Dive into After Effects: Flat Animation Buildup | Phil Ebiner | Skillshare

Dive into After Effects: Flat Animation Buildup

Phil Ebiner, Video | Photo | Design

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8 Lessons (41m)
    • 1. Introduction to the Flat Animation Course

      1:45
    • 2. The Course Project

      2:17
    • 3. Designing Your Object

      10:09
    • 4. Preparing an Adobe Illustrator File for After Effects

      1:41
    • 5. Animating Your Flat Object

      21:26
    • 6. Easily Reverse Your Animation in After Effects

      2:44
    • 7. Exporting and Posting Your Project

      2:19
    • 8. Thank You

      1:21

About This Class

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 45-minute course, you’ll learn how to beautifully introduce objects in your After Effects projects. Knowing how to animate the small details of your objects will dramatically improve your After Effects skills. Follow me as I animate the build-up of a polaroid camera graphic.

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This class is perfect for video creators, designers, and everyone who wants to learn After Effects in an unintimidating way. If you’re just starting out, we recommend taking the Dive into After Effects: Understanding the Basics & Working with Keyframes courses first. By the end of this class, you’ll know how to seamlessly animate object buildups for your own video projects.

Transcripts

1. Introduction to the Flat Animation Course: everyone Philemon her here with a new class in the dive into after effects. Siri's. This is the two D flat animation buildup. Of course. As you see here, this is what will be learning how to design an animate, an object within after effects. And this flat animation buildup style is a really great effect for introducing objects to your aftereffects project. I use this technique a lot when introducing objects to an animation, and while the animation itself is very simple in the way how to do it, it makes the project look more complex and more professional. So who am I? I'm a professional video creator and graphics designer for the past decade, and now I teach my skills to others with online classes, and I've been doing so since 2012. This course is great for beginner aftereffects users who have a little bit of experience. Maybe you've taken the other two courses in the dive into after effects, Siri's learning the basics and the animating with creams courses. And if so, this is a great next step that puts all of what you've learned together to learn a cool, unique style of animation. But if you haven't taken those courses and you have no experience in after effects. This is also a great course for you to jump right in. I teach it at a slope enough paste so that you can die right in without any experience in after effects at all. By the end of this course, you'll be able to design and anime your very own object, just like the one that you're seeing here. And I look forward to helping you achieve your aftereffect schools. Thanks so much and we'll see you in the course. 2. The Course Project: Hey, everyone, welcome back to the dive into after effects flat animation buildup course. In this course, the project will be to choose an object one of your favorites. It could be any type of object. A tech gadget, a toy, a tool. It could be from your kitchen, your bedroom, your bathroom from outside. Just pick and object and will be animating it in with this cool technique that I'm showing you here that I used to enemy in the Polaroid camera. Now what will you need to know to do this type of animation? It's actually not too much. We're going to be doing some basic scale animations a little bit of rotation, but that's about it. And if you've taken the previous to dive into after effects courses with one on the basics of after effects and then the next one about key frames, you will know how to do these animations. In this course, I'm just putting it all together to create a real world application. And if you get even further into after effects and you start creating motion graphics, this is a cool technique to use when introducing lots of different elements on your screen . You could probably imagine if this Polaroid camera buildup was just a little part of this video. If this was just one little object in a video with 10 20 hundreds of other objects, that's when you get a very intricate animation and you really will learn the building blocks in this lesson. And in this course, just a reminder. I want you to post the project to the course page so that I can see it and the rest of the students can see it. So once you have designed the object within Adobe Illustrator or after effects, however, you want to design it, post a picture of it to the course page, and then, once you've animated it, export of video or a gift and post it to the project assignment as well, so that we can all see your wonderful objects being introduced to the world. So thank you so much for watching this video. And now let's dive straight into after effects and get started with this cool animation 3. Designing Your Object: everyone welcome back to another lesson in this video will be designing the object for this animation. So for me, I'm designing this little Polaroid I have for reference here. It always helps to have an image, whether it's a real image or even some sort of graphic that you found online for reference when you're creating your object and I'm creating this object in Adobe Illustrator, but you can also design it right within after effects. I'm going to be showing you how to separate the layers within Adobe Illustrator to prepare this object for after effects. And you just want to make sure that each layer, whether it's the background of your object or whatever layer that you want to be animated in the final product. You want to make sure that's a separate layer. We'll talk about that more once we've designed the entire graphic. Okay, so let's get straight into Adobe