Essential Adobe After Effects - Follow Along Project! | Sunny Heera | Skillshare

Essential Adobe After Effects - Follow Along Project!

Sunny Heera

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16 Lessons (2h 40m)
    • 1. Welcome to this Class

      0:23
    • 2. Project Example - Part 1

      9:39
    • 3. Project Example - Part 2

      7:46
    • 4. Project Example - Part 3

      9:43
    • 5. Project Example - Part 4

      13:36
    • 6. Project Example - Part 5

      6:30
    • 7. Project Example - Part 6

      7:31
    • 8. Project Example - Part 7

      8:41
    • 9. Project Example - Part 8

      8:49
    • 10. Project Example - Part 9

      11:51
    • 11. Project Example - Part 10

      10:57
    • 12. Project Example - Part 11

      14:04
    • 13. Project Example - Part 12

      14:36
    • 14. Project Example - Part 13

      10:51
    • 15. Project Example - Part 14

      11:23
    • 16. Project Example - Part 15

      13:44

About This Class

In this Beginners Guide to Adobe After Effects class, you will learn the essentials with a follow along Project

In this crash course class, you will learn what the main functions and features in After Effects by following along with the project I create in this class

In this class we will be covering:

- Compositions

- Masks

- Shape Layers

- Effects

- Key Framing

So if you're brand new to Adobe After Effects and you want to learn the essentials to get you started, then make sure you join me in this follow along class!

