Creating an 80s Style Broadcast Open in After Effects and Photoshop. | Matt Burge | Skillshare

Creating an 80s Style Broadcast Open in After Effects and Photoshop.

Matt Burge, Let's do this thing.

Creating an 80s Style Broadcast Open in After Effects and Photoshop.

Matt Burge, Let's do this thing.

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8 Lessons (57m)
    • 1. CreatingAn80sStyleOpenInAfterEffects Burge Intro 00

    • 2. CreatingAn80sStyleOpenInAfterEffects Burge Lesson 01

    • 3. CreatingAn80sStyleOpenInAfterEffects Burge Lesson 02

    • 4. CreatingAn80sStyleOpenInAfterEffects Burge Lesson 03

    • 5. CreatingAn80sStyleOpenInAfterEffects Burge Lesson 04

    • 6. CreatingAn80sStyleOpenInAfterEffects Burge Lesson 05

    • 7. CreatingAn80sStyleOpenInAfterEffects Burge Lesson 06

    • 8. CreatingAn80sStyleOpenInAfterEffects Burge Lesson 07

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About This Class

In this course we'll use entry level skills to recreate a 80s style broadcast open for the

fictional Sci-Fi show "Cats in Space".

We'll be using Adobe After Effects to do our animation and Adobe Photoshop to prepare our image files.

This class is for beginning to intermediate After Effects artists.


  1. Project setup and importing Photoshop files.

  2. Creating the animated space background.

  3. Animating the “Cats In” mask.

  4. Animating the Pioneer Satellite.

  5. Animate the Space Title in 3d space.

  6. Reveal gleams and glints technique for extra style.

  7. Finalizing the bad TV effect and rendering out the project.


Meet Your Teacher

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Matt Burge

Let's do this thing.


