Master Type in After Effects | Motion Design A. | Skillshare

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Master Type in After Effects

teacher avatar Motion Design A.

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

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

14 Lessons (3h 28m)
    • 1. 00 intro v2

      1:05
    • 2. 01 Tools Overview Character, Paragraph

      11:54
    • 3. 02 Tools Overview Rulers + Grids

      8:32
    • 4. 03 Tools Overview Animation Tools

      9:16
    • 5. 04 Class Example 01

      18:38
    • 6. 05 Class Example 02

      17:26
    • 7. 05 Class Example 03

      29:14
    • 8. 05 Class Example 04

      21:09
    • 9. 05 Class Example 05

      12:29
    • 10. 05 Class Example 06

      12:07
    • 11. 05 Class Example 07

      17:14
    • 12. 05 Class Example 08

      9:58
    • 13. 05 Class Example 09 XTRA CREDIT

      19:52
    • 14. 05 Class Example 10 XTRA CREDIT

      19:10
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About This Class

In this course I'll be teaching you everything you need to know about using type in After Effects.  We'll start off with a tools overview where I'll briefly describe the important tool used with type.  Then we'll go through 8 class examples exploring different kinds of type.  Finally, I've added an extra credit section with 2 more bonus classes that cover outside party plugins which are called Video Co-Pilot Optical Flares and Video Co-Pilot Element (google them for more information).

I'll be teaching you my tricks and secrets in how I design and animate with type.  As I walk you through these different examples, I will also be providing my project files for you to learn as you go.

I want you to succeed. If you have any questions reach out to me.  I’d be happy to answer any questions you may have. 

Meet Your Teacher

Motion Design Academy (MDA) aims to deliver high quality courses in the Adobe Creative Suite software.

We also offer courses detailing the production techniques necessary to begin and grow into an experienced top notch designer and animator.

