Complete After Effects Course: Make Video Graphics Today | Phil Ebiner | Skillshare

Complete After Effects Course: Make Video Graphics Today

Phil Ebiner, Video | Photo | Design

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57 Lessons (5h 58m)
    • 1. Course Promo

    • 2. Course Introduction

    • 3. Who is your teacher?

    • 4. Getting a Free Trial of After Effects

    • 5. Program Layout

    • 6. Starting a New Composition

    • 7. Importing Footage

    • 8. Basic Tools

    • 9. Basic Layer Transformations

    • 10. The After Effects Timeline

    • 11. Keyframes

    • 12. Position Animations

    • 13. Opacity Animation

    • 14. Size Animation

    • 15. Rotation Animation

    • 16. Easy Easy

    • 17. Shapes 101

    • 18. Working with Masks

    • 19. Mask Edits

    • 20. Using the Pen Tool

    • 21. Mask Animations 1

    • 22. Mask Animations 2

    • 23. Intro to 3D

    • 24. 3D Animations 1

    • 25. 3D Animations 2

    • 26. 3D Animation - The Dog House

    • 27. Using the 3D Camera 1

    • 28. Using the 3D Camera 2

    • 29. Layer Styles: Drop Shadow

    • 30. Layer Style: Inner Shadows

    • 31. Glow

    • 32. Emboss

    • 33. Overlays

    • 34. Stroke

    • 35. Fractal Noise

    • 36. Lighting Effects

    • 37. Text Effects

    • 38. Stabilization

    • 39. Creating a Starfield

    • 40. Tracking Motion 1

    • 41. Tracking Motion 2

    • 42. CC Page Turn

    • 43. Transfer Modes

    • 44. Working with Premiere Pro

    • 45. Working with Photoshop

    • 46. Pre-Compositions

    • 47. Freeze Frames

    • 48. Stretch & Reverse

    • 49. Time ReMapping

    • 50. Linear & Radial Transitions

    • 51. Lower Third Practice 1

    • 52. Motion Graphics Practice

    • 53. Space Scene Project

    • 54. Color Correction

    • 55. Exporting from After Effects

    • 56. Exporting from After Effects with a Transparent Background

    • 57. Getting a Motion Graphics Job - Tips


About This Class

n this After Effects training course, professional motion graphics editor Phil Ebiner takes you from zero to hero. No experience in After Effects or video editing is needed to take this course. You don't even need After Effects. You'll learn how to get a free trial version of After Effects to follow along.

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

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

  • After Effects program layout + basics
  • Adding layers and working with transform tools
  • Creating unique shapes with motion
  • Masks and mask animations
  • 3d layers and animations
  • 3D cameras and camera animations
  • Working with Photoshop & After Effects
  • Video FX such as: page turns, fractal noise, color correction
  • Transitions such as: linear & radial wipes
  • Exporting with transparency
  • Exporting for YouTube
  • Green Screen editing in After Effects
  • Getting a Job with After Effects
  • and so much more!

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

Now go on... ENROLL!


