Fundamentals of After Effects 101 | Yahir Smith | Skillshare

Fundamentals of After Effects 101

Yahir Smith, Digital Media Specialist

Fundamentals of After Effects 101

Yahir Smith, Digital Media Specialist

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9 Lessons (1h 25m)
    • 1. Course Introduction

      1:45
    • 2. After effects interface

      10:58
    • 3. Exporting from Illustrator

      5:39
    • 4. Animating the eyes

      16:33
    • 5. Animating the transition

      8:09
    • 6. Using masks and wrapping up

      15:19
    • 7. End screen animation

      20:26
    • 8. Exporting

      5:49
    • 9. Closing thoughts

      0:45
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About This Class

In this course, I will be going over the fundamentals of using after effects. After effects is a powerful composite editing program that helps users  create bold and interesting animations for a variety of uses such as motion graphics and text.

At the end of this lesson, students will have a solid understanding in how to use the program to create powerful and amazing visual graphics.

Meet Your Teacher

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Yahir Smith

Digital Media Specialist

Teacher

Hi! My name is Yahir and I am a digital media specialist based in los angeles. I love all things digital media, and educating people on how to use the tools to best present their work online.

 

Follow me  @ yahir smith media on youtube and instagram @ ysmithmedia

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Transcripts

1. Course Introduction: Hey guys and welcome to my lesson on aftereffects at their beds is such a cool program because they literally allows you to do so many different things. You can improve your already existing footage. You could add fun effects. You get green screen different things into the background. You can play around with your intro. You can add like, you know, fancier type years nearly so much you can do with just using After Effects. And the thing I like about after that in the last, sort of spruce up any existing literature that you may already have. In this lesson, we are going to be going over the fundamentals of After Effects, but things that you need to know, the bare bones of after effects. So you can get a great, amazing grasp of the program. And from there on out, you can be able to apply these techniques and sort of effects or videos that you're planning on working on. And this lesson, we are going to be going over a few things. We are going to record over the placing, overview or After Effects, but also want to be going over how to export projects from Illustrator into After Effects and sort of how that works, the whole process births. And we're also going to be learning how to use a different tools of active that's like easy Intuit and different sort of effects. Now you can use to help animates and bring life into your designed and graphics. Again, I think that after effects is just a cool program because it just allows you to add that spark. And in this lesson we actually are going to be and leading a logo. And it's an interesting, I mean, a logo was pretty poor on its own, but the one, we're gonna go ahead and make it a little bit more fun and a bit more intriguing and little bit more engaging. And that is possible with After Effects. So super excited that you decided to take this course. And without further ado, let's begin. 2. After effects interface : Okay, so now we're back to that main screen that we were talking about. This is the screen in which we had the end, the end composition that we want to appear, the competition that we're trying to emulate. So let's just go ahead and look at that again. Go ahead and press play. But a mountain lion blinking. We gotta moving up and going across the screen. And then he goes and he creates logo. Now, we're gonna go ahead and work backwards from this. But since we are starting a new and this looks super confusing, and it's going to go ahead and clean this up and make sure that it's not getting in our way. Because we want to make sure that we're seeing what we're doing. And it's very, very easy for things to get complicated. We have all our different comps here. We have our preconscious folder, we have our comps and the bottom here. And this is just way too much. We're really trying to get clarity on this. It's going to go ahead and right-click, go to New Folder. I'm just going to name this old map in Lyon. Comps. I'm just gonna go ahead and take all these compositions, all these competitions right here. And I can select them all by clicking on one and then left clicking as well as holding down shift. It's going to move it to this folder. When I put it right here. Great. And now actually have these layers and these bonuses while two, and it's going to move it down there as well too, because we wanted to keep this as clean looking as possible. Perfect. And we actually had a precompiled folder as well to, from this old projects. And we're just gonna go ahead and left-click and bring everything inside of old com. So as you can see, if we're 12 Don old com, it has all those spots that we just saw and this is much better, doesn't it? That much more organized and we can actually see what's going on. So I'm just gonna go ahead and exit out as well too as we are not going to be using them now, these other exotics, we're working back and we're just gonna go ahead and exit out. And then we just sort of have the contra here. So what I'm gonna do is I'm gonna go to composition, new composition. And I'm going to name this mount in Lyon. Knew. And I want my dimensions to be, let's see. I think 1920 by 1080 should work just fine as we do want to export this and have this shown on video. But you can also do the 1440 by 1080 as well too. So it's not too big on file. And let me just scroll down right here at two and then we can see the frame rate is 25. I just want to change that to 30. And we're also seeing the duration right here. We can leave this at ten seconds because I believed that was the total width of the old competent seconds. And if not, we can always go back and check that and I can show you guys how to do that. It's gonna go ahead and press OK. And now we have a nice fresh, new, clean com, repressed space. There's nothing in there, no mountain lion moving around. This has completely and totally new. And so I'm going to go ahead and just go over the interface for you guys. So in the top right here, I have my interface setup in which I have the tools at the top left, right here. I also have the project panel on the left hand side at the main COM timeline down here. And I also have the comp, which shows right here with the time code. And then we have these different things on the bottom here that affect this screen right here. We can even like swish different views and this is one view of seeing one thing. We can go to four views. We can go to four views Ri, we can even do like for these top, I mean the sky's element. We're going to keep it at one view because that's what we're going to be working in. We don't need all that. I have my resolution playback set to half. And that just helps when I'm playing back because sometimes when I just wanna see a change that I've made, I don't want to play a real time because that takes up a lot of brands space and memory. That's what I believe in like a half or quarter. I'm just gonna go ahead and read that a half. And that should be fine. On the right-hand side here that you can see that we have our workspace and I have my workspace set up this way. So for example, you can see it says he hears a workspace right here. But if I was to go right here to default, this as a default workspace up after effects, which as you can see, it's not too different, is just probably that you can see that the tools are slightly changed and that's just because of my preferences. I prefer to have the tools, how I aligned them in my