Dive Into After Effects: Animating with Keyframes | Phil Ebiner | Skillshare

Dive Into After Effects: Animating with Keyframes

Phil Ebiner, Video | Photo | Design

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11 Lessons (46m)
    • 1. Introduction

      0:49
    • 2. Project: Animate your title page

      1:15
    • 3. What’s a Keyframe?

      2:44
    • 4. Opacity Animation

      2:18
    • 5. Rotation & Scale Animation

      1:58
    • 6. Position Animation

      7:30
    • 7. 3D Rotation: Swing Effect

      8:09
    • 8. Trim Paths Animation

      9:16
    • 9. Adding Details to Your Animation

      6:34
    • 10. Exporting & Saving as a GIF

      3:55
    • 11. Thank You

      1:14

About This Class

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After Effects is an amazing program that can help you create motion graphics, visual effects, and titles that make your videos better, but it can be intimidating to try out. In this 60-minute course, you’ll learn the magic of keyframes - the basis of creating motion graphics in After Effects.

You’ll take the title card that you created in the first Dive into After Effects: Understanding the Basics course, and you’ll introduce each element of your title card in a unique way. These include motion, scale, opacity, and rotation animations; trim path animations;  and 3D transitions.

This class is perfect for video creators, designers, and everyone who wants to learn After Effects in an non-intimidating way. We recommend taking the Dive into After Effects: Understanding the Basics course first. By the end of the class, you’ll have the basic knowledge to start animating graphics and dive even further into the world of After Effects.