Transcripts

1. Welcome to this Class: Hello. Welcome to this class. All about learning the essentials of adobe after effects. This is a project best class where you can follow along at home. So by the end of this class, you'll be able to learn the essentials of after effects from following along on this simple project that we create together. So join me in this class and I'll see you in the first lesson. 2. Project Example - Part 1: Now, finally, let's get to the main part in this lesson, we're gonna go through a series of lessons. Actually, Andi, we're gonna go over everything we've learned. Andi, we're gonna see how it's all put together in a project. So this is what will create. - So the reason we're gonna create this is because you will learn how to put everything together , like I said earlier. So, for instance, pre campaign effects how to use the timeline when you should be using key frames on die will also introduce you to the graph editor. And it's just Ah, the classic way I was always told was to use a bouncing ball. And I've also been taught to animate text. Andi, that's kind of I generally feel that's usually how we should start A project is to learn how to animate a bouncing bowl on how to animate text. And if you could do that at the very beginning, everything else should be easier. So, uh, let's get started. So the first thing I like to do before I create a project is to go over here and create some folders. I like to create a render folder. I like to create a pre com folder. I'm just gonna put this outside of the Render folder a reference folder. Audio. Again. I'll just move this out process on Daz. We start working along. It should automatically create a solids folder for you on this here. I'll just put this into the reference folder because that's what we will be a referencing. Let's create a new composition and we'll call this man Kump, 1920 by 10 80 will do 25 frames per second. We won't do it. Fulfillment 24. Andi less em for about 50 seconds. We'll keep this block. Okay, let's just grab hold of our main comp on. Put it inside the Render folder. Andi. I'm just going to go into the reference and delete this one. It's just so we don't confuse with the one we want to work on. So delete that, and we have this in our reference to go back to go back into a man. Come and let's create a solid so right click what's let me do that again? Right Click New solid on. Let's go for a lighter color. I don't wanna go for white. Let's go for well rounded to 2 45 as an RGB value 2 45 press tab to 45. Top 2 45 Okay, okay, that one. We're currently just making a background, so I need to make another solid and we want to make a dark color. So let's go somewhere around like a duck graph. Yeah, we'll do that. Put that on top. Andi. Let's create a mask. So new mask. Let's double click on one of the corners of the mask. I will drag it out. And if you hold commanding, do on both sides on what we're trying to achieve here is almost like a vignette just in the top of the bottoms of the screens. So we'll go down to our masks unless the feathering and then let's subtract. It's looking quite good. I'm just gonna extend this a little bit further. It's a double click whole command and dragged that up. Oops, there we go. So it's on the top and bottom. Now I want to create my first pre camp shifts like both I like to use Shift command, see, and that's your shell cut for a pre comp and we'll call this BG under skull pre pre Come, let's move all the attributes, okay? And then we can grab hold of our pre Kump and put that inside the pre cum folder press right click, go to new left Chris and text and what we want a type I know that's quite light at the moment. So will highlight everything on dwell use black. The fun I'm using is Mouly. You can have that installed If you're following along, I'm just gonna go down here, then click on action and title safe. And I like to have this on when I'm working sometimes just toe just kind of a line things Let's move this down. How much they're gonna change the color. Have decided. Let's go for a um just quickly highlight that again. Click here More golf. Let's go for a dock A graph say 80 on RGB Yeah, that doesn't look so bad. Maybe a little bit darker 60. I'm not sure if that change anything. Let me just highlight everything. Make sure that's happened. Ah yes, there we go. Yeah, that feel better. And the first thing I'm going to do is right. Click on here, Onda At the moment this is actually as text, but we're gonna add some effects, toe I and have a ball bouncing. If you remember from the video on, the way to do that is to turn it into a share player. So one thing I like is to right Click got to create and to create ships from text. What this will do is to create the share player and hides you text on. This is good cause we still need this for later. But for now I know is outlined. Click on the selection tool. I could press V for your shot cut. Let's go down to the shape player. Go down to content and let's hide W Oh and Kate. And when you turn the bottom one on enough, you could see that I is still in the same place on. We'll be dealing with that letter to ensure that they always remain in the same place. I always like to make a no layer, so let's right click new. No object. Let's select both of these. Use this little parent Pickwick Link over here. Click and drag onto this layer here. So now whenever we move anything we don't need to deal with these two. We could just use this and this will move everything and keep everything in place. It's if you hide that the I will always be there and there you go. 3. Project Example - Part 2: So let's carry on. Let's go on to he lets just hide the I know Layer. I'm just gonna lock it for now, just in case I click on it and I don't want to move it. Let's go to our no object. Andi, Let's make a Let's move it over to the right so it's in the center. Bring that down slightly and I'm just gonna hide my title in action. Safe ie toggled this on and off all the time, and it's just it's just a very useful little feature. So the first thing I'm gonna do here is create almost like a water effect, because I want this I to grow and then at the end of it, a one a ball to pop out. And the way to do that is to create a fast bowler box on a simple choker. But I don't want to apply that to the actual layer itself. I want to apply it to something called an adjustment layer, and what an adjustment layer is is if you, right, click and go down to adjustment Layer on adjustment layer is when you put your effects and stuff onto this layer and everything below is affected. So it says you have a copy and passed it on to each and every layer. So with adjustment there selected, let's go to effects and precept. Let's type in simple and let's apply a simple choker. Unless also apply the blessed fast bowler, this one here, let's create a new shape. Actually, I will do it this way. We'll use this click and hold the Ellipse tool. Let's zoom in. I'm gonna put this on full quality for now unless hold shift and drag. Think something like that p for position. Put that in the center. Andi, I also want this anchor point to be in the center of this. So at the moment the anchor points here, the way to move the anchor point is to click appear, click drag. And if you hold the command, it will let you lock. So let's look back to the center and then click off this. Actually, I just got the selection tool. Just make sure you just not clicked on that anymore. Just move that slightly to the right. If you click and press open down on your curses, you can move them by one. Okay? so remember to make the make sure the adjustment layers above on what we want to do, first of all, is let's just start using the choker. We'll put this art 10. I will put the black that something's small like to. And now what we want to do is grab. Hold the adjustment. Layer the share player. No, on the other shed layer Control Command, See to make a pre camp when will call this. I underscored. No, in the skull. Pre Come move all the attributes. OK, and now we're here. It's quite blurry just yet, but it's getting there. If we go to the share player over here, moving out, you could see it wants to stick almost like a water or jelly. There you go. And that's exactly what I want. I just I'm going to zoom out, go to my adjustment land and play around with some of these settings. Do one, maybe 1.5. Now we'll go back to one on, then I'm gonna move this down to eight, resume and have a look, and we go smooth out a little bit over to the left. So what we want is this to grow And then when the music is playing which will impart very soon this is gonna come up, bounce down on bounds into a bouncing ball. But let's just first of all Impala music go about your projects Double click Select your sound file Click OK, aftereffects except MP threes. And while files I personally find that like a war file is very good in after effects and runs quite well. I'm gonna put that into the ordeals, Andi, going back to my main camp, I'm gonna click and drag this into here. And if you press passed by right now, you can start listening to the music. If you go down and go into the audio section going to the wave form, you can actually see the actual sound wave of the music. And here you could mess around with the volume, but we're gonna keep this on default. I was gonna leave this on the bottom layer. Andi, I'm gonna lock this because I'm never gonna use this again. Really? So one thing I've already done is timings. Andi, I know that it's 60 friends in is when the music beat drops. So we're gonna go to I know, and we're gonna use 60 frames in. So if you hold shift command and use your right cursor, you could go forward in 10 frames. So let's 123456 That's 60 frames. I'm gonna put a key frame over here. And then when I hold shift Command and then left cursor to move back 10 frames, I'm gonna move this down. So if we go back to our man camp and when you press space bar, the ball should pop out on the beat way, Go. 4. Project Example - Part 3: So in this section we're gonna talk about animation easing in easing out, and I'm gonna introduce you to the graph editor. So before we carry on with our project, let's create a new composition less Name it on emission. Underscore, ref, Let's go to our shapes. Let's create and go to the little apps tool on Let's create a circle. Andi, I I'm just going to duplicate the circle a couple of times. Move one down, then move one into the section middle section. Let's shift. Select all of these press P for position. I'm gonna put a key frame at the beginning. I'm gonna move along to say between about three seconds on with the most elected. Let's just move them all along to the other side. Now all three ships are moving along. Now the first thing we'd like to do is to add some teasers on what is an ease. It's the position value from one key frame toe another so it would go. So this is one position value and this is another position value. And as you can see, they all move at the same time. So if I needed, if I want to add an east. I would right click on one of the key frames, go down to key frame assistant on. I want this to ease in. Now, what you gonna see when you press space bar is gonna ease in? You see that at the bottom grudges, Lee gradually slows down to a halt and thus unease in. So for the middle one right click go to Key from Assistant. Unless he's out. Press best buy. No, they'll end up in the same place at the same time because that's where the key friends are . But one is now gradually easing out, which is the middle one. And then it goes across and then ends. And then on this one, I'm gonna slight both key frames, right click and I'm going to Eazy e's on an Eazy e's is eases out on ease into the key friend. So here's an example Here. There you go. And that's how you eases work. So you want your animation to ease into things to ease out of things. How dramatic there, Andi, To kind of go further into this, we need to go into the graph editor, which is here, so we'll stick with the bottom one first. So if you remember we had this one here, we had it. He's in. In fact, I'll just rearranged my friends just doesn't confuses. So shared three at the bottom. It goes out linearly and then slowly eases in. So if we were to click on here and look at the graph edited version of that click on the position to reveal, this is what's known as a speed value. So if you look over here, it zero the things happening. But it initially goes up to 500 pixels per second and then gradually eases down toe a whole . And then as it goes along, it's still on. The zero said nothing's moving. Go to the 2nd 1 This is the one that gradually eases out so you could see the speed is easing out, gets over here and then stops. And once it stops it Holtz zero. And in the final one, the Eazy E's on both sections. The speed is at zero, eases out, eases back in and then stops, and this is known as the speed value. So that's an introduction