Intro to Motion Graphics: Animating Illustration in After Effects. | Hongshu Guo | Skillshare

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Intro to Motion Graphics: Animating Illustration in After Effects.

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

15 Lessons (2h)
    • 1. Introduction

    • 2. File preparation in AI

    • 3. Getting started with AE

    • 4. Organizing layers

    • 5. Let's build a house: windows

    • 6. Let's build a house: body

    • 7. House extra animation

    • 8. Trees, clouds, and secondary animation

    • 9. Getting into the Car

    • 10. Bringing on the luggage

    • 11. Finishing transition

    • 12. Car smoke

    • 13. Leaves falling

    • 14. Export

    • 15. Congratulations!

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About This Class


This is a beginner’s guide on how to animate illustration in Adobe After Effects. An Introductory course to Motion Graphics. We will be animating a 6s piece together. Here are the topics that we will cover in this course.

• Complete workflow from storyboard to final render.

• A variety of tools inside After Effects

• How to work with animation principles

• How to use graph editors to bring life to your animation

• Thinking behind the motion

• How to problem solve

Although it's a beginner's guide, 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. 

This course is for anyone who wants to get into motion design, adding animation to your graphic design and illustration, or someone who is a beginner animator that wants to improve on your workflow and animation. whatever the case maybe, this course is for you.


Class Outline

1. Introduction: Introducing “The beginner’s guide on animating illustration in After Effects- Professional Worklow”

2. File preparation in Illustrator: I will show you the essential steps you need to take to prepare your files in illustrator before you bring it into After Effects.

3. Getting started in After Effects: Lets open After Effects and set up our file.

4. Organizing layers: I will show you the easy and efficient way to organize your layers in the timeline. Set up for success.

5. Let's build a house - Windows: Time to get into animation. I will animate the house just by using three simple keyframes on all the elements in the house. Just to show you how a complex animation can be built so simple. Mind blowing right? We will also touch bases on one of the animation principle- overshoot.

6. Let's build a house - Body: Let’s continue to animate the rest of the house by using three simple keyframes. Introducing another animation principle- overlapping action. (By staggering the layers)

7. Saucy house landing: Let’s add an extra layer of animation to what we had and add some rotation and position animation 

8. Trees, clouds, and secondary animation: Let’s animate the trees, clouds and introduce the concept of secondary animation  

9. Getting into the car: Time to get into the car animation. Let’s reuse keyframes from the house and adjust accordingly. Easy peasy.

10. Bringing on the luggage: Time to animate the luggages and add more life to the car. Apply overlapping action to the luggages.

11. Finishing transition: We will finish up the transition by animating the trees in the background to create parallex. 

12. Car smoke: I will show you the easiest way to animate the smoke by using overlapping action.

13. Leaves falling: Time to learn how to animate object along path. In this case. We will animate the leaf falling in a natural way as if there is gravity taking effect.

14. Export: I will show you how to export the video as a mp4 or gif format

15. Congratulations! Thanks so much for taking this course! Now that you have learnt how to animate illustration. Let’s upload your video to project page to share with me and other students. Please also leave a review and let me know what you think of this course. Happy animating!

Logo and Icon Animation in After Effects.

Character Rigging & Automating Walk Cycle.