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1. CreatingAn80sStyleOpenInAfterEffects Burge Intro 00: I'm at Burj looking my skill share class, creating at 80 style, broadcast open and after effects in this class will be utilizing basic to intermediate skills to recreate the title sequence to the mock 80 Side five blockbuster chats and space . Throughout this class, I will present core motion graphics, concepts and skills and after effects, we'll be using provided project files as a guy before your final, you'll need to recreate the title sequence in your own style. Can't wait to see what you guys come up with. C in the course. 2. CreatingAn80sStyleOpenInAfterEffects Burge Lesson 01: Okay, let's start a new project. So we're gonna go appear to file, would do new new project and would like to do I'm gonna just go and say this right off the bat. So I know where there's somebody safe save as. And I'm going to save this as just jumped to my working on the desktop. So I'm gonna go to my cats in space project, and I'm just going to save this into the same folder that I'm working out of souls call this cats and space V one. So this is version one of that projects I like these underscore so had saved. Now what I want is I want to bring these three elements that I'm gonna animate into this project. So we're again. We're trying to create the eighties retro intelligent opener, so we're gonna just right click this. We're gonna import this in file and we're gonna use that Cats and Space project Photoshopped file. It's a learned Photoshopped document. Okay, Now, what I would do is on import to send as a composition retaining layer sizes. So the difference between this retaining layer sizes and regular composition is retained. Layer size is gonna keep your largest lair size. So what that means if you say you're working out of something that's, you know, uh, 800 by 600 or something and you have something that's 2000 by 9000 could be huge. It's not gonna crop that down. It's going to allow that to retain its layer side. So that's really what that means. So much ahead. Click on that and I'm gonna pick this and hit open, so that's gonna bring that in as a composition. Now have the option to either use edible air styles or merge layer styles into the footage . So I'm going to use Mergel air styles that's gonna basically flatten for our purposes and aftereffects gonna flatten those those layer styles. So if I hit okay, it's gonna bring it now, inside after effects, we can go and we can actually create our own compositions. But for this case, we're gonna actually use the composition that came in after effects from photo shop. Now, just so you know, if we open up this folder whenever you do that, you get a folder and you get a cop. So that little thing looks like a filmstrip is the composition icon. Now this these are all the different elements that are in that photo shop player. So if you if you looked at individual layers of this document in a photo shop, you tell it's Photoshopped document says dot p s d. So if you see any of those things, you can just, you know, you can click and you see a little visual representation of what you're working with now, you don't need to actually assemble these. Just leave those where they are. You could grab them later if you needed, like, a copy of them or something. But in this case, we're gonna open up the actual comp. So if I double click this comp so I'm just gonna double click it, it's gonna open it. Okay, so now this is gonna show me my cats in space. I don't freak out about all these little gleams. We're gonna come back to that. You show me my cats in space set up inside my after facts workspace, okay, and that's about it for a file set up. And then we're gonna come back. We're gonna animate this space background in our next lesson. So we'll see in the next lesson 3. CreatingAn80sStyleOpenInAfterEffects Burge Lesson 02: All right, listen to lessen to, we're gonna talk about animating the background and after effects. So the first thing we're gonna do is we look at our file here and we're gonna hide everything but the lovely space background here, and I'm gonna zoom out. I mean, he's my scroll wheel on my mouth. So those you guys that don't have a squirrel wheel on your mouse you can also hit control plus and control minus to zoom in Soviet controlled plus years and then in mine assumes out so always different ways of doing things in after effects. Okay, so I used my scroll wheel from time to time. Now, this is showing its my layer. If you notice this, show me the borders of this layer for space background. So it's much larger than the actual viewing area here. So we're We're doing 12. 80 by 7 20 which is 12 80 pictures. This way. 7 20 This way. Now it's just really quick. If I went over, if I wanted to know exactly what that size was, I can open up the folder. They're my cats in space project. And if I go here to space background. I like that. That's gonna give me the pixel dimensions for that file. Okay, so I know exactly what it is now, some you guys might want a scale stuff always recommend not scaling pixel image. A raster images more than, like, 10%. Otherwise, to get really blurry, you can use them up some upscaling filters, which will help you with that. But just for cover will from 10%. All right, so now what we're gonna do is we're gonna set this guy, and we're gonna drop it back to the beginning S so we're going to drop our timeline back to beginning, and we're gonna drag this over two side. Now, what we're gonna do here is we're gonna animate this diagonally, coming across here like this to kind of stimulate that we're in this void of space right with this. Still in its a reason. A still image to create a pretty cool, cool background animation. Alright, Someone dragging up there now, what I would do is I'm gonna click on the stop out for position and a quick thing about these properties down here. If I open this up, if I click this arrow I get the five basic transforms aftereffects. Now, the cool thing about that is all the properties anchor point positions, scale, rotation capacity. The shortcut is the first letter of each of those properties except for opacity. So, for example, hit our brings up rotation. If I hit T brings up capacity, and so see, that was the one. That is not the first letter. So for some reason, oh, is being used for something else of t is for rapacity. All right, so hit s that's going to scale Now, Say, I want to look at scale in position. If I scales up, then I can hit shift in P, though. Add position to that so I can just look at those two properties, okay. Like that lot. Okay. So otherwise, you can do this totally arrow, twirl it down and see everything that's associated with that. Now, these these air called layer properties. And this, for example, words. Scale is gonna be the label off the property. Okay, so if you click that and you have key, French is gonna highlight everything that's in that particular track. All right, so let's get animating here. Some delicate position only so hit P Now, Mr To Stopwatch, or I'm gonna click the stopwatch to set a key frame. So I do that and that sets a little diamond key frame. All right. Now, for our animation aftereffects, we need at least two key frames. They have different values, right? So say, say, your coordinates were at 303 100 you had another key friend had the same thing. You're not going to get an animation. So little rule of thumb have to have at least two key frames. They have to have different values. Okay, so right now we've got one key frame. We need a second key frame to go ahead and give us some animation. Right? So we're gonna animate down this way, so we want to pull this object down and move this object down using our arrow key now in after effects. They call this the selection tool. So some other Softwares might call it the move tool. If you call to move to a long you know what it is, right? Shortcut for that is the wiki on your keyboard. So fees and victory, right? So what we're gonna do now? So if we ever switch to something otherness and I think I might have mentioned this observing in with the scroll wheel. But hold on space bar allows me to pan over very helpful. Now the cool thing about this. A lot of people come up and use these icons under the toolbar to build access. Say, for example, the the hand tool the handle allows me to pan around here. Now there's another tool appear called the Pan Behind Tool, which is a little bit different. We'll talk. Might talk about that a little bit later. Right now, well, it's just hit the pant or the hand tool, said Chantel. And this allowed me to temporarily shift my screen across. And once I left lift up on the space bar. It's It's going to allow me to go back to just normal, normal activity here. So hold on space, click and drag with my left mouse, and that allows me to go ahead, move that around very, very great. Great will shortcut tech productivity