to eases. So let's go back. I'm just going to duplicate one of the key friends. So we're just duplicate this top one. I'm can hide all the other ones and let's start building on the bouncing ball. Someone press p for position because that's where I know my key frames are. It's going to delete these ones. I'll just bring it a little bit into the center. Grab hold of the anchor point whole command. Put it into the middle. Click off the anchor point. Let's just bring it over here. Let's start on the idea of the bouncing ball. So let's put a position value key friend here. Hold shift Command Right. Custer to move 10 frames. Unless let's put that over there. We'll put a little bit higher and it will put in a key from here. I'm just gonna press plus to zoom into my time like, a little bit further. Just noticed I was forward of frame, so I'm just gonna grumble of both of these and moving back. So 10 friends into the air. Shit Command. Right. Karsa, unless move this down. Bring it round about here. Shift command right Castle for another 10 frames. Bring it over there. We could clean it up probably not gonna bounce as much. Another 10 friends forward shift command, forward shift, command, right custom for the last time that the bomb view a show some rulers put down. Put like that. So it's in the air. There it goes down whole shift to snap to the key frame. I'm just gonna move this down a little bit for that. So it's there. Fly up in the ankle back down, and then the final bounce. They should end here. Let's have a look it up. So, as you see, it's not exactly the best animation. It's not really a good example of a bouncing ball, and I've done this intentionally toe let you see how you shouldn't really bounce a ball. So, like, if we were to just carry on quickly with this one, you could do little things like maybe have unease at the tops of every key friends. So it would be this one and then the top, this one, and we can add an Eazy e's because obviously when we do a bounce, we need arcs. We need the motion to kind of like moving more like an arc like motion like there, and even though that does kind of help. It still doesn't look quite right like is getting that, But it's not quite that like we could go into these sections. And if you zoom in with your commanding, plus whole space by artist, go up, click anything on your layup. But you can see that there's little handles here that we can mess around with, and we can play on the You can generally get a bouncing ball this way. I just think that there's a better way of doing it on In the introduction to the next section, we're going to go through how to do a proper bouncing ball. So while I'm just showing you what you what can be achieved due in doing it this way, I do think that there's a better way of doing it. So let's just see what this looks like just with So look, it's still saw off. There is just It just doesn't feel right. So I know this section was kind of going off the project, but I just needed to explain what eases our what the graph editor is and to get you really a turn to stand the importance of key framing and the graph editor. So in the next section, let's go back into our project unless do a proper bouncing ball. 5. Project Example - Part 4: so back into our project. Let's grab hold of the animus animation ref pre combat with made earlier. And let's put that into the ref older. We'll grab a hold of the I know pre compliment previously and will put that into the pre cum folder just to do some housekeeping. So let's go back to our project. Let's go to the main camp. Let's see where we got to. So I'm gonna hold command minus. Just zoom out So it comes up on the ball, just pops out of the top of the I. So what we want this to do now is to go bounce and again and again. So let's go jump into the I know pre Kump. Grab hold of our share player on the first thing we want to do. Andi, I feel this is the best way to make a bouncing ball is to go to the position value because at the moment we have an X on. We have a why, but I think it's best to animate them separately. So we right click we separate dimensions. It's gonna zoom out, Andi, I am gonna go to view show rulers on Let's make that's drug one down here just to represent a floor. I'm gonna hide. In fact, I'm just gonna have this soloed. I was gonna hide everything else, but it's better just to click the solar button. So this comes out on what we'd like it to do in 10 frames. Press Plus to zoom it shift command right is 10 frames. Shift crunch right again is another time frames. And we wanted to go all the way down. Oops. With the y axis, there's one bounce. It's just a little bit high up. No way out. Shift command. 10 friends forward. Let's move it back up. Obviously, no, As high as it was before shift. Come on, forward. Go back down. Well, you can always just copy and pass this key frame here and then passed it over there. Command C, command V shift command forward again. No, As high as before. Shift. Come out forward. Grab hold of the key frame that we know that's already on the floor. Command C. And because the timelines over here, when you press command V, it will pass the exactly where the timeline is. Let's see what that looks like. So we cover one to the top bounce bounce. Maybe one more bounce just a smaller one around about there. Shift command forward. Grab hold of the previous key frame. Come and see. And because the timelines over here command V well past it in place, let's see what that looks like. So a little bit wild in the beginning, but we can sort this out. So if you remember in the previous lesson, I was talking about the speed value within the graph editor on That's what this should be here. If you look at this, this is our speed value, so there's no speed here. Speed goes up and gradually gets at the top, and then it speeds down stops here, and there's nothing wrong with this. I think the speed value is actually very useful for when you do. In animations with two friends are two key friends. However, when you're doing more key friends, I think it's best to go down here and use something called the value graph. Andi, if you come from a three d background, the value graph is kind of the default used in three D programs such as three D Studio Max Cinema four d, Maya, Andi for something with more than one key friend or two. Should I say more than two key friends? I recommend using this, and I think it's just a better visual representation and you can actually work in the graph editor and you can see what's going on better. So, for instance, in the y value. So we have X because the values the same. There's nothing. There is just a straight line, but within the Y value, you could see this represents one position this represents represents the value of the next position. And you can actually click on this and you can actually move it here. And I quite like this feature about the value graph editor. So what we would like to do is have a knock. We need it to go from here to the top. So I'd click here grumbled of these handles, whole shift to straighten them out on. I want this one just to come out, get to the top. Let's grab hold of this handle here on. We wanted to ease to the top on the way to ease the top is to drag that handle out like I've just done. It gets to the top and gradually eases out to the bottom. But when we get when we get to the bottom, we don't want it to ease into the bomb. We wanted to bounce and hit heart, so the way to do that is toe. Have this friend selected go down here and we wanted to convert it to a linear key friend. So if you're press best by now, you should be able to see it's a little bit more realistic. See that that 1st 1 it goes up bounce. So let's do that for the rest. Let's go to the bottom. We know these are the bottom friends, and we know they need to be a linear key friend. So let's click here. So let's see what that looks like. It already look better. What we need to do now is just deal with the high points. So let's shift select all those grab hold of the handle unless whole shift and dragged them out one side, unless drug out the other side. And this is what key frame animation is, it's constantly tweaking until it feels right. Actually, I'll just whole shift and bring that in slightly because I wanted to be like an even curve . So let's see what that looks like. See, that feels nicer to me. 123 Let's carry on. Tweak in. I'm gonna click out of my graph. Editor Onda, We want the ball to move forward. So let's grab hold of our second A key frame here. I'm just gonna move it forward. I think about here where the end of the bounces on, I'm gonna move it over to the right, see what this looks like. I will carry on. Tweak it. It's getting there now. What we need to do is deal with the timing, because l the timing is exactly the same. But what we would like to do is have the first bounce the longest time in the second bounce shorter, even shelter and even shot in that. So the way to do that is to grab hold of the three friends of the end, which is this point this point at this point, hold your option key and start roving the friends together. Click and drag and then click and drag the next set. Hold eruption key, click and drag those together click and drag the next set of frames. We'll see what this looks like. And it's just a case of constantly tweaking until it feels right. I think the bigger the ends just a little bit to fuss now. So we'll grab a hold of those options. Select dragged them out just a little bit. Not so much. Maybe the These also need to come out a little bit. And let's have a look at that. It's getting better. I think the last frame is just a little bit too high. The last bounce. So we could do that in the graph. Editor grab. Hold this, friend. I'll just move it down. Let me go. Let's have a look at that. See? That feels nicer. Okay, so let's learn on. Okay, So let's work on actually getting the ball to go into the middle of the end. Onda. After looking at this, I think the first thing we need to do is make everything bigger, so I'm gonna scale this up. I'll just show off the whole word about six seconds, and I'm gonna scale this so we could say bye. First of all, before I do that, click on the I know and link it to this. So when I scale, this will also scale that, and it will keep everything in the in proportion. Let's go for 300. Have a look. Yeah, I think that's a good size. The only thing I'm a little bit unhappy with now is that it feels to blurry at the beginning, and it's a little bit too thin on. I wanted to have more of that ship, so at least get closer to it. So let's go into the I know. Let's go to the adjustment layer, press you to reveal your keys unless see what values they're up. So the chalk mats are eight on the Blur, Regis's by one. So let's half each so ago 0.5, and we'll put this up for we'll see what that looks like. Yeah, that's better. I guess the only but I could think of right now is around about this section. You could see the bullets just kind of popping up. So I'm gonna go to the ball. Lance Iwas happening with this layup Press you? Yeah, There we are. So, what we've done, it just pops on, So I think it be better if it slowly fades on capacity and we'll just go forward by five frames. So if your whole command right 234 Actually, it's a little bit in. Maybe just buy one friend, two friends, actually, and then put the capacity up zero. 6. Project Example - Part 5: Okay, so, carrying on, let's go over to I were I know company. Andi. Let's Unsal of this. Let's have a look over here. See what it looks like in the man composition. Okay, so it's not coming out of the top, but it is looking good. So let's go into I know pre Kump. Let's look at the actual frames. I think of this point here. If you zoom in, you can see that there's a line, and that's because it's easing out. We don't want that. So if I'm just gonna go back into my graph editor, I'm gonna have this come out like this. Move that down. Come back out. Let's have a look. Yeah, that feels nicer. But to my man, come. But you're gonna quickly look at that. That's looking good right now. Let's get the rest of the words on. So I'm gonna go back to my men comp. Look, this I'm gonna copy this because I didn't bring it in earlier. Go back to my pre comp and just passed, and it should be in the exact same place as it was before. There we go. So now we have that. Don't. I'll just move it layer slightly forward because it's gonna come on later on. We wanna have a buildup that comes up to this section over here. Two seconds on the buildup will be the I, which is now a shape layer. Actually, I'll just rename this boat. We'll start out in some effects to this. So the effect we're gonna add is gonna be a line sweep. Just going to double click on that while it's selected. And it should put the effect over here. Now what? This is this is kind of like a wipe that which wipes your layer on on enough. So here it just wipes it off what's own and what I wanted