Creative Video Intros with After Effects | Phil Ebiner | Skillshare

Creative Video Intros with After Effects

Phil Ebiner, Video | Photo | Design

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21 Lessons (4h 16m)
    • 1. Trailer

    • 2. Instructor Intro

      6:42
    • 3. Course Introduction

      6:50
    • 4. Video Intro Samples

      11:33
    • 5. Video Intro Theory - Getting Started

      11:54
    • 6. What software?

      5:13
    • 7. The Video School Online Intro

      21:15
    • 8. Ghirardelli Bumper

      32:53
    • 9. The DOC360 Intro

      24:51
    • 10. Practice 01: For Authors

      16:39
    • 11. Practice 02: Dublin Academy

      11:28
    • 12. Practice 03: Jennifer Bailey

      15:28
    • 13. Practice 04: Bloom & Grow

      21:33
    • 14. Motion Graphics for Video Intros - Part 1

      3:14
    • 15. Motion Graphics for Video Intros - Part 2

      11:42
    • 16. Motion Graphics for Video Intros - Part 3

      8:15
    • 17. Motion Graphics for Video Intros - Part 4

      9:23
    • 18. Motion Graphics for Video Intros - Part 5

      15:24
    • 19. Motion Graphics for Video Intros - Part 6

      6:10
    • 20. Motion Graphics for Video Intros - Part 7

      10:01
    • 21. Exporting from After Effects

      6:01

About This Class

Watch any professional commercial, YouTube channel, or television series, and one thing they all have in common is that they have a video intro! You know? That 5-10 second animation with their logo?

These video intros (or video bumpers as many people call them in the video industry) are eye-catching, brand-strengthening, and audience-growing. Anybody that ever watched television can remember McDonald's ba da ba ba ba jingle and logo fading onto the screen. Most great YouTube channels have a short intro bumper, and these creators are sometimes making a living off of the videos they post online.

I believe everyone with a brand, a YouTube channel, or any other sort of video production NEEDS to have a video into. And I believe anyone is capable of creating their own! You don't have to pay someone else to do it for you. This course will teach you everything you need to know to create an elegant and professional video intro for your brand.

The course is taught in Adobe After Effects CC. If you have another version of After Effects, that is totally fine. If you don't, you can get a free 30-day trial of After Effects from Adobe.

Topics Covered:

  • Video Intro Theory
  • Conceptualizing Your Video Intro
  • Recreating Video Intros
  • Video Intros in After Effects
  • Using the Video Intro Properly
  • Exporting Your Video Intro
  • more!

I can't wait to see you in my course! Now go ahead and enroll!

