Intro to Motion Graphics: Animate Collage Style Explainer Videos | Hongshu Guo | Skillshare

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Intro to Motion Graphics: Animate Collage Style Explainer Videos

teacher avatar Hongshu Guo, Motion Designer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

17 Lessons (2h 35m)
    • 1. Introduction

      2:36
    • 2. Class Project

      2:58
    • 3. Storyboards

      14:59
    • 4. Prepare in Photoshop

      11:28
    • 5. Setup File in AE

      11:18
    • 6. Animate 1st Scene: Background

      13:59
    • 7. Animate 1st Scene: Main Text

      15:54
    • 8. Animate 1st Scene: The Rest

      11:46
    • 9. Animate 1st Scene: Add Wiggles

      5:03
    • 10. Animate Airplane Scene

      15:49
    • 11. Airplane to New York Transition

      8:11
    • 12. Animate New York Scene

      11:11
    • 13. Animate Rome Scene

      12:37
    • 14. Transition to Logo

      8:41
    • 15. Logo Lockup

      5:13
    • 16. Export

      2:42
    • 17. Congrats

      0:37
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About This Class

Explainer videos are animated videos that explain a business and also convey the value of a business. There are so many awesome explainer videos created for all kinds of businesses to drive traffic and sales as well as generate awareness for products and services. 

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Explainer videos are in high demand. Once you know how to animate explainer videos, it will make you a more marketable animator that can take on different kinds of fun projects 

In this course, We will focus on a collage style explainer video. It’s one of the most popular styles of explainer videos on the market right now. I will take you step by step from receiving a storyboard all the way to rendering out our final explainer video animation. Here are the topics that we will cover in this course:

  • Complete professional explainer workflow from PS to AE
  • How to customize or come up with your own storyboards
  • How to setup your Photoshop file for animation
  • How to setup After Effects project for explainer video
  • How to animate each scene in After Effects
  • How to easily animate transitions between scenes 
  • A variety of tools inside After Effects
  • How to use some of the AE built-in special effects
  • Tons of keyboard shortcuts, tips and tricks in After Effects that will speed up your workflow
  • How to animate with stop motion look
  • How to work with animation principles-Overshoot 
  • How to use track matt to animate with efficiency
  • Apply simple looping expression in After Effects
  • Add wiggles to your elements in the scene.

The concepts and techniques covered in this course are fundamentals and essential workflows that you will be able to apply to any explainer video that you work on. Some of the basic tools, tips and tricks of After Effects can also be translated into any type of projects.

This is an introductory course and it’s for anyone who wants to learn the professional workflow of animating an explainer video, getting into motion design, adding animation to your graphic design and illustration. 

Although it's an introductory course, there are a lot of things that we need to cover in this course, so a basic understanding of design tools from Adobe suites will make this course easier to follow. If you are completely new to After Effects or Photoshop, I would suggest you get familiar with the software first before taking this one.

If you would like to learn more about motion graphics here are my other courses:

Illustration Style Explainer Videos From Storyboard to Animation

Animation Principles: How to Bring Animation to Life

Logo and Icons Animation in After Effects

Animating Illustration in After Effects

Meet Your Teacher

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Hongshu Guo

Motion Designer

Top Teacher

Hey! My name is Hongshu Guo and I'm a motion designer from Toronto, Canada. I've been animating in Adobe After Effects for more than 6 years. Animation is one of my passion and I am so lucky that I am able to work on all kinds of animation projects every single day at work for the past years. When I am not working, I always like to travel. Travelling gives me time to slow down my mind to enjoy the nature and world around me. It also provides me with new perspectives as well as inspirations.

