Special FX in After Effects | Using AEJuice | Jared Freitag | Skillshare

Special FX in After Effects | Using AEJuice

Jared Freitag, Animation Supervisor

Special FX in After Effects | Using AEJuice

Jared Freitag, Animation Supervisor

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13 Lessons (2h 5m)
    • 1. Intro

    • 2. Getting Plug-ins

    • 3. Design Pt. 1

    • 4. Design Pt. 2

    • 5. Rigging Pt. 1

    • 6. Rigging Pt. 2

    • 7. Animation Pt. 1

    • 8. Animation Pt. 2

    • 9. Special FX Pt. 1

    • 10. Special FX Pt. 2

    • 11. Special FX Pt. 3

    • 12. Liquid Effects

    • 13. Rendering and Export

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About This Class

Using AEJuice and Joysticks n Sliders, we'll create a short animated clip, in After Effects, utilizing some of the best plug-ins available. I'll walk you through the plug-ins and the amazing features they have that allow your animations to jump off the screen. Use the links below to purchase AEJuice or download a trial version. At the bottom is a link to Joysticks n sliders, an incredible plug-in but not necessary for this tutorial.






Meet Your Teacher

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Jared Freitag

Animation Supervisor


I have been squash n' stretching in the animation industry for 8 years; primarily as a freelance animator. I walk the line between Character animation and Motion Graphics to bring stories to life. I run a small animation studio named Backwoods Animation where big things are happening.

