that's gonna be it for this lesson. You just do it until, I think it's around about a roundabout. Who buy here over here, but you'll be able to listen to it and play it back. Okay, so that's it for this lesson. And the next one we're going to have a look at the final little addition. And then we're gonna do the sort of ending. And then we're going to do the fun bit as well, which is stylizing it. Okay? So cheesy tuning in and I'll see you in the next lesson. 7. Lesson 6 Zig Zags: Why then folk's time to start making these little zigzags. So like I said in the last lesson, there's a few, there's like five high hats, I think so five hi-hat bits. If you don't know, hi-hat is, is just those closed symbols on a drum kit. That sort of sounds like at least I think it's about five of them. You've watched them animated and they come in from either side. So from the right from left and move right from the left. And so yeah, let's just give a quick play and meet my microphone. There you go. So you saw what was going on. So that's what we've got to be double-click to have a look. We've got 1234. So yeah, our 5's exams, they happen four times. So it's not a very long one. So they only happened four times. Cisco back-in. And within each of these, we've got, you know, five individual layers. Ok? So what we need to do is we need staff by creating them. So let's jump in and do that. So I'm in this comp now my wonder trying to rebuild. And again, I'm going to go ahead, make sure no layers are selected. I did write down that this starts before I do that, it starts frame 958. That's how I've lined mine up at least because I cut the first bit off my audio. See yours may be a little bit later, but again, let's use that technique of this sort of work area only be in like two frames long. Okay, let's just listen to this bit. Okay, now account here on mine, so I'm gonna go back. Okay, maybe by here, right? So it's this frame by here, I think selects It's this frame by here. So 962. So that's a way to find it. So I'm just gonna, I'm just gonna leave on here for seconds. Now, what I wanna do is I want to get my pen tool, make sure nothing is selected. Okay, I'm going to come in and I'm going to go from 0.1, click hold shift where they do the second clip and then come to point B. I've got a line rail. So let's get this line. I'm now going to come down, I think must stroke 25. Yes, I like that. And it's the lightest color, which I'm kinda like in as well. I think it was that in the original. So I want to add something now. I want to add a zigzag because obviously this is exact line, pretty simple. So if we come down into here, I think I'm gonna go for size around about 14 is good ridges per segment, I think. Yeah, ten. So I'm, I'm liking that as it is. You can change this from corners to smooth. I prefer the corners for this. And then what we need to do is we need to animate the trim path. So it's added trim paths or paths. And what I wanna do now is animate this from left to right. So let's create a keyframe for start and bring it up to a 100. For the first keyframe and maybe come forward. I think we're going to have this happen over four frames, so 1234, and turn this down to 0. But again, if you remember, here is where the beat comes in. So I'm gonna drag these keyframes to back here. And let's see how that sounds now. Says play. Let's give it a little bit more. Yeah, I think I like kit finish in on that beat so you can you can obviously play around with the timing of that. But I like that. So we got as the, as that high hat beat comes in, it kind of finishes this animation. Cool. So that's the first one. What we wanna do now is duplicate this. Moved a layer down, so I'm using the arrow keys. So let's just see where ends up, move the layer down, something like that. Go into the animation. Because basically these are gonna be animated on together. But Let's open this animation app as well. So yeah, we want the second one to animate in from the other side. So if I come down now into the properties or I want to, I want to thank, I want to do is delete the start keyframes and animate the end keyframes. Okay, so let's put the start for my, for this one. There we go. I got I confused myself then. So let's bring the end down to 0. Creator a keyframe moved forward to this one, bring it up to a 100. So then what we've got is they come in from different sides. So this one now what we wanna do is find where the second hi-hat is. So we know the first one is on this frame 962. And we want to search for the next high hat. Okay, so let's just make this a little bit wider. And assertion. So this roundabout by here. So our thing is just go down like that. Yeah, I think it's at the end system tobacco and so it's this frame by here. So I'm just going to offset this layer so it finishes there. Now let's bring this back and play through these two. Ok, so you've got one to animate in, in, and basically you want to really repeat this process. So I've got Shape Layer one. I'm actually going to insert a duplicate and shape later on then to perfect shape L1. So Control T and thus now called three and we'll put it to the top because this one's already animated in from the right side. So