“When you learn, teach. When you get, give.” - Maya Angelou

See full profile

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Transcripts

1. 00 intro v2: Welcome to motion school. I'm Evelyn Lee, and I'll be your instructor for this course. I have over 10 years of experience with various clients, and this course will be talking about type in after effects. I'll start off by talking about the tools that are needed and then do a general tools over . After that, we'll go through several examples of creating different styles of touch here. The examples will be making the last two examples, which I'll call extra credit because will use an outside party plug in, which is called optical flares and Element. You can purchase, thes or use a demo version to follow along. Thes plug ins could be found on the video copilot website, and I'll leave a link to them in the description. I have nothing to do with this company. It's just that a lot of people use their plug ins, so it's a good tool to know. Well, I'll be walking you through how to make this. I'll also be talking about the principles, emotion, tips and tricks and things that might just come up while working in the industry. All right, I'll see you in class 2. 01 Tools Overview Character, Paragraph: Okay, so we're just gonna jump right into it. Um, I'm in after effects. C c 18. Honestly, like with this stuff outside of the classroom. Obviously going to save down to the lowest version, But you could be in any version of after effects, and you can follow along with this. I'm only doing in C C 18 just because it's the latest one right now. Um, so we're gonna go ahead. We're gonna jump right into it. I'm gonna create a new composition. And it's 7 2012 80 by 7 20 square pixels. 23 976 And the duration is five seconds. I'm actually gonna call this one just because this is type treatment. 01 and there we have our composition. If and I'm going to go ahead and go into my character window and we're gonna talk about type su first off, like, I'm gonna talk about this sort of tools overview of this window, which you can see that there's type here. Um, you can type it horizontally and I'll show you I'm actually gonna change. You can. If you click here, you can change. So all these different fonts. Um and I'm actually going to go use a font called accidents because it is a pretty popular fun. If you don't have something like that, you can use something really similar, like Helvetica. But I'm gonna start it. Um and you can see I picked accidents. And now you can see over here there's all these other windows, right? So medium regular bite Alec meeting my talent pulled. It looks almost start with medium. And what medium is with these things mean is that basically they're pretty much just the thickness of the type or the style of the type. So if I just go ahead and I just type Hello, right, It's very small. So in order to double click, double click, it already size. If I double click and I scale this up, you can see that it's bigger. So I'm gonna do a little bit of ah, type of review Your quick. Right. So this first off this type of font, the style of fun is a san serif font, right? And I'm gonna go ahead and I'm gonna center this real quick. I put a grid up. We're gonna talk about grids later, but this is a sans serif font. And the difference between a Sarah Fun and a sans serif font is it doesn't have these little It's very It's just very much Does it have these little edges on it? And I'll show you if I duplicate, I'm gonna possible D I'm just gonna go ahead and I'm gonna pick a different font. And he's a double click in order to change it. Someone who two times the Roman regular. And you can see that this is a serif font, right? Because it has these edges and then this fought is a san serif font, right? And so that I'm only saying the sea because it's sort of like the language of type. The next language of type that we're gonna talk about is, um, turning. And this when you double click, this obviously changes the size, and this over here changes the current ing and the koerting is the space between the letters. So if I push this back out, you can see that it's like spreading itself out in the room. I can squeeze us all the way back in, and you could see that they're evenly crowding up on each other. and spacing them out. So that's pretty much what Koerting is. And it's these are just things to know in the type world. Um, uh, the next thing we're gonna talk about is letting. And basically, what letting is is if you press enter and you, you know Hello. How are you? All right. These are, like, right now on top of each other. Double quick. So I have everything. Um but if I This is where the leading is, and if I push to make this greater, you can see that it it's spaces in part. And I spelled How are you wrong? Um oh, there. Okay, so now you can see that this is sort of, um, letting is how you kind of is the space in between the words, um, in between the lines. Right, So you can use this. This area is for letting this area is for turning, and this is for size. And then we're gonna talk about this, which it actually gives a bold on top of a bold, and it also makes everything cap capital. Right. So if I click this, it makes it bold, including the bold on here. If I process. It makes it all right, Alec, if I do this, it makes it all caps. And if I do this, the mix of the smaller cups I do this with that like that, we're gonna turn these off. I really use that. But I'm gonna put this back on because I like to have it all in caps, and then we're gonna talk a bit about this parameter as well. All right, so medium is right now, Um, this is sort of like the sizing in the thickness. If I go to regular, you see that it kind of is a little bit thinner, but it's a bit more spaced out. My make it I talaq. I don't think it's cool is that you can have it. I tell a clear and you can also have it. I tell a cure, and it makes it super italic. And you can also do that with the bold. You could make it super bold, and I'll show you that pretty soon you can do it to all of them. So it's kind of nice when you're using with working with a particular fault and you want a bold, bold it That's like a really superb old phone, right? And so it comes in handy. Um, turn that off for now. And then there's also bold italic. And what's really fun is, if you make it bold italic, then you've got, like, a bold, bold, italic metallic. Anyway, so I'm gonna take turn these off, and that's pretty much, you know, my way of like walking you guys through these parameters. Now I want to change the type. I changed it accidentally to black, but I wanted to make it. And, um and I also just wanted may keep this sort of like a regular gotta always double click that just so that you make sure you grab it and then actually gonna make it meeting. So I'm gonna keep that like that. And so if you want to change the color, obviously you're going to hear you press this. Then you can change it to, like, read right, And it changes all of it if you just want to change. Hello, Dr White. You click here. You change it to like, right? If you want toe, you know, change our you can even I use the eye dropper tune with the eyedropper tool is wherever you go, it will grab that color. You can see it's constantly changing. We only have Grey and Red, Really? So it's just gonna be grabbing these things. I'm gonna go ahead and grab this blue or gray, and you can see that Have without that, undo that, cause I can't read it. Um, the next thing I'm going to talk about is the paragraph top, which is right down here. And right now I have this center Jenna justified. What that means is that if you see these parameters, this is the left. This is the right, and this is the center. Right? So this is right. And everything is space in the centre every time I type any anything on here. All right. I'm gonna move this up. Right. So any time I typed on here, you're going to see that I always type from the center. Right? But if I click this and I want to left justify it, which means everything is gonna be typing for the left, right? And so I'm gonna go ahead. I'm gonna move this pressing that arrow, he and once I go here and I press center All right. Great. Everything's typing from the right. Left. Next, When we're gonna do is left left justified and you can see here everything's gonna be typing from the from the left, Right? So this is like, it's really good to know, um, how this stuff works because it comes it really in handy. When you're animating, you want to know with animation, you always want to know where your anchor point is. So right now, in design, it's like you can It doesn't really make us big of a difference. But when you start to animate it, you really want to pay attention to where you're justified and and I'll talk of a little bit more about that. Once we started to animate it, The next thing I want to talk about is mentally This is this type tool right up here. This once you click this, it'll let you type. But if you hold it down, you'll see that you can do you can type it horizontally, which is what we've been doing. Or you could type of Berkeley. Um, I don't know. If we select, it lets you bring it automatically Turns it vertical, does it? I don't think it does. So you kind of have to be in that perimeter and then type you can kind of see we're in. Ah, I need to change our color, Buck Teoh. Brighter color sounds and you can see how this is typing, right? It's over here. I want to make this a little bit smoke, but this is sort of the idea of, like, you know, you see a lot of the like, kinetic type and how it takes over the screen and it types on on different angles. Like this is sort of one of the ideas, because you can see where the anchor point is. If you're going to scale it, it's going to scale up from there. And, um, if you kind of see how the paragraph has changed as well, it has the bottom has the top you can see, and you can tell where it is by this point, right? And then you can also see that it could be sundered so really, really useful to know when you're animating where these anchor points are, and, um, and how you can build out your designs, right? I'm gonna delete this. I'm going to go back to, um, horizontal typing and continue on 3. 02 Tools Overview Rulers + Grids: So next tool we're going to talk about, We're gonna talk about rulers and grids and, um, the next one thing that is it's a really big concept, especially in working in broadcast. Not so much with Web is I'm gonna make this, and I'm gonna put it to, like, 100 so we can see doing okay right here. These air where you're gonna access your title. Safe action save proportional grid grid guides and rulers. Right. So this is where all of this stuff is, and it's super useful for type. If you want to make something really precise, you want to make it look really have that precision in it. It's important to know. First thing we're gonna talk about is title in action. See if someone pulled that up and you can see him and turn this off. But this is And if I wonder if it's better if it's over. Yeah. So this is the action entitle city, right? Basically, this line right here, this outside rectangle, this is, um, called action safe, and this is mainly made for broadcast. So if you're doing stuff for TV, um, title safe in action saved is like a really big thing, right? And basically what it is is that anything that you designed and if it's outside of action, see if there's a good chance that it could get cut off on the TVs. And that's really what it's what it's about. Um, this is action safe. So you want to keep all your action sort of within this bound And this the second rectangle . That's right here. This is title save. So all your text, If you're making a title, you want to make sure that it stays within this boundary, right? You don't want to cross it because it could get cropped in case on the TV. And so this is just like keeping all your type All the legend will type that isn't like a design element that you want to make sure that your viewer can read. You want to keep it inside this box, right? And then there are these other two lines over here, and these air this one, these these ones thes rectangle ones these air for hi, def. So it's 1920 by 10 80 or, like 16 by nine ratio And what that is, it's basically like the ratio of the wide screen TVs, right? And so this this over here, this is for four by three. So this is four by three, which is those tubes that are a little bit more square. You know, those old school TV's which I don't think anyone really has. But some people still do, and so this is four by three safe. So this inside one is where you want to keep your type. If you're doing four by three for standard definition television and this one on the outside is action safe. So these are just really good guides to know they come up all the time in broadcast, and it's always good to keep your mind knowledgeable on this stuff in case it ever comes up in your motion careers. All right, the next time we talk about is this proportional grid. Um and I'm gonna turn this Basically, what this does is it just toggles the transparency because I don't have anything in here. I don't have a solid background and it defaulted to black. But really, what it is is this transparent grid. So that's why I'm turning it on and off just so that you guys can see it a little bit better. Okay, so this is the grid. It's just a proportional grid. But it's useful when you're working. The next thing I'm going to turn this off in the next time I turn on is this grid and this great is actually something that I use a lot. Sometimes you know, when I need to know. Like if I'm working with this turns on, I want to match, you know, the sides of these or space between here all. Actually, you pull up the grade a lot, and I'll use it Teoh to, like, really make sure I go in. And I'm really precise, you know? And I'll even like if you press comma and period, you can zoom in and out, and that's a really quick key. But, you know, sometimes it would be like, Oh, like, what is the space in between? You know, thes two blocks. Well, it's and I'll even cracked the squares. Another trick that I do a lot is I'll grab, Go to here. I'll grab the shape layer and I'll turn the struggle the way down to in the film. Whoa! Talk about shape players in a bit, but But basically I'll just draw a quick, correct table, right? And so I know this is like the distance between this and this, and if I, you know I don't have great in the same group, I have it in a totally different group. We'll even take it out. So I write great, right? And I want this to kind of match that distance. Um, I'll just use the rectangle that I draw to really like, measure that distance, right? And then I'll know I need to, like, move this down a little bit. So I'll do is I'll just grab this shape layer, but it here and then I'll grab great and I'll push it down. And that's a really great way toe measure. Do a lot of measurement, and I'll just delete this a really great way to do measurements. The grid. I use a lot to it. It's great to like, sort of count the differences of things and make sure everything is aligned. I'll use it all the time. The next thing is is gonna be guides and rulers. So if I press here, you know, rulers, come up a quick keyboard shortcut is apple are You can toggle them on and off, and then you can create your gonna turn this crude off. And if you want to turn them off, just click. Um, you know it. Check marks. You can turn them off by clicking them again. So in order for me to build a guide, Aiken, just go ahead and grab this and pull pull it from the ruler and then just drag it. Then I've created a guide. You can create as many guys as you want and guides air. Great. You can go ahead and align it. It can snap to the grid and you can also go into the view. And it shows you all these different things like it shows you the rulers. You can hide these rulers. You can show these guys you can snap to the guides. You can lock the guides, you can clear him, even show the grid. And so these are That's another like view is another way to access it. This is also just sort of a quick way to keep yourself in the same space and not be going up here and trying to find things to me. I feel like it's best if you can do everything within, like, the workspace that you have. So guides are incredibly useful. Um, tow line things up, and I'm gonna go ahead. I'm gonna clear these guys because I was just kind of using that to show you guys it. But one thing I will show you is that I use all the time. And it's just, um, part of my work flow is that I'll go ahead and I'll go into a title in action safe, and I'll turn that on right. And it's a little toggle it off if I can't see, and I'll have my rulers up. And basically we'll do is if I want to center everything. I'll just crab a guide and put it right there into the middle and grab another guide and put it right there. Right, And then I'll go back. Try this transparency Often. I have my guide there. Right. I want to make sure all these stuff, these things air centered Aiken, turn off my action entitles. All right, So the next thing I'm gonna do is I'm gonna look at these things. Gonna delete. Great. But I'm gonna look at these things. Um, and I know that if I lined this up with the guides, it'll be centered, right? So and this is like, just a really quick way toe to make sure that your stuff in center and if you press shift down, you can move it down really quickly. If you just press the arrow key down, it'll on you down to their and then, yeah, you have it center and you compress command colon, and it'll take off the guides. Or you could go back up to a window and view and, you know, press that button deterrable. But yeah, you can see that this is completely center now, So that's our That's a bit about what we've been talking about with, you know, the grids and title safe and action safe and four by three safe. Um, the stuff is all super important, and it's good to know, um, it's just sort of like fundamentals 4. 