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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1. Introduction: Hi, I'm Xiong Chu and I'm a Motion Designer in Canada. I have been animating in Adobe After Effects professionally for more than five years. I worked in two different advertising agencies for clients like Adidas, PayPal, Walmart, and many more. Today I'm going to teach you how to animate illustrations in After Effects. I'll show you everything you need to know to get started on the Adobe After Effects, even if it's your first time opening the program. In this course, we'll be working on a short and simple animation together. You will learn the complete full professional workflow from first setting up your file in Illustrator, importing Illustrator files into After Effects with separate layers, how to set up files and organize layers in After Effects for a more efficient workflow, how to animate with the least keyframes possible, but still achieve great results, navigate and animate through many different elements in the scene the house, the cloud, the trees, the cars, the luggage, and how to apply a smooth transition. How to animate something organic and natural like the leaves falling and the smoke coming out of the car. I'll show you step-by-step, working through the storyboard, how to apply animation principles, how to use graph editors to bring life and character to your animation. Other than that, we'll also be covering tons of keyboard shortcuts, tips, and tricks that I use all the time for a more efficient workflow. For the class project, you'll be applying the skills and techniques learned here to create your own animation. You can either take my illustration and customize it or come up with your own illustration. Make something that you feel proud of. The thing you learnt in this course will be easily translated into any type of animation projects and gets you up and running with After Effects animation. This course is for anyone who wants to get into motion graphics or for someone who wants to improve on their animation workflow. I hope you'll have a lot of fun learning and animating. I'll see you in class. 2. File preparation in AI: Welcome to the first video. In this class, I'll show you how you can prepare your files in Illustrator before you bring it in Adobe After Effects for animation. Let's jump right in. Here is my storyboards. As you can see, it's fall vacation. Everything is nicely designed and laid out. Right now they are on two separate artboards. What we need to do is we need to go to File and then click "Save As". Then we can change the file name to Storyboard, can we name it just 1. Click "Save". Here the panel that's very important. We need to click on this "Save each artboard to a separate file". Basically we need these two artboards to be saved separately and click on "Okay". Then let's go back to the folder. We can see we got two separate files for these two artboards. Let's just click on the first one. Here's the first storyboard. Before we bring it into After Effects in order to have all of the layers to be separated, we need to do one thing. Basically we need to go to the layers panel. If you don't have the layer panel on the right-hand side, it's under Windows, and then click on "Layer" and then go to this top right corner, this icon here, and click on this "Release to Layers Sequence". What it does is it created a separate layer for all of these different objects. We'd just need to select all of these objects and bring it out of the master layer, and then we can delete the master layer because we don't need it anymore. Now, we have all these different shapes on its own separate layer. When we bring the files into Adobe After Effects, it's going to keep all of these layers separated, instead of having just a flat layer with all the elements. This is a very important, it will allow us to animate things individually. As you can see here as I click through these eye icons, these are the different layers that we have. Now, let's do the same thing for the second storyboard. Just open it and then we can go to Layers, click under the master layer here, and then click on the icon "Release to Layers Sequence". Then we can select all the layers within, just bring them out of the master layer, Layer 1. Then we can delete the Layer 1 because it's empty now. Now, you can see all these different shapes are on its own layers now. Now, let's save it. Basically this is what you need to do before you bring the files into Adobe After Effects. Let's move on to the next video. 3. Getting started with AE: Now let's open after-effects. First, let's create a composition. Here lets remained this to remain calm. Basically this is going to be the count that we're going to be animating them. Here, there's some preset that you can choose from right now is HDTV 1080. Then the frame rate is 2997. We can change the width of the video to be 1080. It's going to be one by one ratio. The frame rate can be staying the same. I don't want to change it and then the duration. We are going to be animating a six second video. But we don't want to put six second because its going to limit us. I want to put 10 seconds though just to have enough room to work with. Then click ''Okay''. Now, it gives us a new comp here. There's a project here, and then it says main comp. Right now there's nothing in our comp. First we need to load our registration file. Let's go to the project panel, right-click import files. Another easy way is to just double-click this panel. Double-click. Here's our final window. Let's navigate to the animating illustration in after five storyboards that slowed the first Illustrator file. Here in court as we have to choose composition, retain their sizes because if you choose a footage is going to flat everything. Then everything, all the layers that we had an illustrator is going to be gone. We need to choose this composition, retain their size is fixed correctly saying, just keep the same size as an illustrator. The Illustrator file, it was built into maybe by 1080. It's going to be perfect for this comp that we created, replace and then create composition. Keep that layer open. Now you see here we got two more layers here. We have the skillshare of storyboard 101. Then we have another folder that you open and we got all these layers inside the folder, so we don't need this for now. But I want to create some folders here to organize these items a little bit so that we have a clean project model. Just click down here, create a new folder. First we need an asset folder. Name it assets, put this folder in the assets. Then we need a pre-comp folder. We can put this because this is the icon for the pre-comp We can put this pre- comp inside this folder. If you click on this free comp down here in the timeline, you can see and you make it bigger. You can see that we've got all of these layers from illustrator so that we can animate them individually. We're going leave it there. Next, let's double-click again, load the second Illustrator file. Same thing, choose composition, retain layer sizes, try composition open. Now, here is the folder that we got similar to the first time, and they're put in the asset folder. We've got these two. We don't have to worry about that for now. Then versus second storyboard, let's put it in quick thoughts. So basically, we're only going to meet animating in the main crop and then we're going to get assets from the pre-comp or from the assets folder. So now everything's clean. Let's move on to the next video 4. Organizing layers: Before we do anything, we need to organize the layers in the timeline. To do that, first of all, let's copy, Command A to select everything, all the Layers, in this Comp and then Command C to copy. Go back to the Main Comp and Command V, paste. We're going to paste all the layers from the Storyboard 1 Comp to the Main Comp. The Main Comp is where we're going to be editing. First of all, let's turn off the other objects except for the house. I'm going to go from the bottom here, so that's the background. I want to keep the background there, so I can't see what this is. This is a circle, I can turn it off. That's the house, so I keep it on. Let's jump a little bit, jump ahead. I want to find the cloud and choose it. This is a cloud. I will rename it to cloud. This is the ground, so this is the land. That's a window. I want to see if this one, yeah, this is a cloud, cloud, cloud. These four are the clouds. I want to give it another color, so that it's easier to find the cloud later. I can change it to red. If you don't want to rename it, you can just select and rename one of them and then change the color of the layer, so that later on, you know what those are. But for now, I don't need to worry about the clouds, so I just turn it off. That's the door, window. I want to find the trees there. Another easier way is just to click here, click on the trees. Basically, these six layers are the trees. I want to change it to probably green color, although it's not a green tree. Then I'm going to rename one of them to trees. We found the land already, so all of the other layers in this color is going to be the house layer. That's a circle, let's rename that, circle and change it to peach color. This layer seems to be empty, so If a toggle on and off this eye icon and nothing shows up, it means the layer is probably empty. I can delete that layer, I don't need it for now. Here, you can see the image is a low-res because over here, there's a button to change the resolution. Right now, it's on Quarter because sometimes, you have a big file and you want to put it on a third resolution or a half resolution just to speed up the preview. For this case, I think this demonstration is pretty simple enough, so we can just turn on the full resolution, just so everything becomes much clearer. All of these layers are the house layers. I want to select one and then click on this, "Select Label Group." It's going to select all of the layers with the same color in the front. You know what? The last one, it's background layer, so I don't need the background. I probably need to change this color first then change it to yellow, that's background and name it, BKG. All the other layers are a house layers. I'm going to click the layer again, Select Label Group. Then I'm going to move all these layers to the top. All of the house layers are connected now and the other tree layers or cloud layers are all at the bottom. These are my house layers. 