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Transcripts

1. Introduction: Hi, I'm Hongshu. I am a motion designer in Canada. I have been animating in Adobe After Effects professionally for more than six years now. I worked for two different advertising agencies for clients like Adidas, PayPal, Walmart, and many more. Today, I'm going to be teaching you how to animate a collage-style explainer video with stop motion and After Effects from storyboard to final animation. Explainer videos are really popular right now and it is an important part of motion graphics. Once you know how to animate explainer videos, it will make you a more marketable animator towards your competitors and be able to take on fun projects on your own. It is a solid starting point to learn the fundamentals of motion graphics and prepare you for future success. In this course, I will show you everything you need to know to get started with a vintage collage-style stop motion explainer video. I will show you the complete full professional workflow from first coming up with a storyboard, identify the main animated scenes and transitions, how to set up your Photoshop file for animation, step by step working through the storyboard, apply animation principles like overshoot, how to animate with stop motion. Use simple effects to bring life to your keyframes and tons of keyboard shortcuts, tips, and tricks that I use all the time for more efficient workflow. For the class project, you will be applying the skills and techniques learned here to create your own 20-second animated explainer piece. Make something that you'll be really proud of. This course is for someone who is already familiar with After Effects software and wants to hone your skills to work more efficiently and become a better animator. There are a lot of tips and tricks to cover in this class, so we won't go into the basics of After Effects and motion graphics. If you are a beginner in After Effects or motion graphics, I would recommend you to check out my other beginner classes before you take this one. The concepts and techniques you'll learn in this course will be easily translated into any type of projects and make you a better After Effects animator. Beyond just creating a final explainer video, it'll also train your eyes to become an animator size and provide you a brand new way of looking at animation and storyboards in the future. You will also develop greater insights into visual storytelling and expand your animation vocabularies and learn more hot and fine animation techniques. I hope you'll have a lot of fun learning and animating. I'll see you in class. 2. Class Project: Welcome to the class. Before we begin, I want to talk about the class project. For the projects, you'll be animating our own 20-second explainer video based on the script and storyboard provided. I'll take you through the whole process from how to customize or come up with your own storyboard all the way to the final animation. I have the storyboard ready here in PSD format, and we can go through it together right now. The voiceover is going to read, do you like to travel? Come with us. Experience a wonder in New York City or the ancient culture in Rome. We take you to places, travelholics.com. Basically this company is called travelholics.com and he's asking us to create a explainer video in this vintage collage style to help promote his website. This is a storyboard that we came up with. For the class project, I hope you can take my PSD file which is over here, the Photoshop file that I put together. You can use this Photoshop file that I provided for you in the class assets. You can either modify, customize, change it however you like, maybe change the color, change the layout. If you're good at Photoshop, you can do whatever you like with its design and come up with your own storyboard, own design. If you are a beginner with Photoshop, you can just take my file and then follow the steps we taught in the class to animate this 20-second explainer video. That said, in the end for your class project you're going to come up with a 20-second animation with a storyboard that I provided, or you customize something like this as your class project. As you're taking the course and working on the project, I encourage you to share with me the working progress in the project panel so that I can provide feedback and guide you through the process. A 20-second explainer video is not an easy project, especially if it's your first time doing it. There will be struggles and pain, trust me, but same as learning anything as a part of the process, I'm here to help you to get the most out of this course and answer any question or clear any roadblocks along the way. If you power through it and complete your project, you will learn a ton and be much better animator in a few weeks. Once you follow me and complete this project, you will get an idea of what the full process is to create an explainer video. This process and workflow is applicable to any motion graphic works, it will help you to get ahead of the game and give you the confidence to be ready for any future client work. Not only that, in the end you will have a full explainer video to put on your demo reel that you can share among friends. That's it with the class project, I'll see you in the class. 3. Storyboards: Hello everyone and welcome to this first lesson. In this lesson, I want to talk about storyboards. Let's go to our folder here and let me pull up the storyboard that I have right now. This 15-second collage style explainer video storyboard. There are essentially two scenarios if you're trying to animate an explainer video. One is that one you are provided with a storyboard from your client and all you need to do is to animate them. The second scenario is that when your client approach to you without a storyboards and you are going to be the one who is doing the storyboard, designing the storyboard, and further on animating it. These are two different scenarios that we'll cover in this lesson. First of all, I want to talk about the first scenario when you are provided with a storyboard. Here, you can see in my folder, I've got a storyboard folder, and this is going to be a storyboard deck that I received from my client or from my art director. For this specific project, we have a 15-second collage style explainer video storyboard, the client is called travelholics.com and they're trying to promote their websites. You can see here we got six frames to our storyboard and we've got a VO ready which is a script that's provided by the clients. We already have frames designed by our director. If you go through the script, it will read like this. Do you like to travel? Come with us, experience a wonder in New York City or the ancient culture in Rome. We take you to places, travelholics.com. Basically it's a story line which links everything together and tell you the story about this company. As you can see here, we've got a first frame, which is a mainframe and with half a collage style design here, very beautifully designed by our art director. Come to the transition frame, we've got a airplane coming from the left of the screen and then with a ribbon saying come with us, which also match with the scripts. Then the third frame after this transition is going into a New York City frame design and the script is going to say, experience a wonder in New York City, after this is going to transition into the Rome city. Then if you've got more time, like maybe more than 15 seconds, if you have 20-second, you could add another city and you can design another board over here. Then after that, it's going to be a transition to the logo lockup, which is the end frame. Normally, when we're doing explainer video, the end frame is always either a website or a logo. In this case, we have a travelholics.com website, which is what the client wanted to promote. This is our storyboard deck that I receive as a animator. Other than this storyboard deck, we will also receive a working file, which is a Photoshop working file. After I open this working file, you can see all of these six frames are organized into our boards. Then each frame, there is all of the layers, as you can see in the first frame one, and all the separated layers, all the effects you got. In this class, we're not teaching you how to make a collage style storyboards, we're here to teach you how to do the animation. This style of design is not very easy to do if you're very new or if you're a beginner in Photoshop. But since we're teaching animation here, so I will attach this working file into our class resources so you can download everything and then follow along and later on you can just modify stuff based on your ability with Photoshop and then change and then switch things up to make your own design, if you like. That said, I don't want to go too deep into the layers of the graphics within Photoshop. As you can see here, we've got all of these layers separated, later on when we import these Photoshop layers into After Effects, we're going to keep them separated. That's why we can manage to animate each layer individually within After Effects to create the animation. Then we've got the frame 2, which is this one here, it's a transition frame. Then frame 3, which is New York City, frame 4 we got a Rome city, and then frame 5, we got a slogan, take you to places. It is a slogan for this company. Then at the end we're going to come to frame 6, which lands to this website that client trying to promote. These two files here, one is storyboard deck, which is normally comes as a PDF, just to show you what the story is going to like, the storyline of the storyboard. Then the other file that we receive as a working file which contains all of the graphic elements that's used to design this storyboard so that later on we can import this into After Effects to animate. That's it about our first scenario when you are provided with a storyboard from your client or your art director. The other scenario, the second one is when you have to do your storyboard yourself on your own. To be honest, I never considered myself a storyboard artist. I am not very good at storyboarding, but I'll show you my process of how I deal with this stuff when I get a freelance client. First of all, I got this storyboard template, PSD. Let me open this. This is only a template that I use as a guideline when I receive like say, 15 second storyboard request, you can also extend it to 30-second, one minutes, however you like. But this is essentially the same thing, when the client approach to you, they will have a script ready for sure. They'll give you the script, as you can see already, put in the script in here, the VO that says, do you like to travel? Come with us and then experience a wondering New York City, or the ancient culture in Rome, we'll take you to places, travelholics.com. As you can see here, I've got seven frames and then I've got this sequence of frames as a guideline to help me with designing a storyline. First of all, I've got in Main artwork, which is our first opening scene, is going to be something that's beautiful, eye-catching, so that people are going to stick around to watch your video. That's my main artwork. Then later on from the main artwork, I want to figure out a transition that's going to transition the main artwork to the next artwork, which is also a main artwork but like it's the second beautiful scene that we see. After that scene, we've got another transition to another scene. That's the third scene over here, which is frame 5 over here, and then after frame 5, we're going to need to transition out to a logo reveal and then land on a logo lockup. This is basically a guideline for me, myself, to work on the graphics and then to come up with something that can link everything together, all the stories, the script together, to later on put it in After Effects to do some animation. That's about this guideline here. But say if we want to design something in frame 1. The thing that we want to animate today is very specific. The style of design is very specific. It's a collage style at very vintage look. It's not something that's very easy to do. Like you will have to be pretty comfortable and familiar with Photoshop, and then you won't be able to work on some of the effects within Photoshop to come up with a style like this. However, if you don't have this vintage look or collage style, you can still design something beautiful to represent or to tell the story. Let's say, for the first scene here, do you like to travel? In our scene, we have a copy, the text within the frame. We have, do you like to travel? Then travel is really big. Even though if you don't have these graphic style, if you take off the graphic style like this newspaper look within the text, you can still have a pretty good layout and then it looks pretty nice. Whenever I design something, I would try to look for the keyword within the script. Do you like to travel? Travel is a keyword. Then after I got the keyword, there is a couple of website that you can go on. Let's say if you can go, one of the website is called freepik.com. It's a free stores, but then if you're doing it for educational purposes, so you can just download all the images or everything from here, and then use it for educational purposes. But if you're doing a client work, you might need to get a subscription. That's what I did, and then I can just download here the graphics. Let's say if I search for travel, there's going to be a bunch of leg designs, illustrations that's going to inspire me, and then maybe some of them might work. Like this, looks pretty good. It's got luggages and then do you like to travel, pretty good layout here. Then we've got this beautiful images. We can even use this one and then put the copy on the right-hand side. Do you like to travel or something like that. It all depends on the kind of style you're going for. This one is more of a Illustrator style. You have a passport, you have the cameras, and all that. I've got another video teaching you how to do a illustration style based explainer video. I'll link it to the class description and you can check it out if you want. But since today, we're working on a vintage collage style animation, when you search the keyword within the website, it's going to give you a lot inspiration, and then you can download stuff, and then collage them together. Try to come up with your own design. That's something that I do. There's tons of designs and pages you can go through to try to get some inspiration. Another website you can try is Shutterstock, which is a stock image site, that's pretty good. Travel. Let's say if I search for travel and then if I change it to illustrations, there's going to be a lot of travel illustrations that people done. Then you can download after you have a subscription to use it in your own storyboard. Essentially, what I'm saying is you don't have to come up anything on your own from scratch. You can just reference people's ideas and then match things together to come up with something that's