How to Create a Professional YouTube Intro with After Effects | Surfaced Studio | Skillshare

How to Create a Professional YouTube Intro with After Effects

Surfaced Studio, VFX & Film Making Edutainment

How to Create a Professional YouTube Intro with After Effects

Surfaced Studio, VFX & Film Making Edutainment

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20 Lessons (2h 26m)
    • 1. Introduction

      2:41
    • 2. Why Use Adobe After Effects?

      2:21
    • 3. Course Materials

      2:36
    • 4. Crash Course - Importing Footage Into After Effects

      2:04
    • 5. Crash Course - Creating & Previewing Compositions

      5:51
    • 6. Crash Course - Adjusting Panels & the After Effects Interface

      2:18
    • 7. Crash Course - Moving, Scaling & Rotating Layers

      3:38
    • 8. Crash Course - Common Beginner Problems

      2:48
    • 9. Creating & Formatting Text

      9:37
    • 10. Animations & Keyframes

      13:38
    • 11. Using Text Animation Presets

      14:51
    • 12. Adding In & Out Transitions

      11:15
    • 13. Exporting Your Animated Title

      8:13
    • 14. Layering Images and Blend Modes

      15:23
    • 15. Applying Effects

      9:15
    • 16. Generating Backgrounds

      15:19
    • 17. Animating Parts of a Logo

      13:09
    • 18. Global Effects with Adjustment Layers

      8:54
    • 19. Course Project - Create Your Own Title

      1:03
    • 20. Thank You!

      1:04
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About This Class

Want to be on YouTube, Facebook, Instagram, TikTok?

You will likely need a custom video intro or outro for your channel!

You could pay a (decent) freelancer hundreds of dollars to create one for you...

OR

Take this easy beginner course and simply learn to create any video intro you want!

What Will I Learn?

  • The basics of Adobe After Effects (crash course included)
  • How to create, customize and animate text
  • How to use Animation Presets to create per-letter text animations
  • How to apply in and out transitions
  • How to work with images and blend modes to layer them
  • How to apply effects to spice up your title animations
  • How to generate interesting motion graphics backgrounds
  • How to use adjustment layers to apply global effects to your titles
  • How to export your animated titles into video files you can use anywhere!

Who is This Course For?

  • Anyone looking for a custom custom title video, outro, banner or text animation for social media or personal use
  • Beginners (or low intermediate) users of Adobe After Effects

What Do I Need?

  • A copy of Adobe After Effects CC - ANY version will work!
  • A basic understanding of how to work with files on your computer

Course Materials

Meet Your Teacher

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Surfaced Studio

VFX & Film Making Edutainment

Teacher

Want to get into Filmmaking, VFX and 3D without being bored out of your skull?

I like making wacky (and sometimes educational) tutorials for After Effects, Premiere Pro, Blender, HitFilm, Houdini and more!

Get in touch via social media :)

 