to do. I want to do this vertically. So I'm gonna move this to minus 90 and if I don't play around with this But here you could see it comes open down. So we want it right at the bottom of the beginning. I'm gonna put the key firm of the very beginning move all the way to two seconds whole shift on. I will put this down 20 So when we have the build up of the song, it's going to come up and then the ball is gonna pop out now. Obviously, you could see the ball in the beginning here, and that's because this layer is showing. So let's chop this off. Make sure your layer is selected. Hold option left square bracket. And that's how you cut off anything here. And if you want to cut something on the other side, it be option and then right bracket, so I'll just do that. So let's have a look. It grows, gets to the top and then just pops out. Oops, clean off, pops out and then bounces. But obviously, we don't want this effect to stay on all the way through, because as it goes over to the case, that's sticking to it. And that's not what we want. We want it to bounce. So from there, this section over here, click on the adjustment layer. Let's make a key frame right here on the blood, unless also put it on the the actual matter itself. Let's press you to reveal those keys. Andi, when it gets round about to the top of the bounce, let zero these out and you should be able to see the rest of the world stop popping up. There you go. I think that looks good. So just for kind of housekeeping, whenever anything has doesn't have any relevance anymore. So I think of a layer here where this will have ended. There's no more action. I always like toe option and then right square bracket to cut off. And it lets other people know who have opened your file that this has ended, right? I'm just gonna add a a text effect on toe. I know so has crossed this off Goto animation presets and these You'll see some options for some text presets over here. So got to animate in on. We'll just have a slow fatal. I'll click on that. Put it onto this layer. Okay, we're getting there. Let's go to the main complex of looking up. Right? So in this next section, what we want to do is have the words I know fly to left. But we want the bowl to be in the middle of the end, so it bounces off the end and it could come back in 7. Project Example - Part 6: Okay, so carry it on. The first thing I want to do is make this larger because it is too small on the screen. So I'm gonna click on my I know, link it to the pre comp click on the pre comp press s for scale on Let's scale it up by 300 up to 303 hour. So I like the look of this. I just think it's a little bit too blurry at the beginning. So we go into our pre comp settings adjustment layer, press you to reveal the keys. Let's have a look at the keys that we put on. So ones are eight to one's at no 80.1 point. Oh, so let's put this at no 0.5 and then put this up for and that seems to have kept it shit better. And if you look about here, you could still see the bulge just pop on. So I'm gonna have a slow fed on, sir. Press t on the ball for capacity, put it zero for rapacity, and then I'm just gonna move it forward by a couple of frames, maybe even just maybe, even just to on put that to 100. Let's see what that looks like. There we go. Go to the man comp. Let's have a look, right so the bull ends just at the end of the case, so we needed to keep moving forward. So let's go into our pre Kump click on the ball. Leia press you to reveal all the keys and thankfully, because we, uh, split the layers of early and animated this properly we can Now just of just this one layer on, we don't have to deal or worry about with the rest the rest of the key friends. So we'll move this forward on. We want it to end roundabout, just towards the edge. But I'm gonna move in by 10 frames. So shift command left cursor, and I'm just gonna have this hit the wall so it's gonna hit the wall, and then it's gonna bounce in just up cursor just to move out by one friend. Let's have a look at what that looks like, so it's just a bit abrupt at the end. So the way to do that if you remember, for my graph editor is to have this key for him selected go in and let's just have a season . So plus Teoh getting bigger Grab hold of this whole shift on. We'll just have it on easing. But what we want. We want it to be an abrupt stop of the wall rather than phasing through like it is there. So the where we need to do that is to make that into a linear. Just don't do that mixture of got this one selected. We need to make that linear that. So what should happen now? It bounces, hits wall and then slows down easily. Let's have a look. Just come out the graph editor, I assume out. Let's have a look. Yeah, it's looking good. I just don't know if it's hitting it quite right. So I'm gonna go to the frame. Suman. Yes, It's just a little bit officer. Click on here. Just make it touch that wall just slightly. It doesn't matter if it goes over by a little bit. Yeah, maybe I will move it down one. Now they go. Boom. Now we have the bold in. What I would like is to have the words I know fared on properly by the time because at the moment it feds on here. I want the A pass iti to be half where while it's phasing through the letters So what we need to do there is Look at the end, which will be here. I want it to be fully clear here. Go to the offset of I know on the way to do that is to click on you to reveal the keys, like always, Let's drag this forward So around about the and then the rest of the words Come on, let's have a look at that. Assume out, press base. There we go. Let's go back to our man comp. And that's probably the end of this little pre compere. So I'm gonna hold option right square bracket and cut that off. Now, thankfully, we still have this layer appear which we scaled up. So I'm just gonna unlike this, but obviously we're missing the ball. So what we need to do is going to hear just whole shifts of a hill that hold the end, go into the pre comp, select the ball a copy, bring it back to the man comp past right click quickly make a no layer because if you remember what we did earlier? We linked it to something and then scaled it up to 300%. So we need to do the same here, going to the new Olia 300%. And it should lend exactly where it was before. So if I could just hide that and there you go. We could delete this. No later. We're not gonna need it again. Press you on the ball and then everything before. Let's just delete, but make sure you delete it with this one being the lack from this side. So that's where the ball is and that we wanted to lead all the key friends now. So now we'll leave the Boulder Command. Sorry. Option left square bracket. So then this comp starts right after this lay. Or should I say so? If you turn this on, we'll just go through it quickly. I'll do the same with the I know, sir. I'll quickly get to the end with the shift button option left square bracket and let's have a look. Let's group through. So it grows, pops out, bounces, bounces, the letters turn on, hits the wall bounces back. And now we're here so we don't need to deal with this anymore. Let's quickly look this and let's do some more on a mission. 8. Project Example - Part 7: So let's look into moving the ball across and having the word how appear under now. So if you zoom out, I think everything's looking good. I think after looking at this now, I've decided I want this small now, but it's good that we deal with this earlier on. The way to do that is to just quickly unlock my I know operate camp shift, Select the bowl and I know text underneath parent. The pre come go back to pre comp unless go down. Let's try 200. Actually, that looks better already. It was initially too small. Then I thought that I think is too big. So with this popping out here, we can have the word appear underneath almost like a reflection. And we could see it fully yet I think that that feels nicer. And I'm just gonna quickly add a key frame over here at the beginning from I know, let's allow it to get to the top, probably at the top of the Ark Pookie frame in. Then I'm gonna put key friend just at the end here, and with these two still linked, it will move. So let's move it into the center. Let's select both of our key frames, right click key for em assistant. Unless just at unease and easy east, both. So then comes out, eases into the motion. And as it stops over here, this will be the moment we just and link these. Let's move forward by another 30 frames. So shift command right cursor. Just make sure I got that selected shift command, right, cursor. 123 And then I just want to extend this out. And this is because we're going to use the masked white this off, So I only reveals the next word. So let's put a mask on this. I'll go pick up, put musk around it. Usvi for my selection tool. DoubleClick. I'll just extend this over and I just want the one toe white that off. So go back to the beginning. A mask and then 30 friends forward. 123 I'm just gonna grab hold of this mask white this off, and then if I just hide the one underneath so we can see what's going on. Well, let's just put a feather on this so it's not as harsh. So maybe 25. Let's go down toe. I know, Layer, Let's turn this on on. What we want to do here is press s for scale. Click on this, Teoh. Avoid the constraint. And then on your Y layer, let's go minus 200. And then what we want to do is go to our text. So, like this and type in the word how now I'm gonna move back here and I'm just gonna rearrange this. Move the position just a little bit to the right. Duplicate this command d as for scale, and then move this back up to a 200. Let's add a mask, but the one above. And then I'm going to zoom in and see where the edge of the aeneas, which is right there. So let's just go around about here. Double quick to start scaling this mask. I was gonna leave that lesson out, so let's have a look. This is what we want as the ball comes in. So the ball comes in, bounces hits the wall, comes back. We want this to slowly appear on, especially the one underneath, so we'll use a slow fed on liquidity earlier. So if you go to your presets, type in slow, slow fado. Actually, before I do that, I'm gonna make sure snap right to the end of the text layer. So your whole shift make sure this is selected on double click on this. I said now, as the animations coming in slows down this text feds on, I'm gonna make another mask for the one of the bottom. Click and drag. Let's go back down to the layer Press T for rapacity unless put this around 50%. So we have the word fed off, and then this one feds on leaving. I know There. I'm just gonna press you on this frame over here cause I want this to appear on faster, so we'll not compare. Hold this shift and then bring this key friend back because we wanted to be fully revealed on. So that reveals on while the other one comes off. And now we can start animating with these friends over here. So the first thing I'd like to do is animate the masks. So let's go down. Go to the mosque layer, click on the mask path. I'll make sure it's the same for the other one as well. Must lay up click down, Click on the Path. And if I press you on both of these this one and this one press you like to see the pass right there? Let's go forward by 20 frames. So shift command. Right. Curse of one. Right, cause to. And then if we click on the mosque here and the mask here, I could just grab hold of each one. Let's drag this one out until the end, unless do the same for the the above. 9. Project Example - Part 8: so carrying on, we have the ball coming out. We have the word I know disappear. Quick off this and then what we'd like to do now is have the word how move over to the center, and then as it moves over the center, it should knock the ball. So the first thing I've discovered is my projects has gone missing. So if you if this happens to you, goto window and then just click on your projects and you'll find it, it comes back again. So what we need to do is we need to link these two because one is the shadow of the other. So the one of the bottom are just right. Click rename this shadow, and I just renamed this one. I'll just delete the to and let's attach the shadow linking to the How. So let's now look at the position of the how comes on Fed's off and then at this section here, where it's ended fending off, Let's put position. Let's move forward by 30 frames. So shift command right cursor. 