The Best Way to Create 3D Titles in Aftereffects | Feroz Quazi | Skillshare

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The Best Way to Create 3D Titles in Aftereffects

teacher avatar Feroz Quazi, Motion Graphics Artist

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

Watch this class and thousands more

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

Lessons in This Class

10 Lessons (47m)
    • 1. Trailer

      0:29
    • 2. Animating Main Titles Pt. 1

      6:11
    • 3. Animating Main Titles Pt. 2

      4:16
    • 4. Adding Motion blur

      0:28
    • 5. Creating a logo Tile (3d)

      7:23
    • 6. Creating Side Video Elements

      4:39
    • 7. Smooth n' Silky Camera movement

      11:29
    • 8. Adding Camera Depth of field

      6:49
    • 9. Bringing it all together

      3:57
    • 10. Final thoughts and Class assignment

      1:35
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About This Class

In this class we're going to learn how to create cool looking 3d titles in Aftereffects with a slick camera move. I place emphasis on key framing and smooth animation over design aesthetic. Once you've mastered key framing techniques you can always tweak and improve on the design aspect :) 

Meet Your Teacher

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Feroz Quazi

Motion Graphics Artist

Teacher

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.

If you'd like to be updated of my new classes, just hit the +Follow button. 

Visit my full profile for more :) - Feroz Quazi

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Transcripts

1. Trailer: Hey, guys, My name is Feroz Quasi, and I am in motion graphics artist and photographer. I'm gonna teach you motion in such a way that your workflow, the smooth and efficient and cuts down on render time and allows you to get a lot done in a short amount of time. Now, there are no such thing of shortcuts. But if you use these techniques, you will be able to focus for a long period of time without breaking flow. In this lesson, we're gonna learn how to make something that looks like this, and, uh, yeah, I'll see you in class. 2. Animating Main Titles Pt. 1: What if everybody in this part of the course we're gonna learn how to make this main title animation? Okay, so let's get started. We're gonna hit command. And for a new comp kid TV logo Pre comp 1920 by 10 eighties. Find 24 frame two seconds. Find 22nd duration is good. Okay, get hit. Command T for text layer K I. D. S highlight everything with command day and shoes. Gotham Ultra is this main front and I'm using orange as my color E c E c seven day 30 color code And I am going to duplicate this layer by command D And then I'm gonna write TV and then I'm gonna hit s to make it smaller scale is down. Bring it in when you choose Helvetica Light And what I'm gonna do is I'm gonna focus on the top layer first. And this is something This is part of my work flow. I want to make sure that everything is organized and I can understand things Everything Not only now, but down the road I'm gonna hit command A to highlight all the layers minute prison. I have the Reverend Prison because it could coloring layers and color code. Everything help hit Ault and click that will give you two different colors of all your players. So what I'm gonna do is I'm gonna keep these to move this away. I'm ahead. Command shift indeed is split this layer and then I'm gonna choose this layer, double click on it. Come and choose the font arranged. And then I'm gonna move forward by about 23 key frames with command shifty again. This time I'm gonna choose font hell. Gotham rounded Gotham rounded book or Bold, actually got around it bold. And what I'm gonna do is I'm gonna hit. I'm gonna rotate this now. First I want to make sure that I have the anchor up here. The best way to do this is him. Why? And then bring it. Or if you want to center it and you're not sure like this is definitely not in the center, it's all we have to do is hit command and then double click on the pain behind. No, to rotate this, I could press are and then key frame it, but to go faster, remember, we want to keep our workflow going I'm gonna hit Option for that's gonna keep from the end position here, move back. And then I'm gonna rotate this by 300 40 degrees. I'm gonna highlight these two now, because in this case, I don't want anything. I don't want a hand. I don't want to do the graph editor tool myself because I want to say it a little bit time . And this is not where I want focus on those little custom made graphs. So I'm in truth, easing with his back out and hate Apply No. And then what I'm gonna do is now this thing rotates when it comes back to its original position on the hit command shift D to split this layer. And this time I'm gonna choose King things Bloom for this one, I'm a hit command. Sorry. Option s move this key for him because this is the end frame we want. And then we choose zero as the beginning. Move this out. Highlight Both back out. Apply. That's the easing was I want now. Almost. They're not quite done. We're gonna come here cheeses and keep a command ship. Do you one more time This time I'm just gonna hit T and I'm going through the front. Awesome ground, bold and no gold And what I'm gonna do I'm gonna choose this to be somewhere here. Hit Option P. This is my end position. Moved back and let's move this up so that it drops down. Move this out. Highlight both key frames. Now I'm gonna choose bounce out. I had