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1. Intro: Hey, guys. Gerald. Backwards animation. And thank you for taking my skill share class. So this is gonna be a skill share class on special effects. Um, how can we create some really cool elements that elevate your animation to a new level? Primarily what? We're going to use this a plug in called a juice. If you're not familiar with a juice, you will be. By the end of this tutorial, Another poll again. We're gonna use this cold joysticks and sliders. We're going to use that in just a little bit. So if you're not familiar with it or you don't have it, don't worry about it is not necessary for this tutorial. By the end of this, what are we gonna have? We're gonna have a cool video utilizing some pretty cool special effects that we composed to any social media instagram Facebook. You know, if you're on the fence on whether or not to get a juice, I hope this video pushes you in one direction or the other, but I'm not going to make that choice for you. You have to decide, but get it's pretty cool 2. Getting Plug-ins: So before we get started, we need to download to plug ins. That's a E juice enjoys Dixon sliders. So I'm gonna go ahead and show you how to get to those websites and download the program that you need. In order to begin this tutorial, we're gonna need to plug ins the first plug, and it's called a e juice. You can goto 80 juice dot com and they have so many plug ins, it's kind of ridiculous. But if you come here to the free plug ins the one that you're gonna want to do to test this out, you're gonna want to get the free starter pack. This has a few of the effects that I'm gonna be using. It doesn't have a mall, but if you're wanting to get your feet wet and see how it works, this is a great place to start the plug in that I'm actually gonna be using Let's see, actually, products I'm gonna be using right here liquid elements. This is such amazing tool. Um, I highly recommend it. If you're an animator and you're not really great at liquid effects like smoke, fire, water splashes, bubbles, things like that This is such a powerful tool, and it saves so much time because you don't have to worry about creating those effects. It does it all for you. There's some really cool stuff that I'm going to show you. So if you're gung ho and ready, go and buy it. It's only $69 on it's really easy to use. But if you want to use this as like a a review to see if you want to use it, feel free to watch the whole tutorial and see what I come up with and learn for yourself. The next thing we're gonna need is it's called joysticks and sliders. You don't You don't have to have this plug in to take this tutorial. It's not a must, but I have this plug in. I love it. I use it constantly. So I thought, Why not use it and maybe give you a lesson if you do want to use it? But this is a really, really versatile plug in, Um, I use it to create rotations, head movements. In this case, I use it for can rotation to rotate. It can so go over to popular and right here, you'll see joysticks and sliders, and it's actually cheaper than when I bought it. I think I bought it for, like, 50 or $60 now it's only 39.5, so go get it. But again, you don't need it for this tutorial. It's just an added bonus if you do have it. So with that, um, this is what the joysticks and sliders will be used for, to rotate it can. And this is what the 80 juice will be used for is to add the effects like fire, uh, or, you know, smoke and pops and all kinds of really cool stuff. Um, so let's move on to the design section. 3. Design Pt. 1: so moving forward, we're gonna be designing all our animation elements. You could be designing Anything you want. Could be a T rex or a truck for me. I'm going to be designing a can. I'm gonna show you how I do it. My methods and what I'm gonna be doing is I'm replicating a three D look, but telling Judy So there's no three d involved. We're just faking it, but it's gonna look good, So let's get into it. So when designing the can, I wanted to use lighting effects to make it look three D. This is completely two d. There's nothing three d about it, but we can achieve that three D look pretty easily. So what we're gonna do is we're gonna build the can. I'm just gonna keep this up here. Is it as a reference for what I did? Um, you know, I'm gonna shy all these layers so we can't see him. I don't need a goodbye. And that's simply this little guy here. And if you click this thing, it takes it away. Uh, so moving on to the design section, So I'm because I'm using joysticks and sliders. I'm gonna use shape layers to create these objects. We're gonna start with the can body. I'm going to do 1/2 come here to the middle, and I'm gonna pull. I'm gonna pull this thing out to the edges because this will give me that rounded look. And then right here, I'm gonna add another one. And then if you hold shift and go upwards, it'll lock your point perfectly straight with the one below it that I'm going to do the same thing on the top. So I'm gonna hold shift and click on. I'm gonna pull my points out. All right? I'm gonna pull to the edges and then I'm gonna lock in. So for this, I'm gonna rename this thing. Call it can. And I already have something named Canon here, so I'm gonna call it can too to camp took and see him. The next thing I want to do as I'm gonna control, click the shape layer. I'm gonna go control deep duplicated. I'm gonna pull it down so that these guys right here, line up. I want them to be nice and nice and square. And then I have Teoh what I have to do I think I want that. I want to flatten it out. So I want the center line to be fairly straight that I'm gonna push these guys up and down . So now I have to shape players flat line in the center and around slightly rounded at the bottom. Um, and the way that this goes to the top is gonna be read. So if you click on your top portion and notice that I have one shape layer but there's two shapes inside of it. So coming up to my top shape, which which is shaped one click on Phil and we're gonna do a linear ingredient when you click on that hit. Okay, it gives you this control point in this controls where your Grady int hits and at what angle you can put it at because I'm trying to get this rounded three D effect. I'm gonna keep it nice and straight to the best of my ability. And this has already set up for the color I need, but I'm just gonna show you how I set it up. So all the way here to the left is the It's the original color with full light It's just the bright red and that's called a rim light. And that's the light that's gonna be hitting behind the can to give that nice edge. And then immediately, we're going to jump into this dark color. This is the shadow of the can, and then it's gonna blend slowly back into our original color. You can go bright red if you want. I kept mine a little bit darker just cause I kind of liked how it looked. And then we're gonna fall off here at the edge with a much darker red or not much, just a slightly darker All right. And that is our can for the red. Now we're gonna do the white, Um, and this is kind of easy. So instead of having everything red like it was previously, all I have to do is shift everything over to the white scale or gray scale. Um, on the way to do that is you can see it is literally just a a linear horizontal movement right across. So if I'm here on the red, that means that come here on the gray and now we have to set up the way that this one looks to. So we're gonna pull it out over there, and we're gonna pull it over to here, and I'm trying to line them up, so it be they match evenly. All right. I think I'm gonna lighten this white here. It's a little too dark for me. It will go like so That looks good. Next, what we're gonna do is we're gonna add our text. Um, I'm not gonna go through look for fonts like I did. I'm just gonna keep it simple are actually I show you what funds they used. So well, Dio yeah, lips being up backwoods. Okay. And then just so I can see what funds I did use in case you want to replicate them, this is called Edwardian script. I don't typically download fonts, so if you have the newest version of after effects, you probably have this. So Edward and script. So let's come in here, and we're gonna type in Edwardian it ward in script, and there it is. All right. I'm gonna scale it down a little bit. Um, and then I'm going to just center it. Turn that off. Here we go. All right. So Edwardian script is set up. I believe I used a stroke to make it thicker. So I'm gonna increase my stroke. That's pretty good. And I'm gonna change the color just white. My my thought should be white. My stroke should be white. Uh, and then if you right click on the fund, then I add a stroke to the actual fought itself. This is gonna be black. So change that the black And now we're cookin. Look at that. Uh, next I added my logo. So if you have a logo or anything that you want to put feel free to add that there I have. I just have a bunch of logos that I've created throughout the years. I'm just gonna drop one in. Um, actually, that's not the one I want. I have I have a white scale logo. So it's just an outlined white. So what I did is I just scaled it, put it right here in the middle on the can, and I have my thought there my text, so I'm gonna get rid of the text was too simple. No subtracted. So I'm asked it, and I subtracted what I didn't need, Um and then the way to get the color that you want is I just did a color overlay that if you come down to the color lay attributes, color overlay attributes it's kind of a gold, like a dark gold color. So something like that would probably work and then behind it. And again, you're if you have a logo or anything like image that you want, you're probably gonna have a little bit of a different process than I'm having right now. But I'm just showing you the way that I set this up. Uh, then we can