Bring a Still Photograph to Life: Animation in Adobe Photoshop and After Effects | Elizabeth Ann | Skillshare

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Bring a Still Photograph to Life: Animation in Adobe Photoshop and After Effects

teacher avatar Elizabeth Ann, Digital Artist

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

10 Lessons (1h 22m)
    • 1. Introduction

    • 2. Class Project

    • 3. Photoshop Interface

    • 4. Setting up in Photoshop: Image One

    • 5. Animating in After Effects: Image One

    • 6. Setting up in Photoshop: Image Two

    • 7. Animating in After Effects: Image Two

    • 8. Setting up in Photoshop: Image Three

    • 9. Animating in After Effects: Image Three

    • 10. Thank You!

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About This Class

*The files for this class can be downloaded in the Project and Resource section.

In this class we will be using Adobe Photoshop and Adobe After Effects to take a still image and create an animated 3D scene. We will begin in Adobe Photoshop to isolate portion of images, then bring those layers into Adobe After Effects to create a 3D scene and animate the layers. This class is for anyone who wants to learn some how to create eye catching animations. This course does not require any experience, anyone can take and complete this class as we will be walking through each section step by step. 

In this course we will use and learn:

  • Adobe After Effects Interface
  • Keyboard Shortcuts
  • Importing Files
  • Animating Layers
  • 3D Camera
  • Photoshop Interface
  • Masks
  • Selection Tools
  • Image Blending
  • Content Aware Fill
  • Stamp Tool