Transcripts

1. Introduction : everyone. Welcome to another course in the dive into after effects Siris. In this course, we're talking about motion and adding motion to your aftereffects compositions with key frames. If you didn't take the first course in this series, I advise you to go back and enroll in that course. That course is all about creating a tala card right within after effects. So we learned about adding shapes, text and different layers to your compositions, and we gave a program overview. So if you've never touched after effects, that's a great place to start. But if you want to jump ahead or you already took that course, this course on aftereffects key frames is the next step to really creating amazing motion graphics for your own videos. So please enroll and we'll see you inside. 2. Project: Animate your title page : everyone. Welcome to the dive into after effects Siris. In this course, we're talking about animating with key frames, and you can see an example of what we'll be doing. This is the project that I have created. I'll be walking you through everything that I've done to create this animated title card. For those of you who started with the dive into After effects basics course, the first course in this Siri's you will be animating the talent card that you created in that course, So encourage all of you to check out that course where you'll learn how to create shaped layers. Text, Add logos, add photos and you'll be able to create a tattle card template for your own brand or your favorite brand. If you're already into after effects and you know how to navigate, you don't have to take that course. But for this course, I encourage you to catch up and just create a tattle card on your own so that as we work through these lessons where I'm talking about key frames, you can begin to animate your own Tyler card. So by the end of this course, you'll have something that looks just as awesome as this title card, and I'm really excited. So thank you again for enrolling and let's get on to the lessons. 3. What’s a Keyframe?: in this lesson, we'll talk about what is a key frame, and how do we add key frames to our layers within our composition. So I create this quick composition with just a background in a circle with a blue stroke. And as we learned before in the previous course, each layer has a full set of properties that we can change, including anchor point positions, scale, rotation, opacity And with these numbers, you can see as I change them around, it changes what is happening to our circle. And what a key frame does is that it basically tells after effects that at a particular moment in time, the properties of this circle are this and then we could change it. And the best way to sort of show you is by example. So I'm just going to zoom in on my time line right here so that we can really see so say we want our ball, our circle right here at two seconds to be this size, how do we set a key frame over here to the left of any of these properties? You'll see a stopwatch. You just click that and you'll notice that a gold or yellow diamond appeared on the timeline at that moment two seconds. And so what this is saying is that at two seconds, this circle is 83% scale. We can go back toe one second and say after effects. I want it to be 40% scale. And how do we do that? We just changed 83 to 40% and it automatically sets a new key frame because there was already a key frame on this property for this layer. So you don't have to click the stopwatch again to create another key frame once you change the property settings. And what happens is that from one second just two seconds, the circle grows because it's telling us after effects. At one second it's 40% and at two seconds it's 83%. So across time it has to go from 40% to 83%. And that's how we create animations, rotation animations, opacity, animations, position animations for any type of layer within after effects. And that's how I created this entire composition right here with this whole animation of this title card. So to explain further, we're just going to walk through all of the different basic types of key frame animations that created this title card, starting with opacity 4. Opacity Animation: Okay. So here, in our composition, I duplicated this original composition where I already have all of the animation and created one without any animation. And just to show you a cool trick to see the key frames that you've added to a layer or multiple layers, you can just press you on the keyboard when you have layers selected. So let me select all of these. Just fight, clicking the top one, holding shift and clicking the last one on the bottom and pressing you on the keyboard. And you can see how many key frames are in this composition to create this intricate animation that's going on. And so I don't get overwhelmed right now because we'll walk through all of these. This is just to show you everything that we're going to learn in this course. So if I go to this animation, this new composition and press you, you'll notice nothing happens because there are no key frames. So let me just make this a little bit bigger. I'm also going to solo this digital texture layer and the white solid background. I'm going to rename this BG for background to solo them. I'm just gonna select both and click this solo icon right here. This column right here beneath the blue dot and this solos these layers so they're the only ones that we can see. So to add a opacity animation to the digital texture, we're just going to bring up the opacity property by pressing T on our keyboard. It's set at 50% right now, and that's going to be our final opacity that we want the key frame to rest at. So let's just hit the stopwatch at around one second, 1.5 seconds or so. And then let's go back to the start of this layer and drag us down to zero. And now we will see if we do a ramp review by hitting zero on our keyboard, you call, you can see that it fades on, and so that's what we want. So that is an opacity animation 5. Rotation & Scale Animation: Now that you know how to add key frames, I'm going to quickly