suiting your scripts or the client's need. There's a lot of beautiful designs here. Later on, once you have the graphics, you would need a color palette, and that's when I go to coolors.com. This is another website here that's going to help you with some color palette. You can go to Explore, and then once you hit Explore, you've got all these trending color palettes. You can take a screenshot and put it inside your Illustrator file or even Photoshop. Just stick with one color palette. It's going to make your design consistent and the color's going to look very nice. You can see our board here, we stick with this almost beige like blue and green, and this orange color. The three colors, and that's our main color palette. Everything is blue green, light blue, light green, and then light orange. It's making people very calm and soothing. It's got a vacation feel to it. This is where you can find some color palettes. Later on, if you are only going for a specific style, that's when Pinterest come into place. You can register account. It's completely free. People pin their stuff. There's a lot of great ideas on here. This is my board for collage design. As you can see, there's a lot of things that you can reference if you want to. I'll just work on this vintage collage style animation. You can reference Pinterest whenever you click on something, you can see a lot of related stuff that people post, and you can just go deeper and deeper into each style that you want. If I want to click on this, this is pretty good. You can reference the styles in here, how they treat the graphic, how they treat the images, the color, the shadow, and the styles, and everything. It just got so much great designs that's going to inspire you to make your own storyboard. Whenever I need to design something, this is the first main go-to. I have to come on Pinterest to find some inspiration, and then come up with my own storyboard. As you can see, let's come back to this storyboard get line here. We've got one main artwork, and then we're going to have transition, just follow the same thing. Just go on Freepik, try to find some graphics and even go on Pinterest to find some inspiration. After you follow all the stuff that I talked about, so you can create a storyboard for yourself, and then later on, we can bring it into After Effects for animation. Those are the two scenarios that we want to cover in this lesson here. Other than this PSD document, I also have a storyboard template in Illustrator, which is same as this PSD template. It's one you are trying to design something illustration based so that you have to use Illustrator for storyboard. Anyway, that's all we need to cover in this storyboard lesson. Hope you learn something and we'll see you in the next class. 4. Prepare in Photoshop: Welcome back. In this class we're going to talk about how to prepare Photoshop files for animation. Let's go to our folders. Let's go to our storybook. After I open it, as you can see, there are 1, 2, 3, 4, 5, 6 frames, six artboards in the Photoshop layers panel. If you don't see layers panel, you can go to Windows and then choose Layers. Then you can see the layers panel over here. Each frame here we have is called a artboard. Then within each artboard we've got all these separated layers. In this class, what we need to do is separate each artboard into its own Photoshop file. Right now, we only have one Photoshop file that contains all six frames so we need to export each one to become its own Photoshop file. In that case, each Photoshop file will contain only one artboard, one frame. To do that, it's very simple. We just need to repeat the process six times. First of all, we need to click on this frame 1 and then go to File-Export-Artboard to Files. Then we need to choose a file location. Let's go to this main folder here. Then I can make a folder called Separated. Click "Open" and then let's click on "Run." It says artboards to files was successful. Click "Okay." Let's go back to our separated folder. It's got a storyboard 2 Frame 1.psd. This is our frame 1 that we need to worry about, which is good. Then we just need to repeat the same process for six times. Go to Frame 2, File-Export-Artboard to Files, browse, make sure it's within the separated folder, and then click on "Run." Successful. Go to frame 3, File, Export, Artboards to File. Make sure it's within the separated folder. Click on "Run." Successful. Go to frame 4, Exports, artboards to file, browse, click on "Separated", Open, Run. Then frame 5, Export, artboards to file, browse, separated, Open, Run. Then the last frame, File, Export, artboards to file browse separated, open, run. Successful. Let's close this main storyboard. I can click on "Save." Let's just go back to this separated folder. We've got 1, 2, 3, 4, 5, 6. We have six Photoshop files. Each one contain only one frame. Let's open the first frame. What I need to make sure is I need to make sure all these elements are separated, are individual layer on its own so that later on I can animate them. First of all, we got this little dot here, good. Then when I see there is a layer mask like this, layer mask can never translate into aftereffects very well. Like every time there's a layer mask, when it transfer to after effects is going to mess up the layer mask. Whenever I see a layer mask, like I see this, adjustment layer is on top of this layer here. I will just select the two layers and then make a smart object. I can go to layer and then Smart Object, Convert to Smart Object. That's when I would have this element here, the luggage become one layer. Before it's got adjustment Layer to change the color of the wheel to black and white. Then I've got another layer. Here's a layer mask. I just need the luggage to be one layer so that it's easier to control later on. I select the two layers here, go to there Smart Object, Convert to Smart Object. This is good. I can rename it to luggage. Here we've got a color and also a shadow here. I want to make these two a group. Select the two, go to Layer, Smart Object, Convert to Smart Object. That's one layer. Then I've got all these birds here. I don't want to change anything here because I might need all these birds within After Effects. Because these are pretty good variations. Right now, I would just leave it here so that later on when I import it to after effects, it can save all the variation of the birds that I might need. Then I've got this copy here, the shadow. This is good. It's just within the folder. Now we've got travel, this travel layer, which is good. As you can see, the travel layer is within one folder. When I import it into After Effects, it's going to save the folder for me. Then later I'll have this. This is noisy texture. We've got this rectangle here, the shape in the center, and then the background. That's about it. That's everything that I need. All I need to do is Command S or go to File, Save. Command S, go to File, save. As you can see, everything I have here only this bird layer has a layer mask, which I intentionally left it there. Everything else is just only its own layer so I can later on manage to animate those. Let's open the second PSD. Right now what we're doing is we need to go through every single PSD, every single frames to make sure the file layer is set-ups properly. When I import it into after effects, it's not going to mess up my design. I want to make the three a Smart Object. Let's go to Layer, Smart Object, Convert to Smart Object. Now it's just one layer here. That's good. And we've got the airplane, we've got the shadow. That's good. We've got the ribbon. That's good. The rectangle is one layer. The newspaper is one layer. That's good. Now you can see it's pretty organized. Everything is on its own layer, which is good. Let's just go to File, Save. Now let's open the frame 3. I just need to go through every single one to make sure they're all on the individual layers. It's got this blue color here and then we've got this torch here. This is the road sign. The cab has its own folder here, which is good. Then I've got a shape here, that's good. What is this? This is a statue of liberty. This one has a layer mask. I might need to make this one into a smart object. Let's go to Layer, Smart Object. Whenever I see a layer mask, I need to make a smart object out of it. Then let's go to statue here. That's the shadow, which is good. Then what about these? Oh, this is a New York line here. I want to make this New York line. The two worked with a design, the style, into a smart object. Let's go to layer. All I need is to select all four layers and then go to Layer, Smart Object, Convert to Smart Object. It's going to put everything into a smart object. Then when I toggle the eye icon, you can see this on and off it become one single layer. Then we've got the background, New York image to ground texture. That's good. Everything is good. Let's go to File, Save. Then let's go to the layer four. This one's got a graphic on here. I need to make these two a smart object layer. Smart Object Convert to Smart Object. Then we have this thing here. The things on this bike need to make these a smart object. Then every time I see these arrows, which means adjustment layer, I just need to make everything a smart object. Because I don't want to have so many layers when I import it into after effects, that's not working. It's going to mess up the whole design. Then later on I need to, if it's messed up, I still have to go back to Photoshop to adjust it. Then the background, right now the background has a shadow the Rome texts, the background. The background has this shadow within the background. This is actually not a background. It's a shadow. I need to bring this four layers outside of this background folder and then go to Layer, Smart Object, Convert to Smart Object. This is going to be the Bike Shadow. Now we have the background shape, which is good. Go to File, Save. Next, we have frame 5. This is going to be pretty simple. The text, I don't know why we have two copies. I can delete one layer. We can leave it with just one, which is enough. That's good, Save. Now last one frame 6, we have a website. We've go to this website here and then we have this rectangle, the ground texture. Everything looks good. Let's go to File, Save. That's everything I need to cover. How to prepare a Photoshop file before animation. Next video, I'm going to show you how to import these Photoshop file into After Effects and start animating. 5. Setup File in AE: In this video, I'm going to teach you how to set up files in After Effects. Now, let's open After Effects. I already have it open here. As you can see, I'm using Adobe After Effects 2021. You can use any other older versions as well. Let's click on this new composition tab. Now we can change the settings for the new comps. First of all, we can rename it to main comp, which is a main composition that we will be animating in. Here you can choose some of the presets. There's a drop-down menu. Normally it would be default as 1920 by 1080, 16 by 9 ratio, it's going to be HD, and then square pixels is fine, frame rate, you can change the frame rate here. There's 24 frames per second, 25, 30 frames per seconds. For us let's use 25 frames per second. Our video is going to be around 15-20 seconds, but we can keep the duration to 30 second. Right now you can see it's 30 second. That's good. That way, we have more timeline to work with. Then the background color can be any color. It's going to be black in default and click on "Okay." Now you can see in this left-hand side project panel we have a main composition set up. If you're not seeing the same thing as my panel here, you can go to Window and then Workspace, choose Standard layout. If you're still not seeing it, you can reset standard to saved layout, it's going to put the standard layout to default. You should be able to see the same layout as mine. Remember, we have a black color background, but right now there's nothing. It's not black, it's transparent. It's because we have this transparency grid turned on. If we turn off this transparency grid, you you see this black color. However, if you render, it is still transparent. You don't have a black color background. This is only for preview purposes, so it's showing you as a black color, but in reality it's actually transparent, if you toggle the switch here. Let's go back to the project panel on the left-hand side and then we can double-click to import. Let's just navigate to our folder here, Travelholics Animation, separated storyboard. Remember we have the storyboard separated, and then let's import the first frame here. Click on this PSD file, and then over here you can choose Import As. For us it's very important to import as a Composition-Retain Layer Sizes. For footage, if you import as a footage, it's going to make everything all mashed together as one layer. Remember we had all the layers separated in Photoshop. If we import as a footage, it's going to be just one layer. You won't be able to animate them individually. But then if you retain layer sizes, import as composition is going to keep the layer size of each layer as well as maintaining the separated layers. Normally, 95 percent of the time we would choose Composition-Retain Layer Sizes. Also make sure you don't click on this Photoshop sequence. Keep this unchecked because if you check this one, it's going to import as the Photoshop sequence, which you don't want. This is very important. There are scenarios where you have to use this, by 95 percent of the time you won't be able to need it. Just make sure it's unchecked. Click on "Okay." Now it's asking me again, import kind, Composition-Retain Layer Sizes, which is good, and then Editable Layer Styles, which is good. Click on "Okay." Now as you can see here on the left-hand side, in the project panel, I have a main composition which was created at first and then I've got a folder and also another composition called storyboard 2 frame 1. If I double-click on this frame 1 composition and double-click on this frame 1 composition again, it's got all the layers from Photoshop file. As you can see there is a Photoshop icon in the front, everything is separated so that later on we can animate it. Now what I need to do is to organize the project panel a little bit. I need a new folder here, I need a asset folder. After I have the assets folder, I need to create another folder. I just want to click on this empty space here and then click on this, Create a New Folder icon again, make it a precomps. I need another folder called output. That's about everything that we need. If you have music in your video, you can create a folder called music. Well, probably music and VO, voice-over and music. Now we just need to organize it. The main composition is the composition we will be working in. We need to put this main composition into output folder so that this is our output in the end. After we finish everything, we're going to render this main composition as the final video. Then precomps are anything other than main comp, that's also a