Masterclass: Basics of Aftereffects | Feroz Quazi | Skillshare

Masterclass: Basics of Aftereffects

Feroz Quazi, Photography and Motion Graphics Artist

Masterclass: Basics of Aftereffects

Feroz Quazi, Photography and Motion Graphics Artist

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17 Lessons (1h 16m)
    • 1. Trailer - Why the basics matter

      0:41
    • 2. Starting a new AE project

      2:11
    • 3. Using the grid and layers

      3:53
    • 4. Position, Rotation, Scale & Anchor points

      5:27
    • 5. Basics of Keyframing

      9:50
    • 6. Using the Camera (with a Null)

      4:39
    • 7. Squash and Stretch (the basics)

      8:52
    • 8. Adding Smear Frames

      4:35
    • 9. The wiggle expression

      1:52
    • 10. The time expression

      5:20
    • 11. Adding Textured animation

      2:16
    • 12. Animating the city of Istanbul (with cat)

      0:45
    • 13. Animating the Letter B with Cat Paw

      5:46
    • 14. Revealing the city with basic keyframing

      6:20
    • 15. Creating and Animating the clouds

      6:16
    • 16. Adding Final Textures and Wrapping up

      6:47
    • 17. Final thoughts

      0:33
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About This Class

Hey everyone, I made a bare-bones intro to Aftereffects (finally). I've been planning to make this for some time now. After this I plan to increase the difficulty level and add more photography and VFX elements into Aftereffects. Feel free to ask me any questions via my website or right here on skillshare : )

Meet Your Teacher

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Feroz Quazi

Photography and Motion Graphics Artist

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I'm a cinematopher, motion graphics artist and small business owner with a studio based in Los Angeles, Caifornia. I'm here to share useful skills on motion, video and photography all together for you.

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Visit my full profile for more :) - Feroz Quazi

