2. Shape Refresher: - Hey there. - Welcome to this mini course on aftereffects Shapes, - and we're going to be going over some intermediate skills. - And actually, - a lot of this. - These techniques can be used to make some really advanced motion graphics, - so get ready for some awesome AAA after effects. - My name is Philip Inner. - I'm from video school online dot com, - and I'm really happy to have you here. - I'm not gonna waste too much time, - especially in the following lessons, - but I just wanted to say, - hey, - thank you for joining this course. - I picked this nice San Francisco backdrop for this course. - Ah, - and ah, - because I live in Berkeley now, - right over here across the bay, - really excited to have you here. - So let's get straight into after effects. - So in this lesson, - I'm going Teoh be giving you an overview of the shape tool. - Just a brief overview going over some of the basics so that you guys know how to use it, - and then we're gonna get into more of the intermediate stuff in the following lessons. - But if I am going too fast in this lesson, - which I might be if you are a complete beginner toe after effects. - Check out my aftereffects. - Complete course. - You can check it out at video school online dot com or wherever you're watching this course - , - you will be able to find it there. - Um, - it's called Adobe after Brexit complete course. - And it basically is Ah, - step by step Kratt crash course introducing you to after effects. - So, - you know, - if you're confused about even getting started and how to use the tools and everything, - that's the course that you want to take before taking this one. - So please check it out. - Of course, - I'm happy to have you if you haven't taken that course. - But if I'm going too fast, - I am making this course for intermediate users of after effects. - So, - um, - try to keep up. - If not, - please check out aftereffects. - Complete course. - Okay. - So I just I'm going to start a new composition, - and I'm just gonna call this shape basics in 1920 by 10 80 29 97 10 seconds. - That's great. - Okay, - so up here in the tool panel, - I you will. - You see your shape tool, - and you click and hold the rectangle. - You see the different options for a rounded rectangle, - ellipse or circle Polygon and star tool. - And so you can just select any of those. - Or you can use the keyboard shortcut que to toggle through them. - Okay, - so say we have the Ellipse tool, - and now if you mouse over to your composition, - you will see your mouse becomes and plus sign, - and you can click and drag and create a shape. - Um, - but before we go any further, - let's just look back up here. - And these are the different option for Phil and stroke, - and so fill. - You can choose your color up here. - Stroke. - You can choose your the color of your stroke. - You can choose the with of your stroke, - and then if you click fill or stroke, - you can choose, - um, - whether you want, - uh, - on No, - Phil, - if you want solid color, - I'm linear ingredient or a radio Grady int. - And those options are down here in the content under the lips, - content in your layer for changing the radio, - Grady A. - And linear ingredient or really, - any of the fill options. - Okay, - so we'll talk more about the stroke in the fill in the next lesson. - But that's basically all you need to know about that. - Okay, - so now, - um, - let me just talk a little bit more about options for creating shapes. - So, - as I said, - you can If you have your shape tool selected, - you can click and drag, - and you can basically create a really wide shape or really tall on skinny shape. - And to create a perfect, - perfectly symmetrical cool shape, - you can create click, - shift and drag, - and that creates a perfectly symmetrical shape. - Another option is Teoh create to create perfectly symmetrical shape from where your mouse - clicks. - So say you have a composition and for just for example, - I'm just going to type out some words Video, - school online. - Come. - Okay, - so we have our words are text right here and say we wanted to create a circle, - you know, - perfectly starting from, - you know, - the dot, - for example. - Well, - it be kind of difficult to like create a circle, - drag and create, - you know, - And then you'd have to move it and, - you know, - figure out where it goes. - A really easy way to create a shape is too, - with your shape told, - just click and then hold down. - Command shift and then as you drag out, - it creates a shape from where you clicked. - So now we have this perfect circle from exactly from where we collect from the period. - And so that's a cool trick that I often use when creating shapes. - Okay, - so now I want to talk about a couple of other more intermediate skills with shape. - So let's just take our polygon tool. - We're going to create a shape. - Okay, - So, - uh, - standard the standard for the polygon tool is a five side cited shape. - That's a Pentagon. - But if you twirl down, - the Paulist are one option, - and then you ah, - twirl down. - Let's see Polly star path. - And then underneath that, - you see, - I'm just gonna decrease the size of my composition so you can see better. - Um, - you will see points and this will change the amount of points that your play gone has. - And so, - as you see, - I can scroll through them and you know, - three points. - It's obviously a triangle. - You know, - you can get hectic on Ox Octagon, - and you could actually create some pretty cool animations with this by creating, - you know, - setting key frames. - And, - you know, - from from a triangle to a circle. - You know, - it was kind of cool. - Um, - but yeah. - So basically, - all these options are key frame a ble, - but that is the polygon tool. - Just make sure you know about the points. - Just wanted to make sure you knew about that. - Okay? - A couple things to check out, - how with shapes or just any layers that will really come in handy when using this this - class. - So I created the shape. - Um, - and as you can see, - when I pressed V, - the, - um, - anchor point goes to the center of this shape. - So let's see. - I'll do that again. - So I create the shape and Presby and the anchor point goes to the middle of the shape, - which is really helpful, - especially when were, - you know, - rotating. - Okay, - so let's talk about another thing. - Ah, - and that is anchor points. - So when you create a shape, - the anchor point is I going to be set? - I believe it's in the middle of the composition, - So if I click this shape, - then I want to rotate it. - It's going to rotate around that anchor point or, - you know, - if I'm scaling it from the size of it. - It's gonna skill around the anchor point, - so there's a couple cool ways. - Teoh Fix that, - and one of them is by downloading this move. - Anchor Point script. - Eso. - If you go on Google and you just search, - move Anchor Point. - It's actually a free donation based script that you can download. - It's like the first option and download it. - Install it in your aftereffects script file under application. - If you need help, - just shoot me a message, - Um, - and then it shows up in their window as a an option for a window. - So now if I created a shape, - say, - I create this square and I want the anchor point to be in the bottom left corner, - you can put in the bottom left corner. - Now, - when I rotate it, - it rotates from that anchor point or, - you know, - scale it up or down. - It scales up or down from the anchor point. - If I want it directly in the centre perfectly in the center, - which I often dio, - then I can put it in the center. - You know, - yada, - yada, - yada. - You get the point. - Um, - another cool thing. - Is this a line window, - and that's again under Windows, - a line. - I always have this open now. - I didn't use it in my previous class because I actually didn't know about it when I was - creating the after effects basic course. - But it's really awesome, - cause you can basically align layers perfectly center or whatever. - I was spending lots of time using my title action safe, - trying to move, - you know, - my layers to the center, - but it's actually a built in script. - You can just align things perfectly to the center, - and this really helps when you are create, - you know, - see, - you have multiple layers, - something like this, - and I wanna, - you know, - align them all. - I can go ahead and align them off. - And then, - you know, - I could put them all in the center or whatever I could, - even while now I can't distribute them evenly. - But there's this. - These different distribute options where if you have them lined up, - I think it should distribute them evenly. - I guess it depends on what, - uh, - what shape your layers are in, - but it really comes in handy. - So check out the outline window and the move Anger point window. - Okay, - So, - um, - a couple things that we're gonna go over in the next few lessons are talking more about the - fill in the stroke. - I think I'm gonna leave it for here. - This lessons been 10 minutes, - and I've covered a lot, - and I hope that you've gotten all the basics that you you need. - But in the next few lessons, - we're gonna be covering some more basics. - Like Phil and stroke path options transform tools and everything else that's under this - content content, - uh, - menu. - So thank you so much for watching this lesson. - If you have any questions, - please hit me up on video school, - online dot com and otherwise we'll see you in the next lesson. - My 3. Stroke vs. Fill: - Hey, - everyone, - welcome back to another lesson in the after effects shapes Course. - Today we're going to be talking about stroke versus Phil. - So let me bring up my aftereffects composition. - So, - as you know, - if you create a new shape, - I'm just going to create a new circle. - You have the options for Phil and stroke up here. - You can change the stroke with you Change the fill color. - You can also change the fill options from having none to a solid color. - Grady INTs, - etcetera. - So you can do all this for the stroke as well, - by clicking the stroke text so none, - you know, - color Grady it radio grading. - It doesn't show up, - but you have to change the change the different colors down here in the contents menu. - So if you go under the shape under contents, - just twirled on the shape toward on contents than twirl down your shape. - This one is called a lips one. - You can rename it toe whatever you want, - whatever you want. - And then under here there are some more options. - You can play with the fill color, - so changed the color down here as well. - You can change the opacity. - And this is I actually like using the opacity, - changing it to zero rather than just deleting the Phil, - because you can just delete the Phil and there's no Phil. - But just in case you want it later, - you can always add it back to. - But I always just change the opacity. - Zero to get rid of the Phil. - That's pretty much the only thing we're gonna be playing with in this lesson and most of - this course in terms of the film. - But for stroke, - there are a few different options that we want to look at. - Okay, - so obviously of color and no passing down here and line with. - But the main thing we're looking at is the line cap and dashes. - So lying cap. - It will be easier to see what lying cap is if I draw just a line. - So I'm just going to draw a line and make a really thick, - thick ah stroke. - So if I go down under this to the shape and go under stroke and change the line cap from - but cap to round cap, - it creates this round edge and you know, - this looks really nice. - It might look um, - more pleasant to the eye, - depending on what type of project you're working on. - So just pay. - Make sure you know how to change from but cap or just the sod off, - you know, - straight edge, - uh, - line to, - but to the round cap. - Okay. - And then from here, - you can also add dashes. - I'm gonna go back to my circle shape, - Blair. - So under dashes, - if you hit the plus sign, - it adds a bunch of dashes at the standard size 10. - You can increase the size to whatever you want, - and you can also change the offset. - So that's a pretty cool trick right there. - You can, - of course, - enemy all of these properties. - You know, - if you want to go from a certain offset to another, - you know, - you have a spinning wheel of dashes. - But another thing to take note of is, - I'm just gonna get rid of these key frames is if you hit the plus sign twice. - So before you just hit it once. - Now you hit a second time. - Now you get this gap option. - So now you can actually change what the gap is between the dashes. - So say you want a a huge gap between just, - you know, - three dashes or whatever you can do that, - Um, - And then if you want really small gap, - you know you can change the dash size down really low and then just changed the gap to - something really small. - So something like this could even make it smaller. - So this, - you know, - can even turn into just sort of a dotted line if we change the stroke with down something - like this may be hard to see for you, - but let me try to bring it up, - make a little bigger. - So now you just have a dotted line. - And of course, - if you change to round cap and then decrease the dash size and maybe increased the gap, - you know, - now you just have sort of little docked little balls, - cheated toe one pixel. - So now you have ah, - spinning or just a round ball of dashes, - and then you can, - you know, - animate the offset. - And this thing, - you can have a spinning ball. - And now this. - You know, - if you have this spinning ball, - you know you can animate it with the offset and better way would actually probably be going - under the transform. - Whatever you want to call it, - Is that the name of this And, - uh, - do the rotation of this so you can change the rotation. - Now, - make sure your anger points in the middle. - So now we have a spinning ah, - circle. - And it's just about adding these little, - you know, - details that make your motion graphics that much better. - So instead of just having a circle on your screen with, - you know, - text in it or whatever you want, - um, - have a circle with some spinning dashes behind it. - So that's what you know in this course, - I want to make things practical. - So let me just add this background really quickly to show you how you can use this. - These dashes this dash circle to look really good. - Can we change the color of this? - I use command shift. - Why, - too, - change the color of the solid to something, - you know something maybe darker so that the dashes are more pronounced and then I'm going - to add some text and my text. - Where did it go? - Okay, - so just type in analyzing it. - Typing may because my the color of my Texas is white so I should. - Oh, - because the size is really small. - So I just change the size of my text up. - So let's say Hey there, - let's have some simple text, - you know? - Just make it space properly. - Let's ah, - change the font to something cool. - Green beans. - That's a pretty cool fun. - Okay, - so something like this and then we can animate this so we can animate the hey there, - Teoh Flop in or something. - So if we make sure that the anchor point is in the middle using our move, - anger point, - and then if we toggle switches and mode so that we have this three d option change into - three D and then we just animate the why rotation, - I'm going to set a key frame, - move this forward, - you know, - 20 frames or so, - and then move it back to 90 degrees and then maybe ah, - add, - um easy, - easy. - These key frames just by hitting f nine or on your keep your keyboard function F nine if - you're using a Mac E ward. - So something like this is kind of a cool animation, - you know? - And then, - of course, - we could ADM or shapes behind it or something. - Um, - maybe we add another shape. - Wow, - that is a huge stroke. - I'm gonna take get rid of this stroke and then just changed the fill to something that's - more complementary to this red colors. - I'm just gonna select that read. - Then