Cheers,

Phil

Transcripts

2. Instructor Intro: - everyone Welcome back to another lesson in to create your own video intro course. - Last time we talked about what this course is all about, - how I'm going to be teaching it. - But before we delve into the class, - I want to give you more information about who I am. - A lot of you are probably coming from other classes, - so welcome back to one of my courses. - I'm glad to have you here. - That means that you enjoyed my other courses. - But for the rest of you, - if you're new to video school online or to the Philemon or way of teaching, - let me tell you a little bit about myself and how I teach. - So who am I? - I am a video creator. - I am an adventure traveler. - I'm an online entrepreneur, - I would say. - And I grew up in Los Angeles, - California, - for my whole life. - I went to school at Loyola Marymount University. - That's where I got my bachelor of arts in film and television production. - I also had a minor in business administration. - And those two things combined have created how I am today, - where I in very ambitious about creating my own projects, - video projects. - But I also like the idea of of being an entrepreneur, - coming up with new ideas, - websites, - those kind of things. - And so while at school I did a lot of great projects focused on video editing and - documentary making. - I was able to travel around the world during school, - studying abroad in Germany and, - you know, - hopping all over Europe, - making a documentary about cycling in Switzerland. - And then after that, - that was during my junior year. - During my senior year, - I did some traveling and service projects abroad in Mexico, - in India, - two great experiences. - My final thesis project came out of that service trip to India. - So I follow a small child who was malnourished, - and it was focusing on the problem of malnourishment in India. - And it was a great project. - Went on to win some awards and screen and some film festivals around the country on bond - school was amazing. - Then I graduated, - like most full tend to do when they go to college, - hopefully, - anyways, - and since then, - for the past three years, - I've been working professionally as a video editor and creator. - For the first year, - I worked at Participant Media, - which is in Beverly Hills. - They've done a lot of great documentaries such as An inconvenient, - Convenient Truth Food Inc waiting for Superman. - So I was creating online content for their website take part dot com. - So it was all short documentaries, - great kind of stuff. - I met lots of great people on inspiring people such as Davis Guggenheim on Oscar winning - documentarian, - and it was a great experience I. - Then, - after that year, - I moved down South Orange County, - where I got a job at Stanford College. - I was the first video person there, - and I built up an online library of over 100 and 50 videos. - And some of those videos were for promotional purposes and somewhere for educational - purposes, - where I was basically creating online content for their new online school. - That's where I found fell in love with online education and teaching. - I actually heard a few sites, - such as you to me and Skill feed and the books that are so big nowadays. - And I thought, - well, - maybe I could, - you know, - teach online as well. - I feel like I know a lot of things about video creation, - video production, - etcetera. - And so I did it. - So loss October as a man, - that was October of 2000 and 12. - I created my first course less than a year later. - I have over 15,000 students. - I've got over 18 courses and a thriving community on video school, - online dot com, - the website that it created to kind of promote my courses as well as give away a lot of - free content. - And so I love teaching, - and I just try to keep thinking of new courses that I would want to learn and teach them - the way that I would want to learn. - So, - as I mentioned now I teach and how do I teach? - Basically, - you'll notice that I'm very free flowing in my courses. - Some people complain that I beat around the bush where I just, - you know, - add a joke here, - a joke there, - or I like to introduce each lesson with a fun fact or housing going just because I feel - like if I always teach taking an online class, - I would like to have that personal connection with the teacher rather than just a - computerized voice reading off bullet points and just, - you know, - quickly teaching a class without any personality. - And so, - you know, - you might have to skip through the introduction of my course and get straight to the meat - of the each lesson, - and that's totally fine with me. - But I know that each lesson I like to spice it up with a little bit of my personality. - Um, - so thank you for joining this course. - I hope you enjoy it on Bond. - We're gonna basically dive into what's next on that's creating our video bumpers on the - next lesson. - I'm just going to be a quick run down of the programs we're gonna be using, - how we're going to use them and where you can get them because they are expensive. - And I have some options for you to get them for free or for cheap. - So thank you so much for watching this lesson. - Have you learned a little bit more about me and I can't wait to get to know you throughout - this course. - So if you ever have any questions, - please feel free to leave me a message on the course page or email me at video school - online dot com. - So thank you so much for watching on. - We'll see in the next lesson 3. Course Introduction: - Hey, - what's up, - guys? - This is Phil. - Happened back with another great course to create your own video intro course. - We're gonna be talking about motion graphics animation, - video bumpers, - which is what I use the term I use video bumper for the short little 5 12th clip in front - of companies promo video or their commercial or at the end of an advertisement or on - YouTube channels. - You see him a lot with the professional YouTube channel producers. - They have their own video intro. - And of course, - that started this video. - You saw them, - and you can see them playing now. - In this video, - you can see some examples of some great video bumpers. - And so what is a video intro and what is its purpose? - Well, - it's really one toe, - I would say 7 to 10 seconds clip, - UH, - a video that introduces your brand, - your company or whatever it is that encompasses your video. - So if you're a video channel on YouTube, - you have a channel name or brand name, - and you create a video bumper that goes along with that For me, - I'm video school online dot com. - That's my video brand, - and so I brand all my videos with that same video bumper. - The reason is for so that when people see that bumper, - they recognize the brand, - and they know that it is from that brand. - So you'll see that in advertisements all the time. - Or especially if you think of car commercials. - You have the classic logo, - whatever it is, - whether it's a fade or emotion graphic type thing at the end of a car commercial, - and it shows the logo of Audi or Chevrolet or Ford or whatever company it is. - And pretty much, - I would say, - 99% of companies have a bumper for their advertising's or further videos, - and they're relatively easy to make something that's nice and easy. - So how do you make one? - Well, - you have to learn the basics of motion graphics, - and I've taught a couple classes before on using after effects and a kinetic typography - class. - Both of those would be very useful for this class, - and so if you don't know how to use after effects, - which is the program will be using now and say, - Please check out my adobe after effects crash course and you'll learn all the basics that - you'll need to know in this class. - I will, - however, - be demonstrating how to create a bumper in this class from beginning to end so you might be - able to follow along if you're new to the program. - But I would highly suggest taking after vice course and also if you want the kinetic - typography course. - But those courses will give you an insight in how to use the program. - And so that's basically how we're going to be the program that we're gonna be using to make - our bumpers. - But the rest is up to you how you want to make it. - If you want toe, - have a little flying faded. - If you want to have some sort of three D, - effect will be going over all sorts of techniques that you can use to create your own video - bumper. - And, - of course, - I hope you have on idea in mind. - Or at least if you have a brand, - a website, - a company, - a YouTube channel, - you should start thinking of the assets that you will have to have to create your bumper. - So whether it's a logo font choice, - a color scheme, - just start thinking and brainstorming about what you imagine your bumper toe look like? - How will his course work? - Well, - first, - we're gonna talk more about the theory of the bumper or the video intro, - and I'm going to show you some of my favorite video bumpers. - This will give us a good platform toe leap off and start creating our own work. - I'm then going to show you a few bumpers that I've created in the past for companies such a - Z Ghirardelli chocolate on my own company, - video School online, - a documentary website called Doc 3 60 dot org's and another smaller company based in Santa - Cruz Pred Pool. - And so I've created bumpers with motion graphics for all these companies, - and they bury in the type and the scale of the project and how they look. - So it's I'm gonna break down each of those projects and basically recreate it and show you - on screen basically gonna switch over from this camera. - You're gonna follow me on screen as I go through after effects, - and we learn how to make those bumpers. - Then we're going to take a look at some new ideas, - and I'm going to give you a few examples of new bumpers. - And so I'm going to do some that involved motion graphics where you know, - things are moving, - more motion, - connect, - motion, - others. - I'm gonna do some faiths, - and then I'm gonna do some three D kind of effects transitions. - Teoh, - create a bumper. - And so, - through all those, - I'm gonna be showing it to you on aftereffects. - You're gonna be learning how to use the program, - but also and more importantly, - learning, - you know, - the theory and wire using these different effects for your video bumper. - And so hopefully, - by the end of this course, - you're gonna know pretty much all the techniques or transitions or anything you need to - know to create your own video bumper. - As always, - if you've ever taken a course for me before, - you can check out a video school online dot com. - I post a lot of great articles, - block posts, - podcast and free videos that have to do with video creation photography. - Just being creative video school online is my outlet to give you guys my knowledge in one - place. - So check out video school online dot com. - They've you so much for watching this lesson, - Andi, - In the next lesson, - I'm gonna be telling you a little bit more about myself so you can feel comfortable taking - this class for me. - Thanks for watching, - and we'll see next time. 4. Video Intro Samples: - Hey, - what's up? - This is Phil back with create your own video intro. - Today we're starting our section on the theory behind video bumpers, - and we're going to be looking at some samples, - so let's get right into it. - So let's stop watch some of my favorite samples that I found on YouTube today. - There's many different types. - Some are very simple. - I'm gonna talk about each one and just pay attention to all of them and use them as - inspiration to start thinking about what you want to do with the bumper. - One thing I want you to do after this lesson is to browse YouTube channels on your own to - find Mawr bumpers. - Basically, - what I did when finding these ones was I just typed in a company's name into YouTube on, - then usually ate their company. - Channel would pop up, - and then I usually on most their videos, - they had a bumper. - I've also tried before searching for like if I was, - for example, - looking for Apple Bumper. - Um, - I've looked up Apple Bumper or Apple Video bumper Apple video intro, - but sometimes easier just to go to their page and then see their bumper another way to find - bumpers. - Great bumpers is to look up advertisements, - especially old advertisements, - because Bumpers changed over the years. - And so, - if you want to see McDonald's you know, - bought up, - up, - up bumper, - you can just search for McDonald's advertisement and on YouTube, - and usually something will pop up. - So let's go ahead into YouTube and show you. - So here's three v Health and Fitness on YouTube. - This is a quick one, - actually. - I wanna show you d C shoes first, - because I thought this one, - it just goes to show that it doesn't really have to do anything. - But having a bumper is key. - So here's D. - C. - So that was the start of their video. - D. - C is a skate shoe brand. - Onda makes Kate a bunch of skate skateboards stuff, - and so they just have their logo and its just there, - and it's actually slightly growing, - just like super. - It's really hard to see, - but you can tell that it's growing, - and that lasts about 2.5 seconds. - And so just having your logo in the middle of your screen is a viable option for a bumper, - and it's something that I don't want you to, - uh, - you know, - stray away from because this is a great you know, - option for a brand that doesn't need too much motion graphics or anything too crazy. - And just have your lower there is nice. - It's a nice option. - All right. - So let's look at another, - more simple one. - This is micro Yapa. - Um, - I don't know exactly what this is, - but I just saw this bumper and thought it was a great example for something simple. - So let's check it out. - So again, - less than three seconds, - you have their this kind of, - like plug looks like a plug and it peace breaks off and then zooms in to the titles. - So basically zooms into the title of this this video. - And so again, - motion graphics. - A lot of motion in that one. - Here's another one for three v Health and Fitness channel. - So let me play this one. - Okay. - So that one is something that I could easily teach you to do in after effects. - Um, - may I will try to replicate this for you guys. - So you have their three basic words that represent their company. - Their their mission statement were is basically, - uh, - pop up on the screen, - the screen, - and then you have this kind of light source lens flare and their logo kind of pops up and - go back a little bit. - Their logo pops up and kind of flashes into the screen. - And then there's kind of a lens flare Film burn, - look that transitions into their video. - So that's a cool option and something I could easily teach you how to do. - Marvin, - Eric, - this is a friend of mine. - Hey, - actually created this online Siris of videos, - and they had a really awesome bumper created for them. - And this is this just goes to show that even if your video isn't the greatest quality or - whatever it is, - your the production value of your videos will go up. - It will skyrocket if you have a nice bumper. - So check this out in this bumper. - So this is their show, - Marvin. - Eric and they have always grab. - It's going violence, - watching Warren time I so super cool like kind of graphics going on, - you know, - their faces pop up. - He's like lines come across and, - you know, - revealed different photos and stuff, - and then at the end, - they have their logo pop onto the screen. - So again, - this is something I can teach you how to do, - um, - and a completely different type of bumper than the other ones that we've seen. - But this one, - you know, - then you get into the video, - and not that it's bad quality, - but it's just kind of standard video taping without professional lighting or anything like - that. - But the bumper was like super professional eso take part dot com is the company I used to - work forward actually created a bumper for them that they no longer are using. - But here's a new one for their take part live Siri's. - It's a super short like 77th in the world 77. - So there you have it. - Um, - you have the title of the show. - You have these shapes and over laid shadows kind of open up into the show itself. - So that's kind of a cool idea. - If you want kind of combined that the actual part of your show or your channeler video with - the bumper. - You know, - you just have this bumper kind of open up all these shapes. - You know, - this tea and everything about this represents. - Take part. - Yeah, - more shapes. - And then it just kind of opens up in the world. - So they show this at the start of every, - you know, - video for their live Siri's. - Okay, - let's check out this one. - Geek and sundry, - There you have it. - Super simple as well. - You have their logo rolling, - Got this nice shadow. - And again it's another bumper that I could teach you how to do on dso You guys ever see any - bumpers that you would? - You wonder how they're make made, - maybe send them to me and I can do a lesson on that. - I now I wanted to show you a couple from, - like, - major brands and show you what I mean. - Like, - what is the bumper? - So here's a Ford Escape commercial and you'll recognize their bumper at the end because I'm - mentioned before in the introduction, - of course. - But a bumper can go at the beginning or end of a video and a lot of time for advertisements - . - They go at the end. - Only Ford gives you EcoBoost fuel economy and a whole lot more with so many hands where you - went fuel efficient for the sky. - So there you have it. - You have the fuel efficient. - They're loathe famous Ford logo, - kind of right on the screen. - And then, - you know, - the shield kind of comes around and then their tagline go further and the rest of their - branding fades in. - So you see this on all of their commercials, - and this is another idea for a bumper is that it also is incorporated into the video itself - . - It's not its own bumper with, - like, - its own background. - You can put this on any video on any commercial like this one. - You know, - this could be a Ford seven. - Ford Escape could be a Ford Explorer commercial. - You know what, - the Ford Explorer driving down the street or whatever it is? - Um, - our work focus or whatever it is. - And but they use the same bumper on all over their car commercials. - And last one. - Here's one for McDonald's Canada YouTube page. - And so let's watch it. - Golden Arches Pictures presents 140 character films starring Okay, - so this is a little bit of a longer introduction, - but I just want you to see this first part again. - The actual bump part eso you have, - You know, - the circles of the red and yellow popping up. - And then the McDonald's and the famous arches pop up. - And, - of course, - you have the Canada Canadian maple leaf in the middle of their toe. - Make sure that, - you know this is McDonald's Canada. - So these are all great samples of of bumpers, - and, - um, - I really wanted toe, - you know, - take some time, - check out some other bumpers, - see what you like and start thinking about what kind of bumper you want to create. - It may might even help to sketch some things out. - Do a couple little doodles, - Not anything fancy. - Just duel it out if there's any motion. - Just so you have a better idea? - Because if you don't have an idea before you get into after effects and start working on it - , - it's gonna take a lot longer than if you do have an idea of exactly what you want and just - go and create it, - because after effects allows you to do basically anything you want. - So if you have the idea, - you can most likely do it in after effects. - Thanks for watching. - Check out video school online dot com for more great stuff. - Please subscribe and check out the waves, - podcasts and everything there. - Thanks for watching, - and we'll see you next time 5. Video Intro Theory - Getting Started: - Hey, - everyone, - welcome back to create your own video intro with Phil Avenue. - Today we're talking about the basic theory behind creating a video intro Why you should do - it, - What you should be thinking about while you do it and what assets you need to create your - own video intro. - Let's get right into it. - So why number? - Why do you want a video intro? - Well, - there's a couple reasons One you want to begin if you haven't already done so to create an - identity around your brand. - As I mentioned before, - whether this is a YouTube channel uh, - an online school, - uh, - car company, - uh, - brick and mortar store. - Whatever it is that you you are part of, - you have to create that identity that has to become, - you know, - recognizable. - And once you start, - once you put your bumper on a lot of videos and all of your productions, - it will become recognizable. - No, - this logo here on the right is not a bumper, - but I think 80% of the world would recognize what this is, - and it's the apple logo is not, - You know, - it's not an apple. - You eat. - It's an apple that makes the iPhone and iPad pad and I Mac, - and you know it's crazy how this symbol has become So UM, - you know so much a part of the apple identity. - And so you want to create that. - And if you do have a company and you've created a logo in the past, - you know what how important it is to have a good logo and having a good bumper. - Is Justus important? - Because the way that things are going now, - more, - more people are going to be searching for you on YouTube or online. - And when they go to your website, - they want to see videos, - and more and more people will find you through video content, - whether that's on YouTube or on another page or on TV or in the movies or whatever. - They're gonna be finding your business or your brand through video, - and you want to have a nice bumper to introduce them to. - Your brand is a few things that you need for your bumper. - The basics anyways, - one. - You need your logo so hopefully you already have a logo and a high resolution logo. - Nowadays, - every video must, - I say, - must be HD quality or you know you are out of the ballgame. - Um, - you need to have an HD quality video bumper and that that means you need a high quality - logo. - And so pixel wise. - You know, - if there's a bumper that around logo that's at least 1000 pickle pixels by 1000 pixels, - that should work fine audio. - You can find a lot of great audio jingles on a website called Audio jungle dot com or dot - net Rather audio jungle dot net. - And when you go there, - go to this logos and I dents basically this short for identify IRS page, - and then you can, - you know, - search through popularity rating. - We'll see it search through sales. - This is the most sold one. - You can hear it audio jungle, - so they have different length and everything that's on 17 seconds. - But if you want something shorter, - you can find something shorter. - So say this one. - Yeah, - and you hear like the background water audio watermark. - That, - of course, - won't be on it when you purchase it. - Let's listen to another one. - You jump. - Oh, - you're jungle. - So as you can see for 45 bucks, - this is a great deal to purchase, - Um, - a piece of audio that you can use for your your bumper. - So remember that audio jungle dot net. - So you don't necessarily need a piece of audio specifically for your bumper. - But I think it's nice to have that sort of jingle that, - you know, - when people remember your video or your brand, - they'll hear that jingle as well. - A See the bumper. - You know, - if you think of the greatest all time greatest, - uh, - daytime commercials, - you'll hear you know the jingles of the carpet cleaning company or whatever it is the law - firms or whatever a company of this you can remember those jingles. - You also need any additional text or shapes that you want a part of your your bumper. - And what do I mean by that? - When the examples we saw last time some of them had, - you know, - the tagline or just a couple of words that represent your company? - And if you need those, - uh, - you know, - have the If you want those in your bumper, - just make sure you know what words that you want and lastly, - just have an idea of what you want your bumper to look like I keep mentioning this, - and I will continue to mention it until we're done with your bumper. - But you need to have an idea for what you want your bumper toe look like. - And so use the samples that I showed you last time and samples that you found on your own - as inspiration. - Some things to think about when you're coming up with your idea for a bumper are what are - your company? - Colors? - A rear on the right. - You see Red Bull's bright royal blue, - blue, - red and white and yellow thes are colors that if I were to create a Red Bull bumper, - I would use those colors. - I would have some sort of bumper with the bulls, - like crashing their heads together and then Red Bull like coming out from the background or - something like that. - Um, - but yes, - so use your company colors. - You wanna have a consistent brand identity across not only your logo, - your website colors whatever content you produce, - but also in your video intro. - If you have a company fought, - always use that in your bumper as well, - and then just kind of think about what your company's style or vibe is, - while you're seeing these cool bumpers that I show you online, - you might get tempted. - Teoh, - get something super flashy, - you know, - with lots of colors and effects and things like that. - But if that's not what your company is all about, - if that's not the vibe of your company money, - I would suggest going more simple. - As you can see with my video school online bumper, - I went super simple there, - the colors, - you know, - I picked those colors, - the greys of the blacks and the whites, - um, - as part of my brand identity, - and I stuffed with them for my bumper. - And, - um, - I just kept with with a simple style. - And I hope that you, - you know, - appreciate you know it, - even if you have to sit through it every video and get annoyed at that. - But it, - you know, - reinforces the brand that I use. - Teoh create these videos, - and so if you're an action sports company, - maybe you do need lots of motion, - cool sand effects and things like that. - But if you're, - uh, - I don't know lawn maintenance company, - maybe you need something a little bit softer. - So that's just think about your company. - Think about your vibe and put that together with your bumper and then just start thinking - about what type of bumper you want. - Do you want your text on your logo to move in? - And what I mean by that I just mean to like horizontally move are moving from the side or - the top of the screen? - Do you want some sort of fade? - Reveal? - Do you want some sort of special fact, - like flames bursting and then your logo's revealed are like something like that. - Lightning strikes and reveals your logo? - Or do you want a combination of these things? - And I know you're not going to know exactly what you want yet, - especially because I haven't even shown you what I'm capable of teaching you on what you're - capable of doing with after effects. - And so in the next sections, - I think you're gonna start to, - you know, - see what you can do with the moves and the fades, - because when you think about moving, - fade right now, - I might think you might think there's nothing cool that you can do. - But, - for example, - my logo, - the video