let's just move this down, I think. Yeah, something like that. And we want to find the next high hat. So let's go. Okay. It was there, I think. Sir, let's make sure we bring this in. Yeah, I think that's what I want. So I'm going to get you to reveal the key frames. And I wanted to come here. And I'm going to trust for now that that's work in shape layer to duplicate that one, bring it down and that's gonna be my fourth level one, something like that. I now need to find the next one. I think it's really soon after. Yes, so this is round about by here. So got that. As I play this back as a whole, I know the third one is matched up at this one might not be right now. So I I messed that up and moved the wrong one I think. And it was this one. I should remove the app being something like the atlas gives up play. Okay, so it's roundabout by here. And then there's another one directly straight afterwards. So I'm going to duplicate Shape Layer three because that one comes in from the correct side and move it down. So move this down and I'm not going to line up perfectly round. Let's move this below for driving the boat by here. So let's see how it looks so far. Does round by ones in the right place. That's not bad. What I would do is go through and go through a little bit more in detail and get it bang on by going through and preview in two frames at a time to actually find it. But actually it's working quite well for now. So you probably know the drill by now and get the five layers. Control shift c. And first of all, before we do that, let's you on all of them. It was a bit large, but they start from there. So I'm just going to drive the beginning. And let's now hit you. And it finishes by here. I think, know sake layer five. There we go. Finishes by here. Okay. And let's start with one. Yeah, cool, right, so we know that hole animation fits within this. So now when I precommit them, so control shift c and wash, we call it a zigzag, zig zags, and click OK. What we can do now is because we've set this work area to the first of the animation. In the end, we can use this to cut it. So I'll hit Alt and square bracket and then ultimate end square bracket. And there we go. What you wanna do now is you want to duplicate this, offset it. And now that you've matched those five up, it shouldn't be as simple as finding the first one and then matching data. And to be honest, you only need to do it three times. Three times because there's only 1 second as only four of the bars in there. So this isn't going to be matched up because I'm actually listen to it, but you're going to end up with something along the lines of s. You'll want to actually listen to enter it probably. Yeah, you can see my mine mine aren't matching up properly. Okay. So that's just why I think I wanted to offset mine. So they come in a little bit earlier. Not sure, but what you wanna do is, is basically do that on line them up like we have before. And that will complete this lesson. And in the next lesson, I'm going to show you how to just create the ending, then less. And after that, we'll look at stylization, which is a really fun one, and we'll summarize at the end. So once you've done your force exactly can just collect them and say for zig zag bars, for example, click OK and then you'll have, you'll have that OK. Well, so what I'm gonna do now is and this lesson, and I'll see you next time where we'll look at the ending. 8. Lesson 7 Ending: Okay, so let's add the end into this. Now, the endings are very simple to the point where it's kind of optional whether you want to do it, it, it's very simple one. Basically, we get to the end of our animation and then I start fading the music out. But I freeze frame all the contents apart from that little line blip, radar e sound in one that goes up to the side because I could have added that and to stand by air, but it just didn't feel right compositionally wise. And so what I've done is I've just got a freeze-frame of all of them. And as the music fade out, fades out there and it's a freeze frame and they start fading out together. So we're really, really simple setup. So let's go into it. So in my composition, my kind of animation, so this is what we got so far, you know, all that stuff. Mine finishes around by frame 1153. Ok. So I know what I need to do now is take all of these and duplicate them to start at 11 Y3 and then I'll fade them out. So there's a few things that we need to think about when doing it. Lo so first of all, start with an easy one. I'll get my circle princomp, which is my initial kind of first things. So I'll just hit the square bracket key open square brackets to kind of bring it here. And what I wanna do is I want to find a frame where everything is in framing or the whole color. So that's what I wanna do now is right-click and time freeze frame. Okay, I'll now ALT open square brackets just to trim the layer so it starts there. And now whatever happens, because I've gone freeze-frame, it's frozen at that moment in time. So what I wanna do now is I want to carry on doing this. But again, as a few things we need to think about, so let's start with the circle morph. Okay, so I'll need both of these. So Shift, select Control