Meet Your Teacher

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Elizabeth Ann

Digital Artist


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1. Introduction: Hi, my name is Elizabeth and I'm a digital artist. In this class, we will be taking a 2D image and transforming it so it seems 3D. We'll be using Photoshop and After Effects. You will not need any experience with either software. As we will walk through each step in depth to give you an idea of how it works, we will start with one photo in photoshop and prep the image into separate layers. Then bring those layers into After Effects to demonstrate how to animate the layers and camera using a few key frames. In the second portion of the class, we will prep multiple images to create a photo manipulation and bring those layers to After Effects again, to create a more complex animation, we will be utilizing many different tools in Photoshop, like the Stamp tool, Content Aware, Fill, and mass. We will also be using many different tools in After Effects like keyframing, color correction, curves, and expressions. This is a great way to bring your photos to light that you can use on social media or just for fun. Let's get started. 2. Class Project: The project in this course is to prep and create your own animation. You can use the images found in the project and resources section of this course. Or you can use your own images, or you can find free images online at or I want you to prep your photos in Photoshop and then jump into After Effects and animate the photos to what you want. Please post your project in the projects and resources section of this course. If you have any questions, please feel free to ask me in the discussion section of this course, I will answer them as soon as possible. Be creative when animating your project and have fun. 3. Photoshop Interface: The first thing we're gonna do is we're gonna do a very quick walk-through of the interface of Photoshop. If you want a more in-depth walkthrough where I go into a little bit more detail, check out one of my other Photoshop courses because I definitely go into more detail of the interface and those courses. But because we're only going to be using a few tools in Photoshop for this course, which can do a very quick walk-through. So when you have Photoshop open, you're going to get a window that asks you to either create a new file or open a file. I open the file for the first image that we are going to be using in this class. Along the top is your menu. So you have your File Edit Image layer. All these are going to be options that you can use if you don't know the shortcuts. Below that is your tool adjustments are options for the tool that you have selected. Right now I have the brush tool selected. These are all the things that I can change about the brush tool. I can change the opacity. I can change the hardness of the brush or the size of the brush up here. Along the right or the left, depending on what side you have this boron is your toolbar. We have selection tools, move tools, crop tools, brush eraser. In this class we're only gonna be really utilizing the selection tools, the brush tool, the stamp tool. I'm not gonna go into depth about those other tools, but we will go into depth about the tools that we're using when we use them. To the right. The most important panel for this course is going to be your layers panel. It's in the bottom-right. Here's where you're going to add mass or adjustment layers or even a new layer. Just to give you a quick overview of some shortcuts, if you want to bring up your brush tool, all you have to do is hit B on your keyboard and you'll bring up your brush tool. Another tool we're going to use is the stamp tool. And you can just hit S on your keyboard to bring up the stamp tool. Throughout the course, I will show you some more shortcuts, but for right now that's all we're gonna do and let's jump into the next class. 4. Setting up in Photoshop: Image One: Now that we have an idea of how to use Photoshop, we are going to prep our first image. We need to isolate anything in the image that we're going to animate in After Effects. We will use a very simple image first to get the idea of what we're looking for. I have this picture of a dancer. When we go into After Effects, I want to be able to add some movement to the dancer. So we need to put the dancer on her own layer. And to do that will make a selection of the dancer. Now when it comes to selecting things in After Effects, you have a variety of ways to do this. If you want to draw your own selection, you can use the lasso tool and just draw around her. This might be a little bit difficult because its intricate. To make a DIY selection just hit Command or Control D. So if I make a selection and I don't like it, hit Command or Control D on your keyboard and it'll de-select it. Or if you want to go up to your menu, just go to de-select. Another way you can do a selection is with the Quick Selection Tool is looks like a little cross and you would just click on the areas that you want to select. You can increase or decrease your selection brush size by using the brackets. The right bracket is going to increase. The left bracket is going to decrease. We can use that one. Let's de-select that. If you hold down your mouse button on the tool, you'll see that there's more selection options. The object select tool is pretty cool. It uses AI. You just hover over the object and click, Give it a second, ten, and it'll select your object. As you can see, it's not perfect as it's selected some area down here. And if you wanted to just get rid of that portion of the selection, all you have to do is go to your lasso tool and you can either go to the subtract selection portion or you can stay in the Add Selection and hold down your Option or Alt key. You'll see that the plus turns to a minus, which means that you are de-selecting that part of the image. Hold it down and just circle around and your de-selecting. That's another way to make a selection. Let's de-select that. I would say the easiest way to make a selection is just to use AI. So go to Select and go to a subject, and it will select that subject for you. Again, just like the object select tool over here, it's not gonna be perfect. See how it's looked at this portion. But if we go in here and to zoom in and out, you just hold down Control or Command and the plus or minus keys on your keyboard. We're going to refine this selection a little bit. Let's take away this portion. We can also do this with the Quick Selection Tool, holding down Alt or Option and just clicking. That might be too much. Let's undo by hitting Command or Control Z. Let's bring our brush size down and get rid of some of the selection and it's doing it again. We're just going to go through and refine the selection. It doesn't need to be perfect. We just want to make sure we get all of the dancer and not a lot of the black. We can also use the lasso tool to go in and deselect areas. Add areas back in. Because the background is very simple. If there's a little black on the dancer, you really won't be able to tell. But if you had a busy background, you're going to make your selection. Pretty good. Alright. Let's get rid of this part of her. Another great shortcut to know is if you want to move around on your image when you're zoomed in, hold down your space bar. You'll see the hand comes up and you can just click on your mouse and move the image around. We definitely need her foot. What is a dancer without a foot? Okay. Let's let the tip of her TO another thing when you're making selections, if you're selecting or deselecting a large area, break it down into pieces. So say I'm fixing this arm. I'm going around and I'm fixing the arm and I mess up somewhere, I'm going to have to redo that whole thing. Whereas if I just went and selected a small portion whipped out, you're not going to be having to undo the whole thing only just that one portion. All right, once you have a general selection, Let's zoom out. We're going to go up to your option for this tool which is up at the top, hit Select and Mask. Now there's many ways to view this. If you go to the right, you can use onion skin, which basically puts it on a transparent background. You can use the marching ants is what we're using to select it. The overlay, whatever you're comfortable with, use that one thing we want to do in this box is make sure that we have a good selection of the dancer and maybe smooth out the lines and move the lines in or out depending on how our selection is. If you look at all the adjustments you have on the right-hand side, let me change my view to overlay. You can smooth out your selection by increasing the smooth. When you do the adjustments in here, you need to be careful with yet you're not losing part of your object. Because I increase that smooth losing part of her fingers. You can also shift the edge of the selection. Also be careful because if you go too much, you're going to be losing part of your object. And if we go too much in the other direction, you're gonna be adding the black portion that you don't want. We are going to just leave it a tiny bit in the negative. We can feather it out, which is a, softens our selection a little bit and smooth it out a tiny bit. Alright, once you have it to your liking, click Okay. Now we want to put this on its own layer so that when we jump into After Effects, we can animate it separately from the background. Let's click on this little lock button in our layer panel, which is down at the bottom right. That's gonna