scale it in and behind it. And this is just a work around so that I don't have to go back into illustrator to create a separate logo just for this image. I can kind of tweak it here and after effects, and it works just fine. And then for my Phil, I'm going to do solid, and it already has kind of the color I need. I'm gonna lighten it up a little bit so that I can see my logo. All right, so we're starting to get there, and then eso we got backwards. Next, we're gonna do animation on this font I think I just used my fault that I always use, which is, uh, Greta Rounded Do Black. It will take the stroke off a little sentry and then I will also scale it down. Um, I guess I didn't. I used Helvetica. Sorry. Sorry. Toe lead you astray. All right, let's update. That would help Medica, Helvetica and Helvetica look a black, maybe. Sure, though it's good, Then we'll make it red. So if we come up here to our character color now we have read And then finally we have studio. This is imprint Mt. Shadow. Okay, whatever. Whenever that means. That's the name of the font and we'll just go. Studio, studio, studio. That looks weird. Sometimes words just look funny, don't they? Okay, Yeah. What was it again? That's imprint. So that's typing imprint, imprint Empty shadow. There we dio and then we'll change it. Maybe I'll change it to this color. That good? I think so. Looks good enough. All right. And I think there's like, yeah, stroke that a stroke to it can layer styles stroke and we'll make it black and call it day 4. Design Pt. 2: All right, So now you're wondering, why doesn't it look three d? How come, like my text? Looks pretty flat. It looks flat because it is flat. Now, let's fix it. All right, So we're gonna take all of our labelling elements, which is your logo on your funds. And then you can go composition our layer pre composed. Or if your fancy you can go control shift, see, And that will create a new composition. And I'm gonna call, this one can label to. So now we have can label to And the way to get that three d effect is we're gonna go, um effect perspective, CC cylinder. Look at that. Now we're starting to get some nice rotation to it. Looking it looks really good. Um, so if you come up here to your rotation and we go on the y rotation, you can see it breaks outside just a little bit. And the way to fix that is we're just going to scale the whole thing, able to scale the whole thing down until until hits right on the edge of our can. It looks pretty good. Another thing we wanna Onley render the outside. We don't need to see the inside so that we could come back to why Rotation hit zero. Next. We want to change the lighting. So this one has the lighting hitting from the left side. But on the can, the lighting sitting from the right side. So the way to fix that is we're just gonna rotate our lighting until it hits over here in, uh, 90 degrees is probably gonna work pretty good. So looks good. Are lighting is affecting the text? Pretty similar to what we have on the can. You could raise the light a little bit if you want to get brighter. So maybe that's what won't you? They will raise it like 60. Um oh, yeah, And the next. Next we have Teoh create our lid. So our lids gonna be pretty simple. I'm gonna do a circle. We can extend it outside the outside the edges of the can. Just a little bit, just like so. And the next I'm going to change the color to Gray. I pull this in, we'll go lighter gray control de duplicate scale, and I'm just gonna alternate back and forth. Let's give that little ridge to the can lid that, uh, soup cans air So well known for without that little ridge, who knows what a can lead would look like? Could you even eat soup if it didn't have that rich? I don't know. So that's the top of our lip. Look pretty good, right? Next. I'm gonna hit snapping up here the top because I wanna get this anchor point right in the middle of it can cause right now it's kind at the bottom, which is not what I want. So if you hit, why on the keyboard, grab this little center marker, We're gonna pull it right there until snaps into the center of our lid. And you can hit W on the keyboard and just start rotating it. And if it goes kind of wonky, then you're not in the center. So now that that's done, it V on the keyboard in turn off snapping. Next, I'm going to scale this like so I'm gonna move it up to the bottom of the can and also I'm going to move it. I don't want to do it. Let's go below the can for now. And at this point, I'm gonna turn off my original can. I don't need any of it because I'm basically done. All right, that looks pretty good. I'm gonna call this top lid the next thing I want to dio because I'm going to create a separate layer for the lid lip for the lip of a lid. Okay, So how this works? I'm gonna click here at the outside of the lid right there, come to the middle, hold shift and pull it out to the edges, and then come here to this age that I'm gonna old ship can come up, but I'm gonna go right to the middle and pull it out this way, and then we'll come over here. Okay? So that's looking pretty good. That is our can lead. Um, if you want, you can just select the top ones and drop it down a smidge, or you don't have to. On the next, we're gonna do a linear great again. I have my white set up already, so that might be a good deal. Let's see how it looks. Because I want to get that three d lighting effect like we have on the can and we'll keep it going with the lid. There we go. That looks pretty good. All right, So we have this, we'll call this top lt'd lip. Next. We're going to duplicate both of these dragon to the bottom. I'll call this bottom lt'd lip and then we'll call this bottom live bottom leg can come down and but put it there. That looks good. And then top lid, I'm gonna rotate around and then move down so that it is right where it needs to be. Looks pretty good. Now you can see the bottom lid are on the can. The bottom part of the can needs to be adjusted just ever so slightly so that it matches up with the curvature of the lid. Looks pretty good. They will drop this side down a little bit. Alright, guys, what do you think? We now have a can 5. Rigging Pt. 1: So now we're gonna be rigging that can. We're gonna make it to have some rotation left riding up and down and make it look like it's a three d object to some extent. So if you don't have joysticks and sliders, this is the part of the tutorial where you need it. But, uh, if you don't have it and you don't plan on getting it, that's OK. You can get by without using it, because I just use it for a very small portion. Um, and it doesn't even affect all that much. So get it. Don't get it. Doesn't matter. So the next part now we're gonna rig it using joysticks and sliders. So over here is my joysticks and sliders plug in. And the way that we start the way that we start is I'm gonna delete. No, I'm gonna leave it. Sorry. You know, leave all this stuff just in case I needed the way that we start is joysticks and sliders. Uses five key frames. So you have a neutral pose. You have a left pose, a right pose on up posed in a down pose. So those five key frames are what control the position of whatever you use, whether it be a can a head or body. Um and so that's what we're gonna do. So we're gonna assume that this is our neutral pose facing the camera straight. Nothing funky about it. So we're gonna come into our shape layers on the can, and we're gonna key the path of each shape layer. Once that's done, you can while you're shape layer is selected. Hit you on the keyboard and Onley reveals your paths for the key frames within that, um, shape layer. Next, we're gonna key the path of the top lid. You next, we're gonna key the scale for the top lid. You this one, we're gonna do the path, hit you in the bottom lid. We're gonna do scale groups and skill. So now that are neutral poses set up. Oops. We also have two key some of these rotations. Um, I think I only do. Yeah, x and why we don't need to see and then hit you. So next he's gonna the can is gonna rotate to it's left and face the right of the frame. And this one's pretty simple. So we just come to the UAE rotation and we rotated over maybe about two. Negative 50. Next. What we have to deal is we're gonna grab only the center key frames, her points. So basically these positions here, we're gonna grab. Okay? So once you have selected holds shift and pull it forward a little bit, we're actually gonna pull it forward to be in the center point of our label so that everything flows smoothly. The next thing that we have to dio is rotate thes around so that they still look like they're part of the can. Right, So this will come in. Don't do this. Top one. Now. This won't come in. Are over. This will come in. We're still trying to get that nice around. Look to it. Um, maybe we'll pull it down. I don't know. So, unfortunately, this is not gonna be perfect. You know, someone? Someone who's dealing with three D. Like if you know three d. Well, you're probably saying why are you doing this? Well, because it's easier. Well, maybe not easier, but what I have at my disposal makes it easier so that I'm gonna pull this in. I'll pull this one over and then we'll grab. This guy will pull it in and then we'll pull this one over and you want to make sure that you're not like separating it. So you see through the can you want to keep them nicely? Uh, you know, in sync with each other. Next, you're going to see here on the X rotation because we didn't move the X rotation because we don't need Teoh. There's no key frame here. The way that joysticks and sliders works is that you have to have a key frame even if you don't move that attributes. So all you do is copy and paste the key frame from the original. When will do that with everything? Um, I guess we need to move the lid to doing so if this rotates, or if this comes forward and the lid needs to come forward to. So let's suggest these. So they are looking good. Pull this in. Oops. Rights of the body. The top ones done. Let's do the bottom one. Now Pull this forward to the center of our label. Pull this out. Pull this one out. Don't pull this one over. No, Pull this up. Just a little bit. Pull this over now. I gotta redo these. Are you skilled that? All right, so now we have Ah, can rotation. Originally, I didn't I didn't animate the lid left on the right, but it kind of makes sense to do it. So we'll see how that looks. And we're gonna fill in the gaps for anywhere that we don't have a key frame, which are these two. They'll move over to the next one with our can selected. I'm gonna copy these, and then you can come up here using the joysticks. And there's this cool little tool here. It's called Path Flipper, which basically mirrors the key frames that you have to the other side. So with them copied and pasted from him turning left now I'm gonna mere it. So he turns right, and it kind of pushes it to a weird position. But that's OK, because we're just gonna move it over. We'll move it back to where it needs to be, which is right there. All right, so now are key frames have moved over to the other side, and it's looking good. Um, I'm gonna copy the X and then why we're gonna go positive. 