apply, so there's gonna bounce. We're gonna come in. D this layer, duplicate it, stagger it this time, Hit p to reveal key frames. Choose both key friends by highlighting at least one of them or bringing the timeline to one of them and then highlighting boat. And then what you gonna do is gonna move it to the right, and we're just gonna make this, I think Cool. So now we can watch it all together. That was a little fast. So spread it out. Sprout some of the key phrase because everything here happens like within the 1st 2nd So this is where you will be able to be creative and just kind of bring your own, you know, timing in, Bring your own font selections. You know, try different things. This is where you get to have fun once the technical stuff done. Kind of covered the animation stop. So far, it looks like this. So that's pretty cool. Okay, I'm gonna actually bring this in so we can actually appreciate this rotation. And, uh, why should one more time cool. Last part of this main title animation. I'm gonna choose the main kids layer. We're gonna bring out our rulers, and we'll bring this in and align it with the case. 3. Animating Main Titles Pt. 2: we're gonna bring another ruler out when a market at the S and I am going to basically get rid, uh, each of these three letters and just keep the case. And I'm had optional Pete, our old P. And I'm gonna keep this as my end position. I'm gonna move back a couple of key frames and have it come from below, and then highlight both. I'm gonna choose bounce back out. Oh, apply. And we don't want to see exactly what comes from. So we're gonna hit all open bracket and, you know, hide the beginning part of this animation, so it just kind of pops up. Now we're gonna do, remember, we're gonna hit K two moved across key frames. Okay, NJ used to review all the key frames K and Jay's to travel through. Now, here. I'm gonna select all of these. I am going to move towards my position by the ruler, and now I'm gonna duplicate this and basically bring out the same animation for I d s. It is. Highlight this layer command d stack stagger the layer that you'd revealed key frames K to travel across now and oops. Move it across here. Here we go. They look like this. Hey, I And then duplicate this layer. Stagger it one more time. Hey, you travel to pee frames K and J Keep that in mind and then cross and then deep. Okay? Right now, it doesn't have to be perfect. We just want to lay it out. You what? The key frames across. It s And there you go. So I know I have to be right on the edge. Move it right on the edge over there. I'm gonna grab this d layer this a little bit as well. And then I'm gonna just my i layer and bring this home. There you go. So now I'm gonna stagger all of them. I just noticed that my stroke is all on on these, so I'm just gonna get rid of them right from here. Teoh here. So we just want Here we go. And same goes for this one, you know. So now we're gonna play this back. Now we can adjust it so that when the s bounces in the TV, he drops at the same time so you can adjust it. How you feel? Like I'm just gonna do it that way, and then I will show you the end result 4. Adding Motion blur: So in order to turn on the motion, we're gonna hit all you're gonna select all the layers that you want motion on my command, A gonna select this part of the toggle banner and you're gonna turn on the motion there for the composition, and then you get a grand preview and there you have it. This is our main title animation onto the next lesson. 5. Creating a logo Tile (3d): what's a guy? So in this part of tutorial, we're going to create these local tiles and thes side video elements that I've created in our animation. So if we were to take a look at this one more time So we're gonna create these things that are on the side. This is actually very simple, so I'm gonna get started right now. So we get this is exactly what we're gonna recreate on their head command. And and we'd hate logo tile. Pre cop. 1920 by 10. 80 is fine. 24 French 2nd 22nd duration is okay. And what we're gonna do is I'm gonna have command. Why on I'm gonna choose this orange surface and I'm gonna mask this holding command and shift. And what that does is it just creates a square shape. So I'm gonna center the sin, and then this is basically the key here. We're gonna make this into a three d rectangular looking tile. So I'm gonna come here and I hit the tile key. I mean, the three D option, and then I'm gonna hit the top view when I had a top view and I've got my proportional grid on. It's basically going to help me see where I am on this three d access. So minute. Come, indeed, duplicate this layer, and I'm gonna move this up in the Z axes. So remember, I just I don't want too much distance between these, So these two are just fine. I'm gonna hit. I'm gonna select the first layer one more time and had command d. Well, I'm gonna do is I'm gonna hit W for the rotation tool I want rotate this along the X axes. So the way to do this on 90 degrees the whole shift. So I know this is a 45 degree angle, and this would be a 90 degree, so I'm gonna double click this mask whole shift and command to bring it into center. So there you go. So, as you can see, it's not quiet between these tiles. So when adjusted and I'm gonna mask this backup. And now I know it lives between these two titles. The whole shift just to make sure you don't drag it left. And there you go. Now what? We knew we look at the front, So when you look at the front of this layer, You know