school online logo that's completely all moves on, - move reveals, - and so you can create some cool stuff with just simple moves like that. - And I'm gonna be teaching all about that in the next few lessons. - So your homework is to pull together all of your assets, - your higher as logo, - your audio file if you want from audio jungle dot net Or, - if you have something created already any text or shapes or whatever else you want on on - your bumper and just put them in a folder in your documents and just keep them there and - have them ready for future use. - Very important, - though, - my last note for the lesson today is to spend some time on this. - Um, - don't rush it. - You want to create something that will last. - So why am I telling you this is because, - as a young video creator, - I was always changing my mind about things, - and I would grieve bumpers for companies that I wanted to start and things like that. - But then a few months later, - I would want to change it because the times have changed because I had seen new video - bumpers that inspired me and I wanted to create something else and companies do this as - well. - You know, - cos rebrand themselves every couple years or so and some, - even more than that. - But some lesson that. - And I think if you want to create a bumper of video intro that will last, - you gotta simplify. - Think about this. - Think about something that will last. - What will make you happy in the long run and not just for the next few weeks? - Um, - and you know, - just take your time with it, - because the last thing you want to do is create a bumper. - You know, - with this course, - and then a few months later, - have to redo it. - I want you to come up with a bumper for your videos that you'll be happy with. - That will last a long time, - and you know that you won't have to change or spend any more time on. - You just have to pay still on your videos, - and that's it. - So spend some time on. - It has always visit video school online dot com for more tips, - tricks, - tutorials, - videos, - podcasts, - articles and more. - Thank you for watching this lesson. - Next time we're gonna dive straight into some of the bumpers that I've created and start - working in after effects. - So thanks so much. - We'll talk to you next time. - Bye. 6. What software?: - everyone. - Welcome back to the create your own video intro. - Of course. - I hope you have a great day. - And today I'm gonna talk about the programs that were going to be using in this course. - So what program they're going to be using While the bulk of this part of this course is - going to take place using adobe after effects, - I'm going to be using the new creative cloud version of this program, - which is was released in June of 2013. - So if you have that version, - great. - But if you don't have, - don't be after effects to that Sisi creative cloud. - Don't worry about it. - Because if you're using CS six CS five, - CS four, - CS three, - all the programs basically do the same thing, - and you could do pretty much anything. - I do now with my version if you if you're using an older version, - so don't worry about that. - Also, - be talking about photo shop, - which is a great program to kind of build the assets of your your video intro. - So I'll be using Don't be Photoshopped as well. - And again that one all trying to use the latest version CC Um But again, - if you have another version, - don't worry about that. - If I end up using that in the course, - if you're using Apple Motion, - you can use that program to create great video bumpers. - But I prefer Adobe after effects just the way that it works in the ease of use and I when I - add it professionally, - I do a lot of work with Adobe Premiere Pro, - and I like how it will be premiering. - Adobe Aftereffects works together, - and so that's why these after effects instead of motion. - But that's not to say that you can't use motion. - You can also use video editing software such as Adobe, - Premiere Pro or Final Cut Pro seven or Final Cut Pro X. - You can actually create some really cool bumpers using those tools, - so I'll be using Adobe Premiere Pro along with after effects to create some my bumpers. - Because when I add music and sound effects and other things, - I like to use Adobe Premiere Pro rather than trying to edit that stuff in after effects. - So I will also be using Adobe after effects are Adobe Premiere Pro. - How do you get these programs if you don't already have them. - I know they're really expensive now with the new Adobe Creative Cloud model. - It's a subscription model, - which kind of I'm not a huge fan of it, - because you have to pay a monthly fee to use their programs, - but you can get it for free for 30 days at adobe dot com slash downloads. - So if you're just testing this out or if you want it even, - just try to get your bumpers done. - In the next 30 days, - you can actually download Aftereffects Premiere Pro Photo Shop any of the Adobe software - for 30 days and use it for free on bond. - There's no sort of watermarks or no gimmicks to you get the full version of the program for - free for 30 days. - That's what I do a lot of time with the programs when I want to test them out. - But I'm not sure I don't want to commit to purchasing them. - But of course, - now, - with Creative Cloud, - you pay the monthly fee and you can get all the any program and only program with your feet - so you pay. - It's if you have a 12 month subscription, - you pay $50 a month and that you're able to download Photoshopped after effects and premier - pro all within that subscription. - One idea to get a cheaper version is if you're a student Warren educator, - you can get the subscription for only 1999 a month instead of $50 a month, - so I'm not exactly sure how it works now. - But since you actually are students of mine and taking online courses, - you might be able to get the Adobe products for $20 a month, - which is a lot less than you know 30. - That's $30 less a month, - then the normal price, - so you can try to do that as well. - So that's it. - We're gonna diving into some of the bumpers that I've created in the past in the next - section of this course. - So get excited for that. - I'll be behind the screens for those those lessons. - So for now, - so long. - I'll see you at the end of the course, - but you'll hear me throughout the next few sections. - Thanks for watching and have a great day 7. The Video School Online Intro: - Hey, - what's up, - everyone? - This is Phil Evan here back with a new lesson in the create your own video intro course. - I'm really excited because they were actually going to dive into after effects and start - learning that program. - Start learning the basics of using after effects and the basics of motion graphics so that - you can create your own great video intro. - And the way that this is going to work is I'm going to basically recreate some of the - bumpers that I've created in the past in this section and go step by step and tell you how - to do it. - So that's a first I want to show you the bumper. - The 1st 1 we're doing is when you just saw the video school online bumper and let's just - take a look at that and see how it looks again just to refresh our brains s. - So we have the audio beats, - and that, - basically, - is the track that moves this bumper along with each beat and new motion happens. - You have half of the V pop up, - the other half inverts, - it's shrinks and then it basically video school in line comes out of the V I So let's get - straight into after effects. - Okay, - So I opened up after effects Creative cloud, - and the first thing I'm going to do is actually import this bumper because I couldn't find - the audio. - It must be on another hard drive. - And I'm just going to steal this audio. - And I can actually use this in my timeline as a great reference tool when you're creating - something that can refer back to it and you'll see that. - But first, - I'm going to create a new composition down here with this icon. - Make sure your settings are correct. - Whatever you want it to be. - I like HD TV. - 10 80 29 97 This is pretty good for all of my standard videos. - So I'll call this, - uh, - video school online bumper radio 10 seconds down here. - That's good. - Background color Black. - Perfect. - So now we have our composition appear going to make this fit up to 100%. - I'm going to drag this bumper onto our timeline, - So now we have our bumper on our timeline. - If we want to play this through, - you'll notice that in after effects, - if you just press the space bar. - It plays, - but it doesn't play audio, - so you'll have to do one of two things if you have a keyboard with the number pad on the - right side. - So like basically all the numbers on the right side and the big zero on the bottom, - you can press the zero, - and it will render out your effects area. - So this work area, - you see that I'm dragging in and out. - It will render out this area. - So if I press zero, - you notice that it rendered it out. - That mean makes his bar green above it, - and that means it's rendered. - And then it will play with music. - And then, - if you just keep, - if you just president, - it'll keep looping and playing over and over. - You can also press control zero if you don't have a keyboard with the number pet on the - right side, - if you're just using a laptop or something, - control zero will render it out like it did before. - So we'll see, - render and then play. - And so that's a good thing to know how to do. - And the first thing I wanted to teach you because so many people come to me and ask me how - to play after effects videos with audio eso. - Let's dive into this first have to create this white background. - I'm going to double click this rectangle tool, - and it creates a shape the same size as my composition. - This fill color appear in the top. - I'm going to change, - too, - right, - so that if it is the same as my original bumper, - I can look back to my original bumper by either clicking off this eyeball here so it makes - this layer invisible or sell. - Owing this bottom layer here and that will is what we'll be doing in the future. - When we have a lot of different layers, - we won't have toe keep clicking this eyeball over and over and over. - We can just click this solo button and see our bottom layer. - So there, - you know, - I was pretty sure that my original bumper I had a pure white background and not an off - white, - but now I know for sure. - Okay, - then I'm going to add my V in the center, - so I'm going to type B. - But as you can see, - it was looks like it's invisible, - but that's because it's white So I'm gonna change this to a black for now, - but you'll notice that this be in the original bumper is not perfect. - Black. - It's kind of on off black grey, - and we'll change that color in a second. - Okay, - so then I'm going to increase the size of this V. - And first thing I'm gonna do is basically change the anchor point. - So select this pan behind tool president Y on your keyboard. - Select this little circle with lines coming out of it and move it about to the center of - your V, - And then when you increase the size, - see, - I'm gonna have to do that again after I make making the right size. - But then if I increase the scale or change the position or rotation of this down in our - timeline, - so if I press s it brings up scale, - it will increase from the anchor point. - But see if I move it down here, - where it Woz and I changed the scale, - it increases from the bottom. - So I want to make sure that the anchor point is in the center of this. - First, - let me get it to about the right size, - something like that going to move the anchor point to the center and then I want to just - make sure that this whole letter is centered on our screen make this 100 percent. - Actually, - first degrees the size a little bit. - I like keeping my things at 100%. - Just I don't know if it's a no CD thing, - but But before I start actually editing them down here, - turn on title action safe and move your V to the center of your screen says I like that. - And so now RB is pretty much perfectly centered. - But we want to make sure that this is the right color. - Turn off title action safe. - I'm going to turn off this white background layer that I see the be behind us. - I'm actually gonna move this off to the side a little bit. - There, - you can see that it's a little too big, - so I'm going toe decrease the size a little bit. - Something like that. - It doesn't have to be perfect for now. - And then I'm gonna change the color using this eyedropper tool and just click on the gray - of the other B, - move it back to about where it. - Waas, - turn on my white background. - Okay, - so now I have to split this V into I'm gonna do that using this rectangle mass tool. - So before I use the rectangle to create an actual background. - But if you have a layer selected and you're using the rectangle tool, - it's actually a mask. - So see how it click and drag. - I can create a mask around any of my objects, - and so I'm going to create it and make it just about the size of half of my V. - All right, - so now I have half might be And I want that to appear on that first audio beat. - So let me play through this audio and then deposit when the beat hits so somewhere right - around there, - they play, - so that's pretty good. - You know, - I confesses later, - but you get the picture. - All right. - Now on the second audio be I have to have another that other side of the V basically pop up - , - so there's two ways I can do it. - I can either duplicate this layer by doing this, - looking at the mask, - press em to bring up this mask option on here, - and then invert it by clicking this at this check box down there for inverted. - The problem is, - now we have this little slight white line, - and that happens when you have to up objects that are the same that you mask and invert one - of them. - So I'm gonna have to move this mask slightly over. - So I'm gonna press click on the mask layer and then press right on my keyboard or left - rather then the mass slightly overlap by one pixel. - So then if I drag this layer over, - it will start on the second beat so played out. - So there we have, - you know, - the start of our bumper. - I'm going to make this layer invisible. - Another way to do it is to use key frames into key frame this mask position, - So mask path. - So if I set a key frame right here and then I go over one frame, - I did that by pressing command and the right arrow key and then changing this mass to here - so that the whole thing shows and see what it looks like s so it's basically the same idea - . - Just, - you know, - there's actually a motion in this one frame. - You can't see it cause it's too fast. - But if this key frame was out here, - you would see the motion of the mass growing. - But since it's one frame, - it just moves so quickly you could do this kind of thing with the mosque expansion, - even mass capacity. - So we'll just use that way because then it, - you know, - leaves our time like a little bit cleaner with less layers. - So here we have our object. - So on this third, - um, - be basically it's supposed toe invert the colors, - so we need it at a new background. - So I'm just going to actually reading this background one back around one white. - I'm gonna name this V one gray. - I'm going to duplicate this background layer by pressing command D moving in on top of the - view one gray and moving it on the timeline. - So it just appears on this beat. - Then I want to actually change the feel of this to this grace. - I'm going to take the eyedropper and click this gray. - So now when I move this over, - you'll see that this background it is the same color as that gravy. - I'm now going to duplicate this V one renamed these so back into Grey, - the two white that I'm just gonna move this so it lines up with this as well. - There's when I don't need the mask. - So I'm just going to leave the mask and then I'm going to change the color over here. - The character palette, - toe white. - Let's play through so far and then on our last on the next be we have it. - Shrink says, - Let's shrink it up. - So I'm going toe press command shift D to split this layer and then I'm just going to - shrink this size something like this. - And make sure that centered still. - So move it down a little bit, - Okay? - So let me just decrease our effects. - Work area. - So then, - at this next beat, - the video school online text kind of comes out of the V. - So I'm going to duplicate this layer so that we have the same sized layer. - I'm just going to type out video school online. - Actually, - I'm just gonna do idiosyncratic online because I already have the V, - and it's going to end up being next to it, - but I'm going to start it over on this side of the V. - So something like right here. - I'm gonna line it up with the right side of the V. - Then I'm going to create a mask. - Actually, - first, - I'm going to put it in the middle of screen so I can see the whole thing. - I'm going to create a mask around it, - and then I'm going to move the whole layer over, - line it up with the edge of the V. - I'm gonna slept my mask and then move the mask over it so that the mask is completely on - the right side of the text. - Then I'm going to set a couple key frames for all of these these layers. - So press p with both selected and hit this time timer right there. - Stopwatch to set a key frame for position. - Then we're gonna go ahead a few frames. - I'm going to move this V over on all these things. - I'm my tweak later, - depending on size and everything. - And then with this V with the video school in line, - I'm going to first. - Actually, - I'm gonna bring up the mask path and set a key frame and start. - It's gonna stay like that. - That I'm going to go to the end and move the key frame or the mass all the way over so that - you can see the whole video school online. - And I'm gonna move the video school, - online text or video school online, - over. - And as you can see, - it's not centered. - So I'm just gonna, - you know, - keep moving until its center and then move this V back a little bit. - Something like this. - This is more centered. - Something like that s Now, - let's play this out and see what we did way have the basic motion, - but it doesn't look the same as this one. - For one, - the text isn't the right color, - so let's change that up. - So I'm not gonna solo this, - but I am going to make the rest of these invisible. - Except for the video school online. - I'm gonna move this down just slightly just so I can see it for a second. - So the school should be this other Grace. - I'm just gonna select those letters, - just highlight them and then select the colors of the original version. - Okay, - Now I'm gonna move this back to the original Sot plate placement that it really matters, - Then turn on all these eyeballs. - Okay, - so that's not the only thing that didn't look right. - Another thing was that in our original version, - we had motion Blur turned on. - So I'm gonna turn on motion blurt right here and then check motion blur for these two - Larry's because of that, - the main one that have motion. - And it's gonna create this sort of blurriness that looks a little bit more natural to the - human eye for motion. - So it's played out, - See lagging after. - That's maybe it's a little too fast. - So if I press you a couple times on a layer, - it will bring up all the key frames. - So I select all the key frames, - moving a little bit a little too slow, - so make it a little bit faster. - One thing I'm gonna do while they're selected, - I'm going to, - right click them, - do key frame assistant and do Eazy E's That will kind of slow it down at the end, - so that starts out fast, - but then slows down at the end. - And actually, - I couldn't do Eazy E's here as well, - so it starts out slow. - It's a little bit more natural the main movies up a frame. - So So it matches up with audio perfectly. - I said. - Now let's watch our bumper. - Let's render it out and see how it looks, - Okay? - I mean, - I think that's pretty much as close as we'll get right now to this original one. - You can just add a quick fade to the end. - One way to do that is to, - um, - slept all of our layers, - Presti, - to bring up a pass it e and then go for set a key frame and go forward. - How much you want? - And then set, - um, - though pastie 20 That's one way to fade out. - Just you can see this background image in the background there. - Um, - but when you do that, - you'll notice that you see the bottom V and everything. - So actually, - what we want to do is get rid of thes lower layers that we don't need anymore. - So these two layers I'm just gonna press command shift d not gonna change of D and just - delete. - So then it fades out and you don't see the background. - Another way you can add a fade is so let's get rid of all these key frames, - um, - is by adding a black layer so at a black solid, - and then do the reverse. - So a pastie I'm gonna set Nike Freeman 100 moving ahead and then starting out. - But it zero. - So it kind of the black fades on that actually creates fade out for your video. - Eso. - That's for this lesson. - I hope you've learned a lot and enjoyed it. - And you know, - these lessons are a little bit longer than my typical lessons, - but I'm going through with you go whole entire process of creating these bumpers. - And so this was a simple one, - but it still take some time, - but you can see you know that it's not too hard. - It's basically it's basic stuff once you know after effects. - And that's just learning how to use those basic techniques the right way. - Thank you so much for watching. - If you have any questions, - please let me know otherwise I'll see you in the next lesson. 8. Ghirardelli Bumper: - Hey, - what's up? - This is Phil, - back with video school online dot com and to create your own video intro course. - Today we're going to look at another bumper that I've created in the past and recreate it. - That's when we're gonna be looking at this Gary Deli bumper. - I worked with a company that was hard hired by Gary, - really to make some videos, - and they wanted to update an old bumper. - And so here's what I created. - This one doesn't have any audio. - They put in audio later. - So I was just basing it off of their notes, - their thoughts. - They said they wanted something clean, - something classy, - something you know, - with their logo thought contained motion and was eye catching. - But not, - you know, - to fancy not to style eyes just clean, - simple. - And so that's what I went with this and before I actually had this tax right here, - Gary Deli and then the chocolate below, - fading in. - But they wanted a version with a little bit more emotion, - so I gave him this one. - And so, - as you can see here, - you know, - the logo just kind of fades in from behind the camera. - You know parts of this, - um, - this, - uh, - background, - you know, - kind of fade in. - And there's some problems with it and that I still want to change and fix up, - like, - for example, - right here. - I didn't clean this up enough. - You see this brown bar? - You're a lawyer. - You don't see this Bram bar. - And then here you see this brown bar kind of like poppin, - you know, - I needed at I should add a fade to that when you're watching it, - you know, - you don't notice it, - but things like that, - you know, - as an editor, - you gotta be perfectionistic and then up here. - I really like how this works with everything kind of fading in and, - you know, - the banner is going across, - and finally, - moments of timeless pleasure pops up at the bottom. - So let's get straight into the after effects project. - So I actually have the old aftereffects project up here that I can use for reference that - will help me a lot, - but we're going to come do is completely from scratch. - So first I want I'm going to create a new folder. - Just so I have everything organized. - I'm gonna call this new bumper gonna create new composition. - Well, - just Yeah, - 1920 by 10. - 80. - That's good. - 10 seconds. - Ghirardelli bumper New. - Okay, - so then we want to import our assets. - And one thing about this is that the way that the logo was given to me, - They gave me, - uh, - on SPG version or an E. - P s version of it, - and I had to break it down into different layers. - And so you might have to do something like this if you want. - Add all this kind of motion. - So see how I have different layers. - I basically exported different layers of this, - and you might have to do the same. - So I'm going to import all of these logo layers into new bumper. - First link. - First, - I'm gonna create a white background in my compositions. - Double click that shaped tool up there, - make it white. - And then I'm going to basically put all of my layers down onto the timeline and decrease - the size so that they're all there. - And so the order of this isn't right when you import them or just drag a munch onto the - timeline. - So I have to reverse the orders. - Just drag all of these up so that they're in the right order. - Okay, - so So now we have our entire Gary daily logo, - and then we're gonna have to add that, - uh, - that bottom part, - the moments of timeless pleasure down here. - So that's, - uh, - that will be adding later. - Eso Now we have our logo. - Now we just have to kind of start adding the motion to it and the fade. - Basically, - we're gonna do the zoom at the very end. - But for now, - we're just going to start with different emotions. - So let's look at the bumper how it works. - So the first thing is, - you know, - you have this base layer. - Basically, - there's a mask that's making it fade onto the screen as it, - you know, - zooms back onto the screen. - And then you have this This bottom part basically popped down from it. - So let's go to our new bumper. - I'm gonna make the rest of these things disappear, - except for our base layer. - All right, - so basically, - we just have this and we have to create, - um, - two versions of this one is going to be just the top part, - and one is just gonna be the bottom part. - It's kind of similar to what we did, - um, - with the masking of the video school online bumper. - So I'm gonna take this pen tool, - actually, - and basically create a mask around our lovely base. - So this get around it, - and then where it's right about here, - I'm going to go in and zoom into it. - So I get really nice close view of it continuing my using my pen tool. - Okay. - And I can, - like, - change all these this stuff later, - but, - um, - I want to try to make it hurt. - So I'm pressing age to use this hand tool which can basically move the entire composition - across across your screen. - Okay, - so then I have this. - Now, - continue. - I'm gonna zoom out, - get up to 100% just, - you know, - make sure that you have your your Masco around the entire thing. - Okay, - So now I'm going to duplicate this and then, - like we did last time, - I'm going to invert this other one and also like we did last time, - I'm going to select my mask and press up on the arrow key so that there isn't that white - line in between the two layers. - So now we have two letters. - One contains the top one contains the bottom for this layer. - The way that this was revealed, - we had some sort of rectangle mask like this and it was basically revealing the entire - thing. - Except, - you see, - when I did that, - it makes the rest disappear. - So I'm going to look at this mass right here. - It's press em to bring up our masks and I'm going Teoh, - basically, - subtract this top