03 Tools Overview Animation Tools: So next time we talk about is, you know, one of the thing the advantages of building your type in after effects is that you kind of have all these like effects and presets that come with the program. I'll show you. If you go into animation presets and you toggle it down, you'll see the tax. And if you talk all that down, you see that there's a tot of animation with texts. I'm not gonna go through all of them because some of these could be get really boring. But I'm just gonna show you some of this stuff. If we go into center spiral and I just double click it and press zero to watch it. You have this preset animation that already has a ton of things, and if you want to see exactly like what's being animated, you can toggle this down and you'll see that there's like it's already has animation on it . You can also like see how it's built in. There's a spiral, and you can change all of these parameters. You can the opacity in the rotation so you could make the rotation way faster. You could make the A passage e waste slower and it will change the animation right. And these are things that like you can't do. Um, these are things that really are a useful for animation and one of the great things about setting type in after effects, right, These other things. There's so many other things that they have, um, flying with a twist. And if you combo these things, you could get so much great like animation just so quickly, right? I mean, that looks it's a little odd that it's here, but if you draw mask on it, you it's fine. I don't even show you guys like, basically, if you want a mass, that part out, you just go into here this rectangle tool and make sure this type layer is selected and then just mask, put a mask on it. Basically, what a mass does you'll see. It adds, right. And what at means is that only this only what's within this box shows the type. So if I pressed Enter, let's see, you don't actually see it already written on its It's already like you don't see it drawn on already, and if you you can kind of go in and tweak the mask. Um, I pressed apple tea and to get the parameters, and then I'll just drag this up a little bit, and then to get out of it, I press escape. And then percent, sir again, you can see, right? Obviously, Like, it's sort of cropping that out, and we can fix that through other things. But this is just the tools overview. Um, I'm gonna go ahead and believe that, and I'm gonna, um, to leave these animator things too. Okay, so that's a really I highly recommend playing with all of these things. Enemy in his great enemy. Out these blurs. They have great blurs, like my blurred by word. Not on here, though. But, you know, if I press blurred by word, we'll see they have incredible presets, and I highly recommend playing with a lot of them going through and just really knowing knowing what each one does. Um, having your favorite ones ready to go, um, super useful. And you can also see there's some some stuff with, um tracking as well. You can do increase tracking for some reason. You can do increase tracking, and then without those is it tracks these and you can go. And once you go into the parameters, um, you can really tweak it. And if you do that by selecting, impressing you and you can see the tracking right, so it's like too much too fast. I wanted to drift, and that's sort of this tracking thing. You see it all the time and like trailers, you see it in movie titles. So it's sort of, um, a good thing to know you just continue to keep playing with all calm Boeing. These creating like a lot of really interesting type, right? So one more thing we're going to talk about is, um, this is sort of the presets that you can work with and definitely tweaked to make it your own thing. One more tool we're going to talk about is if you toggle this down when you go into type text, you'll see that there's this thing called anime right, and you'll see that there's all these other parameters within here, and I'll show you, like if you use character offset. Can you turn that on? Nothing is happening because you kind of have to build it, so what you do is in here you go into character, offset. Put a key frame, um, which is this diamond shape, which is animating it. And then if we who set up it a voter like 47 then we'll go ahead and we'll bring it back to zero, which is what it's original was. And if I press zero you enter, you will be able to see, like, you know, these air kind of like you can build these out on your own instead of using the presets, right? I'm gonna press Apple's easy get us back to the beginning and another, like fun thing with animate is you can use. You can make your own tracking. You can also animate the fill color, which is really fun right now it's red. Put a key frame going to hear, and you could make it like Wait right the center. So don't make it like that. But what's really fun is that you can add, um, character offset to it, and but it's zero. Bring it back up and like that, wasn't it? When you can do here is you're gonna add a perimeter, and this is sort of like how they built those um, effects and presets. Pretty much What you can do is you can go into your immune character value, and right now it's at zero, and then you can kind of put it toe. That wasn't what I want to do. What you can do is you can go into the range selector and you can start. You could impress the animate, this start or the end. And I'm gonna press Jane K let you toggle in between the key frames. But you can bring this all the way up. And what's really cool about this is that it will animate each color, right? So that's sort of like the nice thing about going within the type. You can really have a lot of control over things, and I highly recommend also just playing after you play around with all these presets and pick apart and see how they're built. Like I would go ahead and play with all of these like rotation, because you could do so much more within this if you combo it within different things, you know. So that's sort of our tools overview with animation, animated presets and talking about also building your own kind of animations within it. Okay, so this is pretty much our tools overview with type. Um, we talked about Sarah fonts and San Sarah phones, and we also kind of went really deep into, you know, the character tab in the paragraph tab and rulers, grids, guides and these air all, like, really important fundamental knowledge to know before we go into our examples before we go into our class exercises, right? It's really important that you guys understand. Title save inaction save four by three safe. You know, 16 by nine ratio, um, turning, letting Sarah flounced answer phones like all these things are so important. Fundamentally to understand, to fundamentally mentally understand how this works before we go into the exercises. Because once we go into the exercises were just gonna jump right in. And, um so hopefully this all makes sense to you, and we'll go into the next exercise 5. 04 Class Example 01: Okay, so we're gonna go ahead and we're going to start with type 01 right? Um, I have a comp already said I just deleted that layer, and we're going to start this from scratch. And basically, what we're gonna do is we're gonna create some type, and we're gonna I'm gonna use ah, animated preset and alter it and then kind of go ahead and play with the enemy tool and and and then create a shape layer to mask out with the words and then create a track. Matte. And anyways, we'll start this right now. Okay, So first thing we're gonna do is I'm just gonna pick an arbitrary word. I'm gonna write something like broccoli so super arbitrary, right? And that's gonna be one of them. And another one on the right is astronaut. Um, I'm deliberately I just kind of found random words. Um, so they make absolutely no sense, and it kind of one of the on purpose just so that it's more about the lesson instead of more about these techniques and the tools instead of trying to create something that's, um, actually has, like, a meaning to it. I just didn't want to have any meaning. We have this and I'm kind of scaling them up. And I'm going to go ahead and use that trick that I told you showed You guys gonna pull up the title in action safe. And I already have this set up, right. So I want to make sure that everything is lying lining up. And then and then I'm gonna turn off this by pressing command Colon, I'm gonna turn off the actions safe. And now we have our broccoli astronaut from. One thing I want to do is I I want to make this site, Alec gonna make it italics. And now I'm like, I kind of want to make them a little bit closer. So when a shift for us, the arrow keys up shift, press this arrow keys zone one more. I'll put up my grid grid lines again because I want to make sure that you know, I want to make sure that they're pretty precise and, ah, lot of times I do type and illustrator because you can get it really precise on guy. Still do. And for certain things like I will It's stuff like this. This is like after fixes Definitely more powerful program to do it if you're gonna be using a lot of sort of preset animation altering and if it's not to like detail oriented. But definitely you could go into way more depth an illustrator. Um, so now we have our type, and, ah, for broccoli. I'm gonna go ahead on the use an animated preset, and want to go back to the beginning of the timeline of this, and we're going to fax and presets in my toggle down animation presets, toggle down type goes animate in. And then how many? Something like fade up character, which is one of the presets that I do like working with because it's just so simple. I don't like those things that are like It's too complicated because it just feels kind of crazy sometimes. But sometimes if it's asked for, I do end up using and then I once I click this layer, I press you and it gives me, you know, the range selector, which is basically this line showing this, and if I'm just I just want to be a little bit faster, I'm gonna push it in, and then you can see like That's and, you know, I I don't want it to really type on like that. So I'm just gonna undo that, and I'm going to go in, and we're going to random fate up and see how that one works for a zero. Preview it. Yeah, that's something I was looking for. So I want to speed this up a little bit. Well, I just wanna watch it. Not okay with this, the way it's coming on. Um And then the next thing I'm gonna do is I'm going. Teoh, combine this by adding they blur the press answer. Nothing is happening quite yet, but I want toe start the blur. And then if you press k, you can toggle to the ends, which that wasn't what I wanted. I'm gonna the clerk down to zero. Um, and then look at the range selector. I'm not. Yeah, so you can kind of see on at a little bit of a blur. I want to really boost this blur up so you can really see it. And sometimes if you just go into here, um, you got to see it a bit more about the capacity of this. So This is what I'm kind of looking for. I just wanna add a little bit more of a blur to these things. So initially I want the capacity of U zero and then halfway through, I kind of want to bring it up quite a bit. Okay, So the next thing we're gonna do is we're gonna go ahead and we're gonna enemy astronaut, right? So we have broccoli coming up and kind of like how it's coming up right here. And then I'm gonna grab astronaut. And what I'm gonna do is with astronaut, is that I kind of want it to fall as this is coming up. I wanted to fall down right underneath broccoli, So I'm gonna go ahead and I'm going to create a mask. And if I'm gonna make sure that nothing a shave later. Actually, I'm gonna make sure that nothing is selected in the timeline. And then I'm gonna go into this rectangle tool and you can see that there's these. I talked a little bit about the center tools of review, but you can see that there's all these different, you know, types of shapes that you can make. Now we're gonna just use a practical till we're gonna keep it really simple. Gonna make sure that this stroke is that zero. The fill can be any color, and we're just gonna go ahead and we're going, Teoh, create a mask over this or a shape. Sorry. And I'm gonna just align the shoot and it's covered. I want to make sure that it's covering astronaut, because right now, it, um it looks like, um, it's hiding it. But if we go into this, which is a called a track mud and basically what a track matte is, it's a map, right? Um and you can whatever this Matt is, you can either see everything that's inside of here or you can see everything that's outside of here, and I'll show you just by toppling was down. You can create an alphabet. And when Alfa Matt does is now, I can see everything that's inside of it, and that's basically what we're going for. If you go to inverted Matt, it means that everything outside of this Matt will be seen, and you can see this more clearly by animating it. So what I've been doing, I'm gonna press the position because of the position is what I want to enemy. Grab the position and I'm gonna kind of create some key frames and create one here, and I'm gonna create one more here, and I'm a bit. And just by creating another key frame, you could just press this diamond shape over here and that will create the key for room. Right? So I'm gonna press k to go back to my 1st 1 and then I'm gonna grab the arrow to It was right shift, Alberro. And you can see what's happening is as soon as I move it all the way up, it's not seen anymore. And that's because it's our mask. If I turn that back on, you can see that it's whatever's inside this red rectangle will be seen. And so just by and I was able to create that just by going in here, impressing Alphen, that right? And then you want to make sure that this is not is not visible and now show you what it's doing together, right? So you can see that. That's kind of our animation. Obviously, everything's a little slow going to press you on broccoli and a quick tip to really speed Teoh. If you select everything and you press all and then you drag the key from you can squash them and stretch them and make them faster. It's a really quick, an easy trick. The only thing by using that is that it might mess up exactly where it stands on the key frames. So in this case was gonna manually move them in. Not too concerned about them lining up because I like to have things offset a bit like I'd like to have them overlapping slightly. I'm gonna do the same thing here would bring this in and then move it to here and just grab this key frame and drag it in and press zero. Right, So you can kind of see how the animation is. It could even be a little bit faster and how it's dragging itself down. No, the thing about with animation is that right now this is a It's a very linear movement, right? So I'm gonna turn broccoli offer now, and I'm gonna What you can do is you can really focus on your work area by pressing B and n So this right here this this thing is like your work area, and you can like manually go ahead and drag it, um, and all you. If you press zero, you'll only see that area and then the keyboard. Shortcuts of that is if you go wherever you want in your timeline, you press p and then you go and you press end. Press censor. You see that you won't see that section right? So I want to tweak this animation. I want to kind of have that have, like, these eases these curves. It's nice motion right now. It's very linear, and that's because this is defaulted toe linear. And if you right click you can see you need to make sure you're on the key frame and went When you right click it, you can see that there's all these different values. You can change it to a taco hold key frame. You can go into the key frame assistant and you can give it. And he's someone given an Eazy e's. And now you see that the animation is a lot more smoother, right? Um, another thing that you could do with this. I'm gonna press. I undid it. Um, you can individually change these key frames around. So if I click that and I press right click, and if I go into the key frame assistant, you can do it easy, easy. But you can also do in season. And basically what unease in does is that it's sort of eases it, and you can see how it changes the animation right I'm going to do with this. If I press going here right, click good a key frame assistant and do Eazy e's in again. You see how different each of the animation is, its easing each key frame. It means that this whatever happening over here, it's easing in. If I do and he's out, you'll see that the landing is a little bit more abrupt because it's not using into the landing. It's using out with the link landing. So what I want to do is I want to put in easing on this as well. One more thing. If you select these and you press the graph editor, you can even tweak thes even more, right, So right now you can see that this is the motion just by changing into an Eazy e's and when you can see here. You look at this green line and there's a bit of a curve, right? And basically well, we want to do is we want to go ahead and we want toe sort of tweak this curve and I'm gonna move this up just a little bits weekend, See what's going on here. If this were linear, it wouldn't have these curves, But because it hasn't eased, we kind of have these curves. And if you press V to go to the arrow key and you click over this, you see that we have these key frames, right? And if you click here this this will make it linear. This will convert all these around and you can even see the easy, easy zin and how this works within the curb. Right? So this basically this curve is what it's doing is it's showing how the speed is working, right, and it has this nice curve going through it. If we were to make this linear, which is what we had before, which was just those diamonds, that's what it would look like. It's a very straight line, and that's what the animation looks like. And then when we had it at. Ah e Eazy e's. You can see the difference, right? It kind of like, move has this nice, curved movement, and you can also see it in the animation I want to at this speed. And so now you can see that this is sort of the speed of where we're up. You could see that there's a lot of these little handles. Well, I want to make sure if you move this handling by president, if you press shift, it will move it like so and And you can see the difference of the animation now really fast , and then it uses in right. And if I bring this back down all the way down to zero, that will give this sort of nice sort of a different kind of movement to it. Um And then if you shift and pushed this all the way in, it will even make that even more parent that he's so that's kind of what we're going for, right? If we want a like but one more thing. If we do with the other way shifted, drag it like that, you can kind of see the change of it, right? It's a little bit more and you can do a lot. You could have a lot of great animations by tweaking the curves. You can see how this sort of comes down like that. And maybe it's even better toe like this and change this all the way to here and then see how that plays. Maybe this is the animation that we won't wanted to just drop like that, but I'd prefer it to be the other way around. So I want to go ahead and press shift and I'm in drag these handles and that we're back in here. And that's the kind of animation I just wanted to have a nice ease lending. And you can see that, like, you know how you can see all that these tools are being shook. The difference is you can see him a lot easier once you're in the graph. And, um and how we got to you want to make sure you add it in the speed sometimes the defaults to the value. And, um, I was just kind of make sure I go back into the speed. I can get these handles and animate them. So gonna get out of the graph editor and go back to our animation. Turn this back on press the home key to go to the beginning press be so we can watch our animation And I think that looks good. I think that's our good. Our first sort of lesson with this one thing that I do you know, if you want to keep the al from that on it, you can I'm gonna put, um ah, black border on it because right now, it's if you press this, it's actually transparent, right? So I'm gonna create a solid You can go ahead and go toe later. New, solid, or you I might press apple. Why Going to the color changes to black press. Okay, press OK, But that underneath, and you can see that it's completely black. Now, even if I press that toggles transparent Suki still black, right? So I'm pretty happy with the way that this is looking. I'm gonna go ahead and I'm going to add it to my render queue. Um, I'm gonna set the render settings. What I'm gonna do here is I'm going to go into a lossless and lossy us is good because it's animation it's defaulted to that. I might change it. I'm gonna treated to pro rez. Um, I usually like to use Apple Perez for 22 We're four for four or I use animation. Or I'll use H 264 those air. Pretty much the codex that I use the most over us. Okay, it was okay. And then I'm gonna specify and render it out. Okay, so this sort of ends are type one treatment. And with this example, what we've learned is that we've learned how to use animated presets and the animate tab. And we've talked about Shay players and track mats. And, um, we talked about easing and animation perimeters and played with curves in order to give the astronaut and nice ease in the animation. And that's pretty much what we've accomplished with Type One 6. 