1. Course Promo: - Welcome to the Complete Guide to Adobe After effects, - the place to learn how to create amazing graphics and special effects. - I'm Philemon or Professional motion graphics artist and video career. - I've edited and added graphics to thousands of videos for some amazing companies like - Ghirardelli Chocolate Participant Media and U. - C Berkeley, - just to name a few. - At the end of this course, - you will be able to create animations, - three D effects, - amazing titles and much more for your own video projects. - The course walks you through the program from the very beginning, - understanding the layout and tools available to you knowing how to create basic animations - , - working with shapes, - building a three D composition, - adding styles to your layers, - working with green screen and other visual effects. - And, - finally, - how to export these graphics for use in your other videos. - I designed this course for video creators who want to take their skills to the next level - by adding special effects titles and motion graphics to their own videos. - So if that sounds like you think this is the perfect course for you to join, - feel free to look through the course description for a little bit more information and then - click that in rural button. - Thanks for watching. - And I can't wait to see you in the course. 2. Course Introduction: - Hey, - guys. - And welcome to the after effects course, - this is Philip dinner. - And thank you for being here in this lesson. - I'm gonna go over what we're gonna be learning in this course because there is so much and - just get excited. - So let's just have a list of topics that are gonna be in this course and there's so many - more. - But let's just go over a few of them. - Uh, - the first couple sections are gonna be about the basics of after effects are we're going to - get into the program, - layup the basic tools. - How do you use those how to start composition and basically starting a project? - Then we're gonna get into the shapes and creating masks and text and just basically - starting to create our video projects. - And what the basics of that that that is, - And with that, - we're gonna then transition into animating all of those shapes and text and which is the - basics basic of aftereffects animating, - creating, - motion creating, - you know, - rotation, - creating opacity, - changes, - transitions between, - you know, - different scenes and whatnot. - We're also gonna have a whole section on green screen and advanced green screen editing in - after effects. - We're gonna talk about the pre set of facts and some text effects that you know will really - make your projects spark. - Um, - and Pop And you know, - for example, - we're gonna talk about you know, - how to create a page turn of facts that were You know, - it looks like your compositions Air turning like a page or an image is turning like a page - in a book. - We're gonna talk about some cool effects that, - you know, - make you're you can make billowing clouds out of we're gonna talk about lighting and how to - add lighting to your three D or non three D sets. - Which brings me into another topic three D compositions. - We're gonna talk about creating three D compositions and after effects on we're gonna have - a couple really cool demos where you kind of just follow along with me as I create cool - scenes such as space scene where we have, - you know, - a star field with the earth and the moon spinning around the earth. - So that one's gonna be really cool. - We're gonna talk about layer styles and what that means. - Different effects such as, - you know, - adding drop shadow on inner shadow and glows and all sorts of things to your different - layers. - Then we're gonna talk about exporting with the best export settings are for YouTube the - highest quality exporting with the transparent background for titles and other things. - And then there's so much more within that that I haven't even covered begin to cover what - this class is all about. - Really? - Um, - but there's so much more. - So come along. - I go at a good pace, - so don't worry about that. - Each lesson is gonna be follow along with me. - You're gonna see me as I use after effects. - And, - um, - one thing to note, - though too, - is that, - uh, - you know, - you don't need aftereffects to take this course, - but it's a really great thing toe have s so you can practice along with me. - And, - um, - I also teach you in the next lesson how to get a free trial of after effects. - So you don't have to worry about having to buy a program buying adobe after effects for - this course, - because you can get a free trial for 30 days, - and that will be great amount of time to test it out. - Take this class and see if you want to purchase it. - Um, - and on that note to teach the class and CS 5.5. - But no matter what you're using, - um, - the basics of after effects are the same. - So whether you're you're using CS six, - you're using CS 345 Whatever. - Um, - this class is perfect for learning the basics. - All the program layouts are very similar. - All the effects are very similar. - There isn't much difference. - There might be a new effects here. - There There might be a new but in style, - um, - here, - there, - between the different versions of after effects. - But honestly, - um, - you know, - the basics are the basics I learned in CS four or three. - I believe when I started using after effects and the basics are still the same. - The process of creating aftereffects, - compositions and animations are it's still the same. - And that's what you're gonna be learning in this class. - So I'm really excited that you're here. - I'm just can't wait to get going. - And I can't wait to see what you create with all the techniques you learn in this class. - So thank you. - Thank you. - Thank you for being here. - Tell your friends and family if you like this course and share it with them and I'll see in - the next lesson. - Get excited. - Have a great day. 3. Who is your teacher?: - Hey there. - What's up? - This is Philemon er with the after effects course. - Thank you for joining in on this great lesson where I'm gonna tell you a little bit more - about myself. - Self give you a little bit of my background, - what I'm doing today and what my hopes and dreams aren't for the future. - Um, - just so you get to know me better and know why I'm teaching this course Why? - I'm qualified to teach you this course. - And just so you get to know me a little bit better and can have fun as we take this class. - So who am I? - What is my background? - And what in specifically, - how'd I get into after effects? - Well, - I have a film and television background. - I studied film and television production at Loyola Marymount University in Los Angeles. - And, - um, - I graduated in 2011 with a bachelor of arts in film and television production. - I made some great documentaries there from all around the world at two thesis projects, - one in India and one in Switzerland. - Both of those went on to play at many film festivals across the country. - Um, - but mostly I just really enjoyed my time in college there, - and it really launched my career in the film and video world. - I worked up in Beverly Hills for participant media editing short documentaries for a year. - I freelanced, - um, - after that for about half a year and worked on some great projects, - including doing motion graphics for a feature length documentary, - which was a great experience. - That was really the first time I fully got into after effects and was hired because of my - after effects skills. - Since then, - I have worked full time at a school, - creating online content for them and throughout this, - you know, - working on all sorts of projects, - from creating bumpers for Garrett Deli doing music videos and all of these projects have, - you know, - bits and pieces made in after effects. - I took us at advanced special effects course while in school, - and it was all about after effects. - And that's basically where I got got into the program and learned the basics, - because up until that point, - I had opened up after effects a few times. - But I was like, - Whoa was kind of crazy, - and I never really, - you know, - took the time to learn it properly, - so that class is great. - And I'm gonna tell you that this class is gonna help you way more than that class I I love - that class, - but it was just scratching the surface. - And this class, - I go into more detail. - I give you, - you know, - more tools to use and really show you how to use them. - So, - honestly, - you're getting a thousands of upon thousands of dollar education in this form of this class - because LMU was not cheap and that class was, - you know, - part of my, - um, - program there. - And so you're getting a great education from me, - Um, - from taking that class and from doing a lot of projects since then in after effects. - So I hope you can appreciate my background in after effects. - Um, - what am I up to now? - I'm actually currently, - um, - going to be moving up to San Francisco at the time of this recording, - so I'll be looking for some jobs in the film industry up there. - I'm also doing a lot of side work with my own production company and some friends as well. - So I'm looking really for, - um, - looking forward to this move up to the Bay Area. - Try something new. - And of course I'm creating these classes and having a good time with that. - So check out video school online dot com, - which is my current side project. - Um, - I give you lots of tips and tricks and articles on podcasting riding e books, - all related to video making and for helping you viewers to make better video. - So check out video school online dot com. - What are my hopes and dreams for the future? - Well, - in the end or non, - then hopefully, - in the near future, - I hope to start producing more and more documentaries. - I love shooting and editing and finding stories, - um, - for documentaries And, - um, - it's my goal toe. - Make some feature length documentaries that you know. - Either just playing film festivals or get you know, - some sort of small release around the country, - or even just online nowadays is a good option, - but just making some good documentaries that changed something that affect people that make - people understand a certain topic. - That's what I really think documentaries are made made for, - and you know, - that's what my passion is. - So I hope to do that in you know the near future. - Maybe in the next couple of years, - or maybe and the next, - you know, - in 10 years from now will be doing that. - But that is my goal for myself in the future. - But really Ah, - I just love, - you know, - hanging out with friends and family, - exploring the cities that I live in traveling. - I love traveling. - And, - you know, - I've been very lucky enough to get to go, - you know, - to some really cool places around the world, - including Europe and Asia and South America. - And, - you know, - it's opened my eyes to a lot of things, - and I'm really grateful for that. - So if you ever need travel advice or you just want to talk about traveling, - send me a message. - Thank you for watching this little introduction to who I am. - Please, - let me know who you are. - If you're if you want, - send me a message. - Give me a little bit of a background on you. - I'd love to know who is taking my class And why are you taking in my class? - That would be great. - So please do that for me. - Let me know if you have any questions. - about myself that you want to know and until next time, - have a great day and get ready from some cool aftereffects courses by. 4. Getting a Free Trial of After Effects: - Hey, - guys, - welcome to a great lesson in the aftereffects chorus. - First thing you need to do before taking this course is to get a free trial version of - after effects. - That is, - of course, - if you don't already have after effects on your computer. - So you can do this for a PC or on a Mac. - I'm using a Mac, - but the course will be taught for both. - And it's really easy to get a free trial. - You just go to Google, - type in after effects trial, - and, - um, - the first, - uh, - the first link will be Adobe download free, - free trial version, - Adobe after effects can open that up, - and, - um, - here it will let you download. - You just have to sign up for a quick account, - um, - and download after effects. - You can also go to adobe and downloads, - and you can just actually go straight to adobe dot com slash downloads. - Go to, - um, - after effects. - If it's on this menu, - you have just go at over. - Yeah, - Triplex. - Right here. - Flip, - try and then you can again. - You get to this page and you can download the free trial of aftereffects. - And, - um, - I think it's 30 days for free, - and it will definitely have that for enough time as you take this course adobe. - Now that for the new products, - um, - they're not even doing you can't even purchase a new version of after effects. - Now it's all cloud based. - You basically pay a monthly subscription, - and you're always up to date, - which is pretty cool. - So it's like 20 bucks a month eso if you really get into it and you get all the products - that you get after backs. - Photoshopped Premiere Pro in design All these great things. - Um, - So, - um, - and if you do have an older version of after effects, - that's totally fine. - I actually teach the class in Adobe Aftereffects, - CS 5.5, - and but the thing about aftereffects in most of these programs is that there's very, - very similar from one version to the next version. - All the processes are the same. - There might have a different, - you know, - effect. - Here they're the buttons might look a little bit different. - The layout might be a tiny bit different, - but for the most part it's going to be the same. - So don't worry if you're using CS three If you're using CS six if you're using CS 455.5, - you're still gonna learn a lot from this class. - You're gonna learn everything, - actually, - from what I'm teaching you, - so get ready. - Get excited. - This class is gonna be great. - I'm so excited to have you here and we'll see you in the next lesson. - Which is the first dive into aftereffects. - Have a great day. 5. Program Layout: - Hey, - guys, - let's talk about after effects. - Say you just opened up after effects. - It's one of the most confusing programs out there, - especially in the adobe. - Sweet. - If you've opened up a photo shop or illustrator or in design, - or another design, - a media related program from Adobe, - you open up after effects and it looks completely foreign. - Ah, - and even if you've done Adobe Premiere Pro before and have become proficient in that - editing software, - aftereffects is a complete new ballgame. - So let's dive right into it. - For all of these these lessons, - please watch in full screen if possible. - If you can watch it in 10 80 p HD that you can see everything clearly. - See the buttons on impressing See the text that's on the program So you know what's going - on? - So this is after effects, - and I'm just gonna go over the different areas of it one by one in this lesson. - So we're gonna talk about the toolbar, - the Project folder, - the timeline, - that composition canvas and then all these things over here on the right side that you'll - be using, - including effects and presets and all that sort of stuff. - So starting off at the talk. - Um, - and of course, - we're gonna get Maurin Toe. - What? - Each of these are in future lessons. - But right now, - I just want to tell you that this is the toolbar similar to in Photoshop. - Ah, - or even in Premiere Pro, - where you have your toolbar in the bottom right hand corner. - Here are all your tools that you can turn your mouse into. - So, - for example, - you can turn your mouse into a hand tool zoom tool, - Rotate a camera, - text, - pen, - shape, - mask, - racer, - puppet pin tool, - all sorts of different tools available for you. - And in this course, - we're gonna look through most of them and learn how to do that, - how to use them properly so and they're kind of similar. - I mean, - if you've used photo shop, - you know, - kind of what a handle or the zoom tool is, - but for in after effects and doing motion graphics, - use them in different ways and we'll talk about that, - too. - Down below is your project folder. - This is where you keep all your documents, - all your files. - You will import your video or any textures or layers or or basics source files into this - project folder over here on the left, - and you can organize it. - We'll talk more about that in a minute. - Um, - and then down below the bottom of the project been is, - are a few more options. - A few more tools, - such as organization tools such as, - you know, - adding folders to organize your footage or creating a new composition. - The leading etcetera down here is a timeline, - and it's a little bit more intense than again. - Adobe Premiere Pro. - Everything that has to do with the after effects is more intense than your standard video - editing program. - All these things up here on the top bar will go through. - We'll go through in future lessons. - But for now, - you just need to know this is the timeline and it works basically like a timeline. - You're gonna hear it. - See here the number is depending on how bigger small your a long or short your product is. - You'll see different time appear line it. - Mine is over two minutes, - so you see zero seconds, - 15 seconds, - etcetera. - You can zoom in on this by either clicking this down here the zoom into frame level tool, - the slider you can zoom in, - or you can click this top light grey bar and click the yellow at the end and zoom in as - well to your timeline. - Right here in the middle is your composition canvas. - This is where you'll be actually seeing what you're doing. - It will add your layers, - create motion, - and this is, - you know, - basically your viewer. - Unlike Premiere pro or other video editing software, - there aren't too videos players. - There isn't like a preview, - and your composition is just one over here on the right side, - you'll see your effects and in after effects. - Obviously from the title, - we use lots of effects, - and we'll go over a lot of them in the future. - Up here is just more information about the files and the tool, - the layers that you're working with and you'll notice me talking about layers a lot layers - basically meaning different layers of video, - of shapes of text within your project and again in this preview Ah, - little section over here, - you'll you can control. - Ah, - the timeline. - You can play your video posit, - etcetera. - You can see the frame rate and all that sort of thing. - There's lots more. - Uh, - There are a lot more things you can add to your window that will talk about in future - lessons when they come up, - such as character and you just go to a window and click on a different option appear. - And so, - for example, - character brings up font choices and styles, - and you can customize your workspace by basically going to the edge of a section. - Clicking and dragging just toe make bigger or smaller. - Or you could grab the top left of each little tab dragging out. - So I'm hold. - I clicked and dragged and moving it around, - so I'm gonna put that on the bottom. - And now I have my character box in a separate tab, - separate than my effects and presets, - which is nice so that I can always have my character tab open. - I might want to have my paragraph open as well behind my character, - so I just click it on and then put it up here next. - Teoh my character. - So that's a basic overlook of after effects. - The program layout. - I hope you have enjoyed this lesson and until next time, - have a great day calculator 6. Starting a New Composition: - back with another lesson in the after effects course for beginners. - Let's talk about starting in new composition last time. - If you watch the lesson, - we talked about the after effects layout, - and today I wanna talk to you about starting a new composition, - which is the very first thing you'll be doing if you're starting in after effects project. - So last time I had a new composition already started, - you saw the black canvas video canvas. - But if you just open up after effects for the first time, - this is what you're going to see to start a new composition. - There's a couple different ways you can do it up here at the top. - You can just go up to composition and select new composition. - As you see you can press command and on a Mac, - or, - I believe, - control and on a PC. - Or you can go down to this little video icon. - It looks like a little film strip down here in the Project folder Been and Click That. - So once you click that, - you get this dialog box open and you'll notice it's pretty similar to other video editing - programs where ask you for a name so we'll just do, - uh, - practice after effects. - That's what we'll call it. - Then you have different sizes, - so you can choose a preset size from this preset menu. - And you know, - usually those air. - Fine. - If you want to pick one of those, - you should. - There's no right or wrong answer for picking the size of a composition. - Sometimes you're using Ah, - you're using after effects, - along with Adobe Premiere Pro or a video editing software to add effects, - too. - A video that you're already work Young's on, - so you want to make sure that the settings are the same. - But if you're just working in after effects, - you know, - just choose whatever settings you want. - If you want an H D 1920 by 10 80 pixels, - you can just input those right here. - Say you want 12 80 by 7 20 You can choose that if you don't want this aspect ratio of 16 by - nine or 16 to 9, - which is the typical eight, - uh, - aspect ratio for videos. - Now, - today you can unlock it Bayan checking that box and, - you know, - putting whatever however many pixels you want, - you can actually really lock it and then, - if you increase by just clicking and dragging to the left or right, - it keeps the aspect ratio. - Even if you're just clicking on with and increasing the with, - it also increases the height, - so I'm going to go back to 1920 by 10 80. - Actually, - all do 12 80 by 7 20 Obviously, - a smaller size composition will take up less ram and memory and keep your computer a little - bit faster. - Ah, - down here, - square pixels. - That's, - you know, - just leave it at squares, - pixels, - Brain Marie again. - Another thing there's no right or wrong answer is just what you want to do or, - if you're using a another this for another video project. - Match the other video projects frame rate 23 976 or also known as just typically 398 23.98 - is a good frame rate for video projects. - Resolution this. - You can change after so you don't have to really worry about this. - This is just when you're playing back your projects. - Ah, - while you build them out, - it's You can show it in full friend, - full resolution, - half, - third quarter or even customize it. - Uh, - you might find that your computers a little bit slow and it's too slow toe play the full - quality of a video s so you might want to do 1/4. - I'll show you how to change that later too. - And then, - lastly, - you have your start time code in the duration. - Duration, - obviously, - is just the duration of your clip. - These things you can change later. - But say you're editing a title sequence. - 10 seconds would be good and you can start timecode later. - But most of your you just want leave it at zero and background color. - That's the last thing is, - if you want, - you can, - um, - change this to another color white or whatever you want. - But I would just leave it at black and there's some advanced settings, - but we don't need to get into those You click OK, - and there you have it. - There is our new composition down here on the bottom. - You can change the size of it. - I usually use a fit up to 100% and that fills this box right here. - This canvas and you can make it bigger or smaller, - depending on what you need room for outside of it. - If you need more room for the effects bands or the timeline or whatever, - I hear it down on the bottom is the resolution, - so you could just change this. - If you want, - see the other things you might need to know. - Ah, - this toggle transparency grid. - By clicking this, - it gives you this transparency grid, - which shows you what is transparent. - So say you want to create a project that just has text or titles, - and you want to put it over a video clip in a W. - Premiere pro. - It's good to know what is transparent and what's not transparent. - Ah, - there's a lot of other things down here. - The other thing I would like to show you is this button down here to the right of the size - . - You can click that, - and there's some cool tools, - so there's a title action safe. - So if you have to pay attention to titles for ah, - to make sure your tunnels don't go outside of these boxes for, - like, - television or something like that, - this is a good resource. - Or if you want to use the proportional grid, - I always use this when I'm creating titles and text just to make sure things air centered, - aligned properly, - etcetera. - And you can just go ahead and click it off as well. - That's it. - For now, - that is starting a new composition. - I hope you enjoy this lesson. - If you have any questions, - message me or find me on video school online dot com, - and I'll see you next time calculator and have a great day fight. 7. Importing Footage: - Hey, - guys, - this is a quick lesson in the after effects course on how to import footage into your - aftereffects project. - So there's a few different ways to import footage. - And why would you be importing footage? - It would be for if you have, - you know, - textures or images or photos or cartoons or graphics or something that you have outside now - you've already made or or that you've bought from online or you downloaded, - you want to bring it into a project. - I do this all the time with textures with, - you know, - logo's with video. - You can bring in video, - obviously, - and so there's a few different ways to do that. - You can go up to file and go ahead and import and just go ahead and click file or even as - you saw a press command I on a Mac as the Harkey. - And then you just go to your find your file something and go find some file of this in my - texture, - and then you just go ahead and press open, - and there is in your project right there like that. - You can also, - as I saw sa just press command, - I you can do that you can select multiple files in select all of them an import, - or lastly, - you can just go to your finder or on your PC. - If you just go to your documents, - confined your files and you can drop them into after effects. - So that's easily how you import files into your project. - Another thing is organization. - Organization is very key to being a video editor or in motion graphics artist. - If you're taking any my other classes, - especially my video editing classes, - you know that I love organization. - So keep everything organized and I usually keep folders for all my textures. - For all my compositions, - for all my titles, - for all my images, - for all my video and the way I do that is just clicking this new folder, - and I usually name it, - uh, - whatever I want. - So you can just highlight click on your folder and impress the enter key, - and that allows you to change the name so changes to textures. - And I was going to select all these. - I'm holding command down and selecting my textures and bringing them into textures. - Then I'll create a new folder you can right click and just say new folder, - I'll do compositions. - That's what I call my different videos, - that I'm creating all my sequences. - If you you know, - if you're a video editor, - you often see See, - you hear the word sequence in after breaks. - I call them compositions. - Um, - and that's pretty much it. - That's you know how you import footage and that's how you organize. - So keep your footage organized. - If you have any questions, - please let me know. - But until next time, - have a great day and stay safe. - I'll talk to you that later Bye. 8. Basic Tools: - this lesson, - we're going to be talking about different tools that you have available in after effects. - So last time we've talked about the layout of type out, - starting new compositions, - adding new footage to your projects. - Ah, - for this one, - I created a couple quick layers that we can demonstrate the tools with. - And as you see here, - there's two layers down here on the bottom. - There's a deep green solid, - and this is some text you can't see. - This is some text, - because this eyeball over here on the bottom left is turned off. - I turned that on. - You can see it. - So that's one thing you will be playing with is toddling on and off layers to see them. - Um, - you could also rename your layers. - I just clicking on it and pressing. - Enter. - So do that and hold this green star. - Um, - if you double click a layer, - it will open it up in this layer. - Editor, - Um, - and you know, - I'm not gonna teach you about that right now, - so I just go back to my composition tab. - So we're talking about tools, - though Some first you have your selection tool and when you hover over these tools. - It shows you in parentheses, - the hot key for them. - So for selection tool, - it's V. - So selection is basically for clicking and moving things around on your canvas, - um, - and selecting different layers. - So if you have both layers up, - I can select my text or my star. - It's like my text moving around my star around. - It also helps when you are changing the size of something so you can grab a corner of - something and change the size. - Um, - if you grab a corner and hold shift down, - it locks the aspect so you can't stretch or squeeze it. - And seeing with the text, - you can click and drag and change the size of your text. - That way, - the hand tool. - This is for moving your canvas itself, - so it's not moving. - Larry's just a canvas, - and this works well with the zoom tool, - so you show you both them. - So zoom Tool is hot Keesey, - and it automatically shows up as the positive zoom magnifying glass. - So this zooms in, - and if you press the all ult for option key, - you can turn into a zoom out tool. - So say you zoom in but you want to move downwards, - you can select the hand tool and move the canvas down if you needed, - like, - change something down here on the bottom Left star point or whatever you can. - Ah, - so I pressed Z and zoom out. - No, - move your canvas around. - That way you can get your cameras back to set being centered and fully viewable full, - full size by just clicking fit up to 100% down here on the bottom left of the composition - canvas. - The rotation tool is for rotating texts O R. - Two layers rather. - So you just click the layer and you can rotate. - Why, - with the rotate tool, - that's pretty cool. - Um, - the camera tool, - this is more for if you're doing three d work, - which will talk about in the future so we won't discuss that now the pan behind tool hockey - Why is very special Because and you're gonna use this? - A lot is, - especially if you are bringing in images or different layers, - and I'll show you more of that in the future of when you would actually use this. - But it basically moves the anchor point of your layer. - So right now, - my anchor point is for The star is in the center, - and that's great. - So when I rotate it with the rotate tool, - um, - it just rotates from the center. - But what if I want it to rotate from one of these points? - I take the pan behind tool. - I click and move, - and you can see that moves. - Um, - it moves this little circular cross in the middle. - I'm just gonna move that to one of the apex is I think that's what you call it. - And now I go to my rotate and see it rotates on that point. - So that's kind of cool. - So for Tex right now, - my my anchor point is down here in the bottom left, - and that's because it is left justified. - So I want to move it to the middle so that I can rotate from the middle. - Just go ahead and do it like that. - So if it was on the bottom left and I use the rotate tool, - it would rotate from the bottom left anchor point. - So that is the pan behind tool, - the shape tool. - It creates shape, - so you can, - um, - create new shapes, - just like so if you hold down the shape and but and you will see different types of shapes - so you can do Pentagon square circles, - etcetera, - if you have a layer selected, - this also asset axes. - Unmasking tool. - So, - as you can see, - I created a mass, - but we're gonna talk about that more in the future. - Same with the pen tool. - This is for creating masks like so, - Or if it's not selected, - you can create, - um, - custom shapes. - All these things will talk more about that in future lessons. - Text for adding text So you just click the text tool and type and that those are the only - tools I want to show you. - For now, - these the rest of these air more for image editing. - You got the brush tool, - the clone stamp tour race tour, - roto brush tool puppet pin tools, - those air, - very advanced topics that I don't want to get into yet. - But those are your basic tools and after effects. - I hope you enjoyed this lesson. - If you have any questions, - please let me know you are a star. - Believe it. - I totally believe if you're taking this class and you're gonna be making some awesome. - Awesome after effects projects in the future. - So believe it. - You're a star and I will see you next time. - Have a great day, - Stay safe. - If you need any help, - contact me through video school, - online dot com, - or just message me through the course sites. - Have a great day, - and I'll talk to you later. - Bye. 9. Basic Layer Transformations: - Hey, - guys, - this is Philemon or back with video school online's aftereffects course. - I hope you're enjoying the lessons so far. - I hope I'm not going too fast or too slow, - but just right. - And I hope you're just learning a lot and excited for the rest of the lessons because we - got so much more to cover after effects is crazy insanely Ah, - confusing, - but also awesome at the same time. - So in this lesson, - I just want to show you quickly how to place your footage on the timeline. - And, - ah, - the basic edits are ways to edit your your layers. - Um, - so previously I didn't import some textures, - so I'm just going to show you how toe place them on your timeline so you can just click and - drag and drop them on your timeline down here like so, - as you can see, - it placed it all my timeline. - But I want to move it so that it is at the start of my timeline. - I can also just stretch out in the end by going to the the end of the clip and clicking and - dragging when you see the double era cited arrows. - So now I have my brick wall. - I can also I'm just gonna delete this by clicking on it and pressing Delete can also just - click and drag and drop it right here in the middle of the composition. - So now I have this layer, - Um, - and so the basic edits. - Uh, - well, - with your your pointer tool or your selection tool, - you can, - you know, - chains the size of it. - Um, - you can move it around. - I can rotate it with the rotate tool. - Um, - and then the last basic thing is opacity. - But another way to get toe all of these edits. - Editing options is on the timeline. - And then the next lesson, - we're gonna go over more about all these different things. - But for now, - I was just on our brick wall layer. - Click this triangle, - which brings down another option called Transform Going to click that Trump triangle next - to transform. - And we have a few different options. - So as we move this around, - you will see these numbers change for a position. - If you increase the size, - you will see the size change as well, - 16% to 86.5%. - Or if I just squeeze it and C is 21% and 86.5%. - If I rotate it, - you know, - you get the point. - It wrote states, - you can also edit these. - These numbers are the positions by just clicking and dragging these numbers or clicking and - typing in a number. - And this is really nice when you are when you just want to move something along the y axis - or the X access access, - uh, - access. - Sorry. - Um, - and you don't wanna, - like, - mess around with the other axis. - So, - um, - you can play with the position. - You can play with the anchor point, - which, - uh, - again you can change with the pan behind tool. - You play with the scale, - you can play with rotation, - and here you can play with the opacity, - which is pretty cool. - So, - um, - this also you can use hot keys to bring these up, - and so we're getting a little bit into the timeline. - But I'm just gonna go ahead and talk about it right now. - So say you don't have this drop down menu open, - so it's just like this. - You have this latest selected and you press s, - it will bring up scale. - You can add it scale. - That way you press it are it will bring up rotation. - You can edit the rotation p will bring of the position a will bring up the anger point and - T we'll bring up a pastie. - Also, - you can remember t for transparency and edit it that way. - And so that is how you add layers to your timeline. - Um, - here, - I'll add another layer to show you. - So this one is really big. - So I'm gonna bring up the scale, - size function and, - you know, - decrease to the size of this. - Maybe all rotate both of them. - So I can select both by pressing shift and selecting another one or command and selecting - both press are and you can rotate both at the same time. - Then I'll just move one to the left side of the screen and one to the right side of the - screen so that, - you know, - this could be the beginning of some sort