she's something pretty dark and then under lips and the lips path, - I'm just going to increase the size of this a little bit and then put it behind our hey - there, - text and have this circle green circle. - I'm gonna rename it, - have that enemy in S O. - I could just add a simple, - you know, - scale. - So if I said a key frame at 100% and then go move that key frame up, - you know me, - like 15 frames or something like that. - Then go back and change it. - Toe zero. - Now we have this this circle kind of popping up. - All right, - Now I want to teach you another cool advance, - little advanced trick. - So if you set Eazy e's and then you have these selected and use the graph editor, - you can make this motion look really cool. - So I'm gonna select this option with which is fit all graft to view. - So it makes the graph editor more easily edible, - creditable. - And then under this, - make sure you have at it value graph. - Now, - if I take this first key frame and use the little editor and I bring it all the way up so - that it kind of curves up above 100% what is going to do is it that the circle is going to - pop up above 100%. - So see that it gets bigger, - bigger, - bigger, - and then it goes smaller. - So it's actually going above 100%. - And it's a pretty cool, - um, - effect. - I'm gonna make it smooth out. - You know, - just play around with these key frames. - So something like this, - you know, - I would probably go in and play with the key frames of the hey there text as well. - Ah, - using the graph editor, - you know, - just to add a little bit more interesting motion to it, - maybe speed it up and slow it down. - So it kind of snaps snaps into place something like that, - or even just have it slow down really quickly. - You know, - it kind of goes appears really quickly, - but then it slows down. - So something like this, - we're gonna get out of the graph editor mode. - This is a pretty simple animation, - but it's simple to do, - but it looks very professional. - And of course, - you could add more shapes and go from there. - All right, - so this lesson is getting to be 11 minutes now. - I'm going to cut it off there. - I hope. - You know, - we just played with the stroke and the Phil, - but you get the idea that you know you can create some pretty cool animation is just - playing with that stroke and Phil and then the standard, - uh, - position, - size, - scale and rotation functions of each property of each layer and animating those. - Okay, - thank you for watching. - I hope you had a good one, - and we'll see in the next lesson. - Make sure you check out video school online dot com for more great tips, - tricks, - tutorials, - free block post and discounts to my online courses. - I have a good one by 4. Trim Paths: - Hey, - everyone, - welcome back to lovely San Francisco. - At least the in the virtual sense today we're continuing the after effects shapes. - Course, - my name is Philip Inner. - So today we want to look at, - um, - animating or yeah, - starting enemy. - Our tech are shape shapes in a cool, - interesting way. - Um, - so one of the main ways is using on option called trim paths. - So just take a look at these different animations and see what you can dio just with this - one property. - Claude, - trim paths so you can make lines basically appear really easily. - There's different options within the effects and presets panel. - Teoh do similar things, - but it's so easy using the trim paths method, - Melvin. - So I'm going to go through each and every one of these to show you how you create these - animations. - Okay, - so let's start with this square. - So first it was gonna turn the square off. - We're going to create a square using our rectangle tool. - Make sure that our stroke is off. - Excuse me? - Are shirkers on? - We'll create with the white Phil or White stroke, - and then we're just gonna turn off the fill for this one, - actually, - All right, - So now let's just create a square. - So I'm just going to turn off all of these. - So if I hit this little shy guy option and then hit shy guy up here, - then it makes all these layers disappear. - So now you can just focus on this awesome square layer. - Okay, - so under rectangle, - you will notice this little ad arrow. - If you click on that, - there are a bunch of options. - We're gonna go through some of these in the rest of this course, - but the one we want to look at today is trim path. - So go ahead and set Trump pass. - Now, - if you drop down the trim path met, - uh, - Arrow, - you'll come up with a few more options. - Start and offset. - So if you drop down the 100% to 0, - you will see that this stroke is being painted on. - Basically, - I'm gonna increase the size of the stroke, - so it's easier to see for you. - And then you can, - you know, - offset it toe wherever you want for our square. - We started sort of in the middle of this composition of the square. - And so it went from here and wrapped all the way around, - and then it disappeared. - But it didn't disappear, - going reverse like going from 100% to 0. - It went this way using the start option start property and kind of erasing off and then it - just setting key frames. - So I'm going to set one with both at 0%. - So said the N key frame, - 20 go forward half a second, - go up to 100%. - Leave it on for a few frames, - said the start key frame to zero, - then go forward half a second and changed 100%. - So now we have our square being drawn on. - But I don't like the speed at which is being drawn on. - So, - just like in previous lessons, - I'm going to play with these key frames. - So I'm going to select all and then just press after nine for Eazy E's and then I'm just - going to click the graph editor. - So for this first motion, - I wanted to sort of slowly draw on. - So something like this, - and then maybe even slowly it starts slowly than end slowly. - So something like that, - it is good. - And then I wanted to slowly paint off really slowly. - So I'm just gonna extend that first key frame, - and it can, - like, - really just ramp up at the end and speed off something like that. - Then maybe if I click this graph editor and I just move this second, - keep him a little bit, - cause I wanted to be a little slower, - so something like that is pretty good. - And again after this, - you know, - we can come and change the stroke with you can even go into the rectangle path and change - the size. - And our animation is still there. - Okay, - so that is the square that we just created. - Okay, - turn off shy guy. - So now I'm just going Teoh, - um, - check out this line, - so just gonna zoom out on my Keefe board. - So now we have this line kind of coming out, - so that was kind of interesting. - So this could be used for a certain number of things. - So I'm going to create a new layer using our pen tool, - so create a shape marriage is the line using Lee pencil. - So I'm just going to click and then holding shift down to make sure I create a straight - line, - that is Click. - Just gonna drop down the size something like this. - Okay, - I'm just gonna turn off the rest of the layers. - Shy guy, - them. - Okay, - drop down the contents option, - go to shapes and again add trim. - Pass. - Okay, - so this time, - instead of starting from one end to the other and, - you know, - starting from one end going, - drawing on the whole thing, - we're going to start in the middle. - The way we do that is by setting both the end and the start to 50% said a key frame and - then the start going back to 0% than end going to 100%. - So now you see that it good grows on a very simple but very classy. - This is a very nice animation to add two different things. - You can add it under under text like this. - So there's kind of a practical method of doing it, - you know, - add your titles, - and this could be a lower third or the intro to your video, - whatever it is. - And it's something that I use all the time. - But we're gonna play with these key frames, - so I'm just gonna select both of the first key frames and bring it back. - So it kind of quickly starts. - Then select the 2nd 2 key frames and dragon in holding shift to make sure that it doesn't - go above or below the 100%. - So see, - it really comes to a slow stop at then. - I really like that. - I can even make this longer by dragging out of these key frames, - so something like that is pretty cool. - Okay, - so that is our line. - Okay, - so let's do look at one more and that is the circle. - So this is a pretty cool little animation, - something you hear? - See a lot in, - uh, - the more modern motion graphics, - these little circle lines coming on. - And this is just a building block. - So what you would really do is do this and then multiply, - and I'm gonna show you how it looks. - Uh, - by doing that later, - OK, - But so let's look at how you create this, - though it's actually very similar to our square that we did. - So let's create a new circle using the lips tool. - Let's create a circle. - Okay, - now I'm going to shy guy. - All of these layers And so now we ever ellipse. - I'm gonna drop down the lips one and add a trim pass. - Okay, - so now if we go change the end to zero said a key frame, - then go forward and send set at 100. - And then if we go backwards, - you know, - when this is about, - you know, - a little over half way forward, - we're going to set a key frame for the start at zero and then go forward, - you know, - half second after it completes and change the start to zero. - So you see that? - It kind of paints on that. - At this point, - it starts erasing already. - So basically, - this is the same as the square animation, - but we just shifted the start key frames forward. - So they actually start animating before the end. - Key frames finish. - Okay, - so now let's easy. - Easy. - These And you think the graft editor just make it a little interesting? - You know, - I just typically play around, - see what, - uh, - to see what it looks like. - There is no rial set, - rules on how you're supposed to do this. - Let's see something like this. - So something like that is pretty cool. - I don't like how this the first end key frame kind of ends all abruptly, - So I'm just gonna He's it out a little bit, - so that's pretty cool. - Get out of this graph view. - But you'll notice that in the original composition, - we don't have this. - But, - cap, - we have this round and cap, - so under a stroke, - I'm gonna go change the line cap to round. - Okay, - so now we have this cool circle animation. - We can, - of course, - changed the struck with Drop it down, - make it super skinny. - Something like that. - And that looks pretty clean and fresh. - So how do you actually turn this into something really awesome? - Well, - you kind of just repeat it. - So I'm gonna turn out the shy guy, - and I'm going to just look at our original circle. - Okay? - So basically what I did with this, - if I drop down the contents menu, - I added four lips is they're just not turned on yet, - so I'm gonna turn them all on and let's watch this. - So this is basically just using the method that I showed you. - I basically repeated this verse ellipse and I messed with the settings. - So this second Ellipse, - which is the Green Line. - It's actually going backwards, - So let me hide these other two. - So the white the white stroke is rotating, - rotating counter clockwise. - The green stroke is aren't take back. - The green stroke is rotating counter clockwise, - the white strokes rotating clockwise. - And then I just decrease the stroke with and I, - you know, - move the I move the key frames around, - and that's a pretty cool effect now with Ellipse three, - this certain sort of circle that appears it's still a stroke. - It's not actually the fill that appears. - If I dropped on the film menu are the Ellipse three menu and then look at stroke, - you can see that it's actually just a really thick stroke, - so try to make it perfect. - So that fills incompletely. - Hey, - changed at 1 70 So now it looks kind of like a Pacman who right there anyways, - and it closes and erases Ternana lips for and same thing. - It's this pretty much the same as the white stroke. - The key frames air just a little bit lengthier. - So how do you, - um, - kind of quickly do this just by repeating these? - So if I take the lips. - One I duplicate it. - So it's now lips five. - Just gonna move it to the top. - So it's an order. - Then if I would take the lips path and make it bigger, - how about and then change the stroke with something like this, - Maybe make it super thick. - And then we changed it from round captive. - But, - Cap, - we can change the color to something. - How about something pinkish something like this and and play with the trim path key frames - . - So I'm just gonna Maybe I'll flop these. - So take the first to move him behind the second to and then just move them around. - So now we have this circle kind of come on and then come off. - That was just repeating the key frames of the, - uh, - Ellipse one. - Something like that. - That's kind of cool. - All right, - so that's we're gonna go into death in death with this a lot in a future project based - lesson. - But you get the basis of a lot of what we were going to be doing. - And that's what the trim paths option underneath contents. - Then you just add it using this ad button and then trim pass. - Okay, - we are going on 14 minutes. - I'm gonna end it there. - If you have any questions, - please let me know. - But I really hope you enjoyed this lesson. - If you want more, - check out video school, - online dot com. - More block post more free videos and mawr online courses. - So check it out. - Thank you for watching and stay classy friends by 5. Repeaters: - Hey, - what's up? - Everyone feel here with video school online dot com Today we're continuing the after - effects shapes chorus talking about the repeater effect, - which is an amazing trick that will definitely speed up your workflow and will help you - create some amazing motion graphics. - Let's see what you can do with the repeater right here. - But I am. - Check that out. - Let's watch it again while I talk about it. - So you see all of these different objects flying out of the center of the screen, - and it's just a really cool effect, - um, - that you can use as a transition or, - you know, - helping Teoh make different things appear. - You know, - you could have text pop up after that, - are an image or anything, - and I was able to create this and about 10 minutes, - which is pretty amazing. - And I think I could do it even faster. - Um, - but with you guys were gonna aim at being able to do all this in just about 10 minutes. - So let's get straight into after effects. - The clock is ticking, - so we're going to start a new composition 1920 by 10. - 80 is fine. - Let's just create a background by creating a new solid, - so we'll just use that same blue. - And now we're going to create a new shape. - So using the rectangle tool, - I'm going to create a shape, - um, - and just create a square now with stroke. - I'm just gonna create How about let's do something a little bit different? - Something like this Really light green. - Okay, - now I'm gonna make sure my anchor point is in the center. - So using the move Acre point script, - I'm just gonna set that to the center and then using the line which is under window, - you can center this object. - Okay, - so now under our shape layer under rectangle, - we're going to take the Phil and turn that down to zero. - Okay, - so now first thing we want to do is kind of create some sort of interesting motion with - this. - So under stroke, - let's go ahead and said a key frame for stroke with there. - And then let's go forward about one second and change the stroke with zero. - So already we have some sort of interesting something interesting happening. - Okay, - so now, - with under rectangle path, - let's go ahead and at it. - Thesis eyes from right now, - it's 123.42 Something like zero. - Okay, - so now let's go under. - Um, - let's look under transform rectangle and let's at it, - this position. - So now we can add it the position from where it starts and just move it up. - So