one, - see what this does. - Subtract. - OK, - so it's all playing around with these different things. - Um, - so I'm going to invert this bottom math, - too. - So see these settings. - So basically, - I'm this top mask I want to get rid of. - Make sure that adds, - so that the bottom part is still gone. - The bottom one. - I want it to subtract everything inside first and then inverted, - because if I just do, - subtract or add, - you'll get this bottom piece or you'll still have this top piece. - I want to subtract and then invert. - You'll see what you'll kind of see what I'm I'm doing here in a second. - So I'm going to bring up the mass properties down here twirl down this arrow, - increase the feathering quite a bit. - And then across time, - I'm going to basically increase this max, - so we'll start out. - You know, - something like this, - I'm gonna press stopwatch on the mass path. - Then I'm gonna go ahead. - I'm just going to click on this layer down here so that I can edit these lines individually - . - I'm just gonna move it out all the way until we have our entire logo backdrop. - Something like that. - So now if I play this out, - you'll see it kind of fade onto the screen. - Something like that. - I might have to go a little bit slower. - Colleges increase the distance between the key frames. - A sign like that. - Then right about here. - I want this other part of the logo to pop down this part, - so I'm going to basically create emotion transition. - So I'm going to set one key frame for the position here. - So press p to bring a position, - go backwards and move it up above the bottom of this base. - So see how there's the edge of the base. - I want to be above it, - and then I'm going. - I'm going to create another I'm actually gonna put this below this base, - and then I'm going to create another mask. - So I'm going to create another mask using the rectangle tool and his mask around this logo - itself. - Like so. - And then I'm going to actually go down here and set a key frame for this second massive - press em and then clicked the stopwatch. - Their press you to bring up all my key frames, - go back to my first key frame, - and then I'm going to move my mask down so that it's not on this on this anymore. - But first I want to subtract this. - We find the right settings, - subtract, - inverted. - And so again, - we have this nice motion of this coming down. - But you can see here it's a little bit off because there's a space in between the layers - right there. - So there's a little bit of emotion in the math that I don't want. - So I have to move this mask up closer to the edge of this logo base. - So there you have that. - So let's play it out again. - It's, - you know, - just takes practice. - And even though I've already done this, - you can tell that um I'm just kind of figuring it out again. - I did this a while ago, - and I don't remember exactly what I did. - But there you have this nice pop down logo reveal I'm gonna increase this time so that it - comes down a little bit slower. - Okay, - now we have that part of it. - So let's go back to our bumper, - actually, - instead of that cause it's gonna take time to render. - I'm just gonna go to our quick time and basically play through this. - If it will play eso we have the bottom pop down the size of this base, - fade in, - and then we'll worry about the stuff at the top. - Later. - We're going to have this Gary deli pop up and then the chocolate pop down. - All right, - So swirl down these arrows, - twirled them up rather so that they go away. - All right, - So now, - Gary Delhi, - we want to pop up after the end of this fate on. - So let's like this layer was going Teoh, - actually, - um, - yeah, - Well, - pot will just set it right there and create a position. - Keep ring again. - We're going to create a mask just around this blue box. - So this entire blue box like so then we're going to press M and set the mass path key frame - prize you to bring up both key frames. - So this is our final position. - So I'm going to move these key frames forward a few frames and then basically move the gear - deli down below this bar of gold bar for then click the mask and move it above the bar. - So this this is a way that I create a lot of transition, - so I'm gonna render this out so we can see what it looks like. - So there you have our Gary Deli popping up. - We're gonna do the same thing with the chocolates. - I'm gonna move this down so it's closer to our other layer, - and I'm just gonna make it read to that. - You can tell what later I'm working on. - All right, - so we're gonna do the same thing. - Go to the end. - Press p said a position key frame. - Go up to the shape tool, - create a mask along the this gold bar, - press em to bring up mass path. - Said the key frame press you twice to bring up both key frames. - go back and then basically moved this up above the gold line. - Click the mask. - Move this down below the gold line are lined up with the goal line. - So now we have chocolate coming down. - Like so. - So now you see, - carried Ellie chocolate pops up. - So now we have done that, - and then the rest of the stuff kind of are just some fancy fades on. - So first, - let's do this. - Founded in 18 52 Banner S O. - C. - Which layer that is found in 18. - 52 when I turn all these on so that we can kind of see what they look like founded in 18 52 - and then see what is. - That's the arch. - That's that our text we should have on the Eagle founded in. - Okay, - so we have kind of the text and then the background of this founded in. - So we have the banner, - and then we have the blue text. - And so in here, - we see that kind of both fade in at the same time, - So we're gonna do the same to both. - So we're just going to select one of these. - I'm going to throw up these things. - And now with this one's like, - I'm gonna change this Teoh aqua so we know what we're doing. - And I'll change this one toe aqua as well. - So we know we're doing the same thing that I'm going to just create sort of, - ah, - unique mask around this. - So clicking and dragging increase rounded edges to our masks. - So now that was for the blue text underneath. - And actually, - I'm going to just move, - very affect the other great background first, - because that one is easier to see. - So let me actually zoom in. - You can see this better. - All right, - so then I'm gonna bring up press F, - and that brings up mask feathering. - I'm just going to increase feathering a little bit, - like so I'm gonna press mm a couple times, - and we want this to fade in so we can do this using mask expansion. - So see out that kind of increases and decreases the mask size, - so I'm gonna decrease it all the way until it's off the screen at a key frame and go ahead - and increase this just like so until it's all on the screen. - And this one, - you know, - it takes a little bit of time. - It's a nice, - slow fate, - so I'm gonna make it really far. - So now we have this nice sort of fade on of this banner. - But we wanted to do the same thing on this other layer. - The logo text foundation 18 52 the blue tax behind. - So I just copied and pasted it. - So now it should both come on at the same time. - So let's render it out and play it. - So, - actually, - I should be rendering us out at about 1/3 of quality, - just so it renders faster. - So there you have it, - and it might be a little bit too, - too fast. - I'm gonna select both of these. - Larry's press you to bring up the key frame aims and just increase the distance between the - key frames. - All right, - so now let's look at our quick time again. - So we have this founded in banner popping up, - and we have the same sort of effect with the Eagle. - So now we just have this kind of eagle outline. - We're gonna do the same thing. - So eagle outline will change the color to orange that we're just going to kind of create a - little interesting mask in the middle like this. - Okay, - press feather f to bring out the feathering, - increase the feathering and then an M to bring a mask expansion. - So we want this to start and end a little bit after the founded in 18. - 50 to 1. - So I'm just gonna start a little bit later. - Press mask, - expansion time, - stopwatch decrease until all the eagle is off and then go a little bit afterwards after the - founded in 18 52 and expand it the whole way. - So something like that. - So pretty simple stuff you can see that I'm doing. - And I'm rendering, - uh out so that we can watch it again. - It's always good to just keep watching it. - See, - you know, - the timing and everything else. - And so there we have our eagle wings being faded onto our logo. - So it just adds a little bit of detail to this. - I think it's moving at two similar apace as the other ones. - So I'm just gonna move it a little bit later and expanded a little bit more. - Okay, - so now we have this text, - the San Francisco text, - and then this brown arch our thing, - Um, - so we're going to do another mass transition, - But instead of just fading in from the center, - we're going to do that kind of arc. - Look. - So with this selected the logo, - um, - the San Francisco part. - I'm gonna make this another color, - so we can scion, - that's a little bit too close. - So let's do sandstone. - Yeah, - about dark, - dark green. - So then we're going to start the mask down here, - actually. - Actually, - first I'm going to do a mask around the entire thing. - This will work better. - So just set a couple key frames. - Kind of create a mask around the arc. - Just kind of try to follow as much as possible. - Okay, - so now we have our final basic mask. - I'm gonna press m for mass path, - okay. - And then I'm going to basically go through this and move these points so that it kind of - fades on. - So let's see. - So I'm gonna move here, - slept layer, - you press vita usar pointer and not the mass tool. - It just kind of move it up and change. - You know, - you might have to move these mass points a little bit or delete them. - Even so, - there we have something like that that I'm gonna move a little bit more an equal amount of - space more and then move it over even more. - I can also delete some of these mass points using the Pent will delete Vertex Tool. - So I'm going to believe that one. - Okay. - Um, - actually, - I'm getting that warning, - So WCC is a little bit different, - so I'm just going to actually move these points, - keep moving them. - I know it's a little bit hard to see. - Okay, - so I'm gonna go a little bit more, - move them all, - so keep moving them. - So we have about 1/3 of the ark left something like this. - Kind of zoom in a little bit, - so I can see. - Okay. - And then go a little bit more and maybe take them all down to the bottom. - I'm sure there's actually an easier way to do this, - so if you guys know, - But this is kind of like how I just created it. - Do something like that until it's completely off. - Now, - if we scrub through this time line, - you can see that it kind of goes across like that. - But we want to add a feather to this so that it looks a little bit more natural and matches - with the rest of our bumper. - So just like that, - 40 pixels or so? - So now we have this art going across. - All right, - So I think we can do the same thing with the brown. - So if we press you to bring up the the mask in there, - keep rooms that we copy this mask and add it to the brown, - it should be about the same. - It should work. - Sometimes it I have to adjust it because the size but something like this will work. - And let's render it out and see what it looks like. - Okay, - so we have the brown following the blue a little bit, - and that's fine. - I kind of like that rather than having it go at the same time. - Okay, - So there you have this art going across, - and I think we need to expand the time a little bit of this. - So I'm gonna select all these key friends and while holding option, - click one of them and drag and see how that basically increases the timing of all of them - without, - um having to individually move them. - Basically, - do you have to click the last one or the 1st 1 and then just drag while holding option? - That's a good way to increase the time of something that has a multiple or multiple, - uh, - key frames. - So there you have that. - Okay, - So I pressed command all than just s s to drop. - Make sure all these twirly things are up. - Ah, - this are will just do a fade a slight fade in at the end right around here. - So I'm just gonna do a T capacity 100% move it forward and then change it zero to have a - pastie fade. - All right, - So now you'll notice, - though, - that we need to to fade this in like this bumper is so have it come through the back - basically of the screen. - We have all the motion of it. - Practically perfect. - Except where we don't have moments of timeless pleasure yet. - Um, - so to do that fade kind of thing, - the zoom fade, - we're gonna select all these and pre composing. - So you pretty composed. - I'm going to do this. - Gary Deli. - New logo. - Pretty calm. - And what this That basically does. - It moves all the attributes into a new composition, - and it makes it be one composition or one layer. - So if I open this up, - you can have the secret. - You see the original composition and you can affect at all these things. - But in the bumper composition, - the top level composition, - it's just one thing. - And I can now do that Zoom in without having to do it to each individual layer. - I can do it all at once. - And so I'm gonna turn on this three D layer and press position that gives us this other - this third, - um, - basic way to edit this. - Um, - without the three d layer, - you can move up and down right toe left, - for example. - One thing you notice, - though, - is that my background is maybe I want to take this background, - cut it and paste it into this layer in this composition. - So now if I turn out this on and, - you know, - move things, - you can move it in Z space. - So I'm gonna do that. - So I'm gonna put it basically right here with it starts set the key frame go forward. - You know, - a few seconds and put it on to the screen I'm going to. - Then also, - add a transition, - Presti a pastie transition and then go back here and put zero. - So it kind of fades on as well. - And there you have this nice zoom in and it's a little bit fast, - so I'm going to zoom in in a little bit slower, - and then maybe Zimet and even so, - it's a little bit smaller and then actually moved bump it up a little bit so that we can - have the moments of timeless pleasure Poppin s. - So now we have this nice fade in all our, - you know, - text popping up, - popping down our arc and our eagle kind of expanding and all these things, - the timing of everything I'll tweak. - But you get the basic point. - And the last thing we want to do is add the moments of timeless pleasure. - Okay, - I want to go to our original one because I'm not actually sure if that was part of the logo - or if I recreated it with text. - Basically, - So we have this moments. - Okay, - so they gave me another basic, - um, - basically another logo piece that I used for this and see which one was it? - It was GCC logo. - Seem like a So I'm just going to actually use that one down here in our new compositions. - It was another love. - It is the original logo not broken up. - And then I'm just gonna create a mask around the moments of timeless pleasure, - and then just decrease the size go to the end of this move, - decrease the size of this. - So that kind of matches up with the size of our logo and then, - you know, - at the very animal want this to start toe basically move up into place. - So set a position key for him here. - This is its final spot. - Go forward and just move it down to the bottom of the composition. - So it's not seen. - I could do it a little bit later. - I'm not sure what the original one was like, - Okay. - And you'll notice that a couple of things this move with this thing copping down is a - little too soon. - So I'm just gonna go in here, - this one, - go to that layer with logo base. - Which one was that? - Not that one. - This bottom one first you to bring up the key frames and move it over just slightly. - Like so and now you should be able to Seymour of that motion. - And that's what you can do with all of these layers. - You can go in and basically edit them. - Um, - I do it a little bit sooner. - I would definitely slow this whole thing down a little bit. - It's wave faster there than the other one and made this moment of time. - This pleasure should just pop up at the end. - Something like this. - Another thing we can do to smooth out a little bit is basically writes like this last key - frame to an easy ease and same with this one for the moments of timeless pleasure Eazy e's - and that slows it down at the end of the move. - So something like that, - and again, - I think it's still too fast. - I'm just gonna move these things over a little bit, - all right? - I could keep tweaking this and try to get it perfect, - but I think you get the idea of all the different techniques that I used to create this - bumper. - You know, - we have the fades of all these things that mask fades. - We have the mass transitions where I hid something like the text and then it pops up or - this bottom layer. - Um, - there's different opacity fades just toe fading like this are you? - Don't even notice that this are gets faded in right there we used the Eazy e's function, - all sorts of different things. - I hope you enjoy this lesson. - Thanks for bearing with me as I somewhat struggled. - Teoh Redo this one. - It's a tough one. - It's not easy. - Um but I hope you got inspired to create your own bumper someone like this, - or using the techniques that I use in this one. - Thank you so much for watching If you have any questions. - If I went through anything too quickly, - please let me know. - I'll explain further in detail. - So have a great one. - And I'll see next. - Next time. - Bye. 9. The DOC360 Intro: - everyone. - Welcome back to video school. - Online dot coms create your own video intro Today we have a fun insure that I'm going to - recreate for you. - Show you how to do it. - This was a dock 3 60 dot org's insurer that I created for a Web site that does travel - documentaries. - Let's first check it out. - Awesome. - Awesome documented or intro and company. - So let's watch it. - Okay, - so I'm gonna play it again with the music really down low. - And as you can see from here, - you know, - this is a very cinematic intro, - something that the other ones weren't quite like. - The other ones were more typographical in motion graphics. - But this is more you know, - about using three D space and using effects toe make an actual virtual reality in this - intro. - So we have this earth spinning up and the stars twinkling in the background. - We have the logo of doctors 60 come around the earth, - and then it fades off to the right with the actual logo full logo of the company, - and then the sun is revealed in the background. - So I'm gonna show you how to do all of these things in after effects. - So I have the old project up just for a reference. - But I'm going to go ahead and start a new composition. - Say, - New dock 3 60 We have the same settings is before, - so I don't need to go through that. - Then I'm gonna bring in a couple assets, - so let's see, - we have another We I broke down the logo into a couple different options, - so here it's really hard to see, - but this is just the d with the streaks around the around the horizontal and vertical - access streets. - I'll just put it here so that you can see it. - That's what I'm talking about. - So we have that and we have the doctor re 60 just the lines which will be using in the - future on. - And then we have the Earth Planet. - So this is, - uh, - the spinning earth. - And this, - uh, - was actually purchased online at video hive dot net. - I think it's video I dot net and so you can actually go and find a lot of great, - you know, - assets for your video bumpers. - They're so you need a spinning globe. - You can use that. - All right, - so the first thing we want to do is create this background the backdrop of the twinkling - stars. - Eso Let's go ahead and do that. - I'm gonna press command. - Why? - To bring up the solid solid settings and create new solid. - I'm gonna call this stars and then press. - OK, - so now this is just a black background. - I'm also going to create just a black background for, - uh, - for future use. - You will see why I did that. - So for the stars, - I'm going to add Thean effect fractal noise And then I'm also going to add CC starburst - these air just preset effects that are come with aftereffects. - I'm going to change some of these settings, - so pay attention. - Contrast. - I'm going to boost up to around 3 50 That just makes them a little bit more whiter and - brightness. - I'm going to decrease something like negative 50 and then for under Sisi Starburst. - Right now it's actually a starburst where you're going through space going through the - stars. - That's because the speed to set to one, - I'm gonna set it to zero. - So now the speed is just zero. - Just stay there size. - I'm going to decrease as well scatter, - I might decrease a little bit so that there's more within the space because I'm decreasing - the size of the stars, - and I think that's about it for that. - So now we have this nice sort of, - uh, - star background. - The reason why I added this black background is because without the black background, - the stars actually are black dots. - So we add the black backdrop and they become light stars. - Eso then we want to make them in twinkle across this entire composition. - So for fractal noise under evolution, - I'm going to set key frames for the evolution. - So one there and I can press you to bring up that key frame. - Then at the end of this composition, - I'm just gonna go, - you know, - forward rotation or two of this dial. - And now you can see, - as I described to you, - this the stars are actually twinkling, - so that will be a nice effect for our composition. - Then we want Teoh, - add our son. - So the son is I'm kind of going backwards, - like from the bottom layer to the top layer. - So we have our son in the background. - So this is another effect that using a new layer solid, - so just create a layer. - Then we're going to use the lens flare. - So just under generate lens flare at that to your you're solid gonna change the lens type - to 155 millimeter prime. - I'm going to blend with the original a little bit more like 14. - Then down here under mode, - you have your transfer blending mode. - If you don't see that, - you can click toggle switches modes and that will bring up this option I'm gonna do screen - . - So that gets rid of the black of that that layer and just leave the lightness eso. - Then I'm going Teoh play with the ones that float lens, - blur brightness. - So decrease. - That's something like 60 or so. - Then I'm just gonna put it in the middle so you can change the lens blur center, - like so using these numbers. - And so I'm gonna put it in the center of my composition. - Something like this. - I a let's play around eyes, - and now I want to make it orange. - So I'm gonna use curves for color correction under color corrections. - So just typing curves, - drop it onto this, - then I'm going Teoh, - increase the red under here, - you have a green option on blue. - I'm going to decrease. - Think I need to go back. - And speakers of the green I see decrease the green so that it becomes more yellow and total - rgb and going to play around with that a little bit as well. - And then I'm going to decrease the size a little bit. - Just so it's a little bit smaller just, - you know, - play around with these these numbers to get the right fit. - So I kind of like when the lens flare, - brightness is down lower, - you bring up the size a little bit. - So there you have. - You know, - our son at the end, - something like that looks pretty good. - Maybe play around with colors a little bit more, - dropped the greens and maybe the blues a little bit. - Okay, - so there we have a nice yellow sense that's in the background. - So we want to make sure that's in the center. - So I'm gonna turn, - entitle action safe and sure enough, - it's pretty much right smack dab in the center. - All right. - The next thing we want to do is create are put in, - are spinning globe Cyberia are spinning globe something like that and we're going to in our - project. - Just take this Earth movie and place it in there. - So this is, - uh, - unearth maybe with the black already matted out, - so I'm just going to set it right there. - I'm actually going Teoh. - Then add our logo. - Our first logo, - the one with the D in it. - I was gonna place it in front of our earth for now, - something like that. - So that's gonna be, - like kind of like the final final placement. - Maybe decrease the size of the earth a little bit like that. - Also, - Doc. - 3 60 s. - So now we have this spinning globe, - but we have to make the d come around the globe. - Okay, - so and then we're gonna add sort of growing a size, - uh, - motion where the earth is gonna get bigger looking like the camera zooming in on the earth - . - But for now, - we want the D logo to come around the earth and kind of end up coming to a stop as the - earth rotation stops. - So I'm gonna slide this earth rotation over a little bit, - so it stops right about there, - so I'm going to actually go in here press right click, - do go to time and enabled time remapping. - What that means is that I can kind of play around with the timing of this. - Say, - I wanted to stop at Africa. - I'm going to set a key frame there. - I'm going to copy and paste this key frame. - Later. - I'm gonna delete this last key frame. - So now it just stops on Africa and stays there. - And I'm going to right click key frame assist Eazy e's so it kind of slows to a stop there - . - All right, - so at this point, - I want the rotation of the logo in front of the Earth to stop as well. - So I'm going to click this toggle switches moment, - but and turn on the three d layering Then I'm going to set a position, - key frame, - a scale key frame and a Y rotation. - Keep rain. - So now I have keeping for all of those different options. - Then I'm going to go to the start where I want this to basically be on the reverse side of - the earth. - I'm going to rotate it around negative or actually else go semi 180 degrees or so Just type - in 1 80 then I'm going to make the size a little bit smaller so it is covered by the other - side of the globe. - And then I'm actually, - um I'm not gonna do the size. - I'm gonna play with positioning, - actually, - So I'm going to put the positioning behind the globe. - I want to make sure that three D is on for our globe so that, - as you can see now, - these two layers air playing in three D space and I moved the position of this logo behind - Earth. - And so it actually goes behind Earth. - I'm actually also going to decrease the scale to, - like, - 18 or so eso Now, - Right now, - our logo just kind of comes through. - It kind of rotates through it. - I'm going to go about halfway through this animation and move this logo to left side. - So it comes out on this side of the earth. - So as you can see that it's getting closer, - there's still some minor tweaks that I have to adjust because right now it's not far enough - out in front of the earth to make that final rotation. - So I'm going to also move it towards me in Z space. - So now it comes around and basically comes to a stop in front of Earth. - But you still have. - I'm gonna move this out a little