of of video. - Next lesson. - I'm going to talk more about the timeline and all these other functions. - But for now, - I think you get the point, - um, - of how to place footage and your basic edits. - Thank you for watching. - And I'll see you next time 10. The After Effects Timeline: - Hey, - guys, - welcome back to another lesson in the after effects course from video school online dot com - today. - Let's continue talking about the timeline. - Last time we talked a little bit about the basic functions and add a edits you can make - using this drop down menu in the timeline when you add layers to your composition. - But there are so many other little buttons and things that you want to be aware of. - So, - um, - going from left to right, - basically, - you have this eyeball that turns on off a layer this circle one. - It's solos, - a layer. - So if you have a bunch of layers, - but you only want to pay attention to one, - you can turn on the solo layer and so ah, - layer lock. - This lock will lock the layer so you can't make any changes to it. - That's often helpful. - Um, - you can change the color of your layers. - This helps in organizing. - You know, - different sections of your animations or different parts different. - Ah, - you know you can. - You can organize Ah, - group all your photos into a group all your text and with colors. - However you want to do that, - you have your layer name. - Um, - these next few ones. - I'm not gonna talk about down here, - but then you have a couple buttons over here. - You have a blur function in motion blur option that you can check on and off. - And this turns on motion Blur when you're animating and this makes you know you're - animations. - Looked a little bit more natural. - You have this also this three D cube, - and this turns your layer into a three D layer, - and we have a whole chapter about that parenting again. - We'll have. - We'll talk about in the future, - but basically you can lock a layer to another layer. - So basically, - if you carry it this sidewalk layer to a brick wall layer whatever you do to the brick wall - air you will do to the sidewalk layer. - So see, - say, - I want to change this scale. - See how the sidewalk Claire is locked to the work wall layer. - Um, - if you do this, - toggle switches modes button down here, - you come up with another some more options. - This mode blending mode button will bring up all sorts of blending modes, - and these are really fun to play with. - We'll talk about those more. - It's basically different ways that you know, - your your layers blend with each other. - So, - for example, - we have, - you know, - vivid color. - Classic difference. - You know, - just it makes different effects for when you have layers overlay lapping each other. - Um, - this preserve underlying transparency. - No, - these things are very advanced, - So we'll do those in later lessons appear at the top. - Um, - you the one you will need to pay attention. - Read attention to right now, - is this motion blur? - So you have to click this motion blur on to make sure that the motion blur is actually set - . - What I mean by that is, - if you don't have this checked, - but you have motion blur set for particular layers. - Even if you, - um, - render this out, - it won't have motion blur unless you enable it. - By pressing this motion blur button right there, - There's different. - Um, - there's different options up here, - but those are more advanced. - So for now, - we'll just stick to the basics again, - as we talked about last in one of the first lessons is your timeline. - You see the frames and the time at the up top, - you can zoom in by this top light grey bar clicking on the yellow edge. - You can, - uh, - zoom into your work area by this bottom like gray bar, - and you can move it around by clicking the gray in the center and sliding it or increasing - the length of time by clicking the yellow edges. - Then you have your, - um, - your workplace where wherever you want it to be. - So say you have an animation in the first couple of seconds, - and you only want to pay attention to that. - Then you have it here to render out your footage, - Um, - to play it, - you can just press the space bar. - Um, - typically, - if you have a lot of animations or edits, - you are going to have to press, - um, - on a Mac control Zero is going to render it out, - and you can tell us run it out because it a little green barred appears above your rendered - out portion like that. - If you have a keyboard that has a number pad to the right side of your letters, - Ah, - you can press the zero on the number pad to Teoh, - render out and play your footage. - So again, - just pressing space bar. - It might work, - but typically you'll have to render it out by pressing control. - Zero toe actually play. - So it's a lot different than you know your regular video editor. - Adobe Premiere Pro Final Cut I movie. - It's not something where you just go Press play, - you know, - all the time. - You don't just put your your timer. - You're a little line at three seconds, - your marker at three seconds and press play. - Um, - you have to be very intentional about when you play and render it out because it takes a - lot of time in computer energy to in memory to render out your footage and play it for you - . - And, - you know, - you'll get the hang of it as we move forward with, - you know, - actually starting to enemy and do things in after effects. - These air still lessons just to get you, - you know, - prepared Teoh, - start your projects because after effects is such a rebut, - robust and, - um, - confusing program at the start. - But once you get the hang of it, - you're gonna love it, - and you're gonna be able to make some awesome stuff with it. - So that's all I want to talk to you for now about the timeline. - And finally, - we're gonna start getting into actually animating and doing what after effects does in the - next few lessons. - So if you enjoyed this one and if you have any questions, - you can always contact me at video school, - online dot com, - or just message me through the course page or in the comments section. - Thank you for watching and I'll see you next time. - Have a great one. 11. Keyframes: - Hey, - guys, - what's up? - This is Philip dinner, - and I'm back with another great lesson in the aftereffects course. - Today is actually the most important lesson that I'll ever share with you about working - with after effects, - and we're talking about key frames. - Key frames are the basis, - basically everything you do in after effects. - It's the basis of any motion, - any transition, - any ah, - rotation, - any anything that you do and after effects. - The Cree animation is done with key frames, - so pay attention. - So what is a key frame? - Well, - first we have to know what frames are, - and so in after effects or with any type of video that you work with. - It's broken down into frames and obviously back in the old days when they actually shot on - film, - each frame was an image that took and the you know you had 24 images 24 individual frames - per second, - and that was filmed and it created motion. - And still we break down our video into frames and digital form. - So you have a frame rate. - Whether it's 23.98 frames for a second or 60 we have frame rates, - and so now in after effects. - I'm going to show you when we zoom in onto our timeline. - You can tell that are our timeline is broken up into frames so we can see one frame to - frame. - Three frame for frame, - five frame. - So those airframes and so what's a key frame? - Or what's key framing? - Basically, - key framing is telling aftereffects were telling this layer for whatever layer you have. - So, - for example, - we have this text layer. - If we want to set a key frame for position, - we bring up position by pressing P and then we press the stop Watch over here and so right - there. - What we're telling after effects is we're saying at five frames we want our key frame title - to be in this position at 642.5 and 3 79.7 pixels. - And so that's all great and and good. - But then what do we do to create motion? - We have to go further in time so we'll go to 10 frames. - Then we will move this. - And as you can see now, - we have this line between the first position and the last position and in between our key - frame moves, - and this creates motion our text moves. - And that is the basic basics of key frames basically setting points in time and telling - you're layer to do something at those points in time. - So you can set a key frame for rotation at one point, - and then later you set another key frame for a different rotation. - If you increase rotation and that creates an animated rotation, - and so again to set a key frame, - you go on your timeline and you if you don't have any key frames first you just press the - stopwatch button, - and then you will notice that if you go ahead and ah Ford in time, - the stopwatch is already highlighted, - and if you press it again, - it will delete any of the key frames you have. - So you want to press this diamond over here at a remove key frame at current time, - and you can go ahead and you can move, - and when you move it, - it automatically makes another key frame. - So I'm gonna move again so it makes another key frame, - and now you see that at this key frame, - I want the text to be here same position here. - This key frame. - I want to be down there that this key frame I want to be appear. - And so it creates emotion across these key frames. - Like I said, - to delete you, - just click on them and press delete, - or you can copy and paste key frames to say I want all right, - my text to go from here to here and then back to here. - I can go forward in time, - select this key frame, - copy it just by pressing command C and command be on a Mac or control C control be on a PC - , - and then it goes from here to hear on back there. - So I'm going to spend a lot more time on this and going over all the different types of key - frame. - Ah, - animations. - You can dio in the next few lessons. - But for now, - I hope you understand what a key frame is. - It's basically setting a point in time. - Um, - a certain aspect of your function of your layer, - whether it's position, - rotation, - opacity, - um, - you know, - size, - any of you any of these things, - you can set key frames. - And of course, - we're gonna be doing that with effects. - And that's how we create different, - um, - animations. - So I hope you're excited. - I hope I explained that thoroughly enough, - and if you have any questions, - please let me know. - But otherwise all see in the next lessons when we'll be talking about types of animations - in after effects. - Thanks for watching, - and I'll see you next time. 12. Position Animations: - I think this is Phil Abner back with another great lesson in the aftereffects course. - Last time we learned about key frames and what they are today, - we're definitely going to look more into that subject. - And we're going to be animating position and creating a motion path with an object. - So I'm just going to go ahead and use my brick wall for an example. - So I'm remembering my brick wall in, - and then I'm just going to drop the size I press asked, - bring up scale and dropped down the size. - So say we want my brick wall to move from left to right. - We just wanted to go across the screen first. - We're going, - Teoh, - we're going to put our brick wall over to the left who are time over here on the left side - of our timeline on the start, - and we're gonna bring a position. - So press p to bring in position, - we're going to press the stop watch. - And after we pressed the stop watch, - we can move our brick wall wherever we want it. - Maybe we want to add the bottom. - So we're just gonna move it to the bottom left of our composition outside of the frame. - Then I'm going to go ahead 10 frames. - I'm going to move it across so you can see me moving it across the bottom. - I'm holding shift, - so it stays at the scene. - Ah, - on the same axis. - So now between these frames, - it moves across emotion. - So let's see, - I'm gonna run to that out and wow, - that is a fast moving brick. - So let's make this a little bit slower to do that, - we're going toe, - make it have more time between the two key frame. - So I'm just gonna take this key frame and drag it to 20 frames, - so that's a little bit better. - And maybe we just wanted to slowly, - you know, - go across the screen. - So May will make this three about three seconds. - So there you can see it going slowly across our screen. - So let's do another example. - So I'm gonna delete these key frames. - I'm going to increase the size of this pressing shift in increasing the size to keep the - aspects aspect. - Right? - May we want the brick wall to pop up from below and then pop up. - So I'm going to go to the end frame of our animation, - so we'll say one second impressed the stopwatch and go to the start and move it down. - And if you don't want to click and move down, - you can use the arrow keys on your keyboard, - and I'm gonna run the read out by pressing control. - Zero. - There we have our brick wall rising up. - That's pretty cool. - May we wanted a little bit faster, - so that's a cool animation right there. - One thing we can do to make our animations a little bit more natural, - I think I mentioned before is to turn on the motion blur. - So click this box next to, - uh, - with the three circles next to the title. - And if you don't see that option, - go ahead and click this toggle switches modes but in and you'll see it appear. - And make sure you have the three, - uh, - circles enabled Up here is well, - so I'll render this out and I'll show you what it looks like. - So that looks a little bit more like, - Ah, - a little bit more natural for motion because it's a little blurry as you saw right there, - what I did, - I could like multiple key frames move them together. - So there we have our wall entering frame. - So we want our wall to exit the frame at three seconds. - Well, - let me show you what you can do. - So you can't just move our wall off of the frame like that because let's see what happens - this way, - Uh, - see is slowly moving down. - It doesn't pause at the start. - And that's because we said a key frame right here for it to be at the top. - And then we said a key frame and we told to be at the bottom and in between its animating - it well, - we want to Dio is first delete this one key frame, - go to three seconds. - Set another key frame by pressing this diamond or clicking this key frame, - copying and pasting it and then going ahead and then moving this out of frame May we can - even move it up out of frame pressing shift and the keys You're up or down Key or left or - right key will move it a little bit further than if you're just pressing the arrow keys one - by one. - Okay, - so now let's see what this does. - So it goes up on, - it goes up out of frame. - So that's a good little animation. - So this could be a start of a title sequence. - You have it up, - then we animate some text on here. - So we'll do that. - I'll just show you simply how to do that. - So let's add some text. - Well, - say we'll call this. - Ah, - Well, - call us alley cats with a Z. - That's pretty cool. - We'll put this in the middle, - and I'm going to use my title action Safe to get it centered just about like that. - I see this plus sign there, - um, - to help me center it with the title action safe. - We'll take that off, - and I'm gonna edit this text a little bit. - First, - I want to make sure that it's centered. - Text alignment. - Gonna change the font to maybe cracked. - It is pretty cool for this This, - uh, - this animation. - And then I'm gonna change the color. - Something that is, - you know, - will stand out from the red background. - Maybe a light blue. - Something like this might work. - Um, - I mean, - that's a pretty ugly title. - I will be honest about that. - Let's just do a black something like this just straight up. - Black might be our best option for now. - Um and then we're going to animate this onto the screen. - So our brick comes up, - then we'll have our alley cats tattle come in from the side. - So this is our final position. - So I'm gonna go right about here, - bring a position, - said a key frame, - and then go back right after the brick wall comes up and move this off screen. - This way. - The left. - So it'll enter the screen left, - and then I'm gonna move thes two key frames for the brick wall a little bit further. - So we have more time in the alley. - Cats text. - I'm going, - Teoh. - Copy and paste this key frame. - Go a little bit further, - animal. - Move it to the right. - Going to enable commotion, - Blur for under it out and see how it goes. - I like cats. - There you go. - That's a pretty cool title sequence already. - Um, - you could even add, - you know, - maybe a little, - uh, - a little, - um subtitle Add more text popping up or something like that. - That would be cool, - but I think you get the idea for how to at it position. - I just want to show you one more thing, - though. - Um, - when we're talking about key frames and motion, - may we want something to move in more of a curve than straight line. - So I'm gonna make this text white so that we can see it. - I deleted are bricklayer. - So I'm gonna delete these key frames as well. - So may we want this text to kind of go from here up and then down. - So I'm gonna set to key frames one of the start right here and then one of the end over - here. - So now we have this animation that just goes from left, - right? - Well, - maybe we wanted to have a little arc, - so I'm gonna go right about in the middle of this. - So about two second, - 2.5 seconds and move this up. - So then we have this arc and you can see by the red dots there's this arc we can play - around with these little, - um, - bars right here that come off the side to make it more of a smooth arc. - And then let's see how it does it. - So there we have this curve and So that's how you create curves is by setting multiple key - frames and playing with those little bars that come across. - I can make it go down a little bit here, - maybe appear, - will make it go a little bit down as well. - So we'll see how this looks. - I don't know why you would do this, - but I'm just kind of showing you how you can move your text. - Maybe this is a bird flying in this guy or something instead of text flan across your - screen. - All right, - so that's it for now. - This is making an animation with key frames on in for position and path until next time, - have a great day. - We'll be talking about creating a pastie transition or a change in opacity using key frames - in the next lesson. - Have a great day and we'll see next time. 13. Opacity Animation: - Hey there. - Let's talk about Oh, - pastie and key frames. - So I have this square here, - and I'm going to quickly show you how to create a transition with key frames. - So I'm gonna bring it my opacity by clicking on this layer and pressing t And then I'm just - going to set a key frame at one second with 100% capacity and I'm going to go to zero - seconds and changes a pastie 20 So there you can see I've already created a fade. - It's gonna move this over that we can really see how this works. - There we have our square fading in. - I can copy this key frame and go a little bit further and copy this key frame. - And now we have a square that fades and fades out. - So let me show you a nice little effect you can affect. - You can do with some texts. - So here I'm going to write. - Um well, - say videos, - school online when the change the font to motor oil, - which is the fun I use for my title. - Keep it like that. - I'm going to duplicate this layer. - You can either select the layer and copy and pasting it. - Or you can just press command D with its selected or control de on a PC. - I'm gonna move it down. - I say, - Make make better videos and this top one. - I'm going to make all caps so I select it and press all caps down here. - No, - it's all caps and this one, - I'm going to make a little bit smaller and I'll just write, - Justify it. - So I put it, - not necessarily right. - Justify it in the paragraph settings, - but just align it with the right side of video school in line I. - So I'm going to go to one second and then select. - Both impressed t to bring up a pastie and then clicked the stopwatch and you can see that - creates a key frame for both layers. - You go back, - make sure I have both selected and press zero. - So now we have a fade or both. - I'm going to take this opacity for make better videos and move it to right when the first - big school online fades in. - And then at four seconds, - I'm going to select both set. - It's a key frame for 100% opacity. - Click this diamond over here on the left and then go to five seconds, - select both and set it at zero. - So now we have our title fade up. - The subtitle fade up and then they both fade out together. - So I'm gonna move both these layers. - Actually, - over here, - I'm actually moving the whole layer and not just the key frames so that there's a little - bit of black space in front school online Make better videos fade out. - So that's a nice kind of effect. - You conduce you with fades, - we can make these face longer by. - I can even select both of these key friends at the same time by selecting one and ah, - shift and dragging over the 2nd 1 pressing, - shifting, - dragging over the 2nd 1 and then dragging these over to the right so there's more time in - between the key frames. - You can speed up this fade out like so a n fade in and fade out cool. - So that's how you create an opacity transition in after effects with key frames. - Thanks for watching. - Next time we will be talking about animating scale, - have a great day and stay safe 14. Size Animation: - Hey, - guys, - let's talk about creating a change in scale or size with key frames. - We're continuing our after effects course, - and I'm teaching you the basics of basically everything that you're going to be using after - effects for and I lost do with key frames. - So we've talked about changing opacity. - We've changed about using key frames with position today. - Let's talk about scale, - and I have these three circles for you and all these things, - like these circles and the different text and all that stuff that I'm adding. - I'll go more in depth and future lessons about creating shapes and other things like that. - So don't worry about like, - how did you do that? - How did you get those colors that set? - Try? - I'll teach you that in the future. - Right now, - I just want to show you the basics and talk about scaled up. - So again, - we're going to go. - We're going to go toe two seconds. - And first I just want to show you how to go from zero to big, - um, - or to this size and is a great way to make shapes and text appears. - So I'm gonna go select all of them press s to bring up scale. - Said the timeframe timer. - Go back toe one, - and I'll set this scale at zero. - So if I render this out, - we have our circles appearing. - May we want this to go a little bit faster so we'll do it in double time. - There you have it appearing. - Maybe we want we want them one at a time. - So I'm gonna move this, - uh, - key frame of the 1st 2nd 3rd The 1st 1 will move to the start. - The last one moved after the 2nd 1 So maybe that's the start of our animation. - And then we have, - you know, - text pop up. - We'll show you that really quick. - Um, - we'll do one. - We'll increase the size of that text. - And so when you're playing with the size of text, - you don't set key frames with the font size. - Over here, - you do it with the scale, - just like we did these ones. - And so I'm going Teoh, - Um, - first, - I'm going to set the, - uh, - the anchor point using the pan behind tool to the center of this number so that it skills - from the center and not from the bottom and then I'm going to actually just copy and paste - this scale key frames from this one object and then paste it to my next object. - The number one and I copied and pasted those together. - So now you have one pop up and maybe I'll do this afterwards. - I'll do one no pop up after the three three, - um, - circles pop up. - So go 123 and the numbers will pop up. - I can I can repeat it. - 123 But I think you get the picture. - So that's pretty cool. - Um, - let me show you something that you can do to add a little bit of flow to your animations. - I'm gonna delete this one and bring its keep the scale function up. - And one thing that you'll see in animations is what I call a bounce. - And it's when something ah appears on screen and it has a little bit of a bounce to it. - And that could being with position or with scale, - and let me show you what I mean. - So here I go, - from 0 to 100 but sometimes people go from 0 to 110% and then back down to 100% and as a - little bit of a bounce to it. - So I'm going to go a few frames before this last key frame and set at 1 10 Let me show you - what that looks like. - So there it has a little bit of a bounce to it. - I want to increase the speed of this. - So I'm going to select these last two key frames and move them closer to the 1st 1 So there - you have a little bit of a bounce for this first circle, - and it gives it a little bit more flow. - So I'm gonna do the same with the 2nd 1 So there's that 1 10 Move them a little bit forward - . - This last one again said at 1 10 a few friends before the last key frame. - So it goes from 0 to 1 10 to 100. - No, - let's see what this looks like. - So now you see how it has, - like a subtle bounce to it, - and it just has makes it have a little bit more flow to it. - That's one thing you can do with with Ah, - your your animating techniques using key frames maybe we want to bounce out. - So we will set this key frame. - Copy and paste. - Go forward. - A few key frames copy and paste. - Select this 1st 10 and copy and paste. - And I could just copy and paste all these key friends go to this middle circle, - paste it forward, - then paste again. - Actually, - this last one is supposed to be zero. - It's last key frame for each one is supposed to be zero and then zero. - So it goes from 100 1 10 to 0. - So let's see what that looks like. - Bounces in, - bounces out. - That's a cool animation already. - I So I'm gonna leave these and show you another thing you can view with fall with size just - to add a little bit more quality to your videos. - So you have a background subtly increasing. - The size can really increase the quality. - So right now it's at 54%. - Just gonna set a scale key frame at the start. - Then at five seconds, - I'm going to increase this to just like 56 maybe 57 and now I'm going to render it out and - say, - I'd like some text going on right here. - Ah, - something some other animations. - Having the background doing a slight increase in scale. - It just adds a whole new dimension to it rather than just being a static background. - Boring. - This makes it. - You know, - I have a little bit more quality and a little bit. - It makes it a little bit more dynamic. - Of course, - Sometimes you need a static background and this, - you know, - you don't want your background to be changing size. - But if you know if it makes it look better, - this is a great technique to use. - So that is how you create a change in size with key frames. - I hope you enjoyed this lesson. - Next time we're gonna be talking about rotation. - So stick around for that one and have a great day. - Talk you later. - Bye. 15. Rotation Animation: - and guys. - Welcome back. - This is Phil, - Evan, - er with video school online dot com continuing our aftereffects course today, - we're gonna talk about adding a rotation change with key frames. - So basically, - we're going to be creating rotation. - So I have this letter X on my composition, - and I'm just going to bring up my rotation function. - So press are to bring that up, - and then I'm just gonna create this a slow rotation across five seconds. - So I'm gonna set the stopwatch here Good of five seconds, - and then we'll say will add 90 90 degrees, - so it's gonna rotate 90 degrees. - So there we have a slight rotation of the X. - Maybe we want something, - you know, - maybe we want. - We want the X to be just completely spinning, - so I'm going to increase it, - you know, - a few times so I can just actually, - with the rotation, - you see the zero X plus 0.0 degrees. - So zero acts means how many route full rotations and then plus how many degrees, - if you just do you know, - 10 X, - that's gonna do 10 rotations in five seconds. - So that's a pretty good spin right there. - so you can create a cool optical illusion like that. - Looks almost like there is a star in the middle of this X. - So there you can create a rotation that way. - So say you have an image of a wheel or something and you want to spend You can do it like - that. - Let me show you what you could do with some text. - So I'm gonna just say, - rotation decrease the size of this, - and then I'm gonna move the make this left justified. - So the anchor point is now on the left and actually gonna make this even bigger. - So say I want to basically rotate this off the screen into the screen. - I'm going to This is gonna be my final position. - So I'm going to at one second, - bring up the rotation pressing, - are set the key frame, - go back, - have a second and rotated to the left, - and we almost have it off screen. - But not quite. - So what weakened Dio is I'm actually going to delete this. - I'm going toe move this anger point even further away from the rotation text offscreen. - So when we add a rotation key frame so here we have zero rotation. - This is our final position, - and we rotated off screen. - It's off of the screen because it's anchored to that point right there. - So now we have this text coming in, - so that's kind of a cool thing you can do with text, - you know? - Imagine like having multiple of these rotating in and out saw. - I'll show you that quickly. - So I'm going to duplicate this, - But I'm going, - going to just take off this this rotation that we have already moved it up. - Aw, - duplicate it one more time. - I'm pressing command D to duplicate. - Ah, - this one, - actually. - So I'm gonna bring up the key frames for this one. - Suppress Our Another quick thing you can do is if you have a layer selected, - you compresses you on your keyboard, - and that brings up all the key frames that you've added to this layer. - So if you have multiple, - you know, - if you have rotation position Oh, - pastie key frames or more, - uh, - you can see all of them by pressing you. - So I'm going to copy and paste this. - I'm gonna go to one second 1.5 seconds and paste it to this. - This top rotation text. - I'm gonna go back toe one second, - and for this middle one, - I want to rotate the other way. - So I wanted to rotate the Argos from up top, - right, - and then rotates down. - So I want this to be the anchor point to be on the right side, - so I'm gonna take the pan behind. - Tool, - move this over to the right side. - Going to bring up our set the rotation here. - Actually, - I'm gonna move that to 1.5 seconds, - then rotate it 90 degrees US screen. - So now we'll have these kind of like slamming down. - So, - you know, - obviously you wouldn't use the text rotation, - But if you're creating music video are something like that, - this would be kind of cool. - So, - um, - let's see. - What can you say? - School is cool, - huh? - School is cool. - So that's kind of backwards, - but cool at school as well. - So I think you get the point. - How to add rotation. - Ah, - change the rotation with key frames. - Have fun working with this. - I hope you're practicing this as you go long. - Um, - and if you have any questions, - please let me know. - I will see you guys next time. - Bye. 16. Easy Easy: - Hey, - guys, - I have a cool topic today, - uh, - continuing our animation animating with key frames lessons. - Today I want to talk about something called Key Frame assistant. - So, - basically, - up until now Ah, - when we're playing with key frames, - Um, - the speed of of things is basically Lanier. - It just goes from a to B at whatever speed you set your key frames to. - So, - for example, - have this position, - this speed text. - I'm going to have it go from off screen on screen with position key frames. - So it's a steady speed the whole time. - One thing we can do is use ah key frame assistant to change that. - So if you right click a key frame, - you'll see this key frame assistant, - um, - assistant, - uh, - option. - And you have this thing called Eazy e's and what is easy, - Easy mean? - It means that it will basically ease in two. - The second key frame what? - Whatever it is, - if it's position or if it's rotation or change in size or opacity, - it means it will kind of start off fast and then slow into this key frame. - So that is not a Nebraska stop. - And when you do click it, - you will see this kind of our of last figure. - So let me show you what this looks like. - So see how it kind of slowly comes in and let me make it a little bit faster so you can see - it. - Speak has slows to a stop there. - Um, - I'll turn on motion blur to make it sound a little seem a little bit more natural. - So there you can really tell that it slows to a stop. - Whereas if you didn't have this and you can, - you know, - have a Eazy E's on, - you can get rid of it by pressing command and clicking on the key frame itself. - It just comes in and kind of stops abruptly. - So it's a cool thing to use to make your your emotions a little bit more natural, - Um, - and and just your animations a little bit more natural and give it a little bit more flow. - So if you have this speed text coming in and then going out, - you can also use something called Easy, - easy in and easy Ease out. - And it basically means, - um, - that it's easing in on one side of the key frame so right click and at Easy, - easy in. - So he's in to this key frame, - and then it will also ease. - You can do ease out of this key frame if you don't want it. - Teas in on both sides of the key frame. - I know that's kind of confusing, - but, - um, - help you get it so it kind of eases in and then it slows. - Lee eases out. - Usually, - I just use Eazy E's cause it basically does the same thing saw do Eazy e's for both of - these eases in He's is out, - and you can use this for rotation opacity for any key frame that you have. - Um, - you can use the Eazy E's function, - so enjoy that. - Make your videos look awesome and until next time, - have a great day. 17. Shapes 101: - Hey, - guys, - it's Phil. - Back with another lesson in the after effects course, - we're moving onto a new section of topics we're talking about creating shapes. - Shapes are one of the backbones of after effects and creating motion graphics. - And so we're gonna go through all the different ways that you can create. - She shapes and all sorts of things that have to do with shapes, - masks and that sort of thing. - So let's get straight to it. - Make sure you're watching this in HD and in full screen. - So first we're gonna talk about creating a shape with the shape tool. - It's this tool appear. - It looks like a rectangle. - If you click and hold it, - you will see that has some different options. - The hockey is cute, - so if you press, - if you're on your pointer and you press Q in your honor keyboard, - the shape tool come up and you can scroll through these shapes by just pressing que I say, - Let's do it rectangle. - All you have to do is select the rectangle selector color and then click and drag. - That's basically how you create a basic shape. - Same goes for if you want a circle or, - you know, - polygon or really anything any of these shapes rectangle with rounded edges. - But there's a couple of things to keep in mind when you are creating your shape. - If you just click and drag, - you can make it whatever with and whatever height you want. - But if you want to make a habit symmetrical, - you click. - And while you're clicking, - hold the shift key down. - And that creates well, - obviously, - for a rectangle. - A symmetrical red rectangle is a square, - so that will create a perfect square, - for example, - for a circle. - Instead of doing an oval you press shift, - it locks it to a perfect circle, - so that's pretty cool. - Another thing you can dio is when holding debt when struck when clicking and dragging. - If you press shift and command, - it basically creates a circle from where you started clicking. - So we'll see here. - If you want a circle directly in the middle of your page, - I turn on your title action safe. - Put your ex your pointer right in the middle, - where there is this crosses crest. - Click it press command and shift on a Mac. - I believe it's control and shift on a PC and then drag out and you can see here. - Now I have a perfect circle starting from the middle of my screen that's perfectly in the - middle right now. - Say you want to change the color. - All you have to do is go back up to fill up here and choose a new color. - There you have it. - Another thing you can do with these shapes is actually just double click the shape right - here, - and it will fill the entire composition with that shape. - So, - for example, - for a circle, - it will create an oval as big as it can for star. - It would create a star at the ink Rias begins another can. - But I've never actually creative star of that way. - So it I guess it depends on what shape you're using. - So that is pretty much all you have to know. - Um, - another thing is, - if you don't want to create a perfect square from where you start clicking where you press - shift in control, - if you don't want a perfect square, - you can just press the command or control blood in depending on if you have a Mac or a B C - , - and see here I can create no all sorts of shapes that way, - and