technique. Okay, so now I want to go. The end of my keyboards will hit end e nd I'm a keyboard, and that takes me to the end, right? You can also drag over to that. That's another way of doing it. You could actually click and drag only on your time indicator over here or sorry, just highlight it and type in a value. I wouldn't recommend doing that. And it works really well for doing that now. So I'm at the end. So wherever I have my time indicator and if I make a change is gonna record a key frame at that, that section over there. So let me show you what that looks like. I'm gonna click and drag, and if you see a little vector there, that's going to show you that you have correctly created animations get animate along that line. So if I hit my space, Maher, it will preview that animation. Right? So we could see that our space is just moving across. There is exactly what we want. Okay. All right. So we've successfully animated our space background. All right, so let me think a couple of things if I zoom in and out, just shown you guys, I want to talk a little bit about what's going on in the view port. So these two larger icons or these little squares are actually actually represent the key frame. So if you notice down here in the on the timeline, if these icons here are key frames, but so are these right? So this is what's called the spatial component of the key frame where it is in space. Not forget the fact that reason a space image where it is and the coordinate value right. And this is where it isn't time. So for the time value we're talking about, we're calling a temporal component. So where it is and it sounds like Star Trek right. But that's a temporal component, so that's so. That's where that key frame occurs in time. So, for example, this is 10 seconds. It gets to that position at zero seconds. It's at that position, so I drag over 20 seconds. Seem right, and then if you go to the end, you see it. And so that's and remember, it's measuring the position of this wherever the anchor point ISS. That's that's a really interesting thing, you know, one quick, other factor. Wait about this. This this kind of lavender outline here that's hard for you to see. That's actually, based on this little chip over here. If I click this chip, I can set something like red. You know, red might be easier. Where perhaps yellow. What's find yellow on? Make it yellow. There we go. Now, what that's gonna dio is that's just making outlined easier for me to see. But the other thing I want to mention you guys, if you look at this line here, if we have 30 frames a second, we had 10 seconds. We should have 300 frames. Now. The frames are these little dots here. I don't see on the monitor, but right in there. So there should be 300 little dots. Just a really quick thing. I want to move this key frame over and watch what's happening to the dots. They're changing. So now what's happening? So if I put this on one second, right, let me get a one second here. Just gonna drag Andreas over. That's actually going to be 30 frames there, right? And you can see if you count of these dots. There should be 30 of those dots. So those are the actual frames Now an animation. We have key frames which is this point in this point? Then we have the frames in between those frames, and those are called in between or Tweens, right? So in this case, the computer is generating those in between frames. So that's what makes a nice about using the computer. So back in the day, Disney animation, they would have the amateur or the newbie animators who do all that stuff from the master animator would do the key frame poses for like, for Mickey or something like that. Okay, so in this case, let's go ahead and says back. So that's a brief set up of a brief overview of the timeline of how it works. Okay, let's move on to less than three, and we're gonna talk about animating the, um, the satellite moving through space. 4. CreatingAn80sStyleOpenInAfterEffects Burge Lesson 03: we've got our animation for our first section Here we have the space movie Elysium out a little bit now. The other thing is, if I d select this, it might be easier to see the space animation happening. So there we have created a sense of drama with a still image of space. And now what we're gonna do is we're gonna go ahead and we're gonna I'm gonna I'm done working with us. If I had my space bar will stop my playback if he had space for again, it plays back. So I'm gonna just kind of close this up down here. And if you want to be really tidy with this, we could lock this so that will make sure I don't actually accidentally do anything with that. Our next section here in less than three, is we're gonna look at animating the logo for cats in, so we're kind of doing it like is if you might read this cats and space, right. So if I open up the or turn on the eyeball for the cats in layers, so there's cats in and I'm going to turn off the eyeball for the space background So you focus just on cats in. Now what we're gonna do is really use a technique, and we're gonna the way we're going to set up. Our timing for this is we're gonna do this every every two seconds. Something is gonna happen, so we'll start it. Frame zero, and then we want to start in two seconds. And that's when the cat's in is gonna happen now. So we have a pretty short animations. 10 seconds. OK, so what we're gonna do in just couple of navigational shortcuts? I think I showed you guys, if you hit the home in the N key home will take you back to zero, and we'll take you the end of your of your timeline. So it hit home. I'm back here at the beginning. Now you can just type in two 00 And when you typed that, don't worry about doing the punctuation that will give me two seconds If I just type into that's only gonna give me two frames, right? So that And if you notice down there, you could type all this punctuation in. So I got her teething, but it's really going to slow you down So the best way to do this to in a period that takes right to two seconds to remember I showed you that shortcut earlier. Okay, so we're gonna start there and we're gonna do is we're animate something called a mask inside aftereffects. So a mask if you appear to the top and OK, there's two things in after effects or some call the shape layer, and if some call them, ask if you have no layer selected and you click with one of the shaped pools for the rectangle tool appear you will make what's called a shape layer, and I'll tell you to shape layer because it names that shape layer. That's not what we want to do for this step. So the thing that will trip you up with ads if you have nothing selected, right aftereffects doesn't know what you want. A mask Unless you selected in this case, one click cats in. That's what we want to mask. Now I'm gonna go appear. If I double click on this, what it's gonna do is gonna create a mask that fits to that layer. And that's exactly what we want. Look how nice it is. we could have eyeball that done that herself. But why do you then we could just double click on us with their mouths. Now that set up this mask. Okay, so now for mass and short cut from ask, you guessed it M if you hit him twice that will bring up all the mask like mass path, feather rapacity and expansion. Okay, so what we're gonna do for this? I just want to show you guys at the mm shortcut. So in this case, we were just working with mask path. For now, somebody said a key frame by clicking the stop watch. Okay, so that's its key from two seconds for this particular shape. Now I'm animating backwards because I wanted to end up like that, and I wanted to be that when it's done, So I got to do is take this key frame that contains that data that shape and slide it over . Now, if I do this, I want this to be a four seconds. So we're talking about our timing's going to every two seconds here. So, um, if I Here's another little shortcut. If I want to jump over to four seconds, if I want to go frame to frame with my time indicator. I can hit page down, see how that's moving. Frame to frame. See over here. 206 Now, if I hit page up, it goes back one frame at a time. Right? And I mentioned you guys earlier. If you click this, you can type into period. That's gonna take it right to two seconds. Now, if you don't want to do this typing method, I can jump 10 friends at a time by hitting shift page down. Page down. Goes forward one time shift page down 10 frames. See to 10 to 20 in the three seconds I'm right. Three seconds. I could do that again. Get right to four seconds. Kind of eyeball that. Really well, so I was at four seconds anyway. But let's go back to two seconds with that method. Some hit shift page up until I get two seconds. So that this is where I want to create the opposite of this. Where they were the where the key frame has been reversed. Okay, easy way of doing this. And double click on the mask that's gonna allow me to bring it might transform box. And if I click