composition like this. Anything with the same icon. This is a composition icon. We have the storyboard 2 frame 1 composition. We need to drop it inside the precomp. Then the folder contains all the files from Photoshop. The file folder itself, we need to put it into the assets, and in order to make it easier to look at, I want to put 00 before the output folder so that the output folder is always on top of the list. Every time I go to the project panel, I know this is the main composition. This is the final output, it's always on top. Based on your need, you can add more folders, but normally for a small project, this is a folder that we need. It's pretty easy to organize a small project if you have a 30-second or one-minute video, it might be different. There's going to be a lot of revisions and you might have a lot of different folders. But right now for us, we can just keep it simple. Just create these four folders, drop everything into its respective folder, main composition into outputs, and then this folder into assets, and this storyboard 2 frame 1 composition into precomps. That's it. If we go back to the main composition, this is our main working space. Now what I need to do is just do the same thing, repeat the same steps that I did before to import all the other frames. I can go to this project panel here and then double-click on the project panel. Another way you can import is if you go to File and then you can go to Import, File. You see this File, Import, File, this is where you can import your Photoshop file. Click on the second frame and make sure we have Composition-Retain Layer Sizes selected. Don't click on this Photoshop sequence, and then, "Okay." Composition-Retain Layer Sizes, Editable Layer Styles. "Okay." Now we've got another frame here, storyboard 2 frame 2, drop it inside precomps folder and then this new folder, drop it inside the assets so that everything is organized. Now let's go to the project panel again, double-click on the empty space. It's the same as File, Import, File. It just easier to double-click on the empty space here to pull up the importing window. Let's go to frame 3, make sure it's Composition-Retain Layer Sizes, don't click on Photoshop sequence. "Okay." Then we've got another comps, and then another folder. We've got three more to go. Let's go to the frame 4, make sure you click Composition-Retain Layer Sizes, click on "Open," click on "Okay." Then drop this one into precomps, drop this one into assets, and then two more. Go to frame 5. Make sure you choose Composition-Retain Layer Sizes. Click on "Open," "Okay." Put it into precomps and then put this way into assets. Then last one, frame 6, Composition-Retain Layer Sizes. Click on "Open," click on "Okay." Put it inside precomps and then put this one inside the assets folder. Then just make sure you save the files. I haven't saved it yet, so I just need to come here and say Save. Make sure I have a Save As, navigate to our folder. This one, I can name it Travelholics Animation, and then click on "Save." I just put it inside this animation folder, and then "Save." Now you can see if we go to the project panel, we got four folders, if I close all these folders, we've got four folders. One is output, which has our main composition. Right now it's empty, it's our working space. Then we have assets folder with all the folders from Photoshop. It's got all of the individual layers that we need, and then we have a music and VO folder, which later on we can put on music and voice-over. Then we have a precomps which was imported from Photoshop as well, but these are already compositions, all six frames. If I open one of them, you can see it's already got everything in position as a separated layer. It's very easy for us to animate. That's it about this video. That's how we set up After Effects file for animation. In the next video, I'm going to show you how to start animating the first scene. 6. Animate 1st Scene: Background: Welcome back everyone. In this video, we're going to start animating the first opening scene in After Effects. Remember from the past video, I've showed you how to import the six frames from Photoshop into After Effects. Let's go back to the Project panel. I already have my After Effects file open here. Let's go to the frame 1 composition. Remember we talked about the file structure in the Project panel. I have four folders here, and then within the pre-comps folder, I have a frame 1 composition. Let's click into the frame 1 composition and within the frame 1, we have another composition that's called frame 1. What we need to do here is to copy this frame 1 composition here, command C, and then go back to the main composition. Remember this is the main workstation that we are going to be animating our whole thing, so just make sure we paste it in here, paste the composition here, command V. Now I have a composition within my main comp. However, I just noticed something that's very odd here. I see there it's a black bar on the right-hand side. I want to go into this frame 1 composition and check the size of this composition. To check the size, you can click on the shortcut key command K and this composition is 1,920 by 1,080, 25 frames per second. It should be the same as our comms outside. Click "Okay." However, within this composition, you can still see this black bar so that means our background here is not big enough. All I need to do is go to the last layer, this layer the Photoshop layer, which is a background BKG. Let's change the size of this. A keyboard shortcut S for scale and then just make it bigger. I just want to make the white background bigger so that it's occupying the whole space of the frame and then let's go back to the main composition and now you can see it's updated here, the main composition. Right now we have 1,920 by 1,080 HD frame here that's nice and clean and this is our artwork. What I want to do right now is we want to start animating within this frame 1. What we need to do is, let's go inside this frame 1, double-click on this. I can start animating this scene within frame 1 composition, one by one. First of all, we have a background and then I don't want to change anything with the background so I can just lock this. You see there's a lock icon in the front here. Lets just lock this one so that I don't want to accidentally touch it. Next thing is the shape layer here. I've got a shape layer. For the whole animation here in this explainer video, we are trying to animate a vintage look collage style animation so the whole thing should look more like a stop motion. It's not going to be very smooth. I want to try to match the vintage look with the stop motion style of animation to make the whole thing more appealing so that's the style of animation that I'm going for. I'm going to show you everything you need to know to make a vintage looking collage style explainer video with stop motion. Let's go to the shape layer here and I want the shape layer to come from the left to right. Maybe like move a little bit when it comes on. Hit on P for position and then I can just hit a keyframe here, hit on the stopwatch to add a keyframe here, and then I can go forward 10 frames. Command Shift right arrow to go forward 10 frames. Drag this keyframe here to the 10th frame and then go back to the zero seconds. Maybe I can change the X position to the left and down a little bit so that the shape just come out from the left to right very subtly. There I can select both keyframes, go to right-click Keyframe velocity, change it to 60, 60 for both keyframes, outgoing and incoming keyframes. This way we can add more energy to the motion. Let's preview the animation. I want it to be more dramatic. I want the movement to be fast and quick, something like that. Then now what I want to do is, I want to cut the frame at the third frame. To cut this layer, use option left square bracket. You can see the shortcut on the left-hand side. We can cut it like that and now I want to add a special effects. You can go to the right-hand side. There are the effects and presets panel. If you don't have the effects and presets window here you can go to Window and then choose Effects and presets. It's over here. Let's search for a linear wipe. We've got two linear wipe. One is for transition, which is not what we want. We want this animation preset linear wipe, double-click so that it's added on top of this shape layer. You can see there are two frames added to. If a hit on "U" on the keyboard is going to show me the keyframe of this transition. I want the transition to end probably around here. We can see the wipe from the left to right. However, we want the wipe to be diagonally with an angle so that I can change the angle of the wipe to be something like this. Now, I can change the keyframe velocity to match with the velocity that I have on position property. Click "Okay." Something like this. This is what I wanted to be now. I notice that my previous speed is pretty slow right now. What I can do is, I can change the preview resolution from full to maybe quarter and that's a bit too blurry. Let's change it to half. If you change it to half, you can still see the whole thing pretty clearly. Let's try third. Third looks fine too. You know what? Let's keep it in half. I changed the resolution of the preview to half so that the renderer can be more quickly. It can make the preview faster. The next thing what we want to do going up, I have a rectangle here. Rectangle is pretty easy since we have a mask. Let's go down the list, let's go to the Mask, and then go inside, we have a Mask Path. What I'm trying to do here is, I'm trying to go through every single element within this composition to animate them starting from zero second. Later on, if I need to delay the start or maybe randomize how which one comes in first, which one comes in second, I can just track the layers to a specific timestamp so that I can delay the start or change the order of the animation. But right now, what I need to do is to animate them at zero second. For this rectangle here, it's going to be pretty simple. All I need to do, I need to from zero second, let's go forward 20 frames. Command, Shift, Right Arrow, 10 frames and then 20 frames. You can see here, 20 frames. Then let's put down a key frames hit on the stopwatch. Then let's go back to zero second. What I can do is, I can just click on the two anchor points and then drag these two anchor point to the left so that at zero second, the mask is all the way at the left, so that it's not showing any rectangle. Then the animation is going to go like this from left to right. I might want to add some key frames Velocity here. Right click, key frames Velocity, change to 66. If I want to preview, I can go to the two second, hit on N on the keyboard for the preview ending points, you can see this bar here. This is where the preview end. If I preview from the start, hit space bar, it's going to only preview of the first two second. That looks good. Then going up. What are this? This is the grungy, noisy texture. This is our texture. We need to bring the texture down just above the white background so that the texture is not on top of any other elements. It should be just on top of the white background. The texture animation is going to be a bit different because we want to randomize the texture as if it's just moving randomly in the background. However, we don't want the animation to be smooth, so what we want to do is, the simple way is just go to the rotation property. Then at zero second, we want the texture to be at zero and then put down a key frames. Go forward five frames. Command, Right Arrow five times 1, 2, 3, 4, 5. That's five frames and then let's try to change this rotation value to maybe negative 20. Now you can see there's the edge of my texture layer. I need to hold down Shift and then click on S to bring up the scale property. Make sure the scale is bigger so that I'm carving out the whole space of this frame here. Then let's go for five frames 1, 2, 3, 4, 5. Let's say if we change the rotation to positive 20, from negative 20 to positive 20. Then let's go forward another five frames 1, 2, 3, 4, 5. Change it to negative 45. I just want to manipulate the degree of the rotation so that I'm randomizing the background. Okay, that's good. Then go forward 1, 2, 3, 4, 5. This time, change it to maybe something like this, and then go to one second. Remember, we have 25 frames per seconds, so my key frames are five frames apart. The last frame, I want to go back to zero degree. Now if I toggle the timeline, you can see the background just randomly animating. It's the effect that we want but then one more thing we need to do, select all the key frames. Right-click, click on this Toggle Hold key frames, so that there's no in-between frames. It gives you like a stop motion type of view. Then the next thing we want to do is to put down a very simple expression, hold down Option on Mac or Alt on PC, and then click on the stopwatch here. We need to put in this loop out expression. Just type in loopOut with an O in capital letter and then the bracket. What it does is it's going to loop this part of the animation after one second. It's going to repeat again. It's going to just repeat forever. If you have five second, it's going to repeat this animation five times. Let's preview this part. You see that? We have a background that's animating. That is good. However, I want to tone it down a little bit. Let's go to transparency. Hit T on the keyboard. For transparency, right now, it's 15 percent. Let's change it to 10 percent. I want to tone down the background animation. Right now, it's distracting. That's it with our texture animation in the background. Now I can lock this. 7. Animate 1st Scene: Main Text: We've done this rectangle, and now what we need to do is to work on this travel main text animation. Let's go back to zero second. I want this animation to be more like a stop motion, so it's very simple to do. First of all, what we need to do is we need to separate each letter. To make it easier, I can just solo this text on the frame. Let's hit on this solo icon here, these little dots in front of the layer. If I click on this one, it's going to solo my text and then hide everything else. Since we have a black background, it's going to show a black background over this black text which is very hard to see. What we need to do is we can just toggle this transparency grid. Hit on this, it's going to show you a transparent background. I need to duplicate this travel layer 1, 2, 3, 4, 5, five times to have each letter on its own layer. Let's duplicate 1, 2, 3, 4, 5. Now I have five layers of travel, and then let's go to this rectangle tool. Make sure we have this first travel layer selected. Go to the rectangle too, draw a box outside of the letter T, it's going to isolate the letter T. Then go to the second travel, draw a box outside of letter R. Go to the A, the third travel, draw a box. However, you can see the letter A, when I draw the box, is covering the V too, so I need to hit on the layer again and