05 Class Example 02: Okay, so we're ready to go ahead and do class to you. I'm gonna open a new composition. Call it. Oh, to same parameters. Everything's the same. Gonna go in? I'm gonna go ahead and none of the close this, and we're gonna go it. We're gonna go into class too. Okay, so we're ready for a type treatment number two. And what we're gonna do is we're gonna intimate the phrase Today was a good day, and we're gonna put this over a photo, and we're gonna animate it. So the photo that I have is ah, is a photo that I took when I was in New York City. I'm just gonna dragon in. You can import it by just dragging your folder in. You can also go to file import file. Or you can even double click this Project window to bring it in. I'm gonna create a folder called Assets, and that's just where all our assets will be. Go ahead. And I'm just gonna put this in it. Right. So this is just a photo of New York City. You can see it's really big. This is what it looks like. The photo I took like years ago when I was in New York, Um would turn this off for now and we're gonna go and we're gonna create some. It's like, Okay, so I'm gonna get be a out of I tell at this time. I just want to be in, like, bold and I mean right today was waas okay? And then on a different line, I'm in a right good day, and now I'm gonna go ahead. I'm gonna align these the way I want to you and animate, um, design it the way I want them toe design Migo head. I'm gonna design it the way I want the landing page to look right. So I kind of want these a little bit bigger, and I'm gonna design this within title in action. See? So I'm gonna make sure that I keep myself within those parameters and I'm only doing up so that I can show you guys how to make sure to stay within these sort of. And I want to make sure that these kind of lineup so 15 that's what I do is when I look, I'm like, I want this to be the same sizes today. was. So it is going to look like 147 This one is 157 So it is. Change it right here. Okay. Today waas a good day. Hopefully it was for most of you. Now I can turn my title in action soup all and yeah, I think that looks pretty good. Have that over that footage will deal with the footage in a little bit. Another thing I mean, do you again as I'm gonna go ahead and I'm gonna build a shape lor. Same idea is what we were doing before. Except this time, the shape layer is gonna be part of the design element. So I'm gonna go into the Phil. And if you click that you can change the color of it with this, I'm gonna make this, like, kind of like a blue press, OK? And then making sure nothing is selected, because if you do select something, it'll draw mask on that. And if nothing is selected, it'll draw shape. So go ahead. And I'm just going to cover up. Good day. Same. Same exact thing that we were doing before. But I'm going to show you how you can use these track mats to create all these different types of designs. Right? So I'm gonna move this up a little bit. You can see it before what we did, right? We we made in Al from that so that the good day was whatever was in between in that rectangle, you could see it, right. But this time we're gonna change it. And instead of using an alphabet reuse and also inverted, Matt. Well, actually, what I'm sorry about that women do is I'm actually gonna move this shape layer underneath, right? And so what that does is you can see today was a good day. It highlights it. And what I'm gonna do instead is I'm gonna actually use this type as the mat on this shape to be seen. So if I do in Alfa, if I goto Alfa Matt, you can see that the good day is now seeing through the shape layer what I'm gonna do instead of them, and do an Alfa inverted Matt. And then you can see that good day is cut out and you can really see this. But if you press this transparency, you can see that there's nothing. It's just completely transparent, and it's even more noticeable when you put it over a footage. And what I'm gonna do is it really gets lost because of all this coloring. And what I wonder is I wanna make this black and white. So I'm gonna go into Hue and grab Hue saturation. And then over here, you'll see that you can change the color of this whole thing. It just completely changes all the colors around. I'm gonna actually put this toe half resolution. What that does is it just makes it not at 100% third mix it. It just helps. If you want toe quickly, Look through these. I'll drop the resolution a little bit. Usually when you render it, it'll be at full, so it doesn't really matter. But I'm just gonna letting you guys know, OK, so this you can kind of see that you can change all these colors around, which is really great, but actually gonna put this back to zero. I just want toe bring down the saturation of it, which makes it black and white. Next thing I'm gonna do is because you can see that this it's really faded, right? So I'm gonna go and make a levels adjustment, right levels, And this one has auto levels. I'm gonna pick this one. And what you can see here is this is our levels curve. If I push this bottom one all the way up, it makes it blown out. Do that. If I crush this down like that, it makes it really contrast. E. And that's sort of what I'm going for. I mean, but you can also see that, like the waas is still kind of overall. It's still a little bit tough to read. And sometimes what I like to do is I like to just kind of Adam black solid on Press apple. Why? Or you can go into a layer and you solid press. OK, And now with this selected, I'm gonna grab the rectangle tool and because it's select on here, it's gonna draw a mask, right? And as we talked about before, what the mass does, is it? It pretty much creates a mask. It pretty much highlights whatever you have drawn around it, right, So we have this rectangle and I want what I want to do is I really want to just drop the capacity down quite a bit so that it's barely noticeable. And then I'm gonna feather it for us. And what feathering does, it just softens it, and I'm gonna really boost it up. And the reason why I'm doing this is I just want to make sure that was is easily, um seen. And it's still not some sort of like, OK, what do I do? I'm gonna go ahead and go back and build a solid again, and I'm just gonna drop It's a capacity down to, like, 25 and that helps. But I still don't really like the way that is. And maybe it's the cropping right, but only to keep this on. We'll bring the scale up a little bit and changed the cropping just a little bit because it's just so dark. And this is what designing is where you kind of have something and it's it's a lot of trial and error, and it's changing once you move this down. Now, you know, for me, I'm like it's too dark who had him brighten it up a little bit and I'll even play with the middle perimeter to is like Do I want this a little bit lighter and then bring this down. And for me, it's like I like as far as what all these things do. Like, I just kind of keep tweaking it until I use my designer, I And when I feel like pretty happy with how this looks, I'll stop it in there. There's tweaking this around, and then I'm gonna go back into here, and I'm actually gonna boost it up to, like, 55 and see how that works. And then sometimes you know that mass Father, I really like bounced it really high. I might bring it down just a little bit. You can see that. That kind of shows that kind of works. And what I want to do is I want to move this picture all the way to like here, sort of experimenting, wanting to see. Okay, so we take this these too often, and I just wonder because I just want to take these two off, because I just really want to focus on the type, right? I want to animate this type coming on, so I'm gonna go back into my effects and presets. Close this out, go in by the type text animated. And with this one, I'm gonna do fate upwards. Right? And I really like the fate of the way that the fate up goes on on these presets because they're just very simple and like, but really like, nice. And you can change the spirit of them whenever you want and stuff like that. Okay, so I like the way that this animates on, actually, and I'm not even gonna tweak it at all with this. I want to enemy. I want this to kind of wipe on. And that's why I use the shape layer, right? Well, you could do is you can just go and you compress us. And then what this does is basically, if I go like this, it will scale it up, but resembles E if I unlinked the's in X scales up its own way. Why? Skills of its own way. That's always good to know with animation. But one of the things that I'm looking as I'm looking at my anchor point and I realized that my I have to get my bigger point tow line up, so I'm gonna go ahead. I'm gonna move this to match my anchor point. And if you really want to be details, you can press period and zoom in. And by going in here, you know, you could just we get until you line it up. All right? So that's where I have my anchor point at whatever is Kama kama coma, and I'm gonna move the position of it, okay? And as I was talking about before, when we were talking about all the tools, I was talking about how important her anchor point is, Well, anchor points really important with animation. All right. And so another thing that I was talking about with the tools was the grid. Right? Because right now I'm using my eye and I don't know if this is, like, centered how this is centered on the edges and stuff like that. So it's really they create timeto like use the grid and make sure like that thes are really , like centered. And obviously they're not. So from top to bottom, all kind of like use the script. You can see, like, two on the bottom in two on the top, and it's pretty close. I might even move. Good day. Just a little bit up just to kind of like, match that. And then I want to make sure that the sides air are good too. Right? So this is to hear 2.5. I don't look here and I'll be, like 2.5, right? So that works. And that's when the grid is, like, really useful for type. All those guides like you use them so much because you really want to make sure you get things lined up and looking good. It's pretty important with type. Okay, so now that we have that, we can go in and we could go into that scale by pressing us. We have our anchor point set of right here. We unlike it and prosecute frame. This is sort of the landing point. I always like to just put a key from down and then push it down and I'll figure out where I want to place that key frame later. And then I'll press another one by pressing was stopwatch, and I'll make this zero right, and so you can see that it zeroes into there. And instead of just doing it like that quickly, I'm gonna actually bring it in. So you can see this is what the animation is gonna do, right? It's bringing it all the way down to here. Essentially, what it's doing is it's wiping it on. So it brings to zero, and now you can see how it's gonna work. Right? So you can. And now that we have our all our key frames in place, we can go ahead and weaken, tweak it, and in order to show all the key friends, press the layer, press you and I'm thinking like this is very slow. So I'm gonna go ahead, right? And so I like where that placing is, how fast that speed is. I'm gonna press k to go to that key frame. And it was Select these and I'm gonna bring them all the way in. Next thing to do is I'm gonna go ahead and I'm gonna put unease right Click. Hey, friend, Assistant Eazy e's And I'm gonna make it easy. Easy out. I wanted to, right. And you can already see the difference that the animation so much more interesting going to go into here and press end so we don't have to sit and watch all those seconds right and you can see that I even don't. I'm not even sure if I I want to put another ease on the ism Pretty happy with the way that this is looking. Now we can put it bring in our footage over and you can see how it kind of is working. And because this footage is so big, we could even animate the footage slightly. You know, if I press P and put one key frame there when I go to the end of our thing and I put press a stopwatch, I'll put another key frame there. And then if we go, you just move it just in X. I want to show you the nice thing that we could do with this is you can highlight thes and you can put it ease quick way to do present putting eases press F nine or again, you can go and access that my room key frame assistant. Easy's right. Watch it again when things I like about having extra seconds is that you can just grab this one key and pushes all the way back. And obviously it will make this a lot slimmer since it's pushing in in timeline just because I just wanted to be so subtle. So yeah, and this is sort of I think this looks good for our second exercise. So I'm gonna do is I'm gonna go ahead. I must say, this file saved composition at surrender. Que and again, I'm gonna go ahead Format options. I'm gonna make this pros. That's okay. Okay, Then we go ahead him Orender it out. Okay, So this is our render for class two. And in this example, we work with a phrase we animated on, and we put it on top of footage. We d saturated the footage. We added a little bit of a soft black solid to pop out the text, and then we animated the photo a little bit, just to give it some life. 7. 05 Class Example 03: Okay, so I'm gonna go ahead. I'm gonna close this and then I'm gonna make a new composition. Call this 03 press, OK? And there we are. We have our new class. We have a new example, ending this example. We're going to use the phrase please sit down. And with this, we're gonna use three D layers to create three D. Type in in after effects. And, you know, aftereffects is a two D program. Unless you're using ah, three d party plug and which we're gonna talk about later. Um, so as far as using three D layers, it pretty much means that a flat plane will become will rotate. And I'll explain this right now. So when it closes out and I'm gonna bring us all the way back to character Okay, so I'm gonna go ahead. I'm gonna write the type. Please sit down. And I'm gonna do each one on a different layer. So, please, and again with something like this, especially if you're using a three d layer. Anger points are really important, right? So that's why I'm gonna go into the paragraph and I'm gonna make sure that this is actually this is fine the way it is, but I'm gonna go ahead and I'm gonna write Sit. And I'm actually, I want this to be like and then I'm gonna write down. And what down? I actually wanted to be like a vertical type tool, right? Someone, right. So and I got a spell it right. It's kind of hard when you're doing this. It feels like very disorienting to do it this way. So and with this, I'm actually going to make sure that the anchor point is up. Top mention make this changes around size was with this. I'm not even worried about action or title safe because it's more of this is more of, ah, design element, in my opinion, um, for this particular example, if you were doing this for broadcast, I would definitely keep it. Have my make sure that it is within those parameters. But with this, I'm just viewing this as like, now we'll get this and I'm like, thinking that I kind of want is just to not have that vertical type and because it's sort of getting confusing to read and understand. So I'm just gonna do it horizontally, and I'm just gonna go ahead. I'm a rotated 90 degrees. You press are Don't bring that up. Go ahead and go back into the arrow key. And yeah, that's sort of what I was hoping for. Make this a little bit smaller so we can read back up, and then I would go back to please and make it bigger. And then I have sit and I'm gonna makes it really big. And then if I wanted to get smaller, so I can just see everything he was press comma. And sometimes I like that with designing. Sometimes I need to see it really small. Um so I know how it registers. And then in this case, to them how that happened in this case, I want these alta like kind of lineup, so I'm gonna use the grid. And I know I already have a grid set up, but I'm just put that over, please. I just want to make sure everything's lining up and and because this is, you know, being recorded, it's it's hard for me to go in all the way. But sometimes I'll go until, like, 400 or even, you know, and really just get it so that it looks really tight. You don't want to, like, just and topple in and out between it. Being large and small is to see how it reads. Then I use the arrow keys just to make sure I'm And this is like the thing about with guides is ah, I'm showing all these tools and then I'm just jumping into it. And it's nice because I'm pressing space for to get that hand to also. And you could also just move the guide around to make sure that it fits perfectly. And what's really nice is that the guides who really helps a lot all these rulers helps so much. Um, and then I'll just bring this up a little bit. Have you been a little bit more three? And when you coming, when you when you like putting in this kind of leg detail into things, it starts to take a while to to get it to a point where you want it to be. But I'm just trying to match it as much as I can to the guides. Then I'm gonna bring this down. You can see that. That's sort of our design. Okay, so Now, I'm gonna go ahead on the look are anchor points, and I'm gonna have to move. Adjust some of these anchor points around. What I'm gonna do first is I'm gonna go how to make these all three D layers. And you could do that by you. See this thing right here? You need to turn them on. Nothing has happened, but this is the active camera view. If I go into like, um, a different view poor I want to make this are active camera. I'm gonna make this a custom view and cost of you is just It is a different view of it. Basically, you can see, but mostly gonna create a camera. Then you create a camera by going into a layer new camera. And I just for this class, I'm just going to use the default. And you can see that this is our camera, and it's showing this is a different view of it. If I pressed face where you can see everything around, um, you can see that this is it's showing you this is exactly showing you what? This is right. And this is our active camera view. If these weren't three D layers. If you look in this, they're not even visible in this custom view, right, cause they're just a two d layer. That camera isn't even registering it, but by putting this like that, you can see what's happening with this three d you Also, there's a lot of tools here. If you're going to