workspace. But as you can see, this is not too much of a difference. And this is going to be perhaps the default view that you, you're looking at aftereffects right now, because this is the default workspace. And you can see we have our patents on the right, and we have everything. It's going to go to View. So I window workspace and I'm going to go back to the a here. It's brought space because I want that layout. That's the layout I feel more comfortable working in. And that's just the layout that I want to see to work for this specific project. So everything that's going pretty good now we have this and we're going to do, we're just going to check to see if our duration with accurate right here. Just go ahead and open up old mountain lion and then just go ahead and look for them for that composition. I believe it was in here. This was a composition. And as you can see, you can scroll all the way to the end. We see that we end at about nine minutes and 15 seconds. So close to ten seconds with a little bit of breathing room. So let's just go ahead and mimic that, which we already did because we had is set to ten seconds. So well, good so far, guys, everything's looking good for the older, for the overview on the workspace, he's gonna go ahead and exit out again because remember, we do not want to get confused. That was the old composition. And this is the new composition. And the compositions and after effects basically worked like folders and they work like a footage files. So just think of a composition as its own sort of. For whatever's going on inside of it. So for example, let's just go back to old smart line against this. We don't have anything in new mountain lion yet. Let's go back to old mountain lion And then let's just go ahead and press main. Ok. So as you can see in this composition right here, this will be considered a composition. And this was called Mountain Lion main. This was the composition. And as you can see, I've had, I've had several different things going on in this composition. For example, if I click on this blue one, wishes track six, and then I click the little eyeball icon right here. Actually let me just back that up a little bit. A click the little eyeball icon right here. You can see that this was one of the lines of the transition lines that I've placed for making that transition for the mountain lion. So if I take that out, you won't see it anymore. If I take this one out, you will see it anymore. And if I take this one out, you would not see that one either. So I just wanted to go ahead and show you guys that because these are the items that are in with that in within the Kang and the comp is to host the hub. Think of it as the main hub for what is happening with your compositions. Basically, what is happening with what you're seeing on the screen. So it's just the main hub of all those things. And then we scroll through some more. We can see that we have something else in the competition. We have the mountain lion blink, and we were talking about animating that blame. So if I press the I-V eyeball button coincidentally, and go ahead and press that. And we can see that the mountain lion, it's actually gone. But this is because I named this mountain lion blink because this is a separate pre-cum. Notice that the way this, this item let's write here does not look like these items. These items have a star on them. They have a blue little sort of leisure to them. And as you notice this one, if you look closer, it does not have a blue leisure to it, and it also has a pseudo different icon. This is because this is a princomp inside of a composition and precompile work really good because they allow you to separate things within a composition. So for example, this mountain lion blink. And this is actually the full mon line. If I click on this pre-conference opening it up, you can see is another hub. So with type a nest, pre cams and calms are like nest within each other. And as you can see, if I opened up that pre-cum, I opened it up and I opened it up to this. And as you can see, if I scroll back and forth, you see that blinking effect. And and how it was able to make that blinking effect was why was I had to take that original seperate I layer that we made an illustrator not too long ago. And I had to create it into a illustrator vector shape, which I'm going to be showing you in the next lesson. And I had to go ahead and animate that. Once I did that, if I just press space. And you can see, and we can just go right here. You can see this is the time period that allowed that link and it'll keep going. This is the time period that allow their movement. And again, we're gonna be going over this in the next lesson and exactly how I did these things. But I just wanted to show you guys this is what's going on right now. This was the princomp inside of the comp. So let's exit this out. And this is the pre-conference is allowing the mountain lion to move and the way he is moving. And then he's also going into the main logo. So definitely going to be getting into the skies. But I just wanted to break down the the definition of a calm and a pre-conference so we understand what we're working with and how we're working. So we can have the best workflow on the most efficient workflow. And we can understand the program. Because once you understand these fundamentals and after Fez, I'm telling you guys, but it'll be a breeze because you'll be able to organize things, shift and sift through things at a much faster rate in order to get what you need. And organization is key. The more organized you are, the easier and faster it is to find an animate things. 3. Exporting from Illustrator: Okay guys, so this is basically going to be the interface that you see when you open up aftereffects. We have a few things going on here. We have the composition to the left hand side. We also have the composition listed again at the bottom here, and the actual composition here. Now, the reason you see all these things, it's because this is the finished version of the project. We're actually going to be working backwards. I'm just gonna go ahead and show you guys what the end result is going to look like. So this, you can see this pretty cool. That's just an animated logo that I created for this logo that I made. And it's basically showcases a mountain lion. And I thought it'd be pretty cool to kinda have this mountain lion sort of moving around and then had the mountain lion come back into the main logo. So I'm basically going to be showing you guys how I did that. First and foremost, you want to make sure that you export properly. She's gonna go ahead and go to File Close. Actually, I'm just gonna go ahead and go to Illustrator. It, show you guys how it's done. So this is the illustrated right here of the mountain line of file, and this is the actual mountain lion himself. You can see if I press on the mountain lion, you just kinda clicks on him and I can sort of move him around and add in group these layers together. That's why they're coming out separately. I'm just kinda commands and do that. And this is basically the main body I want at the mountain lion. Now, when you're exporting something illustrator to After Effects, This is actually the best way to do it because After Effects basically recognizes vector graphics really well. And it's like the perfect complimentary programs to have illustrator work with After Effects in tandem and vice versa. For this logo, I want the mountain lion as I show, I just, as I just showed you guys the sort of blank and then move past the screen and then integrated to the logo. So I am trying to do here guys, I'm trying to make sure that I export this file correctly and I want this file to be exploited the way it needs to be, so I can go ahead and work with it inside of after effects. Now as you can see here, if you look to your right hand side, you see that I have two separate layers at the ice layer. And then I just had the rest of the