bit to something like that, - had the final keeping, - but you still it's not yet behind it. - Still going through the earth right here. - It should be behind it. - And so maybe around this key frame, - I'm going to push it out for back and even further, - something like this. - See if that works. - So now it comes out, - comes around and comes to a halt here and going to right click thes set Eazy e's. - This comes to slow. - Stop. - All right, - so let's runner this out and we'll see what it looks like right now. - So we do have our D logo coming around the earth. - OK, - so it's looking pretty good. - The only thing is that the speed of it is a little awkward because, - um, - we have key frames set up in between the rotation. - So right there, - it kind of jiggles. - So I'm going to select all these and see what my key frame interpellation is. - It's got continues busy A So I'm gonna try, - um, - auto busier and see if that kind of helps it smooth out the rotation, - Can I? - So we have it coming around. - I think I want to start out smaller, - so I'm going to decrease the scale. - Teoh me like 10% so it kind of like really grows as it comes around. - So there we have it. - Of course. - Like always, - I would keep tweeting this until it looks perfect. - But for you guys, - for now, - you get the point that now we have this d coming around the earth. - It's pretty pretty cool. - I Then now we have to basically play with the size of the earth. - So I'm going to actually parent this widget or the doctor 60 logo to the earth that I'm - going to set scale, - keep rings at the end of this move and go to the start and decrease the size to like, - 60 or so. - But now we can see the sun behind us, - and I don't want to see the sun until the end. - So I'm just going to Here is our son Layer. - It's gonna rename this son. - Change this The color to like orange that we know it's the son. - I'm going to just do a quick opacity fade right here after the Earth has grown. - So now let's see now, - if we were under this out, - the earth kind of zooms in. - And because we parented the doctor 60 d logo, - it changes size along with the earth. - Eso Then we want to add the fade to the letters. - So let me type type ups the logo. - So I have my text tool and change this toe white. - Then I'm going to use the floor in songs font that we used for this logo. - So we have dark 3 60 So I'm going to increase the size of this until it match basically - matches with this logo. - So something like this is good. - All right, - so then we want basically we want this to appear as our logo fades off. - The problem with this is if we move this logo off, - the D is going to go now. - And that's why I have this asset right here without the D. - So I'm going to change the scale to 27.8, - which is the same as the flow go down here, - but it looks like it's actually a little bit smaller because we have a now, - this is we parented it to the earth map. - So I'm going to have to make this a little bit smaller so that it matches so and then line - it up. - Something like this get to be the right size. - Okay, - so there it is, - that's perfectly aligned. - So after this comes, - it's gonna rest for a few frames that I'm going t. - You know, - cut this to right here. - It's gonna be one quick movement going to cut the end of this press command shift D and - delete that. - So now it switches from here basically to hear, - I might leave this on for a few frames, - and then this is going to go off to the side, - so I'm gonna set a position key frame. - Then a few seconds later, - move this off to the side, - and that's going to reveal our text layer right here. - So Okay, - so now we're going to set. - I'm up a mask for this text layer. - So we want to go along with this sort of curved logo piece, - and I'm going to leave enough space over here for it to be in this fall on. - And now this is crazy. - So now I have in my mass mask, - um, - options down here that I can play with press. - Mm. - Stopwatch, - clicks, - stopwatch. - Teoh said a key frame for the mask path right here. - Then go forward till this is just about off screen, - and then move this over with it. - And I noticed that it's gonna go too far, - so we can actually just go until it's passed the 3 60 and stop it there. - I'm gonna set a key frame by clicking this This, - uh, - diamond right there. - Delete this last one. - So now it's open right there. - Okay, - The only thing is right here, - we get a little bit funky because the d of the original one is still there. - All right, - so let's see. - What are we gonna dio? - We need to actually have this d already be on here before it reveals itself. - So I'm going to duplicate this layer. - Um, - get rid of the mask and just get rid of the rest of these letters. - So now when it comes across, - the d is still there. - So then I can cut the rest The end of this layer, - the layer with the original layer with the lines to the start of this move. - So there you have it. - Kind of fade out just like that. - Okay, - so now I'm going to turn on the motion blur for these layers. - Turn on motion blur up here. - We're going to render it out and see what it looks like. - Now we have a d dis sitting there so we don't want to start this d until right here. - So I'm going to command shifty that layer. - Delete this first part of it on. - Let's see what it looks like. - I know we're gonna have to do one more thing, - which is fade out the earth so that the so that the sun is revealed behind. - So you have a nice music, - Lovell. - Uh, - there it goes, - and it's a little bit slow, - but you get the point. - For now, - we just have to fade out our earth and our sun will shine. - So a pastie said a key frame right there t to bring up a pastie and then faded out right - about here. - And we want the sun to be right in the middle of the D so we can move it, - actually, - So that down a little bit, - something like that. - Okay, - so there you have that. - The only thing we're missing is, - uh, - the, - um, - degree symbol right here. - I can just do a zero. - Then it's like this and make it a lot smaller. - Then raise it up with this option over here. - So there we have our degree symbol. - So there you have it. - There you have marks twinkling stars you have are rotating earth. - You have r D logo coming across and around Earth fades out to the sun. - And at the same time, - the lines of the logo revealed the entire brand's name. - Let's watch it one more time again. - All these things take tweaking. - I would speed up that last move a little bit. - I can just do that really quickly for these Top players. - Just bring up the key frames there, - and it's like all of them hit, - option and dragon. - And that will make it a lot quicker. - And that will look better. - Eso Thank you so much for watching this lesson. - I hope you enjoyed it and learned a lot If you have any questions, - please let me know otherwise. - Check out video school online dot com for more tips, - Tricks and tutorials subscribe, - and you'll get a nice deal. - You get 50% off all of my courses. - But for now, - just enjoy, - and thanks for watching bite. 10. Practice 01: For Authors: - Hey, - video people, - this is Philemon or back with video school online dot coms create your own video intro. - Today we have a cool intro that I'm gonna teach you how to dio and yet another technique to - inspire you and get you thinking So this is actually for a fellow online instructor. - I'm creating this, - uh, - bumper for her is video Siris for authors. - And so let me just show it to you first. - I'm gonna then talk about it and why I did what I did. - And then I'm gonna show you how to do it, - actually, - So let's just watch it. - Really simple classic, - you know, - not too flashy. - Maybe some would say a little old school, - but let's just check it out. - So we have these little orange boxes that come out and kind of revealed these different - pieces of information. - We got four authors title and then re sources information and chat for authors, - which is her heading or subheading. - So I got this information from her website and as I mentioned before, - like you, - if you're making ah bumper for your website or for another person website, - you know it's a good idea to check out their website and pick aspects of it themes from - that to use. - So I asked her what Fonds to you. - She came back with Cambria. - And so I used the Cambria font. - And I have her tile right here. - Her subheading. - And then you see it all these this, - like geometrical artwork up here. - That's the background of her header. - And the color is the orange colors. - I kind of used those in the bumper as well. - And so that's why I in here, - You know, - I chose this red font, - which is the same fought as here and then the yellow orange brick. - I use the orange from her heading, - and I'll show you a cool way to basically, - uh, - use get those exact colors. - All right, - so I'm gonna go ahead and start a new composition. - We'll call this for authors Bumper 10 seconds. - 1920 by 10. - 80. - You know that by now, - first thing, - I'm going to create a white background. - So, - command, - why brings up solid settings? - Gonna select white. - There you have it. - And then I'm going to basically set up the rest of my final look of my title card. - So I'm gonna turn my tattle actions safer while Korean. - These titles, - I'm just gonna start setting the title. - So we have four authors. - Um, - make sure these settings air kind of normal. - I have this set up toe 1 45 pixels. - Baseline shift. - And that was for when I was creating the, - um, - the degree sign for my doc 3 61 So just turned that to zero. - The rest these, - you know, - just play with if you need I'm going to turn this into bold because that was more similar - to what her title was on her. - Her website. - So there you have it, - centered. - I'm gonna put a little bit above the vertical centered line because I know I have a - subtitle. - All right, - so now I'm gonna create that line. - But instead of just clicking shape and creating a shape, - I want to be able to use masks with it as we've learned before. - If I want to use, - like, - the rectangle tool or the pen told to create a mask around the shape, - it doesn't creative mask. - It just creates another shape. - So I'm gonna have to do this New solid, - So command. - Why New solid. - I mean, - use this eye dropper. - I drop this color, - and then I'm going to use the mask, - the rectangle masked to create this line. - Okay, - so I'm going to do it to the edge of the S. - And then I know I have to bring it back from the left side. - So I'm gonna double click this edge that brings up these tools to adjust and then was gonna - addressed it to the edge of the F. - I was gonna shift up key to get it to the right height right in the center of the page. - And that's looks good. - And lastly, - I'm going to create thesis up header which Waas? - Let's go back to it. - Resource is information and chat for authors. - So, - God, - our text barks, - start a new one. - Resource is information and shot for authors. - Okay, - I think I spell that right. - Even though I can't see it, - I'm gonna decrease the size of the text doors. - And I needed a gin there. - Okay, - so just make this align with the edges of the four authors. - 35. - If it doesn't fit perfectly by changing the text, - you can always do point. - You know fractions of pixel, - or you can go in here and change the scale that can help you as well s So now we have our - whole title. - I'm also going Teoh, - make this not bold. - You do italics that changes the with of it. - So let's just play around a little bit. - 98%. - Okay, - so now we have our title and the subtitle Let me quickly show you how I got this color - though, - because if I was just trying to eyeball it, - I would, - you know, - say I was starting off with black And then, - you know, - I went to my color and was trying to eyeball like this, - you know, - I could get pretty close. - Something like that is very close. - But instead, - I actually I took a screenshot of the website itself. - I can bring that in. - And now I can basically use this eye dropper to I drop this color so it changes it to the - perfect color. - I'm going to make this invisible for now because we're going to use it in a second. - All right, - so now I'm gonna turn off title action safe because I don't need that anymore. - And just rename these things so that I have it organized a white background. - It was type in background. - The red saw it is the line break and the rest We can just leave because that has the text - that it actually is. - All right, - so now I'm going to create that square that jumps out. - So first I want toe open or turn on the color screen shot again. - So I have those colors, - then press command wide to bring up with new solid settings. - Then I'm going. - I drop one of these oranges so I'll do this orange. - His press. - OK, - then I'm going to make a square. - And the way that I make a square one way is if you go from the center of the screen, - the solid just click and then press command and shift. - You can create a perfect square from the center of your screen. - I say I'm gonna make it, - You know, - just about Aziz. - Big as the four authors text, - something like that. - Eso Then I'm going Teoh, - just gonna make these two line these two layers invisible line and this other piece of text - and this color screenshot I'm done with that, - so I'm just gonna delete it. - So now I'm gonna add the motion to this orange brick. - So first I'm going to go all the way to the left and I'm holding down shift so it stays on - this horizontal line. - I'm gonna press P to bring a position. - Said a key frame. - I'm gonna move this to the start of the composition, - or may a few friends after the start. - Then you know, - 10 frames or so later I'm gonna move out to the edge of the authors. - Then I'm gonna go about the same distance. - It should be the same amount of time as it took to get out here to go back to that original - point. - I could just copy and paste this other key frame, - and it takes it back to their and then going to right click the center one the center key - frame in the middle and do eazy e. - So it slows down and kind of slows in and out of that move. - So maybe I'll spread them out a little bit. - Just, - you know, - I could take these second to press option tat and then click over or do air right arrow key - t to nudge the key frames over. - So that's a good speed. - So now we want for authors to appear after this square goes back. - So I'm going to start here. - I'm going to you guessed it. - Create a mask. - So first, - I'm going to create a mask around this entire text. - So something like that. - But then I'm going to move it to the edge of this orange brick. - Surprised this edge right here on the right. - Press em to bring up mask path and create a key frame there. - Then go to about where that you think the text will all be showing something like there and - move the mask back. - So, - actually, - I'm gonna go back one more, - one more, - uh, - frame and move this key frame back. - And so then play it and see if it lines up. - Because sometimes it's too fast or too slow. - But this one looks like it works out perfectly for us. - So none of the Texas seen before the orange passes by it. - We can even turn on motion blur to see what this looks like for the orange. - Saw it. - If it has motion blur, - you know, - That's kind of cool, - too, - if you want that. - But of course it's then it's less visible. - You can't really tell what it is, - but it might look a little bit more natural, - so I'll keep that on. - All right, - so now we have our four authors appear select all press s s to close them all out, - and I'm gonna turn on our line break. - Then we're going to create a new orange sought, - So I'm gonna press command. - Why? - We already have the orange from our last solid option. - So I'm gonna click. - OK, - then I'm going to create another square. - So again, - click from the center command shift. - Just a small square. - Something like that. - Okay. - Actually, - I'm going to bring up the the key frames of this last orange square so I can line it up our - time timer with the end of this animation. - Because I want this square to start animating onto the screen at the same time, - the right at the end of the previous animation. - So I'm gonna move it to that right side of the screen. - So it's off screen press p to bring it position. - Said a key from there you know, - go the the same amount of Keith, - uh, - frames over. - Move it all the way past the edge of the line. - Go back forward on the time line. - You know, - you have to be careful when you are driving this so you don't mess up the mask. - And we went back over this edge of the frame, - and I'm gonna write, - like the center one and do easy, - easy again. - Let's make sure the timing is right. - Okay, - then the same thing. - We're just going to create a mask around our line. - But this one is gonna be a little bit trickier because, - as you can see, - as I create this mask, - it creates another object. - But because we use the solid and not the shape, - we can add these mass properties to it. - So he will do, - subtract and then inverted. - And then we're going to press M, - make sure we're playing with mass to and not mask one and move it all the way over to this - side of the orange box block said a mask path key frame. - Go forward to the end of this foreign block where the whole line will be visible and just - move it like so And we want to go back and go make sure that it works. - But see how the timing is. - A little off the red line is visible, - while the orange block hasn't even made it yet. - That's just, - um, - one thing that can help. - That is by easy easing this key frame right here. - So that will help. - But it won't fix it totally to see how that's better. - But it's still kind of gets off right around there. - So when it's still good, - just said another key frame right there, - go forward and then just fix it. - So go back a little bit and this might fix the whole thing, - and it looks like it will. - So the one block there we have another one will turn on motion blur for this orange block. - Okay, - so you have that. - Okay, - so now you have your orange blocks in the lineup here, - and then we want to do one more. - So let's turn on our last piece of text. - We're gonna do a new solid command. - Why press? - Okay, - then create a square again. - A little square groups, - make sure I was selected is they're shaped tool to create a square. - It's me a little bit bigger than the last one and this. - Move it to where this line is, - and it's going to start over on the left side. - I'm gonna press shift and drag it over to the left. - Make sure that's lined up with the end of this animation. - Set a position key frames of press piece of position. - Go forward, - Move it over again, - go forward in the timeline and move it back. - Oops. - Back Eazy e's We're gonna right click, - Keep re Maciste disease not comes out his back. - So then we're going to set up a mask of this resource is so just mask around it. - Move the mass to the right side. - Press them to bring up mass paths at a key frame. - Goto the end of this or where it goes off of the text says something like right about there - . - Move it all the way over and just scrub through this. - Make sure that it's good. - It's not. - We're going to try easy, - easy if that fixes it, - do that to that key frame and that fixes it and make sure that we have, - uh, - the motion blur on for all three of these so that they match style. - Okay, - so that's pretty much it. - That's your four authors. - Resource is information and chat for authors bumper. - I think it's pretty cool. - You know, - little plastic. - It looks like this last one is going a little bit fast. - So what I'm gonna do is I'm gonna close this second Orange square. - It's just so I have this this last Orange Square and the key friends for this other one. - And I'm going to select all the key frames. - Click and then see, - I have to click the right most one and drag just a few frames, - so that's a little bit slower. - So something like that. - Okay, - there you have it. - Thanks for watching. - If you have any questions, - please let me know otherwise. - Have a great day and we'll see next time. - Bye. 11. Practice 02: Dublin Academy: - everyone, - welcome back to another lesson in create your own video intro course. - Today we're working on an intro for the Dublin Academy. - Another contact that I have that wanted me to create an intro for them for this course that - gave me this logo. - And it really helps in creating the intro and, - you know, - having the right feel. - And just if you already have a logo that's, - you know, - your 10 steps ahead of the game, - so let's watch it and then we'll learn how to do it. - Okay, - so you have the clover of the Dublin Academy popping up, - then doubling academy pops down again. - This is a very simple one, - similar to some of our other ones, - but I just want to show you the technique I used for this one and something that you can - use when you get a logo from someone. - If someone wants to create your wants you to create a logo in intro for them or if you - already have a logo. - So first things first, - I'm going to create new composition called Dublin Academy to our sons. - All are all right. - 1920 by 10 80 10 frames a second or two for 10 seconds long and most exactly last shorter. - So I'm going to create a new, - solid white background. - So that's command wide, - creating new sod. - And then I'm going to create Urban yet just like last time. - I'm gonna go through this quickly, - though, - so because you already know how to do it. - Mask with a little lips tool. - Inverted press after Bram Feathering create a big feather 500. - It's good 300 to 500 is great and then lower the opacity to somewhere like 40%. - That's good. - All right, - so then they gave me this clover be Web logo, - PNG file. - And this is perfect for creating, - uh, - what we want, - you might ask. - Well, - there's a white background. - How do we get rid of that? - Actually, - it's very simple. - You just go to transfer or blend modes. - If you don't see that, - just hit the toggle switches modes button and go to multiply. - See how that works. - It got rid of all of the white. - That's really, - really cool, - Nifty thing that I use all the time for, - especially when I import images or other things into aftereffects. - All right, - so then I'm going to set this at my final position. - So I'm just gonna drop the size 35%. - So, - like, - that's pretty good, - maybe 45. - So I can see this whole thing online learning where you are and I'm gonna break this up - into a couple of different things. - So I'm gonna use the pen tool to outline the clover. - I'm gonna get in here and outline the clover. - Says with that, - make sure that the layer is selected and then click around the clover. - Just create this mask. - I'm just separating this from the rest of the logo. - Then I'm going to duplicate this press end, - delete this mask and then create a mask around the Dublin Academy text without the load the - clover in it. - Eso Now we have one layer that is the double academy text on one that is the clover text. - Let's put this composition up to 100% so we can see the whole thing. - So I thought it would be cute to create the intro where this clover kind of pops up as if - it was groaning and so see how it pops up from out of the virtual ground and then it kind - of rotates over. - And as it rotates, - the text falls down from this guy. - So we're gonna go backwards from from here. - So say we want at four seconds all of this to be on the screen or made three seconds. - We want all this to be a screen like this. - I'm going to select both these layers text and the clover, - and then press P and thats I'm going to set a key frame because we know this is the - position. - We also know this is the scale or the size of press s. - Instead of keeping, - we also know that we're going to be rotating the clover. - So I'm gonna press, - are and said a key frame. - You know, - I don't have to set key frames for the Dublin Academy for this, - but it doesn't hurt. - So at this spot, - we now have three key frames for the clover. - So I'm gonna rename this clover in this text, - I said then half a second before I'm gonna go ahead and move the Dublin Academy off the - screen. - So when the Dublin Academy is off the screen, - the clover is kind of standing up. - So we're gonna rotate the clover about their so negative 60 degrees. - But also, - I'm going to make it a little bit smaller and move it over so it's centered on the screen. - So either come down there, - you have that. - We're going to select this layer the text layer and turn on the motion blur and make sure - it's selected on up here or it won't be seen. - Eso. - Then, - before this kind of rotates and comes to stop, - can I grows onto the screen? - So it has his bounce move, - so it goes above 100% or whatever, - the percentage is the final percentage, - and then it shrinks down and it starts from zero. - One thing is that I want to change the anchor point to the bottom of this clover. - So I'm gonna select the anger point groups and make sure have this layer is selected and - move it below. - I'm I have a problem. - So I'm going to actually delete these position both these position keep frames and then - move this, - uh, - anchor point down to the bottom. - Going to have to re dude, - remove it later. - Eso At this point, - I want this clover to be over, - so I'm gonna set it, - Reset the position key frame here, - go the last key frame and position it over right about there where it waas eso. - Now, - when I go back and I make this clover a little bit bigger than it is now it will grow from - the bottom and the bottom will stain relatively same position, - and I'm gonna go back even longer and make this zero. - As you can see, - though, - when I scaled down its shrinking down to the anchor point if the anger point was in the - middle, - I would just shrink, - you know, - to the center of it. - But that wouldn't make sense if it's a quick clover growing. - So let's render this out and see what it looks like. - Okay, - so it goes a little bit fast, - and it continues its motion. - As soon as it shrinks down, - it starts to rotate. - I want to shrink down, - pause and then rotate. - So what I'm gonna do, - I'm gonna move these two kids key frames over a little bit, - and I'm gonna copy and paste this scale, - uh, - scale, - key frame right around here. - And then I'm going to select these two key frames do and Eazy e's on them and see what that - does. - I see how there is now a pause where the clover just sits there for a few frames. - I like that. - And it allows you to just, - like adjust yourself, - allows of your deceive the clover and not be distracted by all the sudden movements. - All right, - so that's pretty much it. - You know, - I could play around this, - make this this grow a little bit faster, - right here. - Something like this. - And, - you know, - it might be nice toe like add some grass or something popping up over here, - you know, - add all sorts of different elements. - But for now, - this is a pretty simple logo and a pretty simple bumper. - And that's about it s o. - If I haven't shown you before, - you don't know. - I'll do it. - A whole another lesson on this but toe export. - This you have to go up to composition at to render queue, - and then you just click on set. - You're setting so down here where it says output module, - Click that horses lossless. - You can change the format of your output so it's automatically quick time and animation - format down here, - but I like to just do h 264 I'm gonna change that to H 264 That's a very small sized file - and then click OK, - and then output to this is just where it's going to be exported. - And you can just choose your folder, - press save and render it out. - Quick, - run your button over there and it will render, - and it might take a little bit longer than this. - But my computer is pretty fast most the time, - so let's see. - I'm gonna try to see it. - Let's watch it. - Um, - let's go to where it's going to be exported. - Okay, - You get that little bling sound and there you have it. - Now it's a little quick time file. - You can send that to your friends or whoever it is, - or use that for the start of your videos. - Do whatever you want with it. - All right, - that's it. - If you have any questions, - please let me know otherwise. - Have a great day and we'll see in the next lesson. 