D and move these to the top. And with this one, because you've actually got keyframes on this, I'm not going to actually bother. I'm not gonna actually bought a freeze frame net because if we extend them, basically the last keyframe turned it from a diamond into circle, and now it's just a circle constantly. So all I'm gonna do is a duplicated their move them above, extended them out. I'm now going to alt open bracket key just so they start by there and then they go on so as just extend them til the end. And that's what we got. So that one we didn't actually need to freeze frame. And let's just hit you to hide the key themes that we're back there. So that's the circle morph. Now with the zigzags, let's get these so controlled d and move them by here. And open square bracket cages to bring it to the beginning. And again, find a place where they're all in frame like that. Right-click, time, freeze frame, alt, open square brackets, and then just extend it to the end. It's there for good now. Okay. And what did we miss in so we're missing the align bursts. Yeah, now this one is a little bit more, not tricky, but a little bit more. You gotta think about it. So Control D, It's my line bursts come. As per the top, as open the bracket, open square bracket. And basically what you wanna do with this one, we need to kind of basically we need to do it five times plus scroll through to where they actually owe your mental. Scroll through to where they actually start. There we go first on. Now what I wanna do is I want to pick this frame, okay? If the first one, Alt O square, open square bracket, I'm going to right-click and time freeze frame for l. What I wanna do now is I want to get a five of them. So if I Control D and ignore the drop shadow and actually doing that later, this is x2 n as well. I've now got two of these line bursts just sit on top of each other. So what I wanna do is come you on this top point is also freeze framed. And if I click and drag, this is gonna change what frame it's freeze framed on. So if I go like that, there we go, that one. Now I'm going to Control D, duplicated again, hit u to get our keyframe up. And now on this one I'm just going to click and drag until it comes to the middle. And oh, there we go. Control D and hit you and scrub through until we get to that. Control D hit you and then get this final one. Bingo, got it. Awesome. So narrow as hit all of these layers hit you to hide the keyframes. What we've got now is if we go back a frame, we've got the animation and then it comes into these weather just all here. Okay, and what I wanna do now to finish off is my sign track. Let's have a look at the wave form with animated up to frame one 15 for yours might be slightly different is way you animation basically ends. What I wanna do. I have already done it. Say, I'll delete these keyframes. I want to start fade in a sack. So where this starts, this sort of all these freeze-frame start, let's go to the audio levels and click the keyframe, the stopwatch. Then I'm going to come to the end and I'm gonna bring this down typing here minus 60. It will create another key frame by here and you'll see the wave form kind of fades out now. Okay? And I also, last thing I wanna do is fate these things out. So I'm going to let them play for a little bit. So from 1153 are left and play a little bit. And then from frame alive and 85 is where I did it before. So if it's come from 1153 to 1185 as 32 frames, so around about 30 frames, that's just over a second because I'm working 25 frames per second. Okay? We're gonna do is select all of these layers. It t capacity, set the keyframe for 100. And then I'm going to come forward to frame 1276, which is just under four seconds. So let's go to 1285, which is exactly four seconds plus a 100 frames and bring all these down to 0. So now what we've got if we just play this through And let's hide all these layers. And what I'll do is I'll meet my mike. Play this through for you now. Okay, so we go in from our animation. This kind of an almost cuts to this, which isn't the best birth, cuts to that and then it fades act. Okay, so that is how we finish the ending of this. And now what we need to do is there's a last fun bet which we're gonna do. We're gonna stylize it. So right now it looks exactly like my final one, apart from this one's got a drop shadows, hasn't actually gotten one here. We're going to add them. Oh, I removed them early on accident. And we got this sort of am animated texture over the top. Okay, so that's what we're gonna do in the next lesson. And then we'll summarize with the final at the end, and we'll be done. So I'll see you in the next lesson. 