123 Let's move this into the center. I'll tell you what, I'll just turn this on so we could see this properly. Zoom out with command minus. Let's have a look. Command plus two. Most move back in on. Let's move this over to the left about here yet. That's good. I just need to add an east to each one. Well, I didn t sit up, right Click Eazy e's on. I'll also do. I'll also do it for the mask as well above. They can't do any harm a lot this layer above cause I don't want to touch that just yet comes off. You see, there's a little bit of ah, you see, it's still pumping on, so I will grab hold of the how on a both. Just rearrange that slightly. If this happens and you have key friends, always select all your key friends. Go on top of one of them. With both of them selected, you should be able to move without actually affecting the key frames. So what I'll do? I'll just drug hold of both of them to the left because I've noticed, have made a mistake. Just gonna zoom in. I'll just re arrange that we go. That feels better with them both selected. I'll drag him back forward again. You'll get used to doing this when you make in, ah, projects. And then what I will do is have a slow fed on for both well, actually just the top one, because the bottom one already has a transition. So capacity shift command forward cursor capacity. And I'll just not this down to zero the 1st 1 So it doesn't come on so abruptly. There we go. And now let's animate the bowl. Let's go to the ball layer. Press p for position. Andi, just before the house starts to move, which is around this from here. Let's put a position of the Ball X and then when it impacts the wall, so command left cursor to move a frame at a time. I just didn't do that. So command left cursor, right cursor. So it's around about here. We have a key friend. I'll go forward by 10 frames and I will move this this way. Let's see what that looks like. Let's have a look. It's moving to fuss right now, saying it too hard. So I just wanted to come into the center and then command forward, forward, hit another key friend, go forward by 10 frames. And then we'll have that as the harder hit because it's going faster and we'll have that come back this way. I see what that looks like. It's getting there one, and then it just stopped. So we need to have some eases to this, too. Three rolls back, right, Let's have a look. Let's play with this. So if you remember the graph editor, quick on this plus to zoom in. So everything is linear right now on. We want this beginning part to be linear, so we wanted to come out, but we wanted to ease down on the slow. So click on this key friend unless flat in this one out. Still a little bit too fast. Let's have a stronger easing. Let's have a look. Yeah, it's getting there. There's one hits, the other side comes in and then we want this to be a strong ease as well, flooding this one out shift, select drag A little bit left. The only thing I think I dislike is this. First here. I think it's just still too strong. So what I'm going to do is just move this little bit further back. Andi, make the ease. No, strong. Yeah, that feels better. Now let's go back. Zoom out. Just gonna quickly script through this pops out, bounces along. We are getting there life itself, bones, pounds. And then in the next section, we're gonna have this disappear. This come alive on the ball, roll down. 10. Project Example - Part 9: So let's carry on with this next section. So scraping along the ball comes out bounces hits the end the end How appears then hits the bottom of the how on the ball just phases through the wall over here. So I'm just gonna I'm going to zoom into the section with control and plus Andi plus on its own to zoom into the timeline This key frame here And I'm just going to shift select up cursor just to move it on. Then move. Click it without the shift to move it individually Just a little bit of time Now we go So bounce hissy of the wall and then kind of calms down I'm gonna move this end frame slightly to the right because I wanted to roll down so I'll just bring this a little bit over. Hey, up there we go. So what we're gonna need to do over here is have the how disappear at the top, this one to become a full capacity so than the Balkan roll down. And then we're gonna animate this mask to close in and chop this section off of the shadow version of the hedge. So let's do that. Let's go to our how capacity was a key frame here. Shift command forward, right. I mean, right, cursor for the second key friend for 10 frames less. Make fares the out Onda. Let's go. Command right square bracket to cut this off. Just clean that up. And for this section, we want this to actually go open a pass ity. So while this one's going down, they want this one to go back up from 50. 200 comes in, switch sides, shift command forward on a 2nd 1 We would like this musk. I'll just press you just to reveal all the keys. Yeah, we would like the mustard and there. So if I go back here, put key for him on the path. The mask path shift command. Right. Cursor right. Cursor, double click on this mask. Bring this in. Chop this off when we want this one to end here. We'd like this one to end about halfway about here. So what we're gonna need is the Balto roll down and hit wall on the wall is going to hit is gonna be t so what I will do here is duplicate with how above move it down one layer. Press you to reveal all its keys. Delete everything. Press t for transparency. But this right up so we could see it. Just move this along the bottom. Bring this one over here. Andi, I want this said to t o position. Let's move this right down. Let's move this along on the reason of duplicated this one because it already has a mask on . But we're gonna need to use this mask in a minute. So as this phases out, let's cut this in. Let's go to the mask. Vite! Select on! We want this this way. On this. Over here. Let's move right up until the line on the same for this site. Bring this up. I will have this letter revealed to reveal to. So I'm just going to rename this layer to so right click Rename to And then just before this starts, we want to have this ball animating. So I'm gonna put a key frame. Why? And a key framer X. Because we wanted to start there unless move 10 friends Forward shift command. Right, Karsa, Let's move this down and let's put key for him here. Let's move this a little bit across, so I'm gonna go five frames. So command 12345 You're right, cursor. Don't bring this in just a little bit. So boom that we get. And now I'm just gonna go into the graph editor on. I'm actually gonna use the curves to help me ship this curve over here. So let's select these few here, make sure both your ex and my selected impressed Plus to zoom into this section that would kill. So if we just focus on WiFi now, we definitely wanted to ease out. Click on that key friend was flooding those out on. We'll do the same for this one as well. We're probably gonna just this later, but let's have a look goes in. So what? I'm going to dio I'm gonna grab Hold is key frame, and I'm gonna drug it forward and keep hold of shifts. That stays as is. So then, while it's moving down, it goes to the left and full of that curve. Click on this dragged this a little bit up so you could start seeing this curve becoming more predominant. Bring this in. The only thing I'm a little bit I'm not happy with is the fact that it's phasing through the through the text. So I'm gonna go back into my timeline, make sure this one frame is selected, and then let's just move this soap. I'm just using my curses. Then go to the white. And this is just pheasant through this wall here. Self make sure that one is selected and not all of them. Because if you select a mall, it will move. As I showed you earlier, we kill. So let's have a look at that. Let's just scrub through So it comes down, goes around hits that we wanted to bounce. So if you remember when you hit hard service, always make sure your frames linear. So select ex and why you can assume of the image press Plus on here. And to be fair, this one does. Look, flap. This one looks OK on this one. Probably needs to flying out now. Just floating this. Come back out of here, blue forward by 10 frames and I will just move this back. Um, of this up Just a little. Move forward. 10 frames. I'm just gonna copy these two copy and pass of passes. Pass it in the same place. Andi. So it goes down. How? Let's make this smaller whole command right cursor. 12345 I'm gonna select both. Bring them back. Then another 512345 We'll bring this back in making sure those two only selected will bring that back in. So boom. And then there's a bit of a curve there. But we could go into the graph editor in salt that Let's have a look when I have these two selected go into the graph editor. Let's just have a look. So as it comes out, it goes round because if you see over here, you overshoot in. So I I'm gonna make this one linear and I'm gonna bring this down. Let's have a look at that. I think it needs some tweaking and some work, but we can do that. So it's not. But it's just a little bit slow, so it comes down, goes up and floats a little bit, so I think it's because it's going up in a straight line, so we want to avoid that. So let's go in. Let's have a look at which one? It is. I just flying that. I know I made that hard area like a linear one, but I just need to push this forward, and that's what animation really is. It's just constantly tweaking these and making sure you get good flow. So boom gets up, slides back down and hits the floor. So this little bit don't. There we go and I could see the lines a role curved properly. That feels nice. It. I think the only thing I want to do now is changed some of the timing. So let's roll of the keys. We did this earlier. That's when you select all of them. Hold option, click the ones at the right, the far right, and then just drag him in. And that just brings them all in for you. Let's have a look that feels better. 11. Project Example - Part 10: So let's carry on with the animation. I'm just gonna quickly preview this and have a look things that we may need to tweak before we go along. So the thing I think we need to work on Is this a paucity change over here? I think it's happened a little bit too fast. So I'm gonna add another 10 frames to this layer over here. So shift command right cursor, move this along and then move the a pass ity along. So then it's just Ah, a nice if ed out. And I'm going to do the same for this over here because the ball hasn't moved yet. So then this phases in as this one phases out. So how goes out in the shadow comes on? This mask is a little bit too hard for May, so I'm just going to go to the mosque properties, go to the feather on, will put its 25 so it's not as harsh when they want it animates in will move this key out a little bit because we're gonna have this fares and as well. So, just before the mask stocks animating the two will start to fade on so t for the A pass iti a key frame. Put this at zero shift command. Right Will do. 10 friends will go back one. Put this to 100. I guess the only thing that I'm a little bit concerned about is the feathering. I know we said to put the 25 but I'm gonna make it harder. So here, we got a key friend on Will keep 25 as it's going along, but as it gets closer, will not this down to 10. Now, let's have a quick look at that. Yeah, I think that looks nice. And now So let's command a select everything. Let's just close everything for now. Right? Click make a new no layoff. Because now, now we have this section done. We want to actually bring it up back into the middle because it's too far on to fire on the bottom left. So we'll bring this down on We're gonna need the to the shadow, the how on the bowl. And we need to just link come up with this. No love here, which we're gonna name has move. So what we've done we've selected all of our layers. We've linked it to the move on the boat. I'm just gonna shut this section off over here. So if you hold option left bracket and then as it comes down here, goes down, bounces against that on the move position, key frame shift, command forward and then one more to the right. So that's 20 friends and then we'll have that bump right back up to the center. I'm gonna drag this key frame this layer over here up to the key friend so you could see it go up. Let's trouble the both of them. Unless Adam ease. I think this section here still bothering me, it's I want this to come on without this off a lapping self. I'm gonna go to my to check the capacity and then just bring it forward, Savannah, it faces on and then the ball goes down. Yeah, that feels nice to know tha this is generally the workflow with anything like this is constantly tweaking and just getting it right. Balance Bounce goes to the top and then when he goes to the top, we're gonna want the ball to jump up into the air when it hits this section here try this along. We want this ball to come up and bounce and sit back in its place again. So let's click on the bowl position, put a key frame of the X and the Y and then as this comes up, it stops right there. We've positioned our key friends. Let's go shift command right cursor. I'll assume it. Let's have a look. So it only needs to be like a little hop. So let's move the wire position up exposition to the right shift command forward by 10 frames. I always like to work in 10 friends, and then you could play with them later. Position down on will put a key frame X as well, just