unlock our layer and we can make adjustments to it now. Now to put this on its own layer, you can either hit Shift Command or Control J. And then you'll see that it's separated that selection from the background. So if I remove the background, you can see that I just have the dancer and vice versa. If I removed the dancer, I just have the background with a hole in it. Now, if you want a different way of putting it on its own layer, you can also go to layer, new layer via cut, which does the same thing as before. Or you can right-click and do the same thing layer via cut. Many different ways to do things. You just got to find the one that works best for you. Now that we have this dancer on her own layer, we have a problem. Because if we go into After Effects and we move this dancer the way that we want to. Let's say we just wanted to change your perspective. You're gonna notice that we have a hole in our background and this is gonna show up in After Effects as well. So we need to fill this hole so it looks seamless. There's many ways to do this, because we have some just simple background. We're just going to use Content-Aware Fill, which uses AI to read the pixels around it to fill in the hole. When we go into other images, we're going to use the stamp tool to be a little more detailed, but we don't have any detail in this background, so we can just fill in the background. Let's zoom out. Let's undo this transform. Hit Enter. Also, I'm sorry to transform an object, hit Command or Control T on your keyboard. That's going to bring up the transform box and it'll allow you to change the size, rotation of an object. We're going to use Content-Aware Fill to fill in the background. And to do this, you need to make a selection of the hole that you want to fill in. An easy way to make a selection of this dancer, since we already have our cutout is go to your Layers panel. Go to the dancer panel, hold down Command or Control, and then click on your picture is, and you'll see you get a selection of the dancer. Now we want to expand this selection so that it's, now we want to expand the selection so that it's including the edges and not just that one whole. So let's go to Select, go to Modify, Expand. You're gonna get this little box that pops up. And this is the amount of pixels that it's going to expand by. And we're going to expand by a pretty large number of pixels. I'm gonna say ten. You'll see that the selection has moved out. Now that that's done. Go to your Layers panel and make sure that your background layer is selected. Go to Edit and then Content-Aware Fill. You're going to get another box that pops up just like this. Right here on the left-hand side is your way to edit the pixels that are being determined to fill the whole. Anything that is in green is what the computer is using to fill in that hole. Anything that is not green is not being used. You can deselect areas. You'll see on the right that your image is changing a little bit. Show you again. This is where the preview is. And if you zoom in on the preview, if you change some of the selection, you'll see that this changes a little bit. Not a ton because there's not a lot in the background. You're just taking away the reflection on the bottom. So it's not being used to fill in the hole. Let's zoom back out. This doesn't look bad. We're gonna fix a few areas. When we go back in. You can output on a new layer or you can add it to the layer that you're already using. We're just going to add it to the current layer so that we don't have to go back in and merge the layers. Click OK and Apply, and then hit Command or Control D in de-select. Now you'll see you have the whole pretty much filled in. But we don't want to have this little line right here. And we want to make it so that this little stream of light or reflection is seamless. We're going to fix that using the stamp tool. Hit S on your keyboard, or just click on the stamp tool that looks like a stamp. And your toolbar, when you use the stamp tool is kind of like painting with pixels. What we're going to do is increase the brush size by clicking the bracket on the right or going to the options and changing the size. Ignore that. To use a standard, you need to pick an area on your image that you want to copy. So when you hold that Option or Alt, you'll see that your cursor change to a bulls-eye. This is what you're going to use to pick the area that you want to paint with. So say I want to just fill this one little area in with black. I'm going to pick the area over here by holding down Alt or Option, clicking my mouse. Now when you release, you will notice that let me zoom in. This is hard to see with the black, but we're painting with pixels. So if I go over the area that I want to paint, you'll see that the area disappears. If I click and drag and just paint a little bit, you'll see that it disappears. You also see that when you click, you're gonna see this cross up here. That is what area that you're copying where you're painting. Need to be careful because when you use a stamp tool and you move, that area that you're painting with is going to move as well. Let's fix this area right here where the reflection is. Let's increase our brush size a little bit. Let's just pick the area next to it. Pulling down alter option. And we're going to copy this little reflection over here by just clicking once. And you can see that that black portion has gone away. It looks just like a reflection line. Now. Let's bring our dancer in and see how it looks. It looks seamless. Now we need to save this as a Photoshop file. And then in the next video, we're going to jump into After Effects and animate this. 5. Animating in After Effects: Image One: Now that we have our layers setup, we're going to import those layers into After Effects. Let's open up After Effects. If you've never used After Effects before, this might look a little intimidating, but it's pretty easy to understand for what we're going to do today. If you want more in-depth course in After Effects, I have one called animating GIFs in After Effects that gives an in-depth look into the software. The first thing we're gonna do is just do a quick walk-through of the interface. After Effects is broken down into panels, whichever panel has a blue highlight or an outline around the panel, that's the panel that is active. So if you look at the controls effect, this panel is active. So any shortcuts that you do on your keyboard, It's going to go into this panel. Same with a timeline that's down below. Say you want to copy and paste a keyframe. You need to make sure that your timeline is active when you're pasting key-frame over to the right, That's where your effects and presets are gonna be. In the middle, this is where you're going to have your composition or your video that you're editing. On top is your menu where your file edit composition layer, similar to Photoshop. There's two ways to import a file into After Effects. You can either go to File, Import and then file, or you can just hit Command I. And that'll bring up your box to select your file. Now when we import this and we want to have this selected and then it says Import As we're gonna change Footage to Composition Retain Layer Sizes. Now we're going to click Open. The same thing for this new box composition retain layer sizes and editable layer styles. This will bring the files into the separate layers that we had in Photoshop instead of making one video file. Click, Okay. Now you'll see that you have two items in your project panel. You're gonna have the precomposition that After Effects created for you. And then you're gonna have your folder with the Photoshop layers. All we need to do is take this precomposition that was made for us and drag it in our timeline, or we can even drag it into the composition box. Now we're set up and all the layers of the same size if they were in Photoshop. First thing I'm gonna do is we're going to go to Composition, composition Settings, and set the duration for the animation that we're going to do right now, it's about two seconds. Let's make it four, just so we can have a loop. Black and the background is fine because it's not even going to be showing. And then click Okay. If you double-click into your pre-composition, it'll open up that pre-composition and you'll see the layers that we created in Photoshop. You can hide them by clicking on the eyeball. You can also lock them if you don't want them to move by clicking on the lock. If you just want to see one of the layers, this little dot will solo out that layer and then hide all the other layers just by clicking that. What's name our layer so that we don't get confused to name a layer in After Effects. Just have that layer highlighted, click Enter, then name the layer. Do the same thing for the background. Now the arrow next to your name is going to be able to be toggled down. And that will open up your transform properties. That can also be toggled down. This is where you can edit the size, the position, or the rotation of your asset. So what we basically want to do is just make this denser twirl a tiny bit. And we're gonna do that using keyframes to make a keyframe in After Effects, all you have to do is click the stopwatch next to the property that you want to animate. So say we wanted to scale up our dancer. We would click the stopwatch. And now you see that there's a keyframe in our timeline. The key frameworks, the information of that layer at that point in the animation. Let's move forward in our clip a little bit, and then you go to 1 second. And let's bring the