Illustrator. So I'm going to use the rectangle tool. Pick a color that I like, something like that green turquoise and just do a quick little background. I'm going to go into my layers and make sure that I lock this these two layers so that I don't accidentally click on them. Then I'm going to create the base of my Polaroid camera. So I'm going to show choose my rounded rectangle tool. And first I'm going to take this stroke off, and then I'm going to choose a color that's similar to this. So let's just pick a light brown tan sort of Polaroid camera color. So I wanted to be a perfect square. So as I click and drag, I'm holding the shift key down on my keyboard. Something like that. Now, this might be a little too brown, so I'm just going to make it a tad bit whiter. Okay, so now I have the background, and then I'm going to duplicate this layer. So I'm just going to command, see or control V C on your keyboard, depending on whether you're on a Windows or a PC than command F to pace it right over it. Okay, Now selecting this top layer, I'm just going to change the color to something like a dark grey, something like that. Then I'm going to select these two points at the top that to anchor points and delete them . Then select these two other ones on the outside and click and drag down to create this sort of bottom of the Polaroid camera, and then I'm going to actually duplicate this layer. So command C command F. And I'm going to select the top to anchor points and raise it up a bit and change the color to this sort of beige brown. So something in between something like that and then just move this beneath the dark Ray one. Okay, so now I'm going to take my rectangle tool and create a new little photo slot. So this is the slot that the Polaroid would actually come out of and change the color to, like a very dark grey, almost a black. And now, as I worked my way up from the back layers of this design, I'm going to create these two stripes. So again, with the rectangle tool, I'm just going to select a different color. We can do something completely different from what I chose in the previous, uh, in my previous design. So something like that, then I'm just going to copy and paste it. Command C command V movement right next to it and change the color. Maybe it will be a red or something like an orange. That's pretty cool. Okay, so now I'm going to create the lens. So with my lips tool, I'm going to create a shape. And I'm going to change the color too. This background for actually make it this dark color down here. So with the eyedropper tool, I I'm just going to select that. And then she's my lips back pressing and holding shift as I drag, create a perfect circle. Just center that and maybe make it a little bit smaller. Something like that. Then I'm just going toe copy. Paste it again, but command, See? And in command f shrink it a little bit, Make it a darker gray. So I'm just gonna with this path selected, press I on the keyboard and select this gray, and then I'm going to duplicate this one. So command C command f shouldn't get down. And then, actually, with this one back here, the middle layer, I'm going to change the color to be a little bit lighter. Something like that. So starting to look like a lens Now we're going to add too little lens flares. So again, with the lips tool. Just draw a little circle on the end right here. Press high to choose your color. I'm going to make it like this color right here and then just duplicate this so command C command F and make it a little bit of a smaller lens flare. Something like that. Okay, so that's starting to look pretty good like so Now let's add just these different buttons that you would see on a Polaroid camera. So it's a view finder. It's, Ah, the shutter release button, just different types of buttons that you, it's find on your camera. So I will take my rectangle tool right here. This can be the viewfinder. Or maybe this is the flash will see and then press I to choose my color, and I'm selecting colors that are within my composition. That's one good design tip that if you're creating these different elements of an object, it's nice to choose colors from within your design and not just try to match by eyeballing it but actually using the height dropper tool to select the color something like that. Then let's use the rounded rectangle decree a little viewfinder box like so ands like this gray right here. Okay? And then we will still with our rounded rectangle, make our little flash box right here. Something like that doesn't have to be perfect. Choose that dark gray. And then with the rounded rectangle again, we'll choose. Make another little box inside and make it this lighter gray with the eyedropper tool. Then we're going to create this little shutter release button using the lips tool. So I'm creating a circle right here. I'm actually going to make it this background color, but what I'm going to do is go up to effect under illustrator effects, go to stylized and then drop shadow. I can choose the different options. I'm going to start out with about 50%. Maybe do zero on the X offset and three and then blur is five. Let's see what that looks like. It's a little bit too much. So let's go into our drop shadow fax if I can find it. Okay, so if I go up to drop shadow, I can double click this and let's decrease that blur and decrease the why offset some tingling like that. Maybe even make the blur one and opacity 30 so a lot of this is just playing around, but that looks pretty good. I'm going to duplicate this in place. The command C command F Shrink it down and I will actually take the red from this red stripe right here. And so now that looks pretty good. But here, I'm going to take off the drop shadow. Just select it and trash it. Okay, so now that we have this button all done with the red in the background with the shadow that helps separate it from this background of the Polaroid, we can just copy and paste both of these objects to create this other