mountain lion. And I did that on purpose because the eyes or the only thing that I want to Amman animate on the line. I don't want to add anything else on the line. As a majority of the animation, that's going to be the line moving across the screen. So I just wanted to make sure that I added a blink on the mountain lion. So I'm just gonna go ahead and show you guys how I did this and want to create a duplicate version of this file, which is right here. I had the same aspect ratios of the document. I'm just gonna go ahead and press Command V. And I'm just gonna go ahead and scale the mountain lion up by holding shift to scale them up nice and big. And now you can see the mountain lion is in the frame. I always like to go to view ruler and then just show my rulers. I just like to see like, you know, the actual dimensions in inches. That just helps me like kind of focus on an illustrator. So I'm just going to go ahead. I have those turned on now. And then as you can see, I can press Command N plus to zoom inside of my document. And as you can see, I'm seeing a mountain lion and a bigger aspect ratio. If I go to layers and I click the eyeball, you can see that he disappears completely. And obviously I don't want that. I want to separate a little bit. I want to separate some things so I can animate them separately inside of After Effects. So what I'm going to do is I'm going to select it. I will select the Marmara plus object Ungroup. Because I had this group's not everything is separate at the either I can click, I have certain things like the face part that I can click. These are separate items and it's going to go ahead and go right here to New Layer. Gonna write double-click, rename i. I's. So that's a separate layer. And I'm going to go ahead and click on the I. I'm gonna go to edit, cut. And that was like a creepy no Iron Mountain Lion. But I'll go back to the ice layer and go to edit, paste in place the shortcut, it's also Shift Command V. And as you can see now, the eyes on separate layer and it can be animated individually of everything else. So you can see I can shut the eye off and then I can also shut it back on and then shut the body off. And as you can see, they're independent of each other. And that allows me the freedom mobility to be able to adjust the actual eye and get that blinking effect going. So we can go ahead and just have this mountain lion or give us a blank before he he's Chrissy stretches across a screen. Okay guys, so that is all for exporting from Illustrator. And the next lesson we are going to be going over actually working in the program, getting the program set up. So the way we like so we can get the best workflow possible. 4. Animating the eyes : Okay, welcome back everyone. And now in this lesson we are going to go ahead and import that line that we initially exported from Illustrator. We're gonna go ahead and import him into After Effects. And it's actually just switched back for a second because I don't actually think we exploited that mountain lion from illustrator. It's gonna go ahead and open up Illustrator again. We have our line right here. And this majestic beauty, we have its eyes and then we have the mountain lion itself. And I'm just gonna go ahead and go to File Save As. And I'm just gonna go ahead and call this mountain lion kills share. And we want to save it as an AI. Follow the that just as is, it's going to go ahead and save it. Make sure that everything is looking good. Usually the default settings should be just fine. Just go ahead and just press OK. And now we have an AI saved version of this mountain line. So now we can just go ahead and open up after effects. We can actually just double-click on this panel right here, and now automatically opens up are our window browser. And as you can see, we have lines skill share right here. Just go ahead and select him and then go ahead and press OK. And it's going to ask you if you want to import it as a composition and you want to leave it as a layer size. Yes, leaves the, leaves these defaults as is. And press OK. Now you go ahead and go up here. Now. You see that we have our mountain lion and he has a little bit of a black background. We see a mountain lion. And nonetheless, now remember this is our old mountain lion folder, so we don't want to mess with that. Illustrated does is when the import something and also import it as a folder because it needs to see that it is basically the Illustrator files. So if you look inside right here, you're gonna see the isolated that we were talking about. And he also wanted to be seen the actual Lyra mountain lion layers. So that's basically what we have right here. I can actually delete this composition because we already have a composition, but I'll just leave it there for now. What we can do is we can just twirl down right here. We can select the iss and this layer because remember, this is why we exported and state the Illustrator file because we wanted to get an beads. So just go ahead and shift, click, drag and drag them down here to Arne mountain lion new composition. And just to not confuse you guys, dismount inline new composition that you see down here is the exact same one that is up here is literally the same thing. It's just a different view. And yeah, it's just literally a different view, but it is the same thing. When I first started illus aftereffects. That kinda confused me a little bit because I thought what was appear was different from what's down here, but is literally the same thing. So just wanted to let you guys know that. And this is the mountain lion school share one that we were talking about is just go ahead and access one. I'll just go ahead and delete that. I'm just going to delete what I dragged in because that's not what we actually need. We actually need. The actual mountain lion composition as a separate composition. So just not to get confused, guys, this is a different composition from mountain lion knew this closest folder, this mountain lion skill share is what we imported as a composition that had those layer files inside of it. But this is what we need. And just to let you know, just to keep it clear for you guys, this is not the same as the new composition that we created with our composition settings. This is something different. So as you can see right here, this line, skills your composition that we saved. And if we look inside right here, we see that we have the AIS. And we see that we have the body. Now this is cool and all, but I obviously don't want it to be this way. I want this to go inside of this composition. And it doesn't matter right now dice because we're actually going to make this a princomp. And just remind you guys of pre-cum is nest nested within account. So this is our camera here, my online new, and we are going to create a pre-conference line skills here just to let you guys just make sure we're all on the same page as I know this can get a little tricky. We're going to make a princomp that's going to be nested within this main column. So let's go ahead and right-click and select, Create shapes from vector layer that will allow us to work better in After Effects because it'll be native, it'll be a native file. It won't be Illustrator file will have more creative control and we'd be able to do a lot more once we convert it to the Shape Layer. Does this go ahead and create Shape layer? And as you can see, a created an ice layer now, and if I just click, it's not going to, you're going to see anything. But if I actually press my period key on the keyboard, which is zoom in for After Effects. That's how I can zoom in, is going to hold that. I'm going to hold space bar, which gives him a little hand icon. And I'm just going to be able to drag this around. And as you can see, we have that. I now just go ahead and yes, so you can guys can see it better. So if I select this, you won't see the I. If I select this, you see the i. That's the difference. And now let's go ahead and