I'm just holding shift and pressing up on my keyboard. - Whoops. - Didn't have the key frame set. - Undo that. - Okay, - sorry about that. - Okay. - So said a key frame there, - and now go forward. - And we can just move this right here by clicking this this number, - moving it up. - Okay, - so now what we're going to do is use this scale and go from zero to 100. - So that's something a little interesting. - So this is a different transformation for size. - So up here we ended the rectangle path of size. - Down here we have the transform rectangle scale. - So two different options for editing the size of this. - I'm just gonna zoom in on this so you can see a little better. - Okay, - so now I'm going to select all of these key frames Eazy e's them, - and then go into my graph editor. - Make sure that you have at its speed graph selected. - Select these second key frames and drag him forward. - And this is just gonna create a little bit more interesting motion. - Okay, - so you see, - that is already pretty interesting. - Okay, - so now we're going to add what we call a group. - You thought I was gonna say repeater, - but first, - we're gonna add a group, - and we're gonna put this rectangle inside of the group. - The reason we do that is because if we didn't put the rectangle outside the group, - um, - we wouldn't have these extra transform tools that we might use to edit the rotation size - and different things. - Then also, - we're going to add repeater. - Okay, - so now you see that this repeater, - uh, - effect has increase the number of squares that we created to three, - but they're kind of showing up in a linear way. - So the reason is because under a Peter, - there are different options. - So first, - you can see the number of copies, - so we can go from, - you know, - zero to have her many. - So say we pick something like nine. - You can also change the offset and move them. - However you want down here under the transform repeater options, - you have some more options to change things so you can rotate, - change the scale, - etcetera. - To make it that sort of circular thing that comes out of center. - We're going to change position to zero. - So now all nine copies are at this position and then increase the rotation. - Okay, - So now if the the way that we calculate the rotation is by dividing 360 degrees divided by - the amount of copies, - So we have 40 degrees. - That's right. - Okay, - So now let's just make sure that this is in the center, - and our anger point is in the center of this group now. - So, - as you can see, - we have a pretty cool animation already. - We have just by adding the repeater effect, - we have the square kind of flying out into space, - and it's pretty cool. - Okay, - so that took about, - uh, - Let's see, - that took about six minutes s. - So I got four minutes left to show you had to do the rest of it. - Um, - so basically, - you could just repeat this shape, - and I'm just gonna drag it over so that it starts a little later. - then we just change some of the properties, - suppress you, - you to bring up the properties. - So now, - instead of having the strokes with start at zero, - maybe we'll add the fill. - So let's just delete this. - Delete the stroke entirely. - And then let's add back the Phil. - Okay, - so now we have square is coming out. - And how about ah, - instead of this rotation being 40? - So which rotation are we going? - Teoh change. - We want to rotate the whole object. - So let's just press are and rotate the whole object. - So something like that I did that by selecting the whole object and pressing are bringing - up rotation. - And then let's increase the number of copies to something like 12. - So 3 60 divided by 12 is 30. - Okay, - so now we have these squares coming out, - so that's pretty cool. - Okay, - so let's repeat again. - So I'm just duplicating command d on the keyboard, - and I'm dragging it over. - So now let's do something a little bit different. - So let's press you you. - So now I don't want this, - uh, - the size to go this way from, - uh, - scale zero Teoh 100. - I'm gonna change this from 100 to zero. - So let's just see what that looks like. - So now it starts at 100. - We don't want that. - So we want this get size to be zero, - and then this final size right here, - we're gonna uncheck this link and then drag out the one of the either one of these size - properties. - So now it creates the's really skinny lines. - Now, - let's just make this the 1st 1 like something like 10. - So now I should make some bars that come out. - Okay, - so let's just change the rotation of this. - Not that rotation, - but down here, - um, - one of these rotations should make it more, - um, - straight from the center point. - Are so many things under this group? - Okay, - um, - I can't find it right now, - but it's still a pretty cool effect. - But instead of position going from here toe basically there where the edge of all of our - other things are disappearing, - we're gonna increase the position by actually decreasing these numbers. - So it goes out further, - see how the lines now go out further. - Boom. - That's pretty darn cool. - Okay, - so I can just keep going and keep duplicating this. - But basically what you do, - then, - uh, - I'm just gonna select all of these and just duplicate these individual ones something like - this. - Duplicate them and dragged them around. - And then you can even select one of them and then speed it up or slow it down by dragging - in or dragging out the key frames. - Wow. - So that was pretty crazy. - I don't think I like that necessarily. - But just play around dragging around and you have a pretty awesome object. - Pretty cool animation, - that is. - So that's basically the repeater I got in just over 10 minutes, - Um, - and play around with it. - You know, - under the repeater settings you can play with, - Um, - let's go to this. - This object you can play with, - Um, - the copies, - the offset. - And that might change up how your animation actually appears. - And you just play around with it, - duplicate and have fun. - So right now, - I want you to go and play around and after effects. - Use the repeater effect, - Teoh, - create something unique. - Something similar to this you circles instead of squares used, - you know, - more lines. - You can even create triangles using the mass tool. - If you have any questions, - though, - Please, - let me know. - I'm glad that you got through this lesson with me, - and I can't wait to see what you create, - so send it over to video school online at gmail dot com. - Okay. - Thank you so much. - And we'll see you next time by 6. The Wiggle Effect: - Hey, - everyone, - welcome back to another lesson in the after effects shapes booster pack course. - So today we're going to look at the wiggle effect that we can add two shapes to create this - really cool for a drawn on animation effect. - Eso You might have seen something like this. - While lots of places, - they use this effect in a lot of commercials. - You can create some cool videos with chalkboards with, - you know, - lines like this cool animations, - and it's a relatively simple effect to add to our shapes. - So let's get straight into after effects and add some wiggles. - All right, - so that sound really weird. - But let's just continue with that. - We're going to create a new composition. - Let's just create a background like this orange. - So first thing first, - we're going to just create these wiggly lines at the top and the bottom. - All right, - So with your mass pen tool selected and without selecting the medium or in solid, - just create a line. - So just click and then shift click over on the other side. - So now we're gonna go down under contents and under shape and under stroke, - we're going Teoh, - drop this stroke with to something like 10 or five and then change the line cap to round - cap. - Okay, - so then, - uh, - just under contents with contents clicked weaken go down to add wiggle paths. - Okay, - so, - under wiggle paths, - there's different things to look at. - So now we have a wiggle already with our line, - but we can change different things. - So the points we can change from round this corner to smooth, - so smooth will give it a more smooth looking edge to the Wiggles, - Um, - and then change the detail up. - So now you know, - as I increase it, - there's lots more little wiggles with him this and that's just increasing the number of - wiggles within the line at any point in time. - But to increase the actual wiggling speed, - we change this wiggles per second. - So let's do something like five. - That's pretty fast already. - And we can change the size, - you know, - to decrease the size of the actual Wiggles. - Something like that. - Actually, - we're gonna let's see if we boost it. - What happens? - So see, - if you boost, - it really gets crazy. - We don't want that for this purpose. - So let's do something in the middle like seven. - All right, - So there's different options to, - like, - spatial and temporal phase, - which I'm not gonna go over in this course because, - honestly, - I don't even know what those do, - and I don't need to right now. - First this animation. - Okay, - so then just to duplicate this shape, - instead of duplicating this line layer, - which I'm going to rename tow line and on to duplicate this and move it down one thing we - can do is just duplicate this shape layer within it. - So just select the shape Press command, - D or control D. - If you're using a PC and then under transform, - we can change the position and drop it down something like this. - Now, - this might not always be the easiest way to create a duplicate object, - but it's pretty darn easy for our purposes. - Okay, - so now we're going to add this sort of rotating circle, - and you probably know what effect that is. - It's the trim paths effect. - All right, - so let's just create an ellipse, - something like this. - Make sure anchor points in the center, - make sure that is centered in our composition. - Okay, - So now, - under stroke, - we're just going to decrease that to 10. - And then, - um, - we are just going to add our wiggle paths again, - and we can do something similar. - So under the detail on everything, - we can increase the details like 15. - Drop the size of seven and drop the wiggle or increase the wheels per second to five and - change points to smooth. - Okay, - so something like that's pretty cool. - And then we just have Teoh um add a trim paths. - So go in and add trip hat, - trim paths and then kind of do what we did at the very beginning of this course. - And we created this cool effect by setting key frames for the starting and ending point. - So now it's drawing on from 0 to 100%. - But about here, - we wanted to start erasing. - So said a key frame. - Go forward and with this start, - change that to 100. - So now it kind of draws on, - but it doesn't look too good because the speed is really off. - So we're just going Teoh Eazy e's that and then with our graph editor, - we just want to slowly ease into it and then slowly ease out of it. - So see something like that. - That's a lot better. - One thing that we can do to make this sort of match. - The look of these other lines is under stroke. - Change with line cap to round cap. - Okay, - so now we have one circle kind of coming on and coming off. - And, - um then we can just go under trim paths and duplicate these key frames and sort of Well, - that was weird. - What happened? - Actually, - we're not going to duplicate those key frames. - What we're gonna do is just duplicate this ellipse a few times, - like four times. - However many you need then just press you on the keyboard now select the key friends for - the top the three new newly created circles and dragged the key framed out and then, - like the top two and then that the new the last one and just drag it. - And the key frames are a little bit overlapping. - So now we have something like this. - So that looks pretty durn awesome and see again. - I use the just duplicating the shape under neath the shape layer. - So now I have four ellipses. - Philip sees that right underneath this shape layer and I don't have to clog up my entire - composition or timeline with, - you know, - four different shape layers. - So that's awesome. - So now all we have to do is add this cool Wigley Tex So this is pretty easy to Dio. - So let's just type some text on. - So I'm using this cool green beans spot, - but it doesn't have to be weaken, - select something like Avenir and make it something a little bit skinnier. - I think skinnier looks better when it's wiggling and let's just changes to all caps and - just decrease the size. - So this is gonna be a little different than the one we have in our original project. - And then what we can do is, - um, - you can't just add wiggles to the text layer, - so we're going to have to read, - right click and then create Jesus. - Create shapes from text. - So now this creates a new shape layer, - and it's this whole wiggle text as shapes. - And then we can add wiggle paths. - Okay, - so now it's a little funky. - You can see right there in the text. - If I zoom in, - it's really funky, - so we're going to have to play with these options so let's decrease the size, - decrease the detail and will increase the speed like four. - And that's pretty darn cool. - It's only museum out and see what we did. - So we basically just recreate that awesome composition that I had created already. - So this is a really cool effect if you want to do more whimsical, - whimsical animations, - and it's just really fun using the wiggle effect to add, - you know, - make your shapes and text a little bit more dynamic. - Obviously, - it's not for every purpose, - but for something fun. - It could be really cool. - All right, - thank you so much for watching. - If you have any questions about using the wiggle effect, - please hit me up on Facebook, - you can find the video school online line page by searching for video school online. - You can also find me at video school online dot com, - obviously, - where I post blogged articles, - free tutorials and can check out all my other classes. - And then, - if you, - ah need to contact me directly, - just email me yet Video school online at gmail dot com and pretty fast at responding. - Teoh student requests. - I've been getting a lot more lately as my student numbers have grown, - but I still try to get to them within a few days. - Time. - All right. - Thanks so much for watching and have a good one by 7. Accents: - everyone welcome back to the aftereffects shapes course. - Today we're continuing our lessons, - and we're going to talk about, - um, - using for accents. - So basically, - this is a very important lesson. - Um, - and it will really take your motion graphics to the next level because I don't know if - accents is the right ah, - technical term. - But it's just what I call adding, - you know, - little details. - Teoh your motion graphics that really make them stand out whether it's, - you know, - adding little shapes coming out of a title or when your logo pops up or just, - you know, - adding little details. - So I want to show you what I mean by that. - And, - um, - you'll also learn cool. - Another cool little animation technique. - So let's just say we have our accents were just going to center this in the page in our - comp, - and I want to just have this kind of bounce are kind of pop up. - I'm gonna also move that anchor point to the center. - Then I'm going to set a key frame for scale that I'm going to press option shift right on - the keyboard to move that over 20 frames, - then set the kale that scale down to zero. - Select both key frames. - Eazy e's option. - Our function F nine on a Mac. - You border just f nine. - Then I'm going to go into this graph and select these key frames and just make them a - little bit more interesting. - So it has a little bit of a pop, - so it's a little faster. - And maybe I wanted to even sort of get bigger and then smaller and like, - kind of pop into place. - So I'm gonna go back to my graph goto edit value graph, - and then I'm going to have this kind of go actually above 100%. - So