little detail on the right side of our Polaroid camera. So just pressing command, see on command be to paste it. And then I'm just going to move it over here, shrink the size of it, and while I shrink it or grow it, I'm holding down option shift. What that does is it locks the aspect ratio. So it's a perfect circle, and it shrinks it from the middle rather than shrink it get from a corner. You see that? So holding it down, shrinks it from the middle, and then I'm just going to select this red press I on my keyboard and select this gray going to zoom out on May be all. Make it the darker grey. So the last thing I want to do is just at the drop shadow to this lens, because if you are looking at a Polaroid camera, this lens, along with a couple of these buttons, would be protruding a little bit, and that would add a little bit of a shadow. So I'm just going to select it, go up to effect stylized drop shadow, and now it still has the same settings that we've used before. So let's see how that looks. And that looks just about right. So there you have it. That is our Polaroid camera icon that we will be animating in. The next lesson will be going over how to prepare this file for importing into after effects because you can't just take this file that you created this design straight into after effects without playing with the layers, which will be talking about in the next video 4. Preparing an Adobe Illustrator File for After Effects: everyone OK? And this video will be preparing this illustrator file for import into after effects. So if you go over toe your layer panel within Adobe Illustrator, you will see that all of these different shapes were created under one layer and in after effects. If I import this project as it is, it will recognize only one layer. So everything will be one layer and you can't anime each different element. So what we want to do is make each of these a different layer. And the easiest way to do this is just going to unlock. That is select your top layer is a layer one. Go over here to this drop down, but and click that and select released two layers sequence. What that does is now each of these is a separate layer. As you can see, it has this drop down arrow with the path underneath. I will select all of these and move them outside of the layer one. And this layer one now just contains this reference and I can go ahead and trash it. Okay, so now what we're going to do is just quickly rename all of these. So what I'll do is just quickly rename that right. But in Grey. Okay, so now all of these have been renamed and we are ready to bring it into after effects. 5. Animating Your Flat Object: everyone Welcome to the next lesson in the flat animation buildup course. Today we're actually going to be taking our flat animated object and turning it into an animation. So if you go to your finder and find that file that we created before, so it is for me under I have so many projects that I'm working on their shape players and this Polaroid camera right here. So this is our file. If we go out and just drag and drop it into our composition into our project window, it's going to ask us what kind of import we want. You can do footage or composition. Make sure that you select composition and then hit. Okay, you will see that a composition is added and then a folder with the different layers. So each layer is the layers that we created within illustrator last time. So if you double click that composition, you can see our new composition with all of our layers within after effects. Now, if you've already created your object right within after effects, you're probably already at this spot right now. Now what we want to do is create a composition for our size, so I'm just going to create one. That is, let's call it 909 100. And so it's going to be a square composition. Well, choose 29 97 which is good for online viewing, and we'll make it 10 seconds. Okay, so I'm going to have this fit up to 100% so we can see better. And then what I'm going to do is just go into my old Polaroid composition. Select our layers, all of them. Copy them control. See, go into our new comp comp one and paste them. Now, if I want, I can just put it in the center. Press s on my keyboard to keyboard to bring upscale and increase the scale. You'll notice if you look very closely that it's starting to get pixellated. What we want to do is select this button in the middle of your toggle switches modes, which is this collapsed transformations for vector layers. It's a continuously rast arise option. So with all of them selected, I click that and now all of our objects are sharp when it's at 100% which is great because when you create an object right with an illustrator. It's a vector file, and aftereffects can read vector files so that it is always crisp whatever size it is. Okay, so now what's this? Background is awesome. I'm just going to keep that. I'm just going to increase the size a little bit. I'm going toe lock that down, and then we can start animating. So first, I think I'm just going to use this are other one as reference. So first we have this rotation of the background. So let's just go straight into all of our layers, and I'm going to turn off all the layers except for the one we're working with. And before I do that, I'm going to select all of our layers and parent them to the back. So whatever I do to the back, whether I rotated shrink, it increased the size. It's going to happen to the rest of these layers. So let me just parent them. So selecting all them, taking this twirly gig thing and dragging over to the back, and now it's they're all parented to the back. If I turn them on, you will see that if I pressed the scale of the back, it happens to all of them, which is really helpful. Okay, so then I'm going to go back, turn off all these layers except for back. I was so low turned muff. All right. Now, with scale brought up, I'm going to add a scale animation from this size 187% going back to the start of my