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Transcripts

1. Trailer - Why the basics matter: Everybody, I just made a masterclass on the basics of aftereffects. I've been meaning to make this for so long. And I cover the basics from Keyframing all the way to Photoshop a little bit of frame-by-frame, some textured animations, and also some expressions. I have been lucky enough to have worked with so many different brands. And there are three things that they always look for is versatility, the speed of your delivery, and the quality of your work and teaching into stuff in such a way that you get the foundation down. So you can create a portfolio that reflects your creativity. And then you can leap frog into the more advanced animations. So feel free to download the working files at the bottom disclose here project or you can start from scratch like I do. And without further ado, let's get started. I'll see you in class. 2. Starting a new AE project: Hey everyone. So like I mentioned in the intro, this is a very bare-bones introduction to After Effects. So if you know nothing about aftereffects, then this is a great place to start. So when you open aftereffects, I've just opened it, you're going to be hit with these two options. New composition, new composition from footage. So make sure you click on new composition 99% of the time. That's what you'll use. The name should be irrelevant to what you're working on. So for me it's going to be Skill Share Project underscore V1. Now, why do I do V1? Because it's a good habit to have in this will go under best practices because it tells your client, we're gonna go through a couple of versions. And this is what it starts off with. Now before we go into preset, basic advanced 3D render, just makes sure in three you render and you are in classic 3D advance. Make sure you leave it alone. And basic is fine. Hdtv 108024 is good, or 2997. Now, when I was working in Disney, 2907 was the way to go for animations. If you have footage involved, please check the frame rate of the footage and match that with your composition. Ok. So 1920 by 1080, usually that's the case, sometimes as Teddy by 1084 a square videos sometimes ten e by 1350, sometimes it's 1080 by 1924, a tall Instagram video or Snapchat. What we're gonna do is we're gonna go with 1920 by 1080. Okay? So just to do a quick review, we're going to name it something relevant. Hdtv 10801920 by 1080 square pixels is find the frame may turn dynein seven isn't good for animation. And what we're gonna do is always make sure its start time code is 0 and duration. Now, this part over here is the number of frames, like how many frames you want. You can go ten seconds and three frames or just ten seconds. So this is the number of seconds. Now, background color, we can choose what we want. I always go with black. It's very, very easy to use. So, so now that we've gone over the menu, we're going to go over this part of aftereffects, which is really important. So let's get into that, into the next class. 3. Using the grid and layers: Now are we going to do, is we're going to go over this little part over here. Now the reason I want to go over that is because this black over here is actually not black. It's transparent. So if you come over here and you click on toggled transparency grid, this tells you that this is actually transparent, does nothing here. This is just a color to show you. Okay, this is blink. Now, how do we actually put a color here? We go into layer, new solid or Command or Control Y. So we're going to start getting use to hotkeys here or shortcuts Command y. And this is going to be background, so we're gonna call it BG, makes sure that it is of Comp Size. And then let's press ok. So now, oh, and make sure that when you do that, you pick a color of your choice. Okay, I'm gonna choose like a royal blue, and I'm going to go with that. So now as you can tell, we have a layer over here, number one, BG, which is our background. And this is a 10 second long composition where the distance between each second is 29.97 frames. Okay? So things are looking pretty good. We have a layer here now. Now if you go back over here to toggle transparency grid, we can see it is not transparent anymore. Let's go over this real quick. So these three are not super important. I don't usually use it so much. And this is your Zoom command minus and plus. This helps you kind of see what's going on, but what really helps? He was holding space. Okay. So whole space and you can see what's coming in and out of your composition. Ok, let's click over here. This is really important. Tidal action safe. This is the margins that you want to respect because you don't want your stuff to go outside here unless you're breaking the rules in some way. Ok, so this tells you what a center frame as well, proportional grids is what I use a lot because if I have a layer like let's say I come up over here and I draw, you know, like let's say I draw a shape and I want to make sure that it is centered. I will go here and I will zoom in with command plus and minus and just kinda center it and then come back. And then I can turn off my proportionate grid. And there I have something right in the center. So that's how we're able to do this. This is why this menu is really important. This we will go over if you have a mask, you can turn it on and off. And this is your resolution. This is just to make sure you can only see a part of your render. So that's helpful. And this is your transparency, your obvious keeps us are active camera will go over cameras as well. But yeah, this is basically the idea. I don't really touch this exposure tab. This is not really something I want to mess with. The 0 is just fine, okay? And we won't go with final quality. This is always, always helpful, okay? Those are the main aspects of this part of the menu that we need to know real quick. I'm going to cover this part over here. If you see your layers, like for example, I have a shape layer here on top of my background. I'll take, I'll take the shape blur out by pressing backspace. And now I can see the different blending Modes of my layers. Okay? Now if you don't see it, this over here is super handy. This will reveal what is going on. Okay, so if you don't see that stuff, just remember you can come to this corner and reveal all this information. Okay? So this is a really, really important of the layer. Okay, so just a quick review. We went over all of this stuff over here. The resolution control, transparency, active camera. Always make sure it's actually camera. And always make sure that this is at final quality. And these are your safety margins and your grids and guides. And this really helps you kind of control where and how you want to position all of your, all the elements of recomposition. Okay, so let's jump into the next lesson and let's go over some layers. 4. Position, Rotation, Scale & Anchor points: So we made this background layer, which is fantastic, but this isn't very exciting and there's nothing really going on. And as you can see, when you'd kind of drag this around, you can see that, okay, this is a nice thing and it is a two-dimensional layer at this moment. So let's go ahead and let's press pee on our layer that will reveal the position of your layer. Like where is it in this grid over here? So if you come here and you come here, you will notice that if I put 00, my layer is now up in this corner with the center of this layer being at this very, very aid. So now we know that this very corner is 0 comma 0, that's the x 0 and y 0. But normally if you're working in this size 1960 by 540 should be just find a center, everything. Okay. So one thing I really want to go over with you is this, you've got, you've got these layers, which is exciting, but nobody cares, it's not that cold. So let's do this. Let's go to text, and let's click over here. And let's choose a font that's a really popular and easy to read. Let's go with Helvetica. And what's a, and let's choose a color that is contrasting to blue on the color wheel. I'm gonna choose like a, like a light orange ish. Every object, every thing that you put in After Effects has an anchor point. And what is an anchor point is this thing over here. And I'm gonna teach you shortcut is really handy. Command option home. This will bring the anchor point of your subject or any layer into the center. So because that's in the center and I've got my title safe on or I've got my proportional grate on. I can put this right in the middle and I can be very accurate. So that right there is technically the center of the letter a. Now. And let's come down here. And you see these eyes. You can shut this off to kind of see only, you only want to see the layers you're interested in. So I'm going to turn off my a. Now I'm gonna go into my background layer. And I'm going to make sure there are press Command Option home. You can press Y and you can move this around. Now, why is this important? Is because if you press R, So these are the, these are really, really important shortcuts, P, S and R. P represents position as represents scale and our represents rotation. So when you hit S, let's say, and you increase the size, you can see that the size increases relative to the position of the anchor point. It's like, oh, it increases from there. So if I press Y and then come back here. So V is for the mouse, Y is for the anchor point. So if I come here and I increase the scale aid increases from there. So this is really handy. Was R plus rotate this, you can see it rotates from that position. Let's come