See full profile

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Transcripts

1. Introduction: Hey everyone, and welcome to this hopefully exciting course on how to create your own animated texts titles in Adobe After Effects. Now, whenever you need an animated title video, and that could be for you heat your channel, your Facebook business, Twitter, tiktok, or maybe even a business presentation. You could go off and get a freelancer. I spent a couple of $100 to get them to create a video for you. However, in this course, I want to show you how easy it is to actually do that yourself using Adobe After Effects. And not only is that hopefully going to save you some money, it will then also enable you to customize and create a sorts of title animation videos that you may meet. In this course, you're going to learn the absolute basics of how to use Adobe After Effects and how to use this powerful tool to then create your own animated Titles. We're going to cover how to create, customize and animate texts, how to work with presets to add some interesting effects and animations to all of the text elements. We're going to cover how to add images, logos, background elements, and how to work with effect to really spice up your title and make it pop. And finally, I'm going to show you how to export your animated title into an actual video that you can then use on your YouTube channel, Facebook, business presentations, or shared with the world on the Internet. As part of all of that, I'm going to take you through a couple of examples of creating custom animated titles with images, texts, effects, and you can then take it from there, essentially create any animated tiles that you can think of. And finally, there's a class project where you then get to apply your new found skills and create a time yourself of some of the assets that are included in the course materials, not just using your own things that you can find on the Internet or that he may have recorded already. Just to kind of cement that new knowledge and building your own first custom animated video title. Now, the only thing you need for this course is Adobe After Effects, CC. It doesn't matter whether you're on Windows or Mac when I talk about shortcut keys and world to cover both options. But you do need Adobe After Effects CC, but you don't need to know how to use it yet. I want to cover all of the basics of everything you need to know to create your own custom video titles. Finally, this quickly because I haven't actually introduced myself yet. My name is Toby us and I'm essentially that gives you, I've been on YouTube since 2011, create tutorials for filmmaking, visual effects and 3D using a lot of the popular video editing and video compositing tools. Essentially, I just love filmmaking. I love visual effects, I love 3D and putting it all together and showing people that a lot of the things that you may see online where you're like, Wow, that looks great. How do I do that? A lot of that is actually really easy and creating your own custom animated titles using Adobe After Effects is pretty easy. It's not scary even if you have not touched a little bit After Effects before, don't worry, you'll be fine for now. I feel like I've offline for long enough. Let's finally jump into the course. 2. Why Use Adobe After Effects?: Now the very first question that you may have is, why do I need to use Adobe After Effects? Can't I just use Premiere Pro or funny hats and some using them already. Now, Final Cut, Premier Pro and a lot of other tools are considered video editing tools that makes them really great at going through a big bunch of video for lesion material that you recorded, either be that on your day out, on your holiday, on your kid's school day, going through all of them and arranging clips sequentially or horizontally from start to finish to put together an actual video projects After Effects, on the other hand, is actually considered a video compositing tool. So rather than arranging clips sequentially like one after the other, Adobe After Effects is much better at arranging vertically on top of each other, like layering different videos or images on top of each other like a face. For that you may have some glow effects on particles, some smoke, something else. So you're kind of creating a layer of visual material and that then gets merged into a final composited shot, which is why it's called a video compositing tool that you'll be asked. Effects also has a lot more in-built effects as well as much more powerful animation capabilities, which then makes it much more suitable to creating visual effects or 2D animations like when you're wanting to create your own animated video title. Now, you can do certain things in Adobe Premiere Pro or final count, or you can find a third party plugins that gives you a lot of that capabilities within the video editing tools. But by itself, Adobe After Effects is the much more suitable and much easier choice for when you want to create 2D animated texts titles. And while it might seem daunting to learn a totally new tool and you may wonder why it's absolutely worth it. Adobe After Effects is actually not that complicated. Once you get your head around a few basic concepts, opens up a huge world of possibilities for creating 2D animations, visual effects, and really spicing up your video project and thrown some things in there that you may have seen online already gone. How did they do that? Good chance that it was with Adobe After Effects. Now in this course, I will not assume that you have any prior experience with Adobe After Effects. So the first thing we want to do is go through a quick crash course on how to use Adobe After Effects at the very basic level, if you are familiar with Adobe aftereffects already, anybody just want to know how to pray to the animated textiles using the tool to skip the crash cause and jump straight into the part where I talk about how to put together your own titles. But now without further ado, let's jump into Adobe After Effects. 3. Course Materials: Before we jump into Adobe, After Effects, do make sure that you grab myself the course materials, and you will find the download link to this file down in the lesson notes. Once you've downloaded this file, simply extract it on your computer and you should find two folders. One for images, where I've placed a large number of different random images for backgrounds and logos and graphics and other things that we will be using throughout this course. And you will find a folder for funds which contains a number of TT TF files or true type fonts that you can install on your computer. If you're on a Windows machine, you can simply select all of these fonts, right-click and select to install a deck will install those fonts on your computer. Make sure you do that before you launch Adobe After Effects, so it picks up. You've installed these fonts. If you're on a Mac, you will have to drop these files into your library slash fonts folder. And again then once you start after effects, they should be available for you to use. I absolutely encourage you to use your own artwork to follow along with this course. If you artistically skilled, it'll be much more rewarding anywhere. So you use your own stuff. However, if you don't want to use what's in the course materials and you're not necessarily artistically skilled as a number of different resources online that are highly recommend where you can find some free stuff. One is Pexels.com. This is essentially a giant library for images as well as videos that are free for commercial use. They have a huge amount of variety and while attribution to the artist is appreciated, it's not required. So you can use these images for anything that you want. Now if you look more for graphics and clip out a really great sources public domain vectors.org. This is a large library of Clip Art and vector art that is in the public domain. So all of these images again are free for commercial use. You can use them in any way that you want. Now when you download these files, they will usually come in SVG, EPS or AAAI format, which is a vector art format. And you can either drop that into Photoshop to convert it to a PNG or JPEG image. Or you can use an online converter tools such as SVG to PNG.com, upload that file and turn it into a PNG that you can then use within Adobe After Effects. In terms of funds, one website that I can highly recommend is 1, 0, 0, 0, 0, 1 fonts.com. They have tons more than 1000 fonts. Now to make sure that you come up into font categories and you do go to free fonts for commercial use. These are the fonts that you can just download and use and you don't have to worry about licensing even if it's for a video that using on your YouTube channel or for business video. They have tons of free commercial use fonts here, there's like 500 pages of fonts that you can just download the zip files. Once you unpack them, you'll get that TGF font file that you can then install on your Windows machine or on a Mac. Just drop it into the library slash fonts folder. But now that you have everything ready that you need to follow along with this course, let's launch Adobe After Effects. 4. Crash Course - Importing Footage Into After Effects: Let's honor to be aftereffects and go through an absolute beginner crash course on how to fundamentally use this tool. Now, depending on the version of Adobe After Effects CC that you're using, you may not get this startup screen, but let's just click this away anyways so that we can get to the main interface of Adobe After Effects. The main interface of Adobe After Effects is broken up into a number of different panels. At the very top, like pretty much any other program you have. The main menu where we'll dig into a little bit later. Just underneath that, you have all of your tools that you can use to modify and work with the layers in your compositions. And we get two compositions in just a little bit. On the left-hand side, you will find that the project panel, this is where we will import all of our media files, our images of videos of sound effects or anything else that we're working with, managed them and create compositions. Compositions are essentially the containers into which we will place all of our visual material layer edge. And then their composition is what we can export into an actual video file if that doesn't quite make sense. And because the other panels are only really relevant once we have a composition, Let's go through that process and create our very first composition in Adobe After Effects. First, however, let's actually import some media into our project. For that, simply double-click it to some empty space for the new project panel that is going to open up a file browser, then navigate to where you downloaded the course materials files. Let's jump into the images folder. And let's pick this floral background dot JPEG file. Then over on the right-hand side, simply hit import to import this file into the project. Now, with this file is selected at the top of the Project panel, you get a little preview of that image as well as some information on that file. So it's 2000 by one hundred, five hundred and forty six pixels has millions of cars. You get a bit more information if you've got a video file selected here or an audio file as well. But now that we've imported some footage into our project, how do we actually use it to create an animation or a video? Well, for that, we first need to create a composition and we'll talk about how to create and preview compositions in Adobe After Effects in the next video. 5. Crash Course - Creating & Previewing Compositions: Now we've imported some footage into our project, but everything is still pretty empty. There's nothing in these panels. So how do we now use our footage to make an actual video? For that, we first need to create a composition. Compositions are just containers into which we can then place all of the materials that we've imported, be that images, video, audio material, arrange layer and combine them in any way that we want. And then that composition is what we will eventually export into an actual video file. There are a number of different ways to create compositions. The first one is simply to come up into the main menu, select composition, new composition, or use the shortcut Control or Command and m, The other much quicker way in my opinion, is to simply come to the bottom of the project panel, find this little icon here, this composition icon that says create a new composition. So let's click on that. And that is going to bring up the composition settings for the new composition that we will create. Remember, this is just going to be a container into which we will then place images, videos, text, and anything else, layer it, and export it to the final video file. So let's get this competition a useful name that simply call it my first composition. And then in order to go through all of the configurations, you can actually just use this preset drop-down to pick something that works for you. So HDTV 1080 at 24 frames per second is what most videos on YouTube or Facebook or for your 16 by 9 aspect ratio would use, Let's just select that. That's just going to pre-fill these ones. My width and height is 1920 by 1080 pixels, which is full HD, which again is what YouTube uses. If you were to make a title for something like Tiktok, you'd swap these around. You would have 1080 by 1920 because TikTok is a vertical format. So this is essentially the resolution of the composition, and it also defines the resolution of the final video that we're going to export from this composition. So this is important to set up, but don't worry, you can change this or later. Pixel aspect ratio is a little bit more technical and usually has to do with either if you go into something fancy like anamorphic, don't have to know what that is. Or if you're working with older video files where the pixels may not necessarily be squared. So when you import video into your composition and it's stretched or squashed, try a different pixel aspect ratio at majors fixed your issue, then the frame rate, I usually recommend leaving this on 24 frames per second. It's kind of what film or movies use. It's usually a pretty standard frame rate, resolution and start time code. I'm not going to change. The more important part is the duration. This is the duration of the composition and also is then the duration of the video that we go to Export. I'm just going to set this to 10, so that's 10 seconds long. Background color can stay as black. Let's hit Okay. And now you'll notice the interface kind of came to life. So over in our project panel, we now have a new file called my first composition for background is the image we imported. My first composition is that new composition, that new container that we've created within Adobe After Effects. Down at the bottom, you now also find a tab for my first composition. Right now there's nothing in here. Over on the left-hand side you will see all of the layers of visual material that we've added into this composition. Over on the right-hand side you have a timeline, this little timeline indicator. You can click and drag on that play head here to scrub through your composition. And then in the middle, you have a preview window that shows you the image of what's underneath that current play head. And right now there's nothing here. So our previous just black. So, well, let's add our image into this composition. Let's come into the project panel, select the floor background or JPEG file. Click and drag and drag it down on the left side into this composition, into this layer window here, Let's let go. And that has now added a first layer into this composition for offload background JPEG. Over on the right-hand side, that layer has a timeline, is essentially the length of this composition. And now if you click and scrap on this play head, you can see in the preview window this is the actual image, the flow of background jetpack. If you click into the timeline and press space, this is going to play back the composition. Now we have no animation, so nothing really happens. We can simply take this play hat and drag it to the beginning of the composition. You may also note that there's this green bar at the top of your timeline in the composition. This means that every single frame of this composition has been pre-rendered. So when you hit space, it plays back in real time. Now once you add many more layers into a composition or you use effects or animation or things that are computationally expensive depending on your computer, this green bar may be broken up or it's kind of starting to fill in slowly as you're trying to play this back. It just means that your computer's processing and generating all of these frames. And until this past fully green, it may not play back in real-time. So you may notice that your animation seems laggy the first time you play this through. Or if you have audio files which you can drop into your composition as well, they may play back a little bit weird, like they may slow down, really slow. So that's just a normal thing. Once it's green, it should be all cached and then play it back should be real-time though. Now if you hover your mouse over the viewer in the center, you scroll down on the mouse wheel. You're going to zoom out. And if you scroll up, you're going to zoom in. So sometimes if you're zoomed into closing, you're like, why am I seeing this? I just scroll down on your mouse wheel. On the bottom of the previous panel, you'll also find a zoom control here it's set to 100 percent. I can also pop this open and select fit up to a 100 percent that's going to fit this exactly into the space of the panel that you have available. If we zoom out a little bit, you can also use Alt and Option and forward slash on your keyboard to do the same thing and very useful shortcut. And if you're new to Adobe After Effects, I highly recommend to start using shortcut keys as soon as you can, so you just get used to them. There's shortcuts for pretty much everything in After Effects and knowing them will make your workflow and your life. It's so much easier. Now, before we talk about transforming, like moving, scaling and rotating this image that we've added into our composition. Let's just quickly look at how he can adjust and customize the After Effects interface to be just the way that you like it. And let's do that in the next video. 6. Crash Course - Adjusting Panels & the After Effects Interface: While I generally recommend just sticking with the default interface for Adobe After Effects, if you're just getting started and will soon come a time when you need to shift things around or you just want to generally arrange everything to better suit your personal workflow. For example, if you find that the viewers a little bit too small, all of these panels, you can actually hover over the edges between these panels and your cursor will change into this little double arrow and click and drag to make this bigger or smaller anywhere that you want, you can do that will project panel over on the left-hand side as well. Now, over on the right-hand side, you will find an effects and presets panel. Let me make this a little bit bigger and this will change depending on what you have installed. I've got a bunch of third party plugins that you will not have, but don't worry, we won't be using any of those two in this course. So in here you will find all of the effects that are available within Adobe. After Effects, scroll through them, you can search through them. There's also libraries. If you are linked to your Creative Cloud accounts, you can upload things on the Cloud and there'll be available within Adobe After Effects. Don't worry about that too much for now. There's also an info panel above. And if I make this panel a little bit bigger, There's also something for previous so you can change the shortcuts of how you preview your composition. You can enable caching before even tries to play back so little pre-render everything first and then it plays back, might take a little bit longer, but it will then prevent that the playback lags for you. So you may want to enable that for now. I'm just going to leave everything on the font is so that it makes it easier for you to follow along. The other cool thing you can do as well with all of these panels, you can actually right-click on them and select to dock. This will create a floating panel that you can then scale and move off to another screen or do whatever you want with it, place it anywhere else. You can also grab these panels and redox them so I can move my Effects panel over on the left-hand side here, for example. Or I could grab my project panel and move that down here on the right side. For example, if I wanted to, once you messed everything up or for whatever reason, you can't find a panel that I'm talking about in this course, simply come back up to window workspace. And then in here, select reset standards to saved layout. This will reset the workspace and everything is back to where it was. Now I'm going to make the preview panel just a little bit bigger again, because in the next video, let's talk about how you can actually transform as we move, scale and rotate the layers that you added to your composition. 7. Crash Course - Moving, Scaling & Rotating Layers: Let's talk about how you can move scale, rotate the images, videos, and other layers that you've added into your composition. First, let's zoom out a little bit by hovering amounts over the preview panel and scrolling down on the mouse wheel. And he may have noticed this purple box here. Now, if in my Layer window for my first composition, you click next to far background where I'm selecting this layer and you may notice that those edge points vanish, so I no longer have this layer selected. If you select the layer, you will find these nine points telling you that this layer right now is selected. And this now allows us to move, scale, and rotate this layout. So simply click onto this layer directly in the preview panel and just drag it to move it around. You can click any of these corners and drag to stretch the layer, make it shorter or taller. Or if you grab a corner, you can do both at the same time. Just like with any other program Control or Command, Z will undo all of your changes. So let's undo all of that. If you grab the site and you drag this in your squishing the layout. However, if you hold down Shift on your keyboard while you're doing that, you're actually going to maintain the aspect ratio of this layer so you avoid squishing it. You can still scale it down nicely. Now, in order to rotate a layer, you need to select the rotation tool. You can either do that in the menu bar up here, you'll find this little rotating era. It's the rotation tool. So select that oddest press W on your keyboard. And now if you click on this layer and drag up or down, you can now rotate and spin this layer around. Let's return to the selection tool. Again, you can come into the menu bar and find the selection tool up here. But I prefer to use the shortcut keys and I do recommend that you get used to them as soon as you can. So just press V to return to the selection tool. And you can now again click and drag this layer around. If you click any of the sites, scale it up and hold down, Shift to scale it up uniformly. So let's just kind of place this right there in the middle. Let's press Alt or Option and forward slash to zoom right back in. And since this isn't very exciting and we only have a single layer in our composition. Let's add another image and layer things on top of each other, which is one of the key features of Adobe After Effects. So returned to the project panel. Again, double-click into some empty space that's going to bring up the file browser. And in the images course materials, and we'll just select my little line dot PNG. Hit Import. That's going to import my little line dot PNG, which is this line image here. It's on a transparent background, which makes it nice to use my composition. Let's click on this file in the project panel and drag it down into the composition and place it on top of the flawed background. If you place it below, it's not going to be visible because the flow background is going to sit on top of it. Let's place it on top of the floor background and just let out, well, that's a big line with the mouse over the preview window. Let's scroll down to zoom out. And now we can see a purple box around the line. You can also see the purple box for the floral background underneath. Now with the line selected, you'll see all of these handles on the line layer. Let's click on, on the site. Move this m, But I don't really want to squish them up. So hold down Shift. And let's just scale them down to be a little bit more proportional right in the middle. Old option and forward slash you to zoom right back in. Let's click somewhere within our timeline and select all of our layers. And now if you scrub through this, you can see that the line image now sits nicely on top of the floor background for every single frame. Now, yes, there's still no animation and nothing's really happening. And we'll get to all of that when we talk about how to create actual animated texts titles. However, before we wrap up this crash course, I quickly want to touch on a couple of very common issues that you might run into if you knew to be aftereffects and talk about how to solve them. And let's do that in the next video. 