and drag that I could drag the other. What this is going to do is basically gonna animate this, going across the tag or going across our cats logo. So if I double click that when I'm done, process that. Let's take a look at that. So if I hit my space bar, it's gonna just play from from now, it's gonna go now. One thing it's gonna do now is it's gonna keep playing. It's really boring from front of previous. I want a preview, just this area here. So one thing I want to talk to you guys about setting up the workspace. So the workspaces is gray bar right here. So this bar is a workspace of drugs over, and I dragged this over and see, I never do with this whale share the short kind of second. But that way you can set that up, and if you hit the space bar, it will play within that area there. So it's just gonna play within that section now. An easier way of doing this is the B key B is and Bernice and the N Key as an Nickelback Okay, anyway. So if you had the n key, the Nickelback, he I don't think it's a nickel, Mackey, but it be that will bring the beginning. So be for beginning and for end. So well, short cut. Their very useful. Okay, then if he had the space where it's just gonna preview that area there so you can see what you're doing. So there's our reveal. Okay. Looking pretty good. All right. So one thing I noticed I might want to have a slight angle to this animation. So if I go back to my first key frame and another thing, I could do it. I can navigate key frame key friend. A lot of people try to eyeball this, but a great shortcut again is if you hit the J key. That'll go to previous key frame and the cake he goes, the next key frame so makes it really easy to navigate Key France O J. Okay, right. If I had more key friends of hit Kay again and keep yelling, but I don't so it just ends at the workspace. Yes. I hit J some back here. So what I want to do with this is I want to double click this. I don't rotated slightly now, if you if you're trying to figure out what your object looks like, but because it's mast, it's masking, right? I can't see it. I could actually turn the object off. I'll just go over here and say None while I'm working on this could see almost ran into that, so I don't want to do that. So if I double click on it, it's gonna kind of scale it down a little bit. Now see how this is. This is using the transform box, and it's not letting me get access to the points. So this is a vector mask. So if I click outside of this, I could highlight those points. And I can move the very much like illustrator or something like that. If I click on those points now, if you hold down the shift key, you can add to the point. So that's creating that position, right? Some kind of reverse engineering that's now just to show you guys what's gonna happen with this place where it's gonna interpret late between this rotated shape into this straight shapes. If I drag through to see see it. See, it's rotating over itself, which could be cool, right? But we're starting to lose that angle at the end there. So what we might want to do is just jump to this last key frame and we can get rid of this key frame. But we can either click here. We can just select and hit delete. So I selected delete goes away some back to where it was before, because maybe I want this angled bid here. So if I double click this an easy way to do it, you could do this. But you know, it's it's taken the whole piece, so we don't want to use the transform tool for this. If you make a mistake, hit the escape key, right, and then you can undo goes back. So if we double click that, just stop that now, What we need to do is we can either have this line or this line doesn't really matter. It's still gonna work the same way. So if I click on this line here and if you click just outside of it, if you ever lose it, all you gotta do is make sure that you select your layer again. It comes back. So there's a mask. Okay, so see, if I click just on that line and you can see that this icon or this this little this little node this whole point became highlight, and so did this one. So I know that everything between this segment is highlighted so I can drag that to the other side Right now, I can use I could use guides and things like that and snap it. But just so you get the idea, you see, now it's just kind of cruising across like that. We get a night's angled transition of the cats little coming on. Okay, so now we want to see that inaction will just go ahead and turn that back on. We're going to set it to add. So add is adding what's ever inside the mask. So we'll just do that and we'll just go ahead. I'm just scrubbing through secrecy. So just dragging us through. If I hit the space bar, it's gonna play it back. But we don't see the mask when we do. That looks pretty good to me. Okay, Now, one other thing you might want to do is at a little bit of feather slight amount of feather to this because right now this edges very harsh something over here and just type in five. Give me a subtle, subtle edge. Now this mask ever gets in your way from seeing what's happening with your workspace. This icon here is gonna hide that mass temporarily. You want to remember that you've done that because you might be looking for a mask and thinking something happened to it, but it's actually just been hidden by this. So that's showing me the level of opacity or the level of feather. So if I go, if I want to crank that up a little bit, I get I can have a lot more. And also, in your view, port I have. Black is my background color, but if I want to just turn on the transparent grid, sometimes it's easier to see that way. I like black for what we're doing, though. All right, so that's that is going ahead, setting up our first animated bit, which is the cat's logo, and it was cashing through that little flickering once it cash through. You see the flickering one away, okay and Also, all this green stuff is cashing to Ram. So that's where it's going. So where does that go? It's actually in ramp. So? So just so you know. Okay, so now we're gonna move on to our next lesson. So that's in our next lesson. We're gonna go ahead and bring in the satellite to match this positioning. 5. CreatingAn80sStyleOpenInAfterEffects Burge Lesson 04: all right for this section, we're gonna animate the pioneer satellite coming across the screen, sinking it with our previous animation toe Look like it's revealing logo. Okay, so what we're gonna do is we're gonna take the pioneer layer, which is here, and we're gonna go. We're gonna use our key frame navigation. So we're hit Jane. K k goes toe next key frame. So every time I get that and Jay goes to previous key frame and what I want to do is I want to actually dragged the satellite, so it's lined up with the logo. Now, I can't see the logo right now because the mask, it still applies. So I'm just gonna turn the mask off temporarily by clicking next to you. Add setting None. So I d that there That the mask is still there. It's just disabled temporarily so I can see what I'm doing. Okay, so I'm gonna go to two seconds and we'll drag this the satellite up. So it's close toe. Where the beginning of the cats in logo. It's about the about the same size. And if I want, I can scale it slightly. If I drag these handles hold on shift. And I'm just gonna eyeball this because I only want to scale it like maybe like I was. Rule of thumb is like, 10% so maybe I'll set it to 110. So not quite as large. And it doesn't have to be a perfect cause. It's gonna have a kind of fast. Okay, Someone said this a little bit to the side here, so that's gonna be two seconds for the pine or salad. So what? I'm gonna animate its position and scale. Someone said a position key frame in a scale key frame. Now I'm gonna go across the screen, and I will go to the next key frame off the mask for the cats in section. So if I go to cats in some key frame now, wanna drag this just dragging it across? Now, as you drag us, if you have the shift key, it's gonna constrain the position. I wanted to be just on the other side of end. So, like, it's going across now. It should be moving across like that at this point, we're not animating scale anymore, so I'm only I only need position too worried about that. Okay, so So let's bring our let's turn our mass back on. Said if the ad and we'll see how our timing is working out pretty good, right? Okay. Should have been pretty, because it's That's pretty much the easiest part there. Okay, next thing I want to do is I'm gonna have this this sad light come in from screen right and animate into that position. So we kind of animated the middle of this animation. So we have the middle, and they were gonna have it go off the screen to the right. So it's starting to the right, come to left going off to the right again. OK, so if I get the first key frame, I'm gonna hitch shift page up twice, and that's gonna navigate me back 20 frames. Okay, so I'm gonna make this beginning animation where it comes from the right side of screen to the left side, 20 frames. If I drag that over now, you could just one thing to be aware of when I did this. The key frame, the indices. 