show you how to add a rotation and scale animation to this background . As we see in the title card, the background is actually rotating counter clockwise, and it's shrinking. If I go faster, you can see. So let's add that to our background. So first I'm going to do the scale so press as to bring upscale, and I'm going to go to five seconds. So this is our final resting point, and I'm going to hit the stopwatch to set a key frame. Then I'm going to go to the very beginning and increase this to something like 65. Then I'm going to scrubbed this through this just to see if that's what we want. Looks good. Then, at five seconds, I'm going to hit our rotation and hit that stopwatch again to see, said a key frame, and then go back to the very beginning and rotate to the right. Make sure that the edges, if I zoom out a little bit of this layer, which you can see by this purple line, don't go too far past the composition or it's going to look cut off, and it's going to be a little wonky in the animation, so we want this background image to appear the entire time. So now that I play through this and you can do a RAM preview if you don't have zero on your keyboard, an easy way is going upto window, hitting this preview window and then clicking the Ram preview button over here on the right side. So that will play at full speed. And you can see that now we have this nice animation of the background, and this is all done with key frames to the rotation, opacity and scale. 6. Position Animation: Okay, so now we're going to move on to doing a position animation using the top bar and the video school online text. So I'm going to include those in our soloed layers, and now it appears on the screen. So you will see also that I added a couple effects to this lower bar that you might not know about, so I just want to mention them. In this blend mode column, you'll see that there's a drop down for every layer, and there's different blend modes, and this is basically how the layer interacts with the layers below it. And so, with this classic color burn without that selected, it's just kind of a gray bar with a lower opacity of 70%. But this classic burn creates this cool effect with the background, and there's different types of blend modes, and you can pick ones that look cool. And then also, we noticed that this top bar is actually parented to the video school online text with this parent column right here. And to do that, you can just click this little twirly gig thing, drag it over to the text or the layer that you want it parented to, or just click the drop down and select the layer. And what does parenting mean? It means that whatever happens to the layer that is parented, too. The video school in line layer also happens to the top bar layer. So if I move this around as you can see, the top bar layer is also being moved around. So now we only have to animate that top bar to get this cool effect where it's coming into the screen like so Okay, so let's get to our enemy title composition. So let's set a key frame for the end position, which you'll notice as I go through these lessons, I always kind of create the entire composition, how I want to look and then I work backwards. And so the end position for video school in line is right here. So I'm going to press P to bring up position for this layer, hit that stopwatch to set a key frame, then go back in time and move it up and a little bit to the left, okay? And so this kind of comes in like this and I can play this to see what it looks like. So it's a little bit too slow, so I can just move this second key frame a little bit forward. And then another thing you can do with motion is to set this blur on, which is already set on these layers. And I'm actually going to take it off just to show you what it looks like without the blur . So if I decrease the time of our work space right here, I'm just going to be able to render this out So you will see it's kind of jittery. It's kind of hard to see because it's so quick, but it doesn't look very natural. And by adding blur and enabling the motion blur up here it and doing it for both these layers for the top bar and the video school online text. It creates this sort of blurriness, and you can kind of see right here in the middle of the animation. If I take on or off that motion blur, it tries to make it sharp, but it just ends up looking a little jittery and jumpy. And so I think adding motion blur is great, especially when you have motion and changes in where different layers are in your composition, it just looks more natural. So that's good. But it looks a little bit different than the motion for this bar title bar right here, which I notice is coming a little bit later. In this composition, this title bar kind of pops in quicker and the way we can change the speed of which the key frames work is by adding Eazy E's to these key frames so you can right click select Key Frame assistant and hit Eazy e's. Or, with these selected, you can just hit F nine on your keyboard. So what does Eazy E's mean? I'm going to move these key frames a little bit later, so about at two seconds. So what Eazy E's means is that the motion eases out and then back into the key frame so it kind of ramps up the speed instead of without Eazy E's, which you can get to by just selecting your key frames and then holding command and clicking on the key frame that undoes the Eazy E's. This is moving this shape layer or the text layer at the same rate at the same speed across this entire animation. But by adding Eazy E's, it eases the animation into the movement and then eases out. And again, this makes it a little bit more natural. But it's still not exactly how I want it, because I want that pop that I saw in our original animation so we can dive even further into the easy ease of this animation by clicking this graph editor right here and we can zoom in to this composition so you can kind of see exactly what is going on. So this graph represents and this is getting very into after effects. But I think it's important to know, because once you know, understand Eazy E's and the graph editor, you