that. It's like, right in the middle, and we don't want that you wanted to be on top. So bring it right there and then duplicate this green this right back there. Now we want the same thing, but on the left and the right, right, Duplicated slayer. Now we're gonna have a W for rotation. I'm gonna rotate this along the y axes, and we're gonna hold shift. So we get that 90 degree perfect angle. And now, since we're already looking at the front and push it along, Z axes lining up here, push this up. Why it up with shapes and then duplicate this layer and for you over on this side. And you can perfect this in your own way. If you go to custom view one, you can see that. Looks like we got this rectangular tile type structure the best way. See, this is to go back into active camera. Hold command old or command options, Command, command option, shift and see. And this will give you a camera. And when you press see, let me just turn my depth of field off. And when you hit C, you can rotate around. You could see what it looks like, but that's for weight. So this is what we have. And what we're gonna do is really turn on your passing. Just a bit of all these layers. Cool. Now what we're gonna do, we gonna put a logo on top of this command T e. I can't put you ESPN because that would be a copyright issue. Some discrepancy CPN or rather you know what? Instead of because it's kids show we do Cartoon Network. So let's just do C n and, uh, choose blocky letters. So I would say choose Gotham Ultra and let's make this black or a dark grey is fine as well . There you go. That's our to network time. I said Sure. Cool. Okay, so we're gonna go back to the proportional grid because we want centered just right. And remember, if you want to center the anchor, you I don't have to do it manually. Yuk Unjust double. Uh huh. Hold command and double click on the pants and then you consent Just that. And you can even kern of this text layer I going down here into metrics and head optical or metrics. So basically, it's just, like visually more appealing. It didn't do anything at this time, but it usually helps to play with these if you have more than five or six. So this basically our time now the front can be opaque the back frank in the opaque and we could bring that in the front. I'm sorry. On top and the rest of layers we can make it less cause we want to give it that See to look so in highlight all of these town here t making like 56. Cool. Now that we made this, now we're gonna move on into So now we can take our camera, turn off the field and hit C, and you can orbit groups. I did not make that three d. So make sure you make your letters your text layer three D as well, and then rotate around. Now you can really get to see and appreciate this tile structure that we've made. Just get rid of this portion. Great. You go. So that's our tile onto the next lesson. 6. Creating Side Video Elements: Hey, guys walked back in this part of the tutorial. We're going to create these side elements that are in the final animation, as you could see over here that are around the kids TV uh, main title. So let's go ahead and start creating that had command and that side elements video, pre comp and if the settings air just fine. 1920 10 80. Same things. Good. So here's the thing. I use different TV screens over here. So I have here a folder called Visual Assets Video Assets. And these are all my own YouTube videos that I, uh, used here. So I don't get into any copyright problems or anything like that. So that's basically what I've done. I have taken all of these videos and I bring it into my main comp, and, uh, I size them up. And as you could see this, this looks blank because the video starts out that way. And, uh, so I'm going to make this a three D layer and duplicate that, and basically, this is where you could be artistically free. As much as you like. You can you can make it, however, you feel like so What I do is to speed up this process again. Workflow is really important. Is I will arrange all of these videos in such a way that it looks cool and there is some overlap so I can pull this up in the space and then I'll duplicate this. Make this another big one. And then what I'll do is that here's another video. Have someone replace it with this video. So all you're going to do with it, command option C slash key or the question mark. And there you go. That video has been replaced. Same thing for these. Replace all of these in. There you go. And that's how you start to build your composition. And yeah, I'm just going to arrange these in a cool way. You could even hit command K make this composition a little bit wider. So you have more access, Teoh. You just have more access to all of this space here. So we're gonna do this this way. I think this nice, big and then what we're gonna do is as you're creating this stylized element, we're going to put these logo tiles that we created. So let's say the client says, Hey, I'm with my logo on the side over there. I wanted to be a little bit, you know, subtle, but not too obvious. So that's where you know your workflow is gonna kick in one more time to see how organized you are so you can go back into well here. I'm using teacher pre cops. Open this up. You have logo top calm in the throat right in there. So as you could see even if you make this a three d layer and you hit W and you rotate, it still lacks. You're gonna have to rasp, Arise it. Clicking this over here this the sun icon and as you could see, will rotate it back So