5. Let's build a house: windows: Now let the fun begin, let's start animating. First of all, let's do the window first. Let's find the first window here, it's the bottom right window here, and let's zoom, hold on Z and then just drag your mouse to this area, release your mouse, so it's going to zoom in on this area. Hold down spacebar, you can navigate in the preview. Here we've got this one, two, that's another, I need to find this window first. I click on the window, it's going to show me which layer this is, so I'm going to drag this layer all the way to the top. These three layers are my first window. The window is just going to pop up.Click this icon here, click on transform, and here we have the scale property. Basically what we need to do, brand our house at 100 percent so this is the actual size of the window. We're at, in the timeline we're at zero seconds, so I'm thinking maybe within ten frames the window will just pop up. If you hold on Command, Shift and right arrow, this will go forward ten frames for you. Over here, we can click on this stopwatch, on the scale property, and then go back to zero second, change this property to zero, you see now the window disappears. If you hold on this timeline, the indicator, and just drag it, you can see the window just pop up. If you are on a preview of the animation, you can just click on the space bar. That's how fast drag the timeline is, that's the animation. Now the window frame itself is animated, but these two layers are not. Don't worry, we're going to fix that later, but first of all, the window popup, it's pretty boring. Right now there's no energy to it, everything is linear from zero to a 100. What we need to do is to, first of all, we need to add some easy EQ the keyframe so that there is a speed change when it pops on. Another thing is that we need to add some overshoot. As one of the animation principle, we need to add an overshoot to the window, right now it's at 10 frames, so we need to drag this keyframe maybe to the 14th frame and then in the tenth frame, we can see that the window is at 78.6 percent but we're going to change it to 110 percent. The window is actually becoming bigger before it settles in place. Another thing we need to do, we need to right-click, keyframe assistance at easy ease to add some ease into it, and then let's preview this. Now you can see the pop-ups has much more energy, it looks much better. Another thing, if we want to give more life and energy to our animation, we will have to go into this graph editor to adjust some of the value graphs. We click on this graph editor and then click on this button, fit all graphs to view, so that it becomes bigger and this is a graph. Basically it goes from zero, the scale of the window goes from zero and then comes up to 110 and then settles back to 100. This is the animation curve for this animation. If we want to make the popup more dramatic, we need to adjust these handles, so basically on this curve, this is a value graph, by the way, the steeper the curve is, the faster the movements are. You can see over here, the slope of the curve is not that steep, it's very normal and then it comes up, even steeper, so that is just where it moves the fastest and then slowly settles into the place. I'm going to drag these panels just to give it more energy to this issue, and now let's see what it looks like. This is a simple animation, but this one has much more energy than what we seen before. This is how you really the basics of the graph editor and how you can adjust the graph editor to give more lies to your animation. You probably are thinking, do I need to adjust the graph editor on every single frame for all my animation? My answer to that is, if you want to become a pro, you have to. This animation is pretty good, that's nice, and the good thing about this is, once we have this nailed, we can just copy this key things, and then over here, to these two layers, paste it, command C, and command V. If we click on the U on the keyboard, it's going to show me all of the anime key feints in the layer. If we select three layers and then click on U, so only the scale property has changed on this three layers, so this is what it's going to show me. Let's play this animation. Now you can see the inside is growing with the outside because they're all animated now. Looks to me that these inside frames are a little off, so I want to adjust just to make it, move it up a little bit so that it touches the edge of the window frame, it's not going over the frame. Everything is nicely center though that looks good to me. Now we've animated one window over there. The good thing is all of these Windows are the same, so we don't have to animate every single one. We can just copy this window and then to these different places. First of all, this animation story done to clean up the timeline, let me just click on these three layers. Command shift, C, click on and name it just, small window. It gives me this small window, I can just duplicate this small window layer, command B, duplicate, and then move this small window all the way over here just to cover that and then if I turn it off, I can actually delete the window that was there previously. These two windows are all animated, so we can do the same thing for the three windows on top there. Here I'm just using the ruler tool, and copy and paste to place the window to the right position. All five windows are animated now. It's easy, so what's next? Let's go into the window animation, click on new on the keyboard, copy this scale property animation and then C, and then go back to the main comp. Every single elements in this house, we can use these three keyframes to animate. We don't need to add anymore new keyframes to the other objects. We just use this, the copy paste all the way. Just to keep it simple.This one, so we're just going down the layer cell. Here is a roof of the house, and we can go back to the zero seconds. This one we actually don't want to animate from the center here. That's why I have to change this anchor point to the bottom of the roof here, and then how do I do that? Here on the menu we had a pen behind tool, so this is the anchor point tool. Basically use this tool, click on it, and then you can drag the anchor points down to the bottom of this roof here. If you hold on shift, it's going to constrain it to a straight line, and then let's just paste the keyframes here. The roof is done. Let's go up here. This is another window, let's do this window first. Hit command V pasting the keyframes, and then we need to adjust the keyframes to be at zero second mark, select all these three keyframes and then just drag it to a frame zero. Now it's going to start animating from zero. I also want to find, because right now these are not linked, the bottom line here is not linked to that window frame, so I want to find that line of this to see the inner side.So I want to go to frame zero, Command V again, and now they're just popping on to the screen just like the other window. Find this line here, where's the line? Here's the line here. If I just copy the keyframe onto this line, let's try that, the line's going to animate from this anchor points.It's not going to follow the window itself. I don't want to copy that, so we'll go Command Z to undo what we did. There's no keyframes anymore on this. What we want to do is, once it settles in place, we want this bottom blue line to be a child of this window. So it's going to inherit the property of this window. When it settles into the place, let me just drag this parent link, this pick whip, and then just drag it to this window frame layer. When we go back, you can see it's coming in, as whole body, the window is coming as a whole body. We have this window ready, so these three layers are the window, I need to pre-comp it, command + shift + C, this is called Big window, and then lets just duplicate the window. I'm just here doing the same thing, trying to use a ruler as a guide and then delete the original window and copy and paste the new animated pre-comp that we have. Now we have the animation for all the windows and there roofs. 