press the comma button, which is right next to the period of buy-in on the, on the on the keyboard and we can zoom back out. So those are just some quick shortcuts to zoom in and zoom out in After Effects. Let's just go ahead and select our layer one. That's right-click create shape from vector layer. And this is the mountain lion body. So this is already looking a little too confusing. So now that we don't need these anymore because we have, they are aftereffects counterparts. Let's just select, Delete, select Delete, and let us call it. Let's just go ahead and go here. I'm just going to double-click this, actually know right-clicking, rename. And let's just call this lion body. So it's not confusing. And let's just go ahead and right-click this, rename, this. In Lyon eyes. So it just makes more sense. This hole down there comma gets, so sorry that period again to zoom in a little bit more. And now we can see the eyes and the body, ies, and the body. So that's pretty cool, right? So we can go ahead and do that. So now we have this right here. And if you want to just make sure things are aligned perfectly, like I said, its composition is okay, but I'm just gonna go ahead and start. It was going to go ahead and press the question mark. And the question mark automatically zooms everything in appropriately, sort of lines up the main composition in front of you so you can see what you are doing. So now let's for a second, let's go to the mountain lion body. And as you can see, we have these tools right here, this lock, this, so I can't do anything. And this actually we would fly locket. That's just make sure that this is selected guys because this is going to make everything clear. Ok, so we're doing good, we're in great shape. So let's go ahead and exit out a little bit. Well, actually let's keep ourselves in this view. I see that a shade, it's a full, I'm just gonna go back and change it a half just for that playback. Just to my playback would be pretty good and I will have to worry about sort of slow playback or anything like that. So and now we have the AIS, and now we have the body. If you look right here, this is actually the composition for the eyes, and I just moved it away. And as you can see, the eyes have disappeared now. So this is going to affect the i layer and our timeline. Remember our timeline moves across time, guys. So as you can see right now, our timeline is going by frames. You can see ten frames, 20 frames, two minutes. Timeframe is 20 frames and it goes basically by that. So it goes by the time. If you want to actually change the sort of time coder, your time then is going by. Go right here. Command, hold down command and press and left-click. And you can change it to frames instead of seconds. And you can change that back instead of seconds. I like it to be second. I liked it to be hours, minutes, seconds and frames. That's just basically me. That's how I like to work. As I'm leaving a like that, we do have that option command, that left-click. Now let's go back. And as you can see, we have the eyes right here. Now obviously I don't want the eyes is appearing. That's kind of the kind of creepy. So I'm going to move the eyes right back here. And this is the beginning of the timeline guides. So in order to anytime that you want to adjust whatever's being affected within the composition, move this up and down. But we want to keep it right as is, and we're going to leave it just like that. Everything is fitted perfectly within timeline at the moment. So Let's go ahead and just as Ironman we wanted that blink is just go ahead and click on this layer, thus twirl down. Let's go to contents, sort of group one. And let's see what the path is doing here. There's actually a lot of ways to do this, guys is a lot of different ways to do this. I'm just gonna show you guys the way I personally do it. So I have the pathway here, but I did basically is I twirl down from group contents to group one to path to fill. And there are twirl down again to transform. And then I'm going to be playing around with the skewer skew axes right here. And again guys, if anytime you endow in after effects, twirl, twirl toward hope. And I mean by that twirl down right here, throw down these arrows. And anytime you want to just make like anymore refinements or changes, twirl down, guys, I'm telling you you always have more options and you can always see where what you can do. So in doubt, when in doubt, twirl. So it does go, I'm gonna go ahead and draw down here at the skew right here. Just go ahead and go back here and let's insert a keyframe on skill. That smoothness bakelite 20 frames and settled on the Cleveland for skill. And this is how you set key frames. And these are the actual key frames in the bottom. And here guys, these are the keyframes, these small little like diamond looking things. These are keyframes. So just go ahead and skill. And I can always press my period, my space far and I can see what's happening. Close up. So let's see what's causing runway here and let's see there we skew it this way. We kind of have like a weird, I think going on rescued the other way we get the same thing. If we go to the Skew Axis. Nobody doing much here. And we go to scale. We can make a bigger or smaller relative position. We can move the position of the eye, which looks kind of creepy if you ask me. So what I basically wanna do guys I want to make is blinking effect. I want this. You see, like right now I'm playing with skill, but it's not doing anything and says, okay, it's doing something but it's not what I wanted to do. I want it to go up and down as if the mountain lion was blinking. So what happens is that you have to make sure that your n component is placed in the place that you want it to be placed. Because if it's not placing the accurate place guys is now going to do what you wanted to do. The effects are not going to be applied in the sort of orientation that you want it to be applied. To change that you can either hit Y on the keyboard or you can go to this tool right here. This is the anchor point tool. Let's hit our, let's hit our period again, Space-bar for the hand. You see right here that I said that y again, make sure we got that y. And let's just move this down here. So I noticed that I was actually going or more complicated route. I wanna make this as easy as possible. So what I actually intended to do was to go ahead and select V, which is my arrow right here. And we have our I selected. And we're just gonna go ahead and play with the scale. So for example, we're gonna go to the scale right here. Select the, the, the, the, the keyframe for scale. Move down here, select another keyframe. And now with this keyframe, it's actually undo that keyframe with Command Z to undo a keyframe like anything. So at the top portion, and let's bring it down. So we play that back. Look at that, that went down. So let's actually zoom out so we can see more clearly. And you can see that the line has a close eye right now. So let's just go back in there because obviously we don't want his isis stay close. You want them to open back up again. So let's just go ahead and go here and to toggle between different T frames as whole J and K, K1 move forward, Jericho back the x2e, kay? A few keyframes again. And let's just open up his Eigen. And what do we even have to enter a number? We can literally just copy this key frame. Edit, copy, and were ready in the time that we want it in this time-space. Edit. Paste can see if i is opening and closing. Let's see how that looks out. Zoom down. Pretty cool, not that, but let's say for example, you want to change the way it sort of acts. We want it to interpellate and basically like be a little bit smoother. That was okay, but let's say we wanted to be smoother. A select all or key frames right here. And let's play around with interpolation. Does right-click. Put a keyframe assistant could easy, ease. And as you can see, we get this little