it is facing us, and then we're gonna bring it up in the space so it is more visible and you could scale it down from there by hitting s then hit command Plus to zoom in. And there you go, these air you wore, he's your local tiles, and you can make them different sizes, get stagger them and do all kinds of cool things. You definitely want to be, you know, random, but also a little bit visible, I hope back into video assets this time going to use this video over here. These are not cartoon videos. I just These are my own, but I'm just trying to get the point across. So you create this and, uh, select the other ones replaced them. Behaving command option in question, Rocky or the back slash. And there you go. You could maybe the different sizes as well and play with this. This may seem like so I'll see in the next lesson where we will finally put it all together . 7. Smooth n' Silky Camera movement: Hey, guys, welcome back to this final lesson in this one. We're gonna take the side video element, pre comp. We're gonna take this main logo animation, and we're gonna put it all together into the final animation seven Hit command and we're gonna go, kid TV logo main Come 1920 by 10 80 24 friends. A second is perfect. And what we're gonna do first thing we're gonna bring in our kid TV logo. So it is basically our main animation. I'm gonna make this a three d layer. I mean, it just scale this down to about 45 or about 60 or so. And then what we're gonna do is we're gonna bring in our side video elements, so we're gonna drag that in and what we're gonna do is gonna make this a three d layer, and then we're gonna rotate it by hitting our rotate to decide to about 90 degrees. And as we move this along, can see better. There's a flat layers. Were gonna rasta rise it by clicking right here. And then we bring in all depth information in moving in dizzy axes Bring it in and then what? We're gonna do is going to go and look at the top of you. And as you could see, the main layers here, this one's here. Someone bring this back down. So there is a little bit of overlapping, not too much. And then what we're gonna do is Grant bring us in just a bit, duplicate this layer hit or and this time we're gonna hit negative 90 or we're gonna use the value negative 90 for the UAE rotation p for position and move it along the X axes. I wouldn't bring it on with this side. So now that they're both on either side gonna hit the original prick on from the side view and then we're gonna rotate it using the orientation parameter in the Z axes. So this way we can tilt it. You could kind of bring it down Just a bit. Click on this guy and in Tilted Just over here. Bring this down. There's that. Now what we're gonna do is we can adjust a lot of this after because if you're not too happy with the tilt or you don't think it looks quite right, then we could definitely come back to this and so moving on we're gonna do is we're gonna go to the top view, and yet we're gonna just this layer, so that is in line with the other. And then what we're gonna do is we're gonna create a continuous stream of these videos, so we're gonna drag and select both gonna hit command D and then we're gonna move it down here. We had commanded again, and then we're gonna keep duplicating these layers until we're happy with how many we have . I would say we should do this about eight and nine times just overestimating. So, uh, I say you skip to the part of this lesson where I am doing the camera tilt or I am using the camera tool to adjust to the camera angle, and I will get into key framing that in a bit. So I'm going to just keep duplicating this guy back to command it one more time, Andy. And then now that we've got enough layers, we're gonna hit the active camera and I can't see you just go fit. And now what we're gonna do is we are going to introduce the camera tool by hitting command fault or option shift. See, press, enter. And, uh, right now got my depth of fuel owns. Turn it off and woman does I'm gonna hit See, until I see this icon on the camera, and then I'm gonna just drag just a bit, so I just tailed it this way. So it looks a little bit more epic. And then maybe I'll just zoom out just a bit to make it look a little bit more cool. Now, what I'm gonna do is I'm going to introduce a no object, and I'm gonna hit command option Command holds shift. And why I gotta make this three d? I've been apparent, this camera to the no object hippy, and now I can move back and forth in three D space. So I'm gonna hit the position key frame, and I'm gonna go back. And then I'm just going to go past the kids, the kids TV main title, and then I'm hit Kay to come back here. I'm gonna move forward by about two seconds. Come over this moment right here. And then I'm just gonna do a subtle camera move when we're at this part with this part of the animation. I'm just gonna choose a value like negative 124. And then what we're gonna do is we're gonna pull back a lot. You could see this entire stream video players coming being a friend, remember? We pushed everything back in, see space back as much can keep going. So the more layers you have, cool. It's gonna look. But you don't want it to drag as well. So now here's the thing. This is the main part. Listen, this lesson that I want to focus on if you command or sorry f nine and Easy's thes, you will most likely see a graph or the speed grab that looks like this. And this isn't gonna be very smooth. It's gonna be quite a broad. So to solve this, we're gonna go into