8. Crash Course - Common Beginner Problems: Let's quickly talk about a few common issues that you might run into if you new to Adobe After Effects. Now, none of them are scary or difficult to resolve, but they can catch you out if you're not sure why something isn't working the way you expected it. So I figured it be worth to quickly cover those. The first one is that in the timeline, at the very top, you'll find this horizontal bar here. This is actually a time navigator and you can actually click on these blue bars and drag them in to zoom in on part of your timeline. So you may only be able to see a part of your tongue. And you also notice the horizontal scroll bar down here that the pizza now and can now scrub through my timeline. But this is sometimes where you may lose your timeline indicating you're wondering where did things go because you actually zoomed in on your timeline, so you just seeing a part of it. And you can either make the timeline navigate our big again, just by dragging the sites to go all the way back out. You can also, with your mouse over the timeline, hold down Alt or Option on a Mac. Scroll up to zoom in and scroll down to zoom back out. So again, just in case you lost your timeline indicator, just make sure you're in the timeline. Hold down Alt Option and scroll down to zoom all the way back out and you can see the entirety of your composition. The other thing that is also quite easy to do by accident is to double-click one of the images or videos or other fonts that you've imported into your project. Let's double-click onto little lines or PNG. And now while all I'm seeing is my line, where did my weight, my background color, and why is it square? What happened? Now? I'm essentially just previewing this little line P and G by itself in the top of my preview panel, you'll see it now says footage little island or PNG. Over on the left-hand side, I've got composition, my first composition, and this is the actual composition. If you click on that, you back in your composition, if you click back onto footage little line, you back onto just that little line I can file. So just in case suddenly everything is gone and you only see one of the elements that you were expecting. Just make sure you haven't accidentally double-clicked into something. Also, if for whatever reason down at the bottom, you can close this, my first composition. If you accidentally closed it. Now it's gone. Yeah. Oh, ready to go? How did I get back into it? This is where you can double-click onto the competition in the project panel. So let's double-click on my first composition and that's going to open that back up. So this is just kind of how you navigate around and just make sure you are in the composition that contains your title elements and that you can see the timeline indicator and you're pretty much good to go. Now, I haven't yet talked about how you can actually export your composition, my first composition into an actual video file. But at much rather get to the interesting parts first, like working with text, adding animations, keyframes layer in different things, working with the facts so that you can actually build your animated title in Adobe After Effects first. And then I'll show you how to export that into video file at the end of the course, just because I feel it gets you to the exciting part just a little bit quicker. So let's wrap up this crash course and let's start looking at how we can work with text in Adobe After Effects. 9. Creating & Formatting Text: Let's look at how we can create and customize text and titles in Adobe After Effects. If you have skipped a crash course on Adobe After Effects, all we've done so far is we've created a new composition and dropped two images into it, the floral background or JPA quizzes the background floral image. And we dropped this little line, PNG right on top. So hopefully you know how to get here. If not, just check out the crash course. Now, let's grab the lion and move it over to the right-hand side. And let's start to create some text up here on the left. For that, at the top in the toolbar, you will find the horizontal type tool. You can actually click and hold. There's also a vertical type tool if you want to write your texts downwards, but let's just select the horizontal type tool. Your cursor will change into this little text entry box. And then you can simply click anywhere in your preview window and start typing some text. Now, you may have noticed that over on the right-hand side, a few new panels have appeared. Let me just make this side a little bit bigger by clicking and dragging between these panels, there's now a character tap that has appeared. If you can't see this panel, you can always come up into window. And in here there's a character option. If that's disabled, that tab is not visible. But if you go Window naval your character tab, you will have the character tab where you can modify, customize, and format your text itself. Now if I make any changes right now, let's say I change my font. Nothing will happen because my font cursor, if you can see, is right here at the end. So I can still type text. But because I don't have any text selected, these changes only apply to any new texts or type or the text I have selected. So what you actually need to do is you need to click and drag to highlight the text that you want to apply these changes too, so let's make sure everything selected. You can also just click anywhere within this text with the horizontal type tool selected, press Control or Command a to select all of the texts. And now if I change my font, that will apply to all of my selected text. Now in this character panel, there are quite a number of different options, so let's go through them one by one. The first one is your font. In here, you'll be able to select any of the fonts that are installed on your system and just pick any font that you think is suitable for Leodes coffee club on something nice and friendly. So I think I'm quite happy with this selection. Then underneath the form, he usually have different options for regular italic, bold, depending on what the font offers. This font only comes in regular, so I don't have any options in here. Underneath that. You have this size and you can either click on this and type something. And so let's type 1, 60. And Nama font will be a 160 pixels big. You can also click and drag right or left on any of these values to change them. So there's a comfort, nice, and just very natural way of adjusting the size of the fonts. So that actually looks pretty good. But what am I do? A mighty change the top here, this Leo. So I'm going to click into my text again with the text tool still selected. Let's select this top part here, Leo's and I'm now going to change the size and this will only affect that particular piece of text. So that's the scale JOS down a little bit. Then over on the right-hand side, next to the font selection, you'll find two color boxes. The one in the foreground is the fill color for the font. You can click on this and that's going to bring up the color picker. And then you can change this to any color that you want. You can have it will have it like a light friendly, light blue, maybe a little bit desaturated just like that. Hit Okay. And then the one that the back, if you click on that, it comes to the foreground is the stroke color. So you can click on that as well and change the stroke color. However, right now there's no outline, There's no stroke around this text, so this won't make any difference. That's called the leave this on black for now, you can also swap them by clicking this little arrow here that's going to swap the fill and the stroke color. But let's just undo that. I was actually quite happy with the blue, quite honestly. Maybe I was going to change that back to white out. Other than making the text a little bit smaller, I kind of like this texture is being a little bit smaller anyways. Now the next thing you can do is you can adjust the space between multiple lines of texts for that. Again, that's just click anywhere to texts Control or Command a to select everything. And now just underneath the color options, you'll find this option for leading, which is right now set to auto so it automatically adjust. But again, you can actually click on this and type in a value yourself to maybe 50, who they're very close together. Or you can click and drag to the right and left to kind of adjust how much space you have between the different lines of text. I'm just going to bring this in a little bit closer. So yo sits a little bit closer to the coffee club right there. Then the next thing that you can adjust is the tracking. And if you bring this up or down, you can see how the Texas being pushed apart or sitting a little bit further to get them is going to push it out just a little bit more. And then here is where you can define your stroke. Remember we have a stroke color of black, but right now there's no stroke. So you can't see a black outline. If you increase this size here, the stroke width, you can see there'll be an outline, so you can see a black outline. You can make this bigger or smaller however, you want to just make this a little bit bigger so you can see what's going to happen. And then you can decide whether the fill is going to render over the stroke or whether the stroke will be rendered over the fill. So if you swap these out, now the stroke takes over. Let me make this a little bit smaller so you can see it. So now the stroke is on top of the fill. Otherwise you can have the fill on top of the stroke, again, totally up to you and how you want this to look. I'm actually going to just give it a little bit of an outline, maybe 10 pixels or so. Then you can also adjust the height of the characters individually. I'm going to Control or Command Z to undo that. You can also adjust the width of the characters. Again, let's just undo that. You can adjust the baseline for the texts are where the text starts. You can shift it up or down, but quite honestly, you could also just reposition the text in your composition anyway, so I'm not a big fan of doing that. And finally, there's a horizontal adjustment that you can do. And that only affects characters with like apostrophes, things that are kind of attached to the textbook and the kind of squished it in. I'll bring it out a little bit. I'm going to pull it in just a little bit. And then you have options to converting a text to fake bold, italics, all caps, small caps, superscript. You can have it sitting on top of the text or you can have it down at the bottom. You also have some additional options for ligatures and Hindi digits. There are new options. I haven't really used that much, but hopefully this gives you everything you need to modify the text. Now if you want to return to the selection tool, usually you can press V. If I press V, However, because I have my text selected, I'm actually going to type VII, so Control or Command Z to undo that. Let's select the selection tool. And now we can click and drag this font around. Want to position it over on the left-hand side a little bit. And while I do like this stroke, outline it, I think it's too dark. The black stands out a little bit too strongly. So what I'm gonna do is I'm actually going to go to my colors. Click on the stroke. Let's click on it again to bring up the color selector. And now I'm actually going to use this color picker here. And now I'm actually going to select that drop shadow color on the line, which is kind of this line ish, green right there in the color select. I'm also going to switch this over to brightness modes. So then I can have push up the brightness of that column is going to make it a little bit brighter. I might also go to saturation. Let's bring the saturation down a little bit. It's just a little bit friendlier looking. Let's hit. Okay. And again, Let's just position this text. And you may also have noticed that in the composition you actually have a new layer called Leo's Coffee Club is indicated to be a text layer. And that is essentially this visual layer that now sits in our composition. As with all layers, you can click on any of these nine points. You can scale it out, you can push it in, you can hold down Shift to scale it uniformly as control command and see you that you can press W to go to the rotation tool and you can rotate your font around in any way that you want. I might make it curl up just a little bit towards the right. Press V to return to the selection tool and just bring it down a little bit. So I think that looks quite cute. Smooth the line over to the bottom right-hand side somewhere. And now we've created our first text title. Now there are a number of additional options available for formatting your texts, especially when working with multi-line paragraphs, are more to do quickly and want to come into my layers in the composition. And what to click on this little eye next to Leo's coffee club to disable the visibility on this layer. So go to hide it just temporarily. Let's reselect the horizontal text tool and let's type three lines of text. Now, you will notice that this is using the same font as I had previously set up. If you select all of it and go to remove the stroke by reducing the stroke width to 0. Let's just change this to a more simple fonts maybe quicksand will do. And as we select some text and typed it down here in the bottom right-hand side, you have a Paragraph panel. This one, again, if you don't see it coming to window and select paragraph right here allows you to align blocks of texts like multiple lines. So right now it's left aligned. You can center align them all. Let's go to the selection tool and bring it across. You can also write a line it. And then there's a few options here to kind of modify how this paragraph looks, just in case you're working with blocks of texts instead of individual elements. Now, make sure this layer, this text layer selected, you can also click on it in New Layer window and press Delete on your keyboard to delete it and only use coffee club. Let's re-enable the eyeball so the text comes right back. So we're back to where we started in our composition. Let's zoom all the way out by making sure this navigator is expanded or holding down Alt and Option and scrolling down. So it's zoomed all the way out and we can see the entire composition. If we now scrub through this or play this back, nothing happens now it's acute title, but it's really static. So next, let's look at how we can use keyframes to add animation and a little bit more life into these texts titles. 10. Animations & Keyframes: Let's look at how you can bring new titles to life by adding some keyframes and animations. If you scrub through your composition now or you play it back, nothing happens because we haven't yet added any animations. So first, let's have this little line here coming from the right-hand side at about a second into this composition. For that, let's go to the very beginning. So scrub to the beginning of this composition. Let's select the little line. Oh, by the way, let's click on the background for a second. If you have the background selected and now you click onto this line, you won't be able to select it because you're also still clicking onto the background. Like if you zoom out a little bit, you can see that the line, because it sits on top of the background. If you click on the line while we're still clicking the background, if that happens, simply come into the Layer window and select the layer in here. And then you have the little line selected and then you can click on it and actually move it around. Let's undo that and zoom right back in. And let's grab the little line and move it off over to the right-hand side out of the frame. Cool, so this is where we're going to start, but we now need to tell Adobe After Effects that this is a starting position, a key frame position for this line. In order to do that, let's come back into the layer window in your composition. Next to all of these layers, you find this little triangle, this little twirly year. Click on that to expand the layer for the little line, you're going to see a transform property. Again, that's 12 is open. Underneath the transform. For every layer in your composition, you will find an anchor point, position, scale, rotation, and an opacity property. Now, these automatically change as you move and rotate your layer. So for example, keep an eye on this position property, come back into the composition and it's drag the little line over to the left. You can see the position property updates automatically. It says push them off to the right-hand side. And next to all of these properties in your layer panel. And you'll see the same with all effects and other things. You will see the stopwatch Huygens. And whenever you see a stopwatch icon means you can add a keyframe and therefore animation to this property. So with the timeline indicator at the very beginning of this composition, the little line off to the right-hand side. Let's come to the position property and click this little stopwatch icon here. The stopwatch icon is going to turn blue and over in your timeline, you can now see a little diamond has been created to just underneath our timeline indicator. This indicates that there is now a key frame on the position property at this particular point in time. The cool thing is that now we can scrub forward to maybe about a second. Let's come back into the preview window. Drag the little line over to the left-hand side. And you can already see there's a little line being shown in the preview window telling you that there's now an animation on the movement of this layer. Let's move the little line to exactly where we want him to be. And in our timeline, you can now see another diamond on the position property. This keyframe was automatically created because we had enabled keyframing on the position property. So you can now scrap to anytime within your composition, move the little line around and it would automatically record a keyframe of that position at that time for this layer. So now we have two keyframes on our little line layer. And the great thing is that if you now scrub back slowly and watch this little line here, it will animate to move in and out of the screen because After Effects will automatically interpolate blend between these two keyframes. By the way, you can actually click on them in your timeline to select them. You can also click and drag to marquee, select a whole bunch of them. And with the selected once you can click on them and drag them around so you can actually read layers very quickly. So for example, let's say I wanted to take two seconds for this little line to come on screen. Can just drag the second keyframe out to around about two seconds. Entry. Now play this back by pressing space. The little line is moving into the frame within the first two seconds of our animation. Now you may have noticed that as I move this keyframe around the top bar here, that green line is being broke because after-effects hasn't yet pre-rendered these lines. So if you have a slow computer, sometimes this may not play back in real-time the first time around, but the second time you'll see first I play it back. It's now filling up. And now if we play this back again, it will play back real time because After Effects as cached and pre-rendered all of these frames. Now let's play this animation back one more time and just keep an eye out on how this little line moves. Now it's stopping a little bit abruptly because right now, After Effects interpolates or blends from one keyframe to the other in a linear fashion, the increment is always exactly the same for every single frame, so it stops a little bit abruptly. A much nicer way to animate things is to use Bezier interpolation. And that sounds really fancy. It really just means to ease in and out of the animation. So it speeds up a little bit initially, and then it slows down and it just feels more organic and a little bit smoother. The way to enable that is simply to click and drag to Mark he select all of the keyframes that you want to enable, Bezier interpolation for, and then press F9 on your keyboard. The keyframes look a little bit different now, implying there's an ease in and ease out happening. And if you now rewind and play this back, and by the way, if you want After Effects, the first case, these frames and then playback, simply press Shift and space rather than just space. And can you see how much smoother that looks? Have an ion, the little line. The animation just looks so much nicer, kind of smoothly eases in and then eases out and it just feels a whole lot more organic. The other thing we can do as well to make this look even smoother as add just a little bit of motion blur. So there'll just be a bit of organic looking motion blur on this layer as it moves in. The way to do that is to enable the motion blur switches. And this is a little bit confusing in this layer window here, There's actually two views. Right now. We're in the modes view, but there's actually also a switches view. And down at the bottom here there's this toggle switches and modes button. If you click that, you can see that some of these switches here, they options on those layers change. It's just two different modes or two views that you can have because there's too many options to display them all at once. So click over to the switches, which you can tell you in by all of these little icons here at the top. By the way, you can also hover your mouse over the Layer window, press F4 to toggle between the two. Because with all of these switched, so all of these little icons here, there is one, these little three spheres here, that is for motionless. So if we now come to the little line and click on this little empty square here on our little line layer that is going to enable motion blur for this layer up in the composition settings. So these are the flags for the composition. You'll also see this motion blur flag being enabled automatically. If it's not enabled, make sure that the stick, this one so you have it on the composition and on the layer. And you can already see this a little bit of blurring happening on this layer now because it's moving from right to left. And so it'll just add a little bit of motion to it. And it'll just make this layer animate in a whole lot more naturally. Let's rewind again shift and space to play this back. Cool, and that actually looks really good. Now I might grab the end key frame and drag it into roundabout a second. I