40 Tweens, if you know, the little dots are the Tweens. If you see a lot of those markers, you can see the object is going slower or the layers going slower. If you see less of them, that's going faster. So if you know this is going pretty fast right here and you can actually look at this with a graph editor really see what's happening. But just for now, if I play this back, just be aware that it's faster to go slower. It's really not that much fat. Well, it's a little faster. Okay, so and then that has to do with the timing on it, because this is only 20 frames and this is two seconds, so it's going about the same distance. But this is a lot faster, right? 20 France vs two seconds, which is 60 frames. Right, Okay, so that's gonna be okay, because we wanted to kind of look like it has a sense of urgency coming in. So the other thing I want to do is I want to have it come from nowhere, like it's it's just scaling up from nothing. So I want to make sure that I have another key frame for scale, so it's killing up to something. Otherwise, if you only have one key frame for scale. You get zero and the object just disappears. Okay, So if I do that, what that's gonna do is going to set me back to frame zero. If I hit a go ahead and hit my space bars, playback comes in and comes across exactly what I wanted to do. You see this salad coming in? Now the other thing, the positioning of the satellite is a little rough. It looks like it's a bumper pool or something. It's bounce enough, right? Or at this edge. So if you look at this key frame here and remember we talked about key frames earlier, right now this is a linear key frame, so it's very much like it is bouncing off something. So we want to give it a little bit of rounding to that motion path. And if I'm off to the side, I'm holding on the space bar to move this over. I can actually hover over this with my selectable. And if I hold down command or Control and Ault, this is gonna allow me click and drag on that key frame to get busy. A handle controls on this. Now, if you ever do that again. You want to get rid of it. Control and all those guys on the Mac. It's going to command an option that will get rid of that. So it's easy to add it to get rid of it. Now there's some other things going on with this, but just for now, we're gonna just adjusted, have a slight curve. And, you know, so if I do that, that's curving as it goes across. I want to try to keep this line straight, to make that street right there. Okay, let's preview with space bar coming across. Yes, it looks less like it's running into something. It still looks like it's run into that key from a little bit. What we need to work on our timing. So now that our motion path to smooth out a little bit, we'll work our timing. So we might want to smear that out even more. Give it even more of a we'll return, okay? And if your space bar it's gonna preview that, that looks a little better. Okay, now what's causing that little bump or that hit is a change in speed from here. What's very fast to where It's very slow, so it makes sense. But what we want to do you want take these key frames here and what we're gonna do is we're gonna ease this key frame in. So if we do in Eve's, it's gonna slow down here and it's gonna slow out here. It's gonna take a little pause when it gets to hear. Let me just straighten this up a little, man. So if I do that, I just select those key friends by box, selecting them Rectangular selected. And I can right click on them, go to keep from assistant and say, Eazy E's Shortcuts F nine for those guys like shortcuts. And if I do that, you see how it changes here. So So what? That means If it has a has a chip out of the key friend from this side, that means it's easing in. If it has a chip on the other side, it's easing out. So because this is an easy ease, it's doing both its eating in and out. Just to show you, I'm gonna set it back to ease in. Okay, so I'm sorry, actually, for this you have to go all the way back to go all the way back. Control Click goes back to our linear key friends, remember? Just very robotic. So I right click on this keep from assistant Eazy e's in. So he's in It looks like somebody lumberjack got to it on this side, right? But that's slowing down on this side if I play through now, if he knows, I don't want to wait for this other stuff because I'm just working in this section, so I'll drag. It's over and I can use my shortcuts. If I hit and and be, then I can hit my space for It's only gonna work. It's only gonna work this whole area, maybe give it a little bit more time, so his space for so we can kind of judge how that's coming about. That looks pretty good, kind of hovering a little bit. That might actually work better with the season. But if you change that back by hitting control control, clicking on this twice that will get back to the linear linear is gonna look more like a hit something. See, there's no there's no slowing down. OK, so to take this back, So if we go keep from Assistant Eazy E's. It's gonna slow in and slow out. So if I do that, see that looks like it pauses. So it's actually slowing in as it gets to the key frame and then slowing out as it leaves the key frame. So that might be too much of a pause as we play back through that. Also, if you know sometimes if you click past your work area, it's still gonna play back like it was doing earlier. Okay, so you do that. And one thing with motion graphics and things like this is you want to try to be as elegant as you can about your motions because your view definitely pick up on little bumps and hits like that. So let's change that back. Let's go to keep from assistant and easy easing, which is going also, if you notice down here that you have to actually go back to get rid of the ease on both sides, control click command, click on the Mac couple times, go back toe linear key frames, right click Eazy E's in, and if you know it's a short cut, a shift F nine. Okay, so that's gonna give us a nice coming in a slight pause and increases across. Okay, Now let's go ahead. And so now that we have that set up and at this point, we don't care if it eases out, we want it to be very abrupt as it scales up from zero across. We're not too worried about that first key frame. All right, so So what we're gonna do here and we're just gonna finish this off. So we have the first part using in coming across in landing at our third key friends who have 123 So, at this point, what we want to do You want to go forward in time? 10 frames, because wants to be to shoot off into space really quickly. So had shift page down. And if you notice we moved for 10 frames and what I could do so I can just drag this off the screen. Now, if you notice my key frame is already giving me a busy handle. OK? So if you're a key frame doesn't give you that under that, If I hit control option control halt on the PC, he had these backwards control option command option on the Macintosh control old on the PC , and now I can drag it and thats gonna change the quality of that from being a linear. And if I click and drag, that's gonna give me nice, busy handled so I can control the curvature of that gets slightly more organic curves. If I scrub through this, I got this coming around like this and moving off the screen now for speed. What I want to do on this one, it's gonna look like it's really speeding up here. So when I want to do is have this kind of ease out a little bit on the end here. So going into that key frame, if I wanted to slow down, which I don't, I really wanted to come across. But I want to eat out so going out of it. So if I right click on this key from assistant Easy, easy out. So it's gonna come across and kind of take off the in there. Okay, Now, last thing we want to do is we don't have it's kind of scale down the opposite of what we did. The beginning we want to go from 100 were using 110 for a base scale. Want to go down to zero at the end? If I go to the my second key frame? Sorry, third key friend. And I want to set 1/3 scale key frame because right now that it's gonna be 100 10 but I need to set a key frame for that. So it records us like click here. That's going to set a key frame for under 10. And I want to navigate to that that last key frame. So we had the cakey. Now I'm just gonna type in zero, and that's gonna take that data zero as well. So if we play that through, it's gonna go across across reveal and it scales down, takes off, it looks like is actually speeding up. It's kind of slowing down because it's getting smaller at the same time. But there's are nice are nice Pioneer satellite revealing the cats and space or the cats in section of cats in space. And that that was this lesson. So our next lesson, what we're gonna do is we're