12. Practice 03: Jennifer Bailey: - Hey, - everyone, - welcome back to another lesson in the create your own video intro course. - We're continuing our new intros. - I asked a few. - You know, - me instructors Teoh, - give me a logo or a brand that they wanted me to create an intro. - Fourth. - So one of them, - Jennifer Bailey, - who brands herself as her own name and then she has three sort of words that describe her - as her tagline. - She came to me with this logo and wanted me to basically animated. - So let me show you the logo that she sent me. - I just downloaded it from an email and, - uh, - as you can tell here, - it's pretty simple and she basically said, - I can change it up. - Aiken. - You know, - it's nothing set in stone so I could do what I want with it. - So I just brought it into after effects. - And that's basically what I, - uh, - created this inter office. - So let's watch it, - and I'll talk about it afterwards, - and then I'll show you how to do it. - E o. - Super basic. - As you can see, - just text kind of sliding onto the screen or fading on. - But one thing about this one is that I added a little bit of music and this one this music - was downloaded from audio jungle dot net. - And it's just under the logos and night dents section, - and it just has a nice little beat. - And I tried to, - like, - start the movement at the start of the B and then have the last word pop up with last be - last little trying at the end. - All right, - so let me show you how I did. - This s so I'm going to start a new composition Jennifer Bailey, - to okay, - the size or the length of this composition is 20 seconds. - I don't need that. - I'm going to go back to composition settings or press command K. - Just make this a little bit bigger for you guys to. - Okay, - so I'm gonna make it 10 seconds. - I'm gonna make it a little bit bigger for you, - so you can see it s so the first thing I want to do is create the background. - As always, - I press command. - Why? - To create a new solid, - going to create a white solid and call this white background BG for background. - You'll notice, - though, - that this one has this nice sort of been yet to it. - Let me show you an easy way to create. - Have been yet in after bucks, - man. - Why start and new layer new, - solid and create a black solid. - You can also go to layer new solid. - Going to name this Been yet at super easy. - Go up to your shape toe, - hold down and go to lips Tool double click. - This. - It creates an ellipse mask around this for the shape press Mm a couple times to bring up - all the options for this. - First you want to invert this mask, - Then increase the mask. - Feather Teoh around 300. - And then mass capacity dropped down to something like 25. - So there you have a nice been. - Yet you boost up that a little bit more. - So now you have this nice vignette for the background, - so it gives it a little bit more depth. - Sometimes I like the clean white look And sometimes I like just having more, - you know, - a little bit of difference to it. - So the vignette is good. - What is your background? - So then I just want Went ahead and created, - recreated this logo based off of this logo that have a screenshot up. - She didn't have a riel large logo to send to me, - so I had to re create it. - So I'm gonna add new text and just type her first name. - Forget which Have a fun I used for this, - but let's see. - So I used just Helvetica Neue Helvetica. - Neue is a very popular font. - It's very clean. - It's a son Serra font, - meaning it doesn't have the little edges to the jays or anything. - I think it just looks nicer on video. - I'm just gonna make it a little bit bigger and I'm also gonna make it this purple color eso - . - Then I'm going to kind of center it or put it in the right positions the right to the left - and above in the first quadrant. - So 1234 in the first quadrant that I'm going to duplicate this layer. - Just command d move it over and type B Lee. - Now I have her whole name, - but you see here that I have this little she has this little like graduate cap Icahn for - her. - I so I'm gonna have to add that and I'm going to just recreate that. - But first, - I'm going to actually take this into a new composition of its own. - So I'm gonna press command shift, - see Teoh Pretty compose it. - So I'll say this, - Jennifer, - I We'll just call it that. - So now in this composition is just this word, - Jennifer. - So I'm gonna take the screenshot in here as well, - just to have it for reference. - Then what I'm going to do is basically start a new or add a new solid. - So command why? - And make it this blue color. - So again, - using the colors of her own logo. - And then I'm just going to kind of recreate this logo using this mass tool. - I'm going to create the cap. - So with the tassel, - Okay, - so now I have that. - Then I'm just going to actually use this again to create the head around this. - Just I can use this to create a round shape somewhat round is something like that. - So I could go in here and move all these points, - make them a little bit bigger, - Smaller? - Let me get this screenshot out of your way. - Make this a little bit more round. - Something like that and then when I make this smaller, - it will look better. - I'm going to change the anchor point to make it in the middle of this object so that when I - make it smaller using scale function, - it is smaller from the center and get smaller from the center of this object. - Eso just gonna kind of place this over the I. - And if I was, - you know, - really doing this for Jennifer? - I would, - um, - take a little bit more time for on this project and make sure that the it looks better. - Eso let me boost this up to 100% or even more so that we can see what's going on. - So as you can see here, - you can see the top of the eye showing through the graduation cap. - So what, - I'm gonna dio It's just I'm going to select this. - I change it to a capital I and then shrink it down using this horizontal or vertical - squeeze option over here. - Okay, - so and then I want to slut that again, - actually, - and make it the blue color. - All right, - so now let's see. - Now we have Jennifer with the graduation cap. - Okay, - So now I'm just gonna get rid of the screenshot. - Go back to my Jennifer Bailey, - too. - Composition. - And I have it. - They're made for us. - So the other thing is that she had in an email she had told me that easy effective and - education were kind of the motto was the model of her courses. - So I'm going to just create that text down below easy and see what was easy, - effective education. - I'm gonna make. - Each of these is separate text layer. - Have to change this over here, - this vertical squeezed to 100% so that it looks right. - And then I'm going to get some put it underneath, - Duplicated, - moving over. - Effective. - That what it was at the worst short term memory ever, - and then education, - education. - I'm just going to all these smaller so that will fit in underneath the Jennifer Bailey logo - . - Like having things a line. - So something that maybe make it even more so a little bit more smaller. - A little bit smaller, - Not a little bit more smaller. - Can't speak English. - I says I like this. - You get the point. - All these words underneath Jennifer Bailey. - All right, - So now you have to add the motions that we have for this. - So the first thing that comes up is this blue line in the center. - It kind of just fades in, - and then the words come out from each side of it. - So I have to create that blue line. - One easy way to do that is just go up to rectangle tool, - select your color some things like this blue, - and then make sure that stroke is at zero and then just create kind of a blue line. - Just click and drag that something like that eso Then I'm gonna have this paid in. - So, - Presti, - to bring up a pastie going to move this key frame over at 100% on set a key frame for zero - . - So it fades on. - I'm gonna make all these just disappear all these layers until I need to use them. - So the Jennifer one layer, - this is the 1st 1 I'm going to use. - So first, - like first, - I'm going to create a mask around it all the way up to the edge of this blue line and then - set a mask, - path, - key frame and a position keeper impress P to bring a position, - then I'm going to actually press you. - I'm gonna select these and move these over. - And the way I did that was pressing option shift and then the right arrow key. - You can move these key frames over, - or whatever key friends you have selected. - And now, - at this point at the final point where the blue line fades onto this green, - I'm going to have this jump through that blue lines. - I'm gonna move it to the right side. - But then, - like, - always move this mask over to the left side. - So you have Jennifer popping out like that, - and then we wanna have Bailey do the same thing. - But on the other side, - Teoh a mask around it. - Oops. - Gotta have this layers selected. - Just gonna go through this really quickly so that you I can move ahead. - Okay, - then I'm going to move us forward. - Bailey is gonna go to the left side of this blue line, - but the mass is going to move to the original position. - Okay, - so we have Jennifer Bailey and then after those pop up, - we want the easy effective education to fade onto the screen. - So Presti to bring up opacity said a key frame for all three. - If all three are selected, - move that over. - Holding option shift and the right arrow key down and said this to zero. - And so all these now fade up at the same time. - But I want to start with them. - So first easy, - then we're gonna move effective over. - So it starts fading on at the end of the easy fade on and then education. - The last one. - I'm going to move over easy, - effective education. - Okay, - so let's see. - I think that's about it. - Jennifer Bailey, - Easy effective education. - But then the last thing we want this blue line to kind of fade out as thes Other words air - fading on. - And we don't want it to distract from the rest of those things. - So I'm gonna do a little bit of a slower fade said a key frame at the start of when easy - fades on. - And then maybe about where effective is on the screen. - Change the passing to zero so that it fades off the whole way. - The effective education. - The last thing is to take this, - uh, - logo. - I dent sound and place it where you think it fits? - So I'm gonna play through this president zero to have the audio. - I'm just gonna move over a little bit. - So that fits with education popping up. - So I would have to go through this a little bit more and tied it up. - Make sure that the audio is matching all the transitions and fades, - But really, - that's it. - That's the Jennifer Bailey intro. - I used the colors from her, - her website and her YouTube channel used the logo for her. - I I changed up the font just cause I like the San Serif fonts for video Better. - I added this nice. - Been yet. - That's a new technique, - But other than that, - you guys should be getting the hang of this and should be able to create something like - this on your own. - Eso Thank you so much for watching. - Have a great day And I'll see you guys next time. - Bye 13. Practice 04: Bloom & Grow: - Hey, - everyone, - welcome back to create your own video intro house going. - I am happy to be here today, - and I can't wait to show you this new logo bumper that I just came up with for a company - bloom and grow and eso Let's take a look at it. - And then I'm going to talk about it and show you have to do it like always. - Let's go at it. - There's no audio yet for this one, - but they gave me a nice logo toe work with with their tagline and, - uh, - really nice. - Turned out nicely. - So you see, - I have these things kind of fade on with a certain type of dissolve and then their logo, - the tree part of their lower kind just pops on to the screen. - All right, - so let's get going through this. - So they gave me this logo right here. - Let's bring onto this competition and like, - last time, - we're going to be working with it. - So let me start a new composition, - so we'll call this bloom and grow to 10 seconds is fine. - You know, - actually, - we could make me a shorter just in case we don't want all 10 seconds, - always cubits. - Six seconds. - One thing that I've been doing is re creating the background and vignettes for these past - couple compositions. - But one thing you can do if you already have certain settings that you want, - you can just copy and paste layers onto a new composition. - I'm just gonna select both these layers holding down the command key Copy command. - See, - go over to my new composition and press command V to paste it. - And so, - instead of having to recreate the backdrop, - recreate layer, - etcetera, - I could just copy it. - Renamed these white background vignette that looks good, - that I'm going to drop in my P and G, - and so I'd centered it in the middle of the frame. - And remember what we did last time to get rid of this white. - We go toggle switches, - modes goes, - go to under blend mode for this layer and select multiply that gets rid of the white from - any layer. - So now we just have the text, - and I want to break this up into a few different compositions, - like always are layers rather so First I'm going to mask create a mask around just the - mentoring for herbalist and nutritionist. - Then I'm going to duplicate this press m delete the mask, - and then I want to get it just round bloom and grow. - So I'm gonna do it as perfect as I can get it just around balloon. - Then I'm going to duplicate command D again, - us end. - Believe this mask. - Now I'm going to set a mask around this leafy part that's coming off the bloom. - So I'm going to zoom in to this press age to use the hand tool to move it around. - Could change the size of our composition and press g to bring up the mask. - You can see here that it's not a perfect it's not perfectly flush with the be so and that's - their logo that I'm using. - Of course, - you want to be a perfect even This color seems a little bit lighter than the B, - but I'm not gonna mess around with that. - Just gonna leave how they have it. - It was gonna create it straight line across that end of the bead, - and then the rest of this I can just kind of cut around it as needed. - Okay, - so there you have. - Now we have our three layers. - So we have our leaf later, - our bloom and grow layer and our mentoring for herbalist and nutritionist. - Later, - I'm going to rename these three layers, - and I kind of having the order from bottom to top. - Just kind of how days on the physically on this screen So mentoring is at the bottom. - So that's our third layer. - Just tech mentoring. - Women grow. - We'll just say Bloom on this will just say leaves. - Okay, - so the first thing we want to do is basically create different, - uh, - create the different emotions for this composition. - So let's go back to this one. - You see, - we have bloom and grow popping up or fading on different ways and thin mentoring for - herbalists also fading on, - and all this motion that you see fading back and forth. - We're gonna play around with that later. - But for now, - don't worry about the motion. - We just want everything to be static right here and to pop up at will eso in your effects - and presets, - you'll notice that there's this been for animation presets underneath that here are a lot - of different transitions dissolves, - especially under text. - If you have actual text written out onto the screen. - There's lots of different things you can do with it. - So for this one, - I was just looking through the dissolves, - and I wanted to find something that, - you know, - kind of fits the theme of out grass. - And you can see here as this mentoring for herbalist and nutritionist is is fading on of - the screen. - You know, - halfway through, - it kind of looks like grass coming through the text right there. - And so I use this block dissolved so you can just type in block, - dissolve, - um, - through here under transition. - That's the one that I used. - And then you just drag and drop it onto one of your layers. - If you press you, - you will notice. - I must be using the wrong block. - Dissolve. - Gonna try this block to solve digital. - That is not the right one. - Which one did I use? - S O. - C lots off regular. - Pretty sure this is the one. - Okay, - so there you have it. - So now this is This is the right. - Blocked is up. - You'll see down here when you twirl this effect block dissolved down that you have - transition complete. - So we want to set. - Keep friends for it. - So we wanted that one for zero and then go backwards about a second and go 100% something - like that. - So now you have this fading on to the screen with an interesting dissolve. - I'm gonna make it a little bit longer, - so that fades on longer. - Then I'm just gonna take this block soft, - copy it and paste it to this bloom layer. - So then I'm going to move these. - Keep rooms forward, - though, - because I want these things to be the first toe. - Dissolve onto the screaming and we'll make it a little bit faster. - But you'll notice that I didn't just have the whole thing dissolve at the same time I had - each individual word on for bloom and grow. - Come on at one time. - So I'm going to duplicate this layer two times, - rename this toe and and then grow. - I could have done this earlier, - and then I'm just gonna make these other two. - Er will make all of them disappear, - except for the one I'm working on. - So I'm gonna take this mask and just bring in to just where it's around. - Bloom. - I was selecting the wrong layers, - so make sure you have the rock, - right layer. - Selective, - I said, - Now, - that's just Bloom. - Then I'm just going to take this one and make it just grow. - And this one I want to be Just grow eso. - Now, - if I select all three of these layers, - I'm just gonna change the color so that we can know which ones they are still making three - green suppressed you. - You bring up all the key frames for this block itself that it has. - They all come up at the same time, - but I don't want that. - So I want the bloom to come up. - Then the and I'm gonna scoot this over about halfway through this transition. - So bloom comes on and halfway through and starts to come on. - Then halfway through this, - the grow I don't want this. - Block it off. - So I'm going, - Teoh, - delete it clicked and delete that Blocks is off. - I wanted toe pop onto the screen, - grow onto the screen again. - I'm using the themes of the brand in the intra. - So I'm gonna first, - I need to make sure that this, - uh, - anger point using the pan behind tool up here or pressing. - Why is at the center of grow so somewhere right around there? - Because let me show you. - If I I'm going to use a scale transition and so it's gonna go from zero to 100 as you can - see, - if I go to zero, - see where it's growing out of, - it's growing out of the middle of the page and I don't want that. - I want to grow in the middle of Gross. - I'm gonna move this to the center girl. - And now when I play with a scale, - it comes out of the center s. - So first, - I'm going to set a scale for 100 and move it forward about one second. - Then I'm going, - Teoh said, - a key frame for a zero. - Just make the scale zero. - And that's that's a new cape, - right key frame and about 2/3 of the way. - I want to add that bounce that I always like. - I'm gonna make this one maybe 1 15% okay? - And I'm gonna select these last two. - You go to key frame assistant and do Eazy e's. - So now we have bloom and grow coming on and then mentoring for herbalists that line coming - on don't reflect all these compress. - You become times until I get the right key frames up. - Okay, - so I'm trying to get all the key frames. - These okay? - So now I have all the key friend up for all of these things. - All these these layers And it looks about right. - But maybe I want mentoring for herbalists to start a little bit earlier and and a little - bit later, - Just make it a little bit longer. - It's a sign like this. - All right, - so that's pretty good. - Okay, - select all press s to make these layers close out all these layers. - The last thing we have to do is these leaves. - There's gonna be quite a project. - So I'm going to pre compose these so command shift, - see? - Or you can right click this layer and go to pre compose and was pot leaves Comp one. - It's fine. - And then I'm going to double click this and open up this composition. - All right? - So first thing I want Dio, - you will notice that it's not masked out anymore because the mask is actually left on this - layer itself. - Let me undo this. - If I would have pre composed and clicked Move all attributes into the new composition and - select. - Okay, - then the mass does stay in this new composition. - But you'll notice that now I have to reach change this to multiply so that we don't see the - white s so you could do either for this one for this project s So now this is, - you know, - kind of the tedious work, - and I'm not gonna go through all of it just cause I know I You saw it, - and you'll get the point after a few, - but what I'm gonna dio is basically mask out all the leaves into separate masks. - Basically creates separate mass for all them. - All right, - so I'm going to first, - I'm going to delete this mask so we don't even need need that, - really? - And then I'm going to create a new mass just around the vine, - so just make sure that nothing but the vine is showing and make sure you don't go into any - of the other leaves, - okay? - So keep going like this doesn't have to be perfect. - Just you don't want toe cut out any of the leaves or any part of the blind So now we just - have the bind. - I'm just gonna rename this. - Fine moves get back to after effects. - All right, - so now I'm going to duplicate this layer, - press em and leave the mask. - Then I'm going to start mask out each individual leaf. - So again, - just make sure you have nothing but the leaf selected and duplicate. - Delete the mask and re mask around the Leafs. - So I'm just gonna do three leaves for you guys today with the mask eso Now we have See how - I cut that off. - You can always just add a new Vertex and move it like so. - All right, - so the next thing we want to do is make these things grow onto the screen. - So we're gonna do a little grow animation for each one. - So first thing I want to make the anchor points at the base of each leaf or vine. - So, - using why I'm gonna move this anger point of divine down here for this first leaf, - I'm going to move it down to the base of the leaf for this. - Each leaf again. - The same cause this is where it grows out of If you were in the real world, - I So then I'm going to This is actually pretty easy. - You can select all press s to bring upscale hit the key frame but in our stopwatch, - then press option shift and the right arrow key to move the key friends over, - then set the scale to zero and then go about 2/3 of the way and go set it to 110%. - We can even even select these last two. - Uh, - he frames and do Eazy e's. - So now we have all three popping up at the same time, - but we want one at a time, - so we're just gonna move thes leaves over. - So I I would rename these leaves one leaves 23 I'm not gonna do that right now, - but then just move them over like so. - So now we have our leaves popping on the screen. - And don't worry that there's white showing here because in our original composition, - the whites not showing. - But in my original one, - I added a second balance to this vine popping up so it kind of bounced, - bounces up and then bounces again. - So we're gonna do that. - So we're going to go back a little bit about halfway through. - Said this. - At 120% I would move this one and 10. - Keep frame over a bit, - go back to maybe, - like 95. - So it basically goes from 0 to 122 95 110 to 100. - So it kind of balances up and down and you'll notice if you press J and K on the keyboard, - it goes between all the key frames. - This is a really easy way to get from one key frame to the next, - it's announce rendered out, - and you can see how it bounces on the screen. - So pretty cool. - The last thing, - though, - is to move it to the right position, - because in this composition the animation starts at the very beginning of the composition, - so it starts right around here. - So we want this animation to start basically at the end of where grow animates on. - So let's move it to that point. - So sign like that. - So let's rendered out okay, - so you can see basically what I did for each leaf, - and, - um, - you would have to do it to the rest of those You'll notice, - though, - that this mass seems to be a little bit off. - So I'm going Teoh, - change this mass just slightly. - Something zoom on in this movie over just a little bit. - So back in our original competition, - there's no space between the vine and the B. - Last thing I want to do is add a little bit of camera movement. - So I'm gonna change all these layers to three D except for our background and been yet - layers. - We're gonna actually lock these layers if you want, - so you don't mess around with them. - So you slept both and click this lock button from now. - If you try to do anything to, - then it will flash and tell you you can't do anything. - Then I'm going toe Go up, - layer new camera. - It's fine. - Learn Yunel Object External object three D parent The camera Teoh the Newell object with - this twirly give Just click and drag onto Newell Newell object to or drop down this button - and select the layer. - You want it to be parented too. - And then go to this. - I'm going to start at the end of my composition. - Actually, - I could just start anywhere and set my first where I want the initial camera to be. - So I'm gonna move it over to the left or so like this because I want this text to go from - left to right. - So at the start, - it has to be towards the left. - So something like this also maybe zoom in a little bit so said a key frame there and then - move this key frame to the start of the composition. - Then move the position over, - as you can see, - As I move, - the null object left, - the actual text moves to the right. - That's because imagine a camera moving to the left. - The camera is moving to the left. - It means everything. - The subjects of its of the camera moved to the right and maybe zoom out a little bit, - something like this. - And I'm gonna move this key frame to the end of the composition. - So let's render that out, - see what it looks like. - So it's gonna render play. - So the