can make your animations look 10 times better. And this graph is basically showing how fast the motion is going per second. So 1500 pixels per second is practically how fast it goes a little over 1700 then down here it's zero pixels per second. That's where it's standing still, and then it ramps up in speed and we can select these key frames that are at the end of this arc of this graph and drag them in so that it really slows into the animation right here in the middle. It's going as fast as it can, and then it slows down at the end. And if I if I play through this, this is where you see it gets that pop action. And so playing with the graph editor with all of your animations but in particular with motion and position key frames is really important. Teoh just adding a little bit of pop and pizazz to your animations. And so this looks a lot better than if I take off the graph editor, select both of these and get rid of the Eazy e's. So it's either that or if I undo that or this nice little pop action. Of course, some of this stuff is personal preference, but I like this sort of pop action of this position animation. Okay, so I hope you're still with me. If this was a little bit confusing, let me know and comment on the course page, and I'll try to explain it a little bit further. But if not, start working on your own project, adding some different types of animation to your own elements 7. 3D Rotation: Swing Effect: Hey, everyone, welcome back to another lesson. So in this video, I'm going to be showing you how to add rotation animation and three D rotation animation at that. So that's what I'm doing to create this bar drop down effect with his bottom text. You can see that it's kind of swinging into space and in swinging from the top of the layers onto the composition, and it looks kind of like a swing, and one thing that will help you out to do this in after effects is adding a script to after effects called the Move Anchor Point script. And so if you go to Google and you just type in after effects, move anchor point. This first link is for this batch frame dot com script that you can add to after effects, and it is as this little dialog box over here. So let me show you, for example, if we go back to my circle and then we bring up this move Anchor Point dialog box, which you'll have to read through the directions to install it. But it shows up in the window down here. Move anchor point script. So before we talked about moving the anchor point with the pan behind tool up here. And the anger point is basically what part of the image each layer is anchored to, which affects rotation and different things. So, say, I put the anchor point down in the bottom and I play with rotation. You see that it rotates from that anchor point versus If we put it in the middle, it rotates from the middle. But an easy way to change where the anchor point is is with the script, so you can select the middle, the top right, and we'll see here that it changes from the top right top, middle top left anywhere on your layer. It can move the anchor point to, and that's what's going to help us with our tax layer and our shape layer. If we add this to soloed to our composition, we want to move the anchor point to the top of this bar, actually, so before the anchor point was probably in the middle, but by just selecting the top with his move Anchor Point script and moves the anchor point to the top. Okay, so this time I'm actually going to parent the premium course tutorials to the bottom bar. Okay, and we're going to animate this bottom bar with Rotation Soto Enemy in three D rotation. Make sure that the three D icon is selected for both of these layers. And now, whatever we do to the bottom bar happens to the text. So just press are to bring up rotation so you can see here if I rotate the Z rotation or the X rotation or the UAE rotation. It's also happening to the text, and, as you can see, the exhortation is what will be animating to create the swing effect. So again we go to the end of our animation about 20 two seconds and 25 frames in. And so hit that Icahn, the key frame icon, Next X rotation and then just president you and you again on your keyboard just to bring up that X rotation. I'm going to close these two tabs as well. Are these two layers of the video school online Texas by pressing ESC twice on my keyboard . So then we go back to the very beginning of our layer right here and we move this composition, rotated back to where it's practically off the screen where you can't really see it. And so that's about 85 degrees back. I'm going to also enable motion blur. So now we have an animation that's basically a slow animation of this text coming into the frame, and I'm actually going to turn off the top bar and digital text. Our videos go online text so that it's not distracting, so this might need to be a little bit longer, but basically we just go in here and add different key frames. So about here, 15 frames or so into this animation, we actually want this to swing upwards. So about negative 50 degrees. So it's swings up. And then we wanted to swing backwards. So maybe, like 35 degrees, then up again to a like negative 15 or 16 then back like seven and finally come to rest at zero. And if I play this out, you see that it has this swing effect, but it's not looking amazing. It's not looking very natural, so just select your key frames F nine on your keyboard or right click and keep frame assistant than Eazy E's, and you'll see that now it looks even better. The motion with the Eazy e's looks better than before, but it's still not perfect, because if you think about physics and you think about something that's swinging, where is it moving the slowest? It's actually moving the slowest when it's at its peaks. So when it swings all the way up right here, if you imagine someone swinging on a swing, they go forward and it kind of slows down. And then it goes backwards and the fastest that it's actually moat moving is right in the middle of any of these animations. So with all these selected, I'm going to go into my craft editor again and you can see that right