gonna bring in space section in three D. So we'll see in the next lesson 6. CreatingAn80sStyleOpenInAfterEffects Burge Lesson 05: in this lesson. We're gonna go in, animate this space section of the logo coming in three D. Okay, so first thing we do is I'm gonna actually go back. And if you remember, our previous lesson were animating the pioneer logo or the pioneer satellite coming across the logo revealing it. What we're gonna do is we're gonna actually turn that off. So if you have that, I just turn that make the invisible. So what we're gonna do now is we're gonna turn the space section title on. So we have that. And what we like to do in this section is we're gonna make this into a three layer. So currently, we've been dealing to dealers accident. Why? So if you go to position, if it's not invisible, if you had the peaky that's going to show you r two d coordinates a to D if you think of it , two dimensions X and Y. Now we need 1/3 dimension because we're gonna build a zoom, this same pass and virtual camera. So to make this interactive as a three D later, we're gonna click next to the cube icon on that layer to go to that I kind of click. If he knows now what that's done is added 1/3 dimension, which is the Z death. So those guys have these three D programs. It's very much like a traditional three D program was he is close or far or behind the camera. So in this case, if you do a negative Z, it's coming closer to you. So just illustrate that positive it's going away because on the program to you. So if I set that back to zero, that's the default disease babies. Okay, so that's where we're at. So that's where you want the land. Now for this section, we're going to do everything in two. So we've been working with two as far as our timing have been doing. Two seconds, two seconds. So if we play off of that rhythmic pulse, we're gonna start with four seconds and we're gonna go over six seconds. So if I do that, I go to six seconds. And I wanted to this aware one of the land, so I'll just said a key friend from position. Then I'm gonna go back to four seconds so many different ways you could do that you could hit the ship page up, and so you get close to four seconds, then you can just just instead of holding shift, you can just do frame by frame. Just depends on some different techniques for you guys. Okay, so at this point, what I want to do is I'm gonna actually animate this. And if you notice the Z axis is actually blue access, you could click and drag on it if you want. For me, it's easier to do the scrubbing value technique we talked about earlier. So if you just click and drag here in the in the timeline, So Okay, I'm clicking dry cool down if you just click and drag. Just so you see it, you could say it take you a while. But if you hold down the shift key, it's gonna multiply by 10. So really gets it going. Okay, so let's let's preview this section now. So I'm gonna be on my keyboard, Will be, and then n over. Well, I've already got set up. It'll hit. And anyway, so it sets it up. Now, you hit the space bar, and that's gonna go ahead. Preview that three D if you notice? I have my pine er satellite turned off, so it's so I'm not worried about that right now. I just want to see what that's doing. Okay? Now, one of things we want to do is one have this move occur as if we're flying through the middle of it in the hole in the A. So to do that when we go back to my first key frame. Now, if you notice them off screen at this point, so I can't really see what I'm doing. So I'm gonna actually navigate change the Z, so I go back on screen on screen first. Line this up. Okay? Someone winds up in accident. Why? And you just try to get it. Seems like I'm looking through this part of a now. One thing to be aware of said this is very even. If I'm on full resolution for this, I'm still seeing It's very pixelated because that is a that was 12 80 by 7 20 and that was the size of that screen. So if we zoom back, it looks great at its standard sized, But this is essentially scaling it up, even though it's not scan leads so close to the camera that really seeing the pixels in that file, This particular use we're gonna actually have this flying past the camera so fast, the audience is really going to see it, so it's probably gonna be fine. But typically, you would not If you're gonna sit on something like that. You want to make sure you're using a higher rez file or, you know, um, you just avoid avoid showing it that this particular camera angle Okay, So what? I want to do that kind of line this up here as much as possible. Now, I've seen people try to do this with the Z axis offscreen. How can you do that? You can't write. You have to be able to see what you're doing. So bring it on, get it lined up, then move it off screen. Right? See what I'm doing there? So I'm actually going to drag busy, so it's off screen. Okay, so now if I play that back, it's flying. It's it Looks like we're flying through the the in the middle of the A. Okay, Great. So great placement everything. The timing is a little bit off. So what I want to do with the timing. It's OK that it hits at the end with the linear key, but I'd like it to ease out a little bit. So what? I'm gonna just take the first key frame. Right? Click on that came from Assistant. Easy. He's out. So out what is going out of key. And if you notice it looks like a little lumberjack. Chop that out, right? So now it's gonna go slower at the start, and it's gonna just hit like it's hitting a wall. Now that's not too dramatic right now, because it's still way too slow. So even though we've been using Tuesday's or timing, what we need to do is just speed this up a little bit. Now, before we speed this up, let's see how it's interacting with our satellites. I'm gonna turn the satellite on and let's play it through. Okay, so we got our satellite give a little bit more time, Okay? You know, salads coming across, and that's coming in. Okay, so So we don't we kind of like that. And we could actually overlap that a little bit more if you wanted to, And an easy way to do that. It's just take both those key friends box selecting. And if I drag my time anything I don't I don't want the I don't want that because then I could see, But it easy fix for this and for using a two d layer interacting with the three D layer is to change, like in photo shop Just changed the layer order. So now that's gonna go over that satellite, okay? And we don't want leaves too much. Is that like it's kind of cool going up the side there, But way like the overlapping motion so overlapping your motion and your motion graphics piece is gonna keep the excitement of okay, it's getting there, so our spaces landing in it feels a little bit slow. So what I want to do is just speed that up just a little bit. So I'm gonna jump hit the K key a couple times, jump back to that key frame and one move back five frames. I'm just gonna hit page up five times. 12345 and then a dragnet ski from over. Now, if I want to eyeball it, maybe I'm good at doing that But if I hold that shift while I drag is gonna snap. Okay, so let's go ahead and take a look at that. And I think that's started. Work much better for us. Okay, great. So now we're gonna go ahead and go on to the next lesson, which we're gonna go ahead and add the greens and take a look at everything's coming together with the amazing animated background and see if we can tighten everything up for the final bit over cats and space animation. So I will see you guys in the next list. 7. CreatingAn80sStyleOpenInAfterEffects Burge Lesson 06: All right, welcome back. And for a last and final lesson, we're gonna tie everything together. But we're gonna add a little bit of extra possessed our animation. But before we do that, let's take a look at how everything's coming together with our space background. So faint Space Marks is gonna preview that section and you can see we've got our nice movement of our space background in behind everything. So we get a good sense of environment created. We've got our cats and space being wiped in by the satellite and our three d space local flying in. So everything's looking great. Now, one of things you can dio just kind of like a little technique to your motion. Graphics is add like a gland or glean and so things to to kind of reinforce the logos introducing the logo, your honest is reading that logo and then one more thing called back to the logo, just kind of reinforcing the fact that it's there. So we're gonna I'm gonna show you guys two different techniques of adding a gleam to this. We're gonna do a glint version of this and a believer. So we're gonna start with the blame first. Okay, so I'm just gonna pause this now. What we're gonna do is we're going to create a solid layer. So I'm gonna right click down here, go to new solid, and I'm going to create a The blame can be whatever color you want. I'm gonna use a white gleam like a gleam of light Click