back here. Let's move the, Let's Move their rotation there and you see it rotates from their Cool. So let's bring this back. Let's scale this down back to 100, which is the default size. And then let's press Command Option home to bring the anchor point right in the center. Let's press P And let's make it 960 by 540. Now we are centered. Anchor point is right in the center. Let's do that for the letter. Lets go to a and let's press S for scale. Let's increase the size and press R. And now what happens is you can rotate this, which is fine. You can press S for scale. You can scale it up in hell. Okay? You can press Y and bring this to this corner. And you can rotate this relative to the position of the anchor point there. Or you can move it here. And it will move here. Okay? Now, I'm gonna go over a few things as to why this is really, really important. But as you can see, it will help you kind of get creative because right now if I animate this, it looks like it's just kind of screen, right? So there's a lot of creative things you can do this. Now remember, if you want to bring the anchor point right in the center, Command Option home or control optional. And then let's press R for the rotation. And let's press 0. And we're back in the original position on p 940 by 560 and we're right in the middle. So let's press S, Let's do this. Okay? So I just went over Position Rotation scale. So P, S, are these really help? Okay, and if you come down to this menu, you can actually see all of these options available to you. Now the one thing we didn't go over, capacity if you want to control policies is really important, which is T, which represents transparency. So if you do this, it will just fade in and out. Okay? Now, in the next lesson, we're going to go over taking these aspects, anchor point, position, scalability, capacity. And we're going to use it to animate this letter. Okay, so I'll see you in the next lesson. 5. Basics of Keyframing: All right, okay, so I hope this stuff is making a little bit of sense because this stuff is really basic, but it's super, super important. Now if you want to control the size of your letter, you can obviously go pressing S and scale it up now. Or you can come here into the character tab and I'm just gonna pull this down over here. And you can control the size of the text. But as you could see, the sizes text changes relative to this bottom part of the letter. It does not change according to the anchor points are. So let's keep that in mind. And these aspects over here obviously help us with changing different aspects. Our a letter, ok, so this is really handy if you want to go all caps, you can just choose that. And so you know, I'll save you some time. But for now, we're just going to stick to this a and I'm just gonna make it, I'm just going to choose this optional here, make it a faux bold and speak a little bit thicker. And now here's the thing. What we're gonna do is we're going to come here and we're just going to bring this menu downing. We're going to go into transform. Now this is obviously like the basic parameters of your layers, anchor point, position, scaled rotation capacity. So what we're gonna do, we're gonna do very simple animation. I'm gonna move this up just a bit. Okay? And I'm going to press p for a position because I just want to see the position keyframe. I, I could do this and see all of them, but not interested, just wanna see p. Now I'm going to click on the stopwatch, share this stop, which is really important. This will say to aftereffects, let's start the position of a over here in this space. And at this time, which is at four frames, let's move forward a down to two seconds. And what we're gonna do is we're going to bring this down, brings down, bring this down, bring this down. And we're going to come right at the bottom. Now as you can see, a line formed here, okay, that just says, well, we move from this position to this position. This is called Keyframing, okay? This is one key frame down to the other. But as you can see, it looks super lame because it is just moving like that, right? So let's bring it back. Let's bring this a little bit closer. Let's bring these keyframes closer so that changes the speed. We're just gonna do a quick and bounce of this letter. Okay, so we're gonna do is we're gonna go up backup. So make sure you choose the y-coordinates and go backup. Then move forward in time again and then come back down. Ok. Now remember, we came up to here. So let's go back over here. Let's choose our rulers and guides. Actually just rulers as fine. Or you can press command or a control arm. And make sure you have rulers selected. And we will go up and we will bring this ruler here. So remember, when we bounced the first time we came up to this height over here, right? Now at bounced again. So now it will obviously not be as that high again, but we wanna make sure it's like maybe over there. So we're gonna bring that here. We're gonna come back and we're going to bounce it one more time. Okay, make sure you move the y coordinate and we're going to bring it back up. So this time we don't want it to go the same height. Maybe a little bit lower. And then we'll come back and we will just drop them. Ok. So as you can see, we kind of made this and press, we can put, you can press space bar just to see how this looks now and also working in full resolution, you can come back, come over here, this is your preview tab, very, very important. And what we can see here is we've got resolution at quarter, so let's make that fault. This helps you see what's going on. So you have this Play button and all that now make sure you have work area selected and you have current time, okay? Current time is very important. You can start the animation here or here, okay? It gets a little bit confusing if it's always at star Grange, make sure it's on current time. So we are balancing the staying and clearly it doesn't look very good. So we're going to highlight all these keyframes. You're gonna right-click. You can get a keyframe assistant, very important, easy, ease. Or if you have a keyboard shortcut F9, this makes it a little bit better. It doesn't really make it that much better. But let's do this. Let's make this a little faster. Let's change this. Let's change this. Let's bring this a little bit quicker, a little bit quicker and all that. Okay, So now it doesn't look very good. So what we're gonna do is we're gonna highlight these keyframes. We're gonna go into this, the graph editor, very, very important, super basic bot, extremely essential. And you can come over here and we can start to zoom in this right? Now. This is what our graph looks like. This is what the balance looks like. At this moment, the position is changing at these speeds, which is fine. But we wanted to behave more like gravity, right? So has gravity behave in the beginning? It like slowly picks up speed, right? So it's like falling like that. So that's what we do. We just grab this point and then we move it this way. So we want it to gradually increase its speed as it falls towards the earth. So we wanna kinda mimic Earth's gravity. Well, we're gonna do with this point. We're going to move this here. So it looks like it spikes up, reaches superfast speed at the very bottom, and then it bounces back up immediately, right? Because it has so much energy from bouncing. So what we're gonna do is instead of this curve, we're going to move this here. So now we've got this action going on. C, It wasn't that bad. We just wanna make sure we mimic how gravity behaves on earth. Again. Now we're back in the air, right? So it's like slow. So we're going to slowly pick up speed again and we're going to hit the ground again. So we're going to move this, this way. And we're just going to repeat this graph again. Just make sure it spikes up again. And then here we move this because it bounces right back up and then it does a final, a final bounce, right? So this is what a gravity balance looks like. So now we've got this action going on, okay? Now, I know you can still go back in here and tweak it a little bit more. Maybe you want to tiny little bounce here. You want to come back here, go back into the graph editor and be like, oh OK, I see what's going on. I'm just going to Increase this over here because as bounces up and we're just going to mimic gravity. And that's, that's what you wanna do. That's how you want to do it. And you can adjust it however you like. This is your world. Okay? So this is basic key framing in a nutshell. So I kind of went over, okay, if you press Control and highlight all keyframes or command, you're gonna go back to square keyframes. Now, these keyframes look boring unless you're doing some 8-bit animation. So it clearly looks query, right? There's no gradual movement here. It just looks very robotic. And that's why if I press Undo and I go back to my graph editor, remember over here, this is what a gravity graph looks like. Ok. Now you can start getting a little more creative. You can press R, Remember for the rotation, right? And we could keyframe this and be like, okay, let's press you another very important shortcut procedure. And when this bounces, We can have it spin. And we can be like OK, I, when it comes back up here and over here, and it comes back up here. So we set a keyframe here as soon as it bounced. And in here we can do like a full rotation. Let's just rotate all the way to the left, right. And let's highlight this keyframe. Let's come back here, right-click and easy, ease and then highlight and move this graph this way so that it's like a gradual movement. And then let's press play and like that. But that's not very realistic, right? Because it didn't move with the momentum of the bounce. So let's move this here. Let's do it this way. And there you have it. Boom, boom, boom. So now your balance has a little bit more character. It looks a bit more interesting and it's fun. So let's move this a little bit more so that it's not, so, it's not so jag, it is just a little bit more gradual and all of that. Okay, cool. And you can, you can even get more creative and start to do your own bouncy animations, right? And then you can even move it like this way, and then it bounces this way. And then it just kinda comes back here. Okay, boom, boom, boom, boom. And you can, you can get creative. You can do whatever you feel like. Again, this is your world. So having said that, I know we covered quite a bit in this one. But I believe you, if you can master Keyframing, you're pretty much on your way. This is very, very, very important in After Effects. Okay, in the next lesson, I'm going to cover a little bit of 3D, sorry, 2.5. d, which is in After Effects. And this should help you kind of understand the camera in After Effects. So let's go over that in the next lesson. 