scale of our dancer up. You'll see that another keyframe is made in an in-between these two keyframes, you're going to have your dancer being animated up from the one hundred percent, two hundred and thirty percent. So if you go back to the beginning and hit your space-bar and let your animation play. You'll see that your dancers scaled up. If you want to loop that, it goes back down to a 100, you can just click that first keyframe, hit Command or Control C. Go to the end of your timeline, hit Command or Control D. Now if you go back to the beginning, hit Spacebar, you have an animated loop. Let's undo all that. And what we want to do is just have her spin a tiny bit digit that we're going to need to use an effect called basic 3D. This effect allows you to swivel or twirl or tilt your layer. Go to your Effects and Presets panel, and just start typing in basic. And you'll see basic 3D. To add this to your layer, you can either have your layer highlighted and double-click or you can take the effect and drag it to your layer. Then in your effects and control panel, you'll see that a new effect has been added to your layer. Let's take a look at what this effect does. If we swivel our dancer, you see she's just being turned. And if we rotate the tilt, she's going either forward or backwards. Let's just animate the swivel to have her doing a tiny little turn to animate this again, you're just going to hit the stopwatch by the swivel. But I don't want this to be our starting point. I might want this to be my middle point. I'm going to go to the middle of the timeline and hit the stopwatch. Then I'm gonna go to the beginning of the timeline. I'm going to toggle down on my basic effect so I can see what I'm doing. And I want her to just do that. Alright. Now I can take this keyframe haven't highlighted hit Command or Control C. Go to the end of the timeline, hit Command or Control V, and then move it to the end. Now she's going to have a little turn. This is just a very basic demonstration of what you can do with a 2D photo and bring it into After Effects and give it some motion. We're going to do a little bit more in the next few videos by bringing multiple photos together to create a manipulation and then bringing that into the After Effects to create a 3D effect by animating a 3D camera. 6. Setting up in Photoshop: Image Two: All right, In this next video, we're going to be bringing multiple photos into Photoshop and masking out portions of the images that we don't want and creating a photo manipulation. Then we're going to bring it into After Effects to create a 3D effect. But this time we're going to use a 3D camera. Instead of animating the layers, we're going to animate the camera. The first step we need to do is go into Photoshop and mask out the portions of the image that we don't want. All these images are available in the project and resource section of this course. I also get them on Pixabay or If you want to go find your own photos and set up a different manipulation, feel free. I would love to see what you create. So the first thing you need to do when you're creating your manipulation, you need to know what kind of movement you want to have in your manipulation when you go into After Effects this image, I want to have my cameras starting at the edge of the road and then going down the road through the lens and ending up in the mountain scene. To achieve that, I need to remove some things from the camera and the road images. This is the N photo and but these are the photos that we are starting off with. I have the camera with the woman. I have the road, and I have the mountain scene. The mountain one, we're not going to change, so we're just going to drag that layer down to the bottom and then we're gonna hide it for now. Now let's hide the camera as well. And we're just going to work on this road layer real quick. I'm going to mask out or remove the grass, mountain and Skype portions. I really just want to keep this road. Let's highlight our road layer, hit Command or Control T, and we're going to size this image up. Let's make it so our edges Meet the edge of the composition. Hit Enter. And now if you go to your selection tools, we can use the polygon lasso tool, which allows you to select in straight lines. We're just going to click at the end of this row down here. You'll see that a straight line comes off of the arrow. Then just follow the white line on the road. And then click around. And then line up to the white line on the other side, go down and then meet the end of the selection. Now you have a selection. Now to match this out, it's very simple. You just have to go to your layers panel. Click on this square with the black circle. That is your mass button. When you click this, it's going to keep everything in the selection and remove everything out of the selection. Click on the mask. And now we just have a road. If you wanted to switch it around and have the selection be removed, all you'd have to do is click the Mask button like we did here, and then hit your mask here, then Command or Control I. And you have the opposite selection. But now we want the road, so we're going to undo that by hitting Command or Control Z. And now we're gonna bring back our camera image. Now we're going to want to line up with this camera like we have here. Let's select that camera and then hit Command or Control T. And let's just scale it up. Remember if you need to move your image around in the window is hold down the Spacebar and then you can click and drag and move it wherever we want. Let's just drag this up until we get the size that we want. A little bit bigger so I can center it. I think that looks good. Hit Enter. Now because I don't know exactly what I need to animate in After Effects. I want to make it as easy as possible for me. I'm gonna take this lens and put it on its own layer in case I need to scale it up or scale it down when I'm animating in After Effects. Let's hide our road layer by clicking on the eye. So we can either select using the Quick Selection Tool or we can just use the Elliptical Marquee Tool and just drag out a circle. Probably not gonna get it right the first time, but just leave the circle there. Go to Select and go to Transform selection. And you can move it around, scale it up or down, whatever you need to do. All right, I think that's good. Maybe bring it out a little bit. Hit enter. Now we're going to want to put this on its own layer, like we did with the dancer. Remember, you can do that by right-clicking and hitting layer via cut, going to layer, new layer via cut. Or you can just hit Shift Command or Control J. Now if we hide that lens, you'll see we have this whole, we're not going to need to fill this hole in because when we scale up the lens, if we do, we're gonna scale up this as well. So you're not gonna see the missing pixels. The lens is going to be covering it. But the one thing I do want to do is I need to mask out the glass portion so that I can see the mountains through the lens. And we're going to do that just the same way we do with the road. We're going to use the Elliptical Marquee Tool. We're going to make sure that our lens layer is selected. We're also going to name it. Double-click on it and just type in a name. Click again. Select your marquee, your elliptical marquee tool. Drag out a circle. Go to Select, Transform selection if you need to. Zoom in a little bit and bring my right. And if you don't do it perfectly remember that we can always bring stuff back in with a mask by painting. Let's hit Enter. Let's see how this looks when it's masked out. Click the Mask button. You'll see that it left the portion that we wanted to remove. Remember we can invert that, so make sure your lens mass is selected. Command I. And now we have the portion that we want to keep, but we have a hole here, but we're going to fill that in with our mountain. And all you have to do there is just bring our mountain image back. Let's zoom out by hitting command or control with the minus button. Make sure your mountain layer is selected. Hit Command or Control T. And let's just scale it up for right now, but we're really going to fix this one. And after effects hit Enter, let's bring our road back and see how it looks. All right, one thing I want to do before we go into After Effects is I want to fix this road up a little bit. I want to change the perspective so that it's angling down some. So it looks like it's getting thinner the further it goes. And I also want to blend it so the edge of the road that's inside of the lens isn't so sharp. To change the perspective of something, you just need to click on that layer, hit Command or Control T, and then right-click in your composition. And this is where you can change the perspective. You can distort it, you can warp it, which makes it weird. But we just want to change the perspective a tiny bit. Click on the perspective. Now you'll see if you grab corners and go up, it changes sides. If you go in. You can also go out, which is what we want when we want to take this out. So the road looks a little flat. Line it up however you think is best. All right, and then hit Enter. Now the next thing we're gonna do is we're gonna remove portion of this road at the end. So it looks like it's blending into the rock. And to do that, we're just going to use the Nash that we already have. Click on that mask. We're going to hit B on the keyboard for the brush tool. Now you want to make sure that black is in the foreground because when you work with mask, you only work with black and white. Black is gonna