on white solid. And I'm gonna just name this glean. Okay, so if I do that, that's gonna give me a full layer that it's a solid layer that's filling up my entire screen. Now, what I'm gonna do before I go on with this is I'm gonna go and added mass to this layer using my rectangle tools like click and drag in the middle of that. See, it's mast out this layer. This is glean. Don't worry about this gland right now. We'll come back for a second. Now what I want to do if I just clicked in click and drag drug drug out a mask for that if they had the f key f is another shortcut to bring up the feather. If he hit em and we talked about earlier, you can see all the mask options which feathers included in there. But if you click and drag on that, that's gonna feather your edges. So if you want your gleam toe look a little bit more like light, you might want to feather it. So we're gonna do that for this. Now, with this, this layer I'm gonna go to rotate are on my keyboard and because I want a slight angle. Now, if you do this notice this stuff out here is not really gonna show up. Okay, so we have a rotated glean, and what I want to do is the gleam is gonna happen after everything else happens. So we're looking my timing, So I'm just gonna kind of scrub through. So we have the satellite, we have space, and then we want to go. I like to find an actual whole number here, like, five seconds is great for this. So go five seconds and I'm gonna go another second, will, further down time. So give it. Give it, like, a second to kind of relax and then have the nice going come in. So we're gonna get a six seconds. So if I type in six in a period will take us a six. Now what we're gonna do is we're gonna animate this claim going across the screen. So I'm gonna go to the glean and I'm gonna show you two different ways of using this. And so I go to position and I want this off to off the screen to the left. So I'm just gonna dragging the X axis that moves across the screen. I want to make sure it's all the way off the screen. Don't worry about the top being cut off at this point. Now, when I click, my stopwatch set a key frame and this is happening really fast. We can adjust the timing after we see the animation, but I'm just gonna go ahead 20 frames shift page down. And then I wanted to go to the other side so you could You could do this if you don't like doing that so you can go back to your your wiki drag. And if he drags across the hold on shift will constrain it. I want to be completely off the screen. Okay, so we're just looking at this air area here, so I can also drag my workspace This way. Just shooting another technique. If you don't want to be an end, you can do that. Hit the space bar. You've got that. It's just cruising across. Does not like to amazing right now, right now. But what this is going to do for us, it's gonna let us kind of see where everything's that. Now this white layer of the glean is above everything else. Now I want to show you guys a concept called a track matte. So I'm gonna just take a copy of the cats in layer. So to copy layer, I can hit command D on the Mac or control de on the PC so had controlled and no side names at number two cats into so I can drag this guy up towards the top. And now, because that's above the white layer right now you see it above that. But what I want to do is I want to say, tell the gleam layer to use the solid areas of the cats and layer as a mask, basically and what this is called is a track matte. So they go over here with his tear came at and I change this from and it's kind of weird because a layer that you're gonna see needs to be underneath the layer that's using the Masco. So it's using the cats mass. If I go to gleam over here to glean, it's a Alfa Matt Katz in What that does is it says the ugliness Onley gonna be showing up where cats exists, where the Alfa Channel Cats is. And just to show you guys this, I'm a double click on this. If I look at the layer by itself, like if you double click, if you ever accidentally double click on the layer, it opens it in a layer window where it's on Lee showing me what's on that layer. So if I come over here and I look at this, you can see what's opaque and what's transparent. You can actually have semi transparent layers as well to do this technique. Okay, so that's you can see that's what's gonna be solved. That's going to be transparent. So if I close this out, come back over here. So that's exactly how it's working and one other little quick thing to show you guys. I want to solo the gleam and just see the blame. I can click this little dot next to it. That's going to show me just the glean. You want to remember that? That's uncheck. It goes back. Okay, so that's just showing me the gland. All right, So So exactly what I wanted to do, right? Sort of. I'm just kind of giving that to you guys now another way. If we wanted the cats so this would building off of this, right? So I turned back. Now, I don't want just the cats late. Right now I'm getting just the cats. It's based on what? The cats. But I also want space. So what I need to do is I need to have both of those layers come down here to space, and I'll just take my space later. Do the same thing. Copy it. So I'm gonna hit command e controlled the on the PC that's gonna duplicate that. Now I don't take that. Dragged it up there. You see how now spaces is in Iraq? It's actually covering up the glean. So I want to take these two layers cats in so highlighting cats in and the space, and I want to combine them so we hadn't really talked about pre company, but now we are. So I'm gonna do what's called pre composing, which is gonna combine those into one mats. I can use the glean, but it's gonna use both of those layers. Okay, So if I select those layers and don't worry about it doesn't matter for track matting right now. Turn off, bring it back in. So I take both of these guys I wanna pre composer. So the shortcut for that is control shift. See? Okay. Command shift. See on the other. Max, if I do this, I'm just gonna call this gleam, which is what we're calling at Matt in a t e. Okay, so it's gonna be the mat for the glean elements, so I do that hit. Okay, now I get this. And if I open that up, it looks just like those two elements. Essentially, that's what that is. Is the cat's in the space Now, if you ever in here and how do we get back to where it was? You can click the tab. Another cool thing. You can use this. This guy right here. Composition, many flow chart. If you click that that ally to just navigate back to Teoh. I like that lot school could There. All right, so now we have a combination of those two. Because when you do a track that you can only use one layer, it's only the layer immediately above it. So you have to combine it that way. So I go the glean. So track matte Alfa, Madam glean. Now I've got that set up like that. So now it's cats, cats and space both at the same time. Okay, Now we could actually look at her glean and we could do something. So right now it's not that great looking. I mean, we kind of get the idea, but we can come over to some of our layer modes, like in photo shop. So if you notice I'm here, what's is normal and you've got all these different modes, so we could try some, like overlay. Right overlay is just gonna lighten things up a little bit. So if you look at that, we'll hit our space bar. That's kind of cool. It's kind of subtle like that. But we can also come in and we could try something a great mode for trying to get light effects is ad. So you add and let's see what that looks like. It might be too strong. Actually, in this case, I think overlay was much better. You could also vary the opacity of your gleams if we dropped it down a little bit, you know, Looks a little milky there, you know, something overlays looking a lot better for that one. Okay, so let's let's go back to spring. Back, 100. Drop it back to overlay. Never get a nice little gleam effect. Okay, that's kind of standard Glean. That would be how you do that. Now I'm gonna show you guys when other, slightly different technique with this and this is kind of playing off the track Matte technique. This is with We're going to use a different track that we're going to use this track matte that I've pre created for you guys. And just to show you this is a much of star brushes from photo shop. Just basic Starbucks looks terrible by itself. But what we're gonna do is we're gonna actually use this as a track matte for the glean So would take the glean, and I'm gonna drag it just under the glint and just for now, turned off the other one. So if you know so if I go back about one solo, this is what God looks Terrible Rights just does this guy moving through here. And if you notice down here we have the gleam. I want to go ahead. Set that back to no track. Matte. It's like a cooking show, right? It's like there it is. Okay, so this guy's coming across it set to overlay. Still, I'm gonna