6. Using the Camera (with a Null): So in the last lesson, what we did was we just kind of did this simple bounce animation, which is fun. And if this is your first time animating, congratulations, you've done great so far. This is actually not very easy to do. But if you follow these basics, you're gonna be fine. Highlighted key frames going, graph editor, adjust the speed's. Okay. Well we're gonna do now is we're going to move this letter in 3D space, or at least like 2.5. d space. Now what do I mean by this? What we're gonna do is we're going to go into layer a new null object. Now what isn't no object? No object is like literally it's not going to render when you export this file, it's just an empty invisible layer. It helps you, I would say, you know, use it as a reference point for another layer. So what do I mean by that? Well, let's take a look. So we animated this a, right? And now we have this null object on top, but let's just ignore that for now. So we animated this a dropping down and bouncing. Well we can do, we'll take this null and we're gonna gonna go nail layer new camera. Okay? Now make sure you have camera one selected and if you can go to 35, But I say custom is just fine and let's press OK. And you'll see this cameras and lines do not effect. That's okay. Just press OK. What will do is, this is a very important part of aftereffects is using the pickup. So we're gonna go into the pick whip, okay, and we're going to choose the null objects. So basically this camera is attached to this null. So if we move this null by pressing p, we're going to be moving this now, nothing moves. And there's a reason for that is because it's for shift a and let's control the layers. Let's go into the a over here. And let's, you see this part over here. There's 3D box. This makes a, a three layer. Ok. So let's go into the null suppress p. Now remember, the camera is connected to the null over here. So now if you move this, now we're moving our letter. Okay? Now, the idea here is that we want to move this letter, but we've already animated the a, but how can we move in space? So what we'll do is we'll also make the null object a 3D layer. And then what we can do is move the Z coordinate up and down. And you can see we go further away from a or closer to a, right. So let's press a and we've got this cool than a balance, but it's happening in a distance. So now let's do this. Let's press Command D to duplicate layer, very important short-cut. And let's press p. Now makes sure that all of these keyframes are highlighted. And then let's move the x coordinate. Ok, and unless shift this a little bit, and let's highlight this endless present B. So now we've got a and B. So let's press play now. And we've got a and B, both kind of bouncing in three D space because you've got a camera. Remember, that is parent, that is the child of a null. So the now the null object is the parent of the camera. And if we move this null object, we move everything. Okay? So this is super, super important to understand, is having a null attached to a camera. So a camera usually helps you move things around in 3D space. And it just makes life really easy because you don't have to move these letters like, like this, because now you're keyframes are all like kinda messed up. Okay? So this usually helps. I'm going to extend this B layer a little bit. And as you can see, the poetry, and it's looking fine. Ok. So this is basically the null and the camera is moving this in 3D space, making sure it's 3D, making sure your letters or Australian notice I did not make the background 3D because if I did, it will move the background as well because the camera is now affecting all the 3D layers. So I'm going to turn that off and my background is two-dimensional. So that is something that helps put things together in your composition. 7. Squash and Stretch (the basics): So we went over in the last lesson, animating these letters, bouncing, which is fantastic. And then we put in a null object and a camera. Remember, we parented the camera to the null object and make sure that the null object is 3D as well as all of your letters. And this way you can move it in Z space. Now, here's a pro tip. If you want to see how it looks, come into active camera and custom view one here. If you move this camera and Z space, you can actually see this camera, you know, seeing how it's moving in Z space. You could actually see where it's moving relative to the subject in your composition, in this case being these letters. So you can kind of adjust these and move things around. So this is really, really helpful. Okay, so now what we're gonna do is I'm going to shut off these layers, just the eyes of these letters. And I'm going to come up over here in my ellipse tool, and then I'm going to turn on my proportional grid. And I'm going to make a perfect circle with colon command and shift or control in ships and making a perfect sphere here, I'm going to press S for scale. I'm gonna control that. Now. We're going to try a different method here. So let's go into layer knew no object. Now this null object, I'm going to call this ball control. And I'm gonna call my Shape Layer ball. I'm gonna come back into my null object. I'm going to press V to be met the mouse. And I'm going to bring the anchor point in the center. So Command Option home and I'm gonna bring it right in the middle. And then what I'm gonna do, I'm just going to zoom out here. And I'm going to take this ball there, make it a 3D layer, make this novel 3D layer. I'm going to take this ball, pick, whip it to the null. Ok. So I'm going to press S On the null. And now every time I change any property on this null, it affects the ball just because of the parent-child link here. Okay. I'm going to bring this no object up here a little bit at a height. And I'm going to come up here and choose rounded rectangle tool. And I'm going to create, oops, just always make sure you do not have a layer selected here it starts creating a mask. So we'll go over that in a bit as well. So let's now make a rounded rectangle here. And this is going to be my ground. And press command option homes to make sure the anchor point is right in the middle. And I'm going to turn off my proportional grid. So now or we're looking at this and we're going, okay, I got this ball, I have this ground and had this null. So let's bring it ball control and ball up here. And we'll make this not this ground layer lipid bigger as well and make it 3D. So momentum is down. Okay? I'm going to take this ball, Kind of like scale it down a bit and I'm going to start animating the bounce. Okay, so we're gonna keep framed position. Over here, keyframe that position and then move down the timeline and we're going to start dancing it, but we're using the knob. When are you using the ball? Okay? So we have the surface of this thing. Move forward and timeline comeback of maybe little bit three-quarters with height, comeback down, bounce it again. Move forward a little bit less time though here, and then come back our bounds that again, come back up bounds and one more time. There you go. And then one last tiny little bounce. And there you go. Okay, So this obviously doesn't look very good at all. So what we do is we grab all these keyframes, right-click to reframe keyframe assistant ys. Ys, we go into the graph editor and this is where we start adjusting our gravity bounce. So remember, we had a very spiky intro because gravity pulls a ball and it bounces. So we're going to repeat this pattern again and again, just like that. So again comes back and then it bounces again. I'm always trying to make sure the peaks are not too dramatic. Just cant make sure it's a little bit tempered. And then this one moves this way. And this way. There you go. Cool. So this is where we're at now. So when we balance this, I mean, we, we've already covered this bound. So now what we're gonna do is we're going to cover the squash and stretch. But I purposely chose to animate this with the null. Because what you can do now is you can just focus on the scale or the stretching aspect on the ball. So it's kinda separates two movements for you. And I'll tell you there's also other advantages to using this method, because now you have two ways of controlling this ball, which is super handy. So now if I press p, I can move