don't want the animation to take quite that long. Let's remind again and play this back. Cool, That's looking really nice. Now, let's do the same for the text title. And they can have that come in from the left-hand side and swing it to the right once the little line is on stage for that, let's come to maybe just before a second. So just before the line comes to rest, Let's select Joe's Coffee Club layer in our layer panel. And you can either expand the properties on the layer, then expanded the transform. But if you just want to get to the position property, you can also just select the layer and press P on your keyboard, and it will immediately reveal the position property. You can also press S to get the scale are to get to the rotation. And this gives you easy access to these properties. First, press P again to go back to position in the preview panel. Let's grab the text and move it off over to the left-hand side. By the way, if you hold down shift while you're moving these layers around in your window, you can actually hold down Shift to lock it in on the x axis so you're not accidentally moving it up and down a few pixels. You can also do the same if you move it down and hold down shift, you can have locking it in on the y-axis so you can only move it up or down and you can't accidentally shifted to the sides. So I'm going to click, hold down Shift and drag it over to the left-hand side. So it moves straight off to the left and down in the Layer window you can now see my position has changed here. By the way, like with all other properties, you can also click and enter a value here, or click and drag right and left to control those properties. It's going to move it off screen. The position property. Click on the little stopwatch icon to enable key-frames. That's going to add a keyframe at this position. Let's come forward to maybe round about two seconds or so. And now you can either drag the layer in the preview window, but I could also come to the position property and change this x, the horizontal. Push that over to the right-hand side. You can see the text come in. Let's keep dragging it until it's where I want it to be. Right about them. Again, that has added a keyframe, but because right now they're the little diamonds, meaning it's linear interpolation. So it's not going to be a smooth ease in and out. Let's enable that. Select both of them. Press F9 on the keyboard to enable Bezier interpolation. So that's going to ease this animation in and out. Let's come over to the left-hand side. Let's also make sure we enable motion blur for this layer, motion blur is already enabled for the whole composition. So I'll use Coffee Club texts as well as the little line will have motion blur on them. And that's again, press Shift and space to play this back. Cool, That's looking really nice. Again, go to retain this a little bit. Have the text start coming in a little bit quicker and end just a little bit sooner. I just prefer my targets to be a little bit snappier, but just customize this in any way that you want. Cool, I like it might make the text come in just a little bit slower, springs on a little bit too fast. Let's rewind, play this back. Cool. And I think that looks really nice. Now, once these texts animations are done, It's a little bit static. So what I'm going to do is I'm actually going to animate the rotation of the background just so that this floral background spins ever so gently, just to again bring some life to the entire title. First, however, let's collapse these layers again, soleus coffee cup. Just click on this little triangle here and click on the one for the little line to collapse all of those properties. Otherwise, this can fill up really quickly and then it's hard to find your stuff. Let's click onto the floor background, press R on your keyboard to reveal the rotation property. Let's come to the very beginning of our composition. And the rotation actually has two properties. There's a little degree here. If you click and drag on that, you can see you can rotate the layer and open the left-hand side. You might see ill. Now go 123, so that's times 360 degrees. The moment this hits 360 degrees, it's going to be 1 times 360 plus the degrees. So you can kind of keep spinning this. Now you may notice that this fraud background does not spin around its center. What it seems to be spinning about instead is this little point here which represents the anchor point, the basis for all transformations, all scale and rotation and movement will happen around this particular point and it's not centered with this floral image. Now fortunately, we can move where the anchor position for this layer is. Let's zoom in just a little bit by scrolling up on our mouse wheel. By the way, if you just want to drag around, you can actually middle mouse click and drag, or you can hold down space and click and drag to reposition this layer. Sometimes that's super-useful. Then coming to the toolbar and next to the rotation tool, you will find the Pan Behind Tool or the anchor tool, which you can also access with y. So let's click that. And now this will allow you to click onto this ANCA, which usually sits in the middle of the layer, drag it and reposition this anchor right in the center of this floral image that zoom in just a little bit more, make sure that sits exactly in the center. Let's zoom out with Alt or Option and forward slash. Press V to return to the selection tool. Let's come back into the layer window and change the rotation. And you now see this layer rotate exactly around the center. Now, we're at the very beginning of our composition that you can see this kind of gaps all around this background. So first of all, and make sure that this layer sits in the exact center of our composition. For that, you can actually right-click the layer directly in New Layer window, come up into transform, then select center in view. This will place the layer right in the center of the composition. Now it's still a little bit too small. You can see the gaps. So let's zoom out a little bit, select any of the sides and that's sad. Drag that out again, hold down Shift to make sure you scaling it uniformly. So let's scale this out to make sure travesty, entire composition. And let's just make sure there's a little bit of extra space around the edges. Old option and forth slash to zoom right back in. And let's animate the rotation property first. However, I want to set it back to 0. And you can go in here, just set these wants to 0. You can also right-click any property itself and simply select to really set that's going to reset that property to its default value. Make sure you at the beginning of the composition, Let's click on the little stopwatch icon next to the rotation. Let's scrub forward and you can see the little line at the texts come in. Let's go to the end of the composition and let us give this a little bit of rotation. So let's just increase the rotation not by too much, maybe about 50 percent, uh, so I just wanted to spin ever so slightly again, that has now created two keyframes. And because I don't want this background to slowly start and then slowed down on rotation. I want it to spin consistently. I'm going to leave this on linear. Let's rewind our composition and play this back. Cool, and that's looking really nice. And it's looking so much more engaging in active than the static title we started out with. Obviously customizes in any way that you want any property and aftereffects, even on the effects that we'll deal with later, they'll have this little stopwatch icon. You can just click that and able keyframes and then customize the, animate them in any way that you want to really get the most out of your titles. Now next, This isn't bad. However, we kind of animating the title as a whole and it'd be nice to have animations per letter, per character just to again add just a little bit more detail, a little bit more interest to this title. And let's talk about how to do that in the next video. 11. Using Text Animation Presets: Now we have a nice little title animation already to one thing, however, that I think would make this look a whole lot more interesting would be per letter animation so that this text isn't just one chunk coming in, but the text itself appears in a much more interesting way. First off, however, this feed tiny cleanups that I want to run through just to make this look a little bit neater. Now the line is moved in a little too far on the left. The title is close to the edge, so let's clean this up and I get simply select the line, move it over to the right-hand side, but I'm adding more animation. So now the line is actually going to come in all the way and then move over to that side. So that's not really what I want. Let's undo that. Let's select the little line layer. Make sure it's selected down in the Layer window as well. Press U on the keyboard, and that will reveal or properties that have key frames. And because I want to fix the position of the last keyframe here, make sure that your timeline indicator is actually over that key-frame, exactly. If you offer what you can do as well over on the left-hand side in the Layer window next to every property that has keyframes enabled, there's two little arrows here, left and right with a diamond in the middle. And that's jumped to the previous keyframe or the next keyframe on this properties, Let's click it to the left. You will have noticed at the timeline indicator jumps to the previous keyframe. So it's now exactly on that keyframe. There's also a little indicator here that's now blue because the timeline indicator is over a keyframe on the position property. And now I can move this line over to the right-hand side and it can go to hold down Shift to make sure I'm not moving him up or down. That's probably a nicer position just so it's not so far off to that side. Let's select the Leo's coffee club layer. You can select them in the layer window over on the timeline or in the preview window, press New. And let's jump to the end keyframe for the position property. Again, over on the left-hand side, you can see the position property with the keyframe. Let's click the right arrow to jump to the next keyframe. And I'm going to drag this over to the right-hand side a little bit. Again, holding down, shift, just that at the layer, this is a bit more even spacing on the left side for both of these visual elements. And I think also want to add like little coffee cup and maybe a bean into a distant. Add just a little bit more detail into this title. But again, feel free to customize this in any way as you follow along with this course, there's tons of course materials that you can bring in or just import your own images. So let's bring in a coffee cup and a coffee bean. For that, you can either double-click into the project panel and then select those files. But you can also actually just dragon and explorer window or a finite, if you're on a Mac, Let's select the cup of coffee, PNG, Let's hold down control or command select the other image as well. So you can select as many files as you want. You can also use MCI, select all of them, and that's just simply drag them directly into the project panel. You'll see your cursor changes to this little plus Copy. Let's go, let's go to import those two images directly into our project. And it's an easy way to get a whole bunch of files right into your project. Let's click into the project panel and select everything. Let's grab this cup of coffee. Nick can either drag it into the Layer window. You can also drag it directly into the preview window and place it where you want it to be, let's say on a little cup of coffee next to the line and whoa, that is one big cup of coffee. Now I can either zoom out and grab the edges and scale that in. Quick away, in my opinion, is actually to use the Scale property on the layer. So press Alt or Option and forth sash. Let's zoom back in with the layer selected press S to reveal the scale property. Let's just bring this down to shrink it down to the exact size that I want. Maybe round about there that seems about line sized. Let's position it right next to our line. Let's do the same with the coffee bean. So click and drag it from the project panel directly in the preview window. And that's small enough for me to describe the edges hold down, Shift, scale this down, and position it exactly why you want to. And I think that's actually kind of nice. Now, let's hold down shift and select both of these layers. And you can select multiple layers, press P on the keyboard to reveal the position property for both of them. Let's come to maybe round about two seconds or so. Let's make sure hold on shift. You've selected the position property for both of these layers. Click on the stopwatch for either of them. And that's going to enable keyframes for both of these properties simultaneously. You can see both keyframes edit, Let's come back to maybe roundabout by the little line is like halfway onto the frame. Let's grab these two layers, drag them down, hold down shift, and just push them right off the screen. That's going to add keyframes for both of them. So they start off screen and then they kind of come into the frame. Let's marquee select all four of these keyframes, press F9 and went even Bezier interpolation. So ease in and out for both of them. So that looks really nice. And with both layers and both position properties still selected, let's enable motion blur on these layers and they're both going to be enabled at the same time. So that's a really nice way to work with a large number of layers simultaneously. Now what I'm going to do is I'm actually going to click into my timeline to unselect everything. And I want to go to marquee, select the two keyframes for the coffee bean and drag them over to the left. So the timing is not exactly the same. Maybe I'll drag the one for the coffee club over a little bit. To the right is bring the end in a little bit. And again, feel free to time this any way you want. Let's rewind and play this back. Cool, and that's looking really nice and just added a little bit of detail and it just, it just looks a little bit cleaner. So now let's look at adding pearlite animation to this leaves coffee club text first. However, I don't think I want it spinning in from the left-hand side. So let's remove the keyframes for that. Let's come to Leo's coffee club. Press P on the keyboard. If you can't see the position property already. And you can either select the key frames in the timeline and press Delete on your keyboard, or you can simply disable the stopwatch icon with the text at the position where you want it to be. Let's click that. The keyframes will vanish. The animation on the US Coffee Club title is now gone. And while you can manually add pearlite animation to any text in Adobe After Effects, a much easier way is to simply browse through use and customize the animation presets that already come with After Effects. For that, let's come over to the right-hand side and make this panel here on the right a little bit bigger. Because somewhere here yet There's an effects and presets panel is hidden a little bit. And the way to reveal that is to either come up into Window and select Effects and Presets. It's going to bring that up to the foreground. There's also little arrow here that you can click and select Effects and Presets. Sorry, it's a little off screen, but this, make sure you have the Effects and Presets panel selected. Let's twirl open this animation presets folder. And there's tons of animation presets that you can apply to any of the layers, play around with them. After Effects is a lot of fun once you just experiment and figure things out. If there's so much cool stuff in here. Let's expand the text folder. And in here again, tons of animation presets. The two I want to focus on for now is animate in and animate out because these are preset specifically to make text appear and disappear. Let's open the animate in folder. And any of you have a whole bunch of animation presets for animating texts to pee on your screen. Let's come down. Maybe you'll select the Spin in by character. Now first let's make sure we're at the time position where we want this text to start appearing, maybe about 10 seconds. But again, we can return the animation later on, so no worries. Make sure you use Coffee Club texts or whatever text you want to apply. This Animation Preset 2 is selected. And then you can either click and drag directly from the Effects and Presets panel onto the layer itself or what you can do, let's just drop that back in with the layer selected. Let's double-click the effect in the Effects and Presets panel. Now something has happened, that text has shifted. And if you now play this back, you can see that the text kind of spins in and you can also see where it's not pre-rendered. It is a little bit less than real time. However, the text is still on screen, and that happens with a lot of these presets. When you first apply them, you can see the base animation, but you may have to tweak them, so it actually works for your particular scene. Now the texts essentially just moves from one position to another. But as long as we make sure that this initial position is off screen, all of these letters will start appearing one-by-one on the screen. So for that, let's select, use Coffee Club, collapse it and expand it again as this collapsed a transform here, let's expand this text property, come down. And the one thing that usually most of these presets as they add animators to your texts. So they're now is something called Animator 1. Let's expand this animator. It usually has a range selector, which is essentially a letter by letter selection of this effect being applied letter by letter. Let's expand that as well. And you can see there's some keyframes on the start and the end. And this is the timing animations for which letters are being affected. This effect, and this is where you can then re-time this in any way that you want. But the one thing I want to tweak is really the starting position of these letters. And in this range selector, there's a position property right here. And if you tweak this, can you see how this is now shifting the starting position of this text? And what I'm going to do is I'm actually going to lower. So click and drag on the second part of this position, which is a y position, and drag that over to the left and the starting position. Now, let's drag this all the way off the screen. Let's come over and do that one more time. Drag it all the way up. And I'm also going to drag it over to the left-hand side a little bit. So for zoom out, the text starts kinda up here, subtract this over a little bit more, and drag it up a little bit more. So now what's going to happen is these letters are now going to come in from the top. So you can't see the initial texts and then the letters appear one by one as this whirling in on the screen. And that looks much more like what I'm most looking for. That's old option forward slash. To get back to full screen, Let's rewind this and play it back. And yeah, you can see it's not real time the first time it renders it through. And that's totally normal with Adobe After Effects. But then once it's rendered, that looks really nice. So it's now coming in letter by letter. And again, on this layer, just press U to reveal only the keyframes done and you can select them and return this. So maybe. I want the text to take a little bit longer to animate in. So now we have this text appear in time with the coffee cup and the coffee bean kind of coming up. That looks really nice. And then maybe around five seconds. So, so I want this text to disappear. I don't want the title to be quite that long and will make the composition a bit shorter later on. So maybe around 4.55 seconds. I want this text to disappear again. And now you can either reverse this animation like I can now take this last key, frame control or command C to copy it, control Command and V to paste it in right here at my timeline indicator. Take the first keyframe, which again is at the time when the text is not visible at all. Copy that again, control or command and see, come to the ends, maybe 5.5, Control or Command V paste that in. So now at the end, what's going to happen is the Texas essentially going to reverse it? It's just going to disappear again. But we don't need to do that. So let's click and marquee select the last two keyframes. Press Delete on your keyboard to delete those ones. And let's use a different animation preset to make the texts disappear. Let's go to about 4.5 seconds or so. Come back into the effects and presets panel. Let's collapse animate in and let's expand animate out. And maybe we'll select this random fly off Animation Preset this time. Let's just click and drag and drop it onto your coffee club. Let's let go and let's just play this back and see what happens. Cool, it's nice. But again, the end position of the text isn't quite far enough to be off screen. So again, we need to customize that animator. And you can see on the US Coffee Club, we now have animator two, that's 12 that open. It's got a Range Selector and again, it's got a position underneath it as well. By the way, you can also expand this range select down and under here There's also some advanced options to, there's a whole bunch of options that you can customize. You can randomize the order or have them one by one. This just play around with this. For now. Let's just leave this Advanced tab close. All I'm interested in is the final position of my texts and not think I want this text to just end up being on the left side here it was fly off towards the left. So let's come into the position property for this animator. Click and drag left. By the way, if you hold down shift, the increment at which you change these properties becomes a whole lot biggest. Let's drag this off to the left-hand side, right about there. Let's rewind this a little bit. Zoom in, and let's play this back. Cool, That's looking really nice. Just FYI, my preview isn't incident. I'm actually just cutting the video so you don't have to watch After Effects render this out. So whenever our previous something, just be aware that for me it takes a little bit time to render as well. It's pretty normal. I'm just cutting that out because otherwise you're just going to get bored watching it render. This animation looks really nice, but let's drag the end keyframe to maybe run by 5.5 seconds. I want this text to disappear pretty quickly. I'm actually also going to select these two keyframes. Press F9 to enable Bezier interpolation. Let's scroll up a little bit to this first animator, the animate in. I might also select these ones. Press F9 to state, kind of comes in gently, but then accelerates as it flies back out. So let's rewind the whole title and play it back. And that's looking really nice. The last thing I want to do is I want to animate off this little line as well as the coffee cup and the coffee bean to vanish kind of at the same time that text disappears. So let's come to where the text starts disappearing. Let's like any layers in the layer window Control or Command a to select all of them. If you click the little 20 next to any of them to collapse them, all of them will be collapsed. So it's just kind of nice and clean again. Let's select the coffee bean hold down control or command select cup of coffee, as well as the little lines who are selecting those three layers, press U, which should reveal the position property on these three layers because that's the ones we have animated. Let's take the last key frame of the coffee bean, copy that, and paste it. So it's going to paste the last keyframe at our current position. Let's do the same for the cup of coffee, copy and paste, as well as for the little line copy and paste. Let's just make sure that in the middle here, they don't move. They can't stay static until that text starts disappearing. And now let's come to around about five nanoseconds once the text is fully off screen. And let's copy and paste the start position of that coffee bean, which is off-screen Copy Paste that in cell the coffee bean Yaakov returns to its starting position. Let's do the same for the cup of coffee as well as for the little lines. I'm just reversing these two keyframes at the end here, so everything moves off screen again. You can also obviously custom animate this in any way you want. Maybe I'll shift some of these ones off a little bit so the timing is not quite the same. I want this title to be a little bit more on the organic side. So now everything kind of vanishes around about the same time of screening and let's rewind and play this back one more time. Cool, and this is looking really nice. Start to finish. The last thing I want to quickly touch on is how to add some overall transition in and out of this title so that it fits really nicely with a new video project. And let's do that in the next video. 