50 50. Okay. And then with the can lid, we're gonna copy and paste. It'll flip it. Boom, Bush. Is it weird? But that's OK, then the lid we'll copy and paste. And this one company, based on the flip it boom once again pushes it weird. And finally, will company based. So next what I'm going to do, let me see if I can select them all. And if you paste origin, there you go. So select all your key frames in his origin And that pace all of the beginning. Key frames toe where you are on your timeline. So now we have a left and a right movement. Now we need an up movement, so this will be the can rotating upwards. I'm going to start with, um, this guy, it's all rotated, maybe 30. Then using this, I'm just gonna grab the center points and it has to rotate to the center of my logo. And that's how it's gonna keep everything uniform. That'll push this one up to you, Um, and then I'll pull this one upwards as well. This is It's not really I take that back. I think we can get away with, um, the lids rotating upward in downward. So now, if you come here, Teoh, Well, we'll work with the bottom lip because that's where we're at. The bottom line is going to scale this way past itself to reveal the bottom of the can. Um, And now that we're looking at the way that this functions, the lids actually gonna need to come above everything else. So bottom would lip and top lip lip will come above the cans, and then bottom lid lip will come upwards like so. And then these guys will come upwards as well Toe lock in. Okay, so that's that's pretty good. And you can see that the can is kind of breaking a little bit here. So what I'm gonna do oops is I'm just gonna raise the bottom part of the can just a tiny bit so that we don't get that breakage. All right, so there's the bottom of the can Now, we worked with the top of the can. So if this one just needs to scale upward a little bit more back way also, it looks like I need to change the position. So hit shift P and I'll keep a position for the 1st 3 frames, so we'll go position page down. Key page down key on page down. I'm gonna move it upwards a little bit. All right? And then I'm gonna change the lip top. Flip, flip, top lid lip. Put it right there. What do you think of that? Now we have to do the down pose. So with the down pose, I'll make sure I have key frames in all of my positions. Select all my key frame are all my layers, and I'm gonna do pay Storting Boom! So now we're back in Syria. So now we'll do the label again, and we're gonna rotate X two. Was it negative? No, just positive 30. Yeah, that actually might be too much. I don't necessarily need a whole lot of downward rotation, but if you want down the location, feel Frito, go big. I'm gonna I'll do it. Let's do it. Let's you extremes. Here we go. What we got? Okay, so now we're gonna do the can so well, pull this down like we did earlier. Pull this down to match. Pull this down. Getting pretty close to the bottom. There which is okay. You can work around that. So we have top lid and top Lid because his routine forward, it's actually going to do a negative rotation like this, and we'll pull it down a little bit. Or maybe we'll do it will do that. Okay, It'll just my cantor kind of line up with a little bit better pull these guys down. That's good enough, Crips. All right, now we'll do the top lip put down there for these down to, all right? And you can see my can is breaking through just a little bit through the lid. So I'm gonna just these a little bit more so that there behind my lid and then pull these in, but pretty good. It was breaking a little bit right here, but I'm not super worried. I'm not super worried. All right, so now for the bottom can on the bottom can is going to just rotate down. I think I think we need Well, this is at zero. Then we'll just pull it like so and now we have to keep the position of this one too. So that shift p on the keyboard, we're going to key the position of the 1st 4 frames. And then down here is where we get to pull it a little bit. Lines up. All right, that's pretty good. Now let's adjust the lip. This will pull down. And you see, we we've broken through or composition size. That's okay. We will fix it, do that and then pulled this one in a little bit. I pulled the same to you. All right? I think we did it. Guys, up, down, left, right. Got it all. And because we break through at the bottom here, I want were you on the keyboard and close all your all your key frames. I'm going to do a new no object attached everything to it. I was gonna push it up so that we don't break through and we'll look at the top. There we go that I can delete it because I don't know no longer need it 6. Rigging Pt. 2: now the fun part. I'm gonna select all my key frame all my layers. Sorry. And you come over here to this square, enjoyed sticks and sliders. Click it. I'm gonna call this can to call whatever you want. And now let's see the magic happened. Did it work? We have a rotation that way. Rotation that way. Hope it breaks. That looks pretty cool, though. All right, with that aside, let's see, We have up and down movements and they worked pretty good. It could take a little tinkering. You can see the lids being broken here. Um, but because there's so many different effects that are gonna be happening, I'm not worried about it. But let's tackle this issue. What's happening here? Well, I'm gonna tell you sometimes joysticks and sliders doesn't like to be me eared. I don't know why. So what I'm gonna do is I select I select my joystick, which is this square here called Can too. And we come over here to this These links these are two chain links, and now they've been broken apart. We're gonna break the link now. Don't be scared. We can reconnect everything. It's very easy. Just follow me very closely. So the place that we're having our trouble is in the can. So hit you select can and hit you in the area that we're having. The triple is not on this one because we did that one manually. It's this one because we flipped it, and it's kind of throwing. It's throwing us for a loop. So we're just gonna delete those key frames? Um, and I'm going to copy the origin. Next. I'm gonna grab the key frames, and we're just gonna manually do this position here. Pull this down. I pulled this one in, and I'll actually even pull this up. Yeah, it's fine. All right, there we go. This one will pull in, and then this little pull out looks Pull this 1/2. That's pretty good. It's not rocket science. All right? And then finally, this guy needs to be moved around to you. What are you doing? All right. And so now that we have it all lined up and looking good, go ahead and reconnect it, reconnected and see. How did I can see it's splitting here. And if you want to take the time to make it perfect. Please, go ahead. So now we're gonna select our shape players, not our control layers. If you see this little hash tag, blue grid, make sure you don't select those layers, and we're gonna come back over here and where we clicked the unlinked option. We're going to bind it with this one with links air together. Now let's see if it works. All right, We fixed it. Guys. Thanks for sticking with me. We really did it. I'm not, like, super happy with the way that this lid looks, um, not a fan, but I don't have time to fix it or take the time to fix it. Actually, yes, I do. All right, once again, unbind it if you're turned out. Good. Just omit this little portion. Don't listen to me. But if you want to fix or if you want yeah, if you wanna take a look better, let's do it. So the way to make it look better is I am simply going to get rid of this rotation. So copy and paste the first frames. So now there's no left or right movement for these guys. Okay, Just copy and paste frame one. So Now, if you rotate your can body, it's not gonna rotate with it. All right? So we're gonna keep that clean line. So let's see how that looks so that you on the keyboard, select your shape, players. We're gonna bind it. Let's see how that looks. It looks better on the rotation. So now they can Is rotating with lid is not getting all weird. And we have up and down movement, which looks good. It breaks a little bit right here. That's fine. I like it just the way it is. Now I'm gonna center all this out, and that is the rigging portion. So now Arkan is raped and we get to animate. 