this ball here and it bounces over there. So you can kind of retain these properties even though you've move it around. So I think having a null, this is, this is a fantastic way of having more control. Let's come into the scale of this. So as we approach, So let's move this keyframe over here. So as we approach, oh, first we're gonna do is we're unlinked as chain. So that way all the stretching properties can be separated. So we are now elongating this ball because it's like stretching as it's falling and then boom right here, it squishes a bit. So because it's squishes, what we're gonna do is we're just going to bring this node down here. Okay? So now we've got some, now we've got a little bit of that elasticity, which is what I wanted to brain. And as we increase, as we come back over here AT elongates just a bit, but then it comes back to its original form. Ok. So let's put back the original size back here. Okay. Now, I wouldn't, I actually made a mistake here. I will not elongated just right away. Here would just kinda go back to its original form. And then as it's falling, we can just along it just a bit. And then here squishes one more time and bring it back down. Just like that, and then goes back to its original form. So I'm gonna grab this keyframe and now it's back in its original form. And then as it's falling one more time, we're just going to stretch it just a bit. And then here you go. Squeezes Just a bit, bring this down and back in its original form here. And then just bounces one more time in here. And we can do is to stretch it just a bit and squish it just a bit over here. And as you could tell us a little bit precision involved, but it definitely helps. It definitely goes a long way. Here. We're back to business. We're back in the original form, right at this height, and then it's up to you if you want to elongate it here, I'm just gonna do a tiny little one and I'm going to bring it down just a bit. But what you can do is you can have some fun with this because it has finished bouncing. We could still have it just kind of do this where it is kind of stretches in and out because it is elastic ego. Ok. So now what we've done here is we've introduced a little bit of squash and stretch. And you guys can just go ahead and have fun with this. And one thing I just want to show you, this is kind of a shortcut is you can come over here, click on this link over here you can see there's a stretch option here. You can stretch out these keyframes just by this simple drag over here. Okay, so what I did was I actually held all these three layers and kept that kept these two together. Okay, so I hope this helps with this question stretch aspect of the bouncing ball. It just adds a little bit more fun to you and a little bit of character to your work. Now what we're gonna do is we're going to get into a little bit of texture stuff just to make it look nice and fun and a little bit of smears. So, yeah, I'll see you in the next lesson. 8. Adding Smear Frames: So in this class, what we're gonna do is we're going to add some smear frames on this bouncing ball. And we can already see that it's looking pretty good and elastic, but we're gonna step it up one more level. I'm going to hop in a Photoshop over here real quick. I'm gonna play you this quick animation that I made up this blob. And I used a guide over here so I could really see the trajectory of my smear frames. So smears really help you exaggerate the movement a little bit. So for example, this little blob or here is actually coming from this tail end of this peer over here. And then as we move along each frame, it picks up its own trajectory. So it's just kind of another intuitive exercise for us to be a part of. So let's head back into After Effects and let's take a look at what we can do here. So we can see that it looks pretty decent here. So we're gonna do, is, we're going to go into this pen tool here. In what I'm gonna do is I'm going to start drawing a shape over here, like I'm going to draw pin over here and another here. And I'm gonna make sure that I have a pretty fixed rope on this. I'm going to go into the properties in the contents shape. And I'm going to go into stroke one. And then I'm gonna go into stroke Line Cap. And I'm going to choose round cap. So here we've got Iran cap on the stroke. So just so it looks aesthetically appealing as kind of similar to what we have going on. I'm going to use this eyedropper tool and pick this color over here. Just so we know that these are smears. They're not supposed to be the most dominant part of this effect, which is supposed to accentuate what's happening. I'm going to press Control or Command Option home disliking the anchor point up in there. Now, I'm gonna go into the path here and we'll keyframe thus path starting here, I'm gonna press option bracket, just so I know that this path starts here. So we have this keyframe here, and this is the path keyframe. So as this ball bounces, what I'm gonna do is I'm going to press V and I'm going to extend this smear. Ok, I'm going to bring it here. I'm going to keep going. And by the time it reaches here, I'm just going to kind of pull this down and I'm going to follow the trajectory of where it's going. So even if it's rough, it's OK. And then what I'm gonna do is I'm gonna make sure that it does not intersect with the ball. But it is kind of helps you understand like, oh OK, this thing is following the ball. I'm gonna present G just so I can pick this part of the smear, makes sure that I am following the trajectory. Okay. A go. And then right at this point, what I'm gonna do is I'm just going to press g again. And we're going to minimize this smear here. Ok, so as you can see, it just kinda does this. But we wanna make sure that it also falls down with the ball. Okay? So as you can see that this, this last part isn't quite accurate. So we're just going to finish the smear here and we're going to cut it off right there. Okay, so if we watch this, it just kind of follows it, which is exactly what we need. Okay? What we're gonna do is we're gonna press Command D, p and position. And then I'm just going to rotate it this way. And I'm going to press R and which is going to rotate it like this. Okay? So I'm just going to rotate it properly. And then I'm going to press Command D again. And I'm going to move the position, so it's here. And then I'm just going to scale this down so it's not so prominent. And then I'm just going to offset these. So it just looks like it is following. So as you can see, it just kind of accentuates this movement and can helps you see what's going on. Now what we can do is just kinda press S on these and then you can move it up. And you can kind of move these around just so you can kind of see the effect that they're having on this ball, right? And this is kind of an interesting effect because it will help you accentuate what's already happening. 9. The wiggle expression: So in this video I want to go over one expression that is super common and that's the wiggle expression. So what I mean by this is when you come into the position, you're going to hold Alt and you're gonna click on the stopwatch. And you're gonna type in wiggle. And if you have the latest version of aftereffects, you already see there's pop-ups, they're gonna hit wiggle parentheses and you're gonna go one comma ten. Okay? So when you enter that expression, what happens is you can see this ball is kinda moving just a bit. Now, what is really happening here is this is a JavaScript towed aftereffects uses JavaScript. So if you wanted to rent kinda randomly move within an area of ten pixels around this position, then that's what is going to end up doing. So for example, what this means is it will move at a rate of one pixel per second in an area that is in a range of ten pixels around the current position. So for example, if you've got one comma 100, then it will move at a rate of one pixel per second and in a range of 100 pixels around it. So if we go, for example, 12 comma one. So there's a way that I remember this is that if the first number is really, really, really big, like 129, it's going to move really fast. So for example, if the second number is really small, like five, it's going to move with that. Okay? But if the second number is really, really big, like 665, then it's going to move the light crazy. Okay. So normally if you just wanted to wiggle, like if you're creating an animation where if something is underwater or something, you just go one comma ten or one comma 12. So I just wanted to go over the wiggle expression. This is really important. And we're going to cover this in little more detail after. 