12. Adding In & Out Transitions: Now we've created this really cute and lively looking animated text title for years coffee club. Now, there's absolutely nothing wrong with what we've done here. But in this video, I just want to show you how we can add some general in and out transitions to this title in case you want to fit it a little bit nicer into your video project. For example, let's say we want to start our black and, and just fade into this title. Now you can do that in Premier Pro or whatever video editing software use. But sometimes adding these transitions in After Effects just makes it a bit easier to then use the title plus After Effects has a ton more interesting processes that we can use. But let's say we just wanted to do a fade from black. And there's lots of different ways you could do that. For example, you could come into play Windows, scroll down, Let's find the Florida background. And if you expand this layer, you may have to collapse it for and expand it. You will find a property for capacity, which is the opposite of transparency. So in capacity of a 100 percent means this layer is fully visible. You could animate this to start at 0%, meaning the background is not visible at all. Let's set a keyframe on that. Let's move maybe a second or so forward when that little line is on the screen, Let's increase that to a 100. And now you play this back. You have a cute little fade in animation. The other cool thing about doing it this way, if you come to the very beginning in the previous window, just write down in Sandy or fantasy little checkerboard icon. If you click this, you essentially going to show where your layer is transparent. So if you've rendered this video out with a transparent background, this you can place on top of a video and the video underneath it will show through. And then as you scrub through that background, slowly phase in on top of your videos, slowly becomes nontransparent, becomes opaque, so your capacity is going up. So it's a really nice way to then blend these titles into your video without having to do a whole lot of work with in your video editing program. But let's go a little bit further. Let's come to a time position where the opacity is 100 percent, Let's disable the stopwatch so we no longer animating the opacity of the background layer. And let's come into the effects and presets panel and Adobe After Effects actually has a ton of transition effects that you can use and apply to your titles for that in the Effects and Presets panel, Let's scroll down and you'll see tons of folders here that he may not have because I've got a whole bunch of plugins installed. But let's come down and navigate into the transitions folder. Let's expand this in here. You'll find a large number of different transition effects that you can apply it to any of the layers within your composition. And again, I encourage you to just play around with these and try them out and see what fits your style. Now the one we're going to use is the cap wipe first, however, let's click into the Layer window, press Control or Command a to select all layers. And let's click the little too early to collapse this layer. And because we have them all selected, they're all collapsed a bit nicer, neater again. Make sure the timeline indicator is at the start of the title animation and then grab and drag the can't walk transition effect onto the floor background in new layer, Let's let go. And because we still have the transparency grid enabled, if you don't just enable that at the bottom of your view and you can now see where your composition or your final text title would be transparent. Now if you scrub through the composition, well, we can see the background rotate because we've animated the rotation. But the tradition doesn't do anything that's got a static here. And that is because we actually need to animate this transition. And while you can find all of these parameters down in the Layer window, as you expand these layers under the effects, you'll find all of the effects you've applied on all of the parameters for them. Much easier way, you may have noticed a pop-up already is the effects control panel. I have it here next to my project and this should have popped up automatically when you apply the cap wipe effect to the layout. Now if you can't see the effect controls panel in your interface, just come into the window, make sure you have effects controls enabled, and usually you will see the name of the layer just after that. So make sure you have that selected so you can see the effects in the effects controls panel. This panel will show you all of the effects applied to the currently selected layer. Right now I have the floor background selected. If I select the little line PNG, the effects control panel will be empty because we have no effects applied to this layer. So let's reselect the floral background. And in here you will find that the card wipe effect, There's tons of properties you can play with these and again, they all have stopwatches. You can animate them all. The one we want to deal with is this transition complete percentage. Right now it's set to 25 percent. And if you click and drag right to increase that, you can see how this animates through. However, both at a 100 percent as well, a 0% to background is fully visible. It's not actually gone. It's only it kind of flips a few cards halfway through, but then it just turns into the same image again. The reason for that is because the back layer of the contract is essentially set to the same image. So it's kind of a puzzle that has the same image on both sides as flipping all of the pieces around in order to have the startup fully transparent and then transition into this flawed background image, we need to change the back layer property in the cart wipe effect. So using this drop-down, let's just change this from floor backgrounds to numb so the backside will be nothing. And now at a 100 percent completed, we have nothing visible of this for our background. However, as we lower this transition completely percentage maybe to 50 percent, you can kind of see that animation come in from the right. So let's animate this. Make sure the timeline indicator is at the beginning of the composition. Let's increase the transition complete percentage to a 100 percent. Click on the little stopwatch icon to enable keyframes on that property down in your layer window. If you have the layer expanded with the effect, you'll also be able to see those keyframes being created. What do you do in the effects controls panel will match up and sync across with what's visible in the Layer window as well. But for now let's just collapse this one. I don't really need to see it here. Let's drag the timeline indicator forwards to roundabout a second, and let's lower the transition completed percentage down to 0%. Now, you can't see the keyframes in your timeline, but you can simply select the fraud background layer and press U on your keyboard. And that's going to show you the rotation which we've animated. And now also the transition completed property on this can't wipe effect and desk the keyframes for that. Let's just select both of them and press F9 to enable Bezier interpolation. So it eases in and out nicely. And then let's rewind and play this back. Cool, and that's looking really nice. Plus it looks a whole lot more interesting than just a simple fade in animation just with this can't wipe effect that we've used. And then the main title place, and then all elements move off screen, but while our background is still there, so let's add another transition to make this layer disappear again, just as all of the other elements of vanished from the screen. So let's maybe go to roundabout 4.5 seconds. Make sure that the floral background layer is selected in your layer window. Come back into the effects and presets panel. Let's use a different transition effect. Let's use the Iris wipe. And then you can either drag and drop this onto the layer you want to apply a two or with the floral background layer already selected, you can simply double-click on it in the Effects and Presets panel that is now going to apply this effect to this layer. You can see it in the effects controls panel with the floral background selected. We now have the card wipe as well as the iris wipe effect. And as before, we now need to animate these properties to actually make the transition. The property that controls how much the transition has progressed is this outer radius here, which is set to 0 right now, if I now increase this outer radius, you can see this iris opening up and kind of making that background disappear. Now it's not opening right from the center. And that is because the point here, this iris center point is not in the center of our composition. So you can simply click on that point in your preview in or drag it right into the center of your composition, right onto the center of that 40 background from IBM. Let's zoom right back out, come back in through the effects controls panel and on the iris pipe effects, Let's set a keyframe on the outer radius right here. Let's go forward to maybe round about and maybe around about 50 and a 100 seconds when the last elements advantage of the screen. And let's increase this outer radius link and hold down Shift if you want to increase that value a whole lot quicker, let's push it all the way out. So everything of this for background has disappeared off the screen. Let's scrub back a little bit. So you can kind of see this iris opening up. The other property I might want to change as well as the number of hours points. As you increase this, your iris becomes more round. So I'm going to set this to 12 because that means my iris has six corner points which message the number of floral patterns international to rotate it. So it's got a rotation property here. So I'm just going to rotate this iris a little bit so that the corners are kind of aligned with the petals of this rotating background. Here. Let's rewind just a little bit and play this back. Cool, That's looking pretty good. Now, I might want to re-time this. So in the timeline that's come down a little bit with the floor background selected. And there you'll see the iris vibe. So you can either expand that effect now and in here you'll find the keyframes. Let's just moved the last one out just a little bit. And again, I'm going to select both of them, press F9 for Bezier interpolation. That's also just disabled the transparency grid. It's just going to be a little more visible or what's happening with a black background enabled there. And let's just rewind our composition. Let's scroll up in our Layer window, lets us collapse the flower background layer as well. So it's nice and clean again. And with the timeline indicator at the very beginning, Let's just play this back. Cool. That looks really nice. Plus it's actually all happening on a transparent background. So this would overlay on a video within a video editor really nicely. Now the only issue is that after all, the texts has disappeared at around about six seconds, there's a whole lot of black after that, which isn't really useful. So let's just trim our title back so it's exactly six seconds long because there is nothing behind that of interests happening anyway. Now there are a number of different ways to do this. The easiest I find is move the timeline indicator to where you want the title to end. And then just underneath that play head, this thick little horizontal bar is actually your work area. It defines the start and the end point of your actual composition. So we can take the end of that click and drag to the left and you can hold down Shift to snap this to the timeline indicator. So it's going to snap right to that position. Then let's select all of the layers and you can either hold down Control or Command and individually select them all others simply select the top one, hold down Shift and then select the bottom. And you're going to select all of these layers. And then similar to what we did with work area, just come to the end of those layers, select that end point and drag it towards the left hold down Shift to snap it to be exactly at six seconds. So all of the layers will end at this point. Beyond this point, none of these layers would be visible even if there were onscreen and not transparent. But now what you can right-click onto the work area and select trim comp to work area. That's going to shorten this composition to the exact length of the work area. Let's do that. And now the composition and all layers are exactly six seconds long, thin. Now rewind and play this back. Now a composition really just contains Leo's coffee club animated text title. Now with all of that done, the last thing to do is to export this animated title into a video file that you can then use in your video editor of choice. Let's do that in the next video. 13. Exporting Your Animated Title: Awesome. So now you've created your animated texts titles within Adobe After Effects. But let's talk about how you can actually export this title animation into a video file that you can then use in Premiere Pro or any other video editing software that you may be using. First of all, just a little bit of housekeeping. Let's come back into the project panel and find this composition called my first composition. Click on it to select it, press Enter to rename it. Let's call this one Leo's Coffee Club title. You may also have noticed that down in the Layer window it's now saying use Coffee Club Tyler just makes it easy if he named things. By the way, you can rename anything in your project panel as well as in New Layer window just by selecting the layer and simply hitting Enter on your keyboard. So for example, maybe you just want to call the bottom one background and you can go through these layers and name them what you want them to be called. It just makes it easy, especially if you're adding a whole bunch of different layers and maybe they're called Image 1, 2, 3, 4, 5. These ones have already fairly clean. Aim is to begin with. Anyways, let's talk about how you can actually export this composition into a video file. First off, it most importantly, it is crucial that you work areas properly defined. If for whatever reason the work area you've defined doesn't include the entire length of your composition. Exporting this competition will only export the parts that are defined in your work area. So do make sure that the work area starts at the beginning of your composition and ends at the end of your composition. Otherwise you're only going to export part of this animated title. Now in order to export a composition from Adobe After Effects, there's actually different ways of doing this. You can either do this directly from within Adobe After Effects, but it only has kind of cut down the options on what sort of video formats you can use. It's hard to export with a transparent title and there's just a bit limited. So I highly recommend that you go and use Adobe Media code instead, which is integrated into After Effects. Don't worry, I'll show you how to do that in a minute. It just gives you more options desk, just more settings, more functionality. Plus it renders outside of Adobe After Effects. So you can kind of keep working in After Effects while that is rendering out your title. Now in order to export a composition, make sure that you insert that composition so you have double-clicked it in your project panel to open it up, down in the layout and the timeline, and then come up into composition in the main menu. And then here you have two options add to render queue, which will add it to Adobe After Effects internal render queue, I recommend not using this anymore just because it's got more limited over time. Instead, we're going to select to add to Adobe Media Encoder Queue. Let's select this option and just give it a little bit of time. This is going to launch Adobe Media Encoder. And if you just wait a little while, you should see your compositions title, Lee was Coffee Club title, pop into the queue for Adobe Media Encoder. Now, there's quite a lot to this tool. Don't worry about most of the stuff. I just want to show you how to get your composition turned into video. So in this queue, we now have used Coffee Club title, which is our composition that we want to convert into a video. First off, let's select the codec on the drop-down right here, and then are a ton of different options here. H.264, highly recommended if you just want a normal tidal animation, this will not however, give you a transparent background and I'll show you how to do that in just a second. So let's just go with H.264. Then you have an option for a Presets and click on this drop-down. And there's tons of different options in here, whether your title is for Facebook, for twitter, Vimeo further down, there's also some for YouTube. So you may select YouTube 10 ADP, full HD, and you should see that preset selected here. You can also click on this preset. And this is going to open up the export settings. And in here, you can define a huge amount of detail about how exactly you want to export this video. You can define your width and height and the quality, the encoding, huge amount of options. I recommend if you're just getting started, just, just stick with the presets. There'll be good enough for most things. The one useful thing in this export settings dialog, however, is the preview on the left and down here at the bottom, you'll have a little timeline and a play head that you can scrub through to kinda preview exactly what this would render out. And that looks fine just to check that what you're exporting is really what you think you're going to be exploiting. And once you're all happy with that, so let's just cancel out of that. I'm just going to go with this preset YouTube 1080 P full HD. And the codec for that will be H.264. That's going to turn into an MP4 file. Over on the right-hand side you've had a column for output file and this is just going to show you where it's going to output this file too. You can click on this name. That's going to open up a saved dialog and then you can define the file name for the output as well as the location on your hard drive to be just anywhere that you want for nouns can say, I am happy. And once you're ready to export this title as a video file, over on the right-hand side, you'll find this little play icon here. And once you click that, Adobe Media Encoder is now going to render this composition into an actual view of file. And then let's navigate to where we've exported this file too. So this is the path that I've defined here as my output file path for that composition. And now have used Coffee Club title MP4 here. If I double-click that, this is now our animated textiles are converted into a video file that is ready to be used in any video editing tool. Let's close that out again and return to Adobe Media Encoder. Now let's say you've exported this video, but it wasn't quite what you wanted. You can simply return to Adobe After Effects, make any and all changes that you want. And then again come up into composition, select Add to Adobe Media Encoder Queue. That's going to bring you back to Adobe Media Encoder, and it's Aedes. Use Coffee Club title again into this. Q, the first one that shows you this is already been rendered out. It's dumb. However, there's now a second item in here. And let's say we now want to export this with a transparent background. H.264 does not support transparent backgrounds. Instead, let's pop this drop-down for the format open and come down and let's select QuickTime presets. Now you have other presets as well. So let's pop this open. And these ones sound a whole lot more technical. And that's because they kind of iron the way they compress the video is more for high-quality video work. And the one I want to choose is Apple progress for, for, for, for, with alpha. Alpha means transparency. So I want to rent out my view a pretty high-quality. So the output file is going to be a little bit bigger, but I want to do that with transparency. So let's like this option. Again, let's define the output file path. You may notice that the file extension is now an MOV because we're using a QuickTime format. It says call it the US Coffee Club title MOV at safe. And again, you could click on the preset, open up the export settings, and check the preview and all of that. But I trust that we haven't changed anything other than the output format. Let's click Play again to render this out into a video file. Let's come back to where we export it all our videos too. So here's leaves, coffee club title dot MOV. And again, if I play this back, Ooh, this doesn't look good. And it's just because VLC player and some other video plays for Windows may not understand apple progress format because it's more a pro format. However, if you now bring this into your video editing program like Premiere Pro hit film, the Vinci resolve, Final Cut or any other tool you'll be able to use this video and it will have a transparent background. However, you may notice that this is a 100 megabytes, whereas the one we're export it before test three megabytes. And it's because the format as well as the preset that you choose determine the quality of that video that is being exported, including transparency information in that video makes it bigger because there's more data that needs to be put into that video file. So if you find that these videos are getting too big, just choose a different preset, like to use YouTube, the H264 is generally pretty small. Quick time generally tends to be pretty big and there's some other formats in there that you can play around with. But yeah, H.265 recommend for any general title and go quick time with the apple progress for, for, for with alpha. If he need a title that has transparent elements in them, and that should pretty much cover all of the basis. And with that, you have everything you need to know to put together your own animated textiles with Adobe After Effects from start to finish. However, there's still quite a lot of cool things that we can add to make our titles better, more engaging, more fun. We can start to use different blend modes and layer more visual elements on top of each other. Start applying effects or generate backgrounds or animating parts of the logo. If you'd just have a single static image and you're looking to, how do I animate that and all of that we're going to cover in the next part of this course. 