you have the percent side over here for the scale. - See how that kind of now goes above 100% something like that. - So it kind of pops into into place. - Okay, - so now as this comes out, - I want a few lines to kind of shoot out from it. - This is the accent, - because I'm sure this is a kind of cool title popping up, - but that's beginner stuff. - We want to make this super cool, - so we're going to add a new shape. - So right click, - click New and shape layer, - and then we're going to I'm gonna do some lines. - So I'm just going to from the very center. - This is important because if you don't do it from the center of the comp, - it's going to not work out later. - And I'll explain that later. - Why? - But just draw a line. - So I'm just gonna draw that line. - It's gotta with of five pixels. - Oops, - I'm gonna have to go under the shape layer and under the contents of the shape to make it a - little bigger. - So I'm gonna make this, - like, - maybe 10 pixels, - that I'm going to make this around cap. - So I'm going to move this around later. - But I just want to create the motion of this this line first. - So I'm just gonna go under transform. - I'm going to set a position key frame. - They're going to go forward 20 Kiefer frames and just move it up, - out, - off, - You know, - moving aways right here. - It's negative. - 3 50 pixels. - Then I'm going to add a How about a scale animation? - I'm going to go from zero to 100 something like that. - And as that's growing, - I'm actually going to make the with of the stroke go back down to zero. - So something like that. - So that's kind of interesting. - Maybe I won't start decreasing the scale until the very end. - Something like that. - So now let's just select these Eazy e's them. - Get into a graph, - select all these key frames over on the right. - Actually, - make sure you're on the speed graph. - It's like them on the right. - Just pull him up. - Something like that. - So that's a little more interesting. - Okay, - so now we're going to go and at a repeater. - So now we have three lines coming up. - But as we did in the past lessons, - we want to change the position to zero and then rotate something like 45 degrees. - So it's kind of a corner. - These accents are coming out from the corner, - and that already looks kind of cool with the coming it cough, - shooting out as the accents text grows. - So something like that. - Okay, - so now where we gonna put this? - I want this to go. - Kind of. - On the right corner, - The upper, - actually, - upper left corner of the A. - So under the shape, - just another shape. - I'm just gonna press P and kind of move it over and then go back to where it's kind of - smaller right here. - I'm gonna actually rotate it, - suppress our and I'm gonna rotate it sort of diagonal. - So it's going to grow that way. - That and maybe actually has to start more in the center. - Something like this. - Something like that is looking pretty good. - So let's just play this so it looks good. - But right around here, - it doesn't look. - Even someone actually move it down a little bit, - maybe rotate it a little bit more something like this. - So that's pretty cool. - So let's actually just go ahead and duplicate this accent Lyon accent, - and then we're going to rotate it the other way. - So something like Negative 13 are positive 13 degrees and just move it over. - So it's coming off the S and maybe make this one even, - like, - smaller. - Just I'm changing the actual scale of the entire shape, - the out smaller. - And now I'm just gonna move it over cause that's it. - Smaller. - The accents text kind of overlaps it. - I don't want it to do that, - So I'm just gonna move it over a little bit. - I see. - This is pretty cool, - I think. - And we could even go in here and on this second line accent, - you know, - go under the contents and play with the shape or scale. - Maybe we want Teoh under shape. - Let's see, - maybe we can make the stroke even bigger at the start, - so may make it, - like, - 50 years something. - And maybe, - instead of, - um actually, - let's do it the opposite. - So we're gonna make the ending stroke. - 25. - The starting struck zero. - But now we don't really have have it disappearing at the end. - So under transform shape, - we're going to go instead of from scale 100 0 to 100. - We're going to go from 100 to 0, - see what this looks like. - That's kind of interesting. - Kind of weird. - Let's start this Struck with earlier. - Now that looks better. - So it's just a little bit different. - Not much different, - but you can tell that the stroke, - these lines, - they disappear by shrinking in height rather than with. - So OK, - so see how this is just kind of a cool little accent to this text. - Now, - this Texas kind of lame. - Let's change the text up to something like, - Oh, - with, - like, - five exclamation points. - And that's kind of cool on both sides, - OK, - kind of lame, - but still better than accents because this could be, - you know, - used overlaying some video footage or something, - and then we could, - you know, - add another shape. - How about we at a circle the change of the color that will make this pop a little bit. - Okay, - so now we're just going to double kicks the circle and change the Actually, - we're gonna change the stroke color to that. - And then we're going to get rid of the Phil. - We don't need that under lips path. - Just double click while holding option the link under the size. - Now, - just decrease the size of this, - okay? - And what I'm thinking is that we're going to use a trim path to make it kind of go on and - off. - But then I also wanted Teoh grow at the same time. - So first, - let's just add a trim path. - So we're going to add trim paths. - So at the beginning, - it's going to start at zero. - And then about halfway through 10 frames, - this will get to 100% and then a little bit before the halfway mark, - it is going to start to disappear. - And at 2020 frames, - this is going toe completely disappear with the start at 100%. - So we've done this before. - Just easy. - Easy. - These go into your graph really quickly. - Slowly have them kind of grow on than girl off. - Something like that. - And now let's, - um, - go under a lips and understands form. - Get out of our graph. - Editor mood. - We're going to go from scale of 100. - I'm going to move this, - keep room at the end and then start at zero. - So something like that, - but maybe we want this toe, - you know, - kind of start before the wow comes up. - So I'm just gonna move the rest of these these layers a little bit layer so the circle can - start. - Maybe we can even start this a little bit later. - This is our circle accent. - Not later. - I'm putting it underneath. - I'm going to go into the scale. - I'm also gonna easy, - easy this and going to the graph editor. - You know, - maybe, - uh, - make it ramp up. - So it I don't like that at all. - Let's see what happens when we started faster. - I don't know if I like that either. - So I'm just gonna add a little bit on each side, - a little bit of speed on. - Decide to make this a little interesting. - Okay? - And now get out of the graph view. - Just gonna press you to bring up all the key frames for this. - I'm just gonna extend them a little bit. - And what we can even do is increase the stroke to make it thicker at the end. - So under stroke will start at 26 and then increased to something like 200 on the end. - I'm just gonna do a simple, - easy ease. - Okay? - So I don't know if you think that looks cool or not, - but I think it's, - you know, - it's really just adding these little accents at a new background later. - Just press command. - Why Teoh add a new shape layer, - Or actually, - uh, - I saw a new solid color, - so it's just absolute. - A little bit of color in the background, - something like this, - but in the back, - that's pretty cool. - Maybe we can even make this text a different color. - Make it like gray, - something like that. - So see this? - You know, - it's just keeping and adding, - and adding to these things that will on to your animations make them better. - And that's just using the techniques that we have you learned in the past few lessons. - So that is pretty darn cool if you don't ask me, - uh, - or if you ask me, - and I hope you think it's cool, - too. - So I hope you enjoyed this lesson. - Um, - it's basically just taking what we learned and put it into practice and spending that extra - . - You know, - this just took us 5 10 minutes, - and if I wasn't explaining it to you, - it would have only taken me really one or two minutes, - and it just makes it a little bit better. - Wow, - super cool. - OK, - I hope you enjoy this lesson. - If you have any questions, - please let me know otherwise. - Head over it a video school online dot com for more great tutorials and, - as always, - check us out on Facebook. - YouTube, - like our videos like our post and we'll see in the next lesson by 8. Using Accents: - everyone. - Welcome back to the video school online dot com after effects course where we're focusing - on shapes. - So today we are doing some projects, - and I want to show you a project for my logo using some aftereffect shapes, - and we're gonna be using the principles of adding accents to make this look really awesome - . - So I have I already did this. - Not so. - I was not to waste your time, - have my logo kind of flying in and flying out. - And I used easy ease, - some graphs and motion blur to make it look like this. - So pretty simple. - You know, - this is pretty basic stuff. - This is what I was doing about three years ago when I first started using after effects. - So nothing fancy, - but we're about to get super fancy, - and that's gonna be awesome. - So let's, - um, - create a thick line. - So I'm just going to make sure that I have a stroke on, - okay? - And I'm going to select the color of my logo. - I'm just going to create a line going from the logo to the side. - Okay, - so now I'm just gonna move this up, - so it's at the very bottom of my logo. - That's a pretty get thickness. - Actually, - that worked out perfectly. - 26 pixels. - All right, - so now I'm going to underneath contents. - I'm going to add a trim paths. - So now I want to kind of animate it on and off. - So I wanted to start from the laughed. - So start with this. - Start at 100% then kind of grow on and I'm gonna play all play with all of these key frames - , - and then maybe we'll see what I want to do. - But then basically, - from the end, - go from 100% 20 and I want this all happening while this is flying on. - So that's why I need to play with these key frames. - And then I'm first. - I want to do what I want is easy, - easy them because this is going to effect where it is in time. - And so I want to do that before I start playing with all the key frames, - moving them around, - trying to match the motion of my logo behind. - So let's just make sure that it looks kind of cool in the first place. - All right, - Alex school. - So I want this to kind of follow our logo. - So I'm gonna bring up this key frame, - these key frame. - So it kind of comes on. - I might put it behind our logo, - too. - So it's going frame by frame. - See, - our logo comes on really quickly. - Maybe just moving these one frame over will make it better. - Now, - see that Not starting to too early. - So I'm just gonna be with that first key frame. - Boop, - boop, - boop! - I think I liked how was before. - See, - this is just playing. - I'm just playing with you guys, - Okay? - So something like this is pretty cool. - May move this last key frame a little bit faster, - so it kind of disappears quicker. - That's kind of cool. - Maybe draw this out even long at this last key frame. - Just make it go really slow. - It was kind of cool. - I like that. - If I want, - I can have it disappearing already. - That's kind of cool, - too. - All right, - So now how do we easily duplicate this? - Well, - we add the repeater, - but first I want to groupies. - So at a group, - put the shape and the trim paths in there. - So now we still have this cool motion. - The New England duplicate this group and then under group transform. - I'm going to move up, - okay? - And then I want to duplicate again. - And I could just now change the position of this group. - I'm still on. - Put at the very top. - Okay, - so now I'm just gonna rearrange these, - so we have them in order. - So now, - even though the numbers in order weaken, - rename these bottom middle top. - And now, - um, - this middle, - I just want to move up a little bit, - so it's kind of more in the center of our logo. - So this is pretty cool, - too, - except it's too uniform. - I want to change these other ones up. - So under the middle one, - I'm going to change the shape stroke with to something smaller. - And then under the top one, - maybe all actually changed with with to something fatter, - something like this. - And that means I'm going to have to move it down. - I'm going to do that with this transform underneath the group settings, - and then I'm going to just play with how quickly they disappear. - So, - under trim paths, - gonna have this top one disappear faster, - and then maybe have the middle one take the longest. - So under trim pass of the middle one. - I'm gonna move this out. - That's pretty cool. - Pretty cool, - if you ask me. - Okay. - And then maybe I can just duplicate this middle one even and move it down a little bit. - So if we go here and then move it down and then what happens if we go in to the stroke and - add dashes? - Wow, - that is crazy, - Phil, - I don't know what you're doing. - So under trim past, - let's just, - um, - make this one a little faster than that Top one. - Let's play it pretty cool. - So that is our start of the logo. - Now, - what's gonna happen at the end? - I think I want to see kind of like a little dotted line kind of come out, - and then it follows it. - Okay, - So I'm gonna add just a completely new shape layer, - start fresh, - so adding a straight line, - I'm doing that by holding shift and clicking, - and it just makes it kind of straight make it kind of smaller now under contents, - shape, - stroke. - Let's just do dashes, - Okay? - Don't do add that again so I can play with Gap. - Not like that. - I like how it was, - actually, - but let's make sure that the dash and gap are equal, - so that looks pretty uniform. - Not that we always want things. - Unit for home. - Um, - under PATH knows trying to see how we can make these thoughts round. - That was to do round cap. - So it's looking like that, - actually, - yeah, - and then making the dash really small. - Actually, - that looks pretty cool. - So now I want to kind of have this come out. - So let's do at a trim path. - Our favorite tool. - Okay, - so now let's just play with this guy. - So yeah, - this is perfect. - Will play with the end key frames. - So go from zero Teoh 100. - We'll probably play with where these go in a second, - just after we see what they look like. - Let's just add Eazy e's, - you know, - just play a little bit with it, - see what it looks like. - So I wanted to kind of end just as it's moving. - So maybe just move them over a little bit, - make it a little faster, - and after it after it, - the logo starts to move. - We have to added the start part of this, - the trim path. - So when it goes off frame, - this should be at 100%. - Okay, - so that's pretty cool. - I like where this is going and, - yeah, - I mean, - I think that's pretty cool. - I think one other you know, - we can add other sort of things to it. - Let's just see what happens if we do with the same as we did last time with the other shape - . - So let's just group these two things together. - Duplicate. - Move the transform up somewhere like in the middle and under shape. - Let's just take away the dashes and make it really thick and let's just do a but cap so it - looks pretty good. - But there's something going on and there's a gap starting right about there that I think - Well, - one thing we can do is put this underneath. - That will help a little bit, - but also playing with the trim paths. - We'll help. - We don't want this leaving