6. Let's build a house: body: We are still want to use the same keyframe for all the other parts of the house. This is the roof bottom. Then we have the door knob, these two are door knob. I want the door knob to come out with the door. Here's the door, I found the door. The door, we have the door knob, put it on top of the door. These three layers are this whole door. Go back to zero second Command V. Then let's see how this door looks. Create a pre-comp Command Shift C, Door. I can actually move this door up a little bit so that it's not intersecting with the land. Just use my arrow key, to fine tune the position of the door. Now the door is done. What else do we have? We have this window here, just Command V then the window pops up there. Top window just going to name it Top Window. Here we have top roof. We name it Top Roof. The roof is the same thing. I don't want it to just pop up in the center. I want it to pop up from the bottom here. I'm going to grab this anchor point tool, just drag the anchor point all the way to the bottom here, and then paste in the Scale Property Command V. Let me just scrap through this and now you see, the roof is moving and then the chimney. It's not the chimney. So we've got the main body of this house here. This house, I wanted to scale up from the bottom here, so I'm going to drag this anchor point all the way to the bottom. Another thing I want to do is, I don't want it to scale in both the width and height direction. I only want it scale up from the bottom upwards instead of expanding x and y direction, both directions. What I mean is I want to un-link the height and width property, and then I'm going to paste in my scale keyframes Command V. So now you can see, the body is actually growing as a hole from the bottom here. But I only want it to just growing up, the height of it. I want the width of the body stays the same. What I need to do is I need to change the x plus x value to 100 from the beginning and then go here. So take it to 100, and then go to the last ones still 100. If I change SAS, you can see the main body just grows right up instead of changing, instead of just growing, standing as a whole it just grows up, there's only upward growth. I know it's a mess right now, but we'll adjust the staggering of the layers so that everything is looking cool. Lets just say Right Body. This chimney, I want it to grow from the bottom as well. But similar to the house main body, Right Body. Click on U show the scales and then copy this one go back to from zero, paste, click on U, just see what it looks like you see?. It only grows up. It doesn't grow in the width in the x direction. Only grows in the y direction. That's good. Here is the roof here. This one I want to grow in the x direction only. So I want to change the anchor point.I still have the anchor point so I select it. Drag this, now it's time to snap onto my rulers. So I need to turn off the ruler. To turn off the ruler. Just go to the View. Just un-check Show Guides. Put the anchor point here and I want to go back to copy any of these animation key things because they are the same. But this one particular, I need to paste it, click on, you'll see what it is. But then there is one thing in particular I need it to grow only x direction. So the y directions should always stay 100. I forgot to un-link the property. So I need to un-link that and then change it to 100 and this one is to 100. Now, when you see the animation it's only growing to the left. Makes sense. Let me go back to my selection tool for this. So this is the shadow. Shadow needs to grow to the x direction as well. Copy this art and then this is the main particle body on the left. So I need this one to go left as well. So I need to adjust the anchor points, change outward to the right, and then you just paste. See that it's growing to the left. Now, that's it we've finished the house:body animation didn't we? No we didn't we simply staggered the layer so that everything, it's not jarring [inaudible] it is smooth. Now they all have the animation. If you look at it, we barely do anything. We only added three keyframes to all of the layers and all of these three keyframes are basically the same. Now we need to apply another animation principle which is overlapping action to this house building. First of all, I want the body to come up first. As the body comes up first, where's my body, right body. This is the first should come up, everything else. Let me just select all of these layers for the house. So now I get all the layers of the house. Did I get the land as well? No, here we leave the land. I just move it back a little bit. So first, I want the right body to come up first. So drag this there to the front. As it's growing, I want the door to come up. Then I want the two small window here. I don't know which one out of this is a small window, thinks this is two. So these two small windows those come up. As the gram builds up, this small window comes up. I don't want when the two come up at the same time, so I'm going to have this left one comes up first and then second one is slightly delayed. One frame delayed. So come up door window, window. Let's try this. There's my roof. So now it's a roof. Roof bottom here. So the roof comes up delayed one second, one frame, and then the small window comes up again. So the left goes first, the middle and the right delayed one frame each. So this is the right window. This is the middle and the right window. I'm going to delay that delay, delay, delay. Then before we reach the top, you have the top roof. Where is the top roof? Here, is the top roof move the front a little bit just to cover this top ugly edges. 7. House extra animation: Now we want to add one more layer to this animation. We don't want the house to build up from the ground, that's too boring. We want the house to be building up or pop into the screen as if is a character. We're going to give some life to this house as well. We want the house to pop into the frame like jumping and then land it on the ground. What we need to do is, first of all, we need to group all these house layers into one pre-comp and then animate that pre-comp so that we have an extra layer of control to this house animation. Let me just select all the layers here, all the house layers. I can toggle on and off this icon to make sure that I've selected all the layers of the house, and then I can pre-comp it, Command-Options-C, pre-comp. Call it house. Click on "Okay". Now we have this pre-comp, and all of the house animation is within this pre-comp. As we look at the project panel here, we already have all of these pre-comp that we created before. We don't want to clutter this project panel or to make it messy, so just put all of these new pre-comps into the pre-comp folder that we created so that everything is organized in the project panel. If we want to find our pre-comp, we can just toggle down this pre-comp folder and then see our pre-comps here. I still want to use that skill keyframe that we used in previous video to make the house just pop up from 0-100 percent so that I want to use this keyframe here, going to the pre-comp and then Command-C, to copy those three keyframes, go back to the main comp and then go back to the zero second mark, paste onto our house comp. Let's preview the animation. Something is wrong here because we paste in the scale keyframe, but the problem is the house is animating from this anchor point in the center. When the house is over 100 percent, around 110 percent in the keyframe over here, it's actually intersecting with our ground, so that's not going to work. What I need to do is I need to move this anchor point to the bottom of the house so that it's actually scaling up from that point. I need to delete this keyframes and then click on this anchor point tool, move it to the bottom of the house here, and then paste the scale property keyframes Now you can see everything is starting because this is the starting point of my animation, so I want the anchor point to be right here so that everything is grounded. Now, I want to add some rotation and then position change of the house as if it's popping into the screen and then land on the ground. We're going to click this arrow here. One thing we need to keep in mind is that in most of the times we animate backward, because at the end of the animation, the rotation value is always zero, and then the position value is always whatever it was before you animated it. These values should be my final values when the house landed on the ground. But what I need to do is for the position value, I don't want to change the x value because I don't want to move the house to the left, to the right, it's going to be messy. I just want to move it up and down so that I'm going to right-click on position, separate dimension so that I only control the Y position of the house instead of both X and Y position. I'm going to click on the stopwatch to delete the keyframes of the X position. Now we have three properties that we need to animate. The rotation, Y position , and scale. Since the scale we already have the value, so we don't need to worry about it. For the Y position, we want the house once it's popping into this frame, we want the house to be a higher, we want it to be this high. Then at this point, I also want the house to rotate that way. Then when it lands on the ground, almost there, I want the house to overshoot a little bit. Remember the animation principle that we had, overshoots before the object scale to 100 percent, it needs to go over a little bit to 110 percent, and then comes back down. In this case for rotation, the rotations can be 14 degree, and then it goes over a negative two and a half degree and then comes back at zero. I want to preview this. It looks fine, but I feel like the Y position is not high enough, so I need to make the Y position higher. Let's preview that. The house just pop on. Another thing is, we also want to stagger these keyframes because we don't want the animation to be happening at the same time, so I want to stagger this animation. Maybe when it pops up, your rotation change, and then it ends there in the air, and then boom, comes down. I want this maybe rotation. But I don't want the house to intersect with the ground, so when it lands down the ground, these two needs to be at the same time. Pop up. Now my problem is the house is popping up, but then I don't see the house anymore, some of the part is cut off. I want this to be animating slower, just adjusting the keyframes to make it look natural. I need to select all these