7. Animation Pt. 1: So now that Arkan is rigged, it's ready to go. We're gonna jump into animation and start to bring some life into that inanimate object. So if you're if you've chosen to use a can like I have, you'll flow right into it. You can follow along step by step. If you're using a different object, that's not like a tubular shape. Um, you'll have to get a little creative with following along. It's not impossible, and it might not even be that challenging. But you just never know. Objects act differently, depending on where the rotation points are and whatnot, so just keep that in mind as you move forward. But for now, let's get into the animation and see what kind of life we can breathe into it. So these are my old files. Let me go ahead and, uh, select everything except for these guys. I'm gonna prevent old so that we don't get confused so we can label to the new can and I'm gonna create a new composition. Um, call it animation and because I want this to be a square aspect ratio, Um, I'm gonna do 10 80 by 10. 80 in 10 seconds is good. And I'm doing a frame rate of 24 seconds. You can do whatever frame rate you'd like. It really doesn't matter. So now that we have this composition, I'm gonna import, I can on a scale it down a little bit. Um, And then inside of the can, Let's go back to our can composition inside of this guy. We're going Teoh, grab the controller for the can Just like that. And what we're gonna do is we're gonna move it into our animation composition. So if you come down here to move joystick to parent comp and click here, we're going to see an animation guy pop up. Now we're gonna go to parent. We can turn off these guys. They've gone to read and they've locked up. So now we can't animate. We can't move. We can't do anything with it. Make sure you do not delete it. Never delete him. Leave it there. But you can turn it off if you'd like. But now when we come into our animation composition, we have this cool guy. Look at that. So this is our controller for the composition. And now we're moving. So what? I'm gonna do is I'm gonna center this over our can and because I like to keep things moving with themselves, I'm gonna attach the can origin to the can. Um, body. I'm gonna hit. Why? On the I'm sorry, It's electric and composition Hit. Why? On the keyboard and move your anchor point to the bottom of the can. I'm gonna use this as a way to scale. I can. All right. And let me see what happened. Is this gonna throw everything off If I No, I guess that still works. So that's fine. If you're doing, like, a long term rig, that's gonna be, like, really complex. You might not want to scale joysticks and sliders, but it seems to work for this, so I'm not gonna worry about it. So with this animation, I know that I wanted it to start off small and then kind of scale in. So right here, I'm gonna hit scale. Maybe we'll even hit p on the keyboard for position. And because we're far away, I want the perspective to be down off in the distance, p And then as it scales in right around, like maybe five seconds, the little scale it up. I don't want to get too close. We'll move it down the cans gonna rotate upward to give more of, like, a dramatic point of view for the camera. So as it comes in, you can see it's kind of rotating in, so that's pretty cool. Writes all just two d. So that comes in. I know that I want to start, like, shaking right around here, so it comes in, so right here on the scale. What I'm gonna do is I'm gonna go to about seven seconds, a key frame on the scale. And now this little section here. Um, actually, before we go further, I'm gonna select my key frames at five seconds Hit F nine on the keyboard. I'm gonna ease it in a little more just like this. So make sure you right click and you have your edit speed graph selected. You might have edit value graph selected and gonna look like this, but instead go to edit speed graph and then select those key frames here, and this will control how quickly something moves into position. So right now, it moves quickly here and then really slowly pulls it out until it smoothly stops. All right, so that's what I want. I want nicely sties into position. So now with that, I'm going to select my scale key frames from this point of five seconds to seven seconds. And I'm gonna come to my my Wigler if you don't have your Wigler, how shame on you. Um, but Goto window come down to this section here, and it's gonna be the very bottom of your effect. It's things. So click the wiggler, and then we're gonna do you I don't know, maybe a magnitude of I'll stick with one, and then we'll do like, 24 frames per second and we'll see what happens. Okay, I see it's really starting to bubble up, so there's gonna be a fire effect happening, and so is the fire builds. I want the can to start shaking almost like it's about to explode. Boom! There goes it rumbles. And then right here at seven, it's gonna have this big explosion. I want to pop and fall over, so I'm gonna do a new shape. Our new no object. I'm gonna put the null object right here on the edge of the can because that's where it's gonna rotate to. Then I'm gonna attach my can to that Noel object. So right away I'm gonna hit P on the keyboard and are on the keyboard. I'm gonna key the rotation and the position, and I'm gonna go forward to one second at eight seconds. I'm gonna pull it out over here for my position. Okay, so there's gonna be a slide that happened. So if it explodes, if it explodes from this corner, it's gonna push the can to the left of the screen. So with my with my positions selected, just the position out, the rotation hit F nine on the keyboard that I'm gonna come into the graph editor and I want t very fast, very quickly. Explode. Okay, so if you raise this up, you're gonna get a really steep push, and it's gonna ease it, so it's gonna pop over real quick, and the higher you go, the faster it goes. So that might be why don't want right there. Next, we're gonna have a rotation. Our rotations gonna happen real quick, too. So it's gonna rotate like this very fast, and then it's gonna kind of like a little bit slower ease into its rotation as it comes down just like that. So now it's kind of play with the rotation. So select him. Hit f nine and I want the rotation to snap Justus quick as it gets pushed that way, I was gonna really snap into position. Maybe even more. Okay, don't How did that happen? So I don't want it ticks, then upward, because that's going to give me a negative rotation, So maybe this will be it. And then if I pull this in and push this one all the way, it's gonna slowly come to a quick hit. So now we have, like, a upside down half pipe happening. So I'm gonna move these around till we get a little bit better of emotion happening. Let's just play that, All right? That looks pretty good. It's happening really quick, but that's okay. It's an explosion. And all these effects happening around the explosion are gonna really help sell the the effect. And so next. Because it hits a lot to balance upward with equal force, and then maybe it'll settle back down quickly. So if it hits boom here, it's gonna bounce upwards very fast. And then I want this to hit the ground pretty hard, too. All right. That looks good. 8. Animation Pt. 2: so as they can comes in, there's like a a blast. That happens. Let's see if we can find Here we go as the can comes in. It was a blast that hits it, and it makes it jumping in the air. So let's put that blast in the animation So is the can comes in Maybe around two, it's gonna blast upwards. Boom. So we'll do. We'll keep the position in the scale here, and then we're going to just pop it upwards, just like so. And then it's gonna come down, all right. Doing some weird stuff, but we'll fix that. All right, so we're gonna mess with the timing of the position right now. So again, just like the can being knocked over, we wanted Teoh snap upwards, riel fast. So we're gonna move this up like so it's being hit in the space that's gonna ease down and hit hard. You you have to do sound effects with your mouth. Otherwise the effect doesn't work. All right? I don't think it holds quite long enough in the sky, so let's try that. And the next, the scaling is gonna be, like, way out of whack. All right. So it's gonna hit downward hard like this, So maybe I'll pull this like So let's see if we can have a pop off just a little bit faster . All right? And so it frame what? Right here. Where it hits, it's gonna explode off even faster. All right. So we wanted to stretch upward because brunch inward. And then we'll go back to you its original size here. And maybe that's a little too extreme able to go more like that. Um, but I'm gonna pull this one in, so it comes back to original size a little bit quicker. So if we come over here, pull these in and you can see it's so this is separated our scale from X and y. So now we have two points to kind of like, manipulate pops up. I wanted to move in quicker, so pulled. He's in it. Be ecstasy. All right, so it's holding a little too too strong right here. So pull that in. We'll move it over a little bit. So you want to just play around with it Till starts to do exactly what you want. So maybe we even pull this in like so, yeah, it comes to a stop. I don't like that. It comes to a stop, so it's oops. Pull this in a little bit, pull us down a little bit. Maybe that might be better. Let's just see, let's get. But it's popping a little too much here, so I think maybe I'll pull these out. Okay? And now we can kind of add some cool stuff with the slider. The joystick effect. So we hear. Come here. Key the position. As it hits downward, we'll rotate. The count can down, and then, as it comes upwards, rotated up like it's flying out of our perspective. And then it'll Italy's back around to where it waas all right, and it's not looking too great. And I think that's because I need to offset these guys. I get a little bit wrong, so as it comes up, it should rotate down. And maybe instead of it coming back to normal, it just goes straight to you. That guy soap. That might be what we need to do while walking through that here in just a second. There we go. So the cans gonna smush down, and then as it starts to jump up. It