that's pretty much it, - um One thing to keep in mind, - though, - too, - is to create a more unique shape. - You can create a shape ones and then continue to create more shapes off of this if you want - . - And that's one way to Teoh. - Basically create interesting shapes and you'll see, - as I add shapes to this one layer all the shapes air coming up here down in our timeline, - and you can delete them if you want, - if you want to add different shapes or whatever, - so that is how you create some custom shapes with shape tool. - Next time, - we're gonna be talking about using the mass tool to create shapes, - which is actually the way I prefer to create shapes and you'll see why in future lessons. - But it gives you a lot more flexibility when, - ah, - creating motion and things like that. - All right, - Thanks for watching. - I hope you enjoyed this lesson and I'll see you next time 18. Working with Masks: - Hey guys, - let's talk about creating shapes with the mass tool, - and I suggest using the mass tool to create your shapes, - because in the future we'll talk about creating motion with the mass and changing shapes - with the mask. - Ah, - tool. - And it just gives you a lot more flexibility with with the mask rather than using the shape - tool. - And it's hard to explain now, - and it basically just takes practice and and seeing why, - and you'll see in the future. - But just trust me on that that topic. - I hope you guys are having a great day. - Um, - so let's get straight into it. - So to create a shape with a mass tool, - where you wanna go into one do is go up to layer new solid or press command. - Why? - If you're on a Mac, - it will ask you what what size and what color the size is basically automatically uses the - size of your composition, - so it's picking color like this nice kind of turquoise color, - and then you take these shaped tool. - But instead of creating a shape, - we're going to create a mask from this layer, - so make sure this layer is selected and then click and drag. - And so now we have a rectangle and it's, - you know, - you might be saying, - Why is that different than what we did before? - But it is different. - Ah, - we can customize it in different ways. - We can add, - uh, - points to it, - for example, - with the pen tool. - I'll go into this in the future more in the future, - but we can create custom shapes this way. - So this is a lot better for creating ah, - custom shapes, - I would say using the the mask tool so OK, - so we can delete that mass and I'll show you. - No, - basically, - you have the same options Creon circles or ovals, - and just like with the creating the shapes in the last lesson, - If you press shift while you're clicking and dragging, - you create a perfect circle. - If you press press command, - you will create a circle from the point where you clicked. - If you press command and shift while you have this layer selected, - so click command shift, - it will create a perfect circle from the center of your where you clicked and, - um, - same with if you click the shape to appear No, - we'll create a mask. - Masks shape out of that, - and that's pretty much it. - So just, - um, - like I showed you before. - If you create your shape and then you want to edit it, - you can use your point your just your selection tool and move it around or click inside the - shape and then move the corners or click the sides and move them around, - in or out. - If you click aside and and press shift and slide it back and forth, - it will lock it to this axis so it doesn't go up or down and create on non right angles. - You can also, - if you you uh, - let's see if you select the shape inside. - I'm tryingto you can select multiple corners by clicking and dragging like so and so - there's lots of ways to customize your shapes. - One thing you might want to do is change the anchor point to the center of your shape, - so just eyeballing it right now, - you can use it with the pan behind tool. - In this way, - if you change this the size of your shape, - um, - it or the rotation, - it rotates and has a change in size coming from this anchor point. - So that's how you create a shape with a mask. - And the next lesson I'm gonna show you how you can change the mask and edit the mask. - And it's one of the reasons why creating shapes with Mass is the best way to create a shape - . - I thanks for watching and I'll see you next time. - Bye. 19. Mask Edits: - Hey, - guys, - Thanks for joining me today. - I hope you guys air enjoying these lessons. - Please check out video school online dot com if you haven't already. - That is my personal site. - And that has tons of great free content for you guys. - I post Weekly blogged articles with tips and tricks and tutorials on all things about - making videos. - And I have a podcast for YouTube videos and I'm writing an e book right now. - At the time of this recording, - I still haven't finished it called The Diary of a Film Student. - So look forward to all that stuff and subscribe on video school online dot com to get 50% - off all of my online classes. - But let's get into the mast, - the mass tool. - So we're gonna create a new layer Press command. - Why? - To do that? - And then I'm gonna use my shape tool to create a nice circle. - So I click and hold down. - Command and shift. - Create this nice circle. - You'll see that this mask appears down here and there's all sorts of things that you can do - with it. - You can select this inverted mark right here at box right here and it will invert the shape - . - So you now you have, - ah, - circle within a square. - You can also do that by doing subtract right here. - And there's some other things that the, - um, - other I guess Trant transfer modes right here that you can play with two to the left of the - mask. - You will have a drop down triangle. - So go ahead and click that. - And here are the three options that I want to show to you. - So make sure you have it on add or subtract to see what I'm doing on. - I hope you're following along. - So if you click path, - this is basically means What is the mask path right here? - And you have I basically have your points and the line that connects those points mask - feather. - This is if you want to feather it out. - So go ahead. - You can increase the pixels and create a feather effect, - so that could be super interesting. - You can decrease the mass capacity or increase it. - You can do a mask expansion, - so decrease it or increase it. - And you know, - this is just if you want to find tune your mask. - So what are some practical applications of this. - Um, - for one, - you can create awesome vignettes this way. - So let me go ahead and delete this. - I'm going to create a new layer, - Mueller solid. - I'm gonna make it black to create urban yet that I'm just going to double click. - This are our circle shape, - our oval shape, - and it creates that switch to the sub twosome track. - Subtract. - So now you can see we already have the beginnings of our been yet gonna drop down the mast - menu. - You can also press mm under keyboard to bring it up. - Gonna increase this feathers. - Then I'm going to decrease the opacity. - And there you can see, - we already we have, - like, - a nice than yet Turn on and off for you to see. - So vignettes are nice toe. - Add to your videos to draw the attention of the viewer to the center of your video. - So that's one practical application of of using these mask at it effects. - Um, - let's do another shape and I'll show you what else you can dio all these things you can - edit by key frame. - And just like we've edited the the size position rotation before. - Um and we will go mawr into all of that stuff in the next few lessons. - But just know you can create key frames for each of these. - Each of these effects right here. - So those are the different ways to change and edit your mass. - I hope you enjoyed on go and create some cool snowball effects or something like that. - One thing I want to mention, - though to you too, - is to change the color of a mask. - It's a little bit different or of a solid. - You can't just go up and click this Phil Bunin. - Well, - you have to do is go to layer solid settings or press shift command. - Why, - you're on a Mac, - then you can create. - She was a new color just like that click. - Ok, - so that's kind of a cool little ball right there. - I have you enjoyed this lesson. - If you have any questions, - please let me know otherwise. - Have a great day and I'll see you next time. - Please 20. Using the Pen Tool: - guys. - Welcome to another lesson in the after effects course, - this is Phil. - Evan Air. - Thanks for watching. - Please be watching this in HD full screen to get the best viewing experience. - Last time we talked about Mask and we talked about the different ways you can edit the mask - today. - I want to talk to you about creating shapes with the pen tool. - So I'm going to start a new layer command. - Why we'll choose about like a yellow, - yellowish orange color like that is nice. - Okay. - Okay. - Wow, - That is bright. - So now I want to use my pen tool. - Hockey is G on a keyboard to bring that up, - and now all you have to do is basically click. - Make sure you have your layer selected or it will create. - Try to create a shape. - It's a select your yellow solid click click, - click, - click, - click whatever shape you want to make and then close your shape. - Now you have a cool shape. - That is pretty awesome. - It doesn't really. - It looks like a weird sort of lightning bowl. - Saw it could be someone's hair do, - I don't really know. - Press em to bring up the mask I can delete that. - So let's try something else. - So what you can do is click, - drag, - click and drag, - and this creates curves. - Click and drag clicking, - drag, - click and drag, - and after you click and drag, - you can change these little point. - These bars that come off each point you can play with those who affect the curve. - Go back, - click and drag and drag, - click and drag, - click and drag. - Now we have, - like an amoeba, - some sort of bacteria forming, - so that is pretty cool. - You can also, - um, - add more mass again. - Make sure you have your you were, - ah, - layers selected. - I'm gonna create another shape within this, - and this is really too basically create cutouts out of this shape so you can change this to - subtract, - create a shape within that shape. - That's pretty cool stuff. - Use your pen tool to create new mass, - um, - and create curves and just play around with it. - You're gonna have lots of fun if you're if you're just trying and that's all this takes is - practice practice practice. - So the Penta was another great way to create great shapes and after effects. - I hope you enjoyed this lesson until next time. - Have a great day and stay safe 21. Mask Animations 1: - Hey, - guys, - what's up? - This is Phil back with another lesson in the after effects course. - In the past few lessons we've been talking about how to create masks using the mask, - tool and pen tool. - Today, - I want to talk about learning how to animate these mass and create some cool motion effects - with them. - So let's get right into it. - So, - as you remember last time we were learning about how you use creating a new solid to create - a mask. - So I'm gonna go ahead and do that. - Let's create a nice blue solid right here like this. - We got the same size of our composition, - and that's perfect. - I'm going to take my rectangle tool, - and I'll just use that for an example and say We want to create some sort of bar that goes - across the screen. - Well, - first we have to create that bar, - so I'm just going to click and drag with shape tool to create this mask. - I'm doing about two there, - as you can see here, - down in the timeline, - the mass pops up, - so now we have a mask that we're gonna edit. - Like we said before, - you can edit this by using these transfer modes? - No, - you have, - add or subtract. - But today we're gonna keep it ad by pressing M m on your keyboard, - you get these mass properties that pop up first, - we want to make sure we click our mask and then we want to go to one second. - So if I say this is our final bar right here, - there's the size of the bar at the final point of the animation to ruin. - To click that stopwatch next to mask path, - I'm gonna click that, - and that creates a key frame at one second going to go back to about 1/4 of a second. - And now I'm going to edit this mask. - The way I'm gonna do this is going to use thes selection tool, - and I'm going to double click that edge of the mask. - And this brings up this sort of these editing options this bar around this box around the - mask that we can edit. - I'm just going to click the middle of this box on the right and move it all the way to the - left. - And so now our masked basically grows into this bar. - So let's render it out and see what it looks like. - So that's looking pretty good. - What I want to do is add a blurt motion blur effect so that it looks a little bit more - natural as it's coming out and maybe even increase the speed a little bit. - So maybe I'll move this first key frame to about half a second. - So the entire animation takes half a second rather than 3/4 of a second, - and something that, - like that looks really nice. - And then, - from here, - you know you can animate some text on, - makes him text text fate on or off, - or something like that. - And that is one example of how you would animate a mask. - Let's do another example. - So let's start a new layer. - So I press command Why I'm like he board for the hot key for that option will do a nice - magenta pink circle. - So I'm going to get my circle selection lips tool quinta. - Click in the middle and while holding command and shift drag out, - and I have a perfect circle coming in from the center of my composition. - Now we have this circle. - This time I want to animate the mass. - But enemy using the mask expansion function, - I'm gonna go toe one second, - click that stopwatch to set a key frame for their, - then go back to about half a second and then I'm going to decrease the mask expansion. - As you can see, - as I decrease the pixels, - the circle gets smaller and smaller. - So there I have a circle popping up into our composition. - And this one maybe make a little bit faster as well had motion blurred and make it look a - little bit more natural. - Now we have this cool circle happening. - And then remember last a few lessons ago, - I was talking about adding a little bit of bounce to your animations, - which creates a little bit more flow and makes it, - you know, - feel a little bit more natural. - Weaken do that. - So our final mask expansion point for this key frame. - As you can see a zero pixels, - we want to make it a little bit larger, - so we're going to make it about 15 pixels. - We'll try 25 pixels about two frames in front of our last key frame. - Now I will render this out and this circle kind of bounces in. - So now I'm going to edit this key frame. - Ah, - using key frame assistant and add Eazy e's absolutes to Eazy e's. - And this is kind of what we were doing when we were playing with the size, - uh, - animations in the side, - the size animations lesson. - But this way we're doing it with Mass. - So now we have this nice circle bouncing in and again, - you know this will be part of another animation. - You can add text going to cross or something like that, - or add more balls popping up. - Um, - you could use this mask as an image, - and that's something that we haven't talked about yet. - So, - you know, - mass shapes aren't just for doing solid colors. - Say you have an image. - So let's say this brick wall. - But we want a ball in the form of a brick wall, - so we select our lips tool, - and then we just click and drag and pulling shift to get a perfect circle. - Now we have a circle brick of bricks. - Then we can Anna at an animation that way. - So let's see what we can do here. - So say this is our starting mask will do. - Click that stopwatch go forward. - We'll edit this mask by clicking on If you click off of the layer and then you click the - layer bar down here in the timeline, - you can add it these individual points so we could make this ball Maybe stretch. - And I'm going to go forward a little bit and copy and paste this first key frame to make it - go back into our ball shape. - So that's, - you know, - just an animation showing you the different options for animating mass. - I mean, - eventually, - you could, - you know, - turn the circle into a square or something like that would be kind of cool. - Okay, - so I hope you learned a lot in this lesson. - Next time we're gonna be talking a little bit more advanced about mask animations, - and I'm gonna dig deeper into this topic, - so get ready for that. - And until next time, - have a great day 22. Mask Animations 2: - guys 11 or back with video school, - online dot com and another lesson in the after effects course. - Last time we were talking about basic mask animations. - Today we're going to get a little bit deeper into that topic. - I'm gonna show you some cool stuff on what you can do with a mask. - Animations. - So first, - let's bring in the sidewalk texture or bring in any texture that you want that you find - online. - I'm going to decrease the size of this like so. - And then I'm going to use the Ellipse tool to create a circle a perfect circle from the - inside. - So I'm going to I'm pressing command and shift to create a perfect circle. - Then I'm going to actually do another circle. - So I'm going to go from the center again. - Pressing command and shift on my Mac keyboard on a PC is controlling shift. - And now I have this inter mask. - And now for this mass to down here, - I'm going to say subtract so that it leaves this hole in the middle of this mask. - So what I wanna do is kind of create this circle, - expanding our yeah, - this empty circle expanding inside what looks like an oh, - that's expanding. - So first things first. - I want to, - um, - make my starting point for my animation. - I'm going toe like both mass impress an end to bring up my mass properties for mass to the - starting starting point is going to be really in the middle. - So I want to decrease the mask expansion until this is in the middle and the solid. - It's a solid circle, - so something like that is perfect. - Some Gunness create a key frame right there for this mass one. - I'm going to do the same thing, - so I'm going to start out at zero or at where there is no texture at all. - So there's nothing on the screen, - so something like that I'm going to go forward, - will go forward about half a second. - I'm going to increase the mass expansion for this first mask. - So this goes to about here where it is, - so I can actually just click type zero in for zero pixels that reaches the mask boundary. - And then for this 1st 1 I'm going Teoh actually increased to zero as well. - So let's look what this looks like. - See what this looks like right there. - So that's we got this mask expanding. - Maybe what I want to do is have the circle up here and then the inner mass kind of appears - so something like this. - That's kind of cool. - So the circle appears, - and then with the second mass, - it kind of makes the circle disappear. - So maybe I'll have this expand actually further out until there is no sphere left. - Something like that. - So several appears, - and it's gonna be part of another animation, - so going to make this second animation a little bit faster. - So I'm gonna move in this key frame. - I'm gonna make these two key frames in the middle. - Eazy E's on the right click Key frame assistant Eazy e's. - So maybe something like that is cool. - I'm going to duplicate this layer. - It's like both prez you to bring up the all the key frames on this bottom layer. - I'm just gonna move it a little bit. - So as this 1st 1 is disappearing, - the second animation is kind of appearing in the middle. - I'm going to change the color of this. - We'll talk more about effects. - But Aiken, - do Hugh appear in the effects been hue saturation. - Drag it onto this layer and just rotate the master. - Q. - May add this decrease of saturation, - the master lightness, - I guess, - since this this is basically a black and white image. - We're not going to get to change the hue that much, - but weaken, - click this color eyes but in and increase the saturation decrees, - the lightness. - So now we have this blue circle appearing. - So let's see what this looks like. - So that's kind of cool. - Okay, - make it a little bit earlier. - You see this a lot in, - um, - in Ah, - the motion graphics. - Nowadays, - it's a cool effect for some connect typography or just motion graphics, - you know, - shaped appearing or disappearing. - So that's kind of a cool effect. - And that's just I'm showing you how you can edit multiple masks within the same layer. - So that's the start of a cool animation. - I think they're watching, - and I hope you've enjoyed these lessons on ask animations. - If you have any questions, - please let me know. - You can contact me through the course page or through video school, - online dot com and next, - we're gonna be getting into some fun topics. - About three D in after effects. - So get look forward to those we'll talk to you guys later. - Have a great day. 23. Intro to 3D: - Hey, - guys, - this is Phil Ebony. - We're back with. - Another great lesson in the aftereffects course is an exciting section that we're getting - into cause we're going to start talking about three D in after effects, - and three D is a cool thing about after effects. - You can do a lot of cool three D animations with after effects. - Eso. - It's a lot of fun, - but it can be slightly confusing. - So get ready for some intense lessons. - Pay attention and, - as always, - watch in full screen and in HD to get the best viewing experience. - So first, - in this lesson, - I'm going to give you an introduction to what through the really means in after effects. - I'm going to show you by giving you an example, - using this dog PNG that I downloaded from Google. - So, - of course, - if you're using images from Google for your final projects, - um, - or any commercial projects, - you got to make sure that you get permission from the artists or that you purchase from a - an image site or something like that. - But for this tutorial, - or if you're just practicing, - go ahead and find a cool image online that you want to practice with so to turn on three D - , - All you have to do is click this cute this box underneath this three d cube and this turns - on three D layer. - As soon as you do that, - you can see that a couple options pop up underneath to format this image. - But first, - I want to go through three D position. - When you when you press p or bring a position underneath your layer, - you will notice that there is another option. - If this is off, - it goes away if this is on is back. - So before we just had the X axis and the Y axis, - And so, - by moving these, - these numbers are changing these figures. - You will be able to move your image throughout this composition via the X axis and the Y - axis. - So left, - right or up or down. - Now we have this new Z access access option which basically moves. - Fido are puppy backwards or forwards in space. - So you're actually creating, - you know, - a three D environment with this? - Um, - so let's put this back at zero, - for example. - So say I duplicate this flare and now I have fight a one will make him a little bit bigger - so we can represent in a little bit in differentiating him. - We have final one in front of fight Oh too. - But if you bring up the position function for both, - there's both on the 0.0 pixel on the Z axis. - So that's the same position on the Z axis. - But layer one, - Fido is just in front of on top of layer to, - but it doesn't really mean in the space of this composition. - He's in front and just means the layer is on top of the layer down here, - so whatever's on top will appear on top. - But even so, - say Fido to our small puppy is on top, - but we move him back in Z space. - He is now behind Fido number two. - And so that is how you can see how, - uh, - this three D space is working. - So if you move these carry our puppies back, - they will be further away from us in three D space or closer to us that you want to go to - in the negative pixels. - So that is three D for position. - I'm going to get rid of this are dot fighter number two put him back at on the normal Z - axis 0.0 pixel. - Now let's talk about rotation. - Cause rotation brings up a lot of three D options as well. - So before we just had Z rotation, - which was basically moving left or right, - rotating like kind of like a clock hand. - Now we have Y rotation, - which will rotate Fido on the Y Axis four. - We have X rotation, - which will rotate fight on the X axis. - So, - as you can probably tell, - this is brings up a whole new ball game in terms of animating with after effects and all - the different options for animations that you can create. - So those are the basics of of three D, - um, - in terms of just layers three D. - You can, - of course, - add cameras and do all sorts of other things with three D and in after effects. - And we're gonna be talking that about that in the future. - But for this lesson, - I just wanted you to understand the basics. - What happens when you click this three D enabled layer button right here? - The cube to the right of the motion blur so you can edit both the position and the rotation - . - And in the next lesson, - we're gonna be talking about animating these these options and create some cool effects - with three D. - Thanks for watching, - and I'll see you next time. 24. 3D Animations 1: - Hey, - guys, - welcome back to another lesson in the after effects course today. - Let's talk about animating rotation and how this is a great way to introduce different - items in your composition. - So we have our happy right here right now, - and we're going to introduce him using the Y rotation animation to start out with. - So right here at one second, - we're just going to set a an ending key frame for the UAE rotation, - then half a second before we're going to rotate him counterclockwise. - Nine theories. - So even at 90 degrees you can still see part of him. - Offense, - sliver toe. - So to get rid of that, - because let's render this out and I'll show you what it looks like. - So that's the basic animation. - Pretty cool introduction of Fido. - But we can still see this sliver before, - So what I want to do is go to this first key frame and then drag this layer in so we don't - see it until that very first key frame. - So there you have a nice clean animation of photo period so we can do the same thing with - the ex access rotation. - One second we will set an end key frame by clicking the stop Watch over there. - Now we'll go back to half a second and will rotate about negative 90. - You can do whatever you want. - Negative 45 Negative 50 however much you want. - Here we have Fido appearing like that. - You can add motion blur, - toe the rotation as well, - toe. - Make it look a little bit more natural. - So that's kind of cool fight of popping up that way. - Another option is to move the anchor by using the pan behind tool. - So I'm gonna select the pan by behind Tool. - It's like the anchor and move it down to the bottom. - In this way, - when we rotate the X axis, - he'll actually be popping up from the bottom of him rather than from just turning from - inside of him. - So let's set a key frame right there at one second and then back half a second earlier, - we will rotate him backwards about negative 90. - We'll see what this looks like now if I was kind of popping up and it is a cool effect, - like having them pop up from the ground, - basically and the same thing for if we want to rotate him. - Ah, - with the y axis. - And, - uh, - maybe we'll move the anchor point using the pan behind tool to the very left of him, - a Y rotation key frame at one second. - And then we will go back to half a second and rotate him backwards. - So about negative 90 maybe even a little bit further with doing negative 100. - So there we have Fido popping in from the left side, - and they will move him with the moon tool over to the left side of our composition. - So it looks like he's just popping in from the left side of the composition. - So those are all cool ways that you can animate the rotation of Fido. - Let's do a quick example of how this would look animating text because a lot of you, - I mean, - commercials nowadays use this effect. - I watched whenever I watch TV. - I, - um, - always find commercials using this kind of transition to introduce or to exit text. - So I'm gonna move the anchor point with the pan behind tool to the very top center of this - . - So it's above the top of the text. - I'm going to select this three D enabled and motion blur press are to bring up the rotation - at one second. - I'm going to set a Y rotation key frame half a second. - I'm going to swing it backwards. - But really, - you're increasing the degrees to 90 and I'm going to just slide the end of this this layer - so that it starts just at 90 seconds or half a second. - Rather so now we have the tax falling down. - Maybe we want it a little bit faster, - says something like that. - Sometimes you also see where this text kind of comes down and swings back and forth. - So say we'll do that so instead will go up to about 40. - Want negative 41 degrees, - then go forward a little bit. - Won't go back to 30 on kind of slowly decrease how this this swings up to negative 11 on - May be back to zero. - Will select all these key frames. - Use key frame assistant to add Eazy E's. - We'll see how this looks, - so we have to play with the timing, - but you get the point of the text kind of slowly zooming in, - so I'm gonna move these key frames a little bit so it kind of slowly swings into place. - Something like this. - Maybe a little bit more even simply like that. - There you have our text swinging in, - and maybe you have this and then I will duplicate this layer by selecting it and pressing - command d I'll move it down below on. - And you know, - whatever you want. - You know that part? - Whatever your text is, - I'm just using sample text Right now. - I'm going to move it to the center, - and then I'm going to decrease the size of this text a little bit. - Actually, - I'm going to change the scale down here. - Her anchor point is over to the right of it. - So I'm going to change that to right above the center of our text. - Just move it to the center of the composition, - press you to see all these key frames. - So I wanted to come down after the TV commercial text comes down. - So we'll see what this looks like. - Something like that is really cool. - And I'm sure you've seen this if you watch any TV at all. - So these air some really cool animations that you can do using the three D animations in - after effects. - So that's what you can do with rotation. - Next, - I'm going to show you some cool things you can do with editing three D position. - Thanks for watching. - If you have any questions, - please let me know. - But until next time, - have a great day. 25. 3D Animations 2: - Hey, - guys. - Back with another tutorial on three D animations. - This time we're talking about the position. - We have our dog back, - so I want to show you a cool way to introduce our dog. - So we gotta make sure that or three D is enabled. - So go ahead and click that box right there. - Say, - this is our final position. - I'm going to just turn on the key frame for position right there. - I'm gonna go back. - I'm going to basically move our dog in space closer to the camera. - So close that he actually goes behind the camera. - You can see I'm basically moving, - moving, - moving him. - And finally, - he pops behind the virtual camera. - That is our composition. - I'm going to make the second key frame Izzie's and that won't see how this looks. - That's super fast. - I'm gonna make this a little bit slower, - but you have your dog popping in from behind camera. - This is a great way to animate logos flying in from the back of of the camera. - Um, - you see that a lot Or just text. - In general, - you can also do it the opposite. - So instead of zooming in from behind weaken. - Basically, - zoom in. - And you know this You can you use this do the same animation using a change in size - animation. - But, - uh, - using the three D just gives you a little bit more flexibility and more options. - So to make it fully disappear, - it you have to put him way back. - So what I'm gonna do is actually using the opacity transition. - So Presti, - to bring him opacity, - press you to bring him both, - Uh, - all the key frames. - I'm gonna move this opacity key frame at 100 to about here within turn it to zero. - So basically fades in from the distance. - There you have vital kind of flying in from the distance as a cool. - Another cool way to introduce text or a logo or you know, - anything. - Um, - if you're you know, - if you have different objects or different blocks of text, - um, - that's a cool animation to use. - So that is position. - Let me show another one involving position and rotation animation. - So here I added this text. - As you can probably guess, - we're going to do a Star Wars on text animation. - You know, - if you ever seen Star Wars, - the famous way that the text flies in. - So I out of this text block the way that I did that Just show you is if you have your text - tool, - you can just click and drag and create a box. - Then when you type in here automatically, - stay stays within the framework of that box. - So let me turn on this layer back so you can see it. - So first I want to rotate this so I'm going to rotate this on the X axis. - So that's a little bit. - You know, - it looks like it's flying in from the distance. - It looks a little bit three d and then I'm going to set, - uh, - position key frames. - So let's see what position we have to actually changed to make it look. - I gets flying in so we can also do is, - um, - you'll see these arrows is blue, - green and Red arrow pop up in the center when you have three D on, - let me undo. - So now you can see that and you can basically move. - He's different options, - so if you move, - you'll see that a little X appears on next to your malice. - And that's if you want to change the X Axis z? - No. - Back and forward. - Um and then why move up and down? - It's over This, - in fact, - actually, - we're using a why animation. - So we'll start, - Say, - Well, - just start this about right there. - Then that will be our end spot, - and then move this forward, - and then we will move this composition with using the Y axis, - be on the screen, - and you can. - What you can do is once you have that, - why and you're clicking, - you can press shift and it will move it further. - So something like that I'm gonna move this to the very start of our composition, - and this is probably going to move really fast, - but you'll get the point. - So there we have our own star wars looking animation, - the tech flying into the distance and star was it actually has a little bit more of an - angle, - and it just kind of slowly fades into the distance. - Um, - and it doesn't really go above the top of the composition, - but you get the point, - um, - of how you can create some cool animations with the rotation and the position, - because I wasn't just actually editing the Y axis of this layer. - As you can see as I move forward, - it was editing both the Y and Z axis. - What? - The numbers change now here. - So those are cool too cool to more cool animations for you guys to try out. - I hope you are practicing as you go along with these lessons and we're going to do some - more three D work in the next few lessons. - So I hope you're enjoying this and learning a lot. - Have a great day and stay safe. 26. 