linear keyframes and then right-click "Keyframe Assistant", go to easy ease. First of all, I want to adjust the position, go to the graph editor and then click on this fit all graphs to view. I want the house to just hang in the air longer, so slow him down, and then hit the ground harder as if there's gravity taking effect. I want this slope, instead of just slowly easing into the position, I want the slope to all of a sudden reach the endpoint. It's slowing down and then faster, faster, faster it settles into place. Then go back to my keyframe view, rotation, I still have some rotation at this point and then when it hit the ground, I need the rotation to be zero so that it doesn't intersect with the ground. Let's see how it looks now. It definitely has more energy than before. I think the Y position is a little high, so I want to move it down a little bit, maybe move it to here. Then maybe it's too fast here, it's too jarring, so I need to slow down the landing here. But now it doesn't have the hang time. I still want it to hang in there. Let me move the y position. I want the house to hang the air. When it's already buildup, I want it to hang in the air and then fall down. In this case, I need to align this rotation value with my Y position so that when it lands, everything is solid. It's up, up, up, and then hang in the air along the value. It's moving, moving, hanging. Got it. That's the house animation. It's clocked into the air, hang there and then fall down faster, faster, rotation, overshoot and then land. That's good. We're going to stop there. That's the house landing animation. 8. Trees, clouds, and secondary animation: We're going to animate, the cloud, the trees in the first scene, and also the secondary animation, which is the circle in the background. Only three elements left for the first scene. We're getting there. Now, what I need to do, so the land doesn't move. This is the trees layer. The trees are simple because we're going to use the same method when we animate the elements within the house to animate the trees. It's just going to be scale changes. I can go into the house, click on, and then copy the key-frame from any one of these layers. Copy it and then go back. The one thing we need to make sure is that we would need to make sure, our anchor point is at the right position because it's going to be the point where the tree is going to be scaled. I'm going to change this anchor points to the left, here, then those anchor points to the center here, and then the tree trunk, this can go far at the top. Let me just select all three layers, pasting the key-frame, and V then this, and I'll click "U" to see it. Let's see the animation. The trunk is separated from the body, the trees. That doesn't work. What I need to do is to parent the tree trunk to the trees, so that it stays with it. Just click on this "Pick whip icon." Then parent to the tree layer. Now, when you preview the animation it is going to pop up together with the tree. Sweet. That's our one tree. Let's take a look at the other tree. If these trees aren't the same color. I would've just copy and paste and make this bigger, so that I don't need to animate this again, but these trees are in two different colors. I can just stop, redo the same thing as I did just now, and then I want to click on the two trees. This is a larger tree I'm going to then click on this "Command Shift C." This is on tree one. Then the other tree is "Command Shift C," click on "Tree two." Click "Okay." All of a sudden our timeline is much cleaner and much organized now. We don't have like 100 different layers as we had before. If we scrub through that timeline we can see the animation, the house, the trees. It's pretty awesome. When you think about the other animations. The house is the main object, it's going to come up in the safe first. But when it landed, as should be, there's some impact happening. This is where the circle comes in. The circle is actually there, becomes the impact when the house fall on the ground. Then there's just a circle just to reinforce the impact the house had when it falls. Now, what we need to do is we can draw a circle. Let's draw a circle. Go to the Rectangle Tool, hold onto the Rectangle Tool, and then use this Ellipse Tool and then go to the center, just maybe somewhere around here, and then drag a circle. Hold on the "Shift Command," button, so the Shift button is going to constrain the circle to its perfect circle. Then the "Command," button, it's going to let you draw the circle. Here is right now, I didn't hold "Command," but when I hold "Command" it is going to draw from the center point. Then if you want to change the position of the circle right now, it is certainly off. I need to hold down space-bar to change the position of the circle. I just want to get a roughly similar circle than the one in the storyboard and then release. Now, we have a circle. Let's name it circle, then we can have the circle, moving on top. Go back to this circle that we just created, go to "Fill eyedropper." I dropped this color and then click "Okay," and we can delete this circle now. Now we have our own circle. Right now there's a stroke of 10 pixels going around the circle. We can just hold on "Option," on Mac, "Alts," on PC to just click on it so that it toggle between gradient, again, turn off the scope. Now, we have our own circle. When the house land, this is where the circle comes up. But how did the circle come up? The circle should expand. At this point before this, there shouldn't be any circle. I'm going to go to the content. There's a transform and then the size. If I shrink the size, you can see it's actually shrinking from the center of the house, but then the impact should be on the ground. We need to change the anchor point of the circle roughly over here so that when it expands it should come from the ground. Then at this point the scale should be zero percent, maybe after ten frames. "Command Shift, right arrow," ten frames after. The scale should be all the way up like this, fill the whole screen. Let's see that, when lens and then there's the impact. Then what we need to do, let's just select those key-frames. Right-click "Key-frame Assistant, Easy Ease." I also wanted to adjust the curved list. Click on "Fit all graphs to view," and then I wanted to slowly ease into position' Let's try if that works. It's still too fast. Maybe I need another few frames to struck it's forward. Something like that. Now it's too slow. Maybe some are here. But I don't want the circle to fill the whole screen. I also want another layer. Let me just copy or duplicate the circle layer and then we can change the circle layer to this. Let me just turn off these two layers and then so that I can see that the original background. On the circle layer, I want to change this circle. Go inside this and go to "Contents, Ellipse, Fill color." I want to change this color to the background color. Click on this "Eyedropper," click on the "Background color." We have one circle that's in this beige color and then the other circle in the background color. What we need to do is to just stagger these two animations so that's when this beige color comes first and then all of a sudden it goes back to the orange backward. Let's try that, stagger this. There's a follow through, just frame apart, something like that. You see that, that's the impact, it's too fast. Maybe one more thing. Now, I wanted to move really slowly, like this to here. I want this two to move really slow. I need to fix animation here. I need to make fixed automation curves so that it doesn't go so fast, so it's like not so fast. Try that, and then copy this same animation to this layer. But it ends too soon, so I made it not to end too soon. Let's preview this. That works. As the impact take place that's when the trees come up. The trees should come up when this hits, then the tree, it should come up, and this should come out also one-by-one instead of at the same time. I can put this trees underneath this layer here. This tree here, the second tree is too high. The first tree, sorry. I need to go inside there, and then tweak the anchor points a little bit so it's not coming from such a high position. Go back. Nice, so we have the animation here. Now the last thing is our cloud. Let's do the cloud. We got four piece of cloud is let's try them on. Same thing, we're going to move these clouds over here. When the impact take place with [inaudible] Here the impact, and then over here we have a cloud popping up to the state randomly. When you go into the house pre-cam to copy these events, and then go to the front of each layer phased in, go in front of this layer click on "Command V," go to this layer click on "Command V," to paste in the scale property. It's in scale property. Now, the clouds are coming into late, so I need to let them come in sooner and then we also need the cloud to be moving, find out slowly. The cloud can move to the left or to the right. I'm just going to leave maybe this cloud. This is a cloud then go down to this Transform property, add position. Just right-click, "Separate dimensions." I only want it to affect the exposition. I want it to slowly move to the left. Then this layer here, now I'm just here doing this same thing for the other three flat layers and make the exposition and tell I like the animation. 