camera motion just adds a little bit of something, - Teoh it it makes it a little bit more dynamic. - The last thing I wanna do is that you saw in this original one. - Add mentoring for herbalists. - Moving to the left, - actually, - So I'm going to select my mentoring. - Blair Press P set a position key frame, - move that key frame to the start, - then move it to left something like that and lose this key frame to the end of the - composition. - So now let's rendered out something like this, - and there you have it, - bloom and grow mentoring for herbalists and nutritionists. - That might be a little bit too much motion for the mentoring, - so I'm just gonna move it back a little bit. - And like everything, - you know, - I would go in and tweak thes. - Make sure that the timing is right at the music and make sure that the timing of the motion - you know, - next with the mute music with little logo, - intro music or whatever you have. - But I think it's a pretty cool entrance, - so there you have it. - If you have any questions, - please let me know you can reach me through the course page. - If you're watching this on you to me or if you want, - head over to video school online dot com, - where you can find free tips, - tricks, - tutorials podcast, - P Books and Mawr from myself and you can Connect with Me at Video school online at gmail - dot com. - I thank you so much for watching and Have a great day by 14. Motion Graphics for Video Intros - Part 1: - Hey, - everyone, - welcome back to another lesson in the create your own video intercourse. - I hope you're having a great day. - And I have got a really great exciting set of lessons for you guys. - Up till now, - we've been creating some great bumpers. - Don't get me wrong. - I think all the bumpers that we've created far professional, - high quality and would be great for most uses. - But I wanted to get a little bit more creative with this next section. - And so I added some more, - I guess fancy elements to a creative bumper. - And I'm going to teach you how to do how to create it. - So first I wanna watch it and, - you know, - just watch it. - See, - it will watch the couple times because it goes by really quick, - and then we'll talk about it. - So I'm gonna play a couple times. - That's that s I'm just gonna play through it without the audio now so I can talk you - through it. - So we got these great shapes kind of going through on. - Then we got our final basically low video school online logo. - One of the locals that I use pop up at the end and the background. - We got this grungy texture, - you know, - it's spinning and zooming in, - and you know, - I'm getting dizzy watching it over and over and over. - But I think it's a really cool logo. - And I was just inspired by some of the motion graphics that I've seen lately online and on - TV. - And so I just want Oh, - you know, - get out there and be a little bit more creative with something. - So I put this together and about, - you know, - a couple hours, - and it would probably take about that long to teach you how to do it. - So I'm not going to go through the entire project. - But what I'm going to do is I'm going to go through every one of these elements. - So you see these circles popping out Well, - you'll probably know by now that once you create it, - once you know how to do it and you see these lines, - you know, - coming out. - So I'm gonna go by. - Each of the falling lessons is going to teach you how to do a separate one of these pieces - , - and so lesson one will be about the circles on, - and maybe these bars, - including that one. - The next lesson will be about this screen. - The next one will be this one. - And then the last one. - Uh, - our next last one will be This whole motion right here. - Got some more stuff and then the final one as well. - And so I'm gonna break this into smaller chunks. - So about four or five minutes each hopefully and we'll go from there. - But thanks for watching this lesson. - We'll get straight to it in the next lesson, - but have a great day and we'll see next time. 15. Motion Graphics for Video Intros - Part 2: - Okay, - everybody, - let's get straight into it. - I'm going to teach you how to create this. - Seen from this intro. - So the circles coming out and these lines going out. - So let's get straight to it. - I'm going to start a new composition. - I'm just gonna do 12. - 80 by 7 20 Sometimes you don't need 1920 by 10. - 80 more and more now today to do. - But just for this test, - I'm not going to do that. - I'm just gonna make my entire sequence six seconds long. - Black background. - That's good. - And we'll just name this part one eso. - The first thing we have to do is create these circles coming out like so we'll add the - background and everything Later, - as you can see here, - I have a pre comp, - a pre composition of all of my shapes. - And that's how I created this motion graphics. - And then I added the audio and the background layers and everything later. - So first things first are these circles. - Let me teach you how to make those circles So press command why? - Or go to layer new, - solid, - creating new solid and just make it, - you know, - some sort of bright color, - then go up to your circle ellipse tool up, - hear clicking the center and hold down command and shift while you drag out to create a - perfect circle. - Make it about you know this big about half the size of your screen, - and then go in the middle again. - Click and hold command ship down and make another circle and just it doesn't have to be any - particular size. - But for now, - I'll just make it about like that. - You'll see these two mass popped up. - I'm going to go to the 2nd 1 and two subtract. - So now this leaves us with this ring. - And basically, - what we're going to be animating are is the mask expansion. - So under mass expansion, - you can see how this kind of works. - You can expand the mask or decrease the mask size, - so we're gonna be basically enemy of them from small to large. - Okay, - so first I'm going to set a key frame for mass to which is the inner mask I'm going to go - until there's no hole opening. - It's a sign like that and could even be smaller. - But right around there is good and then set a key frame. - Then I'm going to go up to Mass one and do the same thing. - So until the circle disappears, - you see there's it's a greater number negative three compared to negative 1 69 because that - original mask was larger, - said a key frame there, - Then go up. - You know, - however long you think we can always change. - This will go half a second up and expand your maths, - too. - The original point so you can actually just type in zero. - But then, - for this one, - you the second mask, - you go further until it's completely gone, - okay? - And then you kind of just adjust these. - So you move the mass to key frames over 1/2 a frame or two. - So there's a chance for the circle to grow, - because if it's if it's if they're both going at the same time, - you get this really short, - uh, - really, - really assure ring animation. - But we wanted to be a little bit longer, - so something like that, - just one frame over. - It's fine. - I'm gonna select both right click key frame assistant do Eazy e's. - So it kind of slows into the animation and slows out so there. - You can see that I want to make this a little bit. - Circles. - They're shorter. - So I'm going to select all of them's of driving. - Select all of the key frames, - press option and drag. - Click the furthest to the right key frame and drag it in. - But make these a little bit smaller or shorter. - Let's play around it with until until you like it. - So there you have that. - Then what we're gonna do is do a position transition. - So press p to bring a position. - Then I'm gonna present you to bring up all the key frames. - Go to your last key frame. - You can also just click click through J. - J and K on your keyboard and then move it wherever you think. - So something like that is good. - And obviously this is a lot larger than these ones. - You can tell this is a lot larger. - Well, - may that pink ones about the right, - the same size. - But then what you do basically, - as you just duplicate this layer, - okay, - and then press command shift. - Why? - To bring up the solid settings, - change the color blue or whatever it is. - Press p to bring a position press k to go the last key frame and move it over. - And so now you have these two circles coming out. - I think it's better when they're kind of differentiated, - so press as to bring upscale and dropped down the scale. - And maybe you can even move around the the the path of it by clicking on these this red - line. - So see how this red line is here, - and that's the motion path of it. - So you can basically moving around if you want. - So there you have the basic formation of these circles. - So I'm gonna let you go ahead and duplicate that as many times as you want. - The next thing we want to do is add these bars that kind of come out on disappear. - Okay, - So the way we did that and can see down here with our bars, - if you bring up the key frames, - you'll notice that I have a scale transition as well as a mask path transition. - So let's start a new, - solid suppress command. - Why? - I'm just gonna make this another color, - some sort of green like that. - I'm gonna make the rest. - These layers disappear. - Then you're going to go to your rounded rectangle tool and from the center, - just click from the bottom and go up. - So something like this and the way reason I did it from the center was because now when I - do scale, - it grows from the center of the screen from the bottom of this bar. - So first thing was to create a scale transition. - So go from set a key frame for 100 go back in time and go to zero. - So it grows. - But now we wanted to kind of shrink, - but the opposite way. - So not go back like this. - We want to shrink from bottom to top, - and the way we do that is with a mass trenches transition. - So press M set mask path and then select these key frames Down here, - you can click on the key frame itself, - So click on one of these rounded key friends. - Here, - let me zoom in on this so you can see better. - So if none of the key frame was selected, - you can click on one, - then drag and select multiple ones and then have to make this a little bit smaller. - Then drag it up basically to this point until it's a little ball groups that I have to go - forward in time and do that. - So go forward a few frames and drag, - upholds a little ball, - and then basically, - you can delete the rest of this layer and press command shift Dida duplicate on delete or - to split it and then delete it. - And basically, - what this does is you have our animation grow. - The NIT shrinks and disappears, - and I think it's going way too fast. - I'm gonna select all press option and extend. - Make sure that layer is extended to this final key frame. - Okay, - so there you have are kind of worm animation. - So now I'm gonna turn on these circles, - okay? - Fit this conversation composition up to 100%. - Okay, - so now you see this worm kind of come out with it, - and you can move it, - you know, - drag it up and down if you want to start or end later. - I think I'm gonna do that with these circles, - you know, - have the blue and start a little bit after the red one aan den. - You can like rotate. - This is well so press are and just rotate the worm. - Who's going Call that And then same thing with the blue layer with the circle layers. - You can just duplicated press command D Now then rotate it a little bit. - Move it up or down so that it's, - you know, - coming a little bit later than the other one. - Press command shift. - Why select the color, - hit the color box and then just change the color. - Now we have two worms coming out. - You could make like one faster than others. - Looked. - All the key frames press option drag that. - Make sure you drag the end of this composition. - So that disappears. - Because if it just stays on the screen, - you're gonna have this dot on the screen for a second. - You don't want that. - You just wanted to disappear As soon as it shrinks. - You can even move it if you want. - If you think this isn't the right position, - you can, - you know you can select it. - Press P, - drag these over click and drag it over like that. - And so that's basically this first scene from this in. - Sure, - got it. - If you have any questions, - please let me know. - Hit me up on video school, - online dot com or at video school online at gmail dot com. - Otherwise, - we'll see you in the next lesson. - We'll where we'll be going over this motion right here. - Okay, - so we got the circles on the diamonds coming out. - Okay, - Have fun with that. - Practice it and we'll see next time. 16. Motion Graphics for Video Intros - Part 3: - Hey, - aftereffects creators creating your own video intro. - Welcome back to another lesson. - Today. - We're gonna be continuing this session on creating this cool, - animate motion graphics animation with shapes. - Today, - we're gonna be talking about this motion right here with the circle kind of coming up and - then shrinking and then the different colors kind of shrinking into it and then with the - diamonds coming out of it. - So I'm just gonna create a new composition for this one. - So we're gonna say, - call this part to six seconds is good enough for me. - All right, - So the first thing is to create the shapes, - we're gonna do the circles first, - and then the diamonds, - So press wide, - create new, - solid. - You should know that by now. - I'm just going to call this circle. - So that is. - We can name it there. - And purple is fine. - Eso now, - I just want to create a circle. - I bet you know by now how to create a good circle. - Go to your lips tool, - go to the very center of your screen and click and drag out holding command shift. - So that creates a perfect circle. - All right, - so this is a basic emotion, - a shape motion or a size motion, - something that you already know how to do all these things. - You know I do already, - but we're just using them in new ways. - The press s set a scale position. - Just drag that forward, - you know, - 1/2 2nd or so. - Then set a keep ringing click zero. - So we wanted to come up pause for 1/4 of a second. - So we're going Teoh, - copy and paste this key frames of selected copy, - Paste it, - then go about the same distance as the first key frame to the second key frame and go ahead - and set at zero again. - And then, - like usually, - we're going to select awe and do an Eazy e's so right click key frame Assist Eazy e's. - So that's a little bit slow. - We'll show one more time. - So I wanted to be a little bit faster. - Definitely the pause a little bit shorter. - Just drag goes around something like That's pretty good. - Maybe a little bit too slow. - So that's good. - All right, - so we have our first circle Now how do we add our second circle to it? - It's actually really easy so duplicate this layer and then take the bottom layer and change - the colors or command ship. - Why check the color box, - switched the color and then select both layers. - Press you to see the key frames. - Move this bottom layer over. - So there you see it because it's shrinking after the first layer. - We don't actually need these first this first part of it, - even if you can just start it right here when the first purple circle starts to shrink, - If we want to split it and then believe this first part, - we can totally do that or you know it does. - It doesn't really matter. - So see here it's actually growing behind the purple. - I'll make the purple layer invisible on it grows and shrinks. - It's just happening a split second later. - So when the purple shrinks, - you see the green. - So we're just gonna duplicate this again, - press you to see all the key frames, - move it over and change the color command shift. - Why? - And we'll make this like a blue like that. - And now we have our cool animation, - so that's a little bit fast with the it disappearing. - So maybe I'll make these to put these over a few more frames. - So something like that, - even more so, - something like that is pretty good. - You know? - Just play around with it until you Until you like it. - I said then we have our We have our circle kind of come out. - Then we want Teoh. - Add our diamonds. - Kind of flying out of it as this purple purple circle of growth. - So guess what? - We have to start a new layer. - So, - command, - why New layer blue is fine. - We're gonna call this diamond. - Then we're gonna take our mass tool and just create a diamond. - It doesn't have to be perfect. - Actually, - I wouldn't want to be really perfect because I think it looks better ones a little bit off - eso. - Then we're gonna actually put this underneath our purple layer as well. - But we won't do that yet, - And this is basically just a simple a simple size and position transition. - So press s to bring upscale hit a key frame p. - Same thing, - key frame. - And actually, - I'm impressed you to bring up both of those. - I'm just gonna drag this position key frame over to the right, - but still at the scale of or no, - right. - I'm gonna move the scale over to the right of slightly and then go to set the scale to zero - . - So you have this transition from zero scale to 100% scale and in the position starts there - and then go forward where you wanted to disappear off the screen. - So maybe at by the end of this circle animation where the circle is gone, - then just move it off the screen and you wanted to kind of be going along it rotational - eyes. - They're just rotated to the left press article, - Amber rotation. - And then I'm just going to basically start it right as the purple is growing. - So just move it over until the first key frame hits the timer right there and just drag it - on the layer underneath your circle. - It's a something like that, - and then, - of course, - you can duplicate it. - I'm just going to use the spot changes. - Bottom layer. - Make sure you're on the second key frame the position key frame, - drag it over here and then just press are to bring irritation and said it like that. - Rotate it so it's going along the axis of its motion. - And of course, - you can change the color Commanche shift. - Why, - If that is selected, - change the color and there you have it. - So now we have our circle animation. - Another thing we can try to, - which I didn't do with my original animation with Try Motion Blur. - But sometimes it doesn't work for these animations. - It's kind of cool for the start, - but see how these ones get just a little bit messy. - So it just depends on what you want to use the force of. - Maybe these, - uh, - the thesis Urkal to encircle three. - You don't want motion blur on something like that. - I don't know. - Maybe with the diamonds that works. - But I actually don't like the motion blur for this animation. - I like seeing the shapes clearly eso there, - you haven't. - Now you know how to create this circle animation and these diamonds coming out of it. - We've got a crazy one coming up next. - We got this circle kind of thing, - but you kind of already know how to do it. - And then we have these diamonds flying out, - or these triangles flying out, - and you kind of already not to do that. - It's just a little bit more complex. - I have a good one and we'll see next time. 17. Motion Graphics for Video Intros - Part 4: - Hey, - everyone, - welcome back to another lesson and create your own video intro course. - We're continuing our creative intro, - and today we're gonna learn how to do this part of the animation. - So we have the circle with lines going through. - It looks very complicated. - And then we have to use triangles kind of rotating off of the screen. - So let's get straight into it. - Starting new composition command and we'll call this part three and six seconds is good. - So first things first the circle and you've done this before. - Create the circle called a circle pick what I would call you. - Want lips, - tool press command and shift or click and then press command shift and drag out. - Create a circle. - Same thing again, - but a little bit smaller. - Then we want to make this second mass subtract. - Then what we want to do is go to rectangle tool and just make a thin rectangle like so - across the circle and creates press, - subtract then with this massive selected press command D and then move it downward. - So you compress shift and then down. - And I like to do that. - So I know how maney, - how far down is rather than clicking and dragging. - So I knew that was shift than down Arab key three times. - So I'm gonna duplicate again Command D shift down, - down, - down shift or a duplicate shift down, - down, - down and the same thing Just repeat, - duplicate that layer and create these lines. - It's like So then I'm gonna go back up to this Mass three, - do the same thing, - but shipped up, - up, - up, - duplicate shift up, - up, - up. - So just like that, - until you have the whole thing with lines going through it. - So there you have our circle with lines going through it, - and then we're going to basically, - with these 1st 2 mass, - the actual mass that are the circles we're going to do an an animation that we've done - before. - So, - with mass to, - we're going to set the mask expansion to, - like, - negative 1 64 Then go forward like 3/4 of a second and make it reached the outer edge of - the mask one, - something like that. - So then we're gonna go to the start and make the mass expansion for a mask number one - native to 10 where the circle disappears, - and then we're gonna go to about right here before this last key frame for the mass to and - expand it to the edge of where it began. - So 20 Then we can actually take this first key frame for mass to and move it up a few - frames and just scrub through this and see how it looks. - If you want this, - um, - if you want this the thickness of it to be thicker or thinner you can move these key frames - in and out. - And then, - if you want to be faster, - small, - slower, - you can move these last two key frames in and out. - And if you want that Eazy E's kind of action where it slows into it and then slows out of - it, - you can add Easy's. - So there we have our lines. - Circle animation. - Not too hard. - A. - It looks a lot more complicated than it actually is. - And that's the beauty of after effects eso. - Now let's get our rotating triangle. - So we're gonna press command and to start a new command and sorry command. - Why? - To start a new look solid. - Just change up the color press. - Okay, - take our mass tool and then just create our triangle right around the center of this where - our anchor point is because the anchor point always starts in the center of the screen. - All right, - so then first we want to Let's look back at how this rotates. - So it starts small, - kind of grows, - and then it goes all the way. - It doesn't even go all the way out of the frame for some of these and see how this one. - Let's see. - Oh, - shoot. - Slow computer. - The cats lock on. - If you ever run into that, - you think your computer slow? - Just make sure your caps lock is off. - See how this green one up here in this red one down here? - It just kind of disappears at that point because it looks like it grows and then kind of - shrinks eso We're going to do that. - So, - press s we're gonna do our scale our scale motion for So I'm gonna just make the circle - disappeared for now. - We're going to start at zero. - They were gonna go forward half a second, - go to 100 and then we're going Teoh, - Actually, - we're gonna move this closer, - so only if you know a few frames later. - Then go like 1/2 2nd forward. - Duplicate this key frame by either copy and pasting it or just clicking this diamond over - on the left and then make it zero again. - So now we have just this basically the triangle growing and shrinking. - Now we have to add a motion passed. - So, - press p, - we're gonna start in the center. - So set a key from their press you to bring up all our key frames. - Press KKK. - While that was bad press k three times to get over to, - um, - the last key frame apologised for that remark. - They mean to do that ice. - And then, - um you put wherever you wanted to basically disappear. - And so now we have our triangle flying off the screen kind of. - But this is different than the diamonds from this one because we have a grow and shrink - animation, - so it actually shrinks off the screen. - But we're also going to add a rotation to it of three D rotation. - So turn on three D with that cube right there. - Set key frames for press are to bring him all the rotations and then set key frames for X - And why press you to bring up all of our key frames and then just go to the middle for now - so we can see what we're actually doing and just rotate over much you want. - So we'll do X rotation 234 degrees, - the Y rotation 182 and just move those key frames to the end. - So now we have this triangle flying out. - So now I'm gonna turn on my circle, - press you to bring up all the key frames and then basically, - I want the triangles to start flying out right when this thing, - this pink circle, - is flying out as well, - so I'm gonna move it over. - So the first key frame aligns right here that I'm actually gonna put it underneath it as - well. - So something like that. - So now if we wanted to, - we could duplicate the triangles. - You know, - change the motion path, - changed the size of it. - Make sure if you want it to be bigger, - make sure your your time, - Uh, - this timeline thing on your timeline, - uh, - is on your key frame and then select both of these key frames at 100% and change it. - So now it's 100 and 42%. - The whole time. - If I would have just gone to this key frame and raised the size to 169 or whatever, - then actually grows from this point where it's 100 to 106 night and maybe that's what you - want. - You want to grow, - and that looks kind of cool as well. - But if you want to stay the same size from this point to this point, - make sure that you have both elected when you make it smaller or larger. - I If you have any questions, - please let me know. - Otherwise, - keep practicing this stuff and we'll see you next time when we're going to be going over - this really crazy, - but actually easier than you think. - Animation with the circle. - All right, - thanks so much, - and we'll see next time 18. Motion Graphics for Video Intros - Part 5: - Hey, - what's up? - Everyone in the create your own video intercourse. - We're continuing this with another section off this creative bumper. - We're gonna be talking about how to create this circle animation where the circle kind of - comes out and then we have these layers of circles kind rotate into our screen, - alright? - And then we'll close it out with this. - How exits With this circle kind of bouncing on and then leaving, - I'm not going to show you how the how to specifically do these squares because you already - know how to do it. - You just have to create a square in a similar fashion to the circle with the mass tool. - And then you create a square within that square and turn the mass to subtract and then just - create a motion path and a rotation like we did last time with the triangles. - And it's the same exact thing. - So let's get into this though this sort of crazy circle rotation, - because I think it's really awesome. - I so go ahead and press command and to start a new composition will call this part for all - right. - So the first things first is to create the circle So just create Circle one. - It was gonna call a circle