3D Animation - The Dog House: - Hello, - everyone. - A hope you are enjoying these lessons so far, - and especially in this section where we're talking about three D animations in after - effects. - Say, - I want to show you us, - You know, - basically the basics of creating an animation, - Um, - but basically creating an environment. - And that's something that you'll be doing in after faxes, - just creating environments, - actually creating scenes. - People actually create full animations using after effects. - And so, - for this is a good example of that. - So using our dog as our subject, - I want to create a scene with this dog and his house. - So I downloaded a few objects from online. - We have this doghouse, - we have this grass, - and we're going to be creating some, - uh, - new objects as well. - So first, - um, - let's edit this doghouse because this will be kind of the basic the basis of our animation - . - I'm gonna put it below. - But we're also going to be editing the three D options as well. - So I'm gonna click that on the dog house. - I'm going to increase the size summers click and increase the size of this. - It might get a little pixelated. - Actually, - I'm going Teoh decrease the size. - I'm gonna show you a cool thing you can do because I don't want that taking up the entire - frame. - As you can see, - If I was increasing it too much, - it starts increased the entire frame. - Now I'm going to create a new shape to kind of continue this grass along the whole way. - So I'm going to use the pen tool. - Phil, - I'm going to, - uh, - use this eyedropper right here. - Click this grass color and I'm going to start and ah, - shape over here and just basically create shape that continues his grass. - And it's not perfect. - There is a little bit of line you can see right here, - but it's hard. - It's really hard to see, - and I'm just gonna move it a little bit. - And if I spent more time, - I can, - you know, - really get it to match perfectly. - You just just eye dropper to get the color right next to it. - Oops. - That's not what I want to do on. - Let me just bright enough this grass a little bit. - And now that looks like a better match for this grass. - And now we have this, - you know, - dog house with Hill. - Your grass? - No. - I'm gonna put this grass at the bottom to give more texture. - And I'm just going to duplicate this layer, - Move it over, - and I'm going to put this green shape layer down below it duplicate this layer again over. - So now we have this kind of grass texture in this front with her dog. - Actually, - with both these great all this grass, - I'm gonna bring a position. - I'm gonna move it closer to the camera. - So at negative 100 and it's good to remember where that Issa negative 100 for this she - player and the dog house. - I'm going to do positive 100. - And as we see when we do, - that basically changes the position of these two. - So we have toe to fix that and maybe increased the size as well. - So scale there's the scale. - And then just move this around again, - just like that. - Now, - with their dog, - we want him to be sitting in between. - So his position is at zero, - which is between what is now, - uh, - this doghouse and shape and the grass texture said perfect. - Whoever dog sitting on the grass between the front grass layer and the back player. - Now we want to create a sky. - So let's create a new layer solid, - and we'll just make it blue. - Kind of a light blue sky color. - Something like that. - We'll just put this behind. - And I'm not gonna make this three D because if I make this three d and I add some - animations or at a camera, - um, - we're gonna have to worry about the sky basically becoming too small or big. - So, - for example, - it's I'll show you what this would be like. - So if we did animations, - a rotation animation or of ham remove Um, - basically, - this sky wouldn't cover the entire composition. - But if it's not in three D automatically will cover the entire composition. - No matter what, - let's create a couple clouds. - So, - Larry, - new, - solid do white. - And then I'm just gonna use the Ellipse tool to create a cloud shape. - So I'm gonna do a couple mass within the shape, - something like that. - Then I'm going to select all the MASS president m increase the feathering to get this soft - looking cloud. - Then I'm going to for this below the shape layer, - turn on three D put this at. - So we have our cloud here. - So I'm gonna put this about at who's a little bit of 1000. - Maybe I will duplicate it. - Another one over here That maybe 2000. - Yeah, - that one will be 2000. - I say we want to add bright son. - You can do that. - Something do layer new solid and then make this orange orangey yellow This and then I'm - going to use this lips tool to create a circle that I'm going to use the pen tool to create - some cool sun rays making the sun's rays like this. - Make sure I close this the masked like that. - There we have cool, - son. - I'm going to make this three d But this below you're white layer our cloud layer and all - these layers you can rename, - which would be helpful. - So you know, - you can press selected layer presenter cloud one cloud to etcetera And I like keeping my - layers in the order of three D space. - So, - um, - for example, - I like having my son behind my clouds. - So I want to make this at something like 2500 sets behind everything. - So now I ever our sun in the sky. - We have our dogs so this is cool. - Start having animation. - So let's do a little bit of animating just to show you what we can dio. - So our dog will have him kind of walk across the screen so we'll start over here position - and I'll do seven key frames for Z rotation and I'll press you to bring up just the the - position. - Anzi rotation, - key frames. - The end of this five seconds will have Fine. - I'll be over here and then in between, - and we'll set a key frame for rotation as well right there. - But in between, - we'll just kind of rotate him back and forth a little bit so that you can see him and I'm - bouncing along like so. - So now it's rented that out. - See what that looks like. - This is very basic bite. - You get the point of what you can do with after backs and maybe make this a little bit - faster. - So I select all and press option while I click and drag. - It basically moves all the key frames in faster to make it faster, - they have it. - Move that to the start of the composition. - And then now let's just anime our son a little bit. - So our son will basically start here in the end point that at the start of the composition - that keeping the end point will be about here. - Then let's go to the middle of this animation and we'll just move the sun up a little bit, - something like that. - And then we'll set a Z rotation as well. - Keep dreaming the start, - press you to bring up all the key frames, - and at the end, - we'll just have it rotates slightly. - That looks like the sun is turning. - Let's see what that looks like. - So there we have a dog coming in. - Now let's just move this cloud slightly as well. - So these two clouds, - it's like both set key frames for position. - Go ahead. - In the the animation, - this cloud will just move to the left of this cloud will move to the right like that. - And here we have a nice little animation of our dog on screen. - So there you have it, - or you got a lot more detail on that. - Birds flying around, - um, - change the color of the sky, - Uh, - for example, - we can add a ramp effect to the sky. - Just search ramp looking drag and drop it on this and select two colors up here. - So you have the start of the ramp will select a light blue maybe a little bit more sky blue - color The end will do a little bit darker blue, - so it kind of looks a little bit more natural. - Something like that. - You add a ramp to the sun are, - you know, - blur out the sun a little bit, - maybe one at a fast blur effect search fast bowler drag and drop it on. - Increase blurriness to maybe like 50 like that. - And now the sun has a little bit more texture to it looks a little bit more like how the - sun would look in an animation like this. - Cool Guys, - I hope you're enjoying this lesson and learn a lot of what you can do with after effects. - There's so much that you can dio This is just the beginning. - But we've basically created this environment in three D space, - and, - uh, - you guys should be proud. - So thank you for watching this lesson. - If you have any questions about this lesson, - or any previous lessons. - Or if you have any comments or concerns, - please let me know. - I'm always trying to improve my classes. - And if you guys give me feedback that will help me. - I definitely want to hear it from you. - Thank you for watching. - And I'll see you next time. - Bye. 27. Using the 3D Camera 1: - guys, - What's up? - This is Phil back with another lesson, - the aftereffects course. - Today we are continuing our dive into three dimensional video editing. - And one cool thing the after effects allows us to do is actually put a camera into our - composition so that we can actually create camera moves as if this was an actual video - shoot and you were shooting on a three dimensional set. - So let me show you exactly what that means. - First, - we're going to go upto layer new camera, - and then you get this dialog box with all sorts of options. - And I have some custom options for different lenses that you know you can use. - And each one has a different, - um, - built different depth of field, - so things will be more and focus than others. - Um, - depending on where they are in the space of the three d space of the composition, - some are more resumed in lessened in f stops are different. - I mean, - totally, - completely customizable eso. - Let's just do a standard 24 or will do 35 millimeter lens and then press OK. - When you add that to your your composition, - it will show up down here in the timeline as another. - Later, - if you drop down the menu and you you will see that there is the transform tools and the - camera options, - the camera options, - these air what we just kind of went through and picked. - But you can customize them here as well. - And then the transform is pretty much similar to other. - You know, - the standard, - Ah, - transform tools from a not normal layer. - So you have your position, - your X y and Z rotation. - But you also have orientation and point of interest. - So point of in interest is more where the camera is pointing and position is where the - camera is set. - So, - um, - let's take a look at how these changing these values will affect this composition. - You gotta make sure, - though, - that your layers are in three D. - So make sure this cube is checked and because, - if not, - the camera will not affect those layers. - So, - for example, - let's go point of interest. - Um, - and if you will notice point of interest, - um will move up or down or left or right. - That's basically as if you were, - um, - panning the camera to the left or right or up or down, - similarly, - is the position. - So you're moving the camera in or out, - Um, - and by moving it in or out, - you also get some rotation from this camera. - So it's kind of tricky understanding all the different movements of these different options - right here. - So the Z rotation. - So see, - this is the Z position of the camera, - and by moving it, - you will zoom in or out. - But for the accident, - why you're basically moving the camera down? - And so it's creating this effect that looks like the text is rotating. - It's as if you were, - um, - the text was on one level, - and then you just move the camera down another level, - and it's like if you're looking at from below or from above and same with the the - exposition Now it's like if you're looking at at it from over toward its the right or over - towards the left. - So, - um, - that is the position function. - Let's go through the rotation. - So rotation will basically rotate the, - um camera in a different way, - in the position as basically rotating. - It's similar toe. - It's more like rotating the composition so you can rotate left or right, - Um, - you know, - around in a circle. - And this is just a cool way to add motion to your compositions. - Um, - orientation again is another option for, - um, - rotating the camera in your environment. - So let's go ahead and actually look at this in our practice that we did last time. - We have this three decomposition, - so let's go layer new camera, - and this will allow us to see more of the inaction and what it really means. - So it's good to their transform tools for a position. - For example, - we zoom in and it actually is zooms in as if you were on camera, - on set and zooming into. - This is not just doubling the size of this composition. - It's actually moving things forward in a natural way. - You know you can you can see here as your rotate. - It's not just rotating the entire, - um, - composition in a flat manner, - but the clouds air dipping down behind the doghouse as you rotate upper upwards or - downwards to how the sun peeks up underneath the clouds or over the clouds. - As you do that. - See, - now that the sun is about level with the clouds. - If you rotate it more, - more or less. - The sun is above the clouds. - It just looks a lot more natural that way. - Same with rotation. - No similar. - And see, - here we have. - The blue background is not in three D, - so it does not change with the camera. - But if we turn this on, - then while first you would have to make sure this this the skies behind everything. - So we'll put it behind everything. - Put it at like I think 2600 will be put it behind everything and then the size we'll put - right here. - That looks fine. - But then when we rotate the camera, - the sky disappears as well. - So that is why we put our sky as a non three d layer. - And so, - let's see, - Point of interests again is kind of changing. - The point of where the camera is pointed at you can zoom out, - and all these things are animate, - animate to the bowl. - I just made up a word right now, - but you can animate any of these options. - Um, - so, - for example, - we can zoom in, - so it's put a key frame there for position. - Go to the end of the composition and zoom in and we render this out and we have a camera - move while the dog is moving as well on the sun and everything. - So that looks even more, - you know, - dynamic. - And this is way better than if you didn't have a camera. - You would have to take each layered individually, - zoom in or increase the size to make it look like it was zooming in. - But now we just have this camera that we can basically do whatever we want with. - We can even add sort of a rotation to it and see what type of rotation we want. - Want maybe to the left or right? - Yeah, - so something like this. - So said the wire. - It will just set both rotations there and then over here will rotate it left. - So check this out. - So it's kind of like a pan and zoom the whole time the same time. - So that is pretty cool and can see where you can start. - Teoh. - You can start to see this animation coming alive. - Cool wall. - This is like I said at the start and very packed, - packed episode tutorial. - So I hope you learned a lot if you have any questions. - Please let me know. - Um, - but until next time, - have a great day and keep trucking it. - Ah, - do keep practicing. - And I am sure you're getting a lot better at your aftereffects by now. 28. Using the 3D Camera 2: - Hey, - guys, - what's up? - This is Phil Evan er, - with another lesson in the three d camera section. - Last time you could probably tell it was really crazy. - And it's kind of difficult to explain all the different positions and rotations and - orientations and transformations of the three D camera this lesson. - I'm gonna teach you away. - Easier way to add a three D camera and to edit it. - It may sound a little bit confusing at the start, - but once you get the hang of it, - it'll be a lot easier. - So right here with our text again, - we're going to add a new layer in camera, - just like we did last time. - You can choose whatever settings in line, - and then well, - we want to do is go layer new. - No object. - What is a Noel object? - A null object is basically an imaginary object that you place into your your, - um, - composition. - It's similar to an adjustment layer in the sense that isn't physically or digitally. - It doesn't appear in your your composition. - It is represented by this red box right here that appears, - but is not really, - um, - on the composition. - So if you render this out. - You won't see this red box. - But what it is there to do is, - um Well, - it's basically the easiest way to explain is to show by example what we're going to do is - make this a three d and all objects, - so that makes it even more confusing. - Is this imaginary object that is now a three dimensional imaginary object? - And then we're going to parent this camera to this no object. - And so I don't think we really dive that deep into parenting, - but basically parenting. - If you use this, - you can use this drop down menu. - Or you can use this to really tool to just click and drag and drop it on one of these - layers. - And so this means whatever I do to the null object, - the camera one, - uh, - it happens to the camera one as well. - So let me show you in a better example. - So let's do a new layer solid. - I'm just going to create a circle going to duplicate this layer and move it over. - I mean, - duplicate it, - and then I'm going to change the color of this by going going through the settings, - changing the color so Now we have a purple object. - So now we have 32 balls right here. - I'm gonna make the rest of these layers invisible. - So right now, - if I bring a position of the yellow ball, - if I move it, - nothing happens to the purple ball. - But if I parent this young purple ball to the yellow ball So you see here it says now it's - parented to layer to yellow. - Solid three. - Now, - if I moved the yellow ball, - it also moves the purple ball. - So whatever I do to yellow, - well, - it will happen to the purple. - So if I increased size, - it will. - Anger is the size of the purple ball. - If I rotate it, - you rotate with. - So you get the idea now. - So now we have a three D camera text. - We have a null object in a camera. - So if we bring up the transformation tools under no, - you'll see similar Teoh the camera. - But not exactly. - But these air actually, - um, - more similar to the transform tools of any regular layer. - Actually, - they are the exact scene, - same as a normal layer. - So you have your standard anchor point position, - scale, - rotation, - a pastie, - etcetera. - So now we can have a little bit more control of our camera in a unique way. - So using the position, - we can increase or decrease the size by zooming in or zooming out. - Um, - by moving the position up or down. - It's like a basically a It's not a tilt up of the camera. - It's like, - Ah, - the raising of Ah can't camera as if with a jib arm. - You guys probably don't know what that is unless you're really into film. - But it's basically a big tripod like arm that raises or lowers or go side to side so you - can create some like sweeps or Dolly moves with that, - um, - with rotation, - you can rotate, - um, - things as well, - just like you can with, - um, - with the rotation transformed tools of any layer. - But now this will affect the entire composition. - Same with orientation. - Ah, - this is another way to rotate tool, - rotate your cameras. - Well, - an anchor point in position are similar. - Um, - where it kind of moves up or down as well. - Ah, - And so basically, - um, - what I use is I usually only edit the position and the rotation of this so um, - let's put this into practice and put it in this composition like we did last time. - So we're gonna say new camera, - We can his name it camera one new their new no object gonna make this no object. - Three D parent camera to TUNEL Object one. - Now I can bring it the position. - And here we can, - you know, - again, - enemy that set key friends for here at the start of composition, - then Zuman. - And you may be wondering why I'm doing this rather than what I showed you last episode. - You know, - you conduce either method. - I just find this one a little bit bit more intuitive. - Um, - because in the camera camera mode, - if I didn't have the no, - no object if I was just editing the camera, - show you if I bring a P and I, - um, - change the why it's basically a camera tilt here. - I can do a camera raise or lower, - so you'll need both eventually. - But right now, - I like having this option to kind of slide in or slide out. - So we'll show you that as well. - So maybe we'll slide in from the left side and it will be a kind of zoom in and a dahling - move. - So there you have this animation of the camera and create your own kind of dolly. - Move in and zoom in as well and 10 at it. - The rotation of this as well, - just kind of put this back to center. - We'll bring up the rotation and kind. - So we'll start out right here of this key frame at the story. - No and like normal. - So that's a kind of cool camera move as well. - So as you can start to see, - these are becoming very dynamic and interesting effects. - And there's so much more to learn and do. - But all it really takes is practice a practice. - Continue practicing with the camera. - Continue practicing with the Newell objects. - And if you have any questions, - please feel free to ask me, - Um, - but for now, - I trust that you'll be able to, - you know, - just practice this stuff on your own, - and that's all it takes. - I mean, - I took a class on this stuff, - but I really only learned the basics, - not even as much as I'm teaching you now and then. - I just practiced on my own, - so that's really all it takes. - Thank you for watching, - and I'll see you guys next time 29. Layer Styles: Drop Shadow: - Hey, - guys, - Welcome to a awesome and awesome lesson. - An awesome Siris of lessons. - And I'm really happy to have you here. - Thank you for taking this course in this section. - We're gonna be talking about layer styles and eso we're going to be talking about drop - shadows, - glows, - devils and bosses, - all sorts of things like that. - I've created this really simple composition with a few shapes just so that we can play - around with them and show you all this different layer styles. - So, - first, - how do you get to the layer styles you click on a layer? - Actually, - you right, - click on a layer and there is a layer styles option. - Then you see, - there will be lots of options. - So for this lesson, - we're just going to go over a drop shadow. - So adding a drop shadow gives you this natural or this standard drop shadow. - I'm going to do that to my blue circle, - actually, - right. - Click layer styles drop shadow. - So down here below you see that drop shot of pops up under layer styles and there's you - dropped on the its many, - and you have lots more options. - So you have a past you so you can make it lighter or darker. - I usually usually like lightening it up. - Maybe around 35 or 50% makes it look a little bit more natural. - You can change the angle so it can go like on the top right top. - Left any side of this circle, - you can change the distance from the actual layer. - The spread, - which um, - is kind of like the softness and the size, - which really increases the softness. - And, - um, - yeah, - basically at it that way on. - That's how you add a drop shadow. - You can change the color of it if you want. - I've never really played with Jean and the color of drop Shadows, - but that's a cool idea. - And, - yeah, - so this is how you would add a drop shadow for text. - So you just write your text shadow and sometimes, - like if you have a lighter text on a lighter background, - it's hard to see, - but you can always add a drop shadow. - Top shadows aren't your always your best friends. - Sometimes they can make your images look a little bit cheesy or outdated, - but it's something to keep in mind when you are adding when you're editing your - aftereffects projects something like this dropping the capacity. - Something like that. - My look nice. - Cool. - So that's drop shadow. - Next time we're gonna be talking about inner shadows. 30. Layer Style: Inner Shadows: - Hey, - guys, - let's talk about adding an inner shadow, - another one of our layer style options. - So let's just go ahead and right click are Green Square will go to layer styles and click - in your shadow. - So there you see this inner shadow it makes it kind of gives three dimensions to this image - . - It makes the square look like it's indented in this blue circle. - Let's ah, - drop down this inner shadow menu so we can see more, - um, - options. - And I'm going to actually make this 100% so we can see what exactly is going on. - Please. - There you see, - our shadow is inside rather than outside of our square. - Like the drop shadow you can drop the opacity. - Change the color, - James the angle if you want. - In shoes the distance from the square corner, - choose the size, - the choke and all sorts of things. - You could make it more noisy or less noisy. - So say we want something like that. - So, - Alex, - nice, - um, - got this kind of subtle in her shadow. - One thing we can do with their layer styles is copy and paste them to another object. - So I just select in her shadow. - Copy. - I just press command, - seeing on my Mac control. - See, - on your PC in command be will drop the shadow on this circle. - So there, - you see that this is looking a little bit more three dimensional. - I'm gonna do the same to my text, - but you can see the size for my Texas. - Not right. - I'm going to go down the layer styles struck down. - All these menus change the size. - Something like that. - Maybe even a little bit less distance. - I'll just put it three. - Something like that. - Something like that looks nice. - So there you can really see that. - Um, - you know, - the three dimensional, - um, - nous of this composition is really coming out. - It looks like there's multiple layers and levels, - so that is the inner shadow. - Hope you enjoy this lesson and we'll see you next time. 31. Glow: - Hey, - guys, - let's talk about another layer style glow. - So we have both of inner glow and outer glow. - So if I right click my text or whatever layer I want to add a glow to you can select out or - glow. - This is very subtle. - I'm gonna make this 100% so we can see it better. - So then we go down to her options and you'll see all sorts of options such as changing the - color, - the size, - etcetera. - So I'm gonna at first increase the size so we can see it a little bit better. - And maybe I'm gonna change it to something a little bit darker May as more orange to the - glow case of that adds more close orange. - I really want to be seen on Put the past yet 100% um, - for the technique, - you can change from softer, - too precise, - as you can see precise. - It really showed. - You can see the letters, - the shape of the letters in the glow where software is more just like a a subtle glow. - Um, - around the letters spread will, - um, - basically feather or not. - Feather it so you can have no feather or lots of feather or no feather. - Um, - and there's all sorts of other options that you can use, - but those are the main ones, - um, - for you to play around with, - and so that's the outer glow. - And take that off. - We can do an inner glow, - so I'm going to right click and click in our glow. - Okay, - So if we have, - this is in her shadow, - meant to do in Arklow and a glow See it? - So now we have inner glow on the inside edge of our letters again, - I'm going to increase the size so we can see it better. - So this might be more you do something on a shape or something like that rather than a - rather than letters. - But this does give kind of an interesting effect. - Let's just do something completely random. - Was do like a blue glow can, - um, - change the choke, - different things like that. - We cannot drink the capacity, - of course. - And so this gives you kind of neon. - You can do something like this to create, - like a neon look. - Insurance of the color of our text. - Uh, - has, - you know, - cool effects like this. - Something like that. - And, - of course, - all these things are a key frame friendly. - So you can change the size of the choke just by by selecting the key frames on going - forward and then changing them. - Let's just play around with this. - I'm just gonna go through all these, - change them a little bit, - and I want the size to be that because I want to still be able to see what we're doing. - Okay, - so I'm just gonna run their this out. - You can see there that it kind of changes. - Glad to that. - If I make this black, - you'll be able to tell our darker you'll be able to see better. - So from that to that. - So something that you can do is a cool effect for, - um, - you know, - adding to text and I cool music videos, - something like that. - Cool. - Well, - thank you for watching. - I hope you've enjoyed this lesson about the inner and the outer glow, - and I'll see next time 32. Emboss: - Hey, - guys, - let's talk about another layer style called bevel. - And in Boss, - you probably seen this effect even, - you know, - way back when you know, - just using Power Point or Microsoft Word. - They even have some Babylon and boss effects. - The right click layer styles bevel in. - Boss, - you're getting good at this. - I'm sure you can see this subtle kind of curve to the edge of my letters Now all and do - that radio under you Radio up went too far. - So there, - you see, - this becomes a little bit more three d as well. - So this is another option. - If you dropped on the bevel and boss, - um, - you'll have all sorts of options you can change from an inner to outer bevel. - Um, - in Boss Pillon, - Boss, - I mean, - there's all sorts. - So I use this pillow and boss When I was creating a candy bar in after effects for Garrod - Ellie graphic I created a you know, - just a basic bar with some brown and I put the Gary Daily logo and I used a pillow and boss - on it, - so it created this nice kind of effect. - Let's go back to outer bevel or inner bevel. - Rather, - you can change the depth. - You can change the size, - um, - of these things to make it look a little bit more curvy again. - Soften it up, - make it less of a dramatic curve. - You can change, - you know the angle of it. - So it's coming from the left or another side of the text or whatever. - Later, - you put this on and you can change the colors of them, - boss. - So you have this, - you know, - greenish and boss or whatever you want. - Um, - you know, - changed the altitude and the angle as I mentioned, - um, - so, - yeah, - lots of options for you to use the bevel and emboss effect. - So I hope you enjoyed this one. - Play around with it. - That's how you're gonna learn and how you're going to get to know when you should use this - just by looking at it, - seeing when it fits. - Thanks for watching. - And I'll see you next time 33. Overlays: - guys, - let's talk about another layer style overlays that there's a couple that when you're gonna - look at. - So if you right, - click your layer goto layer style. - First you have a color overlay, - and this will come in handy when you just want to quickly change the color of an object you - know for text. - You can just go to your character window and change the color that way, - but for you know, - an object or image or something that's already pre made. - This is a great option for changes in color, - so you have to go down to your layer styles. - Color overlay. - Then you can just basically change it to whatever color you want and it will change. - You can decrease the opacity if you want, - so let me show you this on an image. - So let's take this awesome image of me at Disneyland. - It's pretty embarrassing, - actually, - but I hope you enjoy it. - You trying to get the sword out of the stone talents decrease the size a little bit more so - you can see my complete reaction to this. - So now I'm going to right click layer stall do color overlay. - So say I want it to look a little bit blue. - We'll do that. - She was a blue color and then drop the opacity. - So this has a blue tent to it, - Something like that. - So you can do that, - Or you can just do, - you know, - a black this will drop the opacity it or make it just darker. - Um, - so let's look at so I'm gonna take off this and then I'm going to look at my overland and - take up the color overlay. - We can do a, - uh, - later stop radiant overlay. - So as a greedy in to your image or your whatever layer you have, - you can add it the Grady int by selecting at itg radiant. - Then you click this color on the edge Looks like this one and change it to whatever color - you want. - And I will make a the great answer those colors. - So go ahead and add it. - It's like the color stop on, - and the next one on the right on something like that might look nice on a dark background. - So I'm going to just change the color of this background just like that, - okay? - And this has lots more options as Well, - you can change the angle. - You can reverse it. - You can align it with layer or not, - Um, - rating. - Smoothness if you want to be, - um, - more dramatic or not, - um, - the scale of it. - So there's all sorts of other options as well for this. - So play around with it. - Have you enjoyed this lesson about overlays and I will see you next time. 34. Stroke: - Okay, - guys, - let's talk about our last layers style. - This is gonna be a stroke. - So also in your for your text, - you can add a stroke easily by going to this option down, - hear clicking this box around it. - Um, - when you're choosing color, - you can add a stroke here and then make the pixels bigger or not. - But let's I'm gonna show you how you do it with a layer style first. - So you right click layer style, - but a stroke. - See their ads. - This red stroke automatically dropped on this drug menu. - Change the color to whatever you want. - Increase the size, - the capacity, - the position if you want on the outside of the attacks on the inside are just in the center - . - You can join the blend mode as well, - so that's great for the text. - You can also do it to images, - so I have this image of me at Disneyland, - so it's right. - Click their style stroke and then delete is overlay from the last one. - Now we have this sort of framing of my image. - So let's pick something like a gold ish color. - I guess I look good. - Increase the size so while it's a big stroke, - something like that drop the size of this. - Now we have a frame around our image, - so it's strokes are a great way to do that to any sort of layer. - Thank you for watching, - and I hope you've enjoyed these lessons about layer styles. - Have a great one, - and if you have any questions, - please feel free to contact me on the course page or through video school online dot com, - right. 35. Fractal Noise: - guys back with another lesson and the aftereffects course, - we're going through some of our special effects in presets. - Um, - that I want to show you in particular. - I mean, - there are so many in our effects and presets window. - If you don't see that, - bring it up. - Go under window effects on process. - You'll have this list of effects today. - I want to talk about the fact all noise effect, - which is a great effect for creating billowy clouds, - frothy phone, - all sorts of purposes. - I've used it for creating clouds. - I've used it before, - creating starry skies. - I've used it for, - um, - trading frothy beer foam. - So I've used it for all the different things. - So let's go ahead and start a new composition. - I want to show you a fractal. - We'll call it fractal noise. - Let's make this 10 seconds. - I don't just dropped on this size. - Uh, - it renders easily going to add a new layer and skin new layer solid will just make it Ah, - green or blue. - I don't think it really matters, - because once we add our fractal noise effect, - which we get by typing in fractal noise, - it was fractal clicking and dragging it over. - It gets rid of the blue. - Now it's just this billowy cloud. - I'll put this on full quality, - so you can see. - So this creates kind of like this smoky miss. - And then it brings up all the different options in your effect, - Editor, - over here on the left. - So if you don't see that go, - we have this effect controls tab so you can see there's different types of fractal. - Um, - so you have, - like, - a dynamic. - So this is more cloudy, - billowy. - You have what they call more smeary and all these things, - you know, - they'll come up for different purposes. - Turbulent basic, - for example. - Let's just try. - You know, - this dynamic, - progressive, - if we're going to use it for a cloud, - you also have the noise type again. - Block Lanier, - which is nice. - Soft Lanier spleen. - Explain is nice for clouds. - Um, - you can invert. - The colors are basically this creates more of, - you know, - it almost looks like water. - Um, - which is kind of a nice effect as well. - And then contrast. - You can add more contrast or less contrast and make it brighter or darker. - So less contrast, - me brightening up a little bit. - I want that bright. - Something like that, - um Down here. - Transform. - You have different transformation tools as well, - rotating and all these things that key frame a ble. - So you can, - you know, - change the rotation throughout the composition or the rotation, - all sorts of things. - Complexity. - You know, - you can make it more complex or less complex. - Um, - an evolution as well can create motion. - And that's the one I use for motion. - So say we want this cloud to kind of be transforming as time goes on, - we set a key frame for evolution at the start, - and at the end, - we will say a key frame by just well, - type in one so that it goes around 3 60 degrees. - The evolution phase and I'll run to the South so you can see. - And if you can see that it's running it slowly is moving and growing. - So it's really it's a really cool effect. - So this, - you know, - is the start of our cloud. - Um, - then So, - for example, - if we are going to use clubs, - make clouds, - let's just take our lips tool and create a mask kind of it. - I'm just gonna make a few circles on this. - I'm going to select all my mass press f to bring up the mask feather, - and I'm going to feather it out. - When we feather it out, - it gets this blue tint around it. - And that's because I saw setting her solid color is blue, - so I'm going to go upto layer sold settings. - Make that white. - So now we have this cloud that you know is transforming through the sky. - So that's really cool. - You know, - it's better than just ah, - still proof of of colors. - And like a white color, - this one is actually dynamic and moving. - Hey, - we want to add blue layer, - but we needs it The act as the sky just select a light blue. - I think this well, - put it the knees and as you can see that our cloud has this dark, - dark colors in it, - so has the blacks in it. - And that's just part of fractal noise. - So we're gonna going to have to play with, - um, - are transfer mode. - So we're gonna click this toggle, - switches nodes and go to something like I think multiply will be good to see that does the - opposite effect that I want lighten will be, - you know, - makes it really poofy. - Gets rid of all the darkness. - Screen is good, - makes it really light. - Gets rid of all the black You can scroll through these by pressing on a Mac keyboard shift - and the plus or minus. - Keep buttons. - You'll see like overlays. - Good, - hard light. - There's some different ones that will work for our purpose of getting rid of this darkness - within the cloud. - If you If you don't like that anyways, - so we'll go with something like overlay Now would be good. - So it's really light right here. - But if we make our background a little bit darker, - darker, - you will be able to tell. - See this our cloud a little bit better. - It's just like that. - But even that, - then our overlay might not be the best best option. - Maybe our screen would be the best option. - That cloud. - So like I'm doing here, - you just have to play around with your different options and come up with something that - looks great. - And this could be a start. - The start of a really great animation of the cloud, - you know, - sun popping up or something like that. - And it's all done with the fractal noise effect. - There's lots of options for the fractal noise effects will play around. - If you have any questions about it, - please let me know otherwise I will see you in the next lesson. 