9. Getting into the Car: Before we begin to animate the second storyboard, I just want to make sure that we save the project. It's already present late that I saved this. We just need to save to opt-in. Go to File and then Save, I already saved it one time before, so you can save the file as you work along and then just make sure to save often because you don't want to lose your working file. I've done it before. It's a pain to lose all that work that you've done. Another thing I noticed, is that, the circle that we have in this animation is a little different from how it was storyboard. I want to adjust that first before we go forward. It's pretty easy fix because the circle that we had in the storyboard, it's like a perfect circle. But this one, the shape of the circle looks a little weird. The reason to that is because the circle right now, the anchor point is at a weird position. What I want to do is I just want to change the anchor point of the circle to the center. To make it easier, I can just draw some rulers Command R to bring up the ruler on the top and the side. Draw like a line. These are the line that we drew it for, but I just want to draw a line to see where the center of the circle is and then place the anchor point on there. There's one same thing is place the anchor point in the center. So now the circle it's growing from the center. Now what we need to do is just move the circle down until the center of the circle touch the ground. It comes up like that. It's a half circle instead of a weird oval shape. Goes up, up and then make it even bigger to fill the whole screen. We already have this circle, let's delete that one and then we'll duplicate another one, offset two frames and we are done now. Click on the "Fill" of the second circle, change it to the background color that we have. Now let's see how it looks. So now it's a perfect half circle instead of the weird oval shape that we had just now. I can just click on "View," get rid of the guides. Have a look at the secondary animation that we have, nice. When the circle comes up it's a perfect half circle now. I also want to clean up the project panel here to make the trees go under the Precomps. Hide all the other Precomps so we have screen organized project pedal. Now let's move on to the second part of the animation. For the second part, we'll need to load some elements in from illustrator. Now illustrator, we already loaded, but it's going to be in our project panel. This is our second see with the key car for a fall vacate. What we can do is, we can just copy all the elements, Command A, select all and then Command C, copy. Go back to the Main Comp, and then paste it on top of the house, Command V. Then just drag all of them after the second mark because this is the second part of the animation, so we don't need it before the three second and maybe just change a different color so that they're not easily recognized Aqua over there. Now, what I need to do is, I need to transition this frame to the other frame. I'm thinking maybe we have the learning background style's going to be there, but then we have everything just move all the way to the left, like a camera pan to the right so that it can reveal the other scene with the car and the cloud and everything. That's how I want to do it. The house, and these cloud, and land is going to stay there intact and then the trees. I'm going to move these trees up. I need to group these layers. This is my first scene. We Command Shift C, pretty calm, to name it F-I-R-S-T, First Scene. That's okay. So that's our first scene. All I need to do is come to the Position and then right-click "Separate Dimension." Click on "Stopwatch" on the X Position and then go forward. Ten keyframes Command, Shift, Right arrow. This one, so everything moves to the left. That's it. Now, I'm just trying to go through the layer screening them and also group them with different label colors, and also just Pre-comp some of the layers like what we did in the previous scene. Next, how do we want to animate the cars? It's going to be similar to how we animate the house. We can just go back to the first scene, the house as a whole, and then click on "U" to reveal all the keyframes. Copy all these keyframes, go back to Main Comp, find the car body, paste. Let's see how it looks. The car comes in. It's a little static but it's pretty good. It looks similar to how the house came in because it would just basically copy the exact keyframe. But we can adjust it. We don't have to be exact. We can still adjust it a little bit to make it more dynamic. What we need to do is to, first of all, I think the car is coming in a wrong direction. I mean the rotation value as well. I need to flip the rotation so the car is facing up and set it down when it comes in. The car comes in facing up and then overshoot to positive 2.5 and then hit the ground. But then the value is wrong because I paste the value from the house. This wrong value need to be just when the back wheel is touching the ground. This is a correct value for the car to be on the ground. Then comes in, hold in the air, I need it to maybe rotate two times, overshoot two times instead of one. Overshoot 4.5, and then over here, overshoot is negative 1.5 and then hit the ground. This too much rotation in here. I'm going to get rid of it altogether and then draw it manual. First of all, the car is coming in, falling as a falling film. Here I needed to go back to the scene passing four, and then negative one, and then zero. That looks about right. To make it more dynamic, first of all, I'm not at the wheels first, so the wheels need to be on top of the car layer. We have these two wheels and then they need to also be parented to the car body. However, they also need to have their own scale property so I'm going to copy the scale, and then on the two wheels, I've got the start of the timeline and then paste. The wheel is coming in. You know what? It might be better just to have the wheel attached to the car. I'm going to have the wheel just attached to the car. We'll start at four and make this agree. This is already parented. The car comes down. What I want to do, another thing is I want to unlink the width and height property of the car so that to give it a squash and stretch effect, it's another animation principles, squash and stretch. When it falls down, it should stretch. Not my way in the y-direction. When it lands, it should also stretch to be flatter and shorter, and then overshoot to like 102 percent, and then comes back down to 100 percent. This one inside 100 percent. Over here, I need it to be stretching, maybe not. In the x position to be wider like that's comes up wider falling down. Need to be stretched to 118, X_1 goes here like that. Yeah, that's good. 10. Bringing on the luggage: Next, let's animate the luggage. First, turn on the three luggage layers. I also want the luggage to fall on the car instead of attached to the car to add more life to this animation also give it more character. The luggage itself should also drop from the sky when the car hits the ground here. I want to show you a shortcut to animate the position part V which is P. If you hit P all these position properties going to be revealed. We don't want to change the X position; we only need the y position which is right-click separate dimensions. Give it up. When the car settles, so that's the final position of the luggage. I'm going to add a keyframe at the final position for the luggage and then go back in time. I want the back to appear up here only over here. Maybe they need to settle later. I want them to fall from the sky. This fall from the sky. Also I don't want them to fall at the same time. Oh, by the way, first of all, let's just suggest that the keyframe, right-click Keyframe Assistant Easy Ease to give it like a falling curve which is to give it more impact, make it fall faster as if gravity is taking effect. Give it a falling curve, this is the falling curve. Then I want to see just a preview of this animation. It's too long. It's falling to slow. Let's check if it's ten frames. This is ten frames so I'm going to move it to eight frames. Let's try eight frames, so that's good. That's good. That's nice. Then also what I want to do is: I don't want it just suddenly appear on the screen. I want to animate the scale property. So if I hold down Shift S it's going to add the scale property in these property that's already shown to me. I'm going to uncheck the link of the widths and heights and then click all those stopwatch to give it a final position first and then go forward a few frames. I want to see which luggage is this. This luggage I want it to start from zero, and then maybe over here overshoots 105. If that's the case, I can probably just copy this to the other two and then, given it all of the same scale property. Just come in like that. I also want to make the luggage come in faster. You don't realize how it can lead to a big scene. Also I want to add some overlapping action to the three luggages so they come in one by one. First of all, we need this black luggage to drop. Black comes into frame and drop. And then we have this blue delay and then red delay a little bit. So each one us delayed a little bit. Let's see how [inaudible] effect. That's pretty good. The car comes in and the luggage pops up in the sky, fall on the car as if someone user magic, archaic order magic comes into the frame. The other thing I want to do is because the car is running, so I don't want the car to drive so smoothly. I want the car to kind of bump in the road to give them more realistic feeling. What I need to do is I need to click on this body. Right now I want to add a wiggle effect to the car comp, but the car body right now is that the Y position is already taken by the keyframe. I can't really add an expression to the Y position anymore. What I need to do is I need to try to add a null objects to link the car body to be null and then give them null a wiggle effects so that's affecting the car. The way to create a null object is to go to the "Layers" and then "New Null Object". Let's say this is the "Wiggle car null". Now I'm going to link the car, pick up this car to this wiggle null. I want to see where this wiggle is. Another thing is that although I want the car to move, I don't want the wheels to move up and down because the wheels should stay on the ground, but the car body should move. In that case, I can just go inside of this null object. Click on transform. Go to the "Position Separate Dimension", and then hold option and mark and left click the Y position, give it a wiggle expression. Let's just give it 10-10 and see what it looks like. It's moving too fast because the first value is of frequency. Frequency is changing security for and then the second value is going to be the male that's changing. Let's change it to smaller alphabet for its sequence for our fourth floor. That's a pretty good amount. Yeah, I like the feel for them now. Let me give it like six F2. That's good. But the problem right now is the car wheels are attached to the car. When you wiggle the car body they will actually go with it. As soon as the wheel ends, you can create another set of wheels, select these two layers and then go to "Layer", sorry, it's "Edit", "Split Layer". Then with a new split layer, we can just stop the parenting with the bottom of the car so that they will always hit the ground. The back is a problem too so I need to go into the car body and get the back loop. Okay. Let's go back to the top and then copy this this is the back wheel. So the back wheel will stay with car so I am going to append the back wheel to back to the car body so it stays with the car. Then at this point, create the backfill edit split layer. So that at this point and so depends relationship so that the wheel is just staying on the ground. Then what we need to do is duplicate this null [inaudible] three luggage to use separately so that I knew three different nulls to control each luggage. Basically, we need the three luggage to be wiggling on top of the car independently. So we need to parent each luggage layer to a different null. Now let's see how it looks. Yeah. That's perfect, then you save the project. That's how we animate the car in the second scene. 11. Finishing transition: In this video, let's finish the second half of the transition. First, I want to animate the trees moving in the background, let's find our tree layers. We have this one tree, we're going to pre-compose it, command Shift C. Then we have this another tree, that's command Shift C decompose tree four. Now what we need to do, is we need to create a longer, wider composition that could move in the background of this animation. That as if the car is moving forward, the trees are just flashing to the left. That gives you the illusion that the car is moving forward. The way that we need to do that is first of all, we need to create another re-composition. From the project panel, we can click on this, Create a new composition. This is going to be the Tree BKG instead of 1080, we need 1080 times four. This is a huge, wide scene that we have here at C, so what I want to do is to go back to the Main Comp and then copy these two trees or cut rather, and paste them into this comp. They appear around here, so I need to cut the layering here, option left brackets and then move it to the front as those segments zoom in. What I want to do is, I want to position those closer together, and then copy. Get a few more trees, duplicate that, and then move it to the right. These two can be closer together. Give it some randomness so that it doesn't look so artificial, add just another tree here. We have these many trees and let's go back to the Main Comp and let's add this tree background into this animation here. From here, when the house is transitioned into this one, we want the trees to be moving already. The trees should be over here, but then they should come from the right hand side. Go position, right-click Separate dimensions, keyframe, left. Starting position would be somewhere off scene and then as the car comes up, the tree should move all the way, what if I cut all these here. I need it to go all the way here to here, I'm going to see how fast it's moving. It's still moving too slow or it's because the first scene is moving too fast. I can slow down the first scene, so let me just go back to the first scene and then click here to show the keyframe or slow it down maybe. Let's have some ease on it, maybe I just make it a linear keyframe. Just pull down, then it's going to go back to linear keyframe. But then I don't want to cut. You know why there is a cut? Because there's actually a background image on top of this house. This Layer 35, it's the background. If I delete that or make it invisible, so that these two scenes are connected. Just delete that, I don't need it anymore, connect these two scenes, the tree's coming. The land is higher on the second scene, so I need to delete the land to. That's why our tree background's actually the trees are not grounded. So I need to move it down, to ground the tree. Now the tree's grounded, so let me turn off the eye the Co2. Little proof at the back of the car, the car just come in. I need to move down the car too because the land is lower. Where is the car comp? This is car body, so in this case we need to move everything down. We need to move the luggage down, the car, down the wheels now and also they have position keyframes on these objects. If we move them down, it's going to mess up the position keyframes. What we need to do, is we need to create a null object in here. Create layer, new, null and then link everything that we need to move down to this null. This is just Temp null, this is temporary. So Move null, you don't need to rename it because you will delete it after. Basically we got everything that doesn't have a parent to it, you need to link it to the null. Everything that you want to move, so this one, I want to move the Luggage already have a parents, so I would just take the parents. It's going to move with the parent and this one, the wheel, this one has, and then this one has a parent, this one doesn't. A back wheel and window to, those are the ones that I need. I will just parent to the Move null and then move down the car. This way it doesn't mess up the y position keyframes. Then we can just remove this null, let's preview this, it's looking pretty good already. I think the transition's a little too slow, it doesn't have any energy. I need more energy to that transition from the first scene. I need the transition to be more energetic, I might need the trees to move faster. Can I make the trees move faster? Let's see the tree comp, yeah, right now the tree comp at the beginning is actually the sensor. I still got a lot of space to work with. The tree at the beginning should be all the way over here. That's why I feel like the tree is moving too slow and I can move this tree closer to that, so let's go back. I think this should be fat and better, faster. Now I can drag this point all the way to the back, to the sixth second mark. The tree comes up, but these two trees look too similar. So what I need to do is, I probably need to make this tree over here and put the bigger tree on the right hand side, this smaller tree to the front, big, small, big. Now what I need to do is, I need to add the cloud transition. I need to have the cloud come in as well. Let's just try to animate the cloud first, click on P and then right-click separate dimensions, and then click on the stopwatch on the exposition and then go in the front here, just try to drag it out a little bit, so that there is some position changes, subtle ones. The cloud doesn't have to be moving so fast, let's say this one's 605, maybe over here I should put like 620. I don't want it to move so fast, clouds should be moving slowly. Given contracts with the fast-moving backgrounds, so the cloud should be moving really slowly. Since we're already moving the cloud themselves, I need another extra layer of control to fake the camera pen. All I need to do is create another null object, click on Layer new, and then Null objects. Then click on the three layers, pick this three layers to the null and this is going to be the cloud pan null. The null and you just cut this layer to three second mark option, left brackets at this position, click on P position, separate dimensions. Click stopwatch for exposition and then before this, the clouds should be coming. Let me just drag that cloud out , it needs to start showing pretty soon over here. So that what it has, we can just call it pan with camera. Yes. But I need the cloud to be moving all the way until the sixth second mark. I need to drag these three key frames to the sixth second mark, so that cloud is constantly moving. That works for me, I'm digging it. 12. Car smoke: Then what we need to do is to add a little puff pass thing at the back of the car. Where is our CO_2 layer? Here's our CO_2 layer. The way we need to do this is, this one doesn't have to be too difficult. We can do it in the easiest way. The easiest way is to decompose this command "Shift" CO_2, and then going to the pre-comp, make it bigger. You just need to draw all these circles. Let's draw all these circles? What we need to do is to just animate the transparency of this circle. First of all, I want to change it to the same color as C storyboard, like this beige color and then turn off this, I just use this one and then go a content. They have all of these ellipse here. Tore down all these, go to "Transform", and then we have this opacity. I want to click on "Opacity Stopwatch" for all of them. Then we can click on this and then views you to show all the opacity values of all seven circles. First of all, they need to come in. By the way, how they're there has to be, I think that we also need to animate the size property, scale property, as well because I'll need to come in as well. Let me see, "Content", "Transform", "Scale Property". I need to select all these, and then click on "Scale", as set as different all the stopwatch. Sudden net click view on it, to show all the properties with a stopwatch key frame on it. Then first let's shift come in over here from zero and then come in and then fade out physio. Come in fade out. This is basically the animation we need. We just need to copy and paste these four key things. Now command C to the second left, so we've got come in. Maybe it doesn't fade so fast. They just fade in too fast. Fades still. Now I'm just over here, copy and paste all of the keyframes through the difference palettes. Also just to overlapping so that the data overlapping action. Let's go back to the main comp and then as previous, card comes up. That's pretty good. But I need to balance. Right now that it's all I want. Let me just keep the another one and there after everything disappears. That's right. As the previous animation, see what happens. That's pretty nice, isn't it? That's very dynamic. A lot of life. The last thing I want to add is a leaf falling from nowhere in the sky just being blondes to add some atmosphere gives you a feeling it's fall vacation. 