then go to the selection tool and then make sure I drag this mask to the left so that it's not covering the V. Go down the list. This is another layer, I need to draw a mask around the V. Select this anchor point, make sure it's not covering the A. Then go to the rectangle tool again, draw a mask around the E. Then the last one, let's see what we have. If I only solo one layer, you can see I only have a T, and then this layer I only have an R, and then this layer I only have an A, each layer only have one letter. Now what we need to do is go to position property, hit P on the keyboard. Let me drag this workspace a bit, make it bigger. Before we start to animate these letters, we need to make sure the anchor point of each letter is at the center of the letter, so I need to change this anchor point, drag them to the center of the letter. Let's go to the first layer and then go to this top menu pan behind tool. make sure I click on that, and then I can drag the anchor point to the center of the letter. This way, later on if I want to rotate the letter is going to rotate from the center of the letter. If I don't do this, it's going to rotate from the center of the frame, which is not what we want. Let's go to the second layer and then drag the anchor point to the center of the R. Go to the third layer, drag the anchor point here. Then go to the next layer, drag the anchor point here. Go to the next layer, drag the anchor point to the center of the E. Then go to the next layer, drag the anchor point to the center of the L. Now, I need to think about the animation. I want the animation to settle in place around two second, so let's go to the two second on the timeline and then I can select all of the travel layer. Hit P on the keyboard, pull up position property, hit a stopwatch to add a keyframe. Then let's go back to frame zero. For letter T, I want the T to come in from the left corner here, and then I want the R to come in from here as well. I want the A to come in maybe from down here. I want the V to come in, you see, my V has an anchor point all the way over here with a wrong, so I need to use this pan behind tool. by since I already have the keyframes now, I wouldn't be able to change it like how we did it before so I need to delete the keyframes for the V because it's all messed up. I need to delete the keyframe, and then now I can drag the anchor point all the way to the center of the V, and then we can go to two second at the anchor point. This is where I want this letter to settle, so this is the endpoint of the animation. The start point, I want the V to come in from the top. Let's pull it all the way to the top, and then I want the E to come in from the top as well, and then I want the L to come in from the right corner. At zero second, there's nothing in the frame and they just come in like this. However, if they just come in like this, it's too boring, it doesn't look like stop animation. What I need to do is I need to also pull up the rotation property, select all these six layers and then hit Shift R to pull up the rotation property. Make sure the final rotation is like this, so just set a rotation property at the end and this is the final state of the letters. But in the front, we can change it freely, randomly also, so I can just drag them randomly. Maybe something like this, go like this, go like this, and then drag it like this, and then drag like this. When they first come in, I would have to manually adjust the rotation to make it more interesting. For the T to come in, I wanted to have some like this, and then maybe the R like this. Something like this for now and then not only the rotation, I also want to set a position property for all of them. Let's set the position property. You see right now I only have one rotation keyframe, but if I click on the stopwatch, it's going to cancel all the keyframe that I set before. I need to click on this little empty dot here, that's all the way in the front. Once I click on this dot, it's going to add a keyframe on the position property. Now I not only have position property, but also rotation property on the letters. Then when they move in, I also want them to move in, in a random fashion. Maybe like here, and then they can change the value of rotation. Then for the R, I want it to come here, rotate in the opposite direction. For the A, more closer to the R, and then rotate this way. The V can come here, rotate this way. The E can go here, and rotate the opposite way. Every time I want to change the value of rotation, I want the new value to be the opposite side of the old value. If it's negative something from the start at this point before, the next time when it rotates I want a positive value, just to make it more dramatic. I don't want two positive values together. This is going to be boring. I just want to make it more fun. At this point, we can change the letter to here, and then change it maybe to 20, and this one. You can even see the path of the animation, 20 and then the V can go here, plus 9. Just now, I can make it minus 20. Then this one go this side, 25. The R can go here, minus 25 and the T can go here. I can do like 10 maybe. Before they settle in place, I also want the letter to go over like an overshoots. Before they settle in their final state, I want the letter to go over to the top, like say this T, I want it to go over and then maybe rotate a little bit and then come down. This is called an overshoot in animation. Whenever something animates when they reach the final state, it doesn't just rest right away. Sometimes it goes over and then we can still recall it back to its final position. I want to have this R to go up and then rotate like this. Then the A to go up, change the rotation. The V should go down. Then put a little rotation over there, the E can go down. Let's put a negative nine. Then the last one, this can go down, this can go down like this. Let's hit R here. Let's see the animation first. It's too slow and it's got all the in-between frames which we don't want. What we need to do is select all the keyframe here, and then right-click, toggle hold keyframes. Let's preview it again. Now it looks much better. It goes like this, like this, like this. I feel like we're missing one in-between animation. From this state to this state the movement is too much. I think we need to add something in between over here. Let's try to add something over here. Maybe just move it up a little, and then change it to negative five. Something like that. Then over here, let's move it up. Move it to the right, change it to positive 10. This one, go up to the left. I think the R is touching the A, which is a bit messy. I need to make this R closer to the T now. Then put the A over here like that, and then drag down the V as well. Put it positive 10 and then the E can be something like this, negative 10. The L can be way over here and then let's do negative 10. We have this and then go down. However, after I added this one rotation keyframe, you can see this keyframe and these two keyframes are both negative keyframe now because they're not in the opposite spectrum anymore. I need to change this keyframe here, for all the layers to be positive keyframes so that there's more of a contrast in rotation value. Otherwise it's just going to look a bit awkward, it's going to look a bit not that fun. Let's change it to an opposite value, maybe negative five. Then if it's negative nine, let's change it to nine and then if it's negative three, let's change it to positive three, something like this, but then the R is too close, where is the R? The R is too close. I need to modify the R a little bit so that it's not touching as much. That's good. Let's see the animation here. That looks pretty good. I like it. Let's turn off the solo button here. Click on these little dots. Now we have the whole scene here. Let's go back to zero seconds and start previewing it. I think this frame is a little bit awkward, looks a little weird because the V is touching the A. What I want to do is I want to modify this A here. Maybe change the rotation a little bit so that it's not connecting to the V as much. Yeah, that looks much better. That's good. All right, that's it with our travel layer animation. There's a couple more element that we need to animate in the first scene, but I'll show you the rest in the next video. 8. Animate 1st Scene: The Rest: Last video, we finished animating the travel layer here. This is the shadow of the luggage. This is, do you like to, so we can animate this first. Let's say this text come in within 1.5 second. Let's hit P on keyboard for position property, hit the stopwatch here to add a keyframe and then go back to zero seconds, and then drag this all the way up outside the frame. Let's pull up the rotation as well, shift R, make sure we have the rotation activated over here and then go down. I want the rotation to be like this, and then maybe come in to the left. Then the next couple of frames go to the right. Remember we said opposite values, negative 11 just now so we can put positive 14 this all the way down and to drag it back up, positive 12 maybe. Then down here, let's do negative 5. Let's change the position a little bit as well, go down. Then just before it settles, I want a overshoot just is going over like this, and then I want this value to be positive 3. Go back, settle down. Let's copy all the keyframes, right-click toggle hold keyframes. Let's pull up this Isolate icon and make sure we can also isolate this little rectangle as well because there is the same elements, let's preview this. That's good. It comes from the top, is pretty fun, and there's more like a stop motion. That's your stop motion for this element. Looks pretty good, let's turn off the Isolate. Now we have a couple of birds here in the sky. What we need to do is, I want the bird to fly from the right to the left. What we need to do is we need to pull up position property and rotation property. Maybe within two seconds, I want it to fly off the screen. It's going to be outside, and then from zero second, I want it to come in from here all the way down. Make sure I click on this keyframe here to add a keyframe on the rotation. Then I want it come up, I want the bird to rotate a little bit, and then drag this position value here. Then over here I can just rotate it to a positive value, maybe here and then drag it on top. Just give us some randomness, as if the bird is flying negative 4 or negative 3, and then this last one here, I can drag it down. This is a path of the bird, and then I can pull these two keyframes closer to the rest of them. Select all of them. Right-click toggle hold keyframe. Let's see what it looks like. That looks pretty decent. I feel like the bird is actually flying off the screen. If I just toggle the Isolate button here, and then maybe we can isolate the background as well. Let's see the background and the bird. Something like that. That looks pretty decent. We have the bird ready and then what is this layer 33? This layer 33 is the screen shadow of the luggage. Let's go to the luggage. I want the luggage to come in from the right, so hippie on the position property, maybe it can settle within one second or something. Hit a key frame on the position, this is a final state and then go back to zero second, drag the exposition all the way to the right, and the luggage can just slide in like this. It's got wheels and it doesn't have to be stop-motion for this one, it can just slide in like that. That will do, and then we have this little dot here for the dots, we can just pull up the scale property, hit S on the keyboard and then put a keyframe and then change the starting point to zero, so we got a zero to 100 person expansion here. Make sure I put a keyframe velocity as 66. Let's save the file command S, save the file. For the little luggage here, I want this shadow to always go with the luggage. Let's move the timeline indicator to where the luggage has stopped moving around two seconds or 1.5 seconds, and I want to click on this layer 33 and then go to this pick whip button. Drag a link to the luggage so that the shadow is always following the luggage. If we parent, we can see there's a parent links, and within the layer 33, which is the shadow of the luggage, it says layer 2 luggage, which means it's always following this layer. If you don't have this parent option, you can go down here to check these two buttons. Or you can right-click and then go to columns and then make sure you have this Parent and Link option columns selected. Once I have that setup, if I drag back, you can see this green layer of the shadow that's always following the same motion as this luggage here, which is what we want. Also the shadow over here below the luggage, which is this one, I want to add some keyframe over here just to make sure this one is outside as well as the beginning. Or another way I can make it follow the luggage. Let's say let's go back to 1.5 second, put the timeline indicator over here, and then parent this layer to the luggage as well, so that we have the three different elements coming as a whole, as one element. So far we've done all the animation for all of the elements within the first scene, however, we haven't changed any order of the animation, although it looks pretty good, pretty decent. Everything just coming at the same time, so it doesn't look very natural and this luggage, I feel like it's moving too slow I need to make it faster. This luggage, I can let it come in within one second and then right-click add a keyframe velocity, which is 66. This is my go-to number. The next thing I want to do, I want to stagger the animation of the travel text and also everything else to make sure which one comes in first and then which one comes in second. I think what we need to do is, we need to have this shape layer coming first, this is going to be the first layer that comes in, and then I want this little dot to come here as well. The little dot and the shape layer comes in, and then we have the rectangle come in a bit later. We've got the shape layer come in, and then we got the rectangle come in, do you like this layer come in after the rectangle come in? And then I want the travel texts to come in one after another with a couple of frames separating each other. Let's try this. Maybe that's too far apart. Let me make them closer, just a little bit closer. This is going to be after this has come in. I want the bird to come in even later after the travel text, since it's a sentence, so it makes sense, when do you like to come in first and then travel comes in second, and then this slowly just settles in position here. Then as its trying to settle into position, I've got the luggage come in around here, and when they try to settle in, the last thing I want to come in are the birds. I want the birds to come in after they settle already, around here. I think this little dot right now goes on top of the travel layer, which is not right. I want this little dot to go behind the travel layer. I'll drag it all the way down, and then I want the birds to go behind the dots as well. After we reorder everything, let's see what it looks like. I think it looks pretty good. It ties everything together. That's all with all the animation part of the first scene. In the next video, I will show you how to add wiggles to all of the elements within the first scene, and also try to make it more like a stop motion style of animation. 