remove portion of the image and white is going to bring the pixels back. We're gonna remove portions of the image. Let's zoom in a little bit. Make sure your paint brushes selected, make sure your hardness is all the way down. The harder your brush, the more crisp lines are. Let's bring the opacity up a tiny bit and make sure your hardness is all the way down again. And then just start painting. If you remove too much, don't worry, you can bring it back. I removed a little bit too much, so I'm gonna hit X on my keyboard and bring it back a little bit. I also want to make this a little bit thinner. Change his perspective again. Need to zoom out. I'm just going to make it a little bit thinner at the edge. Let's see how that looks now. Now I want to bring back more pixels just to make it blend into that rock. All right, I think that looks good. Now we shouldn't make some of the adjustments to the image like levels and curves. But we're gonna do that in After Effects because we can animate those adjustments in After Effects and make it so that the mountains of darker and then the closer we get it gets lighter. So we're gonna do all that in After Effects. And for right now we're done in Photoshop. So make sure you save this file as a Photoshop file where you can find it. All you have to do to save your file is either go to File Save or Command or Control S. And your box will pop up, name it whatever you want, then make sure it is a Photoshop format. Click Save. All right, the next video we're going to take this all into After Effects and animate it. 7. Animating in After Effects: Image Two: All. So now we're going to jump into After Effects and we're going to import our Photoshop file that we just saved. So go ahead and click on the Project panel and after effects, hit Command or Control I to import your file. Find the lens Photoshop file that we just worked on. Click on it and make sure you import as composition retain layer sizes. And then click Open again, Composition Retain Layer Sizes. And then click open one more time. All right, you'll see we have a new composition and all of our Photoshop files and layers in our project panel. Let's go ahead and grab that composition and drag it to our timeline. And you'll see it's already set up for us. If we double-click on that composition, will see all of our layers. All right, The first thing we're going to want to do is we're going to want to set this up as a 3D scene. To do that, all we have to do is click on this little cube right here. This is gonna make it so that we can manipulate our layers on three different axes instead of two. If we don't have, instead of as 3D, we can only manipulate it going vertically or horizontally. When instead of as 3D, we can manipulate it on the z-axis as well. Which helps us create depth. Because we have our layers setup in a 3D space. We're going to want to add a camera to our scene so that we can move that camera in a 3D space. We're gonna be want to be traveling through down the road, through the lens and end up in that mountain scene. To do that, we're going to have to animate our camera on the z-axis. Let's add a camera to our scene. First. To do that, we go to Layer and new and then go to camera. And that's going to bring up this box. In this box you can set your camera settings. We're not gonna go into that in this class, but the one thing that we are going to do is make sure that our focal length is at 50 millimeters. What focal length is, is the angle of your lens or the amount of scene that you can capture in your lens. The smaller the focal length, the more you capture, the larger the focal length, the more narrow your angle is. Make sure that that's at 50 millimeters. Click Okay, then you'll see you have a new layer in your timeline. This is your camera. You can toggle that open and you have a bunch of camera operations, depth of field, you can add blur, and you can also transform your position and your rotation of your camera here as well. To see how a camera works, we're gonna change the view in our comp panel. To do that, Let's go up to View, Switch View Layout and we're gonna have two views. So you can choose different ways to see your scene. On the left, I have my camera one, which is I'm seeing whatever my camera is seeing on the right. I'm going to want to change this to something where I can set up the layers because we're gonna need to put space in-between our layers on the z-axis to create depth. So to do that, I'm going to either pick left to right, just so I can see this scene from the side instead of straight ahead. You can do that. You're going to see you have these new arrows come up. The blue is going to be the z. And if I move something on the Z, you'll see that on the left-hand side, it's getting bigger and smaller. It's not really getting bigger and smaller is getting closer to the camera or further away from the camera. Let's undo that. Then. The green is gonna go vertical, so it brings it up and up and down. Then you can also rotate it here as well. Now that we have our Cameron place, the first thing that we want to do is parent some layers to each other. When you parent two layers together, the layer that is the parent later, we'll have control of the child layer. Let's say that we parent this road layer by taking this pick whip and dragging it over to the lens. And let's hit S on our keyboard to bring up the scale of the lens layer. And if we bring up the scale, you'll notice that the road is getting scaled up as well. That's because the road layer is a child of the lens layer. And whenever we do through the lens layer, the road layer will be affected in the same way. So let's undo that but keep it parented because we want to pair up the road and the background camera layer to our lens layers so that when we scale up the lens, the road and the camera will get scaled up as well. We already have our road layer parented to the lens. Let's parent our background camera layer to the lens. When I say background camera, I'm talking about the layer that has the girl with the camera in her hand. So you'd click on that Photoshop layer and we're going to drag the pick whip to the lens layer as well to see something's parented, just look over here where it says Parent and Link. You can see our lens layer is the parent layer to our road and our background layer. I'm going to rename this camera layer to background so we don't get confused. All right. So now we only need to animate our lens layer, the actual camera and the mountain layer, because the other two will be animated with the lens layer. The first thing I'm gonna do is animate our camera layer so that we can adjust the lens and the mountain layers around the camera movement. I just want to have the camera moving from the front of the road to the back of the road through the lens. So to do that, we're just going to open up our camera transform tools. The position we're gonna click the stopwatch to create a keyframe. And then we're just going to scrub forward. I'm going to go all the way to the end. About ten seconds. Let's say that eight seconds. We're just going to move this on the z-axis through our lens. We don't need to go all the way through because we're also going to animate their lens layer to come forward, to have the camera go through it. We're just going to go to about right there for right now. Now go down to your lens layer. Click on the position stopwatch to create a keyframe and drag that key frame all the way to the beginning of your timeline. That is the position that we started off with, but not the one that we're going to end up with. But our play head is still in the same position from when our cameras stops moving. So let's change our z position of the lens to go all the way until we don't see the road anymore. All right, now let's go back to our beginning of our timeline. Hit the Spacebar, and we'll see that we have some movement. It's rendering right now while it's playing, That's why it's playing a little bit slowly. But once it's played through, it'll play at the normal speed. You can always speed this up by dragging the end keyframes closer to the beginning keyframes. And we're gonna do that. Let's hit U on our keyboard with our lens layer selected and our cameras selected. And we're going to select both of these keyframes. Let's just drag them forward to about five seconds and see how that movement looks better. The last thing that we're gonna do with this is we're going to animate the mountain image so that it fills out the frame of our camera. Because you can see on the sides we have the transparency showing and we don't want that. We want to fill the frame with our mountain scene. So go to your mountain layer and drop down the transform tools. And let's animate the position and the scale of this. Because when we scale it up, it might get a little off-center. So let's click the stopwatch to create keyframes for our position and our scale. And then we're gonna go to where the keyframe is on the rest of our timeline, which is about five seconds. Let's just scale this up a little bit until it fills up our frame. We can also move it over on the x-axis. It's still not perfect because when you scrub forward, you can still see some of the transparencies. So let's go to these keyframes, and let's scale it up a tiny bit more and move it over on the X a little bit more as well. All right, and this goes beginning of the play head and hit Spacebar to see how it looks. All right, now we have an animation using multiple images. Another thing you can do when you get into the end of here is you