13. Leaves falling: Now let's animate one last thing, which is the leaves falling from the sky. Let's go back to our layers timeline here. Let's find the leaves and leaves' path. Turn it on. Here is the path that we have for the leaves. It's pretty simple. First of all, we need to draw this path here because this path by now is a illustrator file. We need a path file. Go to the pen tool on the top here, and then just draw this path. One, two, three. I don't want to see this fill color so I'm going to hold down option and then click this fill until it disappeared. Then since already disconnected to path, I have to click on this last point again and then keep drawing from there, fix this. Then if you longer and get yes, that's pretty good. Don't connect the path. Click on this selection tool and then cut this part a little bit. Just to match the storyboard. That's perfect. First of all, we can delete this leaf path out and then they leaf is here. What we need to do is go down content shape in path an add on a key frame to it. Then, command C to copy the key frame and then go to lease property. Turn on it's position. Then command V paste. Basically to paste a key frame on the path property to the position property of the actual object. In that case, as soon I pasted on, you can see the leaves is now traveling along the path and spreading through the timeline. But right now it's gone over six seconds, so I want to move it back a little bit. Then I can delete or just keep it as a reference. This is going to be a leaf path just in case you need it in the future? Turn the eye off and then you see the problem is, the leaf is not falling, it is following the path but it's not turning or anything. We need to do one more thing. We need to click on the leaf, go to transform? Transform, layer transform and then auto orients. Now let me just change the rotation of the leaf and see how looks. It's looks better, but still it looks not right. I guess what I need to do is I'll just slip the leaf. Just go to scale and then change the x position to negative 100 and then adjust the rotation. Yes, that looks much better. I want the leaves to flow like this. How do I add a more dynamic look to the leaves and then give it more realism, which is right now it doesn't really, it's following the gravity or law of physics. Right now and just following randomly. Next, what I need to do is click the key frame and then right-click, turn-off rove across time. Then do it for all of them. Then select all right-click key frame assistant. Easy, ease, and then go back to the speed editor. If you don't see this speed editor, just go down to the icon here and then click on edit speed graph. Now you can see that at this point, I actually needed to come up and then move faster. Then this point, I needed to be slowly hanging the air. This point should be faster and this point need to be slower. Then it's going fast again. This point is the fastest. It's going fast, slow, hang the air, and then come up here, fast again, and then slow down. Let's preview this, you'll see what happens. Did you see that? It's still too fast, but it's already got more dynamic. Basically it means this is [inaudible] is too high and we need to bring it down a bit just to make smooth. This point should be it's top so I need to that adjust these two points. This point, maybe I can bring it down a little bit too. Let's see if that works. I think stayed the hang times too much. Yes, the hang times' too much. Let me just stop, bring it back. The a start off, keep it at zero. I'm going to bring it back and then try to smooth out this curve. You don't want it to be zero. Meaning it's still going to be moving, just not so fast. I can't keep a zero, you need to bring it up a little bit, that's better. Maybe I can space it out a little bit more so that's not so rushed. Yes, that works. Another thing is, as this one is already done, I want to copy another leaf and then just adjust the path of the second leaf so that it's different from the first one just to give us some more random motion. Then the second leaf I want to make it smaller. Right now it's negative 100, so I want to make them maybe negative 75. Let's try that. This one should be 75. Then I want to stagger this, delay, this maybe by a few [inaudible]. Let's preview that. Yes, that works. Two leaves just falling, the fall is coming, need to fall vacay. Let's save the projects. The last thing I want to do is to add a trail. Following the leaves, just subtle one to add maybe more character too the stylized animation. What I want to do is because I already have this path, this exact path that's firstly leaves travel a lot, I want to turn on the stroke. Maybe make the same color as the cloud. Keep it point five and then what I want to do is I want to add a trim path. Here the trim path. I want the trim path to be at zero at the beginning. Then when the leaves comes in, goes out here, I want it to be a 100 percent. But then starts should be zero at the beginning and then this. What happens is this trail is going to follow the leaf, when the trails is not connected, I can just manually go in there adjust. Here let's do this and then that's too fast, notch it back a little bit. Then spilling over again. Notch it back and then go, that's too fast. The end needs to be always connected with leaf. Here, I think it's because it starts going too fast, it's going to be this part here and then keep going. Then still starts going too fast. Then keep going. This then start to finish too. Basically it's coming, attaching to the leaves. Keep going. Over here is going too fast. You need to bring it back down a little bit so that it's not going over the leaves and then turns, comes up. Keep going. That's perfect. Let's put this path underneath the leaf and see what's happening here. You know what I'm thinking? Maybe this is not a trail, maybe this is just a wind. I'm thinking maybe I can offset it over it. It doesn't have to be on the same path of the leaf, you know what let me just offset. This, I wanted to just cut offset here. Then this preview, it does not work? I think that works. Yes. It gives some atmosphere. It doesn't have to be a trail, because a trail's too perfect. I don't want it to be too perfect. I want it to be more like handmade or natural. This gives you a natural feeling. Let's preview our whole animation. That's my full vacay. That's pretty awesome. I love it. There you go. That's the whole six second animation. I'll see you in the next video. 14. Export: We finished a six second animation. Let's take a look. Now let me show you how to export the animation to MP4 file or a GIF file, and you can post it on the internet or show it to your friends. Let's go to composition mixture. You click on this main comp, which is comp that we were animating before and go to composition, add to Adobe Media Queue. Now it's going to turn on Adobe Media Encoder. Now you can see that it's been added to the Adobe Media Encoder Queue. This is our main comp animation. Right now this format is set to H264. This is a common format for MP4 files. If you want to export as a GIF, you can choose this animated GIF option. For now, I'll just export a MP4 file. H264, nothing's to be changed here. Just click on this. See you where you want to save it. Let's just saved on the desktop here and go to final outputs, this could be a fall vacay, and click on this green play button to render it out. It's done. Let's go back to our final output folder. There you go. That's our 6 second animation. 15. Congratulations!: Congratulations, you've finished the course. This course is not easy, but now you've done it, so give yourself a round of applause or a big pat on the back. Now you should have an animation piece that you feel proud of and ready to share with your friends. So far, we have touch base on some of the animation principles like overshoots, squash and stretch, secondary animation, and overlapping action. We also learn how to use graph editors to bring your animation to life. I took you through this very comprehensive animating process and showed you how to problem-solve and the thinking behind the motion. Be sure to post your video in the project page so I'm able to see what you come up with. If you have any questions going through this course, shoot me a note in the discussion panel and I'm here to help you. Thank you so much for taking this course. Happy animating.