9. Animate 1st Scene: Add Wiggles: We have to first see animating now. There are two more things we need to do to make it complete. First thing we need to do is we need to add some kind of wiggle to all the layers in my first scene. If I go to the Effects and Presets panel here, on the right-hand side, you can go to Window, Effects and Presets here. Let's choose this wiggle position. Right now I have Luggage layer selected. Let's double-click on this wiggle position, we can add a wiggle effect onto this layer here, and what we need to do is we can change the wiggle speed to three wiggles per second, and then we can change the amount to maybe 10 pixels. What it does is it's actually adding more random movement to all the elements we have. If I solo this luggage layer, and then let me solo this background, and let's preview over here. I hit p on keyboard, so the preview range is cut from two second to around four second. Let's preview this part here, and you can see my luggage is moving on its own by itself randomly in the air. That's the wiggle effect we want to put on all the elements within the first scene and all the other scenes as well to make it more of a randomly stop-motion type of look. That's looking pretty good. All I need to do now is I just need to copy these two effects, Command C, and then select all of the other layers except for the background and the texture. Select all the layers and then go to Effects Control panel which should be already there, Command V. Now what I did is, I added this wiggle effects on all the layers except for the background and the texture. Let's see what we have now. It just added a very subtle movement to all of the elements within the scene and bring them more to life. You see that? That's looking pretty good to me, and the last thing I want do is right now you can see the animation is too smooth. After we added the wiggle effect, the whole thing, it's just too smooth, and what I need to do now is I need to go to Effects and Presets panel, and I need to search for Posterize Time over here and the time there's Posterize Time. Let's go to the Luggage layer, and then let's add a Posterize Time on top of the Luggage layer. Remember, our frame rate is 25 frame per second. If I add a Posterize Time, I can change the frame rate of that layer and say, right now, all the layers within my composition should be 25 frames per second. However, if it's stop-motion, normally, you probably would be able to see around 5-10 frames per second. Let's try to set it to five frames per second, and then what I need to do is I want to copy this Posterize Time onto all the other layers except for the texture, and then Command V. Now all the layers within my composition are changed to five frames per second, it just make the whole animation more of a stop-motion look. Let's try to preview and see what it looks like. You see that. It just make everything more stop-motion like instead of before we don't have Posterize Time. Everything is smooth and the wiggle is pretty smooth, and now you can see a stop motion like wiggle. That's what we need. Let's stop over here and then we can go back to the main composition. Now we have a first frame, animate it. It's probably around five seconds, let's say N over here at 5 second and we can preview the first 5 second. This is what our first scene looks like. Let's move on to the next video. 10. Animate Airplane Scene: Welcome back. In this video, we're going to start animating the second scene. Right now I already have my After Effects file here, and as you can see, we have the Frame 1 animation within this main composition here. If I toggle the timeline, you can see my animation over there. I want my animation for the first scene to last for five seconds in order not to rush it. Next thing I need to do, is go back to the project panel on the top left corner here, this panel, and then go to the storyboard 2, frame 2 composition. Double-click on this one as well. Now I'm inside this Frame 2 composition. I can see the background is still short. There is a black bar on the left, so I need to go to the bottom background, hit "S" on keyboard for scale, just make it a bit bigger. That's good. What I need to do right now, is I need to copy everything. You can use Command A for Select All, and then Command C for Copy. Go back to the main composition on the timeline over here, and then if you click on this Frame 1 and then hit on "Command V", it's going to paste everything on top of the Frame 1. Whatever layer you click on, and then you select "Command V" for paste, it's going to paste on top of that layer that you selected. Now I can just drag everything to the five second mark because the first five seconds is going to be my first scene. Then I want to drag all the other layers for the second scene at five second. Around five seconds, this is where the transition is going to happen. We'll have this first frame slide to the left, and then the second scene, it can slide from the right to the left. Then the airplane, of course, is going to travel from the left to the right. Let me show you what I mean. First of all, I need to put a position keyframe on this Frame 1 composition, hit "P"on the keyboard for position, and then put a keyframe over here, ta five second, and then maybe go forward, Command Shift, right arrow,10 frames, and then maybe another five frames,1, 2, 3, 4, 5. If I solo this one, I need to have this whole layer move all the way to the left. Something like that. Now, I just need to have the newspaper texture and this white background layer to move from the right to the left. AP on the keyboard, set a position keyframe. This is going to be the ending position over here. However, the starting position would be all the three layers, coming from the right-hand side here. I want to move the rest of the layers a bit further down, so that they're not covering the background. I want to see what it looks like now. Let me put the preview range from here to here. Use B to set the preview starting points and then use N to set the preview ending point. Yeah, something like that. I have this transition here. We're going to have this C and then the camera pan to the right. We have this scene here. I need to select all the keyframes. Right-click Keyframe Velocity, putting 66, my go-to number. Let's see what it looks like. Yeah, that looks pretty good. Now what we need to do, is we remember we have animated texture within this Frame 1. We need to copy, go into the Frame 1 and then go down. You see this texture here? We need to copy this texture. Command C, and then go back out to the main composition, and then over here, hit on this texture layer Command V, and then I can drag this layer all the way back to this point here, where they all come in. Then make sure at the end points around five second, 17 frames over here. I just need to parent this layer to the newspaper or to the background so that it's moving with them, and now I can just turn off this original texture which is not animated. I just need this new texture layer that's already animated. I can even delete this one. I don't need this one anymore. Now, this texture layer is parent to the background, so that it's moving with the background, as well as being animated from our first scene. The next thing we need to do, is we need to introduce the airplane. I want everything to start on the airplane to come out maybe around here, to come up from here. I just want to animate the airplane first, but I'm thinking about what I need to parent to the airplane because I don't want to animate every single thing individually. I wanted to parent the ribbon to the airplane and then the text to the ribbon, and then this little blue bar to the airplane so that when I animate the airplane, everything just moves with the airplane, so that I only need to animate one thing. Now what I need to do is I need to parent the ribbon so the airplanes shadow should be parented to the airplane. The ribbon should be parent to the airplane come with us, trippy parent to the ribbon, and then we have this rectangle here. I want this rectangle to be parent to the airplane as well. Now, if I hit "P" on the keyboard to pull up the position property for the airplane, and then I can add a keyframe by clicking on the stopwatch here. I want this airplane to come from the left. Oops. What is this? This is the shadow of the airplane. No, not the shadow the wings. This layer here. I need to parent this layer to the airplane as well. Now that I have everything parented to the airplane, I can just move the airplane to the left. You see that everything is moving with airplane. Just move it out of the scene here. That's good. Move it out of the scene and then maybe go forward 20 frames, or even 10 frames. Let's try 10 frames here. I moved forward 10 frames and then I want the airplane to come in around here like this, and then I need to add a keyframe here, use this button, little dot in the front. Then because when the airplane comes in, I wanted to come in very quickly, but then around the center area, I want it to hang a little bit before it exit. I want the airplane to slowly hang in the frame for maybe one second or so, like this, and then for another 10 frames, it can exit the screen or something like that. You see there's, these two keyframes are a bit further apart from each other because I want the airplane to have more time to stay in the center of the frame.f I think the hang time is not enough. I need to even hold these two keyframes further, so that there is a very long hang time. I think it's still a bit too fast when it comes in, so I'm going to add another five keyframes, 1, 2, 3, 4, 5. One, it comes in and then maybe another five frames when it exits, 1, 2, 3, 4, 5. Just making these keyframes further apart, so that the airplane can have more time to travel across the screen. I don't want it to be too jarring, too fast. I just want people to read this, come with us, line pretty clearly and then we can convey the message. Yeah, that might work. Then let's move on. Right now, everything looks fine except for this little blue rectangle which looks pretty weird. I don't know why it's hanging behind the airplane but I need to adjust this little thing here. When the airplane comes out, I want to drop this down to the mask and then go into the mask path. What I need to do is I need to click on these two dots and then pull it to the left, so that when the airplane comes in, it's not extending over to the front of the airplane. When it comes out, the airplane will come off first and then having this little rectangle underneath the airplane which is good. That's good. However, over here you see that little blue rectangle is broken at this frame? There's a big gap on the left, so that's not what we want. I need to have this blue rectangle stay there. Now, what I need to do is at this point when our airplane moved here, I need to duplicate this rectangle. Command D, duplicate this rectangle and then make sure I need to unparent the new rectangle to the airplane, just make sure we have none. This one doesn't have a parent. Then I need to cut the rectangle over here. To cut it, I need to use a shortcut option left square bracket. You can see the layer is cut over here and I need to go to the original layer and cut it to the right option, right square brackets. Now, what happens is from this point moving forward the rectangle is not going to travel with the airplane because the new rectangle doesn't have a parent. As the plane move is going to stay there. However, I still need to animate the mask paths. Let me go into the mask and then hit a keyframe over here and then when the plane travels out, I need this mask paths to expand out as well, so that looks like the plane track the blue rectangle all the way to the right. You see that? This is what we want. Then the plane just exit our blue rectangles still here. Next, what I need to do is add some waving effect to the ribbon. Let's go to the ribbon and then let's go to the effects and preset panel search for roughen edges. As we have the ribbon layer selected, let's double-click on this roughen edges. Now, we need to adjust some of the settings over here. Let's make the rough and border bigger, like 50. Then fractal influence, let's change it down maybe to 0.8 and we need a bigger scale as well. You see that there is the changes. The waving effect is too much. We need a bigger scale, probably change it to 550, so that we can have more natural waving effect to the ribbon. Now, what we need to do is just to animate the evolution. As the airplane comes in around here, I'm going to add a keyframe over here until it exits. Here, let's add maybe put a three here, so that there's three rounds of evolution. You can see the ribbon waving. This is the effect that we want. That's good. That's about it for all the animation. However, remember from the first lesson we need to add some wiggle effect to everything you see in the scene. Now we can just go back to the Frame 1 and then select any of the layer. We need to copy all of the effect: the wiggle effects and the posterize time effect, Command C and then come back to the second frame. I need to copy the wiggle effects onto the airplane and then maybe not the rectangle. I don't want the rectangle to move too much. Let's try put on the ribbon and then let's try put it on the text, come with us. However, I want to try to reduce the wiggle amount to maybe three pixels on the text. I don't want the text to move too much. Let's preview and see what it looks like. I think what's happening is that the posterize time on the airplane is messing up the animation because right now it's only showing five frames per second. I don't need that for the second scene, I need to delete that posterize time and then I just need to delete the posterize time altogether on the second scene. Let's see. That's our animation for our second scene. It looks pretty good. That's it with this video. Let's move on to the next one. 11. Airplane to New York Transition: Congrats on finishing the first two scenes so far. In this video, I'm going to show you how to animate this third scene, which is the New York City scene. Let's start with where we left off from the last video. I already have the first two scenes set up and this is what it looks like here. As I'm looking at this second scene here, I feel like there should be a bit more movement, so I want to add this wiggle effect on the map in the background as well. The background, instead of just staying still, it can just wiggle a little bit to add more movement to the second scene. Let me just quickly do that first. I can go to any of the layer that has the wiggle effect on, maybe