hourglass things now. So let's see how that looks like. A little smoother, not bad. And let's say for example, we want to, we want to see some more. You'll see some more options. Let's right-click go to keyframe velocity. And this is affecting the, the relationship between each of these frames. And it's going to be affecting the way it's going to basically animate that. Let's go to influence right here, let's say. And when we have three keyframes, we're just selecting 50 kilos a little faster, which is not bad. And let us undo that again. And let's say for example, we still want to make some changes. And you wanted to some quick changes also hit command and then click on the keyframes and you're gonna get a different shape. This rounded one tends to make things much more smoother. And as you can see, there's a little bit slower, a little bit more natural. Let's go ahead and click that again. Right-click. And it goes back to the default. So I actually find myself liking the circles I think they looked at the most natural. So I'm just gonna go ahead, I press Command, left-click. And I liked the timing or like the spacing. And this is go ahead and let's just see how the mountain lion looks. In normal view ought question mark to get everything centered. And then this is go ahead and select our period. And then this go ahead and just see that again. That's just the way that we can animate something on our character to just give it a little bit more life, a little bit more of a different look, and left us. And we're gonna go ahead and animate the actual mountain lion's body. 5. Animating the transition : Allow me. So and all we have to learn and all we have to use. I love you too. I mean, I had ownership. Yeah. And thank you to charity and gt teams. Okay. And then it turns out that Alice. 6. Using masks and wrapping up : Okay, so now we're back and we're just gonna go ahead and now get into actually adding a little street come to this mountain lions. So we actually are going to animate him separately from everything else. And as we went over before, we are going to make him into a pre-canned. We're gonna give them a nice little pre-cum Blue Mountain Lion pre calm his own little designated space. Let's go ahead and right-click. Create shades from vector layer. And we have a nice vector layer lion. We can go ahead and delete this one if we'd like to see that does not affect anything, he's still acting the same way. That's pretty cool. Now let's just go ahead and a come from there. We're just gonna go ahead and right-click the loop recompose. I'm gonna call this lion. Lines streak. And you can see he's now in his own pre-cum. And remember, he's still a part of this. It's not like he's gone from this. He's still a part of this, but it's just now as OWN little pre-college. And if we go here, we can see that he is acting the same, but it's just in its own little peacock. Now, we're gonna go ahead and paste a Shape layer. And I got the same shape layer from the previous project. And this is basically going to be the streak that we are going to be using. And it's super simple and easy to create om Shape layers in, in an after fails, you literally just go to layer mu and you gotta shape layer. And that creates a new shape layer. And you can grab the pen tool and just sort of create any sort of shape that you want. And you can move it around, you can make it smaller, make it bigger. You can go ahead and go to these anchor points here and just adjust even more. You can go back to your pen tool, select on something. And even like the store the shape with a lot of things you can do with the shape or tool, but I'll just go ahead and undo, delete this because we are going to be using that same shape. So just delete this layer and let's bring back the shape. As you guys can see here. This is not just the shape, this is the shape. If we press U has a mask inside of it. So by this, go ahead and play that. You basically see what it's doing. And we're obviously we are going to go ahead and delete all of this because we want to. But again, we wanna do again, we don't want to keep the same old, same old that has delete this. And now it doesn't have a mask. Let's even delete the mask layer. Since we made shorter starting the new Leo. Perfect, there is no mask nor anything is completely fresh, completely Leo. Let's go ahead and go back in here. Actually, I think it's still in there. Perfect. So I think now is completely gone. And if I play this, this is just a shape, is just a shade. Nothing special. Nothing happened to it. Literally just hanging out here doing nothing. And what we wanna do is that we want this streak to follow the mountain lion. We wanted to, one millimeter line is appearing, wanted to follow him. And then when it's gone with a lion rest in His sorry. When the mountain lion rests in his last arm position, that's where you want the Austria to finish and disappear. So this is, go ahead and just make sure that the street is following the mountain. My let's go ahead and place this right here. And let's just see how that looks. And let's pound the street to the mountain lion. And let's see what happens. As you can see, is parented and it's following the mountain lion straight ahead. But we don't want that because we wanted to we wanted to basically appear. We don't want to just tag behind like the model. I want to appear behind an online. That's where we're gonna go ahead and undo that parent. And we just want to make sure that yes, it's following the mountain lion, but it's doing it in a way that is not just duck onto it like sticker is actually animated independent on its own. So let's just go ahead and hydronium ion for now and actually bring them online back in. Parent this again. Two outlines. Transit again. Now the tide, the mountain lion. You're gonna see it just counts for a moving like that. And now let's zoom in. And here's where we're going to play around with the mask because we want this to appear, but we don't want it to appear in the way that it is appearing. We wanted to trail behind the mountain lion, not just sort of be stuck onto it in a very boring matter, we're gonna go ahead and deliver a layer mu. And we're to actually going to own mass right here. We want to go to a new mask. And this is going to be applying a mask directly on, directly on to our Shape layer because habits Shape layers selected when we selected the mask option. So if you look now, he tore down copy you. You see, now we have masks here and 12 down. I'm gonna go ahead and leave it on ad. And let's just play around with the way it looks a little bit. So I want the Shape Layer two appear and disappear. I don't want to just be stuck on and wanted to sort of animate over time. And the mask is going to be responsible for that. So let's just go ahead and create a keyframe. Honor mask. We scroll down here, mask path, keyframe. And just create another key frame down here. And let's start playing around and let's see what we can do. So, as we mentioned, we want it to be disappearing in real time in addition to the other logo. So put the mask selected. I have the mask right here. Memories on ad, which is allowing me to. To have that value on the mask. And over here, okay, so it's coming up here. Let's start having it disappear around here. Let's move this keyframe here. Let's take the mask and just move it slightly. Go bag. It's going the opposite direction. You have to make sure that you have Mask selected and nothing else. So far. Let's go back here and let's make sure that this mask, It's basically covered, but I want to move it fully. As you can see. Then it starts going away like that. And let's just keep that process. Let's move keyframes like we did. And let's just say even more. So disappearing a little bit more one-by-one, its disappearing more. This movie a little bit forward. Here. Let's move a little bit more forward. Just a process, just like slowly added appearing is going to be disappearing. Last