36. Lighting Effects: - Hey, - guys. - Welcome to a great lesson in the aftereffects courses is Philip dinner from video school - online dot com. - If you haven't already, - check out video school online dot com for lots of free articles, - podcast videos and mawr to help you make better videos. - But let's get into our topic tonight, - which is lighting in after effects. - Lighting after vice has a lot of different options for adding lights to our compositions, - and you can do a lot of things with them. - Basically, - if you're creating three D environments, - you can light different objects like it's basically like creating a set in virtual reality - . - Um, - or you could just use it toe light to T videos or compositions in interesting ways. - So let me show you how to do that. - So first I have this image of this rabbit that I photographed in Joshua Tree, - California when I was camping there recently, - and so I just laid this photo into our composition. - Before we add lights, - we have to make sure that whatever layers we want affected by the lights are turned onto - three D. - So they're three D layers, - so click that cube right there, - then go upto layer new light and you'll get this dialog box with the options for the lights - and you can name it whatever you want. - And then there's different, - uh, - types of lights spot parallel point, - an Ambien. - Um, - basically, - let's start off with the spot and ah, - we'll go through the rest later, - but the spot is the main when you're going to be using, - um, - ambient will basically add light to the entire composition at once in an even way. - But a spot parallel and point have some interesting ah forms of the light. - You can change the color of the light, - but for now, - I'm just going to use ah, - white weight light. - You can change the intensity and all these things you can change later. - So I'm just gonna leave all of these and we can see what it looks like. - So there you have our spotlight, - and when you add it, - it it comes down here to our timeline. - And as you probably could guess, - you can key frame any of these options. - So the intensity of the color you know, - the angle, - all of those things. - One thing to notice is this light that is added in our composition, - this isn't actually going to be seen in our composition if we export it. - But is there for us to easily edit while while editing in after effects So we can kind of - click this light and move it around. - So there is the positioning of it. - So this green, - blue and red arrows these air for positioning it so you can move it, - you know, - left right along the X access up or down, - or with the Z axis, - you can move it back further away or closer to our composition. - There is also the point of interest. - So this is, - um, - basically where it is pointing, - and that's this little blue dot with the line connected to the to the to the light. - And you can get to that through the transform tools down here. - You see this point of interest as well as the the ah position and all the rotation as well - , - so you can change it that way. - If you don't want to just click within your composition. - Also, - let's look at the different things you can do with light well, - such as cone angle. - You can make it wider or more narrow. - You can make it more or less feathered. - You can change the the the fall off to be, - um, - more of a squared or smooth fall off. - You can also change the radius of of it all, - um, - in the fall of distance, - Um, - and you can turn shadows on. - We'll talk about that another time, - and these other options have to do with the shadows as well. - So the main things you want look at are the cone angle, - which is how wide your or big your light is actually. - And, - um, - the cone feathering and the intensity as well, - because you can turn down the intensity if you want. - You can even go above 100 minutes. - Which starts to, - um, - make whatever the images or the subject of our light. - It starts to overexpose it if it goes over 100%. - So one cool thing that I like to do is just set up compositions, - um, - it with cool, - unique lighting. - So let's try something. - Try to do something like that. - I'll show you, - um, - some cool lighting setups. - So say we just want this bunny on the side of our composition lit up so weaken, - you know, - put our put our light up in the middle up above, - and then put the point of interests, - you know, - right where our rabbit is. - And this is pretty cool. - Um, - you know, - lighting. - Maybe we wanna have text over here on the right or something like that. - We can't animate the point of interest, - so we'll go into the transform tools will set a key frame right there. - That's where we want the light to end up. - So we'll move that to about one second, - then we'll move it. - Maybe over here. - So it looks like it's searching at the start of our composition. - And then what we're going to do, - as was in our light options, - we're going to keep from the intensity. - So about halfway through this movement, - So at one second or half a second, - we'll have the intensity be 100%. - But at the start, - we'll just keep it at Well, - lower it to zero. - That kind of appears. - Now let's runners out and see what this looks like. - So there you have it are light kind of scanning the ground and finding our rabbit, - So that's pretty cool. - Um or if you don't, - you know, - if you're not necessarily adding lights with motion, - you can just have a cool, - um, - set up. - Let's change the intensity to 100. - And, - you know, - you just have cool lighting throughout the entire composition, - so maybe you want sort of some sort of been yet ing. - So let's, - um sometimes it helps to decrease the size of your composition, - that going over to this 100% you can make it 50% so you can see more and move the light - into more unique places. - So maybe we want the light to be Damrell coming from below something like this. - Then we can decrease the cone angle, - just play around with it. - So, - you know, - you get the idea. - It's again something you just have to play around with, - um, - and figure out what lighting set up you want. - I hope you're enjoying these lessons. - If you have any questions about, - um, - the lighting in after effects, - please let me know. - But for now, - I'm just gonna let you play with it. - But let me quickly show you the other lights so we can change this light. - So, - for example, - let me just make this a little bit bigger. - We'll put this out 100%. - I'm just gonna change it to parallel, - So this is basically very wide light. - So it has different. - Um, - this is kind of a different effect in the spotlight. - You can choose the point, - which is, - um, - also similar to parallel. - It's whiter than the spot light. - It's when you can change the the with. - But by changing the radius, - then you have ambient, - which is basically just, - uh complete, - like it affects the entire composition. - Um, - and it's just for adding, - you know, - making your composition a little bit brighter. - Say you want one reason you would do this is say, - you want the whole thing lit up, - but you also want a spotlight on our rabbit, - so you wanna be be able to see everything, - but you want the rabbit to be the main thing that you see. - Then you can add a second light will shine the spotlight down on a rabbit, - something like that. - And there, - unlike before, - where we didn't have the ambient light or it was just the spot lit. - Grab it. - Now you can see the rest of the composition, - but you can also. - But you you're high. - The rabbit is highlighted. - You can turn down the ambience or not turn it up. - But of course, - you have to be careful, - because when you're adding multiple lights together, - you can get things to parts of your composition to be overexposed. - As you can see here, - it's getting too bright because it's adding both lights together, - so we'll turn that down. - So as you can probably tell, - there's lots of things you gonna do with lights and there's lots to learn, - but it really takes playing around with them and just practicing. - So get to it and let me know if you have any questions. - Thanks for watching and have a great day. 37. Text Effects: - uh, - everyone, - welcome back to a new lesson in a new section. - We're talking about some preset effects that aftereffects comes with, - and I'm just gonna go through some of my favorites and show you how they work. - Basically, - all the effects kind of work the same where you just applying them to a layer and then you - you can edit them, - tweak them, - adjust, - but some arm or preset. - And today I'm going to be talking about some preset text effects. - So first, - I'm going to write out a sentence just to give you an idea. - So these are some preset text effects. - So back in action. - So we have These are some crease that text effects in your effects and presets. - You'll notice this animation presets drop down menu going and drop that down and there is a - text option. - Now, - these are tons of three like three D non three D text effects. - Let me just show you basically a couple of them and you'll get the idea and you couldn't go - through the rest Decoder fade in. - This is a really cool one. - So you just click drag and drop it onto our text as you can see our text disappears. - If you present you while you have your layer selected, - you will notice that there are now two key frames and that those are automatic key frames - set by the preset effect. - If I render this out, - you'll see what is basically going on with this animation, - so you'll see that it's kind of popping in like a Dakota is going searching through the - letters. - And when it finds the right one, - it pops up. - So it's taking a little bit time to load and play, - but you'll get the idea really cool effect. - I've used this when I was making sort of how to commercial for some police company that had - some new software. - So pretty cool to get rid of an animation effect. - You want to make sure that you go under and delete the animator. - So you didn't have toe clothes, - close the layer and then reopen it to see the animator. - Just delete that. - Okay, - I'm going to make this quality half, - so maybe it renders a little bit faster next time. - All right, - So now let's do, - uh, - well, - try this pop buzzwords. - As you can see, - we got some key frames coming up. - So now this one is going to pop some buzz words every 15 seconds or 15 frames. - And so let's see if we have some. - You have more options. - You can change the path you can. - I believe you should be able trains of texts. - Well, - uh, - I see. - So, - yeah, - you can change the you ca nbae sickly change the text by just going and in and changing it - when you change it. - A word. - A new text pops up on your key frame down here, - so let's watch this Render it out. - Hello? - Wait. - I guess so you you get the picture. - Okay, - let me dio another one. - So here is some text. - Let me make it a little bigger so you can see it better. - I was do something a little bit more smooth. - Slow fade on. - Click my layer. - Press you to see the key frames under it out. - So this one, - it just makes this nice slow fade on so that those are some enemy in, - um, - options. - There's tons more up here, - as you can see. - Let's do an anime out one just to show you what that is. - So you stretch out each word so again you can see the key frames and can increase or - decrease the length of the key frames to make it slower. - Faster. - So there you have it, - the text flying away, - stretching away. - Okay, - then you have all sorts of other texts options. - So let's do this pulsing strokes under filling stroke. - We'll see here it kind of balances. - So all these effects are kind of good for, - um, - music videos or motion graphics or connect topography. - Something like that. - Look under organic. - So let's try this boot chewing gum. - I haven't even looked at all of these honestly, - Um, - because there's just so many so crazy effects. - So these are all things that you could build out on your own, - using stretching and change in size and opacity and all sorts of things like that. - But these precepts of facts and make it so easy. - Teoh add cool effects. - I use a lot of the anime in anime out. - Let's just look at the three D text to show what that looks like. - We'll do a three D flip and rotate in rotate acts, - so that's pretty cool. - Awesome. - I will. - I hope you get the gist of that three text preset effects under text under animation - Presets in your effects and presets for presets Folder Thank you for watching and have a - great day. 38. Stabilization: - Hey, - everyone, - let's talk about another advanced technique you can use after effects, - for we're gonna stabilize some footage something that most amateur and most professional - filmmakers have to deal with on a constant basis. - Shaky footage and aftereffects gonna help you. - So, - for example, - in San Francisco, - I took the shot of these sea lions out, - um, - in the harbor, - I said, - Let's take a look at it. - As you can see, - it's shaking up and down. - You know, - you got these night the nice motion of the sea lions sitting on the doc. - But it's shaky, - and that's kind of annoying. - It just looked. - Makes me look amateur, - but I'm gonna make myself look like a pro now. - So I brought it into my aftereffects composition, - and I put it into a new composition. - As you can see here, - it's still shaky. - Easy solution. - Make sure that your tracker windows open, - just like we were using to track motion. - Then you just click this stabilize motion, - but in it's going to analyze it and basically do it automatically. - And I already did this. - I'm gonna show you, - um, - what it looks like after analyzes, - and it'll take a couple minutes, - it'll go frame by frame. - And basically, - how it does it is that it tracks certain points and it will smooth it out by moving this - video up and down or rotating it so that it looks like it's still so let me show you. - Whereas guys. - So here is the analyse footage and it'll run her out. - And there you have it nice and smooth. - No up and down shaking motion a little bit. - Bit of a nice till up and down. - And let me show you the original again. - Lots of up and down shaking. - No, - Bueno, - this is boy, - No perfecto. - And you know, - you can change these settings. - You could make it more smooth or less move. - So I'm gonna make it. - Let's see what happens when I do 127%. - Smooth this and render it out. - Um, - you can change how it how it, - um smooth with the framing. - I in here, - you know, - 127%. - It looks even smoother. - So it's really awesome. - So you could change this to stabilize only in stabilize crop stabilized, - synthesized edges, - stabilized crop auto scales. - The automatic one that it it chooses, - and it's probably the best. - I would say you could, - uh, - do different methods as well. - You can use position, - scale, - rotation, - and this does a good job as well. - So let's render it out and see what it looks like. - So again, - almost identical. - But for different shots, - you're gonna have to play around with the different options. - Um, - and see here the the result. - You can choose smooth motion or no emotion. - Sorry for the dogs and the sirens in the background. - But basically, - um, - you know, - there's so many different options, - this one, - there's no motion. - You don't see any up or down motion of the camera so that if you want that kind of shot, - you can get that kind of shot. - But this stabilized motion option is a great tool toe have, - and we're gonna use it, - I assure you, - if you're making lots of videos, - so thank you for watching. - I'll let you stop listening to my crazy neighbour dogs and I'll see you next time 39. Creating a Starfield: - Hey, - everyone, - welcome back to another awesome lesson. - We're going to go over another effect called Sisi Starburst, - And this is a great way to create a ah star field or creating an a warp speed effect going - through stars. - So let's go get into it. - Started new composition called stars going to add a new layer solid. - We're just gonna make it white. - Okay, - Okay, - Then we said the cc starburst to it. - And as you can see, - it's got these. - Uh, - they look more like balls, - but we can change that. - And if we render it out, - you can see you're kind of going through this star field again. - Like all effects, - we have some options up here. - In our effect control panel, - you have a scatter which will make you know, - if you increase the scatter, - there will be more or less stars, - the speed of which you're traveling through these stars. - You can affect that too. - If you choose zero, - then it means it's just still, - which is something you might want. - The phase also will affect, - um, - different movement of the stars so you can keep frame that to create movement if you want a - swell grid spacing. - This will increase or decrease the size of your stars. - So if you want really big ones or small inns, - if you want more like a star field, - something like that might might be, - well, - better one. - And then you can also decrease the size as well, - so it might be hard for you to see. - But, - um, - hopefully you're watching this in HD, - but with a grid spacing of one and the size of 33.0, - you get this really nice looking star field and rendering it out. - It's actually hard for even meet it T. - O. - C. - Because just this preview, - even though it's full quality previewing the these very small particles, - it doesn't show up in the preview as well. - So you just have toe look at it when it's still like this. - Um, - but again, - you can set some key frames if you want, - with the phase said a key frame at the start and just rotate a little bit. - Then, - as you scroll through this, - you can see that there's a movement, - um, - in thes stars. - That one is really fast that we don't want that much movements. - I'm gonna get rid of this last key frame going to the end, - and I'll just increase it by a few a few degrees rather than full phase rotations. - And still, - this is rotating really fast. - That might not be the best way to create motion. - You might want to just, - um, - play with the size or the rotation. - That's another great thing to do. - Is using rotation to add a little bit to your composition? - Starcom Composition. - Um, - and it'll slowly rotate, - and that looks really nice as well. - So stars are a great background. - Um, - like I say all the time. - If you are using after effects for a while and you're doing projects, - um, - and creative projects, - at some point you're going to need to create a star field. - So cc starburst is one of the best ways to do that. - If you have any questions, - please let me know otherwise. - Have a great day and we'll see next time 40. Tracking Motion 1: - Hey, - guys, - Welcome to an awesome lesson in the after effects course. - This is Phil. - Revenue from video school online dot com. - Thank you for joining. - I hope you're having a great day. - I am having a terrific day. - I actually have a full time job at the moment. - And I was able to go in early to work and leave early. - So it's a nice, - sunny day year in seven California, - wherever you are. - I hope you are enjoying it. - The weather is heating up here right now in spring. - Of course, - you could be watching or listening to this at any time of the year at any point in the - world, - so it might be winter, - and you might be Snowden right now. - So either way, - I hope you're having a great day today. - We're gonna talk about motion tracking something that is an awesome tool that aftereffects - is after. - Effects is an awesome tool for motion tracking. - Um, - and so I have this clip right here. - I'm going to bring it up from San Francisco way. - Have this bus. - We have this bus going by the Golden Gate Bridge. - Watch it one more time. - So say this is an ad for the tour. - Both company and they want to track this bus and maybe add a little bit of, - uh, - text or something above this bus. - Well, - I'm gonna show you how you do that. - So I import it into my after fact. - Actually, - I'll just show you exactly how I do that. - Click drag, - drop, - rename, - pressing, - enter present sanfran. - But I'm gonna drop this into a new composition by just clicking and dragging it over this - create a new composition, - but in you have to make sure that your tracker is opens down here in the right corner. - Um, - so make sure you go upto window tracker and then I'm just going to, - uh um short of my work area to about five seconds to about where this bus is, - or maybe four seconds. - This clip is only gonna be four seconds long because I don't only want to track it until - the buses right there. - Obviously, - if this was a real issue, - I would have had a better shot of the bus going across the bridge in with, - with it being clearer. - And so I hope this is gonna work. - But see, - it's very foggy. - It's, - um, - not too detailed. - And we got these poles sticking up, - so we're going to see how the tracker works. - But I'm gonna bet you that is gonna work. - Great. - So the next thing you want to do is add a new Noel object. - And if you remember from Arthur three D Camera Lesson, - a Newell object is an imaginary object that we're just gonna place into our our composition - and why we're going to do that is because when we track our emotion, - basically, - um, - well, - set a point on our bus. - Then across time, - it will track it as it goes down the highway, - and it will set a key frame for each of those points, - and you'll see when I do this in a second. - But then you have to do something with those points. - You can either apply them to a layer such as attacks text box or an icon that you want - flying over this bus or we're doing whatever or you can apply it to a null object and the - null object you can. - Then you can then parent a Tet, - a layer of text, - or an object to your Newell object so that's a lot of information. - And I'm sure you're very, - very confused. - So let me just show you what I'm doing. - So first you have to go to your tracker down here and I'm going to click track motion That - brings up this new box and has this little track point option right here. - So I'm going to you see, - there's a plus sign two and two squares. - The inner square is basically the object that you want to track. - You want to put the point exactly where on the specific object you want to track and then - the square box around whatever else is moving, - and then this outer box kind of it. - It serves to, - um basically digest whatever information is going on outside of this box and determine - whether it needs to move this track point or not. - So let me show you. - So you click and move and you can see a creates zoomed in version for you. - So I'm gonna put it over this The bus you can see here. - I'm just gonna put it over the top of our bus because that that is easily seen throughout - our video piece, - something that I'm gonna make this a little bit smaller. - The bigger the boxes, - the more time it's going to take surrender. - I'm gonna edit Target down here and it brings up this motion Target box Layer No. - Four. - Yes, - I wanted to the target to be no floor. - Then what you want to do is analyze, - and I just use usually press this analyzed forward. - You can do analyze one frame forward at a time, - but I just do analyze forward this play button and we'll see what it does. - And as you can see, - it's moving with the bus right now as the time goes by. - So it's gonna keep analyzing and trust that bus as it goes down along the Golden Gate - Bridge. - So let's keep going, - going, - going. - And, - as you can see here, - the wind is blowing in the trees. - It was a very windy day when I went to San Francisco. - I actually went to the Golden Gate Bridge twice, - two days in a row, - and both days it was foggy and I stay. - You know, - you still couldn't see anything. - Um, - so it was kind of a bummer, - but I'm going to be moving up there soon, - so I'll be able to get good views of that. - So there you have it. - You see all these track points, - they appear up here in your viewer. - And also, - if you drop down this menu and dropped on motion trackers and then tracker one and then - track 10.1, - you can see that it has created key frames for all these points. - And basically it's tracking the motion I'm going to then do apply, - press apply, - and that's gonna bring up this option. - And it says apply dimension to X and Y, - and that's gonna apply it to the Noel object. - So it's gonna basically copy these key frames to the no object. - And so the no object is going toe move along with this tracker. - Obviously, - that's all imaginary right now. - But then you can dio um, - you can either just do the X and y axis trackers or just accidentally, - so it'll only go across, - but it won't go up and down with the bus or y only it will only go up and down, - but no, - not across the composition do X and y so now are no object has a position. - Key frames on it and it goes across as it goes across the bridge. - The null object you can see here. - This red square, - although it's imaginary, - is represented by this red square. - It goes across the bridge. - All right, - so that is a lot of information. - And that's how you track motion. - But then what do you do with this? - Well, - I'm gonna wait and show you in the next lesson because I want you guys to take a little - deep breath. - Re watch this episode if you need Teoh and then just get a snack, - you know, - take a break, - take some deep breaths, - and then come back and watch the next lesson. - Have you? - I hope you've enjoyed this one. - I really have, - and I'll see you next time. 41. Tracking Motion 2: - Hey, - guys, - this is Philemon or back with the follow up s episode tutorial to arch motion tracking - tutorial. - So this is part two. - If you haven't seen part one, - please watch Part one. - So, - in last episode we tracked this bus going across the Golden Gate Bridge, - and we applied the motion tracker to our Noel object. - So what do we do now? - Well, - if you're making, - why do you track motion? - While one thing is to apply a lot of effects to an object. - So say this was a bus that was, - you know, - in better view going across the frame. - What? - One thing you would be able to do is maybe, - you know, - add some people sitting in the bus or add someone you know, - if you tracked someone's head, - you can add a hat or something. - So it's basically by motion tracking your ableto add some effects to something. - Um, - because otherwise you would have to put, - you know, - say you wanted to put a hat on one of these guys heads. - You would have toe frame by frame, - move it as the bus goes along, - and that would take too much time. - Motion tracking automatically does that for you. - So for us, - we're just gonna I'm just gonna show you a couple quick examples of what you can do. - First, - you can do, - like a text layer and have that track over the bridge, - so? - Well, - um, - maybe that's so going along with our previous job. - Where making ah, - uh, - an ad for this and for the bus tour bus company. - So we just wanna have this tour bus tours daily, - you know, - type going over. - So a career new don't like that. - Oh, - just scroll through some of these a while. - That's super cool. - Um, - okay. - So Franklin Gothic six with a lot of letters beneath it were behind it. - I don't exactly what this one is. - I'm just gonna put that right there. - Then I'll add a little bit of stroke. - Maybe just toe add something a little bit more, - making a little bit more interesting, - and we'll make the stroke a little bit bigger down here. - No, - that big. - Ah, - a three pixels. - Something like that, - I. - Then what we wanna do is make sure we place it wherever we want it over the bus or under - the bus. - May we can put it under the bus I like over the buffet bus is easier to see in the fog up - here. - There. - Then we're gonna parent it to know for, - So you can use this twirly gig thing. - Or you can just drop down this menu right here under parent. - And then if you don't see that, - make sure you press toggle switches modes, - um, - but actually used to see that otherwise anyways, - and now it is parented to the knoll. - So as it goes down, - it goes across. - So let's render this out and I'll show you what it does, - so it's rendering. - So, - as you can see, - you can already see what is gonna do. - It's going to basically move our text across bridge as the bus goes away. - So it's a little bit jerky. - Um, - but it gives you the effect of this text following this bus so we can do you know another - thing. - We can add a new layer solid, - and we'll make it, - you know, - maybe this bright orange. - Then I'm just gonna take my pen tool and create a quick object. - Okay, - I'm going to actually duplicate this. - I'm gonna bring up mask across Mm again. - And I'm going first. - Change the solid settings all ago. - Layer solid settings and change the color too light yellow. - She'll make it a different color to give it more contrast on light. - Bluish green. - I'm going to bring up mask expansion, - dropped the mask expansion. - So it's kind of like a marker on a map. - So that's super quick. - I'm going to parent this blue to the yellow so that it stays with the yellow. - Whatever. - I do that to the yellow object. - I'm gonna make this smaller. - Then I'm gonna go back on the timeline. - I'm gonna put this. - Maybe I'll rotate it around something like this. - Maybe it would be better for was an aero or something. - And then I'm going to parent. - It apparent the yellow to no object. - Four. - Maybe it might be smart to rename no logic for two tracker or something like that. - And so now we have this object following the bus. - So you get the idea there. - Cool. - Well, - I hope you learn a lot from this lesson and, - you know, - go crazy with it. - Um, - it's a cool way to add text to things. - You know, - you've probably seen videos where the Texas following a person walking or something like - that. - So this is a cool way to do that. - Thank you for watching. - If you have it in questions, - please let me know in the course page or on video school online dot com. - Thank you for watching, - and I'll see you next time. 42. CC Page Turn: - Hey, - guys, - it's Phil back with another awesome lesson in the after effects course today I'm gonna show - you an effect that I really like on one that I'm sure you're going toe like as well. - It's called CC page turn. - So, - um, - if you look in your effects and presets panel, - if you just type and page, - it will come up. - And basically it will simulate a book page being turned or a she or something like that. - So you can do this to you can add this to complete compositions. - Two images to, - um, - basically any sort of layer that you have. - So here I got this awesome picture of myself at Disneyland. - Uh, - enjoy this one and you can see me. - I had rotated using are to bring in rotation rooting at 90 degrees, - bring up size to decrease the size to something like How about like that 34. - So I take C c page turn, - drop it onto my layer, - Then up here in my effects control, - you'll see some options pop up and you'll see that it starts the effect at this kind of, - um, - motion. - You can see the bottom of my photo about to be turned. - Uh, - there's lots of different controls that you can have up here. - Um, - and let's go through them. - So on the top, - full position. - If you click this little icon right here and then you drag your mouse over here, - it brings up this big cross. - Then you can click and you'll see this little circle with a cross. - A cross it. - If you drag us around, - you will notice This is the actual animation of your page turn. - So if you have it completely down below are at the bottom of your image, - there is no page turn on. - You can see that as you move it up across your composition, - your image turns flips. - And this is basically how we're going to create the animation. - We're going to a key frame this the full position. - Um and, - um, - animated that way. - But first, - let's look at these other ones, - like full direction. - You can, - um, - change the full direction to, - you know, - fold from the left or the right side for the topper bottom corner from directly below, - or something like that. - So that might be kind of cool if it was from the bottom. - Um, - and yes. - So I think you get the point right there. - You might have to move the position just to get a better view of what this will look like. - So, - see, - I move that down here and now I can really tell that the fold starts from the bottom right - hand corner. - Okay, - Fold radius. - This is basically how big the fold is. - So if I really increase this toe like 2 32 you'll see that it is smaller. - And so as it folds up, - the fold will be smaller. - Then, - if it was this smaller number, - actually, - you can change the light direction. - This basically creates the lighting on the back side of the fold. - Um, - so I'll show you this the lighting direction, - you'll see kind of changes with that. - And, - um, - the back page right here. - You'll notice you can have none. - No back page. - Or it will be the, - um your image or your layer, - but reversed on the backside. - And you can change the opacity to like 100%. - Or you can even change the color of the the color of the back page. - So say I want that to be white. - You can do that and change the back page to none. - It's in there. - I have a white back, - the render front and back page, - back page or front page. - This will allow you to just see what the front page or the back page or both pages. - And then Now let's create this animation. - So first we want our say. - We do want this coming from the bottom right. - We set our full direction, - are radius, - and that's everything else. - We take this circle with the dot and the circle with the tea or crossing in it and put it - down near the bottom right corner so there's no turn. - Then we'll see. - Click this stop wash next to fold position. - Click on your layer down here. - In the timeline, - impress you and you'll see that this key frame comes up and go forward. - However long you want. - Make sure you have. - You can click on this full of position and this circle with a cross will pop up. - Then just drag it until wherever you want it to end. - Some just gonna drag it until it goes off screen completely. - So when you render this out and show you what it looks like there you can see my paper, - my photo flying away with a cool effect like that I've created. - I've used this effect to create, - like a calendar flipping by with different sheets, - you know, - with the months or the days flipping over. - I mean, - there's all sorts of things that you can use this for if you want to create an animated - book. - And when I paid, - turn the page, - that's a really cool effect. - So I hope you understood everything I went through. - Um, - let me know if you have any questions or or you have contact me through video school, - online dot com or through the course page. - Thank you for watching and have a great day. 43. Transfer Modes: - Hey, - everybody, - welcome to a quick lesson on transfer modes in after effects. - This is something that I use a lot when I'm editing in after effects. - Basically, - if you have layers, - you'll be able to see if you use this toggle switches modes button at the bottom of this - mode. - This blending mode, - um, - options. - So they're called transfer or blending modes. - And if you've used photo shop you've probably seen is before and basically is different - ways that your layers are basically seen on top of each other. - So let let me put another layer on top of our rabbit. - Here, - let me find an image of another image. - I mean, - let's go into my photos really quick. - Just fine. - One really quick of this Joshua tree. - This is good. - So let me put this Joshua tree over our bunny, - and you can see here if I change this from normal to multiply, - you can see our bunny through the sky, - so lighter colors are kind of, - um, - there's more. - See through. - I use, - uh, - lightened. - You know, - it's a different version or different ah style, - where the dark colors and my Joshua tree image are now invisible or transparent. - You can scroll through these on a Mac. - If you're you press the shift and the plus or minus buttons just like so and you can see - them. - It's scrolling through is you have lightened um, - overlay, - which is a cool one softly in your hard light, - all sorts of of different modes. - Um, - one cool mode is the women Get to it stencil, - which lets see Stencil aapa I'm gonna have to use another. - Um, - let me get get a shape or let's get some texts going and I'll show you how that works. - So let me just rabbit is put that over our rabbit and by changes to stencil. - Now our image is seen