the ribbon, and then I can just copy the two wiggle effects. Command C. Let me find the map layer newspaper, this is a newspaper. Command V, put it on the newspaper layer. Then I can also add in the, remember the posterize time effect from the first scene, posterize time. Any layer that has the effect, I can just copy, Command C, and then let's go back to the main composition, select the newspaper and paste it in, Command V. Now, our newspaper, this background, has a wiggle effect on as well. It's just adding more movement to the background. That looks pretty good. From here, what I need to do is I need to add in a transition from this scene to the next New York City scene. What I want to do is, I want this blue rectangle to expand to cover the whole thing. Let me find the rectangle. This is the rectangle, I believe. I want this rectangle to expand from this point on. Let me just go to the mask path. I can toggle this arrow here and find, click on this arrow, click on the mask and then click on the Mask 1, find the mask path, and then put a keyframe on here, go forward 10 frames. Now I can drag the first two point on top and then expand the mask. These two bottom one, expand that as well. It has animation similar to this. It's just going to expand the mask from the center going outward. After I had this, I need to add another white solid layer on top of the rectangle. Let's go to layer, new, solid and then I can change it to a white color. Make it the same size as the frame, 1920 by 1080, click "Okay". What I want to do is, I want to just drag this layer all the way around this area around here and then I want to add a mask on this layer as well. I can add a rectangle mask, just draw a mask. With the rectangle tool selected, just draw a mask on top of the white solid layer. Let me go into the mask path and then what I can do is I can try to animate this mask expansion here. You see that? If I drag the mask expansion to negative pixels, it's going to close a mask and then if I drag it to the outward, it's going to make the mask bigger and bigger. I can animate this mask expansion from negative 80, maybe negative 85, where you cannot see the white pixel at all and then after 10 frames, I want to expand the mask all the way out. Something like that. Yeah, that works. But now I need to add a keyframe velocity to the blue rectangle and the white mask. Before I do that, you see right now when the timeline hit this white mask layer, it's going to cover anything that's below that layer. I want the layer to start from here, this point on, so I need to cut the layer over here just cut it. Option, left square bracket on Mac or Alt, left square bracket on PC to cut the layer over there. Then I can select the two keyframes on the rectangle. Right-click, keyframe velocity, change to 66 percent, and then change this one to 66 as well and see what it looks like. I want the white mask to animate, just following this blue rectangle. I want to put it back a little bit, make it animate earlier, something like that, and then direct the two keyframes further apart, make the movements slower. Yeah, something like that, that works. You see? When the airplane exits, I have the blue rectangle expand and then I have a white rectangle expand from the center and this my transition to the next New York scene. Save the project. Now what I need to do is I need to import the New York composition. Let's go back to the project panel here and then go to pre-comps seen three, which is in New York City. Let's drag this scene down to this main composition and then move it all the way back around nine second mark. Something like that. However, I want this white color here to be a mask because right now, I have this frame three on top of this mask, so when the transition happens, I cannot see the frame three until it hits. When the frame three comes in, it's going to cover the transition. That's not what I want. I want to duplicate this layer, Command D, and then put it on top of this layer three and then set a track matte, which is the alpha matte. It's going to give us this kind of effect, when the transition comes in, I can see there's an open gate of the blue layer and then I can see this New York City scene comes in. Let me just quickly explain what a track matte is. Basically, if I change this white color, change the layer to a different color, let's change it to red, it doesn't matter. Wait one second. Let me change it to a red color here. You see? Wherever is this red color, that's when the layer below it is going to be visible. Right now, you can see the red color is a little very long rectangle in the center and if I turn this eye icon off, you can see this is where the layer below it is going to be visible. As we have the red layer become bigger and bigger, like this big, the red area is the area where the layer below it is going to be visible. That's what happens for a alpha matte. If I turn off this eye icon, you can see the area that's marked red before is visible for the layer below it. This whole red area makes the layer below it visible. Let's move on. We have this transition done here. 12. Animate New York Scene: Now what we need to do is to animate frame 3. Let's go in to frame 3. It can be something similar that we did before. From the bottom, we have a background here, and then we have the ground texture. Remember we need to copy the texture animation from frame 1. Let's go in to frame 1, let me grab that texture animation Command C, and then go back to frame 3, and then paste it in. Delete this texture here. Now we have the texture animated. I still see a black bar on the right. I need to expand this background a little bit. However, I just realized this shadow here is within the background, so I need to bring that shadow back out, it's probably this layer, Command X to cut, and then go back to frame 3 paste it in, Command V. Now, for the background layer, I only have a white background. Just hit S for scale, and then scale the background. That's good. There we have a animated texture. Now we have this New York background shape. This animation can be similar to what we did for the first scene remember, so we can go back to the first scene and then find the shape here. Hit U on the keyboard to show the keyframes. Then I can copy the keyframes, Command C, go back to frame 3, Command V, paste it in. I also have the linear wipe transition paste in. I need to go to Effects Control and try to make sure that the linear wipe is in the same angle as of first scene. That's good. Like that. That animation is good. Then we have this New York black and white logo here. For this one, we can just do a scale change, maybe pull up the scale, hit S on the keyboard, and then put a keyframe, make a zero at first and then just double-click on the tool, frame velocity, change to 66. Something like that, that works. Now we have the statue. Layer 12 is the main statue. I need to do the same trick. Remember when we parent the ribbon and everything related to the airplane so that we can move the airplane without touching anything else, but everything just move together. We need to do that same trick here. I need to parent this statute to the layer 12, which is the real statue. This statue here is only the green background. Then we have shape 3. This not what we want, the cab is not what we want, the street sign is fine. I need to find the torch, this one and this one. These two, I need to parent to the statue. Now if I move the statue, everything is going to move with it. I need to animate this. Hit P on the keyboard, put a keyframe and then use Shift R to pull up rotation. It's similar to what we did before. Move forward maybe 25 frames. Then this is going to be the final position. Then we can change the position, move it down a little bit, all the way down. The next five frames, 1, 2, 3, 4, 5, we're going to have it move up. Remember, we need to use opposite values, right now is negative 11. In here, I need to change it to positive 15. Then the next five frames, 1, 2, 3, 4, 5, I need to change it to somewhere over here. Then change it to negative 20. Then go forward a little bit. Move this to the left, change it to positive 15, and then move it over here, change it to negative 8. Then remember, we also need to do a overshoots just to make sure it goes over a little bit, like this. Then to a positive value, probably five. Then it can settle down in position. That's the whole animation. Then we need to select everything right-click, Toggle Hold Keyframes, make it a hold keyframes. Let's preview. Yeah. Although I feel like it's a bit too much, I might need to make the position change more gentle. Right now, the contrast is too big. For the first position, this good, and this position here, I can drag it in a little bit, drag it in, move it in. I'm like, yeah, that works. That's good. Save the project. We have this shape here. I need to move the anchor point of the shape all the way to the center. For this one is pretty simple. I can duplicate this New York animation, which is just a scale change from 0-100 percent. I can drag the timeline indicator to zero second and paste in Command V. Now, it's got the same animation as New York text. The scale change from 0-100, it can be very simple. The cap is the same. However, I want to parent the shadow to the cab. Where is my shadow? This is my shadow layer. I need to parent the shadow layer to the cab. Now if I want to move the cab, let's hit P for position. Put a keyframe over there and then move it over a little bit. Change the position of the cap all the way to the left so it can drive in from the left side of the screen. It's going to be some like this. It's going to drive in for maybe half a second. That's good. Then we have the street sign. I think the street sign is pretty simple. I can just have the street sign cut in. I don't want to do any fancy animation. But then this one, this is a torch, and this is a color. The color can cut in as well, I don't want to animate the color. That's about it. That's about the animation that I need for this scene here. The last thing I need to do is the same as the first frame, I need to add some wiggle effect to all of the elements here in the scene, and then arrange the order to decide which element comes in first and then which element comes in second. Let me just arrange the order first. First of all, I think when it comes in, I want the New York background to come in first, like this. Then I want the street sign to cut in, move these back. We have the image background cut in. We have the image background come in, and then we have the street sign cut in. Then we have the little shape layer coming from the side. Then, I want the cab to come in from the left. However, I don't want the cab to intersect with the statue, is going to make the scene messy. I probably want the statue to come in a bit later. I want the cab to come in first, statue coming in second, and then the New York text coming last. Cab come in, and then, when it pass this point here, I want the statute to come in. Then when the statue goes up, I want the New York text to come in. That's about the right order that I want. Let me just move the statue earlier a little bit. Yeah, that's good. Command S for saving the project. Now I just need to go back to frame 1. Just click on any of the layer and then go to Effects Control, copy the Wiggle, as well as the Posterize Time. Command C, and then go back to project, go back to frame 3. Let me just try to add these effects to everything in the scene except for the background and the textures here. Then Command V, paste it in. Let's preview. One thing I noticed is that the shadow is not following the car anymore, it's messing up with the car. I think for the shadow layer, I can't use Posterize Time. Just delete this Posterize Time on the shadow. Or is it because of the car? I think the car we can't use because the car is coming in pretty smoothly, the cab, we can't use the Posterize Time on the cab, delete that. Then the Statue of Liberty is messed up as well, I need to delete the Posterize Time here. This one here. Delete. Let me preview. Yeah, that looks pretty good. I like that. That's it for this scene here. Let's move on to the next video. 13. Animate Rome Scene: Let's animate scene 4, which is the Rome scene. Here we go. We have this New York scene animated already. This is what it looks like now. After this scene, we can bring up the Rome scene here. Let's go back to the project panel here. We already have the scene 3 composition within our main comp. Now all I need to go inside the frame 4, and then just copy everything in the frame 4, "Command C", go back to the main composition. Click on the top layer and then command V, paste it in. Drag all the new layers all the way to the back around 12-second mark. This is where we want the Rome scene to kick in. Now what we need to do is we need to move this frame 3 to the left, and then introduce the frame 4, it's pretty easy. Hit "P" on the keyboard with frame 3 selected. Then I can just add a key frame on position, go forward 10 frames, drag everything all the way to the left so that it's moving off the screen just like a camera pen. Here what we need to do to move frame 4 is, you know what, I think to make it easier, what I can do is, I don't need to copy all of these layers into our main composition. Let me just delete those. Instead, I can do the same thing with frame 3. When I was doing frame 3, I just copy the entire layers. I just drag the entire layer, just delete all these. Then I drag this frame 4 entire outer composition into this main composition. Then I animated everything inside frame 4, it might make the transition easier. It just two different ways to work, and you can choose whichever one you prefer. Sometimes you can animate the transition easier with the main composition inside the Main comp. Then you animate everything inside this frame 4 composition, if that makes sense. Since we have it here, we have a camera pen to the right right then we need to add position property to this frame 4, go forward 10 frames and then move this Rome scene to the right. The Rome scene is on the right-hand side of this New York scene. When it moves, it moves like this, it's like a camera pen. Like that, that works. Now I just need to add a keyframe velocity change to 66. Then maybe drag the two keyframes further apart to make the transition smoother. Let me preview, that works. That looks nice. First I need to go to frame 3 to copy out the texture layer, "Command C", and then go down to frame 4, go to frame 4. This is where our Rome animation is going to be animated. The background, make it bigger. Let me just paste in the animated texture. Now we can delete the original one. This scene is similar to the one we had before. We have the bike shadow. The bike shadow should be parent to the bike. I need to find which one is the bike. This Black and White 11is the bike, so I need to have bike here. Then I need to parent the shadow to the bike. We need to parent the two graphics here, to the bike as well. Now if we put