this menu here, I'm gonna use the value graph, and I just want to make sure toe until show animated properties. Now, this is the key here, right? Click on the position parameter and then hit separate dimensions. So now we know we didn't really do anything with the X and Y values, so you can just go ahead and delete those and then what you gonna do is we're gonna select Z key frames going to the graph and make sure that you have show selected properties and you are in the value graph. So now you can see this graph looks a little bit strange that we want to look like an s curve going to start adjusting it. And this is literally what this'll whole lesson comes down to is smooth key framing everything else designed Waas. Great. I think you guys can definitely master that. But this is where after effects is mostly used for And this is my motion artist are called in to help out with you look nice and smooth and then what we want They want to get this nice looking as shaped curve So it kind of starts out like much like this. And we know that if we hit play, we see that the first reveal looks good and then the cameras slow down. But the only thing here is I've moved it too far back. So we're gonna do is gonna take this value here, which is zero. I want to make this value like negative 100. You can use negative 60 off whichever value you like so that it doesn't move too far back. And you're going to perfect this part of the animation. Gonna make sure that this values not a book, this value or the tangents on these curves look smooth. So if this happens to you where the camera looks like it is moving towards or moving back, so the only thing you have to do is go back into the key frame and make sure that tangent is not pointing anywhere else. But I'm sorry. Should be in line. This is Ah, this is the part where you pay attention to details so that you just get it right. And just to speed up the process, I'm just going to solo this main layer so we could see how this animation looks like. That's pretty good. Uh, let's go back. So it just moves back a little too abruptly so we can easily adjust that by extending this out so it gives us that smooth look cool. So, of course, you have to be very careful because these tangents air very, very subtle. Any small change can make a drastic difference here, so it looks like when I move that tangent, this one popped above this tangents. We want to make sure it's below. And there you go. So this graph has gotta look nice, smooth and straight and then curves out. There you go. You have it, So let's take a look at it with everything in it. 8. Adding Camera Depth of field: I turned on the motion blur and everything. It's going look really, really cool. But now we're gonna focus on style, izing this whole element from a hit command. Why I use this orange layer. Oh, sorry. And orange solid solo it. And what I'm gonna do is I'm just gonna mask It's just a bit Hit the feather to biting F feathers out and lower. You passing about 23 ish, and I'm gonna bring this down below the kid TV. Local prick up. I'm gonna make this go up, and if you want, organize it just a bit more. I highly suggest you open your prison script and then just color this guy and all of these video elements color than different color and that where you know what's what Now, what we're gonna do is we're gonna add optical flares. Teoh. Give it that really, really, really shiny and professional type. Look. So the key here is don't try not to use this on transparent render mode. Always use screen as you are blending mode and let's make this three dimensional. And then let's also go into the options menu and let's choose. Let's actually remove any presets that you already have. So the key here is we wanted a simple as possible, and you want to save as much time. So we have this guy, and we have these two elements, and this should be just, you know, we're gonna choose a color around, be somewhere in the orange palette. We make a three. D, which it is. You can't this parameter here. And then we're just gonna choose this optic player. I'm going solo with kids, like, so I'm going to press P position. Key frame or sorry, the position parameter embassy. Okay, it zero space. And this is also in zero. So what I'm gonna do is I'm gonna bring this over, bring this just above the eye value. Then I'm going to lower the brightness just a bit. Just just justice here and what we do. Some key friend of brightness in scale. So it's this value at this time and then before comes into frame. It is, like, super shiny. And then it scales down as we reveal kids TV. I know what you want to do is you want to make it disappear, Nick. And what we're gonna do is we're gonna keep it up just a bit. Make sure it covers that dot On top the I scale it just a bit. I'm gonna go in the options menu, we choose the streak, we cut the brightness of this guy. So it's not as obvious now what reducing and had command. Why one more time, actually, much faster. We're gonna have command D on this optical flare. We're gonna duplicate this, and then we're gonna make this a two d layer. And what we're gonna do is we're gonna bring it up here, going to options. I'm gonna cut the streak out. Just the globe, keep just the glow, and we're gonna make a really big and then we are going to move this out of the frame, cut it short just a bit there. Just so we have this little patch of light coming from that corner and we don't want to be too obvious. Sorry. We also want to look like it is a natural source