9. Lesson 8 Stylisation: Okay, so this is a fun one now, the rescue and fun, and I hope you did find them fun. What we're gonna do is we're actually going to add a loaded drop shadows. So for example, you can see drop shadows in there. There there should be someone there, but there isn't doesn't know why Mr. leant them. And we're also going to add this let me just mute this track now. We're also going to add this photocopy texture. Okay, so let's start off by adding IR drop shadows. I've actually already got them on the line bursts and this, but I'll delete them. So let's start with this circle pre-cum, which is our main. Come back in, back into here, right circle S dagger. I start with this. So what I wanna do is go into this composition which I've made earlier, double-click and all loggers dismantled, double-click this as well. One of these, and I want to do my watch them, call it drop shadows in here. So first of all, let's shake layer one, which is the outside one, or we need to do is go to wherever it is. Affection presets, type, drops and try and type drop shadow. And there's no drop shadow, drag it on there and you can see it's coming in. So I want to go for a distance of say, 35. And softness of 15 worked. Well. I like that an angle of 135. So I'm going to do is copy this. Put on Shape layer two, layer three. And yeah, that's, that's FT. Yeah. So if we come back into component now, we'll see we've got a lot more depth to an artist. Looks nice dinner. Now dot up and down. So I can see, I've already got it on here. I jumped the gun. Yeah, there is. What I'm gonna do is I put a drop shadow, basically it's deleted. So delete, drag and drop shadow onto tilt up and down to, I think I'd distance of 12 on here, softness of 15 CI, it's, it's still falls the same amount as here. Maybe we could increase this to 15, but here, yay subspace, similar, same angle. We need to keep the a 135 degrees throughout. Now, when we decided, we need to keep that throughout so it looks the same. So let's come across now. I've got them on here as well. So the line burst comp, it's 12 distance and softness is 15135 again. And you can see it's all not onces coming behind these, which is nice. And let's have a look at this one. So circle, this circle morphing. One of them a member is the stroke and one of them's the fell. So put a drop shadow on the stroke and you'll see then that shadow appears inside. And I've also got one on the FEL EI half. So put one on fill as well. Again, drag a drop shadow on each of these distance, 12, softness 15, angle 135 and you laughing. And then it's the same then for less come to these exact safe, these exacts drag a drop shadow on distance 12, softness 15, and you're good to go. So those are the drop shadows. Okay. Now what we wanna do now is add our textures. So in terms of the texture. Let's jump to here. What I've got is I've got a website loads. I did a search for photocopy textures. So I like that kind of taxa. And what I did, it brought me to a website called texture fabric. So you can search for this again due to the license in order to in a minute, I can't distribute them to you individually. But you know, if you just go into Google, you find some, I happen to find one in here and I think I think it was this one. Yeah, so this number here, what is that? 123456. Right click Save Image as. Now just to go through a terms of use, if you do use any textures and here is free to use. You can use them for both personal and commercial projects. We've got a credit Dam, which is what I'm doing now. And I'll upload a little text file in there. In my, sort of, when I upload all this, I'll upload a text file so you can see their website as well. I'm not allowed to redistribute any of this without their permission. So I'm just had a new guys to go here and download this ones. A few. Google texture fabric, photocopy textures is Volume three. So just bear that in mind. Go ahead or scan other one, but this is the one I'm using by here. Okay, so let's jump back to aftereffects. I've got my image wherever it is, here it is. And what I'm gonna do is I'm actually gonna make a new comp. So let's go composition. And in terms of duration, I1, 24-hour, okay, we can always change our later, but I'm gonna give 20 frames. Click OK. I'm now going to drag my image down. And you can see it's coming quite large. What I'm gonna do is I'm gonna go forward 1234 and alt end square bracket. And that's actually giving me five frames. So 0, we can see something. One, 234, it actually gives me five. Okay? Now what I'm gonna do is control D and duplicate that layer. Then move this one. So it starts there. And what I'm going to do on the rotation of this one is literally go rotation 90. And what that does is it basically changes it and gives me a fresh one. Do the same again. Control D, offset into here, into half rotation, change after 180 and duplicated again, bringing it to their hit are for rotation and 270. So what we've got now is if I play this through, we've got this texture as a loop in texture, right? So what I wanna do is come into my comp by here. And where are we? What I call it is called competency. I shouldn't name the better you make sure that your name and your comes. So I'm going to drag COM two on top. And this is what we've got. So what we wanna do now is we actually wanted to loop this composition. So let's zoom into Sweden clearly. And yeah, that's what we got. We want to loop this. So if we right-click and go to time and enable time remapping. And what you'll wanna do is then come through to the frame is frame 20, we're going to keep going forward, but you just want to come back a frame. And hit this little stopwatch. And we'll just create a frame, key frame for