hear, you can see all these different camera tools that become useful when you're using it. But this is not a class about cameras. It's a class about type, so I don't want to get too far into it. But I do want to kind of explain what happens there in one more thing before I close this window is, what we're gonna be doing is we're gonna be animating the rotation. If you press, are all these parameters come up? When it was just a two d layer, it was just that. But because of that, we have our orientation. We have X rotation. We have Y rotation with the rotation. Z rotation is the same thing as a to D rotation. It'll move around like this ex rotation is gonna move like this. Now you can see that it's basically essentially with a three D layer and aftereffects is is it's taking a plane and you're able to move it around and see space, right? So it's not actually like three D type. It's basically like that plane that becomes three D and you can kind of moving around, back and forth that we'll make that zero. You can see that this is it. And it's moving according to its anger point. And that's why the anchor point is so important with animation. And for I said it a lot in this class. It's a good thing to just know, All right, so I'm gonna go back into one view going here and go into her active camera, and then I'm gonna fit this so we can see we're working on. And, um and one more thing that I'm going to do because we're in three D space is that we can work with lights and here's what lights do. Pile new later, new like, so I'm just gonna create a spotlight. Leave it out as generic settings, which was fine. You can change the color. You can change the intensity. All this stuff you can also do once you're in the So now you can see what exactly this light has done. It's lit the three D text and the three d Texas responding to the light. Now, if I go in here, then I go to transform. You can see that I can change all these perimeters around. If I goto light options, I can make change the attempts intensity, which I'm not gonna do. I can change the cone angle, which I do want to do. I just want to be able to see everything. So, yeah, that looks kind of noise. The cone feather is another thing. You can kinda It's what's creating that vignette. And I actually like the vignette, which is why I wanted to create a light. So go ahead. And I'm gonna actually open this up just a little bit more. Next thing you could do is you can change the light color, and I might make it just like a little bit of a beige. It just changes it just ever so slightly. That's okay. And, um and there's other things you can do here. Don't know how much you need to use the rest of these parameters, but for now we're just going to focus on color code. And Golan Cohen feather just to get our design a little bit more working. Okay, so now that we have our light and we kind of have our design, this is our final sort of look, Go ahead. And I'm gonna, you know, map out the animation real quick, right? So I want this rotating coming on. I want to sit to rotate this way. And right now, where I see is that the anchor point is here. So if I rotate this around, I don't even show you if I press are and I rotated exits gonna move that way. But I don't want that. I wanted to move up here, so I actually have to redo the anchor point. Um, I'm gonna go ahead and I'm gonna view clear my gods and then I'm going to put God's here so that I know because I know that once you know, one of the things about adjusting the anchor point is that it's gonna move everything around, and it's good to make sure you know exactly where you want things to be, so that we live down here, and that's the thing with type. I mean, you really need to be, like, precise all this stuff. Okay? It's now I'm going to go ahead. I'm gonna go talk, please. Perimeter down, and I'm gonna see transform. And I see the anchor point. I'm gonna move the anchor point all the way down, and then I wanna go in really close to make sure that haven't really lying that smooth it all the way up until this point is touching that. And then I'm gonna grab the position and move it all the way up. Take a look at it. Yeah, that looks good. I feel like is where we were. Okay, so that's I'm gonna clear these gods. I can see. Right, So this is gonna be folding, and this is gonna be folding. And just to make sure, going to my rotation press are and yeah, you can see that this is where I want it to be rotating. Okay, Next thing I'm gonna do is I'm gonna look at down and actually find with where the anchor point is because it's gonna be rotating in. I don't think the rotation will affect it. Yeah, because this is where I want it to be kind of moving like that. And you can already see just by putting in a light have different how much texture it adds to the scene. You know, if I if we didn't have this light, you look like this. It would have felt really flat. I mean, it still looks pretty great in its own thing, but adding a light is just such a quick way to add tone and atmosphere. Um, and that sort of wife created a quick light and just shown you guys is all right, so let's go ahead and an immediate. So I'm What I'm gonna do is that I like to always put the initial key frames in. So I'm gonna go ahead and I know I'm gonna be animating the rotations. Press are, and I don't know which orientation would put. Sometimes I just put it mark all of them because, well, I know I'm not gonna do See, I might just I just put in X and y I don't really know exactly how I'm gonna choose to animate it. So benefits are now I compress you, and just the parts that have key friends are gonna show up, right? So with X, I want this to be right at 90. And so and I have the X, actually, don't need the why. And I'm gonna bring this all the way to the beginning. This is so city up first. Now that I'm looking at this, I'm thinking, like, um, actually don't want it to move up like that press k, undo it and I'm gonna go in, and I'm actually I wanted to rotate in in the top. I'm gonna go ahead. Just says the same thing that we were doing. Put a guy just there and then I'm in trouble. This down. Go to our anchor point right here, and I'm gonna move it all the way so that it's up. Go back to our position, just move it. So it's all the way up here. I look at it and and this is the thing like, this is why you have to be open to moving things around. And sometimes you see it and you're like, Wait a second. I actually don't want it to enemy like that. I need I want to change it. And that's why it's so important to That's part of the artistic process. You know, I'm gonna go ahead and clear the guides, and I'm going to just make sure that it is lined up. It is. And then if you just do it to check, you can push it up on guide, disappears, and I'm going to go back. Its impressed are all right. Go in here, Impress 90. Watch it. So that's what I'm looking for, right? So you can go to see, like, how this looks. But I kind of want it because it's doing this swinging motion. I want to give it a little bit of a swinging motion. So right now what I did was I haven't at 90 haven't animating down to zero, and I kind of wanted to move a little bit beyond zero so public going to the negatives just a little bit. And then I moved us a little bit up couple frames and then bring it back down to, like, zero. And then I was gonna go in a little bit closer. Let's see what we're doing. You can see it's just sort of swinging a little bit. Just that motion just adding that little like going into the negatives that gives this nice , sort of, like fluid movement, you know? And the next thing you can do is you can I'm going to just go ahead and make this a little bit closer together. I'm gonna actually consumed him even more. So I have this, like, six. No, in this. So you can see how this is working. And then, you know, for me, I want to, you know, add a little bit of an ease. I'm gonna go in here, you got to make sure that you're on with the key frame assistant and going to ease ease out , right? And then with this final on, I want to give it in season just so that it just drops in, give it a little bit more space so that so the next time and do is I'm gonna do this. Sit right. And I know that I want to sit to start somewhere around here as this is sort of dropping in and swinging up. Uh, right before it lands. I wanted to kind of start right here, so I'm gonna cut that and a quick way to do that. You can just press the bracket keys left bracket, right bracket or you confess all Brockett and it'll just cut it. And then I'm gonna press Are I'm impressed you That brings up those of our rotations, and I can see if you go into mine. As you can see where the keys are, go back into positive. And I'm just gonna watch which rotation I wanted to be at. Yeah, I actually wanted to be like that. And so I'm gonna make this negative 90 then have it. Just watch how it moves. So I'm like, looking at this and timing wise, I kind of wanted to come in right when it's swinging up. All right, so you can kind of see how this is, like moving how this is going down, and then we want to bring it. We don't need the y rotation anymore, so let's just take that out. Um, And as this drops, I wanted to drop war in this way. I'm gonna add that key frame like that and then kind of like moving a couple key friends on and then bring it back to here. And you can keep swinging this back and forth and back and forth so that it has like, it's not just you keep going for a while and now I'm looking at this, You know, I need to It's way too quick. I want to go into here a press and to keep extend my work area, and then I'm just going to push this that go with that thinking. Maybe, and a lot of it is is just finding finding that the right rhythm, the right piecing of it. Yeah. I mean, I really like the way that this is coming in. I'm gonna go ahead and I'm gonna do the same sort of ease. No. And he's in and see if it works. Would sit. Yeah. I mean, you can see that with playing around with the keys. How? It's sort of working out. Right. Okay, so I'm gonna go ahead. I'm gonna extend my work area, then go into down and as soon as sit it's here. I'm gonna cut down on first Halt, Rocket And I'm gonna press you. I don't need the white British in new. I wanna intimate the X. I'm gonna bring this back up, and then I'm gonna CNN this place I do want to animate the why I got them a little confused . So take that off pushes back It was upto lay 90. The reason why I'm cutting all this is because you can kind of see a little bit of down and we don't want want to see that always wanted to kind of bring it on and have come down. So that's why um and the same idea with this, you know, you watching it A lot of times, animation is just about watching and making sure that you have the right timing. Timing is everything, and you get that by watching it over and over again and trial and over and slipping and changing things around. And you could make something that's really simple. Just a couple key frames look really like good. And they get really work really well, it's going to go into here and push that back like that and then go here and put it at zero . So you see that down is really slow. He's gonna moves up a little bit more and yeah, it's ah, lot of it is. It's just trial and are watching it over and over again. It looks good and then I'm going to go ahead. I'm gonna grab this. Go right click. He's use out. Are you season? Sorry. Why isn't it? And then I'm gonna grab this and Eazy e's. Then who's playing? Yeah. And that works, you know, And, um And then if you want to, like, even be you can even do like, ah, really slight camera move. Although I don't really think it's really necessary with this, we have a camera set in it, but I'm gonna go ahead. I'm gonna save it and, uh, render it up. Okay, so and now, as we're doing this before under it out. What's up? You know, this is all over a transparent background, so just gonna create a black solid behind it, just in case, Um, And then I'm gonna add it to the render queue to render to, um and then I'm gonna change my settings again. I'm gonna go into animation. Perez h 22 press. OK, it's OK. And now here's a thing with since I've been using the same settings, I could go into here and I can actually make a template. Right. And you can if you're going to edit, you could make sure you have all the same scent inquest time format for two to press. Okay. And then you can just call it. I'm gonna call it 4 to 2. Car is okay. And now you can go in here and you can see that you have your setting right there, brother. Okay, so this concludes type three. And basically what we've done here is we've, ah, worked with a phrase. Please sit down. And we use three D layers light in a camera to animate this type. We use the rotation tools and we created Eases to bring these animations toe life. 8. 05 Class Example 04: Jason over onto example Number four, type four. Um, going to create a new composition. Call it. 04 was okay, and it will close out three. Okay, so what? This tax? We're gonna create some Neil in text, and we're gonna have it kind of right itself on. So I'm gonna write the word neon. Hey, kicks make it a little bit smaller with this. That I want the Would it be centered? It doesn't really matter so much for this one. But then on my other line, I'm gonna duplicate this shift. He was down, right? Like something like sandwich poet sandwich. Um, this up. And what I'm gonna do now is I'm gonna go ahead and I'm going. Teoh, go. And I'm gonna auto Tracy's and you'll see that once I do it, put an auto trace. This parameter comes up, I just leave it to the default. You can kind of tweak these and and create something different. I'm just gonna default it. But what you can see it happened here is if I turn both of these layers off, you can see that neon pancakes has been written. But it created all these masks. They're all difference right now. Um, that's fine. The next thing I'm gonna do is I'm gonna go ahead into my effects and presets and I'm going to generate he stroke so stroke and you can see generates stroke and I'm gonna click that and then I'm gonna You can see it with our stroke parameters, you see that there is the path, there's a color, there's Russia's hardness start and ends. And what I'm gonna do with this is I'm gonna actually put it on transparent. So now everything is turned off and all its right now stroking is it's basically stroking all the masks. But right now, I only have it too masculine, and you can change the studios mess, too. And you can see that it's picking with different ones. Or you can click this looking this checking that off. You could see all of them are stroke now. And what's so great about this auto trace is that, um it's created all these masks and that weaken just generators stroke. And and you can see that just by putting on transparent This is how it looks. One of the things that we're gonna do is we're gonna write this on and show you just how easy this could be. Um, so I'm gonna go toe about, like, you know, one second or two seconds to a one. Um, and I'm gonna prosecu for him at the end, and then I'm gonna go press you so we can see all of our different masks. We don't really. I want to see that we don't even need these key frames. I don't know whether all key frames all those off, and then I'm gonna trust you again, and I'm gonna go ahead, impress the end, press you that you could kind of see that this is our perimeter, that showing up And if you one trick is if you press shift command H, it's basically toggles while your views, he's gonna turn that off and so I can see what I'm doing. And then if I go to the end and I press zero, you can see that that's ready. Hold these on. I'm gonna put my workspace to here so I could just watch and see what's going on. And now the thing is, we have what we have on right now, stroke sequentially. So it's basically just stroking it according to each mass path and the way that this has been done. If I go back up, if I press this like, they're not in order, right. So say, like, we put this all in order, So Neilan would be and would be here, you know, this would be here and then the oh, looks good. And I don't know which one. This one, like the P would be here, so you kind of have to reorganize everything. Um, unfortunately, just didn't really. I know that. But still this is could the way it is so, like, the US is, like, all the way here. E Okay, a All right. So this should change the order zero. Yeah. And you can see No, it's writing on in order, which is exactly how we want it to look. And just by changing those Not now. If we didn't want to stroke it sequentially, we turn this off, see what happens. They all come. They should all come on at the same time. In which hands we didn't really need to reorganize and realign the look. But I kind of like it with it off. Right? We'll do the same thing. Teoh. Poet sandwich. We don't even need to turn the later on. You could just go and then go to layer auto trays Press OK? And there it is, Right. And we can also even go ahead. And if we go to the beginning weaken. Really? Just duplicate that? No. You see how it works? It's a really quick wayto have all these kind of going on and we poet sandwich, I might, um you can see all these Maschler turned on, and I won't turn them all off. I just don't like having well, the key frames up just so for that last one. I don't have much space on this computer, so just tryingto save as much space as possible. Um, yeah. I might make this, like, start and end a little bit longer later and then also longer impressed, man. So and I might go ahead and, um, change the color of this. Who's k? Um, this one. I might make this like yellow with this one time I make you like I think, and then another thing you can do just to create, like, a repeating pattern of this. This is like some sort of, like, design element that you're trying to make. Just grab these duplicated bring it down, you know, or or another thing you can do. And this is it. I'm just It's just, like, so experimental. Um, but you can also change these colors so that this is like, you know, like an orange. This one is like a blue. Well, you can even bring these back up. I would have them go on top of each other, too. Just to create is, like, fun, little effect. Individually. This is where toggle ing it really comes in handy. Easy, even. See, just offsetting this just a little bit. Make it really fun. And the same thing I'll do with poet sandwich. I create this sort of backed on. You know, one other thing you could do is, um, even offset the animation. Suppose you spring this extended out even a little bit more, but the work area to four seconds, then this watch what happens. So I'm not even start the move like just moves. Shift this whole thing a little bit later because I really like that offset. And another thing you can do is ah, instead of innovative the end. You you can animate the start, right? So my turn these off and my enemy to start this time sin for us You start But this to like 100 this one of 200 there's sort of so and that kind of gives a nice different offset to the animation. Another really fun thing that could be done with sort of like this neon stuff is we can kind of had a glow. And I was gonna add an adjustment layer because there's so many, um, layers that will require that I would think the same glows. And when