slightly. In fact, I'll move it a little bit to the right, so it just touches and then shift. Command right frame, right. Curses. Sorry, moved back to the left, but we also moved down so it should look like a circular Martian. So comes up. It's goes back down because and rolls down. Let's have a look. So it's obviously a little bit too slow, so I think the whole thing should be around about 10 friends. So if we shift. Select everything. Hold option for condom key friends on the first to the right. Bring it in a little bit, then shift command right hook option. Bring it in whole shift and then we'll lock onto that. So we know that's 10 friends. Let's see what that looks like. Hopefully, it doesn't look too fast. It's not too bad right now. Let's clear this. Let's kind of clean these friends up, so have them all selected. Let's go back to it into our graph editor Press. Plus, let's have a look. So let's go without wife first just going solo, this one. So it's that it goes to the top. We want this to be flattened out because it's airborne right now on we can we can make it a little bit more of a narc. Then as it comes forward, I'm gonna have this a little bit harder, just like a linear, because it does hit something, we'll see how it looks. So I feel like something slows down so that could be in the actual X instead of the why down and then rolls the bottom. I was gonna make sure that's that curve. It's correct. So from here, it's like a straight line. We don't want that. So we'll flushing this out. I'll drag this one slightly out and then you could see the curve. That let's have a look now that feels that feels better. Now let's click on the X. Let's have a look plus plus just a zoom into these ones So it comes around, I'm gonna have this ark. So just like a smooth, linear feel to it goes round. There we go That that looks nice up, down and then it hits this. But we don't want it too easy. And we wanted to hit this. Have a look at me Go. And yes, we can add like a little bounce at the end. So I think we have the majority of the Martian there. I think just one tiny bounce. As soon as it hits this, we'll go forward by 10 friends. Well, actually, we could just We could just do that by a couple of friends. So command right cursor, right cursor key friends on each one. Let's go position out, position up slightly and then we'll copy the previous two key friends because we know that's the end point shift, actually, Just command and right cursor, right cursor. And then come on, See? And then command V. Let's have a look at that. Hey, we go. That feels more natural. 12. Project Example - Part 11: So let's carry on. Let's have a look at where we've got to and what we need to do next. I've already noticed a mistake, and I think this could have happened in the previous lesson where we haven't linked the shadow to the house. So to fix up, let's get to a section where they're both together. So around about here just before 10. Grab hold of the house shadow. Ah, yeah, you see, So I will have ah attached it to the move. I need to just make a men that attach it to the how So then now when it moves, it should be linked. Now we go. Let's carry on. Wait for the next section. What we need to do is open up the T, let the ball roll down and come towards the end of the screen. So let's go to a T. Press you to reveal all the keys, so we just haven't possibly right now, so it comes to the top. The ball bounces. And then when the ball settles, press plus to zoom in, let's go to the mosque layer. Put key for him at the path shift command right cursor and Let's start opening this mask out. So let's double, click, click and drag and click and drag this down as well, unless strict drag this one out. So while this is happening, we want this to stop fading out. So let's go to the how the House Shadow. Let's go back to where we initially started out. Key friend. So it's just here. Presti, for a positive, put a key frame over here. And while this is expanding, we want this to start fading out. Option right cross close bracket. Because we've ended this. There we go. So now that comes out. What we want to do is have the ball rolled down, and while it's rolling down, we need the rest of this mask. So let's move up. 20 frames. Shift command right cursor, right cursor. Double click on this unless drag this out. And now let's make some key friends in the bowl. So click on the ball. Andi, around about here, where the a posse of the house shadow finishes. Let's put a key frame on both the X and Y. Let's go forward. 10 friends. So shift command right cursor. Let's move the Y position down put key frame on X as well. Shift command right cursor on. Let's move the X along about this far. We can always tweet this later. Just a block out on Let's finesse this. Let's zoom in space bar drag unless command plus and zoom in. So I just wanna tweet the Why a little bit, just moving up slightly about there. Then, as it's moving forward, go about halfway so we'll go. Five frames. 12345 Let's put key frame on each one because we're gonna need a bounce on this later. Moved to visit position up slightly so the ball will roll down, fly off. And now let's tweak this. So I'm just gonna shift, select these two friends or for friends, go to the graph editor and let's have a look. First of all. Okay, we're gonna need to smooth these out, So click on these two frames was flattened them. Let's pull out the why whole shift and you should be able to see it starts to smooth. Summer looks of bringing up slightly a several a car that looks so it comes down, so we do have the curve there. It's just going through the bottom of the letter. So I'm gonna bring Go back to the key, friend. Let me just zoom in slightly, grab hold of this, move it back slightly and then less add more of a curve. So I'm gonna pull this book. There we go. We're getting that. And it's good cause you can use the graph editor toe also create, like Martian itself as well as easily eases out. So I'm using this to create the curve you might have noticed on the previous two examples. Play around with White. I'm gonna put that in the same position as, well, bring that back. So it's in alignment with the why. Okay, let's trouble of the X drag this down slightly. I want to get a nice curve. It's getting there. Drag out. Let's have a look round about here. I'm gonna add another Keep two key friends. One there, one there. There we go. I didn't think he did it that first time. And now with the why we want this to be going up, I want to keep the X. That's the Why. Yep. There we go play around with handles. Drag this up to have that curve and then dragged this down to follow through on that curve . So it goes down, flies up, and then we wanted to bounce. So let's have a look at that. I think we're close, it comes down and I think it comes out too far at the moment. So the way to deal with that is the trouble of this Global two. This one click on the Why sorry, The X value. Direct this back. There we go. Dry ground. Let's have a look at that. Zoom out. See what that looks like. So it's getting there, though. I think we have the Martian there. It's just a bit faster as it goes towards the end. I think we have a good motion path. So this section here, we wanted to touch the floor. So got you. Go to your view. Show you rulers drug one of these down. Put at the bottom of the tea so we could see where the bowls floor is gonna be. Get out of the graph. Editor. Go to the white key for him. Pull that down. We're getting there one there. When it goes up here, I'm gonna bring this back a couple of frames on to put key for him of the Y position, and we want to put the why a little bit up in the air because we wanted to bounce. Second time shift command right cursor put two key friends on each side, and then we put the why down on the X across boom, boom. So I think this one, this play around with some of the timing's now direct this. Our little the full is not so bad in timing, I think I think it's just a little bit slow. So we need toe click and drag these and bring them all back towards this one. Here. Click and drag. Bring it to all of us. Have a look at what that looks like. So it's not too bad there. But then it speeds up here on the where Teoh avoid. The speed up is to separate the friends a little, so grab all of these, drag him out little trouble the next lot. Try them out. Let's have a look. So I've managed to make a tiny mistake here, so let's go back into the graph editor. Let's see what's happened. Zoom in onto the animation hot, right? So hopefully you can see the importance of the graph editor. Now come in and we go. It's getting there. Let's go back. Let's preview this. I think it's getting there yet goes down round. Pope bounce. I don't think this needs to be higher. All, actually. But remember, whenever you hit hard service, your key frame needs to be pointed. Selous, make a Shockey friend this one here. So this is all circular motions. Circular motion. Ah, hard knock. Fly up in the air, separate these key friends have more of a narc. And then but oops trouble just that one key friend. And then we just wanted to roll along the X We're going to go for the Classic 10 frames. Shift command. Right. Thanks. Unjust roll along. Keep rolling to about here. Let's see what that looks like. So it just speeds up a little bit too much, which to bring that back until it feels right. Wow, Take it further along. It clearly needs less speed, not more. Yep, Happy without, unless just haven't ease into this so quick on this right click. Easy, easy. Going to the graph editor. Just make that quite strong season getting there. Nothing else. Looking quite good 13. Project Example - Part 12: So carrying on from where we left let's have a look Let's go belong So you have the eye The ball pops out, bounces against the end, Bounces again against the hetch The shadow pops up, lands underneath, bounces up in the air the t appears and then it goes along. So this section here I think this this mask is a little bit too harsh for May. So I'm gonna I want in the beginning part to be harsh This pit this bit here. But if I eat, uh, on a match a feather from this point, let's go to the T click down, Go to the mask, Click on the stopwatch for the feather Let's move along just before it touches the O which is about here One more friend. I'm gonna animate this a little bit higher. So I want to see appear around about there. So let's round it to 15. Let's have a look. Yeah, that feels nicer. So the ball moves along, gets to the end on what we want. Now we want the ball to come into the middle and we want the wood use come from underneath on the ball shall sit right in the middle of the U. So let's grab hold of the boat. It's still connected to the move, which is good. So we have our move tool, or I move? No. Should I say which starts here? What I'm gonna do, I'm gonna shift, select, uh, dragged the timeline here and press option left square bracket to chop it off because we don't actually start using this until this moment. Then it appears here goes up, bounces goes across, and from this point, I'm gonna want the two to start vanishing. So let's go over here and type in fed out. Click on you too. Double click outfit out slow. So if we scrub along, you should see that starts to vanish. And then when that fully vanishes, I'm gonna put key friend at the X value shift Command Right. Curse of 12 for 20 frames. Let's bump this along, Andi, I actually want this to be a really strongly so I wanted to gradually build up, then fly across and then stop. So if I have both selected, go into the graph editor press Plus to zoom in. Let's just flatten these out with this Eazy e's grab a one handle whole shift click drug slept the other handle click drag. Let's see how that looks. Yeah, very strong. That's good. Let's zoom out. And we're probably not going to use this Move Noel anymore. So I'm gonna shift on snap to this section here. Option right square bracket. So I hope two comes along to vanishes. This pops into the middle, and now we're gonna add a new textbooks. So what, I will do? Well, actually, no. I'll create a new text. Use must click on here, press s for scale. Let's bump up to 200. And I want this to be in the middle, so p for position. So the thing I'm gonna need to do over here is because I'm still my timeline still on this exposition here, I'm gonna move the ball or with to the left further. So actually shoots across even further because when we want the used to come from below, But we wanted to be in the middle. I'm gonna put it a little bit to the right because I want that to be, like, a slight role as it comes up. Put key frame on the uh, use position. Let's move this down. 20 frames. So shift command right cuts the right cursor. Have this fly up on land just about here. Actually, we'll put it on the line. It's gonna bump it up a little bit. Go to this end off the timeline on Just for Housekeeping option left square bracket. And now, when