too far yet. - I was gonna extend the end while it's easy ease, - that's probably the problem. - Okay. - Mm. - Just playing with this. - Something like here. - And this looked pretty good. - I think e if we add motion blur to this. - Yeah. - I don't look better thinking motion. - Blur both of them, - actually. - Yep. - Now, - you can't even see that gap as it goes by so fast and with the motion blur. - Okay, - so this is kind of cool. - You see the lines coming out, - It kind of grabs it. - And I think, - you know, - there's something that I could use at the start of some of my video school online lessons, - especially for the shapes. - Course. - Okay, - cool. - Well, - I hope you enjoyed this lesson. - You know, - as you can tell, - I'm kind of just making stuff as I up as I go Go along. - And I apologize if that you don't like that style and in the future lessons, - I'm going to try to, - you know, - really know what I'm doing before, - cause honestly, - before this lesson, - I had no clue what I was gonna do with this logo. - I just thought up as I go along, - and that's kind of what I do. - That's my method. - When I'm making projects, - I kind of just play around until I get something that looks pretty cool. - Something like something like this. - Basically so as we roll out of here. - Make sure you check out video school online dot com. - Please subscribe. - You'll get 50% off. - My courses are five of my courses, - that is. - And, - uh, - yeah. - Anyways, - we'll see on the site and we'll see you next lesson by 9. Repeater Transitions: - everyone Welcome back to another lesson in the after effects shapes Course. - Today I want to go over a really cool transition. - That it's another Trans is now used in this Kickstarter video, - and it's I want to give a shout out to Evan Avery Abrahams around YouTube. - He's actually the one that I learned this from. - It's a super cool sort of radial transition, - and it has these wedges kind of coming out and taking up the entire screen. - And it's something that we can do, - using the repeater and changing some of the effects and properties of the repeater effect. - So it's actually not as hard as it seems. - If we didn't use the repeater, - you know, - we would be creating individual shapes, - these little wedges and then individually rotating them, - adding a size transition. - And it would just be insane by actually using the repeater is going to be quite easy. - Okay, - so let's get into after effects. - So I have a new content to simply call repeater transition. - As you can see here, - I'm kind of organizing the these lessons now over in the left so you can kind of know what - is happening, - and, - um so first we want to do is add a circle. - So we have to create that little wedge that we had in the video. - So first, - we're going to add a new shape layer and then just add a circle, - and we want to make this a perfect circle. - You know the drill by now. - Just go to size using option or all double click this and then just decrease the sides of - something like this. - Okay, - now, - with shape layer selected Well, - first we want to turn turn on show grid, - so interview and then snap to grid and then zoom and a little bit so that we can see the - middle of this circle and a little bit above. - And then using our mask, - our pen tool while the shape is selected, - just create a wedge starting from the very center and then going up and make it kind of - very skinny. - So that's why using this grid feature will help, - because then we can kind of make it perfect, - and it snaps are our points to the grid. - Okay, - so now we have these two shapes and we What we really need is just this path of this shape - . - So it's just the path of this mass that I just created. - And we can actually just drop this under the lips, - and it becomes a part of this shape, - but I'm gonna put it underneath the lips path. - Actually, - it still looks the same. - So we're gonna change that. - And we can just go ahead and get rid of this shape. - And so now, - under lips, - we're going to add something called Merge Paths. - And so that kind of merges the paths that we created with the first initial ellipse of the - circle and this wedge or this triangle shape. - And then if we go under the merge paths options and change from add to intersect Wallach, - it creates this sort of pizza wedge. - Looks like a pizza slice. - I'm gonna go ahead and turn the show grids. - Grid off changed to fit to 100% so I can see my entire comp. - Okay, - so now we have this wedge. - So what are we gonna do with it? - Well, - we go under contents, - just click contents and then add repeater and now adds a repetition of this wedge. - The slice. - As always, - we're going to change the position to zero and then start our rotation and just add copies - till it fills. - And basically, - but then we don't want any space in between. - So let's drop down that rotation until it disappears. - Somebody's lying like 14 maybe 13. - Okay, - 13. - And then just increase the amount of copies till you have exactly the right amount to have - it coverage. - It doesn't have to be perfect. - Okay, - so But now we have 28 copies. - 28 wedges that make up this circle. - It's not a complete circle in the in the original sense of creating a circle because it's - made up of these wedges created by the repeater. - So now we just have to change some key frames and the key frame that we're gonna changes - this scale one, - as you can see, - as I'm playing with the scale, - you can see where this animation is gonna go. - So something like this and it grows. - All right. - But first we're going to set. - We're gonna change it back to 100 go to 20 frames or however long you want this transition - to be and set a key frame, - then go back to zero and set a key frame at zero. - Okay, - so you can see that it's going super fast at the end. - So we can Eazy e's the end of this and that helps a little bit. - It's a little bit of a slower animation, - but really, - to get in there, - let's go into our graph view and drag out this key frame so it really slows into this last - key frame. - So see how that now that kind of really slows into that. - Okay, - so now, - but it starts with this one wedge being on the screen. - So what we're gonna do is change the size of this one from, - Well, - 800 is what it ends up being. - We're gonna start at zero. - Okay, - so now the whole shape is actually growing through this transition, - and it's actually gonna end. - We wanted to cover the entire screen, - so we wanted to end at something like That's not gonna work. - We're going to have to effect change both of these options. - So increased this but also increase this. - So this increase these two options, - something like this and what we can actually do is, - instead of changing this size, - let's go back where is a little bit. - Leave this at 800 then we're just gonna go under the transforming lips rather than the lips - path. - That's what we want to do, - because actually that was affecting this circle and not the entire object. - Sorry about that. - So go under transform and lips one and that goes from zero to 100. - And now we can just change this 100 to be whatever we want to fill the screen. - Then we don't get those weird lines that were showing up. - So now it kind of grows on and takes up the entire screen. - We can see this little circle in the very middle of this. - That's because our original Ellipse path is off a little bit. - So let's just move this point a little bit over and it fixes itself. - Those them back out. - So now it kind of grows onto the screen and covers the screen. - Same thing we want to Eazy e's this last key frame. - Go into the graph editor and just draw it out so that it slows down at the end. - And we could make this whole animation a little bit longer by just moving these 2nd 2 key - frames. - And then the last thing we want to do is change the rotation. - We're just going to rotate the entire layer. - So starting from zero, - actually, - we're gonna end up zero. - We're going, - Teoh. - I'm just going go forward to, - like, - halfway through, - just to see how I want to rotate it. - Is it negative now? - I think it's positive, - however many we want. - So let's just do positive 1 80 something like that. - And then just move this key frame to the start. - No, - that's not right. - Maybe negative 1 80 That's kind of cool. - A little bit too much. - Let's just go up like 45. - That looks pretty cool. - What does positive 45 look like? - I think I like that A lot better, - actually. - Looks little less wacky. - All right, - so I'm just gonna easy's that go into our graph, - drag that out so that all these keep rooms have about the same speed settings. - And there you go. - You have a cool sort of transition. - So say this is for motion graphic or explainer video that you're just doing animations. - You know, - this would be cool to just bring about a new background color. - And of course, - you can combine this with some of our other tricks with, - you know, - the lines coming out the center. - You know, - something like with this transition and with these lines air squares coming out or even - just add some of these other circles with trim path, - uh, - with trim path animations to make it really unique. - Another thing Weaken Dio is if we pre comp this. - So say we have two videos that we want to use this as a transition for and not just adding - a new background. - But we want this toe, - you know, - transition from one image, - one video to another video. - Say we want Teoh create sort of a circle that opens from the center to the second video. - What we can do is pre comp this and we're gonna call this radio transition. - And now, - using our mask, - our circle, - the lips, - we can create a mask. - I just double click that That creates the mass. - I'm going to double click. - Um, - how do I make this to be a perfect circle? - Um, - let's see if I change the scale Now, - that's country. - The scale of the the the comp itself. - What? - Aiken dio step adding that mass that way, - I'm just gonna slick this and then from the center, - just click and drag out, - holding command and shift. - And it doesn't matter how big. - I'm just going to change the mask expansion and so just have it actually in the entire way - . - I'm going to change this mass from add to subtract. - So see what I'm doing. - I'm creating the circle in the middle. - So what I'm gonna want to do is wait until this transition completes and then said that - mask expansion point where it's completely closed and now have it completely open. - I'm just gonna go to that first key frame and get it as close to where that circle is - completely filled in as possible. - So something like that Negative 360 pixels. - And then I can easy, - easy. - These I can. - Even I can do is, - um, - ad motion blur to this? - This will look a lot better. - I think I don't know if it looks better or not actually weaken. - You can play with motion blur. - Sometimes it makes it look a little bit more natural or just make it a little slower. - So now you would do the same thing. - Just add this to our your Adobe premiere project, - using, - um, - the Adobe Dynamic link feature and place this over two clips where they butt up and it will - be a nice transition from one club to another. - Cool. - Well, - thanks for watching again. - Evan Abrams. - Thanks for teaching me how to do this transition. - It's super cool, - and I really appreciate it. - Um, - and everyone else check out Evan Abrams. - YouTube channel has got some great stuff, - but for now, - check out video school online dot com for more great tutorials, - and we'll see you in the next lesson by 10. Text Reveal with Venetian Blinds: - Hey, - everyone, - welcome back to another cool lesson in the aftereffects shapes course. - Today we're going to be working with text and actually turning into it into a shape layer - to create some really cool text transitions. - So check on the check out this animation that I created for, - you know, - introducing some cool text. - Um, - and you can basically do this with any text that you have. - And you know, - it's not as easy as going to your animation presets and selecting text animation or - whatever, - but it's customizable and you created yourself. - And it's cool to know, - you know, - the background of how something like this gets made and you can even, - you know, - you can do way more cooler things with it. - And it's using some of the same techniques we learned before. - Okay, - so I'm just going to actually turn all the these two layers off and put hide them. - So clicking the shy guy and then click the shy guy up here so they're not there. - Next, - they wanna turn them off first. - Um, - okay, - so now we're just going to create some tax. - So let's go ahead and create, - um, - some texts and I'm just going to write. - Hello? - I like this. - We can even add an exclamation point. - So I'm just going to center this in our composition, - make it maybe even make it a little bigger, - and Senate re center it. - And I chose Li Gothic font cause it's nice and blocky. - If I chose going a little too skinny, - it wouldn't look as good because we're creating this sort of outlined look. - Okay, - so, - um, - I added this cool green background. - Nice hip color. - Okay, - so first thing you're gonna do is right click the text and go down to create shapes from - text. - Okay, - so now this creates a new layer, - and it turned off this original text layer. - And it's just shapes that you can actually edit however you want. - I'm going to chain turn off the Phil and turn on the stroke and will make you like, - like, - 10 pixels. - Something like, - That's kind of cool. - Um, - so already this is looking pretty cool, - I think. - But now we're going to basically turn on create that custom animation of it writing on, - and one way we can do that is by adding trim pass to this. - So it's the trim pass. - You know, - we're actually animating on the entire text. - Okay, - So what we can dio is just create an animation first from zero. - Put this all the way at the beginning of our cop and then, - you know, - 15 frames in go to 100. - And what this looks like is it does the whole thing all at once. - I'm gonna make this longer, - actually, - like one second, - and then I'm going to Eazy e's and go into my graph editor and maybe slow it into this - animation. - It's kind of cool. - Made a little slow down at the end. - That's pretty cool. - Make it a little bit longer. - Just like five frames longer. - That's like him pretty good. - Okay, - so now basically, - what we have to do is add this to each letter. - Unfortunately, - that's what we have to do in this. - In this project s O, - I can just drag this 1st 1 into the H. - So now it just is affecting the age. - Okay. - And then I'm just going to copy this, - then click e and then paste l pace l paste o paste, - exclamation point paste it And what we can do even is underneath each trim pass. - We can change the offset so that it starts in the upper right hand corner. - You know, - pretty much where you would start writing mostly is already are doing that like the E and - the Els. - But for the oh, - that's the only other one. - It looks like we have to change. - Transform could trim pass an offset it. - So it's starting, - you know, - in the upper left. - So it's all writing on from the upper left. - Now, - if we press you, - we just bring up all of these key frames. - We know that the H is the one at the top, - so we're going to select all the rest These move in my head, - you know, - six or some frames. - Same thing. - I'm not being a perfectionistic about this right now, - but we could be perfectionistic and count all of our key frames. - But now it's all offset, - and it basically writes on pretty cool, - huh? - So we have that first right on effect. - How did I get that cool? - Other effects. - Let me show it to you really quickly. - So with it looks like these lines conduct coming through filling in the font Well, - that's actually a Venetian blind effect that we're gonna add to it. - Let me just turn these off and turn back on our