10. The time expression: Okay, so now that we've covered the wiggle expression in the last lesson, we're gonna go ahead and make this Turkish I bead animation and just kinda blobs around like this. And it's very simple, but I think this is going to then evolve into something more after. But I think it's really cool animation for us to learn because it's going to have, we're going to apply these principles into more advanced animation. So I am going to start a new conversation with Command or Control N, and we call this IV blob underscore V1. So remember it's a good practice to have in V1 and you know what, let's just make it 2997 and let's press OK. Now I'm going to pull in my reference over here. And I'm just going to scale this down. I'm going to press command y or control y. And I'm going to pick a background as like a little bit pale and not too overpowering. So let's just bring this background layer down here and let's call this BG. And now we have not animated anything using solid layers or mask. So let's go ahead and do that. Let's press command y. Let's take the eye dropper tool and let's choose this. Let's press OK. And now come up over here into the Ellipse tool. And while you have this layer selected, we're just going to pick the center. And then we're going to hold Control or Command Shift and make a perfect circle Now that we've already made this. And the anchor point is right in the center. Let's first command D. And then let's press S, and let's make this smaller. Now let's press Command Shift Y or control ship lie. And let's make this a white. So we're just going ahead and copying this design. Let's press Command D or controlled, Control-V. And let's make this a little bit smaller and suppress Command Shift Y or control shift why? And then let's choose a, this layer of yours like a blue-green Tokyo turquoise color. And then let's press Command D Again, scale this down. This is the last part Command Shift Y or controllership lie and let's press the center. So now that we've made this is just too perfect looking. So what we'll do is we don't need this anymore at this reference. So we're just gonna work with this. What I'm gonna do is actually first convention y in this, make this outside a little bit, little bit darker. Now, you can go ahead and make this however, whatever colors you feel like. But how are we going to animate this blob? We can take the mask and start like doing this, but that will get complicated because you have to now mask, you have keyframe, this ns, and it just gets crazy. But you can do that if you want, if you want that precision or what we'll do is we'll come into window and we're going to go into effect, effects and presets over here. Okay? We're going to bring this over here so we can see what's going on. And here we're gonna type in turbulent displays. And we're just going to bring this into this layer over here. So as you can see, it just kind of blobs it out, which is fine. So I'm going to turn this into I'm going to take the amount just kinda lower. The size is fine. And then this is where we're going to learn a new expression. We're going to go into the evolution of this and press, and I'll click on the stopwatch revolution. We're gonna type in time, times, let's say 100. Okay? And then you can decide how you want to change it after if you, if you make it really, really fast, like you wanna make it really way of asking the time times 100. And then it just kinda goes crazy. But you can adjust the amount like this or the size and change it however you like. But I'm gonna keep this looking like this. I'm gonna keep this at 20. And we keep the size of 110. And the time I'm going to make it 100. Now, I'm quite happy with this. This is very, very cool. And then what I'm gonna do is which can copy this command C or control C, And then which cannot paste it here. I'm going to paste it here. I'm going to paste it here. Okay, so now we've kind of got this animation, but as you can see, it's looking exactly the same. So how do we change this is we're going to come here into evolution options. Change the random seed to any number you like. Come here. Evolution options, random seed, anything you like, it just changes the cycle and then that way you have more variety as to what is going on. Okay? So we can press the UU double tap you and you can make this a little bit faster with time times 150. You can make this time times when ET. And then go head and add your little flavor to these. You can adjust these speeds to hover you feel is cool with you. Okay. 11. Adding Textured animation: Last step, what I'm gonna do is I'm going to teach you how to add a little bit of texture to this so that you can make an animation look a little bit more. Interestingly, press command y. When it call this, we will call this texture. And I'm gonna go over here and we're going to type in fractal noise over here, noise and grain. And we're gonna go into, from basic, we can go into swirly. And then here we're gonna take the contrast up to 250. I'm going to take the brightness up to like 45 or 43, come into evolution options. We're gonna go into random seed. All Click on This time. I'm going to write time times ten, let's just say. And that will give you a little bit of texture animation into what you're doing. I think this technique is really fun. And then what we're gonna do is we're going to add a new layer. And we'll call this noise color. And this will give you control or, or color you want to make your textures. So let's bring this layer below. And then we need to track map. And we're going to go luma inverted. Okay? Now what this has done is basically it is taking any white area in this texture and then making a transparent so anything that's dark is going to appear with luma, invert with luma Matt. And I mean, that's why it will appear anything has dark will be transparent. So this is going to be helpful. So luma inverted, mad really helps, but a blue texture may not help. So let's come into, actually did a really fascinating slowdown. Choose the noise Color, press Command, Shift Y, and then change the color of the texture you want. So we'll choose something dark because the background is white. And press OK. And that should add some texture to or you're doing, you can even go into the texture and then go into transform, and then scale is up. So if you don't want to see too much of it, or if you want to see less of it, just increase the brightness and you should be set to go. Okay, so this is our IBD animation, and now we'll move on to something a little more interesting. 12. Animating the city of Istanbul (with cat): Okay, I'm excited for this one because this is how we're going to wrap everything up with everything we've learned. So far. We've got to gravity drop on top of the Galata tower. We've got the cat hitting the b. Now, the thing is we're not going to go over frame by frame animation just yet on how I animated this cat's tail. We can go over this and another class, but I will provide you with his cat. If you wanna go ahead and do the assignment. But it hits the b over here, which is fine. That's pretty simple stuff. And we're going to animate this, these buildings of Istanbul show up and we're going to give these clouds. And at some of the texture animation on top, I think this is a great way to wrap this one up. So let's get started. 13. Animating the Letter B with Cat Paw: Okay, so now what we're gonna do is we're gonna go into composition, new composition. And we're going to call this is the amble comp underscore V1 192010802997 actually accept twin island seven. Let's go with 24 Just because there's this cat here. And I just want to keep it in fewer number of frames in this one. Ok, let's make a new solid wood command y. And we're going to go with this color DCD forces. You can choose whichever you feel as comfortable. Ok, I made a mistake over here because I didn't look at the complex. Let's press Command Shift Y, and let's make it Comp Size. Okay? Now what we're gonna do is we're going to type in the letters Istanbul. So I am going to press Command T and go ahead and I'm going to write is in volt. Now the font that I'm using here is branded and grotesque, thin. And my size here is about close to 200. So I'm gonna keep it around 100. And I'm going to bring that down and press V So I can choose my mouse, I can choose this, so I can move this around. I'm going to go into the proportional grid and I'm going to bring this right in the center. Now, remember, the way we do this is to zoom in. And we're gonna press Command Option home and we're gonna bring the anchor point of stumble in the center is just a good habit to have. You never know, you might have to enemy that at some point. Now, we had this b that the cap keeps hitting. So what we're gonna do is we're going to command D This layers so that we have a duplicate layer of Istanbul. And I'm just going to remove everything here except for the B. And I'm rest V just to select it. And I'm gonna bring this here. So we know that we want this b to be separated because we want to animate it separately from this gamble. So let's come over here and let's choose the mass tool. Mask out the b. Okay, make sure when you, when you're masking this layer here is table is selected. Okay? If you do not, it will create a shape. And we don't want to say we want to make a mask. So make sure you select, assemble, go into the rectangle tool, and last choose the B. Ok, we're going to press M to rebuild mass properties over here. And then we're just going to click on subtract. Or I would just want to make a quick and press invert. Okay? Now what I'm gonna do is I'm just going to an inverted for a second because I want to make sure that this be overlaps, this be perfectly, okay. And there it is. That looks pretty good. So now what I'm gonna do is I'm going to come into this layer and I'm just going to invert it. So now we have a new B over here, right? Undo that, and go right into that position. Now just to be very careful, I'm going to take this B, I'm going to pick a bit on Istanbul. So every time we moved or it is tenable, the B moves with it. So now what I'm going to do is you can download this. I'm going to make this available for everybody. I'm going to bring the cat animation into my camp here. Okay, so here you can see that it just keeps swinging. It's, it's par. I'm just gonna make sure that I scale this down. And then I'm going to kind of put it on this n right over here, just a little bit here to make sure