you layer new adjustment layer, um and then I'm just gonna look up glow. You could see it kind of gives a nice just don't its default. That looks fine the way it is, in my opinion. But you can kind of play with the radius threshold we got, although I don't actually you can see what it's doing. It's sort of who stopped the radius, bring the intensity up. So just giving a nice glow to it. I might actually apply these individually on till layers just so you can kind of see it's doing it will be so there are each individually please delete that adjustment layer and tweak it as I wanted, but I kind of want to leave it the way it is. Another thing I'm gonna do is I actually just want to duplicate this and make it seem like it's more of like, a pattern apple d bring us all the way down shift moving down. All this stuff globally. Move. It sounds a little bit now you can see so you can see how it creates a sort of nice pattern . Does I wonder? Like, what would it look like? Um, footage underneath it. So I'm gonna go ahead of a drag on one of my assets in here. And if you drive it like a nighttime scene, um, moving into assets sort of brilliant below. You can see how it's working with the footage. I'm actually put my resolution down just a little bit. No, this I guess it's supposed to be a full, so you can see how it's working now. Another thing is, is if we want to, like, make sure that as far as its design and then we want to make sure that this looks good we weaken, but just this by using levels or curves. And for this part, since we talked about levels already, we'll go into curbs. Basically what I would be doing what curves is This is like the main thing. I just want to get a little bit darker. So I was gonna push this down, and I'm actually gonna just solo this for now. Which and my soul mate, all I do is I see the footage so we can actually see what we're doing. So you can see that by putting the curves up here, you can see a lot more of the footage putting it down here. You see a lot less. And another thing is that you can kind of create this curve where it it created busy acre, which is sort of like this s curve, and that's sort of what we're gonna dio. I want to bring down the yellows in this because we have the yellow and if you pull this down, you can get your individual colors and you can bring the reds up and down. So what? Actually bring the reds up, bring the greens and a lot of this again, like how all of this stuff works is it's all drawn. Er it's all designed. Um, it's all experiment. Experimentation. It's very rare that you kind of get what you want on the first try, but a lot of it is tweaking and making it better. It still isn't really standing out. So I'm gonna make a solid apple, I And then I'm gonna drop the capacity that down. So, like, 35 that does help. A lot going to go in. And maybe, um, if I am maybe tweaking that even helped it even more. And I'm gonna solo this again. Sometimes you've been adding, like multiple points. Really? For me, I'm just playing around trying to see what gets affected. Just let it get happen. So that brings it out even more, and we'll preview it. It just kind of gives a nice, subtle movement. And so what? This? I'm gonna go ahead. I'm gonna save it, and I'm gonna render it out. Uh, I have my settings now. I have 42. Perot's under it. Okay, so this is the example that we've made with, ah, type number four, which is, um, we pretty much created this text and we auto traced it. And then we generated a stroke and we added a little bit of a glow and we put it behind and we put some footage behind it to give it some life. And this is our final class render. You can see it kind of has this neo any kind of feel. It also has his hand drawn kind of feel, and you could do a lot of different things with it. It's a really fun technique to work with, and I think it's really important to know for type. 9. 05 Class Example 05: Okay. So onto the next text. Okay, so now we're gonna go out onto Tex number five, and I'm gonna go ahead and close this. Create a new composition No. Five. It's OK. And with this one, we're gonna do some scrolling tux, Um, again. Sort of like in a pattern, he kind of way. And we're gonna use Ah, an effect that I like to use a lot, which is called Mini Max. So we'll talk about this. All right, First off, let's build out or type one is stabled. Okay, so I'm in Bolds, and, um, I'm gonna go ahead, and I'm just gonna right, have a nice day and I'm gonna keep is pretty big. And I'm just gonna repeat this over and over many times I can in different sections. And the whole point of this is just to make it as alleged Billa's possible. Um, we're not eligible. Likas readable as possible. So you get the idea that it's saying, have a nice day, and then I'm going to go ahead and I'm just gonna have these enemy in there positions p and them in the middle. About two seconds in, I'm gonna put a key frame, but luckily it is it to all of them. And then each one. I'm just gonna individually animate the position X. So in this one, I'm gonna have this start from here than a four seconds. We have this girl the way, and then the next one just here, I'm gonna have that go in the opposite directions. One of it moved here plus K, and then I'm gonna have this start. I'm here and not have it end. Okay? To line it up on the same deal with this wherever this is starting, I just wanted to have the opposite. It was Kay. Okay, that kind of go here. No, I'm gonna watch these. I mean, in part of even, you know, wants to just select all these impressive nine just to give him a little bit of Mies, which I will do. And I like that hesitation. I like the fact that it kind of stops in the middle because it kind of allows you It gives a little bit of breathing room to read it. And the next thing I'm gonna do is I'm gonna add in a test now, and this effect is an effect that I've used in some of my other courses, and I go pretty in depth about it. Um, but it's called Mini Max. It's used a lot for lots of different things, Max, but it's a fun. It works great with type. What I found in someone's gonna select all these puts in many vax on it, and you can see that it has its operation. Now, what I wanted to do is right around this section right here. I want to make sure that it I'm going to change all of this to That's fine. I'm gonna change all this to Al phone color, and that pretty much is gonna fuck the Alpha Channel. And then the radius is what we're gonna be animating. So if I select all these total down the radius, I don't know if it will do it. All of them are just one, so it doesn't need to go into each one individually. Make sure I make sure that you were able to get the often color. I'm actually gonna go ahead and slept all these again, and I just want to affect the horizontal and then run around this point. I'm also going, Teoh, Try and get the radius to be zero right here. So you want to make sure you press this toe at it? Not that's not much. Trust you to get the radius. See you one more time. And, uh and you wanna again make sure it's just horizontal. We'll go through on that, though, because so in here I would have boost the radios up really big and you can see what it's doing. It's just, um we play it. What's doing it is just animating the horizontal radius right now. You can't even read it because I boosted it up so much hands somehow my radius got a little bit you to re put the radius, and But I'm gonna put this upto leg like 90 here, and you can see what it's doing is just sort of giving this nice, like, fun little effect. It works great with scrolling tax, in my opinion. So that's why I'm kind of like having fun with it. You can even see like, you know the position because of this need to tweak the position of it more. Now we could duplicate this effect and have this sort of be a done thing, but sometimes it's nice, especially with stuff like this, just to do it individually. So again, I need to make this just horizontal. And then I want to go to the beginning, and I'm not even trying to, like, match anything up. All I'm trying to do is just use arbitrary numbers just to make them. It's just about whatever. It looks good. You know, it's not really about like of perfection kind of thing on this ends, Um, we don't need to have all the numbers match or anything like that press you. I realized that this position is a little bit showing the why tweaking it, and then again, we wanna make sure it's just horizontal. Bring up the radius of it, can move the position a little bit away, and we watch it jump through. Our key friends was in K. They kind of bring the radios up a little bit of this and physician, we want a picture. It's off frame that we could do the same thing with this. It's already adjust horizontal soul, just bump of the radios and then we can go here. Jane Keita, the tree lined up on And so yeah, this is pretty much are, um, kind of like pattern text. And you can see it's really very obvious that it's legible and it has this nice sort of pattern to it. And, you know, even with something like this, once these break off, you can have another text. Good. Kind of like animating vertically in here And do you? There's so much possibilities that you could do with something like this. I'm gonna go ahead. I'm gonna add a black solid just to make sure that we have something as a background. So it's not animating on a transparent, and I'm gonna go ahead and run her this or two to Paros and Runner. Okay, so this is our final render. And with this example, what we've Donna's. We kind of played around with design. We had a scrolling text kind of using the same text, and even though not all of it is ever seen fully were able to read it because it's the same thing that's repeating that scrolling were using Mini Max as our effect, and it is able to create something like this 10. 05 Class Example 06: Okay. So onto the next tax. Okay, so I'm gonna create a new composition. Call this 06 Okay, so in this one, we're gonna, um, talk about type, and we're gonna make this into a shape layer. So what? This we're gonna use the text called and we're gonna make it elephant. And, um, this goes down a little bit, and I'm gonna put up. I want to center this, put it my actions huddle safe and, um, going a little bit closer. Do you like Teoh? Just be on transparent so I can see that. And I was gonna put a great guides. I mean, and then through this off transparency and that I'm gonna center this just by money was he's a You can kind of see what we're at. Turn these off. And now we have our text, that center. What I'm gonna do is I'm gonna convert this text into shape players and talk a little bit about the parameters of what you get from Schaffler's. You can do Go right here. Goto layer create shapes from text and automatically. This has created turn this off and created elephant outlines. And you can see if we talk about this down, it's actually spelled everything up. Now we go into our shape parameters. Um, we can change this stroke. We get out of stroke in here, we can turn the Philip. So that exact same effect that we did before we could also do it using shape players so you could do this in so many different ways. Um, one thing with making the stroke on that is that it kind of gave it a little bit of a hand drawn feel. This one gives it a very text in a clean feel. So if you want toe, do it this way, you can definitely do it this way. Um, you have to go in and add a animate this using ah, using a trim pads. So I go in here, this is in here. You see that there's, ah, you can add all these different, um, types of things. But if you go in you at a trim paths and again same as a stroke, you can go in and animate the start. In the end. I'll just put this 20 Then you can see same deal, right? Except the text looks a little different looks a little more, um, oven outline of a vector texts. And the other one felt a little bit more hand drawn because we didn't auto trace so different ways to get the same thing. Um, and that's one of the primitive shaped Well, that that is a great way to kind of build something like this. Um, I'm gonna undo this and show you have something else. I'm actually going to put the film back, and I am going to keep it white. Or maybe I'll make it pink, and then I'll turn the stroke off. And what What I'm gonna do is I'm gonna actually might make a purple, Um, And what I'm gonna do is I'm going to add some different things that with this now, you can kind of go in here and you can do There's a lot of things you can do with this. You could you pucker and bloat. You want to be careful about the order of operations in this because, um, it's really important. Sometimes if you have just this selected, it could just add that one affected just that letter, and from right now, I want to do it to everything. So I'm gonna show Program blue. And now that it's at the bottom, it'll affect everything. You could see the amount if I put a lot to it. You didn't see what? We're kind of creating these different effects. And you could even animate this, right? So have us to that. And then I'll put this to zero. You could see, like what we're able to dio, right? I could bring this up a little bit more. You could see it better. So if I put this even more, I really, really this accepted crazy. You can see. And you could do this individually. That's the thing. Like, if I put this right in here, move it and it should be, Yeah, it won't happen to any of them, because again, order really matters in this, so I have to put it there, and it will only do it to the T, so it's kind of cool. Um, and you just turn it off and it will do it. Another thing you can do. I'm gonna go back up to contents, and then you can do a wiggle paths, which is really no a wiggle transform, which is what I want to talk about. It hasn't done anything yet. If we go into the predators, you can kind of see that. Um, yeah, basically, what we will transform does it little wiggle anything that you transform. Right? So say, I want to like of my position like this. I just moved it up a little bit and why we'll see what it's done. It's wiggling it right, And that's just really the useful thing. Toe have, um and you can animate these parameters. So say you like how it's wiggling. And then you wanted Teoh not wiggle. You can no intimate that off. Well, that was Do you see Locanda gets stuck in there? I met. You can animate it off through the position because basically, what it's doing is it's wiggling the position. All right, so you can see that, Um, another thing that it will do is we can also work with scale. So if say, like, right here is when I want discover be at zero. So I wanted to be affecting the scale and then from here on the scale to be affected a little bit more and then I want to bring it back down to zero right at here. Then we can also play with all these different parameters. If we bring this up all the way to 100 is it a kind of a little bit of a different thing? I like it better at 50. Also, um, you know, all these things you can really play around, but, um, everything I'm gonna add to this is I want to add a rotation you want to hear just kind of add a little bit of a rotation. Then I wanna I realize that this scale is going on too long. Okay, so that's pretty much it for this. Um, it's kind of a quick little thing. One more thing I do want to add is ah, I'm gonna bring in a blue sky and I'm gonna drag it into my assets. And what do you do with this? Is I just kind of want to show you guys that you can embed live action footage inside of, um, text. So I'm just going. You can do that by putting it underneath and then putting Ah, Alfa Matt. And there you have live action footage inside of, ah, text. And it's not as visible with this movie. If I put like that night car back in and a quick way to swap out you're Texas of you Press command option Question mark, you just swap out your text and obviously we can't really see what's going on with this. But if we decide we want toe put in, you know, different background Severina foot like blue it's OK. You can really see the texture of ah, live action footage and what it's done. And it's really fun to play with, you know, live action within type and just to create these interesting textures with it. Okay, so I'm gonna go ahead of a render this one out composition that's rather que her rose 42. Okay, so this concludes our This is our final render for text seven, which is elephant. And basically what we did in here is we created type, and we set it to a shape layer. We talked a bit about shape, layer parameters. We talked about how toe use fills and strokes and also how to use trim pads with strokes. Um, we also talked about wiggled transform, and we kind of created this text by transforming that wiggle. And we put in live action. Used it as a texture or an alphabet to kind of create something like this. All right, so this concludes this text and, um onto the next one. 11. 