Hello. - Okay. - Okay. - So, - actually, - yeah, - what I did and what you want to do is turn back on the hello original text, - go to your effects and presets, - select Venetian blinds. - Just the transitions, - not the transition wipes. - And then we're just going to animate this from transition completion zero. - Then go back in time and do it 100. - And then let's just press you so we can bring up this key frame so we can see them. - We're just gonna rotate this to something like diagonal. - I think that looks better. - OK, - then we could change with so that it's a little bit wider and it's still closes out, - and we just want to start this right as soon as it's about to end. - So I'm just gonna move these key frames over, - like, - so easy. - Easy them and let's see what it looks like. - So that's pretty cool. - I think I wanted to slow on a little bit more, - so I'm gonna go into my graph editor, - drag it out like so that's pretty cool. - And maybe even started a little bit earlier before the whole completion. - What I can even do is kind of ad in opacity fade to so it just fades on. - So just from 0 to 100% and now it kind of fades on a little bit better. - Okay, - so the last thing we did it, - I added this sort of subtle rotation. - So first thing, - I'm gonna turn on three D for both that. - I'm going to just parent. - It doesn't really matter. - I'm just gonna pair in this bottom Hello to the hello. - I outline outlines. - And then for hello, - I outlines, - I'm just gonna press are and just create a little y rotation. - So going from, - like, - 25 degrees put that at the start to negative 25. - Put that at the end and let's render it out. - I think it looks pretty cool, - actually. - So you know, - this is something that you can do for your motion graphics. - And that's basically the premise of motion graphics is just to play around with, - you know, - shapes and layers and create something cool. - We can even do something like, - uh, - flip it up as it comes up. - So it's the exhortation. - That's my look. - A little funky, - but let's just see what it looks like. - Yeah, - that doesn't look like anything. - I think what would help is at the end, - maybe flip it down. - So if we want to get rid of this text and the end, - flip it away something like right there and then cut it. - So I'm just pressing command ship D and then deleting You can also press the, - um I think it's come in bracket option bracket, - and that just deletes the rest of this layer. - But we have to do that to both of these things. - Both of these layers. - Both Hello And the outline. - No option B option bracket. - So let's watch this one more time and then I'll let you go. - That's pretty cool. - Okay, - well, - I hope you've enjoyed this lesson. - Kind of doing some more practical stuff. - One thing I would do just to be perfectionistic is add a little bit of motion blur makes it - look a little bit more natural. - But anyways, - as this renders out when we watch it for one last time, - please check out video school online dot com for to see, - find more information about my other courses and see my free block posts and everything - else as always. - And if you haven't already done so, - please review this course. - I hope you've enjoyed it so far. - And, - um, - yeah, - if you're interested in learning mawr after effects, - let me know what you want to learn And maybe all created course about it. - OK, - thanks for watching. - And we'll see you next time. - Bye. 11. Custom Transitions - Part 1: - Hey, - everyone, - welcome back to the after effects shapes Course. - So today I want to do another practical project with you and this one I'm actually taking - from a riel project that I was hired to Dio has had to do this Kickstarter video for pedal - powered smoothies. - Let's just take a look at the first little bit and you will see that, - you know, - kind of similar style of what I've been teaching you. - You know, - I have these different transitions. - So that's what we're going to be working on today, - specifically this transition right here, - and I use it again later. - But I also use this other one That was the starting transition, - something like that. - And so really, - these the techniques that I'm teaching you right now here's another one that one will talk - about in another lesson. - So these techniques I'm teaching you are very practical and something that you can use in - your actual videos. - This isn't just, - you know, - for fun. - This is stuff that I'm actually using, - and it's definitely a certain style. - You can't use it for everything I wouldn't use it for, - you know, - like a medical promotion, - corporate video or anything like that. - But for something fun, - like Kickstarter video or, - uh, - some sort of explainer video, - it's great. - Okay, - so let's go back. - And I think we'll be able to see it easier in this version. - So basically, - we have different things going on. - We have this green line going around. - That's pretty simple. - You know how to do that? - We have these, - Rhett, - these squares flying out. - We also know how to do that, - these lines flying out, - this sort of stripped white stroke going out. - And then at the same time, - we have this purple background, - you know, - going around and creating this nice transition. - So let's get straight into after effects and start working on this. - Okay? - So we have our transitions calm. - First thing we're going to do is work on. - Let's just do this purple background. - There's different ways to do this, - but I'm going to do it using the shapes that the shape method that we've been doing before - , - so I'm just going to go to add a new shape, - New shape, - layer. - Okay, - then I'm going to add a circle, - so just go down to a lips DoubleClick and then I'm going to drop down under lips, - go to ellipse path, - double click this link to make it a perfect circle and then just drop it down for now, - then under Phil, - I'm going to change. - The color will pick something purplish. - Kind of like it was in the video, - okay? - And actually, - we're going to be using the stroke for this as well. - Um, - and actually, - I take that back. - We can get rid of this, - Phil, - or just make it at 0% capacity. - Now, - we're just gonna make this super thick, - so we're gonna make it as thick as the entire screen and also, - um, - in the center. - We wanted to cover that hole. - So taking up the entire screen so something like this and just make it bigger the size we - don't want it to actually go much past the point of no return where this dark spot in the - middle is we don't want to go pass it. - I'll show you what happens when we add trimmed pass. - If we go past it. - So then we're just going to add a trim pass like normal, - and then this just is gonna, - you know, - go around. - It's basically the same thing as a radio. - Like if you added a solid, - let me just show you how to do that really quickly. - So let's just add a new solid command. - Why? - Well, - just Yeah, - we'll do white just so it's contrast with that background. - And if we just add a radio wipe on the transition and then you do the transition completion - . - So this is one way to do that. - And it's actually a little bit faster than what I'm showing you right now. - But now, - but I'm doing this method because I want to keep all my shapes under this one layer. - Now, - I talked about before how using the multiple shapes under underneath the layer keeps your - project really clean. - Okay, - so now let's just anime this trim pass. - So going from 100% to 0% But as you can see, - Okay, - so I'm just gonna do that, - make sure it goes to 0%. - But if you as I was saying, - if you change the stroke with too much, - see how it kind of comes out the other side, - that's not what we want. - But, - you know, - that's kind of cool, - too. - But for this project. - We want to just go to the very edge like that. - So it's just kind of like a stand radio wipe Zoop. - We're going Teoh function f nine that, - um, - and make it a little bit more interesting, - the speed of it and give it a little bit more pop. - Okay, - so that's pretty cool. - Okay, - so now we have that background. - So let's go back and see what we need to do so and it looks like our background is actually - going the opposite way of our video. - But that's OK. - So now we have this green circle going around and it's going the same direction as the - purple background. - So let's just duplicate this ellipse. - Actually, - I'm going to group these together. - First Group put these in here, - and I'm going to just rename this purple duplicated called green. - I'm just going to play with some of these settings. - So under a lips on their stroke, - I'm going to change this to something like green, - something that we similar to what we had changing the stroke with to something a lot - smaller, - something like this. - Then under lips path. - Just make that smaller, - too. - Something like this. - It's playing with the struck with. - So it kind of comes on and it completes the circle and then it comes off. - Okay, - so let's see. - And we're gonna actually have to animate the, - um Purple to do that as well. - So under purple, - let's just bring up trim pass. - So now it comes on all the way and at the same key frame as the start. - Starting point gets 0%. - Let's set a key frame for end and go forward 20 frames and make this zero. - I should have done this first and let's just easy. - Easley's on. - Go under. - The graph editor should have done this first because now, - when I duplicated it would have already been set for the green layer. - But we can easily we can actually probably just copy and paste this trim pass. - Just gonna delete this trim pass from green, - go under and paste it. - So now if I move these key frames up a little bit and basically does the same thing, - I kind of like how it follows the purple. - And it's not at this exact same time, - something like that. - This whole thing might need to be a little faster. - So I'm gonna select all my key frames and then select the one on the furthest right while - holding the option. - Are all key and then dragging to left. - And it basically speeds up all of the key frames, - so that's looking pretty good. - Now we have this white stroke line thing that's rotating, - and it's very similar toe to that. - These strokes. - So we're just gonna use the same one. - We're just gonna use the green duplicate three. - Name it white and then play with the lips stroke. - So go in here. - We're going to change it to White. - Change the Struck with something like this, - and then we're going to just play with the trim paths. - Keep bring. - First, - we're going to flip thes so that it's going the opposite way. - See how it's all rotating in the same way Is roading counter clock? - Why rotating counter clockwise? - We're just gonna flip these key frames so that the starting in the ending our flop. - So now it's going the opposite way. - But CEO and here it's just a thin sort of band that's rotating. - We can do that by changing these Middle two key frames. - It's like so springing them. - And so this should work. - Yep. - So see how much change you can make with just key frames. - And maybe we'll just make this super fast in the middle of everything going on. - Okay, - Maybe a little faster. - And then we wanna kind of, - like, - offset it. - Groups. - Let's get back to this transition. - So it's not overlapping the green. - We want to be smaller than the green. - So let's just change the lips, - path size, - something smaller. - That also means we're going to have to drop stroke with a little bit more something like - this and something. - This is cool. 12. Custom Transitions - Part 2: - cool. - That's pretty cool. - Even make a little slower at the end. - Okay, - so now let's do these squares that are flying out, - and we've done this before, - but let's just do it for memory's sake, - redo it. - So there's gonna be we're just gonna call this circles, - and then this is gonna be a new, - um, - a new new object. - New layer for these squares. - So we're just gonna go new shape layer, - and then right in the middle, - We're going to use our rectangle tool changer, - fill color, - toe white and our stroked a white. - Actually, - we might not even use the fill color right now. - Then, - just from the middle, - just drag out and I'm holding down command and shift on my Mac keyboard to make a perfect - square from the center. - Okay, - so now, - underneath our rectangle contents were just going to make our fill zero. - So now it's just a stroke. - And then under rectangle path, - I'm just going to set a size for position and size right there. - Then go forward. - How about, - like, - a second plus 10 frames and just move it up something like this, - and then under transform, - I'm going to also change the actually under stroke. - I'm going to go from the struck with of seven, - all the way down to zero. - So it disappears at the end, - maybe start doing that a little bit later. - And then I wanted to kind of grow on some going to go from zero to 100%. - Okay, - so it kind of grows out and we're gonna play with the key frames of this so that it really - takes a little while longer to disappear. - Maybe start the stroke without something like 15. - So it's a little fatter. - Now, - as we go through this, - it grows and flies out. - Okay, - so now we're just gonna easy ease off these this size, - actually. - What happens if we Well, - we won't play with this size yet right now, - So I'm just going to leave that size key frame. - Easy. - Easy them. - Select all the starting ones. - Try. - Get out, - see what this looks like, - and we'll take the last ones and drag him in a little bit. - Okay, - so this is a little different than what I had done before, - but I like it. - I like it a lot. - So now we're just going to add a reappear. - Okay, - so now, - like always when we add a repeater, - we're going to change the transform properties of that repeater changed the position to - zero, - then rotation. - Well, - what we're gonna do is decide how many copies we have. - So let's say we have 10 copies and then under rotation, - we're just going to do 360 divided by 10 So it's equally spread out, - so that's pretty cool. - And I want this to happen a little bit before all these circles start happening. - So I'm just gonna drag this circle layer forward a little bit more so that the squares - start popping a little bit earlier. - Pretty cool. - Okay, - so now I'm just going to group these two together, - so at a group, - so that I can duplicate them. - So I'm just going to call that square. - I'm gonna call this line. - Okay? - So now I can just change the transform properties of this. - First, - I'm going to look under the transformed properties and the rectangle path and the stroke. - Just drag all these key frames out. - So it happens a little bit after these first squares pop out. - So instead of having just two bursts of squares. - Let's just change these the size of these a little bit that was gonna unlock that link for - the size and make it super skinny. - It should be doing it. - No guys on the every CR and I want to make it skinny that way. - I want to make it skinny this way. - So shoot out like that. - And instead of the stroke with getting smaller, - let's just say we want it to shrink a different way. - So let's go from this size to zero, - see what that does. - You know that kind Does that And then position. - We're just going to make it fly out a little bit further. - Even so, - just increasing that key frame right here of position, - actually decreasing it. - So it goes a little further, - kind of cool. - And I'm just gonna Easy's the's key friends for size, - and it's looking pretty darn good head. - And that's pretty much what we have right here. - It's a little bit different, - but that's okay with me. - So it's just play through this again pretty cool. - And now let's play through our transition. - Cool. - All right, - so how would you actually add this to a project. - There's different ways, - but, - um, - let me actually open up a DUI premier and we'll add it that way. - So I'll just three named this this