now the fastest when it's moving is at those peaks. But it's not slow enough at these key frames right here, so I'm going to select all of the key frames, and then I'm just going to drag to the left and then drag to the right so that it really does come to arrest right in the middle right there. And so now if I render it out, you can see that it's starting to be a little bit more natural. I think It's a little bit too much for some of these, so I'm just going to go in to individual ones and slow it down a little bit. And then I also might have to change where these key frames are, but that's looking pretty good. So also, if we go back to our regular view of the timeline, you would think that it would kind of start to slow down a little bit more of the end. So we need to space thes out towards the end a little bit more. So let's render that out. And again. It's just kind of playing until you think it looks more natural. He's are a little bit longer at the beginning to, so this whole animation has to be a little bit lengthier. Something like this should look a little bit better. And there you go. That looks like a more natural swinging sign or something that flops down onto the composition. So now if we solo these layers as well include them in our composition, were starting to get our composition that we created, but we're going to be moving on to some really fun stuff with creating this animation right here with the video player, which is very it looks very intricate, but it's not gonna be too difficult, so let's get straight to it. 8. Trim Paths Animation: in this lesson will be showing you how to add trim paths animations to create this awesome animation of the video player kind of being drawn onto the screen. So let's get straight to it. So the first thing we're going to animate is the player outline. So this is outlined layer. And as you can see here, this yellow line is actually a path of the shape that has a stroke of 15 pixels. And if we go down into our layer properties, you'll see this little add button. We played around with this in the original dive into after effects class. But for those of you who don't know, this ad button has lots of different effects and properties that we can add to our different layers, and one of them is trim pads. So we hit that trim pats button you will see actually already had a trim pass on their something's going to delete that 2nd 1 but you will see that there is a start and end position, our percentage, and if I drag through this percentage, you can see that it's being drawn onto the screen as I do this, and so you probably probably guessed it by now. I'm just going to animate the key frames for this trim pats. So I'm going to end at 100%. Start at zero. I'm going to add easy, easy just to make it a little bit more natural, add motion blur. And now we have this outline being drawn on to our composition. What I can do then, is just copy and paste this trim pass. I'm just selecting pressing command, see or control. See if you're on a windows in doing that to the circle. So right here, If I just select the layer and press command V, it pays that circle animation right there as well. So now we have both things being and made it on. Now I want to change where and how fast the circle is animated on. So I'm just gonna hit you on my keyboard to bring up those key frames that I just added for the trip. As I'm going to select both. Move them a little bit earlier, in short in it so we can have it go a little bit faster. And now let's just enemy the bottom sort of play bar with this red and the gray background . So I think I already added trim pats to each of these different bars. So if I go down into contents, I have trim pots. But if you don't have those on your layers, you can add them. And I'm is going to again at an end key frame and then a start key frame, Eazy e's. And now the different bars can be animated on. I'm just going to copy and paste this to the Red Bar and maybe have it do it a little bit later. So just starting right there. Coming, envy. And now our play bar animates on. Okay, so now what did I do to animate the other elements of this play player? So this opacity animation is for the gray background for the bottom bar. So let's just add that So with the player bottom, I'm just going to press t bring up the opacity. It's already at 80% so I'm going to hit a key frame right about there and then go back to the beginning and go to zero with opacity. A tend not to do Eazy e's because I think fades generally are just sort of the same speed throughout. Or maybe it kind of slows into the fade. So just with the first key frame selected hit F nine, So it kind of slows into that fade. And the last thing is this little triangle. So make sure that you are If you have an animation like this, a little shape, you have the anchor point centred on this triangle, and what I did was add a little rotation and scale animation to it. So let me just zoom in here so we can really see what we're working with. So press s to bring upscale. I'm going to hit at two seconds hit scale, key frame, and then are rotation key frame their press you on my keyboard to bring both of those up that I'm going to go back to about one second and move the scale all the way down to zero and then rotation going to rotate it back counterclockwise by negative negative 90 degrees . So now you can see that it kind of zooms and rotates onto our player circle. I'm going to add easy east, both of these. But if you notice in this title by zoom in here, it kind of pops onto the screen and then shrinks. One way we can do that is by going into our scale graph editors of select the key frames for scale go into the graph editor. So this view of the graph editor is showing the speed of the graph or the animation, but we can edit the value graph as well, so select that value and you can see here it goes from 0% to 100% scale. But if we just click on this key frame at the end, you will see this little bar right here that we can drag around. And if I drag it up and back, you can see that now this line goes above 100% so actually grows and then shrinks back