composition and going to zero. Okay, so now I just have this nice little scale animation, but I also had a rotation. So I'm just going to press are it's going to end at this rotation. If I press you on my keyboard, it brings back up my other key frames that I've added so I can see where my skill key frame was then. I'm just going to rotate it backwards about 145 or so, so it's kind of twirling, twisting on, so that's pretty cool. But I wanted to pop a little bit more, and as you learned in the previous course in this aftereffects dive into basics lessons with key frames, you can add a little pop by adding Eazy E's. So if you right click, these key frames hit key frame assistant and then Eazy e's, it adds a little bit of easing. What that means is that it's lows into this animation, and then it slows down when you reach these key frames. What I can do even further is going to my graph editor. Select all my key frames and drag the endpoints in towards the middle. And this graph represents the speed of the animation, so it slows and then it ramps up two in the middle. It's a very high peak, so it kind of snaps into place. If that seems a little bit slow to you, you can slept these later two key frames and drag them in. So that's pretty cool. Okay, so now that we have the background animated, we're just going toe enemy. All these background pieces kind of sliding into place. So first this middle option, it cannot shrink down. So how are we going to make it shrink down? First, we want to take our pan behind tool and move our anchor point down right to the top of this layer. So when you bring in your objects from illustrated toe after effects, it makes the anchor point for all these objects these very center of this composition, which is not what we want. We want the anchor point to be moved around, depending on what type of animation we're adding to to this, So I'm just going to make it a little bigger so you can see. Okay, so now we're just going to add another scale animation. So if with my skill, I'm just going to set at 100 and then I'm going to go back and instead of just shrinking down like this, with both the width and the height shrinking, I'm going toe. Unlock this with and height and just take the height and shrink that down to zero. So now it kind of just slides on like so I'm going to Eazy E's, both of them, and easy way to eat at Easy, Easy just pressing F nine on your keyboard on a Mac keyboard, you can press the function button than after nine or the It's the fast forward button above your keys. Then go into my my graph editor and add a little bit of pop. So I'm going to be doing this with all of my different animations. That's pretty cool. I think this initial animation of the background flying on is a little too fast, and I want this to start the second layer to start animating almost when it's artfully on. So there we go. Something like that. Okay, then we're going to do the same with the stripes. Some going to turn on both these stripes again. We're going to take the anchor point and move it to the top. So just select one of these with your pan behind tool, move it to the top. This is stripe right and then stripe left. Move it to the very top against, like both. And what I can do is just copy and paste these key friends that I added to the middle of section because the same type of animation going from the top down So you can see here that it's adding that if I press to you, I could bring up those key frames and then I can offset these just so it's a little bit more dynamic. Move them to start animating right about here, so something like that's probably going to look pretty cool. And then let's go back to our bottom, the dark bottom and this time the anger points in a good spot right in the middle. But I'm just going toe, drag it down like here, and we're going to add the same type of scale animation. Except instead of going from the height, we're going to animate the wit. So said a key frame here for 100%. Then go back in time, unlocked these two and go to zero that I'm just going to select both them after nine on my keyboard. Teoh Eazy E's go into the graph editor and add a little bit of pop. So something like this is pretty cool looking pretty cool. And I'm just going to go ahead and copy and paste this to my photo hole. So something like this and it's really hard to see. But as it grows out, the photo whole starts to Grete Gras as well. So we're already getting our little animation. I'm just going to increase the timing of this back animation so that all of these things start popping on ads. It's rotating and maybe take the first key frames for all of these other things we've animated and moving back a little bit. So the animations a little bit slower, just like so. Okay, let's do that for the photo hole as well. Okay, so now let's enemy our lens. So the lens kind of just pops on, like so. And as you can see, it kind of grows and then shrinks. So let me show you how to do that. So with our lens three, which is the background just going to press scale, I'm going to hit a key frame and 100% move that forward and then go down to zero. I'm going to easy, easy them. So select all F nine on your keyboard. Then I'm going to go into my graph editor instead of this graph. I want to go into my value graph. So if you click this button down here, there's options for it at it, editing the value graph and the speed graph. So let's go to a value graph, and what this is saying is that it is going from 0 to 100% scale. If I take one of these ends and drag it up, it's actually going above 100% so it's going to 1 10%. Right now, we can just scrub through this if we want. So it grows to 100 then goes back down to 100 and then I can go back to my speed graph and make sure that there's a little bit of pop. So this is probably going to look pretty cool. It's a little bit slow for me. I wanted to sort of pop into place at the end, so it's ramps up kind of slow than it pops faster at the end and then the whole