can be just disappear fully. Another math with complete the GAR. So let's just play that back. And that's pretty good as this go ahead and easy, ease this. Change some of its functions. Flatter, smoother than I would like. To just go ahead and click this graph editor. We can see the multiple instances right here. Let's make this a little bit smoother. I'm selecting the key phrase in the bottle reticent to make the process a little bit more smooth. Okay guys, so I basically finished and I just finished playing around it, finessing this, and this is the final result. We'll go back. Particulars, pretty cool, I think it fits. And remember, this is our pre calm, so we just go to our campus within that, you can see how it's going to look. Let's pretty good guy, ecstasy. We basically recreated the animated logo that we had before. And yeah, that's basically how you do it. And one last thing, I just want to make sure. So right here, this is considered its own composition right now, you know, we have these things. We have the line Street, that's a princomp within this camp. But we also want to make this a pre-cum too, because this is like the end, you know, text logo screen. This is not its own calm because remember we want to put this inside of this. Because remember we want to transition from that old mountain lion. Zoom in a little bit more. We want to transition from the old mountain lion in to that text. So we don't necessarily want to have this ONE thing. This is within this. We want this to be with this as well to there's a really simple and easy way to fix this. We are just going to go ahead and we are going to left-click everything right. Third, we're going to select decompose and we're going to name this mountain lion. Press OK. As you can see, we have something that's called Mao in Lyon texts. And now what we're going to do is select everything. Copier. Open up our mountain lion new composition, pace. And then right-click, decompose. Unnamed mountain is going to come out and texts as you already maybe other one mountain, texts, mountain lions x. So you can see right here, this is a new composition. Within this composition, let us take this element, this track it back because we don't want it to appear just yet. Let's have this mountain lion do its thing. And then let's bring it in like so. Bring that in a little bit more so it can be faster. That's pretty cool guys. I just want this to be faster though. I think it's still a little bit too slow. And I actually think on what this mountain lion to appear a little bit faster. So let's click on this pre comm. Go back to our mountain lion streak, which is another pre com. We have a lot of things open, so this is closed, some things close this. Let's close this. And this is what the sublattice, a pre-cum smarten line actually fall back on the signal level. Ok. And I want the plant to actually appear after the mountain lion does his prints. Like our bar here, that's when I want my plan to show up. Let us pretty good guys was going to go ahead and save that. And we already took sport. So in the next lesson, we're just going to go ahead and export this and get this ready to share with the world. 7. End screen animation : Hey guys and welcome back to the next lesson. And in this lesson, we are going to be adding the end screen and animating the texts, some elements within the screen. And also that line, we want the lines to sort of transition into the previous shot of him just sort of jumping out of the frame. Now we want the mountain lion to jump back into the frame and we want him to jump back and become a part of the logo. So this is the mountain lion and screen. As you can see, we have the text, we have the mountain line right here, and we also have the separate layers. What I did was I made these elements onto separate layers as I showed you guys before. So if you look at the plant, the plant is in its own layer. The line isn't its own layer, and the M is in its own layer. Now the reason I made the M in its own layer, a part of this logo is because for the m, I actually want to animate that separately. The whole point of this text logo was because I wanted the M to look like. And that's why I made it bigger and more pronounced than all the other type characters because I wanted it to look like a mind. That's also why I chose that font. Because to me that font best looked like amount. And this is why I went ahead and just place the em on a separate layer because I'm going to be animating this m. I wanted to shoot up like it's basically like, like the mind is rising, basically that's the idea behind it. So that's why as you can see, you have the m in its own separate layer. And you also have the text in its own separate layer as well too, because the text is simply going to appear nothing fancy, nothing crazy. But I wanted to appear after that M grows basically. So I have everything in separate layers, guys, and I went ahead and just name this file. And then I'm just gonna go ahead and go back to illustrator. When a course is old folder, because as the old one, select the new count, the new com folder. And I'm just gonna go ahead and this x these things out. We don't need them right now. And this is where we were before. It's going to go ahead and double click. And I'm going to be chosen mountain lion text logo. That is the file. Where I'm actually going to do is actually rename this one too, since it is separate from the other one, I just want to go ahead and rename it. So I'm actually gonna go back to Illustrator file. Once again, we'll go to File, Save coffee. Just rename this skill share because I don't want to confuse the file types. Guides are super important to be organized with everything we're doing, with what you're working in. And since we are recreating this logo, I don't want to use the same bar type as a previous project will just be confusing. It'll be messy and this or opportunity that it can disrupt corrupt files. And I just don't like taking my chance. I'd rather just keep everything separate and keep everything organized. Let's go ahead and press Save. While the seventh refine. Double-click here, Import. And as you can see, we have the skill show one now opens. That's fine. This is the one we want guys that go ahead and close everything out. So we'll just organize. Okay, so this is going to be right here. And we have opened up right here. As you can see, everything is black and I can change that. I want. I can go to composition. Composition settings, like a shade or color to white. But since some, yeah, I'll just go ahead and change it to white anyways, shortcut for whites, F6 times. And everything's fine with composition center we want, okay, and now we have this opened up. Go ahead and make everything sharp as possible. And this is going to be the text. So you can see guys, that M is separate. This plant is separate and the line is separate and the text itself as separate. And you can see that right here, everything is laid out separately and individually, just as we specified an illustrator, when we place everything in separate layers, you can see it right here. It's laid out the exact same way as we intended. Now the first thing I wanna do is I actually want to, I'm going to hide the mountain life now. And that even heightened risk analyte move him back a little bit because I don't want him to appear just yet. And remember, we want m to be animated first as the first thing we want animated. As you can see, we have the M right here, and we can just go ahead and directly animate that. We have the Mountain Lion, he's a little bit, he's coming in a little bit later. So we're just gonna leave him right here. And we're just going to go ahead and focus on his em right here. We're going to animate this M is going to be super simple guys. I just want them to go from lower to just appear out of nowhere. We're going to go ahead and do as we've done before and wanted to option Te Bie capacity Golder further