the use come up around about where it touches the ball, let's put a key frame just here. Let's go into the ball p for position on. Let's put key firm on both the X and Y. Let's go forward by 10 frames. Let's move the white up. I'm gonna zoom in. Let's look at this So it comes in stops there. We kind of really want the bowl to kind of go with it. It will be quite abrupt, but because it's so fast, it'll just happen. You shouldn't be able to notice it, so we want this to go up Onda. We want it to stop moving, so I'm gonna put a M an ex friend so it has come up. It's hit the bowl, is brought the ball up with it, and when it stops there, the ball is going to start sliding to the right slightly on a little bit up on the wire, friend. Probably not so high up. Really make it lower because I don't want this to go to high, but just a little. So goes up. Roll up that. Let's go 10 friends again. Shift command, right cursor. Two key friends. Andi, Let's go X across and then let's go into the graph editor. And if you remember, we like to make curves using the actual graph editor. Not in all cases, but I am going to do. I'm gonna do so here. This is quite linear right now, so let's smoothies up. It's flooding those on a flat in that one. Unless flatten that one. So it's kind of smoother straight up, back down. Put key frame in the middle of these. So if we know the 10 frames in between, there's got to 512345 I'm doing that with the command and right cursor pookie friend on each section. Unless just folks in the white got down. Curve this. So let's flatten this out. I'm gonna zoom in second, see? So we're getting there. You can see the curve starting to appear. We've done this before. So bump up, slide up slightly, slide by down. It's gonna have these handles. Just have more of a curve and I don't want I want this to be a slight. He's so, rather than being like a hit, goes up, slides up, goes down the wall, you slides over to the other side and then I think we'll do another 10 frames come out of the graph. Editor. Two key friends. Thanks. And why back to the X? So a little bit further off the middle, down with the white and then will do five frames. So command right curse of five times key friends on the side. Put it into the middle. We'll just let that settle there. So let's have a look at that. So this part's OK. I just think it needs more of a curve. So let's go into the graph editor. Ah ha. So we need this to flying out as well, so it's not so hard when it touches the top, it comes around. Let's been that slightly forward. Bring the handle forwards, moreover, curve surround. Let's have a look at the X value Let's flatten those out as well. A bit too harsh for May. Okay, that feels nice. It, although there's a little bit too much of a curve there. So back to my wife, maybe I overshot too much with this one. Yes, I did so ground. And then as it goes down here, let's see if we can pull this handle out without having Teoh, another key friend, because sometimes it's good. Just if you could do it with the handle. No, let's add another key friend. So let's have a look. What's between these? A shift command, right? Curse of those 10. So we'll do. 512345 That's with command and right, Curse up key frame on each one. Drag this up. Stop playing with the handles. Now we go coming out around, and it's just a case of tweaking these handles until you get the look that you want. I'm gonna fly on this one out because I don't want it. Teoh, be a sudden stop click these handles here summer. Look, I think it's floating slightly, and I think that's due to one of the handles in the Y axes. So go to position. Why? I see what's going on here. Ah, so this needs to be higher. I ask. This makes sense. So this is the flaw. So this will also need to be the floor. We'll flatten these out. Hopefully by the end of this course, you'll be quite good using the graph editor that's floating this one out as well. I will do this. Both sides cause it's only one side, a slight. He's on each side and then I want this final one to have unease. I'm gonna bring this up slightly because it's still digging into the floors. I don't eat it, Don't want to do that, even though that is the floor. But it will be one of the curves. There we go. That feels nice up. That feels better. 14. Project Example - Part 13: So carrying on, let's just quickly flick through this. Yep, everything's looking good. We finish off the ball animation at the bottom of the you, and as soon as it stops, we want to start used in, ah, a stroke effect to make this disappear. So make sure you, larry selected come over to your effects and presets and type in stroke. Double click on stroke on. The first thing we're gonna need to do right now is create a mask, so use your pen tool. Zoom in. Click here. Let's just go down and start creating a mask on the use layer, just clicking around where all you need to do it to the why. It's a little messy right now, but I can play with that later. Click on this one over here. Just drag this out a little and then appear with the mask. We want to use Mask one and then let's just increases brush size until we cover it completely on. I like to use this on original image first, just so you could see where everything is where the stroke is. So let's just click this down over here. I tried this along because What we want to do is cover the whole letter. Maybe I need to increase this a little bit on 24. So maybe move this up to about 26. 25 25.5. That was good. And then once you've done that, have a little edge over here. Once you've done that, go to the drop down and reveal original image on. If you click on your end, you can stop sweeping this. So what we would like to do is to sweep the star on the beginning at the same time. So when they come to the end, the ball is going to start to fall down. Celestia scrub along. I appreciate that the letters have disappeared, but we will. We will address that later. The reason why they have disappeared because we've asked that the stroke like only look at the mask one and on the use. We have a mask. So what we will we will do later is duplicate this. But we'll just carry in for this section right now. So as soon as the ball stops, let's put key frame at this start and the end shift command right cursor 10 frames on will do will do 30 frames. Let's do another two times. Let's start making the start 200 not to round up no 100. Let's go to about 52 and they will make 100 down to 52 as well. If I was to go 100 it would go all the way to the end. Let's have a quick preview of this. Yep, that's getting that. Now we have the stroke. Animated. We want to animate on a pass. A eat at the same time. So press you to reveal all the keys. Let's shift and slide to the beginning. Presti for rapacity Put a key frame on that press, You whole shift. Let's snap to the second set of keys T for a pastie again. I have my after press it twice and then put that down to zero. So if we scrub along, you can see it disappears as it's going down. Now what we want to do and now Now we finish with the U is duplicate the use, which is command and d for duplicate press you to reveal all the keys. Now we're not gonna need most of these keys But, um if we just completely get rid of the stroke because that's not needed for this section on, let's get rid of the A pass ity. So make sure you're on the left side of the 100% and delete these keys over here of the used to layer and then because we want to isolate the S and E, we wanna make sure that there's only a mask around that section. So let's just make sure we've got rid of everything that we don't need. There's a mask here. We're not gonna need this mask is that was used for the other layer troubled of our pen tool on. Let's just make a square around the S in the let's go belong Let's have a look comes up feds out And then from this point the ball's gonna fly down on the s and you're gonna fly Hope, given the feeling of the ball falling. Now let's first of all and the use one just for some housekeeping. So press you get to the end there because we're never going to use this frame again. Look over here on press option right bracket just to cook this often it's for good housekeeping. And then from this point we want to put a position key on the use. Andi, I think around about Let's go for 10 frames pretty fast. I want this to shoot right up off the screen, so keep moving it up about there. I'm gonna put Eazy E's on both of them. So click bath, right click key from assistant Eazy E's pretty fast and then with the bolt put key friend here at the position, it'll be the position. Why plus plus, just zoom in a little bit. Shift select to this key friend there, which is only 10. And then we want this to come flying off the screen, and just for a second we're gonna have nothing on the screen. It's merely for a second just to give a feel, but this will be a good opportunity to then get a new bowl and then have it fly down into the water. And then we can have the word after effects appear up, so we'll see how that looks. Let's go back. Just give this a bit of ah, run preview. It's a bit sudden. I think the only thing it's it's falling too fast. So I'm gonna go into my graph editor. Look at the boat. Go here and let's just drag this out a little bit. So plus plus Plus, I wanted to gradually ease out. I feel like it's falling too soon. So we'll trouble to this key from over here. Whole shift on, drug it out to the right and then with it falling. You don't want to ease in. So I just want this to be a stressful. So it's just falling, and then it flies down. Make it to the same with the sne as well. Just come out of that one. Good to the second half of Use the sne. Select this key friend going to the graph editor and do something similar over here. It's just can't seem to select that just yet. Oh, I see. Just need to select this one over here. Click that if you ever find that you can't seem selective clicking this over here, the separate dimensions that helps and then it gives you the handles to select well, drug the out slightly so it feels nicer. Just come out of that. Go back to the graph editor, see what that looks like. It feels nicer. The only thing I want to add to this is to maybe bring the key frames back slightly. So it syncs with the music. There's a part of the music which I think is a good beat to actually fall too, if you keep listening. Just that section there. Someone agreeable to these. I was gonna troubled a few of these friends, just this whole section here and grumbled of that. I'm gonna knock it back by just 10 frames. So shift command left bracket. I'm going to just do this and see how this turns out. Hopefully this hasn't ruined anything, but we'll have a quick look. We can always amend it. Perfect way. Nearly getting there. So at the end, we're gonna have this ball fly down. We're gonna have it shoot back up, then come back down and splash into water, and then we're gonna have some floating letters after effects 15. Project Example - Part 14: So carrying on. If you remember, the ball had just fallen down. So when the ball falls down, we wanted to now fly back up, giving it the feeling of the camera flying past the ball. So if we hold shift, get to the end of this key from over here, the very last frame of the bowl shift command. Right. Curse of one for 10 frames. Let's put on a key frame here, Chef. Command right cursor again. And I'm gonna shoot this right pasta screen. So just move that top. I run about here. So then it should look like this. Then we'll move back down. That goes up shift command. Right, Kirsten? Right cursor, stop moving this down here. And then we want to make a new solid. So? So layer new. So, lid. And let's keep that great color on. This one's gonna kind of represent the water. Uh, just let's close things down a little bit. I'm gonna move this under the ball. I do you on the ball. So that's the last key for him. I think shift command left cursor. Just 10 friends in, and I will just do some housekeeping by holding option left square bracket for this water of here. I'm gonna actually change this a different color just so we can, uh, folks. And it's so let's call it, Call it Aqua Sina's. I was gonna be water p for position scale that right down Pookie from over here and then shift command right cursor right cursor. Let's just fill that screen back up around about here. I'll just scale up slightly, right? So let's have a quick look comes down. Camera supposedly flies past the ball on. We'll have. We'll make this ball blurry letter, but because past and then as it's coming down, the water comes in splashes. And I think this Balkan probably have move a few friends forward on the position value of the why So is coming on. Slowest, lowest, Lowest lower that. Let's move this down, Onda. Another thing I'll do is actually if I go back to this one. Put a friend on the X because we also wanted toe. Move around left and right. Let's go forward by 10 frames. Shift common rights because