position property on the bike, is tried to animate the position property of the bike. Okay, that's good. I want the bike to come from the top right, like this. Then right-click Keyframe Velocity change to 66 that's good. colliseum. I want the colliseum to grow from the center here. Let me change the anchor points with the pen behind tool to the center of the colliseum. There I can hit "S" for scale, add a keyframe, and then change the beginning to zero. We have this animation here, right-click Keyframe Velocity change to 66. Now we have the colliseum grow like that. That's good. Then we have the shadow of the colliseum. I want to parent the shadow to the colliseum so that they grow together. Then this graphic here, I want to have the same treatment as the statue in the previous scene. I need to animate manually. Have a position and rotation property. Go forward around 25 frames, maybe one second, and then move these two keyframes because these are the ending position and rotation for this graphic, let's move it to the beginning. I can move it up, change the rotation negative 20, move it up. Then when it comes down, I can drag it here. I can drag it to the side and then change the rotation to a positive value, positive 15. When it comes down to the right, negative 9, positive 6, negative 5. Remember to put in a overshoot to have the element go over positive 7 maybe, and then settle back in position. Right-click everything. Toggle hold keyframe. Let me put down setup preview, endpoints, put N on the keyboard, and then let's preview. That's good. We have this, these two elements can just cut in. It doesn't matter. The last thing is the backgrounds. The background blue shape here. That's within the background composition. I need to bring this out Command X, bring it outside of the background composition. This is going to be the same as frame 3. I just need to go back to the frame 3 to copy the animation and keyframes and everything. We copy this "Command C" or what I can do is, I can just copy the effects from this layer, and then go back to frame 4, command V, paste it, move it to the front. I can change the angle of the linear wipe a little bit so that looks better like this. That's good. We have a Rome text here. I need to set the anchor point to the center of the text. Let's just set the anchor point over here. What we can do is we can go back to frame 3, to copy the animation of this New York text. There are two benefits when you are copy and pasting keyframes. One is that you don't have to do it again. The other one as you can keep everything consistent. I just need to find this New York text over here and then copy the keyframes. Go back to frame 4. That's the Rome. Then make sure you have the timeline indicator as zero seconds because it's going to paste in the keyframe based on where your timeline indicator is. That's good. Now we should have all the animations here. I just need to rearrange the order a little bit. I need the background to come in first. Then I want the colliseum to come in right after the blue shape background, maybe around here. The bike comes in and then this graphic comes in. Rome should come in the last. These two, we can drag it further down. This graphic, I want it to, one wait, I want this graph to come in a bit later. I want colliseum to come in first because that's the main focal point of our scene. We have the colliseum, we have the bike. Then from the top, there's this graphic here. When the graphic settles, we have these little graphic elements come in like that, which is good. Now what I need to do is to bring the wiggle effect and the posterize time effect into this scene as well. Just go back to the luggage layer, "Command C" and then go back to project frame 4, let me just paste the effect onto everything, and then we can fix anything that's not looking right. Over here you can see the posterize effect cannot be applied to the shadow. Everything that has a shadow is going to mess up with the posterize effect. I need to delete the effect from the colliseum. Then I need to delete the effect, I think from the bike, but the bike seems okay. Let's preview. That's it with our Rome scene animation. It looks pretty cool. Let's move on to the next video. 14. Transition to Logo: Welcome back. So far we've done all the animations for the main four scenes. Here is what it looks like. As you can see, the animation itself, the first four scenes, it's already 15 seconds. In this video, I'm going to finish it off with the last two frames, which is our Logo Transition and the Logo Lockup. In the end, the whole video might come up to 20-second, which is fine. Without further ado, let's get started. After the fourth scene, we're going to hang on this Rome scene for a couple of seconds and then we can move this whole thing down to transition it outside of the screen. We can add a keyframe here and then move forward 10 frames. Move the position down like this. Now we have an empty scene here. Right now here's a problem, I feel like I can see this texture moving with the graphic. I might need to delete all the texture animation with all of the pre-comps and then just put the texture animation outside in this main comp. You know what I think I'm going to do that, I just remember we have this texture animation, the white background, select the two, and then put them all the way to the 0 second, move them all the way down. Now in the main composition, I have a texture animation that keep animating non-stop. This case I can just hide the texture and the background. Background texture, main composition. Hide the background and the texture within each composition. This is texture animation hide, and then this is a background for the second scene. I'm going to hide that. Then for the third scene, this is the third scene, I need to hide the texture, hide the background, go back. Then the fourth scene, go into the fourth scene, hide the background, hide the texture. Now what happens is that all the texts for animation and the background are within my main composition and there's just one of them, whereas before I have a texture animation within all the different composition. There are four different copies at different timestamp which is hard to manage. Now I just have one version of the texture animation within our main composition. It's easier to manage it this way. As I have this Rome scene go down, you can see there's still this wide solid color from R, remember, there was a transition over here. This R transition over here is carving the texture animation at the really bottom. I need to cut this layer. Then I need to cut this layer, the blue layer. The newspaper, I don't need it, I need to cut it here. Then now I will be able to see the texture animation all the way down at the bottom of there. That's good. The next thing I need to get the elements from frame 5. Basically, we only have one line here. Command C, go to Main Composition, command V. Now what I need to do is I need to just zoom in. Then let me just draw a line here. Draw a straight line. Hold down shift so that you can draw a straight line. Then let me turn off the Fill hold down option on the Mac click, click, click, and then click on the stroke, make it black color. Change the starting point of the layer over here. I have a line here. Then I need to animate the opacity of the line as if it's flickering. I need the line to be at 100 percent of first and then maybe 1, 2, 3, 4, 5, five frames and need to go down to 1, and then 1, 2, 3, 4, 5, go back to 98. I basically need the line to flicker a couple of times. I'm having, at first, the line is 100 percent and then it goes down to one percent, almost disappearing, and then go back to 98 percent. I need to copy the three keyframes command C, and then move it forward a little bit, and then paste it in so that the line is flickering two times. Let me see if it's flickering. Yeah, that's good. I need the hang time in between to be a bit longer so that I move the second set of keyframes further away from the first set. Let's see what it looks like. That looks good. I just need to move it closer little bit and then let it flicker another time, three times flickering. Now I need to hit P on the keyboard shift T. I need to have this line travel to the right to bring out the text. I need to have a position property over here, set a keyframe, go for 10 frames, and then move the line all the way to where the end of this tagline is over here. Then next what I need to do is I need to draw a rectangle behind this little line here. I need to unclick on any layer and then just draw, go up here to the rectangle tool, and then just draw a rectangle behind this line here, maybe this big. I need to turn off the stroke, hold down option. Turn off the stroke, click, click, click, click on the Fill and make it maybe a red color, it doesn't matter. The color of this one doesn't matter. Then I need to set this new rectangle to be the children of this line. I need the rectangle to travel with line. Use this pick whip to parent the line to the rectangle. Now, if I toggle the timeline, you can see this rectangle just travel with a line here. What I think is not long enough, I need to make it bigger. This rectangle I need to make it longer. Go to the Rectangle Path, Size, I need to make it a bit bigger and then move it to the left. That's good. Now what I need to do is move this rectangle down and set this rectangle to be the Track Matte of this tagline here, just go to make sure the rectangle is on top of the slogan and then go to the slogan layer, go to Track Matte, set it to Alpha Matte. What it does is whenever this pink rectangle is visible, the text underneath is going to be visible. Right now, you can see if I toggle the timeline, when the rectangle travel with a line over there is going to reveal the tagline over here. That's good. Save the project. 15. Logo Lockup: Then what I need to do is I need to bring the frame six logo. This color here, command C. Go back to main composition, paste both in. Now what I need to do is I need to use this line to go back to the left and then review the website. How do we do this? First of all, I want the line to travel back. Just go to the position property, hit "position key-frame" and then go forward maybe 20 frames. Then we can have the line go back like this. Then let us have this rectangle here to travel with the line expand this rectangle to the line here. Now what we have is something like this. Once we have this rectangle travel with the line, we can use this rectangle duplicate Command D to be the track matte of this text over here. Just make sure the rectangle is on top of the travelholics.com and then set the travelholics.com Track Matte to Alpha Matte. This way we can reveal the website. But I think it's a little bit messy here. I'm thinking over here I'll just cut the line. I don't want the line to lead the rectangle anymore. However, I want the rectangle to move on its own like this. Let's see what it looks like here. Let's do a preview. That looks good it's just too slow. I feel like the bar is coming in too slowly. I don't want to show the full bar. I want to cover a part of it, like maybe from here. What I need to do is maybe select the two key-frames that's leading the bar, go to Key-frame velocity, change it to 66, make it a little bit faster. Then I also want to cover the bar over here. I want to cover the bar from here, so I need another Track Matte for the bar. Let me just draw another rectangle. Everything that's outside in this area. I want to use this pink rectangle to be the Track Matte for this rectangle here and then put it on top. Make sure to set this rectangle to be Alpha inverted. Wherever there is this pink color it's not going to be visible. That's where the inverted comes in. We're going to see something like this. Let's preview this animation here. That looks good. Looks good to me. We have this type on effect and then review the website. Another thing I just want to make sure the margin around the rectangle is similar. I need to move this rectangle. Remember the new Track Matte to be around here. Just touching the edge so the margin can keep the same left and right. Commence S, save the project. I think that's about it for our full animation. Let's take a look and preview the animation. Here's our final video, let's take a look. As you can see, this is our final animation. There's still things here and there that I would like to fine tune later on if I have time. But you get the idea, this is how we would normally animate a collage style explainer video, vintage look and with stop-motion. I hope when you are doing your own project, you can judge the animation and the movement by yourself and also come up with your own movements. That's it with this video, let's move on to the next one. 16. Export: Congrats on finishing the full animation. In this video, I'm going to show you how to export the file into a MP4 format video. If you would like to add some music or voice-over, you can go ahead with your own animation. For music, you can always go online to find some royalty-free music to download, and then put it into your animation, which is going to definitely add more fun factor to your animation and make it more interesting and appealing to viewers. Also, the voice-over, if you like, you can record some voice-over yourself, but for now, in this video, I'm just going to show you how to export this video into a MP4 format video. After we've done all of the animation from zero second to 20 seconds, I need to set the preview or render range to 20 seconds. With my timeline indicator at 20 second, I would hit "N" on the keyboard to set the render ending point. Now, I can go to Composition, "Add to Adobe Media Encoder Queue". After I click on that, it's going to open Adobe Media Encoder. Once we have our file added to Adobe Media Encoder, we're going to have something like this, and then we can change the codec over here from this drop-down menu. Normally, it would stay at H264, which is a MP4 format video. You can also export in QuickTime formats here, and we can leave the preset as this, high bitrate, and then we can change our file location. Here I will just name it a new folder called Output, and then the file name can be just stay as Travelholics Animation. Click on ''Save'', and then click on this ''Play button'' here to start rendering. Our animation is here. Let's take a look. 17. Congrats: Congratulations, you made it. Now, it's time to finish up your project and share with me and your fellow students. Make sure to post your video into the project panel to get feedback and inspire other students. This is not an easy course, but now you've finished it. If you have any question, feel free to reach me out. I'm here to help you. If you can't remember some of the techniques taught in the class, you can always go back and refresh your memories. I also have a couple of other courses if you want to check out to learn different techniques and improve your animation. Thank you so much for taking this course. I hope to see you in my other videos. Cheers.