here, option to again press J, go back, make it 0. Let's play that. That's okay. Let's change that timing. The ease that Let's push the initial line a little bit back of heat authority to common yet. That's pretty good. And let's play around with the actual em. So it's actually just go back here. And with the M, i want them to basically go, i want the EM around here. I wanted to basically go from a low orientation to a higher orientation. This is go ahead and open up our scale. Oops. Key phrase. You gotta be careful what you pass because then you can do a lot of things without trying to get to do those things, you just have to be really careful. And let's go back to you CRP frames. Let's take this art. Okay, now let's print command option us. Perfect, and we have that keyframe. Let's go back to here, make another keyframe. Go back here. Now this is the issue I'm having because I'm trying to adjust the whale lots, but I cannot see it because of that or pass rates. So temporarily let me just take this keyframe, move away. You just yet I'm just take this keyframe, move it away. Or I could even just changes to a 100, which is easier just for now. So we can see what's happening and then we can change that back because we need to return just the scale of this. So m restaurant, go ahead and zoom in a little bit on the scale property. And let's make it, let's make the M. And this, this key femoral mirror that's made that M that's like a flat. And it's gonna show from Whitehall that place the anchor down on my white tool so I can just adjust it like bad. And I basically want to, somewhere around here. I wanted to grow, wanted to come up like that. So we have that you see, we have the end growing basically as a separate of everything else that's happening here. And after that haven't grown skies. After the M grows. I also want to be the supporting text to appear after that. Just go ahead. And probably like at about here, we have the supporting Texas layers is quoting texts. That's more back here. Let's see how it looks on its own. We've got to move this plant to because it's fast distracting. Nobody ever hears also. See how that looks like. Probably around here. We can start having that text come in and it's just simply give it opacities. Nothing crazy, super-simple. And wanted to be a little bit more transitional. Also guys, as other ways you can do this. So for example, if I shift selects these keyframes, but a keyframe velocity, again, again, I can change the interpolation between those frames. For example, I can use 7070. Okay, let's see what that looks like. This. And what I want to change a little bit more. And I actually want to show you guys this. We have the graph editor right here, which if you click the graph editor, it opens up and has us more specified way to adjust spacing and timing between keyframes. The graph editor has to View guys has the speed graph, which is this one right here, and a has the value graph. Let's start with speed graph. The speed graph. It's responsible for the interpolation of, the interpolation of the spacing over time. So for example, if I'm in the graph editor right here, and these two points represent my two key frames that I placed. These two key frames, I can change the speed at which those two key frames are in relation to each other. So for example, if I choose one and drag it more to the right. As you can see, that bell curve has just been made a little wider, which should make the transition a little bit more slower. So let's just go back and see that C. So it's just slightly more slower because I'm affecting the speed between keyframes. Now for the graft, sorry for the value editor that go back to the value graph. This is editing the value between the two keyframes. So let's say for example, I have my two keyframes, which I get a half here. I choose this one. Go ahead and just move it a little bit more to the right. And I go back here, I've played that is adjusting the value that it's, that it's increasing. Because remember this is opacity. So the opacity is creasing, which we set before, but it is the value between those two key frames of that opacity effects. So I know it can be a little confusing, but that's basically the general distinction of those two. And this is pretty good. I don't mind this actually kinda like the way the Value graph. And again I, again, I'm not a 100% right here. I can go, was the high second goiter a 100%. I can take the full anchor point here, and this is going to make the effect note gradual. You see there's a gradual sort of curve is just going to make a more gradual. I can do the same. I can take this and make it a little deeper. I can just scroll back. And since this is like just responsible for really finessing things guys. And it's so important to be able to refer back to this when you want to make a good animation because this is going to be responsible for the fluidity, this graph editor. And I'm liking that, I'm liking the way that comes up. It comes up very natural. You have the m growing that coming off and then you have death. It's going to go back and like that and satisfied with that. And I'm gonna go ahead and do the same for plant. Perfect. Now the last and final thing is we are going to focus on online here. And this line, this guy, as you can see, he left the other frame now he's jumping back. And I want to make sure that that is accurately portrayed. This is go ahead and throw this down because I really want to focus on this high because we're really going to. Be working with him. And now I'm going to go ahead and just focus on the line I just haven't selected. And I'm going to add a mate the line over time. So I am just for to go ahead and work backwards. So I'm going to go Option P because I like what he's app right now. And I'm going to go all the way here. Kind of go back to Option P is log T2. And now I'm going to go ahead and change his direction. Okay, so let's go ahead and zoom in for zoomed in right here. And I'm going to go ahead and start animating him. So let's just go ahead and have him. Actually, what I'll do is I will have this a little closer to r, n. So this is r and this is where we want him ended up. So let's move this. I'm going to have we can zoom in a little bit more. Let's move our line like so. And let's change the rotation is what's whom Jason rotation abouts. We'll see about here. Let's go back a little bit more. Let's change that position again. And that's position. Can be here. And let's change its rotation again. And let's go back again. Changes position again. Going back over here changes rotation again. What this looked real. Let's go back again. Changes position again, and this time he's just going to go completely off. That's just play that back. Well now extremely fast. As you can see, he just sort of jumped in there. And just like prompts, like he just he basically just like the lion hears. And that's pretty cool, but I want to adjust this a little bit further. So first and foremost, we know we want him to end up here. So let's just go ahead and will this a little bit more? Let's get the timing right, because he's pulling blades will fast. And it's actually animate that path a little bit. If so, if we, if we zoom in, we actually focus on a path. We can see the actual path of the mountain lion is on. So let's go ahead and just make sure that its path is a path that we actually want it to be and the way that we wanted to do. So, I'm actually just going to select. This, so my points and just affect the actual point. Because you can see if I click on this little square, the square allows me to make adjustments. And I just want to adjust the actual path. And is a lot of things that you can do. You can either you can also grab the pencil, shortcut g rather pen tool. And you can even make adjustments within the path with the pencil. So you can see I have that g pentose selected. As you can see, I wanted to be more smoother. I want this to be a very