lowers its head, so to speak, and then as it as it reaches its climax and hype, that's when its going toe to rotate upward. And then what we can do is we'll push it just a little bit more upwards right before it hits. And then as it hits, it'll squash downward just like so. Or maybe we'll keep it like that. We're gonna mess with the scaling here too. So either hits well, key the scale right before impact and then on impact. Well, um, well, squash it down a little bit, but not too much. Squash it out and they will do 37 and 43. And then it will come back up. Teoh, maybe 39 each. Now, keep in mind, it's scaling upward, and I I'm sorry, but I should have probably just attached the scale of this to it. A null object. But we'll see how this plays out. Okay, that's dipping down, which is not where we want it to be going. And you can see it's this control point is pushing it downward. We don't want that. So if you hold Ault on the keyboard, you can grab this thing. Um, but if you don't hit Ault, it manipulates the path above it. All right, So make sure you hit Ault and then click that little bar and put it right up back. Work belongs. All right, We got a nice little jump in there. And if you don't have joysticks and sliders, that's OK. You can just do a simple jump without the movement. All right? I think I want this toe pull a little bit quicker. Upward where we go. All right, So now we have that little blast in there. It's looking pretty cool, huh? And then it's gonna move into the rumble. I guess I want the rumble that happened after the blast. So it'll blast and then start to rumble here. So maybe what I'll do is I'll delete peas and then add the rumble on this section. So from like, 3 to 5 is where rumble, and we can use the original presets. So 24 frames per second at one magnitude. All right, so let's see how this looks. Strope. And then right here at five, we'll have it explode over. Let's watch the whole thing. All right. Pretty cool. So that is our animation animation is done, and we're gonna move on to using e juice, get some of this cool effects happening to make it really pop and come alive. 9. Special FX Pt. 1: So now our animation is done and it looks awesome moving forward. We're going to start using the plug in a juice. I'm gonna show you how that plugging works. Gonna give you a break down on some of the stuff that I used to create the effect that I have in the final product. Uh, it's just is such an awesome plug in. You'll see what I'm talking about. When we get into it, I can't talk it up enough. So if you don't have it, you're gonna need it for this point of the tutorial. So either you can download the the the free package, which gives you some limited use of the tools. Or you can download the whole entire product, um, at its market place value. So get it. Let's get into it and have some fun. So using this can animation as a base layer to start adding some really cool effects onto it. We're gonna use a juice pack manager. This thing has some really awesome elements in there. Couldn't be more thrilled and excited to use it because this stuff is ridiculous. The amount of power that you have, the mountain simplicity, you have at your fingertips is his pretty remarkable. I wish I had this a long time ago because it would have made my animations so much better. So using this really cool plug in, we're gonna make something pretty awesome. Let's see if we can. Where is it? So we're gonna do something like this. So if you haven't already going over to 80 juice dot com and coming over here into the products, what I'm gonna focus on primarily is gonna be this liquid elements plug in. You can see it. $69 to purchase, or, um, you could do a bundle and get everything for 1 99 There's so much stuff to pick out you guys, it's just ridiculous. Um, I highly, highly recommend it. But for the purposes of this tutorial, I'm gonna be doing basically liquid element stuff. So if you're on the fence about whether or not you should buy this and you want to watch this tutorial just as an explanation on if it's something that you even want to get, please feel free to watch it, um, and then make your own decision at the end. But if you want to get your feet wet. Then you can come here to free plug ins and taken down with the starter pack. And that's going to give you a good starting point on things that you can add to its Got these really cool smoke effects. Um, it's got some, like camera sliding transitions, liquid transitions, a lot of stuff that personally, I don't I don't use but this liquid element pack has so much stuff like more stuff that I know what to do with, you know, like skull loops, stars falling and all this stuff is vector. So things like the steam are so cool to me Like I love these effects. But they take so long to dio and this just alleviates that problem and only have to do is click it. And now you have a smoke effect. It's pretty amazing. Swishes So anyway, this is what I used to actually create these awesome elements that make this animation really come to life. So we're gonna be talking to you like steam effects, this explosion, the smoke and the fire. So let's get into it and really make this animation come to life. So I'm gonna walk you through some of the basic stuff. So I started off with this fire. So if we come appear Teoh, where the fire is, what I used a flame loop. So there's tons of flame lips. You can see there's 60 different of these flame loops. That's remarkable specifically what I used for this intro One is where is it? Right here. So if you double click, it's going to bring up a flame loop. And now that's all good and fine and dandy at all. But there's some other stuff that that's added to it that you can dio, so I'm gonna delete it. Now, if you come here to the setting, which is this gear, you can pick the effect that you want, you can make it look however you need. So I'm gonna do this glow because I want to be kind of like a glowy fire and hit. OK, so now when you import it, it's gonna have a glow effect added to it on a scale it down to the size of the can. And then if you come in here to your you're effect AC tributes, you can change the color of the fire more fiery color. Okay, Right now I'm on. What am I on the outside or the inside? I can tell thinking on the inside anyone that looks pretty good. I'm going to scale it up to match the size of my can moving around. And I'm gonna attach it to the camp because my can has animation to it. So I want my fire to be moving with it. All right, let's we'll scale it down just a tad. Here we go. All right, That's looking pretty good. I think the the glow on this is a little intense and maybe all dark in this center color a bit. Don't see. What for? Brighton. This color here. What happens? All right. I think that looks pretty good. So now we have this cool flame effect happening. It looks awesome. Next, what do we have next? There was this cool like flame wisp that I was doing. Let's go see what what I was using. So this one is a little different. You can see it's got a glow to it. And the reason that it's got that glow to it is because I added a, uh, inner glow. So maybe I'll go back and do that and see what happens to give it that nice glow. So it's right click layer styles and we're gonna go inner glow, Open it up and we're gonna do instead of edge will go to center And then we're gonna start to scale around this center so that it it glows Onley where we need it. All right, That's pretty good. I like how that looks. Maybe we can choke it in just a little bit, but I want it to be too rigid. All right, Maybe we'll go like that. Do 100. How's that? Look, I like that you got those highlights in there. All right, so next I have, um, these fire sparks. So this is fire sparks 37. I don't I think they have names, but let's just single it out so I can see what it looked like. All right, So it was this pretty cool wisp. Let's find it. That's not it. It's a man. You can see that you can almost get lost in all of these different effects that there are. There's so many different kind of like fire wisps and explosions is just so cool I mean, I could spend hours just looking for something cool, because everything is just so perfect. But we're gonna find the right one. And which one is it? You know what? The right one doesn't matter, because they're all good. What? I'm gonna dio because I'm just gonna pick one. I'm gonna pick. I'm gonna pick this one. All right, So we'll scale it down, and then I'm gonna add this to you. We're gonna attach this to the can again because the can is moving. I'm gonna put the wisp over here somewhere. We'll scale it up. It's, like a little too small, a little lifted up. All right, we've got to change the colors of these to match the fire, and that's what we're gonna do match the fire, and then I'm gonna add I'm gonna put the glow or inner glow I'm gonna pasted to the flame loop. Let me just solo this so I can see what's happening. So, inevitably, what we're gonna have to do is change some of the side. Because this is a much smaller, um, thing. So something like that might work a little bit better. This looking good? No, I know it was a good will. Increase the size I like. It's getting a little sharp. Well, that looks good. I like that. So I have two and 100 for joke. Yeah, Go. Looks good. So here we go. Just hit. OK, so I have 46 6 Okay, so with that set up, it's looking nice. I love it. It's got this cool, cool effect happening. Gonna run solo it, and then I'm gonna move this one over a little, and I want to scale it t to be negative, So we'll do negative 62.4, and I'll move it over this way, and I'll put it behind the can. So this one's gonna be coming from the opposite direction. So now when we hit play, we'll have these cool little wisps coming off. I love it. 10. Special FX Pt. 2: next, I used an explosion of some sort, so let's see exactly what it looked like. So unsold. Oh, this. So