14. Layering Images and Blend Modes: Let's talk about some of the additional tools that you have available within Adobe After Effects to really spice up your animated title. For that, we're going to create a brand new title and you can create a brand new After Effects project for that. But the same project within Adobe After Effects can contain many compositions and each composition can be a completely separate title. So let's just create a new composition within this project first, however, let's do just a tiny bit of housekeeping. Now, all of these files in my project are getting a little bit cluttered. So go to come down to the bottom click on this folder icon here to create a folder within my project. Let's call this one Leo's coffee club. Then holding down command or control on a Mac, simply click on all of the project items that relate to Leo's Coffee Club and drag them onto that folder. Then let's collapse that folder to get that nice and out of the way. Next, let's bring in the Explorer or Finder window with the course materials. Let's select the robot head and selected the abstract tech background, and just drag and drop that right into the project panel to import those two files into our project. And let's create a new composition. So come to the bottom of the project panel, click onto the new composition icon. And this composition, I'm going to call stunned robot productions. Everything I'm going to leave on the fault, except I'm actually going to lower the duration is from ten to maybe six seconds. So it'll be just a snappy as I'll use Coffee Club title and then simply hit Okay. Now in our Layer window down at the bottom you can see stunned robot productions composition is selected over the left-hand side. If you click on Use Coffee Club title, you'll go back to the US coffee club, but let's just remain in the standard robot production sphere. It's just click on that. And just for neatness sake, let's come into the project panel, create a new folder. Let's call this one stunt robot productions. Select the abstract tech background hotel controller command. Select the robot head and the composition, and drag and drop them onto that folder. So everything stays nice and neat in here. If you come into the timeline and scrapped three composition, again, there's nothing in it yet, so everything is nice and black. Let's come back into the project panel. Click anywhere to unselect everything. Click on the robot heads like that and let's drag and drop it. And rather than dropping it into the Layer window at the bottom in our composition, you can actually drop it directly in the preview panel wherever you want to position this element. So let's just place it somewhere right there. And it is pretty big. If we zoom out, you can see it's a little bit too big. So let's grab the side hold down Shift. Let's scale this down to maybe. Then let's zoom right back in. And let's position this right in the center. And if you're not exactly sure whether you're in the center of the composition. One thing you can do, come up into the Window in bring up the align panel. So let's click on a line that's going to bring up the align panel. It's usually in the bottom right-hand corner. Let me just make these panels just a little bit bigger. And with the robot head selected, this is pull that over to the right-hand side in the align panel of different options to landed on the left, the centre, the right, the top, the middle, or the bottom. So I'm going to click on a line horizontally. Let's go to snap that layer right into the middle of that composition. Let's drag it down just a little bit and click Align Horizontal again, just make sure it's exactly in the center. And then we're going to have the type text animate in. Right underneath that. Now, before we talk about adding some background images and layering a few layers on top of each other using blend modes. Let's talk about layer in and out points. Every layer new composition is represented by a horizontal bar and sent hold down Alt Option and zoom out of our tablet to make sure we can see everything and the robot head is visible for the entire duration. However, you can hover over the start of this horizontal bar, you, because it's going to change into this little two-sided arrow and click and drag that to the right. And this is going to change when this layer becomes active and when it becomes visible. So if he scrapped before that point, the robot head is not visible because the layer isn't active yet. It's come towards the end. You could do the same with the end of this horizontal box and to click drag that to the left. And you can define when this layer is going to vanish. However, I'm just going to drag that right back to the end. And again, hold down Shift if you want to snap it to the end. Let's do the same with the start point to make the robot have visible for the entire duration. It's just something that you can do with your layers if you only want them to be visible for part of the duration. Obviously, you can also select the layer press P to reveal the opacity. Or if you don't want to do that, you can just use this little twirly to expand that. And under the transform for the lead your font, your opacity property, and you can animate that 0 means it's fully transparent. A 100 means it's fully visible so you can hide them that way as well. Sometimes it's easier to just use the layer in an alpine style. Now, let's animate this robot head to just pop in. So let's come to round about 1 second. Select the robot head, press S to reveal the scale. Click on the stopwatch icon to enable key-frames That's going to place a keyframe right there. That's coming to the scale property. Click on it. And with this little lock here, we're going to change the width and the height at the same time, if you uncheck this constraint proportions now we can edit width and height independently c Now stretch your robot head if you wanted to. But I'm going to leave Constrained Proportions on to set the width and height to 0 so the robot head is not visible at all. Let's go forward round about 10 frames. And by the way, you can use page up to go one frame back fades down to go one frame forward. And if you're holding down Shift while you're doing that, you're actually going to jump back and forward ten frames at a time. So let's go about ten frames forward from 1 second in. And let's bring the scale up to just a little bit more than what we want it to be. Maybe 17. Press page down twice to go two frames forward. I'm now going to set the width and height to 14. So it's going to go big, small and then just a little bit bigger. So let's go two frames forward. And let's set it to the size we actually want, which is going to be 15 percent. So if you now Rwanda's and play this back, It's going to cost this robot had to come to this pop in. I'm going to select all of my keyframes again, press F9 to enable Bezier interpolation. Let's play that back. Cool, and that looks pretty good. Next, let's add a background to our animated title. For that, Let's grab the abstract tech background image, drag and drop that. And I would recommend not dropping this into the preview panel because if you do that, it's going to be placed right on top. Although then you can simply come into the Layer window, click and drag the abstract tech background in here down below, the robot had to make sure the robot head is on top. Let's zoom out a little bit and the image is pretty big, but I also don't want it to be vertical. I kinda wanted to be horizontal. So press W or select the rotation tool from the menu bar, click onto this background and just pull down. You can also hold down Shift to constrain the rotation to 45 degree angles. So that's really useful if you want to rotate it exactly 90 degrees. Let's go press V to return to the selection tool, select the side hold and shift. That's a spring this in. I'm going to leave a little bit of space because I actually want to animate this. Let's pull this over to the left-hand sides. Let's come to the very beginning. Select the abstract tech background, press P, enable the stopwatch icon on the position. Let's come to the end of our animated text title. Select the abstract tech background in the preview panel. Drag this over to the right-hand side and just hold down Shift to make sure you don't accidentally moving it up or down. So there's pull that over to the right a little bit. So I'm just adding a little bit of life into that background right there. That looks pretty good. But now let's make this background look a little bit more interesting by layering another copy of this abstract tech background on top. Select the layer in your Layers window and then press Control or Command and D to duplicate this layer. That is going to make an exact copy of this layer directly in your composition and place it on top. And now what I'm going to do is I'm going to flip this layer horizontally. So I'm going to select ones at the edges without holding down Shift. I'm now going to squash this land. You can see the other layer right underneath that's, that's still Control and Z to undo that, select this, I'm actually going to flip it. Some are literally going to scale it in the opposite way and just bring this out just a little bit. And right now that moves from left to right, just like the other abstract tech background underneath it. But I want this layer to move from right to left. So let's select this second copy it the top one, press U on your keyboard to reveal the keyframes. Let's make sure the timeline indicator is over the first keyframe. So we're not creating a new one, we're just modifying this one here. Let's bring this layer over to the right-hand side. Again, I'm holding down Shift to make sure I'm moving it to the right side. Let's come to the very end. Make sure the timeline indicators right over that keyframe, you can see the little blue keyframe indicator here telling you directly on that keyframe. Let's bring this layer over to the left-hand side. So this layer here on the top moves from right to left. The one at the bottom moves from left to right. So, well, you can see the movement of these two layers in your PV panel, but you can actually only see the top layer because it completely obscures the one underneath it. However, in Adobe After Effects, you can actually blend different layers together, similar to what you can do in Photoshop or other image editing tools. For that, however, you need to see the modes button within this layer panel. And remember that there's two different views. There's a switches and modes view and you can click this little toggle here to reveal the modes. You should see a mode calming and you can also press F4 on your keyboard to toggle between the two views. And the mode is essentially determining how this layers come to get blended on top of the layer that sits underneath it. You can pop this open and a highly recommend, go and play with this as so many options here, and they all look different. They all have different effects. So for example, let's select to multiply. You can now see the top abstract tech background as well as the one on the bottom. And they're both dark that comes sitting on top of each other. And if you scroll through this, you can see the animations now overlap because you can see both at once. On the top abstract tech background. Let's change the motor, multiply over 2. Let's say at, well, it is very bright. But again, they're just a different way of blending layers together and creating some really interesting and different effects. Now, additive, little bit too bright for me. So I'm going to come back into the moat and change this from at over to scream. And this looks much nicer. Now it is very symmetrical and you can just use different images or scale them differently to create all sorts of different effects. But a highly encourage you to play with this change the blend mode at all sorts of images, art, texts. Anything you want and change the blend mode and you'll be able to create all sorts of interesting effects for your titles. Now, lastly, let's zoom right back in and let's actually add the title itself. Stunt robot productions is my company name, so let's add that. So at about a 2.5th integers when this robot head has finished animating, Let's make a text title appear. So let's come into the text tools. Let's just click into this and let's call this stunt robot will. The font is a bit weird. I'm going to press Enter. It's still the same text productions. And again, just customize this any way you want with the text cursor still in the texts Control or Command a to select all of it. And that's just changed the font over. This one's a little bit to Becky for me. Maybe we'll go with something like Orbitron. And again, he may not have the exact same fonts as me. Also, I don't like that, it's wide, so again, this is makes sure all of that is selected and let's change the color over to black. I think that this suits the title a little bit better, otherwise it gets a little bit too bright in my opinion. Let's come into the paragraph panel. Let's change this to be center aligned. And yet it's kind of a little bit too big right now. So what I'm going to do is go to come into the selection tool. Let's just drag that over underneath the standard robot. And again, with this layer selected, you can come into the align panel and click align horizontally, so it'll sit right in the center of the composition. It's a little bit too big this, so let's double-click into this text that select the top line. And let's bring the size down just a little bit to maybe, maybe about a 110. And you may notice this is one text element, but because I'm only selecting parts of the title, I'm only changing that. So let's click and drag on productions at the bottom and actually want that to be smaller than the stunt robot title at the top. So let's bring the size of that down to maybe, yeah, maybe about 70 pixels. And it's a bit far away from the standard robot title at the top. So good to change the leading in the Character panel from audience go to drag that towards the left and bring that up a little bit. So it sits a little bit more central to where I want it to be. Let's come back to the selection tool option and forward slash. Make sure we fully zoomed out so we can kind of see where the citizen or the moving up a little bit again, come back to the align panel and align that horizontally. Make sure that sits nicely. And let's animate this text to come in for that again, we're going to use attacks preset. So coming to the Effects and Presets panel, open up the animation presets, open up text. Here. I'm going to expand animate in, and I want something that looks quite technical, quadruped bodies. So I'm going to select this decoder fade in with the text layer selected simply double-click decoder fade in. That's going to add that animation preset to the text title. So it's gone now. And if you scrub forward, it's going to kind of make that text appear in a pretty technical looking where it's kind of pretty cool. With that layer selected in your timeline, press U to reveal keyframes. The animation is pretty long, it's almost three seconds and want to take the last keyframe and bring that forward to maybe in about three seconds again, select both of those keyframes, F9 to enable Bezier interpolation. That's just rewind and play this back. That looks pretty good. I think it could be a little bit snappier and bringing the last keyframe in a little bit to shorten that animation, I'm going to start it just a little bit earlier as well. So just write test, the head comes to a rest, that text title comes in. It looks pretty cool. Now the last thing we need to do is we'll animate things out. But again, you don't need to. You can just fade to black or do whatever you want to. But I like my text and graphic elements to disappear at the end of the animation. It just kinda makes it feel like the title is meant to end right there. So what I'm going to do at about five seconds and go to copy that last keyframe Control or Command C, Control or Command V to paste that in, come to around about 5.5 seconds. Let's select that first keyframe where the text isn't visible, copy that, paste it in. So the text is now going to vanish again with the decoder fade out. And the other thing I'm going to do is I'm going to scale up this robot head here at the end, kind of just jump out at the viewer. So diving into it and then we can just kind of cut to black. So let's come to when the text is almost gone, maybe right about there. Let's make sure we selected the robot head, set a keyframe on the scale property. Come forward just a little bit, maybe just a couple of frames. And that's just bring the scale-up. I'm going to do that down here in the Layer window. Just click and drag to the right. The scale is yep, all the way up until all we see is the gray of that robot head. Let's rewind a little bit and play this back. Cool, that looks pretty good, but I don't want it to remain gray actually want to cut to black right about here. So let's come to the last frame where we see only the gray of the robot head. Let's select all layers. Let's click on any one of them, press Control or Command a to select all of them. Make sure they're all selected. Come to the end of the layer, click and the end of any one of these layers and drag towards the left to set the end point for these layers. And you can hold down Shift to snap it to the contaminant indicator. So all of these layers will now end right at that point in time. And then after that, it's just black, it's just the background of the composition. So let's rewind. Let's collapse all of our layers. Let's just play this back. Cool, that looks pretty good. One thing I would do, Let's select the robot head and that's enable motion blur for this layer. Now, I can't see the switches in my Layer window, so let's click on toggle switches and modes enable motion blur on the robot head. And it should also be enabled for the composition as well as just makes it look a little bit smoother right at the end. And that completes our basic title. Now the next thing I want to show you is how to use some of the inbuilt effects that come included in Adobe After Effects to spice to be animated titles. And let's do that in the next video. 15. Applying Effects: Now some of the advantages that Adobe After Effects has over tools such as Adobe Premiere Pro is that it's great for keyframing and animations, and it comes included with a whole bunch of effects that we can use. We've already talked about some of the text animation presets. And besides animating in and out as tons and tons of different effects and different styles here that you can apply to your text elements, to animate them letter by letter and create some really interesting effects. We also already touched on some of the transition effects that you have available to transition in and out of the complete scene. But Adobe After Effects contains a ton of other effects to really speeds up your animated titles. In the Effects and Presets panel. It's come back to the top nets collapsed the animation presets again. And in here you'll find tons and tons of different effects. Now I have a bunch of third party plugins installed and just ignore them. There'll be a bunch in here just by default. And I highly encourage you go through these catalysts at stylize a simulation, just try them out, apply these effects to different layers and play around with them. There's some really cool stuff in here. Now if you already know which effect you're looking for, you can also use the search and let's click into the search and search for the SCC light sweep effect. Ignore the one I have under PCC lights, that's the third party plugin. But you should find under the Generate category, you should find a CC light sweep effect. Let's come to a time in our title when the text is fully visible and let's grab the SCC landscape, affect the drag and drop it onto us. Stunned robot productions titled texts. You may see there's like a little highlight on our text now. And in the effects controls panel with the standard robot productions layer selected. You'll now see all of the settings for the SCC landscape effect. Let's select this effect in here. And that should reveal in your previous panel a little target like a little bullseye. And let's zoom in. It's just right on the robot's head, right up there. And you can click and drag this point. And you can see the center property of this effect change there. Let's drag this over to the right or left. And you can see that that is kind of like a highlight that you can now animate to sweep over your texts. And there's a bunch of properties in here that you can change. For example, you could increase the width and the larger you make this, the larger this sweep effect, this, Let's zoom back out so you can see this a little better success if I make this really small, you can see that that light streak becomes very narrow and I'm going to set this to maybe around about 50 or 60. Let's increase the sweep intensity to maybe around about 50 or so. And I'm going to bring down the edge thickness. Let's zoom in a little bit just so we can see this a little bit better and are now going to bring down the edge thickness right now it's formats is click and drag left. And you can see that that makes the effect a little more shallow. You can also just make this thicker and just really blow this out. But I must go to lava to maybe, maybe roundabout to a kind of want this to be pretty sharp corner right here where that highlights it's maybe bring the intensity up just a little bit more. Let's zoom out. And now what I want to do is I want to animate this center position so that we essentially have this effect sweep from left over to the right-hand side. Just to add a little bit of sparkle to this text once it's fully visible. So let's come to a time position when the text is fully visible. So scrub forward up until maybe round about, maybe around about three seconds or so. Let's move the center position over to the left-hand side so the light sweep is not at all on the text over to the left-hand side. Let's come into the effects controls on the CC lunch with perfect, click the stopwatch icon next to the center property to set that key frame. Let's go forward to maybe 4.5 seconds. Let's drag the center position all the way over to the right-hand side. Maybe right about there. If you select the standard robot productions layer in the timeline or the Layer window, press U to reveal all of the animated keyframes. We already have the range selector, which is the decoder of animation that makes the text appear and disappear. We now also have the CCU light-speed effect. Down here, we animated the center property and those are the two keyframes. Select both of them, press F9 to enable Bezier interpolation. And now if we rewind and play this back, cool, we've got this really nice sweep animating over our texts. Now find it's appearing a little bit late, so I'm going to select both keyframes. Let's bring them forward a little bit. Account 1.5, the speed come in just as the text finished to appear, reminding him and play this back. Coal. And that looks a whole lot more professional already. Now let's collapse the standard robot productions text element. And let's add a glow, maybe like a really bright glow at the beginning that's kind of blown out and then it all fades away so we can reveal the logo itself just to add a little bit. But again, like use any effect you want for this. I'm just kind of wanting to give you some ideas of the stuff that you can do. Now, you may have noticed that so far every effect we applied, we apply to a single layer. And sometimes however, you may want to apply a certain effects, like a glow effect to every layout net. Two ways of doing that. The first one is to simply select all the layers in your composition. You can either click the layer window, press Control or Command and a, or unselect everything is click and drag. So you can marquee, select as well, select all four layers, and you can group them together. And the way to do this is to place all of these layers within a new composition that we will represent it as a single layer within this composition. So you just nesting composition one into another. And this is really great way of creating reasonable elements and just grouping things together. You can also use adjustment layers, but we'll talk about that a little bit later in this course. So make sure that all layers in your composition are selected. Then come up into the main menu and under the layout, options come all the way down and there's an option