through the text and you can do this with shapes or different, - you know, - images or icons or whatever. - Texas, - Obviously. - So let me show you this with shapes. - I'm just going to the new layer solid. - We'll make it like a blue up until this use the mass tool to create a bar across. - And now if I just scroll through the transfer moods, - you get some cool effects. - So you have this. - Some of them are very similar. - It or exactly the same. - Um, - and you just have got have to kind of play with them, - um, - so that you can get to know what they do. - And then once you know what they do, - like you'll know, - like Okay, - well, - I I definitely want on overlay here. - A soft in the near or whatever. - Um, - so you can use them. - You can do multiple. - Um, - you can have multiple layers with different transfer modes. - So let's try overland. - This or something like that may well, - I create a mass so that it's like the image is only down at the bottom. - You know, - whatever you want, - you can create some cool effects with the layer modes or transfer modes rather or blend - modes, - and that is again under toggle switches modes. - And then just under this mode, - drop down menu to play around with that, - have fun, - and I'll see you next time 44. Working with Premiere Pro: - Hey, - guys, - let's get into some advanced topics things that you might not be using in the near future - if you're just starting out, - but things that you should keep in mind for in the future when you are doing more advanced - projects. - Uh, - for this lesson, - we're going to be talking about how you work with aftereffects and premier and how you can - work with them together. - Basically, - since they're both Adobe programs, - they can kind of talk to each other in a digital sense, - and it's a great way Teoh toe work. - The workflow is is really great. - Um, - when doing so rather than having to export Ah, - quick time movie from after fax than import than into Premiere Pro. - You can basically just bring in composition and have it be live within Adobe Premiere Pro. - So if you edit it in after effects, - it will update in Adobe Premiere Pro without you having to do anything. - So how do you do that? - So if you're in Adobe Premiere Pro, - you can go up to file Adobe Dynamic Link and then do new aftereffects composition, - and that will open up a new composition within after effects. - But we're going coming from after effects. - So if we have a project in after effects that we want to bring into Adobe Premiere Pro, - what we can do is just click and select the the composition in your project folder. - I have it clicked and and I'm holding it. - Click. - Then you can tab over to Adobe Premiere Pro So there's a little tricky on a Mac you press - command tab on a PC. - You would do control Tab and I will tab over to Adobe Premiere Pro. - Then you just drop it in. - Adobe Premiere Pros Project Viewer Now we have this adobe dynamic linked after banks - composition within heart and Premier Pro. - So you can drop this down onto our composition or you can drop it and start a new - composition with it so it will open up in a second as it works. - OK, - so there we have it in Adobe Premiere Pro. - We can render it out. - Watch it, - etcetera. - Let's say we want to add something in after effects. - We can just easily go back toe aftereffects. - We'll add our title whatever you want to call it, - whatever effect you you have, - you know, - if you need a change. - Stopped something changed the timing. - And then when you go back to a deal, - be Premiere Pro, - it will automatically update pretty awesome. - Um, - say, - for example, - you want to create. - Here's another way to create a new composition. - A new aftereffects project from Adobe Premiere Pro. - You can go new I item. - You can really do any of these, - but I usually do black video. - I'll put it down my timeline and then set it for however long. - I want my, - my, - uh, - aftereffects composition to be right, - click. - And then if you go down down below, - it'll say replace of after effects composition and it will open up a new composition in - after effects and say we at our text or whatever text, - text, - text changing color so you can see it. - Tex text. - Okay, - and then we go back to Adobe Premiere Pro, - and it shows up in our composition. - So is alive and easy to edit. - And you don't have to export and re export and import and reimport Thank you for watching - and have a great day. - Let me know if you have any questions right 45. Working with Photoshop: - Hey, - guys, - Welcome to in advance topic in after effects. - Today we're gonna talk about how you can you use photo shop and after effects together. - So I'm just gonna start a quick composition. - We'll just call this photo shop and say you want to create an object or, - you know, - even just like a ah text layout or title design or something like that. - But you work with Photoshopped better, - or you already have a Photoshopped file or a project that you wanna work on in photo shop - while you work on it in after effects. - Well, - it's really easy to do that in after effects. - If you go up to file new and then adobe Photoshopped file you, - it will ask you where you want to save it. - We'll just call this, - um, - test, - and then it will open up photo shop, - and it will open up a file that is the exact size of your composition, - which is really great because it's way easier than trying to figure out what the size of - your composition is on going back and in putting the pixels or things like that. - Um, - this automatically does it. - So now we can go into Photoshopped, - which who knows, - maybe you're a little bit more familiar with We can create our our, - you know, - shapes or textures or layers or compositions or whatever we want. - And then basically, - when you're done with your composition, - so say, - let's let me just give you a practical example of what this would look like. - So I'm just gonna move that down there, - OK, - so I'm gonna take some black circles and quickly Oh, - I'm creating new layer Italy, - this other one now take my shaped tool. - And of course, - if you don't know how to use the photo shop, - then you're gonna have to learn out of you use photo shop, - um, - Korean new layer another circle. - And I'm going to create too Mickey years. - So now we have a Mickey Mouse, - and maybe for you, - it was easier that created in put a shop in, - then after effects. - When we save this and we go back to our aftereffects project and you will see test is here - in our project folder and now you can just bring in your you're Photoshopped Project. - Say you need to make changes than we will. - We can do that You know, - you can, - um, - on the nose or whatever you want. - Um, - and then at a couple eyes, - these this does not look like thank you at all, - but you get the point. - Save it again, - then go back to our after effects. - Make sure we save it on. - Go back to her aftereffects. - Then we should be able to right click our test right here in the product file. - Do reload footage and it will update it to whatever. - The latest version is that you you saved. - And it's a great way. - Ah, - to work with Photoshopped and aftereffects together. - You don't have to save out the Photoshopped file and then import and then re save another P - and G or J Peg or whatever it is. - You can just work within Photoshopped and after fights at the same time. - Thank you for watching. - I hope you enjoyed this lesson and we'll see you next time 46. Pre-Compositions: - Hey, - guys, - this is Philip dinner with video school online dot com, - and we're back with another great lesson in after effects, - talking about another, - more advanced topic called Pre composing. - So, - as you know, - we're working in compositions and a pre composition means it's basically working with - compositions with in compositions. - So in after effects we have all our layers, - but we can actually add other compositions into our timeline. - So, - for example, - we have this three camera composition. - We could just bring this write in to our our timeline. - And then from here we can just go ahead and double click it, - click it to edit this composition. - Whatever we did due to that composition will appear in are other composition, - so it's basically layers of compositions. - But to pre compose means, - we can select certain parts of a composition and turn it into a its own composition. - And I think the best way to do it is to, - uh, - show you how you do it. - So whatever, - um, - parts you want to pre compose, - for example, - in this composition would be great to pre compose these three layers of grass in the front - as one image. - So we can select the layers right click and then click pre composed. - I will ask you to name You are a pre composition and it will also ask you to move all - attributes into the new composition. - Yes, - you want that you can have it open automatically or not. - And we'll do that so it opens automatically. - And now we have this composition with just our grass. - If we want to go back to our other composition now, - our grasses all in one layer. - This really cleans it up rather than having three layers of grass Now just one layer we can - color coordinate this. - Make it green. - So you know that's the grass, - etcetera. - We can also do that with the clouds. - For example. - Another way to pre composes by pressing command shift. - See on a Mac or control shift see on a PC will do clouds. - Now we have a composition with just clouds. - Say we can also pre compose all of this into a competition and we'll call this the dog - house animation. - And why would we do that? - So we'll go back to our practice now. - We can, - you know, - do something interesting with this composition. - we can put it in, - make it smaller and maybe at a new layer solid will do a new maybe something a little bit - ghoulish beige orange, - something like this. - Put it underneath our dog house. - Now it can decrease the size. - We can add a drop shot. - Oh, - by right, - clicking layer style, - drop shadow or whatever you want. - Then we can add text up above. - This is your story. - Whatever you want. - You know, - maybe title your composition black. - And now our doghouse composition is in this little box, - so it's kind of cool. - You're gonna add all sorts of other effects if you want, - but that is what pre composing is and what pre composition is. - And it's just a basic way. - Two or more advanced way to organize your footage and your layers. - Thank you for watching. - And please, - please, - please let me know if you have any questions. - Otherwise, - have a great day and I'll see you next time 47. Freeze Frames: - Hey, - everyone, - this is Philip near back with another awesome lesson and section inthe e aftereffects - course. - Should they were going to be starting to talk about time and what that means in after - effects and how we can control time and after fact? - Sounds pretty cool, - huh? - Well, - let's get straight into it. - These are gonna be some quick lessons. - So you because the top topics are rather simple. - So we were using this SANFRAN footage to look into stabilization and some other effects, - and we're also going to do the same for time. - I just drop that down into a new competition. - All this Nate rename is Composition by pressing, - enter and rename yet time. - So I know what this is all about. - So we have our timeline down here, - and, - um, - you'll come into certain times where you have a video footage and you just want to create a - freeze frame from it. - That's what What we're gonna be learning in this lesson. - It's really simple. - You just right? - Click on your layer, - you go to time appear and then freeze frame. - This creates a freeze frame from wherever your time pointer Waas. - Let me undo that So we want. - Ah, - different time. - Freeze! - Frame something. - Maybe. - Were the bus is right about here? - It's pretty good. - What's freeze frame that we're gonna read? - Right? - Click Good a time. - Freeze frame. - There you have. - This increases key frame right here. - That is a freeze frame key frame. - You can also get to this option by going upto layer time. - Freeze frame. - Cool. - Well, - that is the freeze frame option. - You can also do this with compositions, - for example. - Um, - let me bring in one of our compositions. - Say we have. - So we have our doghouse animation right here, - and we want to freeze frame it. - Uh, - right at the start. - Right there. - We can right click. - Quick time, - then go. - Freeze frame And it freezes this Kump position to this freeze frame. - Cool. - That's freeze frame. - Next, - we're gonna talk about time stretching and time reversal. - We'll see then 48. Stretch & Reverse: - Hey, - so let's talk about time reversal and times stretch. - So this is another aftereffects lesson. - Philip near here with video school online dot com. - Check it out. - So we have our SANFRAN footage of the bus going across the Golden Gate Bridge similar to - last time. - You can just right click SANFRAN are layer whatever layer you want to add this effect too. - Go to time and then choose your option from this menu. - Or you can go up to layer as long as you're layer is selected down here in the timeline, - go to time and we will do time stretch. - You'll come up with this options menu where you have a stretch factor of 100 which it - starts at. - It's basically a percentage and, - um, - then you just type in your number. - Whatever you want to be, - say 1 50 that will stretch it out to 100 for 50%. - Or you can do, - um, - change the time of it. - So say you want this clip to be, - um, - sped up, - you know, - five seconds, - you can do that and it changed it to 51% of the time. - So then you select okay, - you'll see that it short in this clip. - Let's just play it and you'll see that it is sped up. - That's rendering right now and again. - Time remapping or stretching time, - Um, - or squeezing time, - which is what we're doing right now is gonna come up if you're using after effects. - So let's watch this Get the beach ball Death for a little pit. - Sorry about that. - Um, - okay. - It's rendering kind of fat, - funky ring out. - As you can see, - everything's moving really fast all through the opposite. - I'm gonna under that right click go up to time, - Time Stretch and I'm gonna make it super slow. - And of course, - it really depends on how good of a camera you get. - What you were shooting at. - What frame rate? - What settings? - Um, - it depends on that. - How good your footage is going to turn out depends on it. - Um, - so you can't just stretch everything by 5000% and I think it's gonna turn out fine because - it's gonna be choppy. - It's gonna look jumpy and right here, - even at 300% it's trying to do it as fluid as possible, - but still choppy. - The bus gonna Jeter's along. - So when you're shooting your video and if you know you're gonna want to do it in in slow - motion and make sure you're shooting at, - ah, - fast frame rate Um, - at 59 97 or 60 I is a good frame rate Teoh to shoot at and, - um rather than 24 or 23 98 whatever you're using, - Um, - and also, - you know, - the best camera you can get. - Basically, - if you're shooting slo mo, - so that is time stretch. - I hope you understand that time reverse layer. - This is a simple way to basically reverse. - Your footage may go backwards, - and this is another cool effect. - So as you can tell, - it's taken a while to surrender. - So I'm just gonna drop down this quality menu down toe third, - and that will make allowed to render a little bit faster. - As you can see when you're adding these, - you know high quality effects, - such as time playing with time. - It takes a long time to render, - so it's not easy stuff right here. - I'll just play it so you get an idea, - so it's kind of hard to tell, - but these people are walking backwards up here, - which went, - is long backwards. - The wind is going this way, - but the leaves of the tree are blowing that way. - So that's kind of a cool effect, - actually. - Right there. - Cool. - So that is time, - stretch and time reversal. - Next, - we're gonna talk about time remapping that will close out this section on playing with time - and after effects. - Have a great day, - guys. 49. Time ReMapping: - Hello and welcome to another lesson in the after effects course today. - Let's talk about time remapping. - This is the most customizable way that you can edit time in after effects. - For this EPS episode or tutorial, - I brought in a new piece of footage from a bakery, - one of the most famous big grease in San Francisco, - right down in the WARF, - where you can watch these bakers, - you know, - make these beautiful pieces of art basis. - That's what they are. - They make these animals shaped out of our. - It is pieces of Brad she shaped in the like animals. - And so what is time room mapping? - Basically, - you get to it through layer time enabled time remapping or just right clicking your layer, - going up to time and selecting enable timer mapping. - And you will see that as this effect time remap and as a key frame at the start and at the - end of your clip. - And so what is time remapping? - It's basically it gives you the ability to edit time and speed with key frames with your - foot for your footage. - So basically right here, - there's a key frame for the start of this clip and here there is a key frame for the end of - the clip. - And let's just dive right into it. - Say, - I said a key frame right here, - then this whole thing is gonna going to still play at normal speed. - So let me render out a little bit more so you can see. - So it's kind of fast and sorry for the shaky footage. - So it is just typical speed. - If I move this though forward, - what does that do? - It takes the time between here where this key frame was this one second and I move it to - two seconds. - It makes that one second last two seconds. - So basically it makes this longer, - so it slows down this. - But what does that do to the rest of this? - So I had a key frame at one second and I moved it to two seconds. - So this four seconds between one second and five seconds now has become three seconds. - So it's going to speed that up. - So before this key frame now is stretched and after is ah sped up. - So let's just play this slow motion. - Now ask motion. - Um, - so what can you do with this? - Um, - well, - one thing you can do is, - um, - before you set this key frame, - you can delete this last key frame. - Actually, - don't want to that because that means makes it a It makes it, - um Ah, - freeze frame at this very 1st 1 What you want to do is say you want to set just a portion - of this in slow motion and have the rest be and standard speed. - So we'll say at 1.5 seconds will set a key frame and then from 1.5 seconds to 2.5 seconds, - we want that to be slow motion. - So we'll set a key from there. - Now we want to stretch this spot, - but we don't want to squeeze this area because if we just moved this, - you know, - half a second Well, - yeah, - there's gonna be slower, - but this is going to be faster over here. - So what we want to do is select both of these key frames those second to and click and drag - them about half a second. - So now this area between 1.5 seconds and three seconds will be slowed down. - But the rest will be normal speed. - So that was slow down. - Normal speed. - Normal. - Slow down. - No. - So this is a kind of a cool effective you, - you know, - watch action, - sports, - or you know, - any sports in general. - They have the shots where someone does a trick that jump off skate ramp, - and then they slow it down for the trick. - But then they speed it up for the rest of the shot. - You know, - you see this in music videos all the time as well, - or in sports where you know he's going fast motion and then he or she is going fast motion - . - And then when they do the touchdown or whatever, - they slow it down. - And that's how they get. - That effect is called timer map, - and I believe you can actually find it. - I actually can't find it in the effects minutes Onley under going to right, - click in your layer, - selecting time and enabled timer mapping or going upto layer time enabled time remapping - Cool. - I hope you enjoy this lesson and you put it to get used. - Please let me know if you have any questions about this section on timing and ah, - if not, - I'll see in the next lesson. - Have a great day 50. Linear & Radial Transitions: - Hey, - everyone, - welcome to another lesson. - Today we're going to talk about radial and linear wipes. - They're really cool effects that make it really easy to do some cool wipes and transitions - . - So let's get straight into it. - I'm going to start a new at a new layer solid like this. - Ah, - something like this blue here that I'm going to make a circle using that lifts tool and I'm - going to make it is perfectly center from the middle by clicking command and shift and - dragging. - So now we have this circle and, - um, - this is affect an effect that I use a lot. - Um, - let's first do a radio wipe so we have maybe type in radio wipe under transition. - You have radio white. - So once you add this, - you have some options up here in the effects control panel and you'll see that there is a - transition complete star angle wipe center. - Ah, - the wipe option. - You can choose between clockwise kind of clockwise or both, - and there's feathering and I'll show you as I increase. - Um, - the percentage of the transition completion. - You see that this circle is being wiped and so we can set key frames and the start. - And then as you bring up key frames, - you can press you on the keyboard to see all the key friends down here in your timeline and - one second walls set it to 100%. - And there you have a cool radial white, - you know, - weaken reverse thes key frames so that the wife makes the circle appear. - We can change it. - Teoh, - uh, - counterclockwise. - We'll see what that looks like. - So it's just the opposite. - We can add some feathering to it, - and you can do this to any, - um, - layer so you can do to shapes, - photos, - compositions, - really any layer that you want. - So there's some feathering if you want. - Um, - you can change the wipes center. - So by clicking this ah, - little icon next to the numbers right here and then moving around the composition you can, - like, - set it down in the bottom corner of your your ah, - circle or whatever. - Um, - and I'll see what this looks like. - Absolutely do that. - So you see, - it's coming from a little bit messed up over here, - but is coming now from the bottom, - right? - It's wiping up. - So, - um, - I like having the wipes come from the center. - But maybe you need It's a white from another part of it. - Um, - so that is the radial wipe. - Let me delete that. - I'm going to show you the Lanier wipe your wipe. - So again under transition. - Okay, - so it's basically the same premise. - You have a transition completion percentage, - the wipe angle and feathering. - And as you white more have more transition completion, - more of your layer disappears, - so we'll set a key frame here, - go up half a second or so, - turning to 100 and so you'll see that. - You know, - that's a nice transition as well, - and something you can use on, - you know, - text layers on anything. - You'll see that right here. - The transition completion is actually 19% but 19% of our shape is not completed or there's - not. - It's still 100% there. - So what is act? - This percentage actually has to do with is the percentage of the composition, - so 19% you know, - maybe about right here, - this is 50% no, - 75%. - So once we get to, - you know, - more like 33 or so right around here. - This if we break this composition into through thirds, - which I'll do with the proportional grid. - So this is, - you know, - about 1 30 Have 12 blocks or 123 blocks. - 123 and then 120 1/3 is about right there. - Exactly. - Um, - so just be aware of that when you are setting your transition completion, - uh, - key frames. - So those are the transition completion or the linear wipes and the radio wipes. - I hope you enjoy those. - Play around, - Have fun. - Let me know if you have any questions and until next time, - have a great day. 51. Lower Third Practice 1: - Hey, - guys, - welcome to a fun lesson in the after effects course, - this is Phil 11 with video school online dot com. - So I'm gonna try to show you an example of a title sequence or a lower third basically - using all the techniques we've learned. - And this is just to show you how far you've come and how much you really know and what you - can do with all your knowledge. - So first, - let's set up our lower third and then we're gonna create some motion out of it. - So I'm gonna start a new layer solid, - and we'll make it something like a lighter. - Let's do a lighter red. - Maybe let's do something like this. - Um Then we're gonna take our masking tool and create a bar down here in the lower third - area. - So now we have one bar, - and now we're gonna add some text to it. - So this is one. - Is that my name? - Lebanon Air. - And I'm just gonna put it right there. - I'm gonna increase the size a little bit. - Then I'm going to add another bar. - So I'm going to on a new solid and change the color and get kind of a greenish. - Okay, - now I'm gonna put this underneath the red so I can see where I want to mask it. - Using the mass tool again. - I'm going to create a little bar. - I want to make sure that I have this green Larry selected. - Then I just want to create a little mask. - Something like this. - I'm going to just move it up, - right? - So it's underneath our red bar, - and here I'm going to add some text describing who I am, - So I'm just going to duplicate that layer. - A press command d decrease the size, - I'll say video creator and instructor. - So that text it's hard to see that text with the light background. - So I'm gonna make it black. - So something like this we're not line both with or the bottom text with the top text. - So it's left justified the P and the B matchup. - Okay, - so this is pretty good now. - So first things first, - I want to parent my layers. - So I'm going to put this video creator layer next to my green layer. - I'm going apparent this layer to the green layer eating this little swirly thing, - dragging and dropping it and I did the same with the Philip dinner. - So now whatever I do with this layer, - so if I move it or what not, - it affects the text as well treats it as one. - So maybe first, - let's just try something like where the each bar will pop out. - So this is our final resting stop. - I would call for our text, - so I'm going to set a position key frame for both these color bars. - I brought a P using pressing P on the keyboard to bring up P the position function. - So now I said a key frame there that I'm going to go back half a few frames, - I'm going to move them off. - So first I'm gonna move the top are until it's completely off. - And I'm going to move the bottom bar until it's completely off. - So right now, - if I render this out, - let's see what it looks like. - So they both come out at the same time. - I want this bottom one to come out after the top one. - So I'm just gonna move these key frames to where, - right to start, - right? - When the top one comes out and ends its motion. - So job her video creator. - Maybe I will add some motion blur to these and turn on motion blur up here and see what - that looks like. - Alex, - a little bit more natural. - Might want to move these key frames and a little bit to speed up this little motion - animation. - So that's pretty cool. - And we did that with all the techniques that we've learned in this course, - Let's add a little bit more to this. - So maybe we want, - um, - the text to we don't want it to come out with the bar, - but we wanted to up here after the bar has come out. - So I'm going to actually make these not parent. - These text layer is not parented too the bars. - So let me just like dog press you to bring up the key frames. - So right after this pink bar comes out, - we want our text to appear. - I'm going to make the this tax three d. - I'm going to change the anchor 0.2 above it in the center, - and I'm gonna bring up rotation, - and then I'm going to set a an ex rotation key frame and move it a few frames forward. - And then I'm going to rotate this text up and back and you can see it's going up and back - right about there that I'm going to click and drag this layer so it only starts when the - rotation animation starts. - So let's see what this looks like. - So that's you get the point. - The bar comes out, - Phil Havner pops down. - Now I want are bottom text to kind of maybe have a linear trans transition in so linear - fates. - Let's do linear fate white click and drag that and drop that onto video Creator. - I'm going, - Teoh said it at. - So if I I do it this direction, - it's going to come in from the right. - I wanted to come in from the left, - so the wipe angle is 90 degrees. - I'm going to make it to 70. - So it's coming in from the left. - So let me changed, - said a key frame for a transition completion. - And then I will go forward a few frames and we will now make it 0%. - So that was a little bit too fast. - So maybe actually I know what I want to know. - I wanted to start from after a video creator and then just wipe in instructor. - So I'm gonna delete this. - The key frames I'm going to said that transition completion to right after video. - Creators of 70% said that key frame, - I'm gonna go forward and do zero so it wipes in instructor, - so that's pretty cool. - But I also want to add a little bit of motion to this, - the video creator part. - So I will. - Let's just add a three D rotation as well, - so we will keep the the anchor point on the left. - We'll use a why, - um, - rotation. - So I will. - That will be the ending point. - I'll go back as soon as the Green bar appears and I will rotate this backwards. - That kind of looks like it's coming from behind, - and I'm also going to click and drag this layer. - So it appears as soon as the first rotation key frame appears. - So I don't know if I like that rotation in, - but you get the point and you of you know how many things you really truly know and what - you can really do with after effects. - Let me just make that instructor wipe a little bit slower, - so something like that's kind of cool. - Have you enjoyed this lesson? - If you have any questions about this one, - or about any other techniques in after effects, - please let me know otherwise. - Have a great day and I'll see you next time. 52. Motion Graphics Practice: - Hey, - guys, - this is Philemon or with a fun lesson coming at you guys. - We're practicing our skills that we've learned in after effects. - And I created this cool little motion graphic. - It could be a bumper for ah, - riel Or just, - uh, - you know, - I'm just showing you what you can do, - but check it out. - So you have this photo and this title kind of appearing for my buddy Check Who's a - photographer. - So there's a few things going on. - You have the wiping of the different images. - There's multiple layers of the image that the outer layer and the camera layer and we have - this circle and then the text. - So let's go from the start and I'll show you how we're gonna do this. - So start new composition. - Just name it. - Name it full comp. - Okay, - then we're going to import, - um, - this image, - some just going to drop it in. - And as you can see, - it's really big, - so I'm gonna make it about 20%. - Then I'm going to turn on the title action safe guide, - and I'm going to get this ah lens right in the center so that the lens itself is at the - center of the image auras center as possible that I'm going to take my pan behind tool and - move that to the center of the composition as well. - All right, - then I'm going to take my shaped tool, - which will be a mask and starting from the center, - I'm going to click press command and shift. - If you're on a, - um, - Mac or command, - I think control and shift. - If you're on a PC and drag out until you have a mask around our lens, - you can move it up or down by clicking on the mask and using the arrow keys if you need to - . - Perfect this. - So something like this is good. - A little bit a couple more frames. - Okay, - so that's good. - Then I'm going to duplicate this layer, - so I just duplicated it by present command E that I'm going to delete this mask. - So now we have our lens mask and the bottom ask, - which is the full picture. - I'm thing going, - going to add a new layer solid. - We're gonna just make this, - um, - maybe like a brown, - like I had it kind to match the background. - Maybe I'll do some sort of green. - Similar toe the green in the background right there. - So something a little bit darker. - Something like that might look good. - I like using colors from the videos and the photos that I'm using. - I'm going to put this below these two images, - I So I'm gonna turn off the tattle action safe so I can see better moon at a radio wipe to - our middle air. - So this is the back layer, - not just the lens. - This is the full picture. - So I'm just gonna rename this full pick. - We'll name this lens. - This is background. - All right, - so, - full pick. - Now we have this radio wipe. - I'm going to set some key frame. - So Well, - start the transition. - Completion at zero. - Press you to bring up the key friends down here. - And at one second we will go to 100%. - So right now we have this. - So the rail wipe is wiping away the image. - So then we want the So I'm just going to move it forward a little bit, - so we have a few frames of the full picture before it starts toe wipe away. - Then we want this. - Um, - let's see Let's go back to our other composition and see what this looks like. - I got this. - Then we have this title popping up, - so we have to create this title. - So I'm just gonna, - in this composition, - take my text tool, - click in the middle, - and then we'll type his name. - Our whoever is name you want. - I'm using Geo Sands Light. - I'm gonna make this regular and I'll make this about like that. - 36 Fun right there is good. - I'm going duplicate command D and bring this down below and all. - I've been a photographer going to drop this font to 30. - I'm going to make it the medium metallic so style goingto kind of center, - these two with the lens move the photographer text up. - I'm just using shift and the arrow keys to move them up and down. - Then we had this line going through the middle, - so I'm going to go new layer solid. - Make it white going, - Teoh, - Put it beneath this our text. - I'm going to drop the opacity so I can kind of see what I'm masking out for the line. - So I'm going to take my rectangle tool and this click and drag. - It might be good to zoom in on this. - I'm just going to click and drag from the edge of the sea over to the edge of the D. - Make this really skinny about the same thickness as the text itself. - We'll go back to 100%. - Ah, - make opacity 100%. - We'll see how this looks. - So if I take away, - that looks pretty good. - I'm just gonna move it up a little bit. - Eso now I want to pre compose this title. - So it's one composition. - So I select all look up to layer and pre compose. - We'll call this title text. - So now we have this composition and you can at you can edit these things if you want, - like, - add a little bit more space between the text and the line, - something like that might look a little bit better ice. - And now we have this in our composition and I'm going to just copy this radio wipe to our - text layer. - The way I do that is select these key frames. - Go to a few frames after this one completes, - go to my text and paste just using command be so now this we'll radio wipe out. - Actually, - I want this to start as soon as this other one end. - So it looks like the radio wipe is continuing and revealing the text right after it makes - the picture disappear. - So something like that, - we might even it might look better if it does it at the same time. - So let's check this out. - Except what we want. - Is it Teoh up here? - So I'm going to swap these key frames to move. - These key frames are around, - so that is appearing and not disappearing. - And I wanted to go the same direction as the other radio wipe. - So all changes up here, - the white to counter clockwise. - So something like that looks good. - Then we'll have the Cirque the lens wipe away. - So I'm going to again copy and paste and either one of these radio wipes to the lens. - Well, - this time I wanted to go the opposite way, - so I'm going to choose counterclockwise, - so it kind of goes backwards. - Something like that. - I'm going to make, - um, - these key frames in the middle. - I'm going to go down and use key frame assistant and Eazy e's so it kind of slows it down - as ends the wipe. - And then as it begins, - the next wipe it kind slows into it looks a little bit more natural. - So this is looking good. - So far, - Last thing we have to do is add the circle around our text. - So I'm going to go ahead and start a new solid again. - Then I'm going to put this beneath our lens so I can see how big I want it. - Then I'm going to take the lips tool and from the center again, - Ah, - press command shift or click and then command and shift going to do one mask. - But I'm also going to do another mask. - So I'm going to do to Mass for this layer, - and one is going to be a little bit smaller than the first mask. - So now if I go here after the lens wipes away, - you can see that's just a white solid, - the mass to which is the inner mask, - the smaller one. - I'm going to change this ad to subtract, - so it's just a circle, - and it looks like this Texas a little bit. - Um, - it's not centered vertically, - so I'm just going here to the pre composition just by double