can animate the rotation of the camera as well. So that is looking up or down while it's going through. Let's do that really quick. So go to your camera layer. Go to, I believe it's the x. Yes, it is. Let's click the stopwatch next to the x rotation. Let's drag forward a little bit and we'll just have it go. You can have it go up or down. I'm gonna have to go down because then it looks like the road is going down as well. All right, I'm going to drag that rotation key frame to the end of my timeline. Go back to the beginning and let's see how it looks. All right, We're going to bump up the rotation just so we can actually see the camera rotating. Let's try it one more time. I'm just going to have this rotation start a little bit earlier. Now one more thing that you can do to make your animations a little more lifelike is with sound. I have two sounds that I'm going to add to this. Animation. It's going to be the noise of a car driving on the road. And then once it passes through the lens, it's going to be the noise of birds chirping. Because I'm recording this class. I can't play the sound while I'm recording the class, but I'm going to render the video out once we're done putting this sound in so that you can hear it. To import audio into your project. It's the same way you import any images or video. You go to your project panel, makes sure that it's active by clicking in it, hit Command or Control I. And then we're going to find the audio files that we want in. These are the two that I want. And now you'll see that you're there in your project panel. And then to bring them into your timeline. Same way, click and drag again because I am recording this class right now. I can't play the audio, but I will show you how to edit the audio if you want to move it around. The easiest way for me to edit audio is by looking at the waveform. It shows you when it's coming in and going out. What I want to do because we're already on the road and we're traveling. I don't want to have this gradual sound come in. I wanted to already be there. I'm going to click and drag until the audio doesn't have that ease into the sound. Okay, And then I'm gonna go forward at the play head until we're about through the lens. Once we get through the lens, I'm going to put some keyframes on the audio because I want the audio volume to go from normal to all the way out. Gradually. What we're about to pass through, I'm gonna put a keyframe. And then I'm gonna go forward until we're all the way through. I'm gonna drag this audio until this line is flat. And I can't hear that anymore. I'm gonna do the exact opposite for the other one. I'm going to open the audio wave form. I'm going to drag the clip this way, so we have that gradual going, but I'm going to have this volume turned up a little bit. Let me open up this waveform so I can see where I'm at. We need it to be right about here. So when the road audio is going out, the bird audio is coming in. Ok. And I'm going to keyframe this one as well. Have this one at full level right about here. But here we're gonna go down. So we have that gradually in the audio. The last thing I'm gonna do is add a curves effect to our mountain layer. Curves lets you adjust the lightness and darkness of a layer. What I want to do is have, well, we're traveling down the road. The mountain layer is gonna look darker. And then it's going to gradually get to the point of lightness that it is right now. So to do that, go to your Effects and Presets, type in curves. Under color correction, you just going to drag that to your mountain layer. And then this little box is going to pop up this line. You can adjust it darker and lighter. Let's undo that. What we're going to do is we are going to open up this affects curve. And we're gonna go over to where we pass through the tunnel almost right about here. And we're gonna put a keyframe on our curves. This is gonna be the lightness of the mountain image by the time we're at this point in the animation. So we're gonna go back to the beginning of our timeline and we're going to darken that mountain layer a little bit. So it looks like it's not getting a lot of light from where we are. Bringing that down. You'll see it already created a new keyframe for us. So let's hit the Spacebar and see how it looks. All right, the next thing we're gonna do is we're going to render out our animation. To render out an animation, all you have to do is go to File, export, Add to Render Queue. Then your render settings are gonna pop up. We're gonna leave all the settings alone except for the output. Just click on that blue link and then save your video to wherever you want. And then you hit Render and it'll then I'll render your animation. Once it's done, it's going to be wherever you outputted your file to. I'm going to add this video up next so you can check it out with the sound and the animation. 8. Setting up in Photoshop: Image Three: All right, the last image that we're going to prep for this class is going to be the subway image of the lumen that I want to have in After Effects is having this subway just go through the scene. Nothing else is going to be moving really except for the subway going through the scene. And we're gonna add some motion blur to it and some sounds. So it actually seems like there's actually a subway going through the scene. It seems like a video. I broke this down into five different layers. I have the sign. I have this beam that the subway needs to be behind. I have the actual subway. Then I have the Content Aware Fill layer that I used to fill up the hole in the background layer. So if I turn that off and I turn the subway off, you'll see we have this hole where the beam was. We're going to break this down really easily. We're going to create a long subway. Because if you look at this Subway, I had to create multiple cart so that it looks like an actual subway was going through. And I only used one cart and then just duplicated it over and over again. These are the two pictures that I used. I used this subway piece to make the actual subway. And then this background piece. Let's start breaking this image down. The first thing we're gonna want to do is this subway sign. We're going to just put that on its own layer in case we want to animate something later on, Let's get a selection tool and just drag out a box. Let's hit select and mask and see if that selection is okay, which it is. Click Okay. And then hit Shift, Command or Control J. And let's name our layers as we go. So let's just name this one sign. All right, let's hide that sign layer and let's fill it in. And we haven't really easy way to fill this one in. We don't need to use Content-Aware Fill. We can just take this portion of this image and duplicate it and put it over here. So let's grab that layer. Let's rename this background. While we're here. That same selection tool, we're just going to drag out a box and then hit Command or Control J to duplicate that area and not take away the background area. Let's hit Command or Control T. And let's right-click and let's flip it horizontally and then click on it, hold down Shift and then just bring it over until it lines up. The sign is going to be highly most of this area. Anyways. Let me zoom in a little bit. I am just going to transform it. All right, It looks good there. And let's hide this scene with a mask. Let's hit the Mask button on the layer that we just duplicate it. Put the B on our keyboard to bring up your brush tool and make sure you opacities downtime it so we can blend the images together, bring up the size of your brush and just start taking away part of that layer to blend it in. Let's zoom out and see how that looks. All right, and I want to take a little bit more weight so that we can just see all of this beam right here. Alright, let's see how it looks and it looks good. Okay, so let's apply this mask by right-clicking on the mass and go into Apply Layer Mask. Then we're gonna take that one that we just copied the layer one layer shift and click on the background layer and then hit Command or Control E to merge those layers together. Let's rename this layer again to background. All right, the next thing we wanna do is put this beam, the cross beam on its own layer. We're going to use the square select tool. Make sure you have your add to selection selected instead of the initial selection one, so that we can select two different areas. So just drag out a thin box that might be too thin. Zoom in a tiny bit. Let's drag out a box here. I'm gonna go to Select Transform selection just to bring this selection up a tiny bit. Alright, hit Enter. Now we're going to just add to the selection by grabbing this beam right here. I select it a little bit too much on this area. So what I'm gonna do is go to the minuss selection. To take away part of the selection right here. I'm going to use the square selection again to just drag out a selection box wherever the two boxes are intersecting, That's what's going to be removed from your selection. So at tiny selection that was right here, that's gone now. There's a little bit more on this side that I want to take away. So we're gonna do the same thing on the other side. Drag out a selection and wherever they're intersecting is what's going to be removed. That was too much. Okay. Now we're gonna put this on its own layer and remove it from the background layer. We're going to hit Shift Command or Control J. Now it's on its own layer. Let's rename that by double-clicking in naming a beam. And if you remove that, you'll see that our background layer has a hole