frame 19. I'm gonna delete this Android. Highlight them both. Alt click or option on a Mac, but alt click that stopwatch. And what we wanna do now is type of expression. So I'm going to type a is going to appear up on screen and are probably trying to a text file again with the expression typed in there. So I'm gonna type loop outs with a capital O, OK, open brackets or parentheses. And then t, y p0. So type equals. And then I'm gonna open my quotations and type cycle and close quotations comma and UN num. And then keyframe with a capital K and F. So numb keyframes. Keyframes, sorry, equals 0 or nil. Okay, so click off and you've now got bad tech that in there. Okay, so if we now expand and click and drag this, this will now go for as long as possible. You probably could go loop identified a work, but let's see, maybe easier. Look backwards. And yeah, you can even just type loop out open parentheses, closed parentheses with a capital over there. And then you've got this, just extend it as long as you want and it's gonna loop back composition, ok, so I'm gonna do it for the entirety of this, even at the end. And now I'm gonna change this to screen. And if you have a look closely now, we have now got this animated texture as turn off the audio. We've now got this animated texture. Now, I learned this on YouTube from a guy called Ben Marriott. So I would recommend going on to YouTube and searching for band Marriott because I don't want to take credit for this. This is a really neat technique. I used to do the same thing, but duplicate this composition, loads and loads and loads and then group better. You know, this is a much better way I never even thought of loop and the composition is mad. But yet go and check his stuff out, he's really good. So in terms of the stylization, vats, ate, what you could also do. It does, it is quite render intensive, but you could go layer, knew and adjustment layer and go and grab grain which has an effect. Chuck it on there. And let's change this to final output. You may not notice anything in the screen record. And to be honest, if I turn this on and off, you can see something that in there and honestly just plain it through with this. I mean, it's really kind of is really going to be slow, but yeah, you can see how slow it is now preview and end. But that's something you wanna do. Also something I haven't gone through and I've realized it's happening in here. You can see this by here has gotten motion blue on alice dot. So let's go to our dot up and down, which is yes, that one dot up and down. Double-click. And in here, right where we've got all these layers, you can see that I've turned on the motion blur. You can't see that just click toggle switches and even turn the motion blur on for every single layer makes Shaw's turned up on there and come back in. And you can now go about motion blur in there. So for a circle Cree camp, double-click, double-click one of these. And now you can see you can turn motion blur on for each one and y is not turned on for this one. So let's just turn it back on. And now you've got some nice motion blur, which is really good. And again, for the line burst, double-click, double-click, Double-click, just come in, turn it on for each of these, and turn on the comp. And now if we come back, we should have yet the ages are now. You can see in motion blurred. And the same for this one you can do to the circle morph. You have to do in here for this. So circle morph. It's only a matter of two frames that are animates for c. You can see now that I've turned it on, you can see what is doing C, You can yeah, animate that. And the zigzags, if you just double-click like, like, whoa, yeah, let's double-click. Turn them all on in here. And now when we come back into our I'm comp one, wherever that is, I'm lost now, come one, you'll see that they're wherever the zigzags are. They will be turned on and it's come through. Yeah, you can see the motion blur there. Okay. So that concludes our lessons we've learned in loads of stuff in there, but I'm going to summarize that in the final license. So well done if you made it this far, I'm gonna finish this lesson and I'll see you in the final one where I will just summarize everything. 10. Lesson 9 Summary: Okay. So if you have made it this far, I mean, well done, well done to you. I'm just going to very quickly summarize now what we've kind of gone through. So we've gone through how to use some stuff within aftereffects, some techniques within aftereffects to mark sounds with these little markers over here. You know, I showed you how to preview back to individual people, watched McCall, it's two individual frames and then just move that forward until we find the exact piece of sound you want. We've looked at the trim paths, we've looked at the packer and bloat and the zigzag tool, we've made a sort of animated texture which is really, really nice. Added some stylization with drop shadows. And how ultimately we've got really nice finished piece. So I really do thank you for joining me on this, on this course. Check out some of my other courses. And yeah, hopefully you enjoyed that. And again, well done if you made it this far, Chase for 2 million.