one, - a new layer solid. - Then with the Ellipse tool, - we're going to create our circle like we have been doing. - So click command shift and create our circle. - Go back to the center. - All right, - Center is possible. - Click Command shift I. - And then when the second mass, - we're going to subtract. - And then in our effects and presets window, - you're gonna type in radial wife. - So go toe under transition. - Not under the animation presets, - but under transition. - You have radio wipe and drag and drop it onto your circle. - So then you have these options up here in the top left, - and you'll see trans position complete star angle, - light center wipe where you can change it from clockwise to counterclockwise or both, - and feather if you want. - So play around with seeing this transition complete. - Yeah, - you condone basically create this animation with it. - So we're going to start at 100. - We're gonna set a key frame. - They're using the stopwatch up here, - and then if you press you with this layer selected, - you will see that there is now a a key frame for this effect down here. - You can actually change it down here if you don't want to play with it up here. - But I'm just gonna go forward, - you know, - half a second or so and then make the transition zero. - Just make sure it's a good speed. - So something like that and I'm definitely going to select both right click and do key frame - assistant Eazy E's. - So something like that is pretty good. - You could even be a little bit slower for this animation I. - The other thing that we did to this, - though, - was you can see that as it grows or as the radio wipe transitions. - It's actually shrinking in wit. - So to do that, - we're going to set keeping for our mask to so under Mass to with mask expansion, - said a key Freeman of the Start Press. - You go to our last key frame and then basically expand the mask until it reaches the end - until it's disappeared. - So something like that. - So now we have our circle growing onto the screen, - like so I said, - Then we're basically get just going. - Teoh, - use this radio wipe to create this whole effect. - So after it comes up, - we have this green thin one going around on both sides. - I So how do you think we're gonna do that? - One thing we can do to easily create this circle is to duplicate this layer. - So I duplicated it, - and then I'm just gonna rename it circle, - too, - and then I'm going to change the color. - So command, - command shift. - Why? - And just change the color to something that contrast with the original green, - And then I'm just going to press you and get rid of this mask expansion. - So I'm just gonna believe this second mask and, - um, - this first Maskey frame as well and in the radio wife transition. - I'm just gonna delete these two, - um, - key frames as well. - But first, - I'm going to set the transition completion to zero so I can see what the circle looks like - . - Press em to bring up both mass and mm again to bring up the properties. - I want this m to be on the outer edge of this green one, - so I'm going to expand mask one just a little bit, - so it goes over the edge, - and then I'm going to expand mass to to basically the edge of the original Circle Me 55 - pixels. - Something like that may overlap it by one pixel or so. - Eso. - Then we wanted to rotate on, - do Radio White onto the screen from both sides. - I'm gonna make this 10 pixels, - so it's a little bit thinner. - So up here in radial white, - you can go both and then transition complete. - You can create this animation, - but you can see that it's starting from the bottom now. - I wanted to start from the top, - so go ahead and go make it transition complete like 99% so it's still on the screen. - You can still see the green or the pink of it at the bottom and then with star angle, - just rotate this to the top. - The very top. - So 180 degrees is exactly 180 degrees around this circle, - so opposite side. - And then you can change the transition, - complete Tuesday 100% and press you to bring up this key frame. - So said the key from there. - But I want this. - Keep him to be at the end of this where this green transition completes. - I might make this massive expansion Completion of a frame or two after the transition - complete so you can actually see it reached the top. - Okay, - so just move this animation just out just a little bit. - All right? - So then we want this Circle two Teoh transition onto the screen. - So go forward a second or so and then transition complete do zero. - So now we have our green circle on the screen, - and then the purple or the magenta one coming on afterwards, - and we can actually move this over to the left a little bit, - so it starts, - you know, - a little bit sooner. - I said, - now we have the on this version, - we have the green that goes round transitions onto the screen. - Now I have to do the rest of these, - so it's pretty simple. - So we're going to actually, - uh, - duplicate this first circle. - Actually, - we can duplicate the pink circle, - so duplicate that, - then press m and to bring up all the the mass properties. - And then we're going. - Teoh actually pressed you and delete the last key frame of the radio wife and then the 1st - 1 eso then and then change this transition complete zero. - So now we can see our circle and change the color. - So, - command ship. - Why? - I'm just gonna change it to read something like this. - Okay, - so then press mm. - To bring up all your mass expansion properties sent. - Mask one expansion to zero and then mass to you. - Just change it to however thin you want it to be. - So mine. - I kind of went from very thin to a little bit thicker and kept getting thicker. - But you can have them be equal or whatever you want. - So I'm gonna start this at zero. - Just the original size of the circle. - Okay. - And so then I want to add my radio white. - So I'm just going to about, - you know, - right here when the pink is starting to transition onto the screen, - I'm going to set my transition complete, - too 100%. - But I also want to change it from, - uh, - both wipe to clockwise again. - And then I want to change my start angle back to zero. - So it's coming from the top. - I said said the transition complete to 100% and instead a key frame. - Then go forward and then said that key frame to zero press you. - And now you can see those key frames. - See how it comes up like that ice. - And now we're gonna duplicate this layer, - change the color. - So, - command ship, - Why change the color to whatever you want, - And then basically, - we're going to change the mask expansion settings. - So for mask to you can just make it about like that, - and then we want to put this underneath our circle three. - Actually, - we don't have to worry about mass Pat Mask one. - Okay, - so then we're going to just kind of press you to bring up the key frames and then just - slide this over a few frames, - so four frames. - So it starts after the initial red circle. - Then we're gonna duplicate this again, - press you to bring out the key friend, - and we can actually just take this bottom one. - Move it over four frames. - Press command shift. - Why did change the color, - whatever colors you want. - And then we want to change the mask expansion for mask a mask to so press. - Mm. - She's the massive expansion. - I could keep doing layer after layer, - but I'm just gonna go all the way now. - So for your last one, - you want to make sure that it covers the complete circle and now you have the circles - coming on the screen. - But see how it's kind of awkward. - It can't looks like they can jump on the screen. - That's because it's not easy. - Ease. - Select all three layers for these three rotating circles. - Select all the key frames, - right Click key frame assistant Eazy E's. - Now it looks more natural. - And actually, - you can see here there is a little um, - if I turn off the tile action safe, - there's little black dot in the middle here. - I don't want to see that. - So select are green circle for us, - M. - M and change the max expansion. - Make it expand a little bit more inside. - So there you have this animation. - You didn't think you were going to be able to do that, - did you? - And then the last thing is this circle that kind of eats up their heads to them. - So that's pretty simple as well. - This one. - I'm just going to create a new circles, - a press command. - Why create a new making a new color, - get a dark blue and then we're going to choose create the circle, - so make sure that you make it larger than the rest of these circles to start out with. - It actually doesn't have to be, - but it helps. - So me like something like that and I was feeling command and shift down again. - So then you want to just create a size transition, - suppress s bring upscale said the key for men's 100 Go in front of that, - make it zero. - So it comes up on the screen and then go afterwards, - you know, - a little bit shorter than the time that it took to get from 0 to 100 and then press zero - again. - So it comes up on the screen on drop down. - We're gonna select all these Dukie frame assistant Eazy E's. - So we want to come up as soon as the green transition completes suggests move it over. - So it starts right there. - Then at this point where it covers up all the rest of these circles, - just select all these circulars, - press command shift D to split them, - and then delete those that second pair of layers the second half of them. - So now it comes up and are blue circle eats them up. - And then just like, - uh before with the triangles, - you can create triangle, - create the rotation, - the motion path I'll just create the square shaped for you, - and you can do the rest that so create a new layer command. - Why change the color? - I then you want us to take your rectangle tool. - Same thing started the center click command shift created square and then from the center - again, - click command shift and then subtract this inside. - Now you have a square. - Then you just make it three d and add the rotation and the path. - So there you have that eso in the next lesson, - we're gonna be going over this final animation with E squares that come up, - slide over and reveal our logo. - All right, - thanks so much for auction and we'll see next time 19. Motion Graphics for Video Intros - Part 6: - Hey there, - everyone. - Welcome back to create your own intro, - this fun session for section on this video school online insure that I made. - Last thing we're doing is create this animation with the squares, - so let's get straight into it. - Command news, - start new composition. - We're gonna call this part five. - I said then first we want to create our squares. - So, - press command, - why did create a new layer whatever color you want. - And we didn't rename into square that might help us. - Okay, - then with our rectangle tool, - go from the center, - click command shift and create our square. - Okay, - so now we're gonna create that animation for it to come on the screen, - just like so two, - and then it goes over. - So first things first is it's just a simple mass transition. - So press m press said the mass path key frame. - Move this key frame forward half a second, - then click out and then click back on this the shape and then using our selection tool - hockey V, - select this side of it and move it over to the left. - All right, - so now you can still see. - It's a sliver right there and then it comes on. - So if you play this, - you know, - at the start of this composition you have this sliver right here. - So I'm just gonna trim the end of this this layer to the start of this key frame to the - first key frame. - That's a little slow. - So I'm just gonna make it faster. - So it's something like that and, - like always, - you know me. - I love my key from assistant Eazy e's, - right Click and Select E These I want to pause right there for 1/2 a second and that - they're not even just a couple frames. - So set that key frame again, - or copy and paste this key frame, - then go forward and then slept right the left side and make it transition the transition - complete over to the right side. - And again, - just trim the end of this layer layer. - You can do command ship de delete it so it comes on the screen and then comes off. - And then basically, - we're gonna just duplicate this. - We're going Teoh, - what we can do just to speed up the workflow is just duplicated three times. - So you have four layers for each one changed the color, - so just change the color. - That's like a pea green. - That's pretty nasty color. - Okay, - so then just change the color again for all these layers can. - All right, - so now we have three different colors. - And if you go through them, - you can see each color. - We're just gonna stagger all of them. - So select all, - press you and then select. - Well, - yeah. - Select all of, - um, - move them over to the right a little bit. - Then take the second to last one, - or this square to and just move it over to frames Actually would help to move all three of - these over this. - Like these. - Top to move him over. - However many frames, - three frames. - Then take the last one. - So you want to start with them evenly if you can. - So I don't think this this is even actually. - Yeah, - that looks about even. - But I think it's a little bit slower than my original compass. - So I'm just gonna move him over, - like so make a little bit faster s. - So now we have our squares come on to screen. - We just have to have our logo revealed. - So I have my B a school online logo. - So I'm just gonna put that in the centre, - and I'm gonna have to change the size. - Think I'm just gonna make it the exact size of these compositions, - So play around with it until you have the right size 27.6. - Looks like that's what it is. - I could just drop this underneath are low. - Our last logo are last square. - You can see that it appears. - And then the last thing that it does is it appears, - and then it grows and shrinks with the music. - So we're going to go forward, - and we're gonna change this later. - But I just said the key frame scale there are a key frame for the scale. - Their go forward, - a couple frames increase the scale, - you know, - something like just play around with it, - something like that and go forward. - You know, - twice that amount and go to zero, - then just set. - Make these all eazy e's. - Okay, - So now we have our squares and the exit of our logo. - Eso That's pretty darn cool. - Um, - the last thing we're gonna do is create put it all together and get this background going - and at our music. - So we will do that in the next lesson. - But for now, - if you have any questions, - please let me know. - I hope you've enjoyed all these lessons. - I've had a lot of fun putting this intro together. - I think it's really catchy and modern. - And I hope you do too. - And, - yeah, - we'll see you next time to wrap it all up by 20. Motion Graphics for Video Intros - Part 7: - everyone. - Welcome to the last lesson in this session of the create your own video intro with all - these cool animations that we just learned how to do. - So we're going to learn how to put it all together, - so it looks like this. - Alright, - so first, - we're gonna start a new composition. - So we're gonna press. - Uh, - we'll just create new competition will call this final calm. - We're gonna make this longer, - though. - We want to make this 10 seconds. - All right. - So now we can take each of these parts and just drop him onto our composition. - So just select all Mom, - drop him down here, - and then we just have to align them. - So go through part one. - And as soon as that one disappears, - you slide over part to for it to start like that. - So this goes and then part two starts and this isn't completed because, - um, - as you can see, - we only did parts of it. - And then as soon as part two is done, - weakens our about to be done. - Weaken slide in part three, - sled in part three and then slide in part four. - It's ends. - This goes and then part when put forth Done slide in part five. - Okay, - so like this eso then what we want Dio is we want to pre comp all of these. - It's like all these in my original one. - I did it all in one composition. - I didn't separate the sections, - so you can do whatever you want. - This makes it a lot cleaner, - but you don't have to So select album and either right click and select pre composed or go - up to layer and pre composed or press shift command. - See, - we'll call as our shapes. - Animations. - Okay, - so now it's all in one layer. - Then we're going to add our background. - So I have our background texture from online, - so just drop it in there. - I'm just going to decrease the size something like that to start out with, - and I'm gonna put it underneath are shapes that I'm going to start a new Um, - because I don't want this to be so dramatic. - With the texture, - I'm going to drop the opacity, - suppressed tea and drop the opacity. - But as you can see now, - it's just dark background. - I wanted to be like a gray background like this. - So I'm going to start a new layer. - Kareen knew shape and just create like a grayish layer. - Put it underneath and then I'm going to so just play around the opacity. - But then I'm also going to decrease the saturation of this later. - So go to saturation drag sat hue saturation in your effects panel. - You can just type in saturation, - and it brings up this effect up here on the top left and just drop it down to whatever you - think. - Looks great. - So something like that is pretty good. - All right, - so now we ever our shapes going on. - But here you can tell that the colors and the shapes look differently. - And that's because we played with the blend mode of the shapes animation layer. - So go to toggle switches. - Modes go under blend mode and do vivid colors. - So now they kind of have this overlay kind of effect for some of the shapes. - So something like that I might make this grace saw it a little bit darker, - So just command shift and why you can decrease the brightness of it. - Another thing I was thinking, - maybe I could dio is add a little bit. - Yet So press command wife, - start new black layer. - Okay, - then go up to lips tool DoubleClick. - Press your go to subtract down here under the mask and then changed the feathering - something like this to 80. - Then just drop the opacity, - like 25 or something that add something to it as well. - I think eso then we want are you can see here the texture is kind of growing and rotating. - So at the very start were with this texture which all renamed texture just go press are set - a rotation key frame press s to say scale rotation, - then go to the end and increase the scale like I'll sign like that. - It's up to 63 in the rotation. - Just rotated, - but make sure it's not rotated off the screen. - You don't want to rotate that much this settle rotation. - So now we have this. - Okay, - so then the last thing we want Dio is we have this kind of it's like kind of like camera - shake. - Everything's kind of jumping around. - And that just adds to the out of the effect, - especially with music that we're gonna be adding. - So go up to layer new camera for us. - Enter and we want to make sure that we have three layers to go back. - Toggle switches modes and make sure that shapes layer is on three D They go up the layer - new Newell object parent, - the camera to the null object and then this is a little bit tricky. - But press p and this is you know, - as you can see, - this is where you wrote you affect the camera and make sure this is on three D as well. - Then what you want to do is press option or all click the stopwatch. - So what? - You would typically just click this and start a new, - uh, - key frame. - Don't do that. - Press all click. - And now you have the letters with numbers turned red. - And you have this little box where you can type in what's called an expression. - We're not gonna delve too much into that, - but just do what I do typing wiggle parentheses 5 20 comma 20 and then close the - parentheses, - then click outside of it. - And basically that's what it's telling. - The position to do is let's get back to this well by is basically telling it to wiggle a - certain amount of pixels every five seconds are whatever. - So now it has a shake to it because the camera is shaking because the Newell object is - actually the camera affecting the camera. - So now we have this shake and you can change this, - you know, - 10. - And it won't wiggle a little bit less. - Or you can change the 5 to 3. - Whatever you think, - you know, - just play around with it and, - you know, - makes a little bit less dramatic. - Then we want to add our sound. - So I down this dubstep sound intro from Audio Jungle Done Net. - Just drop it on there. - Just going to drop the volume just a little bit for now because I don't want to blow your - ears out and render it out So the timing is off compared to original one. - But you can see how the audio this type of music kind of goes along with this type of - animation. - So let's play it one more time that so in the original bumper, - those last drumbeats kind of end as video school in London logo is dropping out of the - frame and of course, - you can play around with the timing of it all. - But, - wow, - you guys have done so much on learn so much in this section. - It's one of the It's been one of the most action packed sections of any of my courses. - I'm really proud about it, - and I'm proud of you guys for sticking through it and for practicing and for creating your - own sort of animations with it. - So thank you so much for joining me for this. - I know it was kind of crazy. - So if you have any questions or are confused, - please you know, - let me know. - Send me a message through the course page, - check me out on video school online dot com or email me at video school online at gmail dot - com. - Thank you again so much. - I hope you've enjoyed this lesson is really great teaching it and have a great one. - And I can't wait to see what you come up with. - Using these techniques I would love if you would send them to me so I can share them with - the rest of the class. - Thank you again and we'll see you next time 21. Exporting from After Effects: - Hey, - everyone, - welcome back to another lesson in the create your own video intro course. - Today we're gonna talk all about exporting your final projects so that you can take them - and add them to all your other videos. - And I know I talked about this in one specific lesson before, - but I wanted to have a very special, - unique lesson all about exporting. - So here you're in after effects and you have your composition. - Here we have the U to me ensure that we did before. - What's the next up to export? - First, - you have to set the in and out point of your composition so that it knows how much of your - composition to export, - and you'll see this bar, - this work area bar at the top of your timeline, - you can click in the middle and drag it around and it see how it kind of shades. - In part of your timeline, - you can also click the end and drag them in and out to make it longer or shorter. - What you want to do that you want to click the in point driving all the way to the start of - your composition, - go to the end your composition, - so if it's five seconds, - you can go there and then dragged the out point to that point as well. - And now only this part of this composition, - from zero seconds to five seconds and will export to expert go up to composition, - add to render queue, - and now this is your render queue. - This is your cue of of items that need to be exported so you can add multiple at the same - time. - If you want to change the settings, - you click on where it says lossless. - This is the automatic settings that it gives you lossless. - If you click it, - it brings up this output module settings box and lossless means that it's a quick time - format and under format options. - If you click that the video Kodak is animation, - So animation. - Kodak is a lossless setting, - so that means it's gonna be 100% quality. - But that also means it's gonna be a bigger file size. - So Teoh have, - like a smaller file size. - You can do something like Apple Pro Rez or H 264 Issues explores the best for small file - size. - You can upload it to YouTube or wherever and just make sure your qualities bar setting is - at 100. - There's no writer, - wrong export setting that's gonna give you, - you know, - the best settings for every situation. - HD 64 is good for a small file size, - but animation is probably what you want if you are exporting, - and then you're going to be using this intro for in other videos so that you have perfect - quality. - But for this sick, - I'm going to go with H 264 and click OK. - You can also change the audio settings here so you can go toe format options. - You can actually just tab between these two and its format been, - and then go. - You can change from un compress fist, - which is perfect quality to a sea or whatever you want. - A C will be a little bit smaller file as well when you have all your settings set. - And for now, - I wouldn't change any of these things. - The only thing that you have to change, - um, - is if you have if you have something that you want transparent in your composition. - So say this was that you demean logo, - but it was a transparent background So you were gonna put this you demean logo over another - piece of video. - What you would have to choose is you have to have animation Kodak and then where it says - are channels you choose R g B plus Alfa, - and so this will give you a transparent background. - So if that's what you want, - you can hit OK and then go over to output to where it says complement and click that. - And this is where you're going to set. - Save your output to so, - you know, - call on you to me intro or whatever you want to call it, - choose your folder and click Save. - The last thing I want to tell you, - though, - is there are some presets sending so under output module this down arrow button right here - to the right click that you have some preset options. - You could even create your own options. - So if you want, - you can click make template. - And now this is using all the the settings that we just set. - So it has quick time animation format, - but it's the transparency option. - So has RGB plus out, - but and the depth is millions of colors plus and so I can save the setting as transparent, - see transparent parent background, - something like that and select. - Okay, - And then now, - if I click on this down, - but and I have a transparent background option that I could quickly go to without having to - click here and go through this whole dialog box again, - which all your setting their set. - Once you've set where you want your video to save to click, - render and it will save there, - then let me just show you so it'll save in your folder like this. - I already exported it before, - and this is a quick time file that you can take into pretty much any video editing software - or any other program where you're editing your video or creating your video. - If you're doing screen cast with clean flow, - are camped Asia or anything like that. - You can bring this video bumper into that program and put it at the start of your video. - Thank you for watching. - If you have any questions, - please don't hesitate to ask. - I'll get back to you as soon as possible through the course page or video school online at - gmail dot com. - Otherwise, - have a great day. - Enjoy exporting your video intros and we'll see next time. - Bye