there's a few kind of explosions happening. There's a lightning. And then there's this energy source and there's lost smoke. That happens. Um, so let's one. Let's start with the lightning. What was it called? Electricity, Maybe. Well, it wasn't electricity. Here it is. It was like a lightning. So maybe it was this one. I changed it to this blue color Changed this one to more of a green like a green, but more green blue. Okay. And I want the lightning on top. It's gonna basically be putting out the flame. And this one, I did have it coming up from the ground. I thought it looked cool cause it kind of went with the movement of the can as it popped upward. So it's got a hit right where the can starts to bounce out. Don't move it up to you. So that it There we go. And then I had one that hit down. So we'll say that it was just this one, actually, to make it easier, I'm just gonna duplicate this lightning. I haven't come in first, and then I'll rotate it around. Let's see how that looks. All right? I like it. Okay. And then I had what was It was like an energy. What was this? Swish, swish, power. Maybe we can go in. Let's just find out. So was it behind the can? It's not that one. Not that one called combo. That's what it waas. All right, So let's look at combo. Do I see a combo somewhere? Maybe it's in C. There it is. All right, so it's fine here in combo. This little guy, we'll scale it down to fit. Actually, it's got to be scaled up because I want to fit the curvature of the can. And I think this one I had behind the can, so we'll put it back here. This is gonna hit when the can explodes upwards. All right? And as it hits the fire loop, I'm just gonna turn, so we'll go, like, here. 123 and we'll turn it off. So if you hit t on the keyboard, it brings you rapacity up, and then you can start to animate it. Um, let me change the color of this combo. I guess we could do the same blue, or we could kind of make a little bit cooler. What do you think you want to cooler? All right, let's get a shot. How do we make it look cool? Purple? Yeah. Let's use, um, bright colors. Patrol. I love it. Boom. We have this explosion look so awesome. So next I have a fire burst. That happens. And I think I might use explosion. I'm gonna do this one. All right, So this will be come on top. And this will be the basically the fire that dissipates as it hits. So we'll scale it a URL. Move it up. I'll put it on top of everything. Let me let me just this scale. Oops. Going to be a little bit wider than it is tall. All right. So we can go ahead and will change this to orange, which is our fire color on, I guess if if these air getting a little bit too like glowy, you can change it. But I think it looks OK. And then I'm gonna copy and paste the layer styles from the fire onto the explosion so that we can get get their nice glow effect happening, and then I have to change it so that we can we can see. Uh, see, that glow looks pretty good. Let's see it. Well, watch this thing in action. Nice. I love it. Maybe we can have one that kind of rises a little bit slower. There is not such a big explosion, but it's maybe taller. I don't know. I mean, look at all these explosions. Like it's ridiculous. There's 81 different explosions, and you can use it as a smoke explosion of fire, explosion, even a water explosion. That's pretty cool. Pretty cool stuff. All right, I'm just gonna for the sake of time, say, that's good. And we're gonna do some smoke. Let's get some smoking there. Um, so we'll come down Teoh smoke. So this was one that I used. Super simple. I'm gonna come back in here, and I'm gonna go to the original style hit, okay? And we'll bring it in. So this smoke effect is happening right here. What level? This is going down, Uh, in one way. That I made it into smoke is that you go to blur and sharpen and just do a camera lens blur , and I bumped into, like, 35. Okay, so we'll come through here. We'll see what it looks like, is it? They lowered to 30. 35. Kind of intense. All right. And all these effects, they really sell it. Like they make it look so freaking awesome. Okay, we're gonna do a smoke effect that goes up to really a 110 different smoke effects. They're all each one. Amazing. That also cool. I'm gonna use just gonna use this one. Easy peasy Done. Made up my mind. Little scale it down, Scale it down a little more. Not that scale. There's skill. Yeah. What? This? To be down here? I mean, that's gonna add gonna copy this blur. I'm gonna paste it on there. And because this one's a lot smaller do, like, maybe 20. Lift it up. All right, That parts looking good. Um, next I'm gonna go into the steam. So there's one steaming here that worked really well. There was this one. I'm gonna stick with it. So as my can start shaking, it's heating up from the fire. The steam is gonna start to come out of the top here. I'm gonna attach this to attached to my can because I think the can might be moving. That's actually now it's gonna make it wobble all over the place. All right, So with that in place, I'm gonna add I'm gonna add the camera lens, blur, and we'll do, like 15. Maybe we scale this up a little bit more nails do 10. Still a little bit too big. All right, so right here. That will rotate this so that it kind of like shoots outward instead of upward. All right, that looks pretty good. I'm gonna duplicate this and offset it. I don't know, 12 frames, 10 frames, and then I'm gonna do OK both of these and offset offset them to you, like two or three friends. Uh, and then I'm just gonna do new no object. Attach them to it. And I'm gonna change the scale of the knoll. Object to negative. So now they hit on the other side, and I can just delete that guy. What? Let me make sure. Oh, that's why, uh, let's pull these out a little more because they're starting toe, overlap each other too much. It's pretty good let me make sure my composition is 24. OK, that makes for my can Composition 24. Okay. I don't know why that steam just feels like it's coming out a little too fast. All right? I'll move these lips. Oh, that's why Foot. Okay, so what do I got? So this steam is on that side. That one's on that site. That's weird. Okay, so that one's over there. No one here. Right in that work there were you. Now we have our steam building up right before our big explosion. 11. Special FX Pt. 3: so if it can't explodes, we're gonna have to have some, like, shrapnel. And the cans gonna be peeling open. Um, so in here, we're gonna find the exact point that explodes. And we're gonna manipulate, um, the layer, the shape players. So we'll come through here and it's gonna explode. Where? Down here somewhere. Right Right here. Five. We still have our layer, and then 501 or later is gone. So will come into the can, and it's only gonna be Well, it's going to be the lid that we can take off. And that's gonna be that part, too. And then coming into the can itself, we're gonna take the shape layer one. We're gonna change the opacity right here. 20 So now when we come into our animation calm, I hope we missed it. So try that again. Let's see if that's it. Okay, so we need to pull in our lids there, and now it disappears. Boom explodes. If you want to keep it simple. And I think for the sake of this tutorial, I'm gonna keep it simple. I'm gonna leave the can lid in here, but I'm just gonna rotate the gonna rotate the lip so we'll do it. Our on the keyboard, maybe. What? Pia's well Oh, Keum. And then hit down on the keyboard or Paige down, Rotate this up, pull it up. Like so that was gonna have the lid. Kind of like explode upward just like that. That looks good. Next. What we're gonna dio he is. I guess we can just create a new shape. We don't need to do it. On top of are in our can layer. So next, what will dio so put this here? There. And this is where we get to make are cool. Can shrapnel looks? I was gonna do something real quick. Real basic shapes. You can take the time to make yours look much better if you like. I just don't have that kind of time. This is a very long tutorial already, and well, lock it in there. Sure, Why not? I love it. All right, we'll pull that out. That will push this one in. All right, well, there's do that. Okay. Next, we have to color match. So we have it set up with white, which is a good start, and then we just need to change everything back to read. So once we have that lined up will go red read, and then this one. Since we look at that, we have it up there still so Well, she was it. Come over here and go. All right, so now we can turn that off. It looks good. Not too bad. So I'm gonna put this below, Are, can label. And then I'm gonna duplicate this guy and do bouquet can lead. So now, if you can tell what I'm doing, I'm creating a mask or an Alfa Channel for the label using my using my Toren can as the alphabet. So click toggle switch modes. And then over here, we're gonna go Alfa, Matt. And so it's gonna the labels only going to show where our can is. So we're missing the bottom part, so I'm just gonna add it in and it doesn't matter if I go outside the lines cause you can't see it. It's basically turned off. It's only showing me the label for what's there or like what? What's behind it. So now as it explodes, the lid opens. And, uh, let's just see. See how that looks and We're being cut off there, and that's okay. All we have to do is come here and click this Rast arise layer, continual rastra ization. And it will pull Arlette out. Sometimes it makes things funky if you have different, like effects happening within your composition. But for this it's gonna work just fine and we don't worry about it. All right, there we go. And it happened so quick that we don't even need to see the lid pop open or anything like that. One thing I do want to dio um and this kind of complicates things, but it'll it'll add to be not never mind save that for another day. Where are we? Right, animation. So now we have the explosion. That