that it is able to hit that B. They are going to make sure it's just a little bit on this side. And that looks pretty good now, as you can tell, it looks like it's just a little bit too high up there. So let's make sure we take this cat animation and parented to Istanbul. Let's press p for the position and let's bring it down just a bit. Coca-cola. Okay, so we're looking good on this title. We just need to animate that b. So let's go ahead and do that. Now, we know that it gets hit over this part of the B. So we're going to press y. I'm going to bring this integral point just over here. So we rotated it, rotates it along with how it's being hint for spin. Our wheels, come back in and begin a timeline and see where it heads. Let's keyframe this rotation. And then let's move it this way over here. And then we have some of that overshoot. It comes back a little bit more than it's supposed to. Livermore. So it does hits it and comes back and then overshoots back into almost its original position and comes back here. And then now we can just take this beginning keyframe and pasted right here. We're gonna take all of these. We can easily use them so that they're not, so it's not such a robotic animation. And then as you can see, it hits it again. So right there we're gonna grapple this keyframes. We can copy and paste it right here. So now we can just grab these keyframes. Every time he hits it will just paste it right there. And every time he hits it right there, we'll go ahead and paste it and just make it just time. It's just right over there. And one more hit right here. And we're just gonna make sure that it hits it one more time over here. One last one, right there. Okay. So now as you can see, it hits the bee and it looks pretty good. There is one over here they miss, so I'm just going to copy and paste my keyframes right there you go. And one more over here. Cool. And you go. Okay, so now that we've got the top done, Now I'm going to focus on the actual city. 14. Revealing the city with basic keyframing: Okay, so now that we've animated this part of the animation, we're going to move on into the city. So I have a pre-cum over here that I've set up. And this is basically just the city of IST gamble with the Galata tower. Now of course we could add some more to it, but, and he used this for now. So I'm going to grab these layers. And what I'm gonna do is I'm going to just paste them here, just so I have a little bit more control now I can use as a recap, but I'm going to bring them all here. Okay? So the first things first I'm gonna grab this layer of year. We're going to animate this. So I'm going to come down over here into Shape layer two. I'm going to call this one city outline. And then I'm going to go into AD, and we're gonna go into trumpets. I'm gonna go down in Trump path, keyframe, the start and the end. And I'm going to bring this down just a bit over here. And I'm going to then bring the end to 0. Okay? So this now animates from 0 to 100 and as it creates the path of this city, okay, so one thing we do is we also need to animate this hat of the Galata. So we're going to come down into this. I'm going to call this Galata top. And I'm going to go into add again and trumpets. And we're going to stop, watch the end. And we're gonna come down here. And I'm going to make this 0. So now we have a rough animation of the top animating as well. So we also have this over here. I'm going to call this Galata bottom. And I'm gonna come down here again one more time. Lingo trim paths, bring this down, stopwatch on the end, bring this to 0. So now we've got almost every part of the Galata animating except for these windows. So I'm going to take this and we're going to call this window one. And as we know too, so I'll just go ahead and name these. So now that I've named these, I'm going to select all of them. I'm going to press S for scale. I'm going to stop watch these guys. And I'm going to keep frame the beginning down to 0. And then what I wanna do is I just don't want them all to show up right away. So I'm just going to keyframe. I'm going to offset these layers just a bit, just like that. I'm going to grab all of these right-click and keep him system easy is I'm gonna go into graph editor and remember we love to just kind of create a little bit of character to the so that they come out a little bit more smoothly. Okay? And we're going to do the same with these keyframes over here. I'm gonna grab these Galata keyframes. And I'm going to just kind of, we don't need to keyframe to start just the endless mine. Right-click is e is going to the graph. And then let's watch how this looks like. So we just saw we didn't miss out on anything. Okay. So it looks like the only thing missing is the top of the gelato tower, which we have done before. So we're going to use those principles against women, go into position and a keyframe, the P. And we're going to then animate this up so that it bounces on top of the tower as it, as it forms right there. And then we'll bring it back up just a bit. Bringing back down to the top. So we're gonna copy, so what it do that copy this keyframe and just pasted array here. And I'm going to bounce off one more time just a bit, and then just paste the bottom. Okay, I'm gonna highlight all of these easy ease. And remember how our gravity bounced, looked like, right? It falls in with a lot of energy and then bounces right back up, goes straight up and N right here. And we can have one, we can have maybe one more bounce on this. So it looks a little bit more interesting. Okay, so one thing we can do is just make sure you can trim this with old bracket. And we can just make it look like it appeared just for the band. Okay, so we're looking pretty good so far. We're doing great progress on this. So one thing we're gonna do is we're going to grab all of this, this entire city dao that's fully animated and radio, gonna press command shift c, and we'll call this a stable city princomp b one, or just recombine. And we're going to move everything and we're going to adjust it to the duration. Okay? So now we're gonna do is we're going to take this layer by pressing V. We're going to center it, or just about roughly is illegal. Ladder is right in the center. And then I'm going to make this, I'm gonna select this layer, click on this ellipse tool, and we're going to create a mask, which is great. And then what we're gonna do is we're going to now deselect any layer. And we'll come back up here and we're going to create a circle. Okay, now, this circle is going to be where our city is going to live. And I'm going to make sure that it is inside. Now the color again, AB 76 a. And I'm gonna make sure the stroke is just a little bit big. And then what I'm gonna do is I'm going to take the shape later. And we'll call this city circle. And I'm going to take this N parented to assemble. So every time I move, assemble and moving the sphere as well. Okay, so let's see how this looks so far. Actually will unpaired this for now. And what I'm gonna do is I'm just going to bring this city just down just a bit and then double-click on his mask and just bring this up. So that way, it looks like we can actually see the top of the gallbladder rape there. Okay. Looks pretty cool so far. But of course we want to step it up just 15. Creating and Animating the clouds: So we're going to spice this up just a little bit so that we have a little bit of texture animation going on with this circle, which is what I added. But before we do that, let's just add a few clouds inside our sustainable city, princomp. So let's come over here. Let's add, let's take the pen tool and then let's just add like a shape, just like that. Unless press Command Option home. Make sure the center of this cloud is right here. And then what we're gonna do is we're just going to copy and paste this layer, President Xi. And they just make it a different size. Okay, I'm gonna copy and paste it again. What I'm gonna do is I'm going to just go ahead and create these and I will come back. Okay, so now that I made these, what I'm gonna do is I'm going to go into layer new null object. And I'm going to take all of these clouds and I'm just going to parent them to the null parameter p. And I'm going to just animate these so that they are moving at a constant pace. Just here, just like that. Okay, now we can make this go a little bit faster. So what I'm gonna do is I'm going to grab all of these clouds. I'm going to copy and paste them. And when pressed P MOS, move these here. Okay, so now we've got a little bit more variety on these clouds and there's just a lot more of them. So let's do this. Let's grab all of these clouds and let's parent them to the null. Ok, so now we can have these clouds go like this. But the problem here is, of course, is going through these buildings, which kind of ruins that illusion, right? So how do we get through this? Well, it's actually not that bad. We will do. It's all grab this null, will grab all of the Shape layers, which is the clouds, and it will precompile everything. I'm winning can call this, and then we're going to call this clouds princomp. Ok. So now all of these clouds have become one layer. What we'll do is we'll grab the pen tool up here while having this pre-cum cloud selected. And then I'm just going to mask out just this tower and this building out here. Okay? So let's go ahead and do that. So let me just mass this out just over here. I'm going to just select all of this just so we know that the clouds will not enter this part. The city, so it just goes behind