in it. Again. We're gonna fill in this hole by dragging out two boxes like we did to select the beam. All right, and we're going to go to edit content aware fill. This doesn't need to be perfect because we're going to have the subway going through the scene that's gonna hide most of this area anyways. So just hit Okay. And then hit Command or Control D to de-select. Let's bring back our beam. Let's bring back our sign. Okay, let's go to our background copy and our background layer and we're going to merge those together. Bye, holding down Shift and selecting them and then Command or Control E. And then we can just remove that copy and just name it background. Now let's hide our sign layer, our beam layer and our background layer, and bring back our train layer. What I'm gonna do in the train layer is I'm going to make a selection and just keep the car. Then we're gonna take that portion of the layer and duplicate it and flip it and merge them together to make one subway car. It's gonna be really easy to don't get discouraged. So let's just make a selection of this subway car. You can use any selection tool you want. Make sure your subway layer is selected. And let's hit the Mask button in case we want to bring some areas back. But I want to take away some areas like this portion down here and this little piece right here. I'm going to zoom in a little bit. I'm going to drag out a selection box because I only want to remove certain portions of the subway and I don't really want to make a mistake. So I'm gonna go right here and that's all the stuff that I want to remove. So let's just go to our brush tool. Make sure blacks in the foreground. And we're going to turn the opacity all the way up. And let's just paint that away. Perfect. De-select. Drew this little curve right here as well. All right, and then I'm going to remove this portion right here. And an easy way to do that is just to click, hold down, Shift, go to the other end and click again. And you're gonna have a straight line except that mine was hard. I'm going to reduce the hardness of my brush. I'm sorry. I'm going to increase the hardness of my brush so it's not feathered. Click, hold down, shift, click again, and keep doing it until you have the amount of area remove that you want. Another way you can do it is by just doing what we did before with the selection box and then hitting B on the keyboard and removing that. All right, so I forgot that we needed to add some doors to the subway because the Subway does not have any doors. I found this image on and all I'm going to use for this really is the Windows. So I'm gonna hide this real quick and I'm gonna make a door out of the subway that we already have here. So I'm just going to drag out a selection of an area right here, Command or Control J on the keyboard to copy that area, transform it, and then we're gonna bring it over here. Alright, let's move it up a tiny bit so everything lines up. All right, that's good enough. Now we're gonna hide that really quick and we're gonna select this area. I'm gonna use my Quick Selection Tool just to go around this right here. And I'm going to deselect these corners really quick by holding down Option. Actually I'm gonna go to this square tool, the subtraction porch, and just de-select this right here. And de-select this area too, because I want that seem to stay small area right here as well. All right. Well, Jews selection that fits that doorway. I definitely want this portion in there. Go to that layer that we just created the extra door and then hit a mask on that. And you see it kind of fits in there, but we're gonna make it better to worry. So hit your brush tool. It'd be on your keyboard or select the brush tool, make sure blacks in the foreground. And we're just going to go around the edge and de-select. The rim. Might be easier if your brush is a little bit harder. And then just click, hold down, Shift, go down in a straight line. The same thing on the other side. Draw around that curve. Now we're just going to add some windows to it. This doesn't need to be perfect. Remember, because this train is going moving really fast and you're not gonna be able to see tiny little details. We're going to go back to this new layer with a door on it. And let's just select these doors right now for right now, and we'll mask out everything else that we don't want. So let's just drag a selection box. Hit the Mask button. Then let's zoom in a little bit. Then. Easy way to do this is just draw out a selection box. Hit B on your keyboard. Remove the area. De-select that area, draw out another selection box to line up next to that window. Hit V on your keyboard, remove some area, De-select, draw out another selection box and do this until you have the area all the way around the windows removed. And then we'll bring that black line back in afterwards. I think that's good enough for right now. All right, The last thing I want to do is size these windows down a little bit. Move them over. So right there maybe. I'm going to grab that black line by hitting a selection tool, hitting Command or Control T and moving that back where it was. Maybe sizing it up a tiny bit, hit Enter, and then hit Command or Control D. Now I'm going to move the insides of these windows really quick as well. So hit B on your keyboard, make sure black is in the foreground. And make sure you opacity is at 100. Easy way to do this is just to click on a corner, hold down, shift, click on another corner, and just keep going around until it's all done. We're gonna have to do the same thing with the other layer. Don't worry, I know it looks weird right now. And do the same thing with the other window as well. Just going around until you remove all of that inside of the window. Go down to the layer that has the door on it, then click on that mask. And then we're going to do the same exact thing that we did with the other window. Click hold down Shift. And you'll see that we have the original layer coming back through. And do the other window. Whoops. Let's apply these maths really quick. Hit apply. Apply. Alright. I'm gonna take that black line, select it. I'm gonna hit Shift Command or Control J to put it on its own layer. And then I'm gonna change the blend mode of it. So it blends in a little bit on the door. Got to scroll through and see which one works best. I think pin light works best. Now I'm going to take all the subway layers, the actual subway layer, the doors, the windows, and that black line. And I'm going to merge them all together. So let's select that Subway hold down shift and select the top layer, hit Command or Control E. And now you can see that Subway is on one layer. Now we're going to take this one cart and we're going to duplicate it and then flip it. Let's reduce the size of it really quickly. We can see what we're doing. Move it over, hit Enter it Command J to duplicate it. Command or Control T. And then we're gonna right-click on it and flip horizontally. Click on it with your left mouse button, hold down shift and move it over. We don't want to move it all the way over. We're going to blend these two together. Say right about there is fine. Hit Enter. Now on that copy that we just made, add a mass to that. Hit B on your keyboard to bring up your brush. Let's lower down the opacity so we can blend these two images together. Make sure your hardness is all the way down to the brushes soft, increase the size of your brush. Zoom in and then just painting away part of that Subway. Until it starts to blend and looked like one carb. That's it. Let's apply this mask really quickly by right-clicking, Apply Layer Mask, hit Command or Control E to blend those two subway layers together. Now we have one subway car. Hit Enter. Let's get rid of this number in American flag that is backwards. That's very simple as well. We're going to use Content-Aware Fill. Let's make a selection, just use a box, and then go to Edit Content-Aware Fill. And that's how it's gonna look and it looks pretty good. I'm going to have this output to the current layer and then hit Okay, hit Command or Control D. And it looks like it was never there. Let's zoom out. Now the next thing we want to do is we want to duplicate this subway card so we have multiple cars. Let's just make it a little bit smaller. Let's zoom out some more and put it right there. Go to your layer panel, hit Command J, Command T, hold down your left mouse button and shift and drag that layer to the other end of the cart, makes sure that the cars are touching and there's no gaps in the middle. Just hit Enter. Let's zoom back out. We're going to merge these two layers again by shift clicking or control clicking and then Command or Control E. Let's reduce the size of this a little bit so we can see what we're doing. And then we're just going to make about six cars. Let's hit Command J. Sorry. Let's hit Command J, Command T, hold down shift and click and bring it over. Make sure the touching hit Enter. Let's go back to our layer panel. Take those two subway layers, select them Command or Control E to merge and then Command or Control J to duplicate one more time. Command or Control T one more time Shift. And left-click and we're going to move that over to the other end. Alright, and the last time we are going to merge these layers again by selecting them hitting Command or Control E and not be hit Command or Control T. And move this layer, you'll see that we have one long Subway. Alright, let's hit Enter and let's bring back all of our background layer is our background, our beam and our sign. Now we need to