smooth thing. And that's pretty decent. Now, let me go back in and actually adjust the spacing the van between these. So let's go here. Instead, I thought keyframes, graph editor. We are in the baton graph and these are different key frames. And you can see we have different colours when actually switched to these feed graph. And this is how it's looking with the speed over time. This is decent and you can see this if I replace BellKor's and representing it, that's just take one of these and scale it back little bit. Take this one, scan it back a little bit. Just so I can adjust the timing. Because I feel like it's still a little bit to a router. And I want it to be able to like we want it to be a little bit more fluid. Let's play that back. You see how that's coming in more fluid than it was before. And still not liking how it's like a little lag like from here. Just like such a lag, like in the middle here. So that's select this, bringing this in a little bit more. Let's see what that looks like. Let's have a better let's just bring it in a little bit more. And this is the bottom here, guys, this is the accurate point. Just I Calvi spoke. This is the anchor point and you can also adjust this to make sure that the speed is being altered at the sort of orientation that you wanted to be altered in. For example, we have all these keyframes. This anchor point is at the baseline at 0, and that's exactly where we want it. And sometimes it does move guys, you just always pay attention to this. Okay, guys. So I just went ahead and just in my finessing, it was going to show you what it looks like. And that's pretty good. So in the next lesson, I'm going to be showing you how to add an actual mask to this because I want a little bit of a street that's gone to follow the mountain lion. I will see you guys there. 8. Exporting: Okay guys, so now we're just gonna go ahead and export. This project will be finished and we completed. Let's just take another look at it. It looks good. Okay, then we're just gonna go ahead and export that. There's a few shortcuts that you can use, their sub B and I shortcuts of B I believe is for in and I is for out. You're gonna go ahead and export this right here. Okay, so we have our endpoints that are over here. And our point is that all the way to ten seconds. Because remember at the beginning of the lesson, we set our composition to about ten seconds. So just go ahead and bring this in. And we can also, since we're not using this anymore, we can option right brackets, cut that. Option right bracket, cut that as well too. So you know, our file size will be smaller and we're not going to be using anything that we no longer need. Ok, so we are all set. We have everything that we'd like and within this composition. And now we can explore. Let's go to File, Export, add to render to the energy's gonna open up. We're gonna go ahead and go down here. Just make sure our settings are okay. This is pretty good. Go to lossless. We are going to keep it as a QuickTime file. There's a few options that you have here. You can leave it at animation, which I usually do, or you can actually choose the apple progress for 22 LT. I'm, I hear some people say that's a really good that's a really good preset on for, let's say for example, you want something really high res, We're gonna keep it very simple. You just gonna leave an animation could that's a really good quality. And it was going to go ahead and leave it okay, RGB channel millions of colors, everything else looks fine. This is a QuickTime file we're using. Let's go ahead and just press OK. Then here is very important because we want to know where we're going to export it soon. Let's click here. Remember we named a mountain lion new. So I feel like we can just go ahead and go to our desktop. And then we had Mountain line over here. And we can go to exports and just see the mountain lion right here in exports as enlightened, new, safe. Everything is set and we're simply going to render this. And when you hear that little chime, that just means that the rendering is finished. And we're gonna just gonna go ahead and open up our desktop. Go to Mountain Lion. Mountain Lion exports mountain lion. The left click that, just pay that through its gonna take law sometimes, especially when you've just saved it to show this, you know, give it a few seconds and it should show up soon. We got this. See where about eight seconds. We're good. Yep, there we go, dies. Now just keep in mind that aftereffects sense to export things as quick time. And if you want to share this online, I definitely recommend saving it as an H.264 format. So let's say for example, we have this like this. We can have two options. You can either export it directly from after effects. So you can go aftereffects and export to add to media and quarter, this is going to open up the huge media in quarter for you to be able to export this at the 0.264 file. If you want to share this online, if you want to share this, let's say, for example, on social media or anything like that. We're just gonna go ahead and make sure that you choose that h 0.264 format. And you should be good to go. And a lot of platforms, especially online platforms, they welcome and they use that preset and is the optimize preferred preset to use so and file type. So you should be definitely be fine with that. Perfect. And now we're seeing our file right here, and it's going to be the file and just go over the settings pretty fast and you see the width, the height, set, the waste must be set. I'm seeing a black background here, but it should be exploiting AS a white background. So that should be fine. This is go ahead and you can set this up VBR to pass. This is a really small file, so you would really have to worry about that. Usually you want to just make sure that you export it to the highest quality as possible. But again, as long as we have the 0.264 guys, we are golden. We are sets whose maximum render quality, everything else that's five. And let's go ahead and press okay, we are done with our settings and we are exploiting. And that is all for the exporting process, guys. I am grateful that you are able to take this class and I hope that you learn something. I am just going to make sure that this exports with the white background as I'm seeing it, of that background right here, but we should be fine. So I found the issue for some reason when I exported directly from aftereffects, The system was being a little buggy and it was not corresponding to the white background to what I simply did was I imported that quick time Father, we initially export it. I just imported that into the Adobe After Effects, sorry, the Adobe encoder. I just went ahead and imported that MOV file, made sure that I wanted to be h 0.264. That went ahead and transfer. And then I went ahead and exploited that. And that's what gave me the white background. So it's just all about playing around sometime, sometime to system may not recognize what you're doing or is probably hasn't having some configuration issues and just always good to play around and sort of Bigtable things out. But that's how I figured this one out guys, to get the white background and not the black background. 9. Closing thoughts: So thank you so much guys for hanging out with me today and exploring the one core program that it After Effects. I hope that you'll really took a solid foundational core understanding of grasping of the program. And now I want you to go ahead and apply these techniques to anything that you've sorted started to work on. You can apply these techniques to videos or you're editing. You can create a super cool intro and outro, as well as just you already have a logo. Or if you'd like to work on a logo, can go ahead and just create a sample logo and an animate that logo with the steps and effects that we have used in this course. Super excited guys, I hope you took something working this force and enjoy the rest of your day.