everything. And there you have it. And there's our rough mask. I'm going to just loop this around. So the way to finish a mask is to come back to the original point. So I'm gonna make sure that we keep going with G pathway here. So this is a very rough Mask and I'm a press M and I'm going to invert this array here. So the good news is we're going through, we're not going through the city anymore. So I'm gonna come here and I'm just gonna fix these little bits just a bit. Just so we know that we've covered all of us. If you want to add another present G and come back here. Now if you do see a Bayesian curve here, you can just pick the convert vector tool and then just click on that and that should make it straight or kirby. Ok. And there is that. And yeah, we're looking pretty good so far. And I'm just going to come up here. I'm gonna make sure this one is perfect as well. Okay? And zoom out. And then you go, now, our city is looking pretty good. Let's make sure that this is moving at a uniform pace. And then let's go back. And then we've got our class, you've got everything. Now, we do have an issue here where there is this balance going on. So the only way we can really solve this is by making sure that this cloud of here that's right in the center, we can just move that away. Okay, so we'll come back here and we'll just take care of it like that. And there you have it. And unless make sure you have this selected over here toggle mask. And we will perfect this over here. So how do we do that? We come back here and make sure you have convert vector, vertex, vertex tool. And we'll make sure that this is a perfect sphere and circle. Now, here's a little bit of a challenge is that we have a hole in here. So how do we make sure that the mask can still we can still see the cloud going through there. Well, one thing we are going to do is first, I'm just gonna straighten this out. And second of all, what we can do is we can actually create a second mask inside this mass. And we're gonna go into here, into this ellipse tool. And I'm going to just create another one here. Okay? And we're gonna make sure that this one is set to add as well. So now we've got a good perfect mask where we can see the cloud coming through this center. Okay? So one thing we want to always try to do is make sure that your masks, blending Modes, and everything are all. It all makes sense according to the composition and what you're trying to create. Okay, so let's come back here. Let's see how this looks. So one thing we can do is we've got this issue going on here. So what I'm gonna do is I'm just going to make sure that we do not have any clouds in this region in the beginning. Ok, so I just went ahead and I just fix some of the clouds just so I can see more of them. And this looks pretty decent so far, but I feel like it's just needs a little bit more flair. So how do I go ahead and do that? 16. Adding Final Textures and Wrapping up: What I'm gonna do is we're going to hop into Photoshop real quick. And I'm going to show you that there are these brush sets that are actually completely free when you come down into your brushes. So if you don't, if you don't see your brushes in Photoshop, just coming down into window and brushes. And then come down here and go into, get more brushes. So when you click on Get more brushes, you'll see are a really large collection of brushes and this is one of my favorite ones, the mega pack. This is the one that I downloaded in any downloaded, where you can do is you can go ahead and go into Kyle's preset brushes. So what you can do is start a new Photoshop file, file. And we can go into, let's say, the drawing box. And let's pick maybe like a charcoal here, maybe something a little bit more rough. This one's pretty good. So let's go with birch brush. And I'm just going to create a texture here, okay? And I'm gonna come down here, I'm going to click on new layer. I'm gonna shut this off. And I'm just gonna make another one right here. Okay? And when I click on another one, I'm gonna shut this off. And I'm going to bring this one right here. Okay, so now what we've done here is we've created three brushstrokes. I'm gonna go into File, Save as MER call these textures new. Okay? And then I'm going to bring these into After Effects. So I'm gonna come down here, textures new. I'm gonna bring this here and make sure that these are editable layer styles. I'm going to click these textures new. I'm going to drop them here. As you can see, it looks pretty bad at this point. But one thing we want to make sure is when we save this file, we do not want a background. So I'm going to come here and I'm gonna make sure that shut these off. And I'm going to make a third brush stroke here. And now that we've got three, all three on a transparent background, I'm gonna come here and Save As I'm gonna call these textures new. I'm going to replace the old 1.5. And what I'm gonna do is I'm going to come back into After Effects and I'm going to bring these textures knew back in here. I'm gonna make sure I choose editable layer styles. And I'm gonna bring this below here. But we can start getting a little creative with this because I just want to make sure that affects the city circle. So how do we make a looping texture? We go inside the looping, we go inside the texture princomp, when you zoom in. And from my experience, I know that every six frames for texture looks pretty good. So I'm going to trim soft with Alt or Option bracket. And I am going to just offset these textures, make sure the transparent backgrounds on. And as you can see, it moves like this. So because this composition is only ten seconds and grab these copy and paste them. Move this forward, copy and paste them, moves forward. And we're gonna keep doing this till, till we go in the end. So I've created this looping texture over here. Now when come back, I'm going to grab this. I'm going to go in to effects and presets. I'm going to have set, I'm gonna choose set Matt. And I'm gonna choose the city circle. Okay, so as you can see, it has moved because this texture layer has also noon. So I'm going to make sure that the position is 960 by 540. And I'm gonna come back up here. I'm going to choose the city circle and we're going to I'm just going to take this and my shattered off. But before I do that, I'm joined to copy the color of this and go into textures new. I'm going to go into fill, and we're going to bring fill into this textures new. I'm going to paste this color right here. And my shut off the city circle. Okay? So now we've got a looping texture animation on top or on the city circle, which is really cool as all happening because set mat and we chose city circle. Okay, I'm just gonna make sure that I take all of these structures by pressing Shift. I am going to bring these down just a bit. So it looks pretty decent and kind of like this look. So now what we're gonna do is we're going to add a little bit of texture to the whole thing, just like we did in the IBM mission we're gonna hit. We can press Command Option y for the Adjustment Layer. And in fact, we're going to go into Norway's in grain, going to fractal noise. I'll type swirly. And I'm going to increase the contrast all the way to 250, roughly 250 and in brightness to about 50. And then I'm going to go into evolution options. I'll click on the random seed and we'll press Command time times. Let's go 20. Actually. So it creates this texturing grain over here. And then we're going to add a new solid layer, new solid. I'm gonna call this noise color. I'm going to make sure that this noise color is below the texture of noise. And then I'm going to hit toggle switches. And I'm going to choose luma inverted math. Okay? I'm going to choose the color of this to be a little bit darker. And as you make it a little bit dark, but you could see that it starts appearing. Some of this texture animation starts paying them here. Okay? So I think this looks pretty interesting. And what I'm gonna do is I'm going to just grab these textures over here. And I'm going to just kind of scale these up just so, you know, the little bit more. We don't have city edges too many times, okay? Now if you're not happy with the rate of this, we can even slow this down with time times, like 12 or something. So let's take a look at how this looks. And there you go. That is our city of his gamble with a little bit of texture, a little bit of trim path animation, showing the city. Now if you want, you can even slow down the, the animation over here of the city. Just for making a little bit slower here. Ligo. So I hope this really helps you. I'm going to make sure that I attach this file into the, the, the assignment. And then I'd love to see how you guys animate this in your own way. And I will make sure that the cat animation is also provided in the file. Okay? So I wish you the best of luck and I will see you soon. 17. Final thoughts: Final thoughts, final thoughts. I know we covered a lot of stuff. I mean, there's Keyframing, there's a tasteful spacing out of the keyframes. There's some textures. There's a lot of stuff that we covered. But I think this stuff is super important. Now here's the thing. I'm going to be dialing up the difficulty level from here on a little bit more, I'm gonna be introducing some aspects of photography and videography and try to do some, some fun stuff after this. So I'm glad I just covered this ground. Feel free to ask me any questions on Instagram or skill share or email me anytime. And I'll get back to you right away. I hope you had fun. I'll see you in the next class.