that off the slightly to the right another forward, 10 frames slightly to the right. Move this over here and then was slowly going to stop bringing this ball back up. I was gonna move this further down, actually, further down on further to the right, a several a car that looks it's not bad to We just need it to have some eases in. So if I just select those got the graph editor, would this be in a falling market? Martian? I don't want to have any eases in the actual falling Martian itself. So on the X, let's just straighten these out. So move this forward. So that was just a continuous straight line on. We're gonna have a really strong is on it because, as it's coming to a still is in the water. So you really wanted to slow down these key friends over here? I'll just select. Please hear this one for the X. These two on this, I'm going to keep them. Click this one over here, the auto busy. I just keep him smooth. And then this is a section now where we're going to have the ball fed off. So at the end, we'll have it fed off it round about this point. Shift command left cursor T for rapacity key from there. Shift mind Right, Casa. And then let's knock this down, Teoh. Zero option right square bracket. Because this is the lust of the ball we're going to see. I'll just press play. That looks good. Right. So to give the feeling of this being water, we're gonna add a particle system. So a particle system is Where is a system which generates a bunch of dots on? Do you have a certain amount control on them? But, um what the way That is very randomized on. Did you get particle plug ins? Things like trap card particular Onda. There's one for cinema 40 called x particles that kind of randomized particles and throw them out and you can have a certain control of the over them. But we're going to use the one that's built into after effects. So the way to do that is to create a new lay up, and you solid, uh, call these bubbles. Okay, come over here and do particle world double click on Particle World. And at the moment, they're probably gonna just look all yellow for now. So is like a quick introduction to particles. If we just keep this over here. Let's look at this section over here. So the birth threat, it's how many particles actually come out we have out to longevity is how long the particle stay on screen. The producer, it's where the particles coming from. So in this case, the piper calls are coming from this little section in the spewing out, kind of like a fountain. Ah, the physics. It's how the particles are reacting to the world so you can have the gravity going. You could have no gravity in there, so it, like, fly around like it's in space. The particle is the actual line itself. So in this case, we have this weird yellow orange sparky thing and extras as it sounds of extras, so you can have things like ah, floor and different camera depths and stuff. But we can weaken. Have a quick player with that later. So for now I wanna have all these particles look like bubbles. So if you remember what I said, if you want the actual look to change, go to the actual particle itself. At the moment it's online. Let's go down to bubble on. Let's stick to our gray color So I'm gonna color pick just a couple of great colors, and then for that one will make that quite light. I just moved us out with away so we could see this. Yep. And then this one, I might go for a doctor Color. Here we go. So the moment we have particles, just all the bubbles flying out. But obviously, we don't want to all be coming from one point. We wanted to come from a big section, so I would go to the producer unless extend this out. So x oops. Not the actual position position actually moves a producer. So what we would like to do is actually move the producer down slightly and then extend this now extend the why. Let's have a look at that. It's not so bad. Yep. Let's go to the actual physics. Let's put the velocity to three. So there's a bit more impact behind the way they've been. Shut out. Yep. Just like that on. Let's put the gravity to no point to let's see what that looks like. I don't want No. I want them to be floating around rather than just falling. Yep, that seems nicer. Less keep that as it is for now. I'm gonna put this to four seconds. Make him lasted four seconds and then put the birth rate at one. I don't want to. Many on there. See, some of the bubbles are coming round, so it's just going to stretch the radius of this out. Move the back of fourth as well in the head. That would go and then because I don't want to fly up off the air from the air, I need to just select the bubbles layer. I'll just make this aqua color as well. There we go. Let's move that with the water. Let's get to the end Over here. Option left square bracket P for position. And I'm gonna put a key frame. And the exact places the one below here to fill out the screen and then as it goes down will make the bubbles follow this alone. There we go. 16. Project Example - Part 15: so carrying on the only few things we have left to do right now is to add some blood to some of the, um, animations. We could go through that in a second, but for now, I just want to finish this last section off because this is a little bit too flat for me on DA. There's an effect called Jaw, which is a C C Joe J. W. Let's put that onto the water layer. Actually, just before I do that, I'll just remember to rename this layer water. I want that selected Let's double click on Sisi Jaws and what this does. It kind of opens out like a mouth, but we can replicate this. Um, excuse me. We can change this to make it look more like a wave. So if we put this to about 20% I just move this up. So we get rid of the top layer of the Joe all the top section. Should I sit? Just keep going and bring this right to about here and then changed the spikes two waves and then let's bring the height of the actual wave down. So something that's 2.5 there you go. And the good thing about this, you can also move this left and right. So actually gives it a look of water. So see how that looks. It comes down and just ends at the top. So why? I would like to do, thankfully a scale this a little bit, so I'll bring this water up slightly. Scale out slightly. As for scale. So let's have a look about Yep. It looks more like water. Now, I was gonna add in some a bit of animation. So if we put a key frame at center and then as it's moving along, I'll just move it to the right. You're only going to see it for a second, but it just gives it that feeling of water there. Hi. You see, some of these are just popped up as well, so I'm gonna have to move this bubble down slightly. The bubble composition with that down. That and I also scale this up. This part doesn't necessarily need to be knee. It's just ah, what we could always do to kind of stop the bubbles. Kind of going over is also just masking this section out. But for now, I'm just going to move it down. It doesn't need that much attention because it's really only on for a second. I think the last sections okay, Actually, I move this back up and there and then it's the beginning. I really need to sort out. So the moment you could see that bubble is just floating. Let's move this down. There we go. The ball comes in the bold and disappears. And then as this is coming down, we want to have some text that says after effects. So get your text layup, go on top after effects and this is, well, wolf, uh, finally sign off. But get that in the middle and we'll actually use the, uh, actually use a lighter color for this. So I'll select the text color pick this career here. So then, when this comes down, we can have after effects position. I'll just put the position in the right place, a bookie from that. And then we want this to come. Oppa's well with the rest of it, and then just for housekeeping option left square bracket, because this is where it's going to stop. Come in. Let's put an ease on this right click key frame, Eazy E's, and now we should use a nice preset that I alike for the text. So if you go to our effects and preset type in the words flying formation that we up, make sure your Texas selected double click on here on what you should do. If you press you on your effects and preset, you should see that it's attached some frames, some key friends and these great. It's a good starting point. So as this is coming up the words of quite wild and random and then this settle into after effects and then they kind of fly off again. So I quite like the beginning section. Quite random that. But I want these friends, too, move from the very beginning because I feel quite static as it's coming up. So it's coming up. Yeah, that feels that there's Mom Martian there, and I want it to come on soon itself. From around about here. I want the word aftereffects to appear so troubled of the middle key frames. Drag them along and then we'll keep the ISI's. And then we'll probably fared the music out from this section. Yep, that's looking good. So it comes in forms world after effects and then just flies out. And this will be where we fade out the music. But I think we are definitely getting That was the end now. So some of the things we need to do is let's just close some of these up. I'll just hold Monday, slept a mall on Let's just close the mold on. What I like to do is add a blur. So I'm gonna add a blood to all of the key frames. So there's a little section here. Click and drag down on, then collect this to actually set the blood on. What they should do is just add some motion blur to the animation as it goes through. It always makes things look nicer. You don't always want to do it, but for this one, I'd like all the animations to Blair. You should probably not sit there, unites it, blares. So, for instance, if I was to turn this off, it's quite sharp. But in this section, we definitely wanted to blow that would go on that goes in splashes. Feds out ends in after effects, and then when it explodes I'm going to have the music here. Just just have to unlock it. So let the music press l l for the audio. Select that shift command. Right, Cursor, right cursor. And then let's put this down to minus 80 and then option, right bracket. Shut that off to close that bracket. Sorry. And then over here, I always look at my timeline. 28 seconds. Let's go to composition Onda. Let's put this down to We got 29 seconds or let's just round it up to 30 Okay? Grumbled about aftereffects. Word. Putting a passage to change shift command forward cursor twice for 20 frames. Slowly feds out and then I'm gonna enter black so we'll have a new solid Make it black. Okay, put this at the very top above everything else. Drag it all the way to the right as that comes in. Very end. Were put on a posse of zero shift. Come on. Right. And then we'll just have this end to block. So one last look through. I'm gonna run. Preview this and see what this looks like. - So I like everything. I just don't like how this kind of stops all of a sudden at the end eso this will be aftereffects layer press you on. Let's throw these key frames. We're past it so it comes down. You see the word aftereffects that slowly fade off And I think the music's too harsh for me as well. So if I dragged this forward for the music and then bring this so this bit of the end is just is not a sudden turn off. There you go. It feels good one last time. Yeah, I skin. That's so I think I'm quite happy with that for now. I hope this has given you a good foundation of how to use everything we learned in the previous lessons on how to put it all together. I know during this section we learned a lot about the graph editor how to use pre camps. We've delved a little bit into effects and presets. We've used some text presets as well. We've used some of the masking techniques, Andi, how to add music. And you just had a general plan. I think this is like one of the best ways to learn after effects is to go through this. You can you know, you could get. There's a lot of costs is out there that show you how to use every single cool technique. But I wanted this cost to be completely about fundamentals. So now we've done this. Let's work on actually getting this across to Orender. So if you remember the render section, I said I did before. I think the best way to do this is to go to composition and add it to your media encarta, which should already be installed when you install the after effects. Now your media included is loaded. It should put it automatically into the queue. I'm happy with this being a hedge 264 as an MP for I've put the output onto my desktop high bit rates. Fine. This will be good to put on YouTube. Instagram on an MP five is kind of like a universal output file and a co deck Haitian. Six. Well, it's just good to you. So once you have that in there, click on here and then when you've rendered you have your MP for on your desktop or in this case, I'm gonna have it on my desktop and then you're finished. Thank you for following along on the course