animations just a little bit too slow. So I'm just going to decrease the time between these two key frames and move them up. That's looking pretty good. Okay, lets go back into our graph editor. It's going to our value graph and just make it a little bit more something like this. That's pretty cool. And I think it will look a lot cooler when we add the same animation to the rest of these lenses. So I'm just going to first make sure that actually the pan behind the anchor point is in the center of the circle, so I'm going to zoom in on right here at the end, make sure that this is in the center, something like that, Okay, And then I'm going to go into my other lenses and again with the pan behind told, Just make sure that it's in the center or about the center. And if you have other anchor points in your composition and you're trying to move anchor points, sometimes after effects locks your ankle point to a certain point. And this is helpful if we're trying to move the anchor point to the same spot for different layers. Okay, so let's take these two key frames for the lens three and move forward a few frames and for lens to paste them. So I copied them and then again, move forward a few frames for lens one paste them. So if I select all these press you, I could see all of the key frames and they kind of come up in a cool sort of way. I like that a lot. And then let's add the same to the lens flares. So we have to go here to see where the ones fliers are, and then I'm just going to move the anchor points for the lens flares, so lens flare top with pain behind Tool. Just move it up to the middle of this little lines Feyerick flair and same for the bottom. And then, for these, we can add the same sort of animation. So lens flare top. I still have it copied. So I'm just going to press paste command, be moved forward. Command V and these little guys pop up onto our screen as well. I will zoom out a bit and see where we're at. So this is coming together quite nicely. Okay, so now that we have the lens animating on, let's Enemy thes Different Buttons. So first, let's do these four buttons right here these four objects because it's going to be the same animation as the lens himself. So let's first move the anchor points. So with the right button gray, we're just going to move it to the center. And now this is very quickly, but you could take a little bit more time zooming in and moving these different anchor points to the center of these objects. But for this purpose, I just want to get through a little bit quicker. Then I'm just going to bring up the scale animations for one of these objects, the lenses, And I'm just going to basically select all four and paste it. And then if I've I bring up you, I can't offset the background the backs so that the back start to come up a little bit sooner than the other parts a red and the great button, and then just offset the left button. So it pops on first, and then the great one. Then I'm just going to select all these and move it back so that these air popping on right as the lens starts the pop on as well. Okay. And then the last things we want to enemy are these top left and top right buttons or the viewfinders or flash whatever it is on our object. Okay, so first we have to move the anchor point, so I'm just going to turn all of these on so we can see them. And with our pan behind tool, I'm just going to select for a top left Black. We're just going to move it into the center and same with the gray and against just centering all of these anchor points so that the animation comes from the anchor point. Okay, So with this top left, what we're going to do is actually copy the animation from the bottom. Remember how the bottom it grows on from the with So it grows with with We can just add that to our top left button. So I'm just going to press you to bring up the scale animation. Copy those, then with top left, Grey selected and top left Black paste it Soon after I press you, I can see this animation kind of come on. And I just want to again offset some of the top left gray a little bit forward. So the black comes on first and move these overs ever so slightly so that it's happening a little bit earlier. Then I want Teoh do something similar. Let's just do the same thing with the top, right? I'm going to pace thes I can bring up the key friends by pressing you offset. But what I want to do with this one on the right is have it rotate a little bit. So first I'm going to parent the gray to the back. So if I add rotation to the back, we can see it. I'm going to go to this second key frame press far said. A key frame. So it locks it at this rotation at the end of the animation, then go back to the first scale key frame and rotate. Let's just do negative 90 and then I'm going to add Eazy E's. And now this kind of rotates onto the screen and it adds a little bit more. And maybe what I'll do with this top left one is the same. So let's parent the top left grade to the top left black and then I will add a little bit of rotation. Now this one is a little bit whiter, so I don't want it to be as dramatic. So I'll just to negative 45 and add Eazy e's. So that's pretty cool. Maybe all do positive 45. So it's rotating the opposite direction. Okay, so now if we expand our viewers so we can see everything, we can run through this by doing a ram preview just by hitting zero on your keyboard. If you have the full keyboard or if you go up to a window preview and do this ran preview over here and that renders it out so you can see it in full time. Okay, so this is looking pretty good, but the timing is a little bit off. I'm just going to shrink my work area so that I can preview it and loop it a little bit easier. Okay, so I want all these things to be happening about at the same time, a little bit more. So I'm going to select all command a hit you on my keyboard and these key frames that are over here on the right. Those are the ones that are happening a little bit later, I'm going to move