down to 100. And this is a kind of cool effect that you can add it kind of as a little pop to your animation. I want this to be a lot faster, so I'm going to shorten it up. Something like this should work and maybe even make it a little bit bigger of a pop. So back to my Groat editor, make this something like almost 225 or so are 140. That's even a more dramatic than the original one. But I like it. Okay, so if I zoom back out, you can see everything that's going on with our video player. But we also have a couple other animations in this original composition, so it's kind of rotating and growing as its coming onto the screen. And that's awesome. Just add some more little effects to make it more intricate, so everything is parented to the player. Bottom has P to bring a position. If I move the player bottom around, everything else moves so the same would happen if I add a an animation to scale or rotation . So right here at the end of the animation, I want it to be the at 110% scale, which I had set before, and the rotation. I want to be at negative nine degrees. If I go to the very beginning, though, maybe I want the rotation to be even more like negative 55 and the scale to be zero. So let's see what this looks like as we dragged through this. So let's just hit you on our keyboards to bring up all the key frames. You will notice that the opacity animation doesn't affect the parented items, and that's just opacity. Doesn't effect what's parented to that layer, but the rest of these properties do. If I just easy, easy them a little bit, we can see how awesome this animation is becoming, I think the player bottom. Actually, the opacity comes in a little bit early, so I'm going to scoot those key frames back a little bit. And I think it looks pretty awesome. Maybe even at make this scale in rotation a little bit faster. So it comes in a little bit quicker. That's a little bit more of a pop and dramatic entrance to this player. Okay, so now let's just take off all of this soloed stuff So everything is appears and let's just render this out. This is a pretty cool animation, and the last thing we have to do is add a little more details with these little lines that I added to these lines going across the screen right here, they're very faint, but again, it's just adding little details to make you animations. Mawr intricate and fun, and we'll be doing that in the next video. But for now, play around with trim pass to animate on different elements of shapes, and I can't wait to see your projects when you post them to the course page. 9. Adding Details to Your Animation: Okay, so now our animation is looking very good. You have all the tools in your belt to create an animation that looks just like this. Pretty awesome, huh? But I want to add a little bit more detail to this animation using some lines, the repeater effect and the trim pass effect that we just learned about. All right, so I'm going to take my pen tool, make sure I have a stroke of about five, and then I'm going to just create a line with the fill at none across the top of this bar right here. So I'm just going to select over there and up here to create this bar. That's basically a straight as this other layer down here. I'll try to call his top lines. Okay, So first I want to add a trim pass effect to the shape layer, so I'm just going to go ahead and add trim paths. And now I'm just going to solo this layer, actually, and the background so we can see what's going on. And now if I go into trim paths, I can add an end animation key frame there and go back in time and go to zero. So now across this time it goes across the screen. But now I want to it to kind of follow itself in end. So I'm going to set a key frame right around here for the start at zero and then over here at 100. So now the start actually begins to enemy off before it completes the animation across the screen. And that's what I want. I want to add key frame Eazy e's by selecting the key frames and hitting F nine. And now I can see it's a little too fast. I'm just going to drag these key frames over toe, lengthen it a little bit more, and then I want to duplicate this. So one thing we can dio within our shape layers is add groups so I can add a group. And now I'm going to put the shape layer one and the trim pass one in this group. Okay, so what does that mean? It means that within this group are both the trim path and the shape layer, and then I'm going to add a repeater. And if I go into the repeater effect, I'll just put this outside of the group. You can see that it added three or two other lines because right here it says copies. Aiken, duplicate this however much I want. And then I can change and transform how this repeat her looks. And so maybe I want it not to be so close together so I can change the position. Something like this moving around make it closer, and this just makes it a little bit more intricate. So now we have the same trim paths animation going across the screen. But it's happening three times. So let me just turn on our top bar also the background and our video school online text so that I know where it is. So I'm going to move this animation to the right just this layer. And I'm just gonna move the whole come layer up just by hitting up and shift on the keyboard. I'm going to change the blend mode to something like Overlay. And then I'm even going to drop the opacity, just hit t on the keyboard and drop this to like, 50% so it's very faint, but it's still there. Okay, so now I'm going to go into the contents. I'm actually gonna move this repeater within the group and duplicate this group now. So just by hitting, selecting group and hitting command D on your keyboard. Now, this group has a set of transformed properties as well, and I can move it down. I could move it to the right, to the left, Whatever. And now I have two sets of three lines going across. This animation is bar right here. But I want the bottom bars are actually want the top bars to start a little bit later than the bottom bars. So this is going to press you to bring up all the key frames. I'm going to select the top two layers