layer lines while we're waiting for Adobe Premiere Toe - Open. - And this is how I basically create these transitions. - And you know Adam Teoh, - Premiere Pro. - Um, - it's using Adobe Dynamic Link. - It's a really cool function within adobe projects where basically, - you can create different assets in, - you know, - a premiere or in after fax or an illustrator or in Photoshop and bring them into other - projects. - Okay, - so let's just open up a will open up this wedding video that I've been working on of my - friends. - I'm not going to use this transition in their wedding video, - but it's could be pretty cool. - So let's just, - uh, - let's just use this as an example, - Okay? - So while this is opening, - I really hope you're enjoying these lessons. - Please check out the YouTube Channel video school online. - You can search it in YouTube or just go to youtube dot com slash video school online. - Okay, - so this media is, - um, - is importing. - It's just pending a little bit, - so let me just go into our video and just pick some random clips. - So say we have you know, - these clips of the shoe? - I'm just gonna bring down to the timeline that I've been working on. - Zoom in so you can see better. - Okay, - then we have Let's find another clip. - I don't know what these clips are, - right? - The clip of the bride. - So I'm just gonna but those up next to each other and then I want in transition point. - So what we do is just in our aftereffects project, - I can click and drag this transitions comp, - then tab over using command tab on my keyboard and drop it into our project window. - Now, - this transition is in this project, - and I can add it to his projects on just gonna go through, - scrub through until his transitions complete, - set an out point and then just selecting the video. - I don't want to just drag this cause it'll drag audio down. - I don't need that. - I can just click this option and drag the video down, - and then I'm just gonna nudge it over. - So holding down command shift, - just nudge it to the left or just command. - Just one frame by one frame. - I'm just gonna go toe where these two clips meat and I want to make sure that this - transition is complete at this point. - So where these two clips But up. - I want this transition. - It's freezing on me. - I've got too many things going on. - I want it to me up. - So I want the transition to complete. - Okay, - we have it back. - A couple frames. - Okay, - so now see, - Uh, - yeah, - that's about right. - So it goes on and then when it completes right there, - the other clips starts. - Okay, - so there's not much leave room for error. - We could space this out so that it's a completely covered image right here, - Um, - for a few extra frames. - But for now, - it's just that one single frame where it completes, - and then it starts opening up again. - But if we play through this, - that's a pretty funky transition for this wedding video. - But if you're doing some sort of Kickstarter explainer video, - it's perfect. - Especially when it has to do with pedal powered smoothies. - Okay, - So awesome. - This is a sweet project that I hope you enjoyed watching and learning you we went over some - of the things you can do with Adobe Dynamic Link. - You can basically do that with anything. - Any of these other projects as well. - If you know, - you create something that you want, - Teoh add to a video project instead of editing within after effects, - you can just click and drag over this wiggle past things. - So say, - I wanted this to be the title of this video. - So I just have this wiggle paths comp drag it. - And now it's the title of our video. - Pretty cool Goes in the video suite. - Transitions Madness. - Okay, - so thank you so much for watching. - If you have any questions, - please let me know otherwise we'll see you online and see you in the next lesson by 13. Fun Maps - Part 1: - everyone welcome back to another lesson in the after effects shapes course. - So today I have a pre cool project for us that we're going to do. - It has to do with maps, - and it just kind of goes to show what you can do with shapes. - So let me just play this. - I just created this relatively quickly and just took me 10 minutes to make this. - But I think it's pretty cool. - And it's using a lot of the stuff that we've already done but just put into practical use. - So say, - you know, - if your motion graphics artists, - you'll probably at some point come upon a project that has to do with maps. - And I've seen different ways of using shapes to, - uh, - add markers or passed along maps and using the shape tool. - You can do a lot of that. - So we're gonna recreate this cool animation of, - you know, - this these markers and then the path kind of jumping around. - So let's get straight to it. - Okay, - so I have my map J, - P and G that I down or I just took a screenshot from open street map dot org's. - I think I'm just gonna drag that into a new comp. - So now I have the entire map. - I'm going to focus in on Sandy, - Miss. - Because that's where I grew up. - So the most excellent Cindy Miss, - That's where I'm from. - First thing first, - I'm going to add a saturation filter. - So over in your effects panel, - just goat at Hue saturation. - I'm going to cull, - arise this and change the hue to like, - sort of like a bluish kind of makes it a little sigh. - If I e, - I guess, - and then just drop the drop, - the lightness and they dropped the saturation a little bit. - Something like that. - Well, - good. - This just gives a little bit more contrast to the background. - If it's not like that or two to my shapes, - it's not like that. - You see these shapes here, - And if I don't have it, - cull, - arised or have it this effect on it? - It kind of gets lost in the background. - So that's one thing you have to pay attention to when creating motion graphics. - Just the color balance. - All right, - so the first thing we're gonna do is create this line that bounces from Covina to ST Dimas - actually hits Glendora too. - So it goes from Kamina, - Glendora to ST Dimas. - Okay, - so let's just use our pen tool. - And without anything selected, - we should be able to just create a shape. - I'm going to turn up the stroke and turn off the fill up here. - Okay? - So let's just click in Kamina Clicking Glendora and Click and Sandy Miss. - Then we're going to go have go ahead and mess around with these little, - um with the path itself. - Lips zoom in a little bit and get something that we like. - So it looks like it's bouncing playing with these points. - Something like that looks pretty good. - Then I'm gonna go and rename this to be line and then I'm going to go under contents, - shape and stroke and changes to round capsule has around end, - and I like that thickness. - We're going to add a trim paths to this, - so it's add train paths to the shape, - and then we're going to just animate this. - So this is let's just go from the start. - So we're gonna go from zero, - so changing the end, - we're going to the end properties. - We're going to go up all the way to Glendora. - So that's, - like, - what, - 52%? - And I'm going to set a key frame there that I'm gonna go the same amount forward and - complete it. - Okay? - Okay, - that's weird. - What just happened now? - I don't want to go to zero. - I messed up. - I want to go up to 100. - Okay, - so something like that. - And then when it hits the middle and Glendora, - I want to start function to start disappearing. - And then a key frame right there, - 53 when it hits Sandy, - Miss and go forward 10 frames and complete it. - The reason why I'm putting key frames in the middle is because I'm now going to add Eazy - e's and kind of have it bounced into the middle. - If I just had a one key frame at the start and the end, - it would just look like a line that just gets drawn on toe. - You know, - the whole thing and I could actually show you that. - So say even right now, - without going into the graph mode, - you can see how it kind of bounces. - So I just deleted these two key frames in the middle. - See how the speed is a little different. - They're still definitely is. - This is a little bounce in there, - but with these key frames, - we can go into the graph view now. - And I'm going to go ahead and fit all graphs to view and really have it kind of slowly - bounced into that second key frame. - The middle one over in, - in Glendora. - That is okay, - I if any of you guys air from ST Dimas, - that is pretty awesome. - Um, - I don't expect any of you to be from Sandy, - Miss. - So let's just see what this looks like. - That's a pretty cool bounce. - Maybe I wanted to bounce out of this, - um, - this out of Glendora, - little faster. - It's kind of cool. - And let's get this 2nd 1 and bounce at Oakland or a little faster. - So that's pretty good motion. - I like that. - Okay, - so now I'm going to work on our little marker right here, - and I'm doing a few different things there. - But let's just we're gonna turn off this line right here, - just make it invisible, - and I'm just gonna create this marker. - So the first thing we're going to do is let's see, - let's add this sort of spinning shape, - the spinning sphere that's actually going to be its own object. - I'm just gonna take our lips tool, - add back of Phil and make it white. - That's good. - Take off the stroke. - And just around. - Sandy, - Miss, - I'm just gonna draw a little sphere. - I'm going to make sure the anchor points in the center. - I'm gonna turn on three d, - Then I'm going Toe press are to bring up my rotation, - add a little bit of X rotation and then set key frames for y rotation starting from zero - and then going for, - like, - two seconds or so and rotating like we could do one whole rotation. - 360. - It's pretty cool, - huh? - Okay, - so now we're going. - We need to do those other little lines coming out of it. - So we have this red stroke that kind of pops out of it, - and then this dotted blue line are dotted black line. - That kind of rotates around the marker. - Okay, - so let's with our lips tool back. - And with this red stroke, - let's go up to, - like, - maybe like, - four pixels and under Phil, - let's get rid of the Phil and just draw a red line groups zoom in. - Sorry about that. - Okay, - so now under this ellipse. - So I'm just gonna rename this, - um, - Blitt. - And then we'll rename this marker with the white marker under blip. - Let's go on her lips path. - Make it a little bit bigger. - We're going to actually animate it. - So I'm gonna move this key, - frame up 10 frames and then go from zero to 10 Okay? - This is gonna go under our marker, - actually. - And then with the stroke, - I'm going to go from this four pixels the very beginning, - and at the end, - in that zero. 14. Fun Maps - Part 2: - Now I'm going to add a Eazy e's to both of these and just play around with the speed I - wanted to kind of slow into this, - I think may slow out of it. - May make the whole thing a little bit longer. - So I'm just gonna move these key frames up to 20 frames on. - Just playing around a little bit speed until I have something I like something like this. - Yeah, - that looks good. - Okay, - so now that we have our little blip, - let's see what it looks like. - And I want Oh, - you know, - one thing I forgot. - I want this white marker to kind of pop up. - So I'm going to have this kind of start a little bit after the blip go from size scale 0 to - 100. - So just set those key frames Easy's them. - Something like that. - Move these up a little bit, - and then right after the white kind of pops up, - we want to have that. - Those black dots, - the black dotted circle kind of rotate around it. - What we can do is just duplicate this ellipse underneath this blip. - Call his dots, - whatever you wanna call it, - and then Ah, - take out these key frames for the lips, - path and the stroke. - So I'm gonna take out this last key frame in the stroke in the 1st 1 in the size. - So and then change the color to black and then add dashes and add one more dashes and - decrease the dashes. - Decrease the stroke with, - so we just have some small dots. - Decrease the gaps. - There's a few more something like that and then rotate them. - So under transform properties, - just set a key frame for rotation from zero to whatever we want you to do. - One full rotation, - which is 360 degrees. - Just move that up to two seconds or so. - Well, - that's really fast. - I don't think we need that much. - Let's just do it to like, - um maybe, - like 45 degrees. - Yeah, - that's pretty good. - We still have this. - Uh oh. - Now we have a transit, - an animation of the stroke with from 4 to 2, - because I change it over here. - Let's just get rid of that first drug with. - So it's just too the with is to the entire time. - But we still wanted to pop on. - So under transformed dots. - Let's change the scale from 0 to 100. - Okay, - easy is that. - And let's just move all the key frames for this dots, - Um, - for the dots, - that's, - Ah, - lips back a little bit. - Okay. - Oops. - Let me just bring up all the the whole dots. - Things will make it easier and then grab all these key frames up above here and just drag - him back a little bit. - So now the red pops up in the dots, - pop up as the white marker pops up. - Okay, - so that's looking pretty cool. - So now we have our marker. - We have our blip, - and we have our line. - Let's just open up our line again. - So our line is going to start over here. - So what we want and we want our line to start in a meeting, - maybe around 15 frames or 20 frames. - So I'm just gonna move this up, - like so Then I'm gonna take thes two, - and what I'm going to dio is pre compliment. - So command shift see becomes them into we'll just go on marketable hip. - And then let's move this over to where Convene a is. - So it pops up in Cavenagh and then maybe around one second. - Our line starts to G O. - As our line starts ago. - We're just going to decrease the scale of this 20 Well, - and we want our anchor point to be, - I think, - in the center of this, - where is our anchor point for this? - Pretty calm. - Okay, - Is down here. - So taking our pan behind till I'm just gonna move this anger point to where our blip is. - And now if we move it to zero, - it's gonna go from that point. - So it's gonna shrink from the marker. - But now we have to move it back to where Convenor is. - Okay, - just easy's those. - So now it pops up in Cavenagh, - and it shrinks as the line starts to go. - And then now we can just duplicate this marker blip, - move it over so that it starts as soon as it hits and Emmis and just move this comp pre - comp over to Sandy, - Miss, - let's render this out and see what it looks like. - Four seconds of animation. - So you're going from Cavenagh seeing Dimas, - and we don't want this to shrink at the end, - So I'm just gonna press you to bring up the key frames. - Delete this. - Actually, - both of these scale keep for him. - So that Saint Dimas marker just kind of stand stays up there. - Pretty cool, - huh? - Okay, - so now we have to create this cool little motion that we did hear with Zoom in. - And what we're gonna do is just creating. - Newcombe will call this Capcom two. - And we could just make this four seconds. - We're gonna drag our map to into here, - and it's fit upto 100% so we can see the whole thing. - And we're just gonna play play with the scale on position. - So many will start here at scale and then set up a key frame for a position. - And then at the end, - we will zoom in, - like to 20% and kind of center it around. - Sandy, - Miss. - Now, - if we zoom in, - that's a pretty cool animation. - So that's this is the kind of thing you can do using the shaped, - uh, - features that we've learned in this course so far. - And I really hope you kind of enjoy and appreciate, - you know, - the complexity of these little things. - I mean, - some of the stuff I would tweak a little bit. - The marker that pops up on convenient. - I feel like it doesn't stay up long enough. - I mean, - you should disappear right there when the line starts disappearing. - So I can just go in there and move these key frames over. - Go