back, and then I'm going to extend the rotation and scale of the background. So it's still rotating as we as the rest of the animations pop on. So something like this, I think it looks a little bit more dynamic. And I think the rotation is Actually it starts off a little bit too slow. So if I go into my graph an animator and if I go back to speed graph, I wanted to rotate a little bit faster on, and it can still slow down to the end, but and it rotates a little bit more in the beginning, and this is looking pretty darn cool so you can go in and play with the timing and the length of these different animations. But as you can see here, this is a very dynamic animation, very dynamic intro to an object, and I hope you're enjoying it. So in the next video, I'll show you how to quickly reverse this animation so that you don't have to change anything. You don't have to add any more key frames or duplicate these animations. It's a quick way to reverse this animation, see then. 6. Easily Reverse Your Animation in After Effects: okay. In the last video, we added all of these different animations to make this amazing flat animation buildup. So instead of trying to recreate these key frames to have it reverse the animations, there's a very easy way to reverse this entire animation. So what we're going to do is select all of our layers except for our background and pre compose it. You can do right click pre compose or on your keyboard command ship, see to pre compose. And what this is basically doing is it's creating a group of all of these layers within this one composition, and you'll see once I do that creek in the composition. So let's just call this Polaroid pre comp, and now you see that all of those layers became one. If I double click this pre comp, I still have all of the layers that we can anime individually. But in our main composition, it's just one layer. Now two easily reversed this animation, So first, let's go toe four seconds. When this animation ends, we're going to trim this composition, the pre composition. So what I can do is just press option right bracket, so that trims it and then I'm going to duplicate this layer. So command D then what I'm going to do is select both right click, go to key frame assistant and then sequence layers just hit. Okay, now that puts one layer after the other. So now it looks kind of funky, because if you played through this, it would enemy on our Polaroid camera and goto a blank screen and then anime on again. But what I can do is just reverse the second layer of the second pre comp going to time, right clicking, going to time and then time reverse layer. And what this does is it reverses that animation. So now it goes backwards and because we have to sequence layers, animates in and then animates off. So that's a very quick way to reverse any type of animation. This could be a title card or anything that's within a pre composition, so that's how you pre compose. And in the next video, we'll be talking about exporting 7. Exporting and Posting Your Project: Okay, Now that we have are awesome two D animation build up. What we want to do is export it so that we can post it online to share with the world. And more importantly, share with the class is so that I can check out your work. And the rest of the students can see your awesome animations. Soto export from after effects. What we do is go up to composition. With this composition selected our main come composition, add to render queue and then we choose our settings. So if you're explained for the first time, these two won't show up, it will just be your comp one. There is a pre set in after effects for H 264 Just click that. That's the easiest thing to do. You can go in and click the H 264 and go into the different settings, but this is a great setting for posting online. H 264 is a quick time format. It's a small file, and it will usually be ableto be shared with the rest of the class. Okay, then I'm just going to export. I will just call this camp one test and then over here, just click. Render now, depending on how faster computer is, it will render out in a short amount of time. And then if you go to that folder, you can check it just to make sure it's going to be a quick time file. You'll hear a little of ring when it's done, and here it is a little test of our animation, so that's pretty cool. So now what I want you to do is take this animation posted on YouTube or Vimeo and then share it with the class. Skill share allows you to post vigna Will and YouTube links directly on the page. You can also take this and turn it into a GIF if you'd like using photo shop. Thank you so much for watching this lesson and please, again poster projects to the course page. I can't wait to see what types of objects you are animating and have a great day 8. Thank You: Hi, everyone. I just want to take a quick minute of your time to say thank you so much for joining me in this class. I hope you had a lot of fun. And most importantly, I hope you learned a new technique in how to animate in intro Duce objects to your aftereffects projects. So thank you so much for taking the time. I have two things that I want you to do. One is, Please leave a review for this class. You can go to the course page, leave a review and tell me what you liked or didn't like about the course. Also, if you want, you can send me a direct message on ways to improve this course because I'm always looking for ways to make the course lessons better make it more fun, making more interesting and improve my own teaching style. And the second thing is to go over the video school online dot com. That is my website. It's the home of where I put out lots of great free tutorials and content, all about being a better creator, so you will find premium courses there that you can purchase but also free articles and video tutorials that will help you become a better creator. So again, just thank you so much. I hope you enjoyed the class and hopefully we'll see you in another.