of light. You can just play with that on the left, on the top, left of top. Right. So now we're gonna watch this whole animation play out. You cut that key frame where blinks out cool. So now we're gonna do just to spice it up just a bit more. I'm going to add a depth of field parameter A on the camera been hit on the depth of field . So as you could see, it became blurred. We're gonna go into the top view. And the key here is basically make sure that this boxed area is where our main title lands . And so I'm gonna bring the focus distance in right there, and you're gonna wash this in half or full reds. It's up to you just to make sure that it is perfectly point. And what I'm gonna do is I'm going to choose Glor and work. We may or may not keep frame the aperture, but you're definitely going to keep frame the focus distance. You're gonna go back on top. And as the camera moves back, want to make sure that we'll land right on kid's TV? Sure that we can see the kids TV main title logo even when it's moving. See, that is there and sure there. And you can even lower the aperture so that it's like, more visible. And then the camera moves back and becomes blurry one more time. So if you're gonna take a look at it one more time, there you go. 9. Bringing it all together: focused. This is so it is perfectly in focus and then cameras back and it's out of focus. So, uh, last but not least, this is going to be the final edition to this comp command. Ault shift l in ad spotlights. And these spotlights are gonna give it. Give it this realistic look and you're going to double click on your spotlight. You're gonna make sure the cone angle is not that big. It's about between 35 55 the intensities about 150 ish and you're gonna make sure cast shadows. So we're gonna do is we're going to unsold these layers. I'm going to take a look at what we have with these lights. So as you could see right away that some of these layers in the back of turning black and we can't quiet see them. So this is where you will have to spend time on making a look just right. You're gonna go to the top, have you, and what you're gonna do is gonna sold the light. You going solo these layers so that you have one light that points two word. This layer over here, and then you can duplicate the same light and make sure points over to this layer Here, you're gonna go back in time. I started the active camera and even kind of see what's going on. If our unsold these you have to constantly keep an eye on how this is turning out at all points so you could see that it's casting a shadow here. Cool. We do not have a light on kids TV May logo. So we're gonna get that in there as well. And then you can do is even, you know, just turned down the cone angle toe like 23. So it doesn't look to to crystal clear like it looks like they're shining light on it. So that gives it this very cool dynamic look. And on top of that, you have done to feel, so that's just you. Cool. So what we're gonna do is basically this is a little bit of a repetitive process, and I am going to take these lights from the top view, and essentially you are going to go or any student watching this. We're going to go through this comp and make sure there is a light shining on either side otherwise everything is going to end up looking dark. Come back with this light. So a really strong suggestion that I have is that when you do make this, when you do add your lights, just make sure that the cone angle does not hit this area too much because what's going to happen is going to affect your main logo down the down that area. So just make sure that it's a minimal as possible. And then, yeah, I just adjust it according to your tastes. I'm gonna make sure my motion blurs parameters air all on. So the kids TV layer, it's all on in this layer. I'm just gonna go back in the pre camp. I'm going to select all. Make sure the motion blur is on motion. Motion blurs on here. The composition as well go into the tiles, make sure the motion blur is all on. This will give emotion. But all of these 10. Final thoughts and Class assignment: basically, you kind of get this idea that, um you're traveling through this space and this stuff lives in this three space. And on top of that, you've got all these cool logos all around you, and you've got these light layers lighting out. So it was definitely a lot of cool concepts in here that I think you could use, uh, for your class assignment. I think what I would do is all you have to do is recreate this animation, and I will put up a link for all these videos that I used here. So all essentially, what I want to look at is how smooth your key frames are. Everything else You can take your time and develop your artistic style. But key framing is something that is essentially very, very important. So I'm just gonna do a final render on this, and we're gonna take a look at the product. So thank you so much for watching this entire lesson. I know we covered a lot of concepts, and one thing I really want to emphasize is to focus on the mayor main raw elements of this animation like getting the key frames right, getting this smooth animations. Right after that, you can start building around it because after effects, artists or emotion, ours are, you know, like that's our main goal is is to make sure that it looks smooth and once you have your smooth animations that you can just kind of go from there because it if you're a good designer than great, you know, But good designers need to have good motion as well.