back to our ma'am comp. - And that looks a lot better, - I think. - Don't you think? - Cool. - Well, - I hope you enjoyed this lesson. - Um, - I really appreciate you being here and falling along with the projects. - If you have any projects you're working on, - please post a little video clip in the course materials are on the course page or, - you know, - hit me up on YouTube at youtube dot com slash video school online, - And I would love to see your work. - Okay, - if you have any questions, - or actually, - if you have any requests, - because I'm only gonna do it another one or two projects for this course. - If you have any requests for things that you would like to do with shapes, - please let me know, - and I'll try to get get to it and add a lesson or two to this course. - All right. - Thank you so much for watching. - And we'll see in the next lesson by 15. Hipster Circles: - everyone. - Welcome back to the after effects shaped course today. - I want to talk to you about creating another cool project, - something practical using the hipster circles that we've learned to make. - So you may be thinking. - Okay, - Phil, - Cool. - You've taught me some cool effects and they're pretty neat, - But when would I actually use these effects that you are showing me in the past couple - lessons? - I hope I've shown you that there are, - in fact, - tricycle ways that you can use this. - But what about these hipster circles? - Well, - let's use them. - So I am going to create sort of. - It's seen from an explainer video. - This is from scratch. - I haven't done this yet, - so this is kind of your just watching me. - You do my process of making an explainer video. - So sorry this one's a little bit longer, - but I think it's important for you. - Just kind of see how I come about my animations. - So I don't know what company we're making this for, - but I like, - sort of like this range of blue colors, - maybe a little gray. - So let's just create a background that's this color just gonna rename that BG for - background. - And then I have these three icons that I found online from a sleep icon finder. - I think two of them are from the same, - uh, - person. - That's why they're both gray. - And I like that color. - So I'm going to actually change this camera icon that comes from another person who creates - icons and change the color. - So I'm just going to add a fill so type and feel under effects and presets. - Add that to the camera, - and I'm just going to take the eyedropper and grab this gray. - Okay, - I'm gonna go one at a time. - Um, - but it's gonna be pretty quick, - because once I have one, - then it will be quickly, - quick to add to the 2nd 2 Okay, - so we have our this little map icon over here on the left. - So how do we introduce this to the viewer? - Well, - we could just have it flying. - We could just have it fade on. - But that's kind of boring. - I want to create a cool hipster circle, - so I'm just going to create in the lips with actually, - it's cool that it was already set up. - No, - Phil, - just a stroke of like 25 or something. - We'll call his hipster circles. - And I don't know why I call hipster circles. - I just feel like it's totally cool to do these right now. - And, - um, - yeah, - a lot of hipsters do stuff like this. - Hipster motion graphics. - Okay, - so then I'm gonna create a circle about a little bit larger than this icon. - I'm just gonna put this icon in the center of the page using a line layers. - Okay, - so that looks pretty good. - So first, - we're going to create one sort of circle drawing on. - And let's do that with a trim pass effect. - OK, - so trim paths. - We're just going to create key frames, - going from 0 to 100 and, - as always, - just play with the speed of it. - Where is that? - Okay, - so there you go. - Play with speed a little bit, - make it a little interesting. - Something like that looks pretty cool. - Okay, - So that we're that's going to duplicate this, - and we're going to play with the stroke, - make a little skinnier, - play with the lips path, - make it smaller, - and then play with the trim path and get out of the graph. - You were just gonna reverse this. - Okay, - So it's going Teoh? - Actually, - no. - We don't want to reverse it that way. - Actually, - yeah, - we can reverse it that way. - So it starts at? - Yeah. - So it goes from 0 to 100%. - Okay, - I actually am I doing this right now? - I want to go the other way. - What is this working? - Yeah. - So it starts at 100% but we don't want to start at 100%. - We wanted to start off the screen. - So we're gonna set a key frame for a start right about there, - and then change it back to zero Eazy E's F nine on your keyboard. - Get to your graph and play with the Eazy e's. - Okay, - get out of the graph. - You view just gonna drag these key frame so that it starts disappearing. - Okay, - Something's funky happening with this This ellipse. - Okay, - so now I want to duplicate this ellipse and do something else with it. - So, - under trim paths, - I'm gonna actually first. - I'm going to shrink it so I can see what I'm dealing with. - And then I'm going to kind of complete the circle. - So using start, - I'm going to change that from 0 to 100%. - Okay, - now, - Eazy e's that and go into my graph and make sure that it is Eazy e's. - Can't grab that. - Usually enough. - Okay, - Error on what happened right there, - but Okay. - I just want to start. - Okay. - There it is. - Okay, - start. - Make the motion a little bit cooler. - Okay, - So we're going to then play with the stroke, - make it super skinny, - and then play with these key frames. - Kind of drag him over. - So it's kind of a skin your line that's going something like that. - We're gonna even play with the color, - maybe do something like a little wacky, - a little bit more color to this. - Okay, - that's cool. - All right, - Now I want to do duplicate this, - but I want to reverse it now. - Okay. - So I'm just gonna take these trim paths and basically move. - Swap them. - Okay, - so it's something like this, - and then I'm going to change the lips path and the stroke. - May, - I'll make it super thick. - Something like this and change the color to something kind of bright. - Something like that. - Okay. - I'm gonna put this ellipse beneath everything Wow, - There's something going on right there, - right there. - Sometimes this happens and you just have to play with the key frames. - Just kind of edit them, - move them over something like that works. - Okay, - speed it up a little bit. - It's got this weird thing happening again. - So just play with these key frames, - Okay? - So something like that looks good. - And then last but not least, - I want to add a sort of a background for my icon. - So let's just go ahead and duplicate this first Ellipse deplete duplicate that. - I'm gonna put it this one on the bottom as well. - And then I'm going to play with the stroke. - And I'm just going to make the stroke with something pretty thick, - but also make the Ellipse path smaller just until it kind of closes that circle in the - middle of that gap. - And we're actually gonna put this hipster circles beneath our site icon. - Okay, - let's see what's going on right here. - So that's pretty cool, - actually, - but I want to offset this final sort of circle animation that I'm just doing right here and - make it happen a little bit later and maybe into a rotating that way. - I want to rotate the other way. - So I'm just going to delete these key friend for the end and do it from the start. - That should work. - Yeah. - So now it's rotating on the other way. - And while I'm at it, - I'm just going to change the color of this initial Ellipse one. - So that's different than this final white circle. - Because I want the sort of to be white at the end. - I sound like that's pretty cool. - Okay, - so now at the end, - let's see what we have. - So now we have this white circle with a red sort of outline. - So now do I want that red outline on the end At the end of it or not, - what I'm gonna do is just use this transformer lips to decrease the size. - Something like that. - Yeah, - me. - So just has the border. - Okay, - so this is pretty cool. - But now I just want to sort of then enemy the site icon, - This this little map icon at the end. - And I think I just want to sort of let's see what I wanted to dio may I wanted to drop in. - OK, - so What I'm gonna do is using the lips tool. - Just create a shape that actually goes from the center. - So let me turn on my proportional grid so I can see the center create a circle that goes - covers. - Basically everything in the circle Turn on the Phil and turn off the stroke. - Actually, - make this a little bit bigger. - So it covers are red circle at least at the very top. - Okay, - so now I'm just gonna put this above Sigh Icon, - do toggle switch mode. - Do Alfa Matt. - So now under track Matte. - When I changed the track matte to Alfa Matt shape Layer one. - Now my site icon Onley appears wherever there is, - wherever this shape is. - So it kind of creates a mask in that sense. - So now I can just kind of animate the position of my sight icon. - So just bring a position, - make sure it's in the center. - That will be our endpoint. - Said a key frame for a position there. - Go back a few frames. - I have to shift these over and then just move it up out of that circle that we created. - It's now it kind of comes onto the screen, - and I'm going to create a little snap effect for the motion. - So I'm just gonna keep frame those Eazy e's them, - get our graph editor, - and really just move these and make it super slow at the start and super slow at the end. - That's pretty cool. - And maybe all add motion blur to this one that turn on the motion blur for that layer and - move these key frames up a little bit. - So it starts coming on right when that finance finishes its animation. - Okay, - so that's looking pretty darn cool if I say so myself. - Interestingly, - call this hipster circles one, - and then I'm going to to actually, - um, - parent, - these two layers, - I'm gonna rename this map icon so it makes more sense. - And then I'm gonna call this map Icahn. - Uh, - math. - Yes. - I mean, - it's like both those in parent them to hipster circles, - because now I want to do a little size and position animations. - Oh, - bring up size and position. - I'm going to set key frames where it is right now impress you to bring up all the key - frames, - then go forward like 10 frames. - Decrease the size and bring it up Something like or actually at May just move until left - something like this. - Okay, - so that's pretty cool. - May make it a little faster, - and then Eazy e's it to make the motion a little more unique. - I like this kind of snapping motion so that you get that just by taking the key frames on - either side and making them a little bit slower. - So the middle of the the motion is the fastest part of it. - So that's pretty cool. - And then we could have, - like, - text pop up or something. - But first, - before I do that, - I'm going toe kind of duplicate what I just did with the rest of these icons. - So I'm going to duplicate hipster circles, - move it above and just below news P and G. - So it's gonna come up in the center. - I'm gonna turn on my news. - PNG right there. - Okay, - so let me just look at what I do with the map icon. - Just press you to bring it up, - and I'm just going to copy these position key frames and paste it to the news right here. - But that is not gonna work. - I'll just have to replicate what I just did. - So I'm gonna move this to the center. - Okay? - Press p for positions. - Set that key frame, - Move it to the end of this. - And then Now move this up and that sets another key frame right there. - So it moves in like so. - And then we have to create this other Icahn. - Matt Aiken, - I think I can just duplicate this. - Move it above news, - turn it on, - see where it's at. - So it looks good, - And then toggle switches modes and changed the news track. - Matte Alfa Matt map icon. - That too. - But I'm gonna rename this to news, - Matt. - Okay, - so now the news kind of flies on like so, - But I want to change the emotion, - make it sort of snap into place like we did with the other one. - Just take these points, - bring it in, - like, - so something like this looks good. - Okay. - And then I'm going to go to these key frames where I changed. - The, - uh are actually just parent these two layers The news, - Matt in the news, - P and G to hipster circles. - And now it moves to that spot as well. - Except I don't want to move it to that spot. - I want to move it over to this right side. - Someone's gonna take this right there and move it to the right. - So and then dragged these three layers. - So the news, - Matt, - the news, - PNG and the hipster circles too, - is dragged him to the right. - So I want this to start animating as soon as the first initial map starts to move. - So maybe something like right there. - Okay, - so you get the point of what I'm doing. - I'm not gonna actually replicate what I just did for this last, - uh, - I thought, - but what I can do is kind of show you what I would do next. - So say this is, - you know, - an explainer video about an app that does mapping and has a news feed or whatever. - Then I would just add text and do something like this. - So Ah, - find yourself. - I don't know if that's what you can do with this app or not, - but add this text and maybe it'll kind of pop out from underneath this icon. - Okay, - So find yourself. - I'm going to put below these this these layers right here, - right when it, - um ends all of its animation. - I'm just going to do the animation for this text of bring up position in size or scale - press you to bring both of them up, - gonna move them out a few frames and then bring down the scale and move it up behind this - icon. - Then just I'm going to cut the start of these layers away. - So does command shifty. - Then get these first parts of these layers and delete him. - So let me just grab our play area so that we can just render this out really quickly. - See what it looks like. - Okay, - Looks pretty cool. - Except I don't want to do that with hipster circles. - I just wanted to do that with my find yourself layer. - So you dragged that back out first, - I'm going to add motion blur. - So turn on this motion, - blur tap, - and then add a little snap emotion to it. - So get to our graph editor and zoom in over here and add a little snap to these key frames - . - Okay, - Get out on the graph. - You zoom out. - So that's kind of cool. - And maybe I'll have a, - um, - pop out a little bit earlier. - As soon as this motion is kind of starting. - That's pretty cool. - And I could just duplicate this, - actually slide it over a little bit. - Make sure I'm where the key frames are. - Select both key frames, - move it to the right, - and then I don't know, - whatever we say and share. - And now this is gonna come out from under this, - or we can even move it to the top. - That's a little different and make it a little sooner. - So it starts right when that gets to its end point. - So that's pretty cool. - Actually, - I like how this is looking. - So this is kind of the basic basics of what you do with an explainer video, - and you can see that these little animations right here kind of help a lot. - And, - uh, - you know, - I could keep going with this, - ADM, - or add more details was going on here. - I don't want my Oh, - I think I messed something up because now my map is sliding on over there. - Well, - I think I changed the I mess it up when I, - um, - played with the parenting or something, - but, - um, - yeah, - I'll have to go back and check that out and fix that. - But you get the idea of how it was it was before. - Should look like that. - Okay, - well, - thank you so much for watching. - If you have any questions, - please let me know. - I hope you've enjoyed this course so much. - If you have any more lessons that you would like me to do Any ideas, - any videos that you see online And you're like, - I wonder how you do that. - Please let me know. - I thanks so much for watching and we'll see you next time. - Bye.