set it back to normal to see you guys can see it. So this is what it looks like. Normal, right? But what I want to do is say Onley, show me these guys through the glean. So if I come over here to glean and I'm gonna say make the Alfa Matt of glint. So what's happening is where those little glints were. That's where you're seeing. But you're only seeing it revealed through that through the glean layer, right? Makes sense. Okay. So if we look at this, this is going to give us this crazy kind of effect sparkly effect. Now, one thing we're going kind of fast for that sparkly effect so we could slow are going down out. If we hit the U Key, we could see any animated properties on the going. We know their position. But if we didn't know that, that's really helpful. So we could slow down a little bit. We get a little slower movement with Slope. I'm just kind of dragon is out to see. Okay, so now we're getting that, and it's not. It's not a really fancy animation. What we're doing is revealing those Photoshopped glints now. One thing we might want to do is that this might be too wide. We might want less and Glenn's at the same time. My double click on this. I can actually scale down my Matt for my mask, so it's only revealing some of these guys. Okay, so I go back just to show you brings back to. That's what it's looking like. Oh, I'm doing with that. It's just double clicking on that to kind of shrink down that that Matt. So if I double click inside the middle, so that way we would go back, used the al from out of the glint, really getting a few fillings like less glints. Okay, So now we get something. Looks like that. Okay, So two different ways you can make some awesome glints, gleans or whatever you want. You can combine them together. Might be too much. Too much, Calvo. Maybe there's not enough for too much, but that's that's basically it. Okay, so we've wrapped up our glints and gleams in our final bit. That we're gonna do is we're gonna move on to our last last lesson, which we're gonna which is the extra sauce lesson. So I will I will see you guys in that lesson in a minute or two. 8. CreatingAn80sStyleOpenInAfterEffects Burge Lesson 07: all right, We've made it this far, so we're just wrapping things up now. So for a last lesson since we're doing the eighties style animation, we're gonna go ahead and we're gonna make this look more like an eighties transmission. So we're gonna go ahead and pre comp this entire thing, and we're gonna prepare for render. So if we look at this whole thing, so those things about 10 seconds long and I want to just drop drop back. So I got a preview. My title animation. Okay. So I'll just in my space for so you guys can see it. Okay, so it's gonna go back to the beginning. So we have our satellite coming in, revealing cats, cats in space get a nice glades, and then you go into the program some cool, awesome cat music, all that good stuff. So that's what we have so far. But now for next step, what we're gonna do, we gonna stop that? We're gonna take this entire cats and space project composition, which is appear on pre compose entire thing. And what that's going to do if I drag us down here when I when I releases this is gonna make that entire animation one layer within a new competition called Cats It Space project to so aftereffects names that for you. Okay, so so what I like to do, I'm gonna actually rename this comp appear so to rename this I'm just gonna hit the return T And I'm gonna changes from cats of Space Project Two cats at space, bad TV. I'm sure it is bad to you, and we'll call this final. Okay, so there's a bad, bad TV now what I meant by that I'm gonna add the bad TV effect to this to get this ready. So all I gotta do and a great thing about aftereffects is we have this effect, some presets over here and again. If you ever miss out on this, just gonna work space and you come down here and reset standard, and you're gonna get what, your effects and presets or on the side. And if you type TV, you can't remember what they are. You can see there some special image presets and bad TV. Old week war. Let's go with And you could try different ones that if I take this and dragons from here onto my layer and I could drag and drop here or you go to the layer. Just do that and you see what that's gonna do. It's gonna give you a Siris of effects that over here that are going to give us more of an old TV effect for a final output. And you could try something different ones. If you ever add like one of those presets and you don't like it, first thing easiest and it is undue control Z. But if you have to go in here and maybe maybe you want to get rid of some of them, you could pick and choose. Just delete. So all that is is a series of effects that are applied a combination. It's like if you wanted to do the week, you can drag and drop their well, pretty radical there like too much. It's too much for the eighties. Had better reception back that, So let's go ahead. Let's let's just get rid of that. So because I was the last thing I did, I could just take control Z that I won't do that. I'm gonna go back to old drop old and and there we go. Okay. So I hope you guys have learned something from this in the final thing we're gonna do. And you could control this every. Like you don't like that at all. You don't have to add this effect. But I just wanted to get it. Throw that out to you guys, if that's something you're interested in, but let's go and get this ready to output. So I'm gonna go ahead and click on life. My composition here on my control M. Which control M is a short cut to add this to the render to command em on the Mac. And now I'm gonna go to render settings. And I know some of these things can be daunting clicking render settings. You can see there's all kinds of different Thanks. You know, you can make sure you render the entire composition. Just says time will expand. I'm gonna do entire length of cop. And if I check this down here, it should say duration. 10 seconds. Which it does. I just want to double check that you could do different size. Say you don't want to render the whole thing to change the the half or 1/3 or whatever. We're gonna keep that the way it is. So I don't think we're changing their lengthy cop will hit. Okay, Now the other thing is after fixes a huge programs that has all kinds of customizable settings. And there's great tutorials out there that go over this and read the manual has a lot of information about that adobe as well. But if I go here and output module, I click on this, this is going to go ahead and allow me to make a B I or Quick time or J peg sequence all of these different settings. And so what we're gonna do today is going to do a quick time and these were some different things. And if we had audio out, but we could get a turn it on or off, we're gonna leave it. Wait is because we don't have audio right now, and we're gonna change your format options under quick tops. Your quick time. It doesn't really matter if you do include project link for our purposes, but I'll just turn that off for now. I'm gonna click on format options now when I do that, have a lot of different options here. A lot of people will always go for animation. Animation is un compressed is gonna give you huge file. So what we want to do Don't do animation. For at least for what we're doing here today, we're gonna go down to use H 264 Okay, so we're gonna pick that now, This is what's called a Kodak. So this is gonna work with in your rapper, which is quick time. And this is gonna be how the images are compressed. Kodak is compress or decompress. So it's it's actually compressing it to make it smaller file size. Decompressing it to allow you to see it when you play it back. Okay, so there's a lot going that. Okay, so we're gonna leave all of that at the default setting it, okay. And then we're gonna come over here it okay. And then we're gonna go cats at Space Project, and we're gonna go up and we'll ask mother. Okay, so I'm gonna go over here to my cats at Space Project on my desktop cats its face. Okay, I'm just gonna render this out, Catches space, probably. And that's the name of the final. The final composition. So I'm gonna call the view, underscore V ones, version one of cats in space. And we had saved and will render that out. See, it's going really quickly is not really complex. Hey, wait. Really enjoyed going over this material with you guys. Hopefully got a lot out of it, and I love to see what you guys can do. Project for this class is going to be for you guys to go into photo shop, and you can use my files a template, and you're going to design your own cats and space logo and an animated using the techniques. And we went over in these lessons. If you have any questions, you can always e mail me or you can post and let me know how you guys were doing. I love to see what you guys can come up with. Okay, hope you enjoy this and we'll talk to you later. Katz's bait