to pre-compose. It just means place all of these things in a new composition. You can also use control shift C or Command Shift C if you're on a Mac. So let's just select that. This is going to bring up a pop-up window where we need to give our composition a new name. Let's call this one stunt robot animation. And all of these options you can just be on the default, simply hit, Okay? And now we suddenly only have a single layer left in our condition called stunt robot animation. However, this layer itself is a composition and if you double-click on this layer, that's actually going to open up that nested composition in a new tab. So now instant robot animation composition and any changes you make in here will be reflected back in the stunt robot productions composition because it nests, it includes that layer. But now because we grouped all of our layers into this new composition, we can apply effects to this composition and it will apply to everything together. So let's come back into the effects and presets panel, and let's search for the glow effect. Now again, I've got a whole bunch of extra effects in here, just come down to the very bottom. And under Stylize, you will find that the glow effect that's included in After Effects by default. Let's drag and drop that onto our standard robot animations layer. And whoa, that's blowing everything way out. Again in the effect controls panel with that layer selected, you now find the glow effect as well as all the parameters. And I won't go through all of them in detail. The main ones I'm concerned with right now is to glow threshold, which is at 60 percent. If you increase that, That's going to make only the very bright parts of the image below the lower the threshold, the more the dark parts of the image are going to glow as well. But I really just wanted to have it on the bright parts and what would maybe leave it around 75 percent, maybe just a little bit of that background here. I wanted quite blown out initially, glow radius, which increases the width of that gloss, so I can bring that up massively. So everything is really nice and soft and water increase that to maybe 350. So everything is just massively blown out. And then you have the glow intensity right now that is one. The higher you bring this up at, the brighter this whole thing is going to look, I'm going to check this all the way up to maybe almost ten or 12. I really want everything to be fully blown out. So let's come to the beginning of the composition because obviously I don't want my whole title to look like this. Let's enable the stopwatch on the globe threshold, glow radius, and glow intensity. Let's come forward to maybe roundabout 2.5th in maybe just a little bit more and let's increase the glow threshold to a 100 percent. So only the fully white elements on this image are still going to glow. But let's bring the glow radius down to 0. And again, hold down Shift if you want to change this property quicker. So let's just drag that to the left. You can also just click and enter 0. Pretty nice, easy. And let's bring the glow intensity down to 0. So that's essentially going to get rid of the glow effect, but we still have an initially, so it's kind of starting really bright. Then it goes back. Then the robot head appears actually with the layer selected you to reveal keyframes. I'm going to select all the keyframes and bring them up to maybe 1 second in. Select all of them F9 for Bezier interpolation. So the glow just fades out as that robot head appears that survive and just play this back. It's not bad. I think animation is a bit too long, so let's squash that down a little bit again, rather than just have a sharp abrupt spike initially, but again, totally up to you, your personal preferences, the style you're looking for, I just encourage you just go through all of these effects. Let's clear the search here. Go through all of these categories, try some of the noise effects. There's some stylistic stuff in here, lots of effects to generate different patterns and shapes and all sorts of other things. There's distortion effects as well. Play with these and have fun until you've got the title looking exactly the way you want to. For the titles we've created so far, we've used different images for the background. But with Adobe After Effects, you can actually generate your own backgrounds and animate them in really interesting ways. And let's talk about how you can do that in the next video. 16. Generating Backgrounds: Let's talk about how we can create and animate some really exciting looking backgrounds directly in Adobe After Effects. For that, however, let's create a new title and let's go with something a little bit more dramatic. Let's collapse our standard robot productions folder in the project panel. Let's bring in our Explorer or Finder Window, and let's grab this raven on red PNG image. Drag and drop that into our project panel. Come to the bottom and add a new folder. Let's call this one black raven TV. And I'm going to drag the raven on red image right in there. Then come back down and click onto the new composition icon to create a new composition. This one, I'm also going to call black raven TV. And I'm just going to leave all of these settings on the folder list match all of the previous titles we've created. Let's hit. Okay. And let's start by dragging the raven on red PNG from our project panel directly into the preview window. That's a little bit too big. So with the layer selected press S to reveal the scale, and let's scale this down to maybe around about 20 percent. So with that layer still selected in the align panel, let's click on line horizontal to make sure this image is positioned directly in the middle of the composition. Click on it, hold down Shift and just drag it up just a little bit to make it sit maybe in the upper third of our title. And that looks pretty good. But now, let's start adding some backgrounds. Now as before, you can get all sorts of free images sitting and just add it to your project and uses backgrounds. But after effects actually has a lot of really cool effects and ways to create, generate really interesting looking backgrounds. Let's collapse our Raven on red layer for now. And let's create a new type of layer called a solid for that, simply right-click into some empty space in the Layer window with in your composition, go to New. And in here there's a whole bunch of different layers you can create. We won't really talk about too many of them. The one I want to create, however, is a solid, so select New Solid, and then it's going to bring up the solid settings. Now, solid is really just that. It's a solid colored rectangular layer that you can use placed over your composition to underneath things and apply all sorts of facts to them. Now, let's call this one background. Make sure that the width and height is the size of your composition. So that's 1920 by 1080 for me. Don't worry about the rest, but you can then change the color to anything you want. So in you can make it green or yellow or red. I'm just going to go with green for now. Hit Okay, and hit Okay, and everything is now green. We now have a new layer in our composition called background, and it's solid green, it's the color that we picked. Now if I drag and drop this layer below my Raven on red, The Raven will now sit on top. And just like any other layer, you can zoom out and scale it down. You can rotate it, transform it to whatever you want with it. Let's undo that for now. Let's zoom back in and let's change this color, this green doesn't really go well with my dramatic graven image. So with the layer selected, come up into the Layer menu options and select solid setting. You can also use Control Shift Y or Command Shift and Y to bring this up. This is going to open up the Solid Settings again, and you can now change the width and height or the name of it. You can also change the color. We want to change the color to black. Hit Okay, and that looks a whole lot more appropriate already account looks like we haven't done anything, but there's actually a black background underneath the raven, even though it just looks like the composition background. If you turn on the transparency grid, you can see it's no longer transparent because we actually have a solid black background sitting underneath our image. Let's disable the transparency grid again. And let's start applying some effects onto this solid in our effects and presets panel, Let's collapse everything and let's navigate to the generate folder. Let's pop this open. And in here there's a whole bunch of different effects that you can apply. The one I want to pick for now is the four color gradient. Let's grab this effect and drop it onto the background solids, and it immediately transform the delivery of a rainbow. The four color gradient gives you four points that you can click and drag and move around on the layer directly to create a color gradient with four points, you can change the color of any of these points to anything you want us using the color selector or just using the color picker. You can blend these colors more or less depending on how soft you want this effect to be. You can also introduce things like Jetta or changed the opacity or the way this effect is blended on top of the base layer. This won't do much because our base layer is just solid black, but it's a nice way to create some really cool looking smooth gradients. And you can animate the color as well as the position of all of these points throughout your title to create all sorts of really nice-looking effects. For now, let's select the effect in the Effects and Presets panel press Delete on your keyboard to just delete that. Let's use a different effect. Let's come to the Effects and Presets panel, and let's search for the Gradient Ramp. You should also find that in the generate folder. Let's drag and drop that onto our background, solid. And this generates a different type of gradient. It has two points. It's a little bit hard to see because I kind of place on the same point as one as the transformation points for the layer. But it's got a stop point right here and there's an endpoint. So now you can create a smooth linear gradient and again, customize or animate this in any way to suit your title. You can also in the effect controls on the Gradient Ramp effect change to ramp shape from linear to radial. And this is going to create this radial gradient here. Now, let's move this dark point down here to the bottom and move the right point all the way up. It doesn't really work quite that well. So let's change the colors. Let's change the start color over to white, and let's change the end column over to black. So now you're getting this really soft gradient, kinda like a background highlight, can also blend this with the original a bit motor to soften that out a little bit. By the way, if you start to see banding or these weird artifacts within your gradient is becomes the gradient has too few colors to still appear smooth. And an easy way to fix this is to either introduce some noise or some scattering into those gradients. In the Gradient Ramp effect, you'll find the parameter for ramps scatter. So if you now click and drag this to increase it to maybe, maybe 1890, suddenly all of that banding is gone. Looks a whole lot smoother that way. So there's a lot of cool things you can do just with gradients in Adobe After Effects. But let's look at a more complicated effect to generate some animated, more abstract, more detailed looking backgrounds. Let's delete this Gradient Ramp effect again. So we're back to black, coming to the Effects and Presets panel. Now come down a little bit and let's navigate to the noise and grain folder. In here you will find an effect called fractal noise. Let's drag and drop this effect onto our backgrounds. And you suddenly have this really abstract looking cloud pattern in your background. Now the fractal noise effect has a ton of settings and you can generate a ton of different looks with this. Now I'm not going to go through all of these parameters again, just experiment and play and have fun. I'm going to change my Fractal type from basic over to shop. That's going to already give you a totally different pattern. Then I'm going to switch my noise type from soft linear over to block. So I get more digital blocky look and go to enable invert, to invert this look. Then let's maybe bring down the contrast a little bit so the bright and dark areas on to fall upon us a bit more soft and that's lower the brightness as well just starts a little bit more subtle in the background. Just kinda like a gritty digital field. And the cool thing with a fractal noise effect is that it hasn't evolution parameter. The evolution essentially controls how this pattern is generated. But the cool thing is that you can animate this evolution. And you can kind of see that pattern shift and change and you can just create some really nice, interesting background elements. So with a timeline cursor at the beginning of our composition that's enabled the stopwatch icon on the evolution property, they will start this out at 0. Let's go forward to six seconds. And let's just push this app. Not too much, just a little bit to maybe 80 or maybe 90 or sell. I don't wanna go too far, just wanted changing ever so slightly to just add a little bit of life into the background there. Let's just rewind and play this back. Cool. And that's looking really nice, is adding just a little bit of life into that background's. Now right now it's black and white because the fractal noise effect output is black and white. But we can easily add color to any background element or any image or anything else that you have in your composition for that come into the effects and presets panel. And let's search for the color Rama effects. Let's grab this effect. You can either drop it onto the layer. You can also drop it directly in the effects control panel because he can order effects so I can drop it above. So before the fractal noise or after I'm going to drop it after the fractal noise effect. And by default, that is completely blown out. So the color AMA effect essentially takes the input colors that gray and white image we had from the fractal noise and maps it to a different color. Again, I'm not going to go through too much detail. Simply pop open the output cycle. And in here you can select the four precess. Pop this open. And in here you can select a whole bunch of different types of presets. For example, let's select Caribbean. So now we've kind of got a bluish pattern. Let's pop this open again. Let's select deep ocean. Or maybe we will go with fire. Yeah, cool. I like that. That kind of suits, that logo a little bit nicer. We just need to tweak it a bit so it's come down, increase the cycle repetitions here just a little bit. So maybe two, you can kind of start seeing a little bit off those bright fiery elements shining through. But the background is way too bright. It's kind of overtaking the presence of the logo. I don't want it to be nice and in the background. So in the color Rama effect at the bottom, blend with original set to 0%. So the color AMA effect output takes over. But let's just bring this up a little bit so we're going to reveal a little bit more of our original, more muted colors from that fractal noise effect. So maybe 60 ish percent. I do want that to be fairly muted. Let's remind again and play this back. And yeah, I think that actually looks pretty nice. Now one thing I might do, let's come back up into the fractal noise effect. Let's pop open the transform property and let's bring down the scale. I'm finding it just a little bit too big. So maybe I'll scale this down to maybe around about 70 or cell. So the fractal noise, so it's just a whole lot smaller. And one cool thing you can actually do once you've generated backgrounds in Adobe After Effects, you can actually overlay in layer other images on top of them to just give them a little bit more texture. For example, let's come back into our project panel. Let's bring back our explorer window of finite. If you're on a Mac, Let's grab this wall texture image, drag and drop that into our project. I'm just going to drop it directly into this black raven TV folder. And then I'm going to drag it from there into my composition. I'm going to place it on the background, but below the raven on red. Let's just drop that right in there and zoom out and it's a little bit big. So let's just scale that down. Again. I'm holding down Shift to make sure it scales uniformly. Let's zoom right back in. And let's change the blend mode of this layer. Again, I can't see the blend modes, so Toggle Switches Modes or press F4 for that, change the mode of this layer from normal to color them. Well, it's a bit dark. So with the layer selected press T to reveal the opacity, Let's bring that down just a little bit to maybe roundabout 80 or so to just add that extra level of crankiness over everything. Now the last thing I want to do is I don't want the background to be visible everywhere. Come want it to be centered around this logo. So I'm going to reselect the background solids, come back into the effects and presets panel. And let's search for the SCC vignette effect, which you should find in the stylized category. So CC vignette, let's apply that to the background layer. After fiction, ultimately reselect the effects controls panel. Let's come down to the bottom. There's a CC vignette effect. Let's check the amount up to maybe 500 and something pretty dramatic. And let's drag this center point for the vignette and has actually a central point where that vignette is focused on and drag and place that directly on the logo right there. And maybe I'll increase the angle of you as well a little bit just to tighten that effect a little bit more. Maybe lower the amount to maybe around about 400 or so. I don't want you to be visible, but I wanted all be centered around that logo. And that does look pretty good. But the logo feels a bit like the stuck on top doesn't really sit too well. So let's select the raven on red PNG is coming to the Effects and Presets panel. And let's search for the glow effect. By default, you will find that in this stylized category they'll be a glow effect. So let's apply that to our Raven on red layer. And by default that doesn't seem to be doing too much. So let's check up this glow radius here. Maybe 500 or something. I wanted to be quite soft and quiet wide, but I don't want it to be quite so intense. So let's bring up the glow threshold to a 100 percent account. Just want a glow, the very brightest parts of this image and maybe a law, the glow intensity to maybe 0.5 as well. I want a bit of glow around this entire logo, but I don't want it to be overtaken the details of that Raven right in there. So that's just adding that really nice glow that blends that logo a whole lot better onto the background. The last thing I might want to do is I can see very vaguely the tail of the raven because it goes outside of the red circle, but it's a bit hard to see on this dark background. So I kinda want to add a very thin red outline around the black parts of the raven that are sticking out of this logo. And for that I'm going to use another glow effect. So in the effect controls panel select the glow effect and then press Control or Command and D to duplicate that glow effect. So now we have to glow effects applied to this logo and it's a bit too bright with glow to select it, press enter, and let's rename this one to white glow. Let's select the first glow effect over on the right-hand side. Let's press reset to reset the settings for this glow effect and everything is totally blown out. Now, I'm going to click on this little fx next to my white glow to disable the effect temporarily. So we can only see the effect of our glow effect change globe based on from color channels over two alpha channels. So now the glowing will happen on the outer edge of this layer. Rather than go for the bride path, it goes for the transparent parts that starts glowing. And right now you can see this white outline here, but I want to read. So in the glow effect, color a is set to white. So let's click on that color picker and pick the red of the logo. And that's not going to change that color, that little glow color. And it's essentially a globe that gives you this outline here around the logo. It's now red. Knowledge re-enable the white glow effect. Let me show that this White Claw sits underneath the glow effect that gives you the outline rebel rename this one as well called this one, outline effect. Let's unselect all AS zoom back out, revived, and let's play this back. And that looks pretty cool Informatica already. However, what if I wanted to animate it, this raven here to kind of come flying in from the side. And then that Red Moons revealed and everything that's kind of slams into place. Well, Adobe After Effects allows you to break up individual images so you can then animate or add effects to individual parts of your company logo or your title image or whatever that may be. And let's talk about how we can do that in the next video. 