05 Class Example 07: So the next type of type treatment we're going to be talking about is when you're talking about using textures with type. All right, so we're gonna go ahead. We're gonna start. I'm gonna, um, closes off and I'm going to create a new composition. This one is 07 You can see I had my assets folder open, and that's why it's sort of created it inside the assets for their If I want to take it out , I just drag it out. Um, the next thing I want to do is I'm gonna bring some of my textures in from my library. So these are the textures that I brought in. I'm gonna bring this down to the time largest to show you what each of these textures look like. So you kind of have an idea, and they're all of different sizes. But this is the 1st 1 and I put it This is how it looks like transparent. So you can see it's just a brush and and it's. And if I put over black, this is what it looks like. This is probably something that I might have drawn in Photoshopped or illustrator. Most likely probably Photoshopped. It's also something that week you can find you confined this. But if you Google brushstroke, I'm sure you'll find a bunch of brushstrokes to So this is Ah, this is the next one that I would have show is it's a dirty glass and you can see that you can see that this has There's just so much interesting information around here and it's great, maybe to, like, overlay it on top of text. The next section will assure you is this grunge texture, and these have, like some interesting scratches and interesting information that you can pretty much see. And then finally, we have his large paper texture, and this is how it looks like 100% if I scale this down. This is It's this very large paper toucher, and it and these are gonna be the textures that we're gonna be working with. Two creator next text. So I'm going to start with creating my text and I'm gonna write the word outlaw and we're gonna I'm gonna go ahead and create a title and action safe, and then I'm gonna grab my grid, points my guides and move them in like so here. And then I'm gonna grab my outlaw and just move it so that it matches up. I just want to make sure that it's centered. I'm going to turn off the action title safe, Unsure of my guides. You can see that this is our type. Now we're gonna go ahead. We're gonna bring in some textures, right? So first thing I'm gonna do is I kind of want a use this paper texture as a background, and I'm gonna bring it in. I'm going to scale it down all the way down so that we get all this sort of information. But it's white and I want to black. So I'm gonna go into my effects and presets, and I'm gonna Imbert it. Okay, so now we have it black over white. I don't really want it to be blue, so I'm actually gonna lose the saturation. So I'm gonna go into Hue saturation. They didn't bring my saturation all the way down so that it's black and white. It's a grayscale image. Pretty much One more thing that I can do if I choose to, is to give it a levels adjustment. And like we talked about before with levels does, is it? It pretty much crushes the whites and the blacks, so I could neither make it really bright. We're really dark. It's too dark. I'm just gonna leave it the way it is, So I don't really need Okay, the next thing I'm gonna do is I'm gonna put another texture on top of it. I'm gonna get this grunge structure there's gonna put it right on top and you can see that , you know, it's just laying on top of it. I'm going to scale it up a little bit. I usually don't like scaling up images, but I think with this we scale it up and it's this is fine. No one will really tell. And then the next thing of India's I wanna play with these transfer bones. And that's sort of the great thing about building these textures is one of the things is using as many transfer mood. Not as many. Transfer was playing around with the transfer modes and seeing what works best with your eye. Right? So what I'm gonna do is I'm gonna multiply it. You can see it's really dark. Um, I'm gonna add it now. It's really light and what it's done, is it? It's added this one more layer and it's given it this sort of scratchy paper kind of feel. And you can kind of feel like, you know, even this Texas an outlaw, right? It feels like it could be You could have this, like greedy, grungy, kind of feel. And so that's sort of where this where we're going out with this other things we can do instead of adding it. Weaken, lighten it, we can screen it. Screening is probably usually the thing I usually do the most is just that all the blacks go away and all the whites just kind of stay color dodge. And you can see just by playing with all this stuff, like another thing to go to is probably like soft light, which in this case is is to dark. Someone's gonna stick with screening it, and we're just gonna keep building. I want to create a toucher for outlaw, right? I'm gonna put this back. I wanted to keep it in this like white beige is kind of world. I'm going to scale down just a little bit. I do like that Crease and you'll see that as we discussed before, we talked a bit about track nuts. I'm gonna go ahead and I'm gonna create enough of that. And now you could see that what the alphabet did it pretty much just kept that the paper texture within outlaw, which I like a lot. So the next thing I can do is I can go ahead and I can pre complice basically, because what we did is we created an alphabet with this and we want a group this as, like one, um, one grouping. And that's what pre comping does it kind of like. Let's you group things together. And now we can treat this as a single layer just like that, right? So this is sort of what the pre cough is done. That's hard, transparent background. So now that allows me to add yet another texture. Now, I'm gonna add a, um I'm gonna go ahead. I'm gonna add a that brushstroke that we talked about this so you can see a that it kind of has this breastroke kind of feel just on its own like that, I'd give it another Matt. You can see that now, on top of our texture. We have this sort of actually are textures disappeared because this is now just taking the Alfa information, right? This is actually off. So we need to do is we need to turn this back on and then again, we're gonna apply it, play with and apply transfer mood. And now you can see once we've multiplied it, you can see that the brush trek texture is also affecting this. And now you know, if we want to change it around, weaken skillet in, you know, even interesting way toe have something reveal itself is we can animate this moving on, which is probably what we're going to do for the as far as the animation. But right now, let's focus on the design of this. You can see right now how powerful and important textures All right. If you have the right texture, you can create these beautiful designs and really just being dependent on what the texture is. So that's why it's so important. That's why I go around that I paid a lot of textures in photo shop. I'll take a lot of photos. You can find them on Google. The only thing about doing that is that there might be a copyright issue that comes up. So in order for me to avoid that, I always kind of try to make my own textures. One more thing I've been doing, for example, why it's OK. I want to create a black black solid. And I just This is just for me just to like, sort of play. I want to make the background a little bit darker. I'm gonna play around a little bit, see how it looks like with an over light. And then if I drop the opacity down a little bit, you know, just seeing what that does, right? The next thing I want to do with this is that you can kind of create thes masks and feather it so that it just doesn't effect. We still keep parts of the texture, but other parts of it are darker just to kind of create this atmosphere that we're going for because right now it looks so flat and we want to give it this like, interesting sort of depth to it. Right. So now you can see that we have these masks and they're very sharp the next thing we're going to do is just going to give it a father after we father that you can kind of see softens it of it. And you can keep adding more of these black solids and creating different masks and putting them out different capacities and just using your designer I to find which one what you want to use the most. You know what works best for you? Sometimes I even leaving out normal. Um, I don't put any transfer mood on it, and you can kind of see like how that is looking. Then it may be I want to grab the edges a little bit darker. So make another black solid. Could it underneath this that actually opened the layer, put other news and then just get the edges so it's not necessarily have been yet. It's just darkening parts of the texture, and this is stuff you can do in Photoshopped as well. So it's really just like your choice of how you wanna constructed. But if you want to save time, you're in a crunch. You do all this and aftereffects. Some people just like to stay. That was some people just like to stay in one program. So So now you can see sort of like the difference. And then what I'm going to do now is I'm just I'm going to bring back this grunge texture amid, duplicated, and then I'm gonna put it on top, and then you can kind of see what it's done. It's give the texture is really prominent. I'm gonna put a levels adjustment on it, just dark in it, or like in it, but that I mean to target it and then kinda drop the capacity because it's a little bit too prevalent. And I'm also gonna grab that paper toucher and do the same thing. I was going to duplicate it and then bring it up top, and then I want to take off my effects and like, see what it looks like if I, like, multiply it, turn it off and see it's given in a little bit of color. So, yeah, this is something that we've created using textures. And now we're gonna go ahead. We're gonna animate one of our textures. We're just gonna have a wipe it on. We're gonna just have it, wipe it on. And so we're gonna go here animate the position of it and then go to the beginning and just move it all the way out, that if I press enter so you can see like how it's it's Ah, it's brought it on. I usually don't like using eases when I when I work with with gritty textures because I kind of like to keep it linear. It does a little bit more handmade on. The next thing we can do is we can add a little drift. And we do that by adding a new like, null object. I want to put it right here above Outlaw. And then what we can do is we can grab both of these and have it attached to the no. And then we can give it everything a little bit of ah scale so that the home press a key frame at the end. Well, like make it I don't know, like, 1 10 so you can see what that's done. Sort of given it like a nice little drift. And now that I'm looking at this, I mean, obviously this is it just feels a little too slow, so I'm going to go back into the brush, stroke and kind of speed it up. Right. And so you can see how this is like animated on. It's kind of created, sort of like mask. And if you so choose, you can even animate your own brush jokes. If you go into if, you know, photo shop, you can animate them and have them come on and interesting ways we could go through an enemy each one of these brush strokes coming on. I think this is sort of good for where we are. And, um, I'm gonna go ahead. I'm gonna save this, and I'm gonna, um, render this out composition at her under que t two for two to progress. There's rather it. Okay, so this is our final render for type seven and you can see the how it's working. We have a slight drift on it. We have ormat being brought on by animating the position of one of our textures. And with this treatment, we worked a lot with Tuck Shires. We talked about textures. We talked about how, um touches could be used to create some unique, hand drawn, unique, crafted, gritty kind of field toe our text 12. 05 Class Example 08: Okay, So we're now going to do our next text, and the next one is gonna be It's gonna be fairly simple. Um, we're just going to do, um, just standard white over black tux and animate the track and just kind of talk about a little bit more of, um, the animation time someone goto Oh, a create a black solid for our text in. Okay. And then, um, gonna bring our action title safe, Make sure we put our guides so that our Texas centered Pravit ends. There we go. Right. Center text. And what does? I'm gonna go in a different direction. I'm actually gonna put use a serif font because we've you san serif fonts this whole time. And we haven't done a single thing with Sarah Fonts. Administration Pro. You can see roots right again. I'm gonna work with, um, bringing in our a texture. Maybe this gritty texture. I didn't put it underneath and really dialed down the opacity on this, like, 25 skillet up. Actually bring the capacity slightly higher. All right, so we have it at, like, 66. Okay, so, with roots, how we're gonna there's a couple ways When we Last time when we we made a three d layer and we had a light were able to create this sort of radiant Well, you can also do that just by putting a mask on it. So making sure that this is selected, I'm just going to create, like, a mask just in the middle of it. And then I'm gonna press f and feather it, and you could see what that's done. It sort of created this one of, like, radiant kind of feel. Another way you could do this is just by putting a ramp on it as well. So that's one way of doing it. Another way is to, you know, show you guys this real quick. I just put this master none. Um, you can even go into effects and presets and going to greedy int ramp. You sure are layers selected and does the same thing, right? So just what? Whatever your choices, two different ways to do that. Um, next thing we're do, we're just gonna animate the tracking. And the tracking is we talked a little bit in our fundamentals course about and the fundamentals part of it about, um, letting and Koerting. Well, tracking is pretty much just animating the Koerting. So if you go to toggle down this type, you can see that you can go into enemy tracking and you can animate the tracking amount. So if we just go here, go to the way and bigger tracking, you can see what it's doing. It's pretty much animating the Koerting, right? So if I put up my action title safe, I want to make sure that I stay with entitle safe in this animation. But I'm gonna have a go all the way up exit all the way to the edge of title safe. Then I'm gonna put this like that and you can see this is sort of one of those, like, you know, you see it all the time, entitles you see it all the time in trailers. You see it all the time in lots of different graphics. And so this is just something that I wanted to show you guys. You can even modify the Grady. And if you want, if you wanted to be a little bit more prominent, you just press here and see you could see where to start and end. So If I bring this down, you can see the start and you can see the end, right? We'll have to do. If I want to swap them, we would swap them around. I can even just change color if I wanted to make this red or a dark red that make this sort of Ah, dark red as well. Another thing that we can do is we can kind of, you know, break this apart, Um, by using a mask like I talked about before. But this time we're going to use it toe break these roots, right? Say that That sort of wants to be split in the middle. You could just create a mask and you can see we're seeing the top. If we just duplicate this, press em and then subtract it, which is doing the opposite if those the bottom part. Right, So we have to do now is we could just move it up for I have them next up here. But this one you want to go back to subtract? I was undoing all that. This one we want toe take this one and we want toe. Move it up just a little bit. And if you press the hiding key, which is shift command H which hides all the displays, you can kind of see, we're like breaking apart the roots, shifting it, bring it down. And you just, you know, this is all about your I whatever looks good to you. Um, something odd does happen right here. I'm not quite sure what's causing that. Well, it's falling off like that, but it's probably has to do with my mask. I didn't really think we're gonna go that far. So what I can do is I can just extend my mask and also down here, I can do the same thing, then presenter, or if they feel too far apart, you can push him back in. And you could just keep tweaking it until, you know, you're, like, really happy with what you've made. I just kind of want to make it a little more subtle, and you can keep adding these masks onto it and having fun with it, and it kind of builds itself back afterwards. You know, something like that, I'm gonna go ahead and I'm going to render this out to render queue Perez for 22 just trust brother. Okay, so this is our next, um, text treatment. And with this one, what we've done is we work with the Serra Font, which are, which has these lines. And then what we did was we animated the tracking and we worked with color. We worked with the Great Ramp, and then we split the text apart using masks. And so this concludes this Ah type. Okay, so we've pretty much concluded this lesson. But there, too, there are two more type treatments and that we're going to discuss. And this is and this section is gonna be, um Hey, extra credit kind of section. It's not needed to complete this course. It's if you're If you're really serious and want to get more into plug ins, we're gonna talk about two particular plug ins that are very that come up all the time in aftereffects that comes up a lot in broadcasts. It comes up a lot with titles, and so and those to plug ins going to go into really next with a lot more. Next with, um, type nine and tough time 13. 05 Class Example 09 XTRA CREDIT: Okay, so we're onto our next text, and this section is actually like the extra credit section. So if you're following along with this, um, good for you, I think learning outside party plug ins a really important It's a pretty big part of aftereffects. Um, and it is something for if you're really serious motion designer, you're gonna wanna learn. Um, just a bunch of plug ins. Um, so these plug ins will need to be purchased. I have nothing to do with this company. I just use their plug ins. Ah, a lot in broadcast and it's under video copilot. One of them is gonna be element Element three D. It's, um, if you Google element three d video copilot, though talking through how to download it and all that stuff. And if you are following along, if you're just watching, that's fine. But if you want to follow along, you don't have the you don't want to purchase it. You could still follow along. Using the demo, you're gonna have a big red X put, um, it will give you a chance to learn the plug in and see if you want to purchase it or not. the second plug and we're going to talk about is also under video copilot. And that's gonna be optical flares and optical flares. I think more than element is used the most. I see it all the time. Any time you make a title, you just put some optical flaring on it and, you know pretty much be good. Okay, so we're gonna jump right into it. So I am actually in CS six for this one. And the reason for that is because I have all my plug in zone here, and I don't have a known 18. So I'm gonna be working on this on CS six. If you're in 18 or 17 or whatever, it shouldn't make a difference. If anything, it allow you to open this project of you have a much later version. All right, so I'm gonna make a new composition. Don't make this. I'm gonna make this five seconds. And I got re put in my settings because, um, it's from version. All right, so now I'm gonna, um, create a new text. I'm just gonna right something in here, so I'm gonna write a city. I'm gonna write New York. Someone like this big and then turn this transparency off so we can see. Okay, but my action title safe on. I'm just trying to make sure I center my type. Close. This gonna tablets over here? Okay, we got this not centered because you distracted by that. All right, so we have our type, right? And then Okay. So when you're adding element, you want to add element onto a solid tumors apple? Why, it doesn't really matter what the colors are. I'm just gonna make this black. It's OK. And then we're gonna do is that we're gonna have this solid selected. We're gonna todo effect and go to video copilot and put element on, and so nothing really happens. It just makes it transparent. Right? So the next thing we're gonna do is, um you talk a little bit about Element. Um, just really briefly, if you want to learn more about this plug and I highly recommend is going on their website , and there's a ton of, uh, lessons on that site. I'm only talking about this in regards to how I use element and how Ah, in broadcasts and with type. So that's all I'm really talking about. There's so many parameters to this that, um it's to your advantage to follow up on your own if you really are interested in this plug, and it's a great plug. And, um, it's a really fast way to make three D and yeah, okay, so if I toggle this down, you'll see that there's these parameters and them, and we're gonna talk about this later. But these other groups is the animation engine. We'll transform what we're going to talk about. His custom wears. Right. So we're gonna talk all this down, and you can see that there's customs texting, maps, texture maps. Right. So rooted use, um, Texan maps. And with the path where we're gonna make our text layer in New York, um, path layer one. Right. So by picking that, um, nothing happens still, but you're gonna want to click on scene set up. Okay. So once we go into scene, set up, this is what it appears, right? And still we see nothing. But in order to have that kind of show up really impress