happens, what we need. We need some stuff to come out We need like bubbles and all that stuff. So we'll come down Teoh. Well, we'll stick with steam cause I have steam that comes out as it explodes. Sure, we'll do this. Go by license activity like That's not good. Are you Guys? Don't look at me. Don't look my password. All right, We're back in business, I think. Let's let's find out. Okay, So we got it. I got the steam coming in, so we're gonna do some more effects to it. We're gonna add camera lens blur. We'll go to, like, 20. We'll rotate it. We'll scale it. Scale it down. I'm gonna put it behind the can. Ugo. So it's fine where explosion happened. Tell you, I was at five right there, So boom. This is where I want my smoke to come out. Scale it down a little bit more. All right, let's look at this. All right? That's pretty good. Let me let me tell you guys a little bit about how this works to you. So in order to speed up or slow down your animation, unfortunately, you can't just go. Well, I want the I wanted to start, like, with a big explosion here and then trim it because that effects where the animation starts , it doesn't affect the opacity of the animation. Meaning it doesn't just erase the frames before it. It actually says, All right, so this is where our frames will start in. This is where they will end. Um soas faras Aiken tell without some other work around. In order to do that you just animate the opacity, and then it will start where you have it. But this also affects how quickly you're smoke will move. So it would be like, Boom, four friends, or you can extend it and make it longer. 12. Liquid Effects: All right, so now we get to get into the liquid. Uh, I'm not gonna recreate the liquid, but I'm gonna show you my shape layers on how I did it. Okay, so this is my liquid up here. Some of these are 80 juice effects, and some of it are just shaped layers that I animated. So I'll start with shape players that I animated. And it's called Soup. So I'm gonna import that into my animation. So let's scale it down to fit this new frame size, and we'll put everything where it belongs. This was below the can just like so and explodes outward and then hits. So if it hit you on my keyboard, you can see I have that sort of three different shape players. So there's one, two and then three So also of this, so we can see what's happening. So we have to shape players that just kind of, like morph into each other, and this top one splashes down like a wave. Next, we have this main one, which is kind of like our big blob that hits just splashes and it's slowly transitions out . And thirdly, we have this big one that scales up really quickly into the front of the camera. Okay, so that one animates much quicker than the rest. It really just comes out almost like a scale, like scaling it. But you're probably wondering like, Well, how did you get it to look cool. Like liquid, you know, look at that shining effect. Look, the different colors. Well, the way I did that is pretty simple. Let me move this around, Silicon, get a better location. Okay, so now I know we have all that done. Let me show you some of the effects I added to make this really pop. So first off, it's just a maroon color. So there's nothing fancy about that. But I added was a cc plastic. And then I just suggested the effect to match my liquid needs with lighting and everything that went around with it. Um, my settings will probably not match what you have or what you need, so just play around with it. So, like, the softness is 89.9, the height of the bum player, the 100 on, Just play around with lighting. My light height is at 61. This is that 24 for the like direction. So that's that's upper. It's pretty simple. Play around CC plastic. It's a pretty cool tool. Pretty cool effect. Next, let's see what I did for my layer layer styles. So on layer styles, I have an inner shadow in on the inner shadow. Um, I have a distance of, like 16 and a size of 22 and it's set to multiply, and then I have inner glow. This one is set to center. If it's set to edge, it throws it off backwards about a center on, then play around with that until it gets a nice light color in the center. And so that's how I did the liquid transfer form blob use Q. And I have these three shape players inside of where I have these three shapes inside of one shape layer so that my lighting effect, um, it translates to all shape players at once, so that when when I have intersection like here, it makes it look like one unanimous blob. If it wasn't like that, I would be getting different shading effects on all different shape players. So now that I walked you through how the liquid works. I'm gonna go ahead and just kind of fast forward to the end product. I'm going to go through here and add things like water splashes, water drops and some bubbles the pop up. So it's all straightforward stuff, just clicking, importing and then aligning where it needs to go, and then I'll show you the final product and I'll show you how I render it. 13. Rendering and Export: so I trust that by now your animation looks beautiful. That plug in just it took it over the top. And you're excited. You're ecstatic. You can't wait to post this and share it with the world. But maybe you don't know how to render. That's where I come in this part. We're gonna talk about rendering your product eso stick a long stick around. We're gonna show you exactly how to export it and what to use to export it. And then he will be done. And you can post it tow whatever app, channel website you want. Enjoy. Have fun. All right, So here's the final product with all the effects. Everything happening looks really cool. I'm really pleased without it came out. The soup liquid just looks so cool. It looks better than I thought it would with all these bubbles and pops and splashes. So now what we're gonna get into is rendering. But before I do that, there's one more effect that I'm gonna add that's gonna make it look a little bit cooler than it is right now. So what we're gonna do is we're gonna duplicate our composition. Um, that has everything in it. So now we have two compositions. I'm gonna hit scale, and we're gonna do a negative scale on all sides. So it's upside down and backwards. Then I'm gonna pull us below my normal comp, and I'm gonna drop it down. Actually, I'm sorry. We don't need now one. So it's it would be positive on the X, but negative on the why. So now we're doing We're creating a reflection. Okay, you can see what's happening. And because there's some scale happening within the composition, I'm gonna have to animate this reflection composition to line up with with the original comp. So hit T on the keyboard, they will drop the opacity, done like 20 then hit p on the keyboard. We're gonna key the position right until it let's see right until it explodes, which is right here. I'm going, Teoh, push it down. So that should hopefully line it up pretty well. It's not gonna be perfect, but it gives that cool effect like it's like a mere flooring. Uh, and then I have this. I have this no object, which might my, um they're actually both compositions are attached to, and that's just moving it to give room for my logo reveal or my 80 juice the shot out Shut out, eh? Geez dot com, Check it out. But you can see that the mere part is moving. It's moving way too far out of out of place. So as it explodes, let's move it upward to match. So we want the can tow line up. I don't really care about the liquid because the liquid is not It's not going to stay in the mirror. I'm gonna get rid of it. I just want to make sure that this can. This can moves accurate. All right, so then we'll hit f nine. And it looks like I need this to move a little quicker. He's in here. All right, That looks pretty good. Next, what we gotta do is we gotta get rid of that juice. Are not you, Soup? We don't need it. So what I'm gonna do? How do I want to do it? I guess you can just mask out this part here, but we'll do Negative. So subtracted. So let's see if that works. That kind of we're gonna have to animate the mask. It's not what I wanted, but Hey, you know, sometimes you do, but you don't want to dio, so we'll key the path here. Come back here where it's really clipping it off and we'll just move it where it needs to be. So now when we look, there we go. Not too bad. But I guess I'll do my key frames to girl. I'll match the movement. All right, so that's done. Everything is looking good. So now we're going to talk about rendering. So now that are animations done, we're gonna go ahead and find the best solution to render this. So the way that I always render is I go, um, composition at two. Media and coder. And so I do it this way because this if you render, if you render any animation within after effects, you're done, you've locked up after effects and you can't use anything. You can't work on another project because it's rendering. So if use media encoder, you don't have to worry about that. So this takes care of the render for you, and you can continue to work on other projects. So it's a win win. I highly recommend it, and it comes with all different kinds of codex. So you don't have to worry about installing different formats. Um, so this one I always do just h 264 in match poops. Cancel. Just match the match. The source. Um and it just works fine. So H 264 Boom. If you don't have it, I don't know what Tell you? Um, yeah, figure out how to get it. That's all I'm gonna say. Mine came with it. So your should too. So next we're gonna find a location to render it. Boom. I've got one here. We'll just call this one can, too, and then hit this little play button. And now you're rendering. It's that simple. And that's gonna go through and do its thing. And you can come in here and you can keep playing around with your animation. So that's how you render um, I hope your can looks awesome. And I hope it's working out really well.