17. Animating Parts of a Logo: Now you may find yourself in a situation where you've created an animated title and used like a company logo or another image that represents your brand. But that image itself is completely static and there's no animations in it. So how can you spice this up and animate a part of a logo or an image. For example, here we have this image of a black raven against a red, some mini click and drag. Well, you're going to move the entire image around. So we first need to separate the raven from the rest of the image so we can animate it separately. There's quite a number of different ways to do that in Adobe After Effects. The probably easiest one is to use masks and that's what we're going to do. First off, let's select the raven on red layer in our layer panel, press Control and D to duplicate it. Then come over to the left-hand side. And that's this little column here with a dot at the top, that's solo switch. You can actually disable everything except for specific layer. So I'm going to take that on my Raven on red duplicates. So that's the only layer that will be visible. I'm also going to rename this layer to raven, again, just pressing the enter key for that. If you now enabled the transparency grid, you can see that's the only layer that's visible, just the black raven against the red sun. So let's cut this raven out for that. Let's zoom in just a little bit, then come to the tuba it in here you'll find different tools for masking. That's a rectangle tool. So click and hold, round Rectangle Ellipse Tool, polygon and snap tool. You can use these to mask. However, what I'm going to do is I'm going to grab this pen tool right here. Now, do make sure that the layer is selected. Otherwise you're going to create a shape layer, totally different thing. So make sure the layer selected first before you use the mask tool. And I'm now simply going to click on this layer in my preview window. Click again to start creating lines like a path. And this is going to be the mask that we're going to use the cut off this raven. Now because the raven itself was actually quite detailed, I'm going to go around it just a little bit rough, but if this was your company logo, you may want to just zoom in a little bit more and go around and really specifically individually to just make sure you cut this out really nice and clean. But I'm also going to show you how we can deal with the remaining red colors in just a little bit. So just kind of keep clicking around the shape of this raven, smooth around. By the way, you can also press Control or Command Z to undo the last point just in case you did get that wrong. So let's just draw around the outside of this raven right here. Include the feet. Let's scooch this image over a little bit. Let's get the wing as well as the tail. And then at the end it is really important that you close this mask. So when you place the last point that you want to make sure you click on the first that you placed. Just this will close the mask and what will happen then? So zoom out a little bit. Before I do that, let's click on the first to close this mask out. And After Effects is now going to discard everything from this layer that is not included in this mask. So now we've essentially extracted with cutout justice Raven. Yes, there is still a bit of red from the sun, but we'll get rid of that and a little bit for now, let's zoom out and return to the selection tool. Let's come forward just a little bit to maybe 1 second in. Click on the layer in your layer panel, press P to reveal the position property. Set a keyframe right there. Let's go back maybe 2.5th or so. Let's move the raven off-screen up to the top somewhere. So it's now going to come in flying from the top right-hand side towards that sum. Let's make sure we can see our switches columns and it'll motion blur on that layer and on the composition. So now the raven is going to come flying in from the side and land exactly where it needs to be for that some background to appear. Now let's un-solo this layer so we can see all of the other layers. Again, let's click somewhere into the timeline just to unselect this layout. And you can see that the raven kind of, you can see but of the outline because it's a glow and a shadow and everything else. Also, if you scrub back now, well the original Raven and some layer is already there. However, I actually only want that to become visible once the ravens in place. So at 1 second, let's go to the raven on red layer, the one that includes the background some. And let's take the standpoint of that hold down shift and snap that to one seconds so it's going to be invisible. And then right when that red and hits is when that background layer is going to come in place. Again, let's come to 1 second, but let's make sure that this raven overlay layer finishes at this point, because what we're just going to transition into the image that has both the raven and the sum. So let's take the end point of that interact that in hold and shift. So the Ravens going to fly him. And then it's going to reveal our foo completed image. Now, let's come back just a little bit. Let's for the moment, is able to motion blur on this raven layer. And while we still have this red ugly outline around the raven, now Adobe After Effects actually includes a lot of tools to kind of cowl and trim out different colors from different layers. And the one we can use to get rid of this bright red outline here is the extract effect. So let's come to the Effects and Presets panel search for the extract effect, which you should find in the keying folder. Let's grab this effect, drag and drop it onto the raven layer in our layer panel. And by default, this won't do anything because we haven't specified what we want to extract just yet. Let me zoom in just a little bit on the raven, you can see a little bit better what is going to happen in the settings for the extract effect change the channel from luminance, which is as brightness. Or you can zoom up the brighter or darker parts of your image, switch that over to red. So we now going to extract all shrimp things from this layer based on the color red. Then click on the end point of this little gradient here and drag that over to the left-hand side. So we're trimming out the brightest red colors in the image. And you can immediately see that all of that ugly red outline is gone. However, it looks really weird now and that is because we are applying the extract effect after the glow. So we're kind of trimming bits and pieces of this glow out as well, not really what we want. So what I'm going to do is I'm going to take this extract effect, click and drag on the name and drag this effect up in the effects controls panel to reposition it. So we're going to position this at the beginning before the first outline glow gets appliance. Let's let go of that. And that instantly looks better. In effect controls. Let's come to the outline glow click on this little effects I can to disable it. Well that down to collapse it, click on the white glow, click on the Effects icon to disable it and then close that up. So now if you come to the extract effect and click on the little fx icon to disable it. So we're first going to apply the extract effect, make sure that's enabled. Then we go to apply the outline low. So let's re-enable the fx icon here. That's going to give us this thin little red outline and then re-enable the white cloth. So Effect order is really important in Adobe After Effects. Let's zoom back out. Let's rename motion blur on the raven layer. That's a good one. And play this back. At that actually looks pretty good. And you can use this exact same technique to extract an animate any part of your logo or your image that you want. Now, as always, let's select both of our keyframes. Press F9 to nail Bezier interpolation. And also let's not have this snap in quiet as brutally. So with this raven on red layer selected press teacher video opacity right at 1 second, right when that Leah kicks him. Let's enable the stopwatch to set a keyframe. And let's bring this down. Maybe not quite 0%, maybe about 30 or so. I want it to be visible at this frame, wants to raven kind of reaches its final position. And let's go forward maybe four frames. And again, you can use Page Down on your keyboard for that. Let's bring the opacity up to a 100 percent. And let's also do the same with the raven and faded out. So let's take the end of that layer and extended again just kind of part four frames past a second into your composition. Press T Trevi, the opacity, set a keyframe, set it to 0 because at this point we want the raven to no longer be visible. Let's come back to 1 second here. Let's set it to a 100. So it starts at a 100, and then the raven fades out just as that sum starts kicking in. And let's remind again and play this back. Yeah, and that looks good. Everything comes together just a little bit smoother. Now the other thing I want to do is I want to kind of add a whole of more glow just at the moment of impact of this raven. And I want the background here to start out very gray and will only get that red color once the background some is visible as if that red sun was illuminating the background. So let's come to one seconds. Select the raven on red layer here and on this white glow and go to nail the stopwatch icon on the glow intensity and the glow radius. And I'm going to check the intensity up to maybe two or three, and the glow radius to maybe round about 6700. I want quite a large bright glow. Let's go forward just a little bit at this point, this is totally blown out. Let's bring the intensity back down to around about 0.5 minutes. Just print the glow radius in just a little bit as well, maybe 550 or so. Let's come back to 1 second. Let's select the background in the effect controls. It's come down to the Colorado effect. And the one thing I want to animate this, this blend with the original. If you set this to a 100 percent, everything will be gray because we're just going to see this fractal noise. But if you lower this to 0, everything will be extremely red, which is too bright. So what I wanted to do set this to a 100 percent so we're fully gray. Step back a frame from 1 second by pressing Page up before the sun kicks in. So at this point I still want the background to be fully grade. So let's click the stopwatch icon on this blend with original property at a 100 percent so it's fully gray. Move forward one keyframe by pressing Page down. Let's bring blend with original down to maybe 30 percent. So it's going to be quite bright because over the next few keyframes, this is going to get really, really bright. But then let's move forward to maybe one or two seconds in. And let's bring this blend with original back up to maybe around 50 or 60 percent. So it's first going to really rewrite just as that sum comes in, and then it's going to fade back. Let's go a little bit more subtle. So the logo is a bit more visible. Now let's rewind, but let's quickly select the background layer, press U to reveal all of the keyframes that right down there. Let's select all the keyframes that says marquee, select over all of them, the ones for the raven on red and the raven layer as well, to select all keyframes. Press F9 to enable Bezier interpolation. So we'll all East them in and out. And let's play this back. Coal. That's looking really nice. Now, the last thing I might want to do is I don't want this to start out being visible account want to start black and then slowly fade in. And then the raven shoots in and then the sun becomes visible. So what I'm going to do some will just select the background layer in the effects controls that's come up to the fractal noise effect. One thing I want to animate this, this brightness right here. So maybe right before this raven comes in, I'm going to set a keyframe on the brightness. Where does so? At this point we're going to have this level of brightness. Let's come back to the beginning and let's lower this brightness to minus 80 or so to make the composition fully black, again, press you to read all of the keyframes that select those two new ones on the brightest property, press F9 for Bezier interpolation. And let's play this back. Cool, That's starting to look really nice. Finally, let's just add some titled texts into that as well. Let's select any of the layers Control or Command a to select all of them, collapse one of them, it'll collapse all of them together. Let's come to maybe roundabout a 2.5th just after that, Raven has lended, select the text tool, click into the preview window and let's type like Raven TV. Let's return to the selection tool. Let's move this text just underneath our logo. What's going to come into the line panel and click align horizontally so the text layer is placed right in the middle. By the way, you don't need to be on the Text tool to change the font itself if you're on the Selection tool, but you have the text layer selected in your composition. And you then come into the character panel where we change all of the font options. You can now change the font and it'll affect the entire title. I'm going to change this over to yeah, maybe papyrus is a nice one more to increase the text size, maybe just a little bit, maybe around 80 or 90 herself. Again, let's come to the Align panel. Make sure we like this horizontally. It's going to move up, maybe just a little bit. And let's add some animation to this as well. So let's come to the Effects and Presets panel clear our search. Let's expand the animation presets and as before, let's expand text. Look for the inmate in effects. And the one I'm going to use is fade up characters. So either double-click it with the text layer selected, I'll just drag and drop it directly onto the text layer. And it's just going to make that text appear left to right, right there. That looks pretty good. Press U to reveal the keyframes. Select both of them. F9 for Bezier interpolation. Maybe I'll make it a little bit quicker around the three seconds and start just a little bit earlier. So the raven comes in and then that text kind of starts appearing right then. And if you now rewind, let's collapse the layer to keep everything nice and neat. And let's play this back. Cool, that is looking nice and dramatic. However, we can spice this up further by adding some really interesting stylistic effects over the entire title, as well as dealing with the fade out at the end. And let's talk about all of that in the next video. 18. Global Effects with Adjustment Layers: Here we have a completed black raven TV animated title, and it looks pretty good already. However, before I let you go, I quickly want to show you how we can very easily at some global stylistic effects to the entire title using adjustment layers. Now, we have already talked about how you can apply effects to all Today's new compositions simply by selecting them with Control or Command and a, and then precompose them or grouping them together so they turned into a single layer that you can then apply effects to. However, there's a really nice way in Adobe After Effects to apply effects to all of the layers in your composition without actually grouping them. And that is done with adjustment layers. And adjustment layer is like any other layer and your composition, except that it's not visible, it doesn't actually do anything. But any effect you apply to an adjustment layer will actually be applied to all of the layers that sits below it. But let's go through an actual example in order to create an adjustment layer, simply right-click into some empty space in New Layer window, come up with new and then select to create a new adjustment layer. Here is the new Adjustment layer, and I'm actually going to click and drag it up to sit it at the top of my composition. And this layer itself doesn't actually alter our title at all. However, any effect we applied to this layer will automatically be applied to all the layers that sit below it. So let's come into the effects and presets panel and just make that a little bit bigger. Let's come all the way down into the stylized folder. Let's pop this open. And in here you'll find a whole bunch of different effects that will affect how the overall image looks. Let's just come down a little bit and maybe let's pick one that is quite a dramatic. Let's grab this, find Edges effects, drag and drop that onto the adjustment layer and let go and add. This effect essentially highlights high contrast areas within the image. So all of the outlines or the sharp edges within your image will be visible. Now let's come into the Effect Controls and in the Find Edges effect, and that's enabled inverts. So it doesn't look quite so brutal. So if you disable this effect and that's what the original looks like, and that is what the Find Edges effect does. And because we have applied it to our adjustment layer, it will apply to all of the layers below it. The cool thing with an adjustment layer over just grouping all of these layers together is that I can now reposition this adjustment layer. So for example, I could drag it below the raven TV title. And some need that find edges effect volt applied to the text anymore, I can drag it below the raven and the raven on red. And suddenly those two layers won't be affected anymore. So I can use these adjustment layers to very selectively apply effects to some or all of the layers in my composition. And it's really nice. It's a really great way to kind of stylistically changed the look and feel of the elements within your composition without having to nest everything. Now let's make sure the adjustment layers still selected. Come back into the Effect Controls panel. Let's select and delete this fine edges effect. And let's do something actually useful. What I'm going to do is when this raven hits right here, I want all of the lesson, this competition to kind of be displaced for moment as if there was an actual impact and everything kind of moves and shakes. Now again, there's different ways of doing that. I'm just going to come into the effects and presets panel and use the color embassy effect. So let's grab this effect, drag and drop it onto the adjustment layer. Let's go to slightly change either it, but we're going to treat those parameters in just a moment. Let's just select the adjustment layer, press Enter to rename it, and let's call this one emboss. Then let's come to the effect controls and select the color embassy effect. Now let's increase the relief property. If I, now it's one that's us push this out and you can see how the whole image is being pushed to the bottom left due to the angle right there. But I don't want to align this with the angle of the raven flying in, which is about 45 degree angle. That's us push this to maybe around about 35 or so. And notice I'm at the exact position when the raven lens and the sun behind the rain becomes visible. Let's enable the stopwatch icon on the relief. Let's go forward maybe around about eight or so frames. And let's set this relief down to 0. So the color embassy affect mood shifted the image anymore. So just kind of one that Raven, his account gets shifted off momentarily. The other thing I want to do as well, because right now even before the wave hits, everything has discolored Nimbus on it. If you disable the effects temporarily, you can see that's what it normally looks and that's with the effect. And I don't want this effect to be applied until the raven actually lands. And the easiest way to do that is to come to the point where you want this effect to stop being applied. Come into the timeline, grab the beginning of this adjustment layer and drag it over to the right-hand side. So before that, before this point in time, the adjustment layer won't be visible and none of the effects that are on this adjustment layer are going to be applied. So only when this layer becomes visible, we'll all of the effects from this layer be applied onto all of the layers below it. The cool thing is, you can also with this less record press T to review the opacity. You can adjust this property to control how strongly all of these effects that aren't this adjustment layer are being applied to the layers below. So there's lots of different ways to control this. The counters want the image to shake while the raven hits and then it returns right back to normal. Now towards the end here, you may notice that, well, we're not actually applying this color embassy effect anymore because the RIV is 0. There's no point having this effect further applied because, well, it's no longer actually visible. So go to take the end of this layer and drag that in, hold on Shift to snap that to the timeline indicator. Then everything just kind of moves on. And it just makes it easier for After Effects to render the rest of decomposition. It'll just go whole lot quicker because it only needs to calculate the embassy effect while this adjustment layer is actually visible. So let's rewind and play this back. Cool, That's looking pretty good. Now let's press U to reveal the keyframes. Just make that a little bit quicker. So it's just a, just a bit more snappy, but I think that looks pretty good. Let's collapse this layer and let's add another adjustment layer. Let's right-click into some empty space in New Layer window, come up into new, create, a new adjustment layer. And let's add some rain overall to the entire title. So let's rename this adjustment layer by pressing Enter to rain. Let's come into the effects and presets panel. It's a search for rain. And if you go a bit further down under simulation, you should find CSU rainfall. Let's apply that to our rein adjustment layer. And right out of the box, that actually looks pretty cool. I think there are venues just a little bit heavy, so I'm going to lower the number of drops to maybe 2500 or so, maybe the size down as well, to maybe 1.5 or two. You can also add some wind into it, a bit of variation or spread it out a little bit. So it's not quite so even just to give it a little bit less of a standard look. And you can see how the reins getting this really nice color from the globe as well. So let's remind our title. And you can see the rain is already visible. So with the rain layer selected prestige reveal the opacity property. Let's set a keyframe right at the beginning of our composition. Start the opacity at absolute 0. Let's go forward to round about 1 second into our composition. Let's check the capacity up all the way to a 100 percent of May we started just a little bit later. Select both keyframes, press F9 for Bezier interpolation. So the rain kind of fades in together with the background. Let's rewind and play this back. Cool. And as is looking nice and dramatic, Let's collapse the rain layer. And the very last thing I want to access the fades to black at the end here. And in this case, yes, you could again, just select all of the layers and pre-compose them, group them together. But another easy way is to simply use a black solid and fade that into what's the answer so that everything gets covered and faded to black. Let's right-click into some empty space in our layer panel, come up into new. Let's create a new solid. Let's call this one fader. Make sure the width and height matches the dimension of your composition. And let's make sure it's actually black. Then hit Okay, make sure this layer is at the very top of your composition. Let's come to, well, pretty much close to six seconds the end of our composition press T to review the opacity property, set a key-frame. Let's come back to maybe four and a bit seconds, reduce the opacity down to 0. So at the end, that black layer is kind of fades right over the top, maybe from 56 seconds, I'll give it 1 second to fully fade out. Select both keyframes, press F9 for Bezier interpolation. And again, where this keyframe here sits at 0% before that this layer isn't visible anyway, so you may as well just trim it right into scarf keeping clean. It just makes it very obvious in your composition of when these layers start and end. Now this one here doesn't have any effect, so it doesn't really need much computational power, but it just keeps your composition and just nice and easy to read. But with that, Let's collapse this layer. Let's remind, let me make this just a little bit bigger. And let's play back our final animated black raven TV title. 19. Course Project - Create Your Own Title: And now it's your turn. Now as someone who's done two trials for the last ten years, I can guarantee you the very best way to remember what you learned in this course and actually get some value out of it, is to start creating your own title, Start experiment and put together your own animations, fill the title and then share it. Gets some feedback uploaded here. Hit me up on social media, get some feedback and some thoughts on how you might be able to improve it. And over time, It's kind of like drawing. The more you draw, the easier it is to get images of visualizations you have in your head down onto paper. Adobe After Effects is the same thing. First time it might feel a little bit clunky. And then the more you do it, the more easy it is to translate what's in your head on to the actual screen and create really nice custom animated titles that you can use for any video projects, your YouTube channel, Twitter, social media business. So start experimenting. There's a tons of additional random footage in the course materials that you can use. Use your own footage, go on the Internet and find some free to use images, backgrounds, title's, fonts, anything you want, put it together into title and just experiment and uses. Learn from that. 20. Thank You!: And that is all there is to it. I really hope you enjoyed this course. Please do take a moment, leave me some feedback. Either something positive, if you are happy with it, awesome, deconstructed. If you think there was something I could have done better, explained better, or some other things that you would have loved me to show along the way, leave me some feedback, let me know, hit me up on social media. I'm always really keen to get feedback so I can actually make my training causes better on middle, just deliver a better learning experience. Finally, I know I said this before. Go and check out all of the free stuff that I have on my YouTube channel. I also have a bunch of other training causes more in-depth for Adobe After Effects, but also some for Premiere Pro video editing blender. Couple of other stuff. Go and check that out and just hit me up on social media if you want to check. I always tried to get back to every single person who takes the time to send me something. I really appreciated. And with that, I will let you go. Thank you very much for being a part of this course or the best for your journey into the exciting world of Adobe After Effects. And for that, thank you very much for watching. And until next time I will see you later.