put our subway layer in-between our beam and our background layer. And let's also change the name of that Subway layer to Subway. Try that one more time. Now we have our subway back in this scene. Let's size it up by hitting Command or Control T and putting it in place. And you'll see that the subway is behind the beam. Let's move it over so that we see the beginning of the subway. The last thing that we're gonna do before we jump into, After Effects is fixed the color of the subway because it just doesn't fit into the dark background. A really easy way to do this is to use match color. That, to do that, let's make sure our subway layer is selected. Go to image, go to adjustments and match color. This is a really quick and easy way to match two images together. So our source image, it's going to be the image, the product that we're working on, and then our layer, it's going to be the background. And you'll see it automatically adjust the color of it for us. You can adjust this by moving these sliders if it's too light or too dark. The hue is too much. I think the way it was as good. That's the before, that's the after. And then just click Okay. All right, so you're gonna have four layers, your background layer, your subway car, your beam, and your sign. We're gonna save this project as a Photoshop file. And then in the next video we're going to jump into After Effects and animate the subway with some motion blur and some sound. 9. Animating in After Effects: Image Three: All right, I've jumped into After Effects and I've imported by subway layers from Photoshop. And I also found the noise of a subway. I think I found it on It's a free download if you want to go over there and download it, I will also provide it in the project and resource section of this course. So let's start off by dragging our precomp into the scene. Let's double-click on that pre-comp and you'll see we have our sign. We have our beams are subway and our background. The first thing we want to do like we did in the previous lesson is turned our layers into 3D layers by clicking the little cube. Then we're going to add a camera to the scene, going to Layer New, add camera. 50 millimeter is fine for this animation as well. So click Okay, and let's drag that one up top. And I'm also going to enable the view. So I have two views instead of one. And I'm going to make my right view had left. So what I see on the left is what's going to be seeing through the camera. On the right is how I'm going to set up my scene. The first thing I want to do is drag out my background layer just to give my scene a little depth. Let's toggle down on the arrow, gets some Transform tools go in and drag it back on the z-axis a little bit. We're going to need to scale it up some as well. All right. Let's take the subway card and scale it up a tiny bit. Let me go back to one view really quick. See the simple way. That's good. And then I'm also going to move the position over until that is out of the scene. Now the beam, we are going to move forward in our scene because we want it to be a little bit closer to us. Let's grab that beam layer and move it on the z-axis. I'm sorry, moving into the wrong way towards us on the z-axis. So it's moving towards the camera. Alright, let's move that sign towards us as well. Just tiny bit. The first thing that we're gonna do is we're going to animate our Subway. So let's toggle open the transform properties. Let's start at the beginning of our play head. Just a few frames in, maybe five frames in. Let's click the stopwatch next to position to create a keyframe. Let's go forward. Let's save out 1 second, 5 frames in. And then we're just going to drag that Subway all the way out. Once you have it all the way through, you'll see that new keyframe is already been made. So let's go back to the beginning of the play head and hit the space bar. That's really fast. To make this a little bit slower, we're just going to take that N key frame and drag it out. Let's try two seconds. See how fast that is. Alright, let's take this animation and let's make it about five seconds. Right-click and then trim comp to work area. And let's see how this looks. It's still a little bit too fat, so we're going to drag this out. Let's say to three seconds. That looks better. You can move this as slow as there, as fast as you want. Just move your keyframes around until you get something that you like. One thing we do need to do for the subway layer before we move on is we want to enable motion blur. As you can see, everything is really crisp and it goes by, when a subway goes by really fast, you're not seeing much of detail. Let's enable the motion blur by going to our little box right here next to the cube. It's the three little circles next to each other. Enable that on your subway layer and you'll see the difference right away. So this is width, the motion blur, this is without. Okay, so we're gonna have that enabled. Let's go back to the beginning of our playhead and we'll see how it looks now. Needs to render out. All right, we're already starting to look better. Let's move on from our subway. Let's animate our camera to be going out. So let's open up the position on it really quick. And let's go to the two views so we can see what we're doing. I want to make it so it starts closer to the subway and then moves out a little bit as a subway is coming. So maybe right about here, we're going to move the camera closer to our scene. Just move it on the z-axis, so it goes closer to the scene. And that's where we're gonna start. Hit your position stopwatch to create a keyframe. Let's go forward to, let's say two seconds and let's drag it back. Right there is good. Okay, and let's go back to the beginning of our playhead. Can see how that looks. I wanted to a little bit faster, so I'm going to drag that keyframe forward. All right, I think that looks fine. The next thing we're gonna do first is we're going to add a little bit of movement. So when the subway goes by, the camera shakes a little bit. Let's go back to one view. So go to View, Switch Layout, go to one. Let's zoom in on here a little bit. So I'm gonna add a little wiggle to my camera. And to do that, we're going to add an adjustment layer. So let's go to Layer new. And then we're going to go to Adjustment layer. And we're going to add an effect to the adjustment layer with your adjustment layer selected type in wiggle in your presets. And we're gonna look for a wiggle position. And let's just drag that over to our adjustment layer. We're going to animate this effect as well so that it's only shaking when the subway car is going through. So let's scrub through our timeline to see when the subway is about to enter, which is right about here. Set our wiggle to 0. We will amount to 0. Then let's keyframe those both things right here. Then we're going to scrub forward until all of the subways out of the scene right here. And we're going to copy those two key frames that we just made by selecting them. Command or Control C Command or Control V to paste them in the place that we are. Now we're going to go to the middle. We're going to increase the wiggle per second. This is something that we're just going to have to play around with. Let's just see how that did. Think. That's gonna be a little bit too much. Yeah, that's a little bit too much. So we are going to go back to those middle keyframes. Let's just lower them down a little bit. Let's just say the speed is eight. Let's try ten for the amount. Actually, let's do a little bit smaller. Let's do seven. Let's go through this again. All right, and I think that looks good. Now that we have that done, the last thing we need to do is just add some sound to this. And I found this sound of a subway on I'm going to open up the audio of it. Open up a waveform so I can see where it's coming in. And it's getting louder about here. But my Subway is entering here. I'm gonna take this and drag this over. That's too early, so we're going to drag it out some more. And I'm also going to play with the volume and animate the audio. So let's click the stopwatch and bring it over to here. And then when it's out of the scene, we want it to be really low. So let's hit the Spacebar. It's just rendering right now. Alright, and this is where it's starting to leave the scene. So this is where we need to start fading the audio out right about here when it's about to leave, we're going to make a keyframe. And then when it's gone a little bit after, we're going to drag that audio down again until it's pretty much gone. Let's try this one more time. It leaves a little bit too fast. So let's drag this last keyframe out. Still too fast. I'm going to bring the audio up here. Make a new keyframe. Alright, and that's how you take a few photos and break them down to create an animation using 2D images. To render this out, we're going to go to file, go to export, Add to Render Queue. Change your output to wherever you want it to be. Safe to just render it out. And this is what we just rendered out and made from 2D images. 10. Thank You!: Alright, that's the end of the course. Those are just a couple of things that you can do, breaking down images in Photoshop and then moving over to After Effects to animate them and make sure you post your project in the project and resources section so I can check out what you made. I want to thank you very much for taking the course. If you have time, I would love it. If you can go over to the review section and review course, I would love to hear your feedback. Hope you had a good time in the class and thanks again.