clicking this composition, - reflecting all the text and just having down once clicking down shift and down So that - looks better. - So then we want this circle to appear as this other, - um, - as the lens is disappearing. - So we will copy and paste this, - uh, - lens radio wipe to our solid. - All right, - Sohn. - And now it is disappearing. - We wanted to reappear, - so we'll go, - um, - clockwise. - And we'll swap these key frames So that's appearing and not disappearing. - And I want to get rid of this easy. - So I'm just going to press command, - click. - And for this 1st 1 right click, - keep from Assistant Eazy e's. - So let's see what this looks like and see what we have to do. - Do it. - So that's kind of cool, - but you can't really see the start of this circle appearing because this because the other - , - because the lens is covering it, - so may well, - just go here and increase the size. - So bring upscale. - The pressing s all just type in 102 So it's a little bit bigger, - maybe move it up a little bit, - so that it's directly around perfectly around our lens. - Render it out by pressing control. - Zero. - So that is pretty cool. - It's pretty close to what we did before. - I like it a little bit better than actually. - What I want, - though, - is see right here where this, - um, - circle starts. - It is past the start of the, - um, - the lens right here. - You can see on these two things to align, - so I'm going to change the star angle until it aligns. - So I'm going to go. - Maybe, - like, - negative seven. - Something like that. - Yeah. - Looks like Navy of seven. - I mean, - like the seven point three looks about perfect. - So now the circle radio wipe starts where the lens radio wipe ends. - Cool. - Let's see, - I'm going to show you one more thing that we can do to add a little bit of flair to this. - All right, - so we're gonna add make these all three d. - So I'm gonna click toggle switches mode. - Make sure we have the cube three D enabled three D option. - We're gonna make all the layers three D, - except for the background going to then add a new layer camera and a new layer no going to - parent the camera to the knoll, - make the No. - Three d bring a position said a key frame at the start, - and then I'm going to go to the end. - I'm going to zoom in 1 15 so we'll have a little zoom as this animation is going going - along. - So rendering it out, - let's see what this looks like. - So maybe I wanted a little bit more subtle, - so I'll make this like 107 split, - the difference rendered out. - So that's pretty cool. - We can add some lights if we want new layer, - earth, - layer, - new light on a justice spot light just like that. - And this is just going to effect. - This isn't going to affect the background, - except we can make it affect the background. - That might look better. - So let me take this light off really quick. - So I'm gonna just hit the eyeball over there and make sure that the green background is on - the screen the whole time. - Yes, - it is. - All right. - So now I'm gonna hit this light, - and then I'm going to just play with it a little bit, - so I'm gonna move it back in the Z space, - so it's a little bit further from our composition. - I'm going to go under our settings, - twirl that down like options and increase the cone angle a little bit closer. - And guess so something like that might look cool. - So dollars Ford and the Star You got this nice even yet, - so I'll render this out. - So you know this Nisman yet from the lighting. - This could even be how we close out this animation. - So it stays up a little bit, - and then we shut the cone angle off, - so I refuse frames, - basically shut it off. - So we want this. - The the point of interest to be exactly the center of this competition. - Let's see what this looks like. - Great. - A wipe radio White zoom. - So that's kind of cool. - I think it's cool. - Do you think it's cool? - I think it's cool. - That's good. - May play with the position of this landing. - May put it like right in the middle. - Something like this that's one toe look like it's when it's closing out. - I wanted to look like it's closing into the center. - Yeah, - that'll be good. - So let's run her out then. - I will let you guys go. - Thank you for watching. - I really appreciate it. - And I hope you just enjoy me fiddling around with this. - I always love watching people, - do they their work. - And so I hope you enjoy this as well. - Super cool. - I like it. - I hope you like it to, - ah, - one thing. - You'll notice these lines around the edge from this light. - This just happens and after effects One way that you can kind of, - uh, - change this or fix that. - Going to go up to new adjustment layer that I'm going to and you'll see this adjustment - layer appear. - And whatever you do to the adjustment layer, - it will adjust whatever is beneath it in the timeline, - it's all do fast blur fast bowler. - We'll click and drop this onto our adjustment layer. - We'll make it super blurry. - Something like that. - Then, - um, - set, - create a mask. - Something like this. - You know, - what I can do is just double click this and then do subtract So the middle is in focus and - the outer edge is not in focus. - The helps a little bit with these lines and the fate that been yet ing itself if you want - that look. - But you see right there, - it's not that good. - So I need to feather this out. - So I'm gonna select this mask press F, - increase this feathering. - So that looks kind of cool in itself anyways. - Maybe a little bit less like 83 pixels. - All right, - There you have it. - The final composition rendering out check. - Oldfield photographer. - That would be appreciates that this he doesn't even know I'm doing this for him. - His name is out there. - Go check him out. - The photographer, - filmmaker, - commercial director does lots of cool stuff. - All right, - this is Phil from video school in line. - I hope you've enjoyed this lesson and I'll see you guys next time. - Bye. 53. Space Scene Project: - Hello and welcome to one of the most exciting lessons in this course. - We're going to be creating an awesome space scene with after effects and I'm gonna show you - from a to B A to Z how to do it. - So this is what it's gonna look like We're gonna have our earth zooming in with the moon, - rotating around it once. - I mean, - we can do as many times as we want with the stars twinkling in the background, - So let us begin. - So first we're going to start a new composition, - will call the star Field, - and we're going to use what we learned earlier with the CC star for Burst Effect. - So I'm gonna just create new solid. - We'll call this stars. - I'm going to add cc starburst to it. - I'm going. - Teoh basically changed this so that they start smaller. - Good spacing go to to about it will do if size 50 I'm also going to add a fractal noise - effect. - The reason I'm going to do that is this is a great way to create twinkling stars. - So if we set in a key frame and the start for evolution and at the end and then just rotate - a little bit. - We can have some twinkling stars. - First, - we want to change the speed of RCC. - Starburst to zero. - So this isn't not zooming through. - It's the space time continuum. - So here you can kind of see that the stars are twinkling and we can make it a little bit - faster. - So I'm going to go to this last key frame and rotate it even more evolution. - And it's really it's hard for you to see, - I'm sure. - But these stars are twinkling as you go through this. - So there we have our star field. - I'm going, - Teoh. - So I'm going to next. - We want to create this the animation of the Earth and the moon. - So I'm going to start a new composition Earth and Moon. - We call Earth and Moon, - too. - I downloaded a couple images online of the Earth. - You can find a ton of great images for free use from NASA. - Um, - they have I think all of their images are public domain. - But make sure you double check that. - So I just put this earth in the middle of our composition like so Then I'm gonna put our - mood in decrease the size and maybe maybe increased the size of the earth a little bit. - And so the moon will put at 7%. - So that looks about right. - First, - I wanna increase the brightness of this moon. - So I'm just used a quick brightness and contrast effect added to our moon so that we can - brighten it up a little bit. - So it looks more along the lines of the earth. - May well add a little bit more contrast to our earth. - You could look a little bit more dynamic. - Okay, - so basically, - what we're going to want to do is make this moon spin around this earth, - and the way we do that is by using three D positioning. - So bring up. - First, - we want to use toggle switches to bring up our three d enable three D option Click on that - cube and press P to bring up our position function. - And this is the easiest way to create Ah, - the object and object rotating around another object. - So first we want to set our key frank first key frame. - So we're just gonna set it at the very middle of our earth or as close to possible as it - We're gonna set a key frame there. - Then you have to determine how long you want each rotation to be. - So say we want the full rotation to be four seconds. - We will go to two seconds. - And actually, - before we do that, - we want to go back to where our keep first key frame is. - And we want our moon to be in front of our earth in three D space. - So we're going to make this lazy, - um, - the Z positioning and negative 100. - Let me just show you something really cool that you can dio um, - you can shoot, - use this camera tool, - I'm clicking the camera and first you have to add a camera to it. - Just gonna add a camera so that we can actually rotate our composition. - You can see where the moon is in in terms of positioning in Z space, - Teoh to our earth. - So as you can see, - it's still flat art are images still flat? - But it has some three D space to it. - So our moon and and earth aren't three d. - But our composition is in three. - So then we're going to go to two seconds and halfway through our composition. - Where should the movie? - Well, - it should be about the same position but behind the earth now. - So now we're just going to make this 100. - So now if we take our camera, - we will see that are moon is behind the camera. - And from 02 seconds, - the moon just go straight back. - So now we want it to go around rather than just straight through. - So if I rented this out, - you will see that it's just going straight through. - But now we want to rotate around. - So at one second we're going to move our moon. - I'm just using my shift and the arrow keys to the outside of our earth. - And so there we have from zero. - As we go along time it goes up and out, - and then it goes back around. - And so let me runner this out. - So we have the start of our rotation around Earth and I like doing kind of at a tilted axis - rather than just straight around as a little bit. - It just makes it a little bit more dynamic. - And then we go to three seconds and do the same thing but opposite. - So we're going to go out and down to the left. - Sure, - something like that. - So now we have most of our animation done already. - And if we take our camera again, - we can see how this is working. - And you can see the path of our moon. - These er moon starts, - it goes around, - I continues. - So then we wanted to end up at the starting point again. - So we're gonna go three or four seconds in this copy and paste this first key frame to - complete the full rotation. - So there you have the full rotation of our composition. - We can look at it from above and see it's actually not a perfect ah circle. - So what we can do is go to these different key frames and kind of move them. - So we want to make this zero. - So it's along along the lines of the earth. - Right here on this key frame will make it zero as well. - So it goes from disease based negative 100 in front of the earth to 5th 0 with earth on the - side, - then 100 behind the earth, - zero to the left of the earth, - then in front of the earth again. - Now let's render this and make sure it looks nice, - and it sure does. - One thing we can do is select all of our key frames, - right? - Click them who? - Two key frame interpolation and this temporal interpolation and affects how a property - changes over time. - In the timeline, - Lanier means that it just goes straight from one key frame to the next, - and there's no physically curve to it. - There's no smoothness to it, - so we're gonna change this to continuous busy a click. - OK, - so now it makes these curves a little bit more round, - as you can see. - So if I took this off, - it's looking at it from above. - And let's select all these key frames. - Go to keep frame interpellation, - continuous, - busier. - It makes them a little bit more around, - and you can even change the roundness of these by making it stretch. - Stretching out. - These points make it more of a a circle around or more really like an oval around our earth - . - So this is actually the back of our earth, - so we want to go to the front. - That's a now let's run her it out. - You know, - we have our earth spinning around our moon. - So how do we haven't continue to spin? - We'll just copy and paste these last four key frames. - Goto five seconds. - Paste them go to nine seconds, - Paceman. - This means that this will allow to just continue to spin for more than one rotation. - Okay, - so now we have our earth and moon. - Let's go back to our star field. - Having created Goto our project, - we're going to drop in our earth and moon to composition just right there like that. - So now our earth and moon are in our star field. - So that's really cruel like that. - Now it's just add a little bit of a zoom to this. - So we're just going to use scale. - You can use a three D cameras Well, - but scale is perfectly fine as well. - So we just increase the percentage 115 216% by the end of this. - And there you have it this night. - Zoom in on our earth. - We got the moon rotating. - Maybe what we want to do is at the very end, - zoomed past the earth. - So, - he said, - are keeping minutes, - seven seconds. - I just moved it then right here. - We just wanna zoom past it. - Maybe, - actually, - what I want to first is said position, - key frame right here so that we have a position and scale rotate scale, - key frame at seven seconds, - then eight seconds with us increase the size. - So it looks like resuming past and then move out of the way. - So the camera's going to the side of our earth and not right through it. - There we have our earth coming in at a slowly, - then zooms over to the side. - I think we still see our moon rotating. - That's pretty cool. - Of course, - the quality of these images you'll have to use different, - larger size composition so that the quality is good for the earth and the moon. - But you get the idea. - Me, - Even if we just believe these actually move this position key frame to the start of our - composition with our other skill. - Keep ringing. - And we just delete the other ones. - You know, - here we have our camera zooming through space. - So that is a basic basic, - um, - the fact that you can do using some basic layers from three D positioning and some star - Cool, - Cool star pre effect preset. - Thank you for watching and have a great day. - And if you have any questions, - please let me know otherwise I'll see you next time. 54. Color Correction: - Hey, - guys, - welcome to another lesson in the after effects course. - This is Philip Inner. - Thanks for joining in today. - Be sure to check out video school online dot com When you have some free time, - you can sign up for my mailing lists and get 50% off all of my online courses. - So today I want to talk to you about color correction and what options you have in after - effects to color. - Correct your footage. - You actually have a lot, - and they do a lot of powerful things after effects Isn't my favorite, - um, - program for color correcting. - I like to use Apple's final cut pro or final cut studios color to color. - Correct my footage. - Um, - but if you have some special needs, - after effects has some great options for you. - So I have this footage from San Francisco up in by the war for of you know, - just the the Worf with appear and some see lines sleeping on the the Bay and ah, - Doc and everything so pretty cool shot and let's see what we can do with some color - correction. - So in your effects and presets tab, - you have a whole color correction folder down here. - There's a lot of things, - but let me show you the ones that I like. - So 111 that I use quickly toe add brightness and contrast is the brightness and contrast - filter. - So it's super easy, - quick options. - You can, - you know, - Brian of your footage, - Adam, - or contrast. - So if I want something super contrast, - he's, - um, - Aiken do that. - As you can see there, - it really changes how my image looks. - So that's brightness and contrast. - Curves is another one where you can add some contrast with an s curve. - So it basically gives you this curve. - You can change the channel to RGB red, - green, - blue or alfa. - And then you just just click along this line and drag to create an s curve or whatever Taba - curve you want. - But typically a nice s curve adds more mawr. - Ah, - contrast you Congar oh, - into red. - And if you want to boost the reds a little bit you know you can do that. - We'll go into the green Will may will drop the greens on the blues will add Add more blues - We want to really make this psychedelic day at the beach. - So that's what curves does. - Levels is another one that, - you know, - does something similar. - It's just a different style. - Um, - has this bar slider basically that you can click these little triangles of the ends of this - bar, - drive them in and you're basically crushing the colors, - crushing the blacks, - making the black starker, - making the lights lighter again, - adding contrast. - You can also just do that by in putting numbers down here are clicking and dragging these - numbers down here. - So that is another option for you guys for contrast, - hue and saturation. - This is a good one. - If you wanna add some saturation to your footage, - though, - say we want to add some color. - Wow, - that is not what I want. - Um, - and you have to be careful. - As you see, - if you add too much saturation, - it can get distorted. - But, - um, - this is nice. - I often find to find myself wanting to use this Master Hugh. - Ah, - just to change the hue of a, - um image, - not necessarily video. - I don't think you really ever want to be playing with the hue of, - ah video image, - but for icons or different shapes or things like that. - You know, - just playing with the hue to, - um, - get it to be the right color is a good thing to dio I This photo filter is something I like - a lot. - This is similar to in photo shop. - They have it, - and it basically gives you some different filters that they preset for you. - So you have some more warming filters, - cooling filters, - and then some different colors. - See, - Pia, - um And so, - as you see, - once it's added it as a little bit of warmth to the image you can increase the what they - call density. - Um, - just in creeds increase its strength. - Um, - there's also this preserve luminosity, - which preserves the brightness of it. - So if you want something, - you know, - if you need something to warm up your your footage or cool it down, - this is a good filter. - Tohave We want to really cool it down. - You could do something like that. - I tend to usually warm up my my images just a little bit. - Maybe something like that that will give me, - you know, - a nice sunset. - Just show you that on and off. - I'm just gonna build a little bit upon this. - So there's also all sorts of other ones exposure. - You know, - this is basically going to play with your exposure. - So another one too right in or dark in your footage. - Um, - so I'm just going to take this brightness and contrast a little bit of contrast may - brighten it up a little bit so you can see a little bit more of this, - Doc. - So with both those, - this is what it looks like and without, - you know, - that's what it looks like. - So, - as you can see here, - it's already looking a little bit better. - Or at least it has a feeling to it. - There's all sorts of other filters. - You know, - You can add a black and white filter that just makes everything black and white. - Um, - there's color, - but balance filters that basically you can increase the saturation of certain colors, - changing the balance of the colors. - You know, - if you want to make all the darks really red and all the lights really blew, - you can do that. - So I'm gonna leave you with that. - Um, - 10. - Let me just tell you one more tent is another one that you can do. - So you can, - uh, - choose different colors to tend to. - So if you want ah, - all your whites to be a reddish, - you can do that. - All your blacks, - maybe all my blacks to be bluish. - So this is something you can get. - Ah, - you can get a really cool effect with this tends effect and can change the percentage that - amounted. - 10. - So, - Alex kind of cool, - actually. - So those are some color correction options. - Play around with those. - Um, - if you have any questions, - please let me know otherwise. - Have a great day. 55. Exporting from After Effects: - Hey, - guys, - welcome to another lesson in our after effects course, - this one we're gonna be talking about exporting. - So you are done with your composition. - You've created your animation, - and now you want to do something with it. - Whether you want to export it and take it to another video editing software like Final Cut - Pro or Adobe Premiere, - you'll need to know the right settings to do that with, - um, - or you want to post it on YouTube. - Well, - let's talk about exporting so it's different than other programs because there's not. - You don't just go to file export and then click your settings. - You actually have to go to composition add to render queue, - and this is basically the same thing as exporting. - Once you do that, - it will add it to your render queue tab, - which is down here in the bottom of your screen, - and you'll see it right here. - So there are different settings you want to use. - Um, - first, - if you click this best settings, - um, - option, - it should be best resolution should be full. - And that's pretty much all you want. - Teoh do there. - If you want to change the frame, - what you can do that. - But really, - where you get into settings is where it says lossless. - That's what it comes up with at the start. - That's the automatic setting that it will have set for you to export as UM, - and losses means it's full quality, - full quick time quality. - And, - ah, - when you click lossless, - you get this little output module settings. - Um, - box pop up. - You'll see different options. - Format you can choose, - you know between Quick time and Paige Flash, - you can just do a P and G sequins. - You do just the audio, - etcetera. - So I all quick time is pretty much my go to video output. - You'll have different channels. - Typically, - you just want Teoh RGB depth. - Millions of colors color pre multiplied. - Um added, - That's totally fine. - But there is this format options, - but in ah, - here you'll find the Kodak, - and this is where you want to change it. - Depending on what your purpose is, - animation will give you perfect, - full quality. - It's great quality for using for exporting and bringing into another project. - The problem is, - the false eyes is huge, - so you're you know your projects will be in the gigabytes but here you can have. - You can see that there's all sorts of options. - So h 264 This is. - If you want to export to YouTube, - you'll just click h 264 Um, - or there's all different ones. - So say we want to go to YouTube. - Will just click HD 64 Click OK, - if you have audio, - you want to make sure that you click this audio output option, - and again you can change the format. - You know a sea or whatever you want. - Usually just leave as un compressed impress. - Okay, - clicking this output to star field dot Mobi clicking the Star Field Doctor movie. - This will allow you to choose where you want to save it to, - so you just go through your documents and find where you want to save it. - To click, - type in the right title, - click save and then you click. - Render it will render out. - You will see a yellow bark. - Go through a lot to show you what it looks like, - and your your composition there will be previewed as it goes through. - So if you want, - you can watch it and make sure that every frame is rendered properly. - Um, - And so as you can see, - you have this yellow bar coming across, - and it is rendering. - That is how you render an export your movie. - So basically the things to remember are when you click on the lossless down here, - that's where you can go to format and choose what settings you want. - If you want full quality, - just leave it an animation. - If you want something a little bit more compressed, - but still at high, - practically perfect quality. - Choose H 264 Make sure the quality bar is set to 100%. - It's like that where you want to save it and then press, - render, - and I'll show you. - We have this looks so it will give you that little Belene. - Now, - I'm just gonna go into my files, - find where it saved this isn't Star Field. - OK, - double click that open it and review it in quick time. - There we have our full 40 composition. - Cool. - I think that's pretty awesome. - Guys, - I hope you do too. - Thank you for watching this episode on exporting. - If you have any questions, - please let me know otherwise I will see you next time 56. Exporting from After Effects with a Transparent Background: - Hey guys, - how's it going? - I hope very well. - I just want to show you a quick way to export your videos with the transparent background. - So say you have this composition that you built with the earth and the moon when the moon - rotating around the earth and you don't have the stars put in the background yet and you - don't really have anything in the background yet you can tell that by toddling transparency - grid on her off. - You can tell that there's nothing in the background and you want to just export the moon - and the earth and then maybe bring that into color corrected or do something else with it - before adding a background. - We can export without a background by going up to composition and to render queue. - And this is you know, - you do this a lot when you're exporting titles or lower thirds or things like that. - You'll see our last export up here. - You want to click on lossless, - you want to go up to video output and then select RGB plus Alfa. - So that means that it will export. - It has transparent. - Make sure you're for my options, - our animation. - If it's if it's 8 to 64 it won't. - The background will just be black. - And if you have audio, - audio is liked. - Okay? - And render. - Once you render it out, - you will be able to bring it into another program with a transparent background. - Thanks for watching. - I hope this helps. - And if you have any questions, - please let me know. - I have a great day. 57. Getting a Motion Graphics Job - Tips: - Hey, - what's up? - This is Phil. - I'm glad you made it through this course, - and I hope you have learned a lot. - And I hope you're putting what you've learned into practice. - And today I want to give you a fun lesson, - something that might be the most important lesson. - Um, - and something that's a little bit different than the previous lessons today. - I'm just gonna talk to you and give you advice about how to get a job with the skills that - I've taught you. - So let's get into how to get a job. - I have three tips. - I'm getting a job, - and I'm going to try to be. - As you know, - let at least I'm gonna throw out the least amount of cliches as possible. - But sometimes cliches rain true. - And that's why they're cliches. - So bear with me. - Welcome to my casa. - Um, - I'm glad that you're here with me. - And just to preface this so you know, - You know, - I'm not just talking out my butt and giving you, - you know, - just what reasons that aren't gonna work. - I honestly you know, - I have I get jobs as a motion graphics artist. - I didn't go into after effects. - I didn't learn after effects in school. - I didn't, - you know, - learn it professionally. - I just practiced and I, - you know, - looked up tutorials online, - like you learned from me. - And over the the years I started, - you know, - getting a hand, - hang on it I started create my own stuff, - and I've started to get jobs because of it. - I've got many jobs just because of my aftereffects skills. - Um, - and not because of my video editing. - Not because who? - I know just because of, - you know, - the work I've done. - And so those all all these things, - you know, - go in tow. - The three reasons. - Three tips I have for you on getting a job with your after effects skill. - So tip number one make cool stuff. - I can't emphasize this more than just yelling at you. - Make cool stuff. - Seriously, - everything starts with what you make the first. - You know, - the first thing someone's gonna see about you is you know, - the stuff that you've made, - they're gonna wonder What have you made? - They're gonna wanna see what you've made. - So start making cool stuff and it doesn't have to be, - You know, - you don't have to wait around trying to find a job, - to make something. - Just think of something. - Just create a project on your own and make cool things. - I know a ton of people who, - you know, - make commercials or motion graphics for, - like, - companies like Nike or whoever. - But it's just for fun, - and it's just to show off their skills. - So start making cool stuff. - You're never gonna get anywhere if you don't start making cool stuff. - Um, - so start making cool motion graphics titles, - uh, - animations. - Anything with the skills that I've taught you in this class number to show off your cool - stuff. - And the best way to do this is to have a website of your own, - so create your own website at the very least, - start of Emiel account or a YouTube account. - I prefer you video for more creative work that I do so video is really great because it's - free. - It has a community of like minded individuals, - whereas YouTube, - you know, - is for the masses. - Anybody goes and everyone goes to YouTube toe watch videos, - and you have a lot of trolls who just, - you know, - say bad things about your videos and make you feel bad. - Um, - but video is a group of artists. - Is a group of, - you know, - people who want to see art. - And so if you show off your if you're creating great pieces of art motion graphics, - videos, - titles, - whatever. - Maybe it was a great place to post your videos, - but also you want to start a website so that when someone asks you like, - What do you do? - Or when you're trying to find a job, - you can point people in that direction, - and also you want people to be able to search your name and ghoul and have your website pop - up. - I can't tell you the amount of times I've looked. - You know, - I have filmmaker friends or people. - You know, - I've seen I've heard about so and so making a video. - And then I look up their name and there's no website or there's a website and there's no - links to the videos or their videos aren't embedded in the website. - And how do you expect to find a job or land a job if you don't have a professional looking - website and you know your videos on their samples of your work and a real a real is very - important. - Video Real is a compilation of all of your videos that you've created. - So the best parts try to keep it under to the through three minutes because people's - attention spans are really shortened. - How Today's unfortunately so around two minutes is a good mark, - even, - you know, - 1 30 to 2 minutes. - Um so creative video riel, - even if your website is just ah, - home page with their name and information and your video riel, - that is better than nothing. - Um, - and that might even work better than having a bunch of crap on there as well. - Um, - so stay professional, - keep it clean, - keep it simple, - create your cool stuff and show offered cool stuff on your site and posted on Facebook - posted on your social media. - Send it out to your friends and family. - Tell people about it because the more views, - the better. - And who knows who is going to see who is going to see your your work? - Let me tell you a little bit of story, - a little story about that, - and it relates because I got one of my motion graphics jobs because of creating stuff, - and someone just saw it. - So I was working for participant media at the time. - They've done a lot of great documentaries Inconvenient Truth Food Inc. - Waiting for Superman, - Tons of Great Award winning documentaries, - and I was working for their website take part dot com. - There were doing a series of videos on the occupy movement, - and, - um, - I was just working there full time at the time as an editor, - and I was dabbling in after effects. - So they asked me if I could create some cool titles and little graphics and, - you know, - charts and figures infographic type things for the video. - So I did that, - and I was actually on a contract for them for a year. - And so my contract ended, - and so I was trying to figure out what I was gonna do next and then, - like documentary production company who was doing who was working on a future length - documentary, - saw the occupy videos and saw the graphics and was like, - way cool. - This guy is pretty good. - Can we get in contact with him? - And they contacted me. - Um, - they asked me to do a little sample and idle sample graphic for them, - and they hired me on the spot. - And so I got to work on a feature length documentary into graphics for them. - So I'm proof of you know, - the ability to just put your stuff out there, - have people see it and get hired. - You know it's not gonna happen to everyone. - And I'm not promising you that you're gonna get a drop that way. - Most jobs take a little bit more footwork, - but the second most important thing after creating stuff is to show it off, - and you do that by Korean website. - If you don't know how to create a website, - take my Blue Host and WordPress course. - You'll learn how to Teoh start website. - Um, - and it's a great resource for you guys. - Number three. - And this is where the cliches began because it is who you know that's gonna get you a job. - You know, - it is partly what you know, - and it's partly who you know. - But it's not only that, - it's partly it's not who you know, - it's who knows you. - And so you can know all these great people and have contacts in the film industry or - incorporations. - I need videos. - But if they don't know you, - if they don't know that you make graphic design. - If you don't make motion graphics animations, - you don't know how to use after effects. - And they're not going to think of you when they're making their video products. - So make contact with people. - This goes with, - you know, - the previous one. - Show off your cool stuff, - tell people about it and just be, - you know, - a front about what you do and your skills when you're talking to people. - I mean, - I don't know how many times you get asked. - So what do you do? - What do you do? - What? - Your job, - What do you do for a living? - But I get that asked. - I get asked that, - you know, - multiple times a week, - and it's kind of annoying question, - cause it's very surface. - Um, - it's very surfacing question. - And you know, - my job isn't necessarily what I do, - but it is a great opportunity. - Teoh, - you know, - tell people that you know I love to make videos that make the world a better place. - You know, - I started this company video school online dot com. - I, - uh, - make motion. - I made motion graphics for the school documentary that I just did. - And you know, - this starts a conversation and hopefully, - uh, - people will start to know you as the motion graphics person. - So if you're you know, - if you're really serious about finding a job, - though, - um, - you can't just wait for those conversations to come to you. - You have toe make those conversations happen. - So email anyone, - you know, - that's in the film industry or in the video business and just let say, - Hey, - what's up? - How's it going? - Tell them, - you know, - look what I've been learning. - Show them your website with the real on it and just make contact and so that they have in - their brain in their mind that you know how to make motion graphics. - Um and yeah, - I just finding a job is not easy. - I know that, - um, - but having the skills, - uh, - as in after effects motion graphic artist is a great thing to have because not too many - people actually know it. - There are way more video editors out there. - There are way more cinematographers. - Other. - If you're trying to get the video business, - that is, - um there's way more people doing it directing, - trying to produce being a graphic artist. - You know, - it's a very niche skill set. - So if you're good at it, - you're going to get hired. - So practice makes perfect cliche. - Um, - it is who you know, - collusion number two. - And, - um, - I can't think of any more cliches except good night. - And good luck. - Thank you for watching. - If you have any questions or want to chat one on one. - I'm always available to, - you know, - talk to you more about my experience, - give you some tips, - hopefully help you out and get you out the door into the world of video making with your - new skills. - Thank you for watching. - Have a great day and I'll see you next time.