of key frames the start and end, and move it backwards in time. So these air the bottom layers there, the bottom lines. And so now the bottom lines start. The bar kind of flies in with videos go online and the the top bars on the top lines start animating across. So if I render this out, you can see what this animation looks like. And I think adding little animations like this would really improve all of your title cards . So I'm gonna take off soloing so off our layers are now visible. You will see now, though, that these lines right here kind of get in the way of our video player. So I'm just going to select the player bottom, bring a position and move it down just a little bit. Okay? So if we play through this, you can see how intricate all the different things are. But how together it creates Attallah card that's engaging its eye catching. And it's quite professional, And you can imagine if you wanted to. You can add a trim pass layer or lying effect like the ones I just did around this video player or around this bar down here, just to make it even more intricate. You could have little circles popping up or little lines going down across the bottom of the frame, and it's all by using trim, pass and animating with key frames. So I hope you enjoyed this video and really can start to think about what details can you add to your title card that aren't one of the main elements, but just little lines or shapes that add a little pizazz to your title cards. In the next video, we'll talk about how to export and save as a gift so that we can upload online. 10. Exporting & Saving as a GIF: everyone. Welcome to another video and the dive into outer effects Key frames. Course. I hope you've had so much fun so far. I've had fun creating this course, and I want to see your work. So in this video, I'm going to show you how toe export your project as a video and then turn it into a GIF. So with your composition selected, making sure that your work area is extended to as long as you're animation is, or however long you want to export, go up to composition, add to render queue. And then we are just going to go down to this drop down hit H 264 and you couldn't even click the H 264 to check your settings. If you're creating a GIF, you want to resize it to something small, depending on how big your composition is, how long it is, how many graphics there are. It's going to be a bigger file size and to post a gift online, you need it to be lower than two megabytes, which is pretty small. And so I think re sizing to 300 pixels wide is going to be smart. You can also drop the quality, but creating gift is going to drop the quality even further. So I would just resize to 300 and then hit OK and then select where your talent Kurt card wants to go. I'll just name this Tala card, too. You hit, Render it out and it's going to take a minute or so, depending on how fast your computer it is to render it out. And so here I run it out. The first version. But I rented it out a little bit too big, and it was too big to turn into a gift that I liked. So I'm just going to take this second version. It's small, but it's going to be nice to turn into a gift using photo shop. So this is the easiest way for that. I found it. Create a gift out of video. So in photo shop, just click file open, and you might be surprised that you can open videophiles in photo shop and you might have to use a foot a shop creative cloud. I don't think that previous versions allow this, but open up your talent card. Select, open, select. Okay. And now we can see in this timeline. Below are video, then go up to file save for Web and you'll get this dialog box up here. It's like a gift, and then you just have to kind of play with the settings to get the proper look and feel and size down here at the bottom left, you will see the estimated file size 1.35 megabytes, so that's good. That means I can increase my colors a little bit because the more colors means the better it will look. I can also increase the dither, which will also blend the colors and make it look even better. But looks like I'm going to have to stick to under 100%. I'm just going to leave it there for now. You could change the image size, but you don't want to go bigger than this unless you export something larger so you could only decrease the size before without getting pixelated. And then, under animation, looping options make sure you select forever so that it saves a gift that will loop. So then you just hit save name your title card hit save and there you have it we have an animated GIF that you can post to the course page. So I encourage you to export your project. You can also post it on YouTube or Vimeo and post a link to your project. But please, please, please show us what you are working on. I would love to see your title cards, how they came out, what types of animations you created with key frames and everything else. So I hope you enjoyed this video and we'll see you next time. 11. Thank You: Hey, everyone, welcome to the last video in this course. I just want to mention a few things before I let you go. First off, just thank you so much for enrolling this course. I really appreciate it. I hope you learned a lot, and I hope you had a lot of fun learning. Please remember to post your course project the tattle card of the animated title card that you created to the course page so that I can check it out and so that other students can see your amazing work. I'm also going to be continuing to create some many courses in the dive into aftereffects, Siri's. So please check back for some future courses, including one that dives deeper into element transitions and another on designing titles and lower thirds for your own videos. You can also check out video school online dot com, which is my home base, where you can find lots of free tutorials, articles and other premium courses related to after effects, but also much more, including video editing, creating an online business, publishing Amazon kindle books and much more again, this is Bill Abner. Thank you so much for taking part in this course, and I can't wait to see your work