extreme. When we press extruded, we got our New York, um, you see that the extremely model shows up here. You see, the sea materials is here, and then this is our parameters. We were just hoggle us down, and there's one bevel, and if you move your mouse around, you can see the three d nous of it pretty cool. What's also pretty cool is that there's all these presets if you go into the materials right and basically what the material is. Um, if you know three d at all, it's, um you can apply a material to your object or your type. So if you go into pre sensors already, these pre generated bubbles and so you know, if I just drag this to here, it automatically creates this bevel, and I could. It'll be even more obvious if I drag that up and you can see the gold around it. And once you have this, you can kind of go through all these presets and literally like, just get some really great information that looks, you know, just really like some great. You have to make sure you drag it on all three of them or inward to replace it. You can see like you just get a really, really nice texture right away, so when a put this one on. And I'm sure you guys this section a little bit, right. So in this extrusion model, I bring this up. You see, it is on custom path one, which is what we picked in the other window, and then you can see bevel copies, right? So right now you can see that there's three. And if we bring this down to like two, you'll see that that's kind of gone and that if we even bring this down to one that it's just that and you could also see it up Here we bring that back that shiny the chrome, the glass 10 all comes back. You can also scale the level and you could also expand the path, I think, to see the expending of her. And down here, this is the test elation. Um, I usually don't do anything to it here. There's, like, other stuff you can do if we're gonna put a texture on it. I mean, all this stuff there's a lot to like look at, like as you play with reflection sometimes, But in this example, I'm just kind of quickly going through and just showing you type if you are interested in learning more about this plug in, um, you know, send me, let me know, and I'll make one that specifically geared towards this. So I'm gonna get the gold and put it on top and then the bevel skill. And one more thing that I like to use a lot is I like to go into the environment and you can see that there's like all these different textures. Right now, we're probably defaulted to not quite sure we're defaulted to probably studio blurred. But you can see that by changing these environments, it changes the texture the way that the environment that this type is living in this is probably like, basically what it is. It's just the end, the environment that this type is living in, and we can't see the environment. But it's what's reflecting. So this gold, it's really shiny, and so it's reflecting Whatever image is around it, I personally like using the blurred ones because, um, when you animate the the ones that aren't it, really it really kind of has a very sharper reflection. So I'm gonna fix studio warm, blurred, and then I'm gonna press OK and as reference. Okay, then you can see the element is applied to it. Turn off my New York underneath it. And, um and we have our tux, and it was pretty simple just to create this text. But if we want to animate it, this is where we want to go into the group. Warren, Group one, this is path one. And if we go down, we can see the rotation. If we move it around the necks, you can see that we have a bit of an animation and it's in three D. The one here. You enable the multi object which I just tackled topple down here it is a particle. Look. Um, without it, you move it all as a group, as we did before. But once you enable multi objects, then we go to rotate it. It's really cause it gives you all these parameters, right? Usually allows it to do it individually. You can do an interesting size, random, which is great, super useful. And when you combo these, they look really, really good. Good to see? No. And then you can see how individually this stuff can kind of come in. Um so really great. It's a really powerful plugged in. Yeah, So you can see that this individually now rotates, right? And, um, with this one, I kind of want to do it, Heidi. But you can kind of see if I go like this. And I put a key frame here. Then I go like couple frames in four frames and I press zero close my works patient of a little bit, and you can see how it's rotating. I'm actually gonna bring this out just a little bit doctors a little differently so you can see what we're getting right. It's like some pretty, like interesting animation. And then if we, you know, add like that random rotation to it, put a key frame and make it, like, really apparent of them pressed K and then put it to eggs era. You see that we've added a bit of a randomness to it. We could even offset these timings of depress you. And then we listen a little bit more just ever so subtly and then, ah, there's other things that you can play with, like the displace. And that is pretty much like that tracking. So if we want toe kind of given overall like displacement to it. We put it all the way here and then we want to put our like title safe up so that we stay with Entitle and this is with entitled, This is Action. So we take this back off little press end, we put it so you can see how that's working. I actually don't like this random rotation. It just feels a little bit like it doesn't really match this, like elegant gold that we've got going so actually didn't turn that off. All right, so the next thing we can do is we can randomly displace it. I won't be doing that, though. You could also scatter it so you can see what that's doing. Um, there's a lot of parameters here. I have a recommend playing with them, but for the purposes of what we're doing, I'm going to just show you guys soon Pretty basic stuff. But I don't want this toe have any scatter. The next thing I do want to talk about is a bit about the position. This, um you can move it the position around like so then you can move in and see she's kind of nice to have a swell. So that's well, I'm gonna add that perimeter to this repressed you. I wanted to like that was not my intention. So I put a key for Z. You then push it all the way back. Do you see them? All right, So and then we can add, like, unease. They will put this as unease out for a reason. Right? Your knees up and said yes. You can see, like, put this in a little bit closer. This a little bit closer as well to go faster. You can see that. That kind of looks pretty great, right? Next thing I'm gonna do is I am going Teoh at all levels. So I'm actually gonna go into here levels, and then you you know, you can make it brighter or darker. Choose the colors around. Just glad it pop a little bit more. OK, so that's our, um, tux for New York. And you can see like this is just sort of like a very beginner, um, part portion of element. It's just about using type and kind of. We talked a little bit briefly about the the ah parameters, but you can see how great it is. Um, it's just a really fast way to get some pretty decent three D. It's obviously not nearly as strong as a pure three D program, but its after effects. So it's pretty good. I'm gonna go ahead and render this out. Okay, so this is concludes text nine Example nine and on to our next text. 14. 05 Class Example 10 XTRA CREDIT: Okay, so we're gonna create another composition. She's gonna be called 10 our final class. Right? So we're gonna our final example. So we're gonna do the same thing again, we're gonna create text, and, um, this time I'm going to write acid, all right? And I'm actually gonna do this one with this. Sarah, how many use? Um, Feygin I get bored. I'm going to actually make the a little bit bigger. Just toe accent it and them. And then I'm gonna center it by using her action entitle safe. And so this is sort of like putting it together in a way, right? So that that it's so that we lined it up so this off God's off, make a solid bring our element in effect, you can look it up element. She was going to make sure I label this correctly and call it element. All right, so we're gonna go, and first thing we're gonna do is we're gonna go to our custom layers, toggle down Texan mats masks, and then we're gonna put our acid on it, and then we're gonna go to scene set up. We're gonna extrude, and we can see her asset going to go into presets going to go into her bubbles and see what kind of bubble we want to apply. And this is so like, this is so simple. Um, usually most of the stuff of this, it takes a while to to get it to look good. But you just get something that looks pretty decent right away and kind of so, like, you can play around with the different exclusions to see which one you really want to get. Um, I might go with a mirror kind of thing. Yeah, that's what I want, right? And so I'm like with me on this and I would the I want to kind of tweak this a little bit, but make my devil a little bit more might expand the path a little bit more good on here. I mean, you could do so much more with this stuff, but and, like, really control the a lot of these things, But I'm It's just a lot to talk about, and we know you go into some of these environments. They put it in a warehouse. One of things that I noticed is it looks really different sometimes when it's in here and you'll get it. You know, of great in here, and then it will look as good in aftereffects. So just morning, you guys about that, and you could just see how different the environment makes this look. Someone who have parking blurred press. OK, we have our matures off. We have our, um our element being applied. Now, the good thing about the this plug in and say you want to, like, change this around like, I want to make this bigger. Well, you could still do that. You can still affect the type. And it'll also effect the element. So it's really nice if you're, like, making changes. You're like, Oh, I need to changes surrounds. And now I gotta re center it. I don't have the centering still gonna work, but for sure, you can even change any time, anything about your type in and it'll update. So you see, like, how did that it just kind of Okay, so we have everything. If we want to animate it, we can. I'm actually gonna put the levels on it. First. SUNA go and grab my levels. I kind of want to make this pop a little bit more. It's a super fun. Like it looks It looks pretty great. Um, one more thing you can do is if you're going to render settings, you can change all this stuff around. You can add a Oh, um, if you're a three d person than you know what that is, it's ambient occlusion. There's some stuff with shadows. There's also all this stuff that you can just like change, who change other all the things around is like reflection, fog motion blurred. Just all this stuff that, like it's really a lot of great stuff. And just to make you know, since this is like the last class, I'm gonna add a texture and into this as well at this texture, which would drag it in to our projects. Listen, just put it it's just a brush. And so since this is black, I'm gonna invert it. What? I was going to use it as, like, a background texture. Dial it down a lot. 25. Shouldn't even I'll keep it. Someone turned off the invert. I'm gonna a white background so brushes black. Yeah, and then I'm gonna just dropped out of past city down to like 17. Maybe this with me, Like 17. All right. Just to give it a little bit of toucher that I'm gonna innovate this just really, um, quickly. And I'm gonna go into particle look mostly objects and turn that on, and then I'm going to go ahead and animated, okay? I'm just gonna animated him on the why. I'm gonna go into, like, two frames, put the why on just put it on at 90. Here, I was gonna press you. You can see like it's just a lot of information shows up, and I just don't have that real estate center so you can see how that's working. Um, And then the next thing of it is, you is I'm gonna introduce one more plug in, and this is video copilots optical flares. It's really I'm gonna And with both of these plugs, you need to make your own solid. So the press apple, why? And for us. Okay, um, actually do this over black because I usually always put it over black. And don't. Then, um I'm gonna write obstacle flares. Okay, So you see automatically when you turn it on. It just that you you have a flair, right? And so first thing I do, usually, as I put it on transparent, I also screen. And that's why I always like to have it in black, just in case it doesn't really do it, but it does a little bit, actually, I always just screaming. I don't Well, you know, and then you can go into options and then drive us in a little bit. And depending on what version you have, you should have all these presets where you can just lets you change it. And you can see just the Thanh of different presets that you can use and you can experiment with them, have a lot of fun. You can change this global color from like orange to, like, read press. Okay, You know, there's all you can hide. Or so these and you can really make them custom by going in into these parameters. Right? But for me, for now, I'm just showing you guys is so that you can see how this stuff works. And I'm looking for a certain flair and I don't know where it is, so I think that might be it. But we can keep looking. You could see like this is how my work flow is with this. I just kind of like, Look at each of these And if I know I need to change the color changing color, I love you for something that's got a bit of a horizontal line. There we go into the other one, and one other thing that's great about plug ins is that you know you. Once you have your fundamentals down, you can do a lot of creative things with them. That's why it's so important, like and that's why this is an extra credit is that it's best to get your fundamentals down first. Before you just kind of hop in and there are plug ins on everything and make it look as like, you know, is that gonna work? I don't think so. I just don't think those edges and you could turn those off, too. But, um, I'm just trying to throw something on pretty It's gonna yeah, having metal work. OK, so I I was able to move this around by just you know, they have this control right here. This controls of position, there's one more of these right, and this kind of controls like this line. So there's two positions in here, right? There's this position, which is X y. And then there's also the center position, and that's pretty much how I like animated. There's also the brightness in the scale which role anime as well. So I wanna press you on my element Just because I want this to kind of start right as this comes on, I'm gonna go back to my flair and you can also, like, just for labelling purposes, which I didn't do in the last little bit. You can copy this will see and then just press answer in principle be you can see what you're doing. Um, so I'm gonna animate my center in physician and my brightness Those are the three things. So if I press you and then I press my home key, I'm gonna move my center position. And if you want to see those controls, you just press that and don't let you. I'm going to move it all the way up, press comrade and move out even more, and then just to make sure it's not showing at all, I'm gonna put my brightness down to zero and then once I know it's up here that I'm gonna go all the way to the end and then zoom in and Lou this all the way. So as if it's drawing like, oh, like a horizontal line and I'm gonna have the brightness at 100 then towards the end, slim it go to zero. So it's not showing anymore. You can see it's just like a nice effect. And one more thing we could do with this is we can animate the center position. So this is the center position, and usually the rule of sun with it is that you know, the great way to do is if you have your center position and you're starting in its here, then you're gonna want to animate it so that the center position is all the way over here so that it has this nice sort of movement opposite movement of the of the actual position X y you just want to kind of inverse. Um, and that kind of creates this really cool like this. Nice, like crossing movement. So, Viper Center, you can see what this optical flair does. You know, it really like helps Odd that tiny bit. Um, I might actually I feel like it's a little too bright. So I might dial this down to like, or even I might bring this scale down a little bit. Feels kind of big. I think it's overpowering the acid. I'm just gonna see how it looks like. Yeah, I just wanted to be like this really subtle, nice, like addition. I really don't want it to overpower. All right, so that's our combo. Um, one. And I think this is pretty much good to go. I'm gonna go ahead and run there. This one out. Okay, so this is our final render of our text. Example Number 10. And in this example, we talked about Element. We went through the parameters again. Development. And then we also added one more, um, plug in, which is optical flares. And we talked about kind of going through and looking through the presets on how to pick a flare and briefly touched upon customizing it. We talked about animating the position and physician X y in the center position, and we talked about animating the brightness and adjusting the scale. In addition to this, we also kind of added, Ah, Tuck Scher, just to kind of give it a little bit of life in the background. And but also, as a part of, you know, this is sort of like the final review of all the things that we've discussed. So, yeah, that's pretty much, um, concludes our example for class 10 and this also could includes the entire course. So if you've made it all the way through and you've sat in gone through all the plug ins and you downloaded the demo and you got through this point, I mean, you know where we started from was from the beginning. And we've worked our way all the way up to something like this. So that's sort of ah, you know, a big step, a big amount of steps that we've kind of covered through this. And if you weren't able to get those plug ins but you were watching it through, it's totally fine. I mean, I think the reason why I put this as like, a bonuses, because it's something that, like you build yourself up towards and you only use plug ins when you feel like you've got your fundamentals down. So if this is something that you're like not really ready to purchase or download or get to that point. You know, you can always revisit this later in your careers, and you don't even I mean, this is under extra credit. So this is outside of the, um, actual program. So it's totally, um, fine if you weren't able to do text nine and 10. But if you were, um and you want to learn more about these plug ins and do more examples of it, let me know. Um, but hopefully you guys, you know, after you completing this class, you guys feel like you really have a good handle on doing type and after effects. We've covered so many different variety of type kind of samples from designed to animation to using textures using shapes. Do you been using outside party plug ins like, I hope that you will feel really confident in your type abilities in after effects and that you're able to kind of bring this outside of the course and into your careers. Six