Video Title Animations in LumaFusion on iPad | Ben Nielsen | Skillshare

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Video Title Animations in LumaFusion on iPad

teacher avatar Ben Nielsen, Good design is the beginning of learning

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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

18 Lessons (1h 10m)
    • 1. Introduction

      0:56
    • 2. Project

      1:51
    • 3. Animations

      2:56
    • 4. Setting Up the Project

      2:01
    • 5. Sketching Title Animations

      4:16
    • 6. The Edit Section of LumaFusion

      3:40
    • 7. Keyframing Basics

      4:06
    • 8. Keyframing Size

      5:55
    • 9. Keyframing Crop

      3:08
    • 10. Keyframing Opacity

      2:43
    • 11. Text Tools

      3:22
    • 12. Making the Animation

      13:26
    • 13. Image Animation

      4:00
    • 14. Four Corners Animation

      4:32
    • 15. Glitch Animation

      2:16
    • 16. Draw Animation

      4:09
    • 17. Lower Thirds Animation

      5:37
    • 18. Final Thoughts

      1:02
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About This Class

In this class we will go in depth into how to create title animations in LumaFusion. Even if you have never done animations before this course will still work for you. We will cover the basics of sketching and animation, setting up the titles, using keyframing to create the animation, and more. We will learn how to do several different types of animations to help you make professional looking videos right on your iPad. 

Meet Your Teacher

Teacher Profile Image

Ben Nielsen

Good design is the beginning of learning

Teacher

I am passionate about good design and good teaching. I believe that anyone can learn simple design principles and tools that can help them create content that is both beautiful and functional.

 

Background: I am a media designer and librarian. My masters degree is in instructional design with an emphasis on informal learning.

 

Motto: Good design is the beginning of learning.

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Transcripts

1. Introduction : I welcome to this course, creating title animations in Luna Fusion on your iPad. My name is Ben Nelson and I'll be your instructor for this course. You know, creating animated titles is a great way to make your videos feel a little bit more professional. And even though Luna Fusion is not a fully functional motion graphic center, has enough features that we can create our own animated titles right from within the app. In this course with my go over the basics of sketching out how your title will look and move, we'll learn all about key framing in the refuge in, which can be a little bit different than keep framing in some other applications. And then we'll finally get into adding shapes and text together into a single title that you can then use in your projects. So let's go ahead. Let's dive in and start learning about title animations inside of 2. Project: for this course will be to create three animated titles in women Fusion. I know three titles might sound like a lot for your first project, but it's really important to push yourself and your creativity, and that will help you to learn all of the different aspects of creeping animated titles. Within those three titles, you should use motion sizing and cropping to create your animations. You don't need to use all three of those in every single title, but across the three of them you should use all three of those aspects motion sizing and cropping. At least one of your title should contain a shape as well as text, and you can use shapes in all three of them. If that sounds like a lot, don't worry. We will be going through every step of the process in this course. So as long as you follow along with the assignments at the end of each video at the end, you will know how to create these kind of titles and be able to easily create three of them . Some of the titles can be really simple and subtle, and they don't require a ton of key framing some titles will be more complex and require a lot of key framing and multiple layers. But don't worry, because we will be walking through each aspect of it so that it can be easy for you to do this. Please do take the time to complete the assignment at the end of each video so that you can complete the project. Many people choose not to complete the project in these courses, and as a result, they don't learn as much. So please, do you take the time to complete the project and that uploaded to skill shirt so that we can all see the work that you've done. If you have any questions along the way, remember that you can always ask me questions in the comments section for this course, and I'm happy to help you answer whatever questions you have in the next field. We'll take a quick look at the animations that way 3. Animations: way the nuts and bolts of this. I just want to give you guys an idea of what kinds of things you're going to be learning in this course, the types of things that you'll be able to do after you finish this course, because it's always great to begin with the end in mind. So let's go ahead and take a look at some of these animations that I've already made. We won't be going step by step in this video how to make them. For now. I'm just going to show them to you, but as we go through the course, you'll learn all the steps that are needed in order to make these types of animations. So let's go here and let's just start with this one. There's an animation that looks pretty simple, but it takes a little bit of work to make, so I'll just going hit. Play here and you can watch you play through. So it's basically just a three square stroking down and then reveal of my brand name there . Okay, let's take a look at this 14 corners, so pretty simple reveal and then disappear. Square comes out, splits into four corners, it comes back. And the nice thing about animations is when they're well done, they can look really simple, even though they might be complicated to put together. All right, this is just a pretty simple which effect with a kind of a glow behind it. So basically the name just glitch ing into place there, and you can get really complicated with glitch effects. This is just a very simple one. Okay, this one here, call it logo drop because the logo is just going to kind of draw out and then reveal the name Bush play here. Okay, this is one down here that I know. Lots of people want to learn how to do it. This is a lower thirds. Lower thirds is pretty popular way to tell somebody's name or reveal information at the bomb. The screen. You see me use lower thirds a lot when I'm teaching keyboard shortcuts or something like that. Let's go ahead and push play on this one. Just be a lower thirds for me there. All right. And then we've got this one, which you guys know that I love Vance. So we've got a little van animation here, the one above that. It's just the one that I use for a lot of my courses as Faras doing the title and the assignment. So let's go ahead and let's watch this van reveal here. So in this one, we're actually using an image to create a title, so we'll be learning how to do that throughout the course. So there's a lot that's going to go into this as far as learning how to do text how to do key framing key framing is especially really important here. So there's a lot that's going in and we'll look at each of these and we'll be building out animations as we go along through this course. But in the next video, we're actually going to start out like we always do by sketching. 4. Setting Up the Project: Theo set up the project in Lima Fusion and setting up a project loon with fusion. If you've been working with it is probably something that you've done many times, but let's just go over it again. And especially for those of you who might be new to it. We're just going go over how to set a project. You go down into the bottom left corner and you just hit the plus icon that's going to set you up a new project. You get a chance to give it a name. So first we're going. Just be learning about key framing, so I'm going to call this key framing practice. And then you can choose your frame rate and your aspect ratio. Lips miss about that, so it's important if you already have some footage that you match your frame rate and your aspect ratio. Now you might be creating this title, and you might be playing to use in a bunch of projects, so just make sure you choose the frame rate and the aspect ratio that you use most often. I generally am doing 30 frames per second in 16 by nine landscape, but if I was doing something different. I could change it here. Right? So you go down to 24 if you're going for more of that cinematic look or if you don't film in exactly 30 if you film in the 29.97 you can make that change here. And, of course, there's lots of aspect ratios you can choose from 16 by nine is a pretty standard one. But, you know, you might be doing something vertically for instagram stories. Or maybe the square cause you're making it for Instagram. There's a lot of things that you might do there, but for now I'm just going go with Landscape 16 by nine and 30 frames per second. Then you you have to remember to hit plus toe, actually create the project hit plus, and then you get new project, a new timeline here. And then in the next video, we're going to talk about how to start making a title and the edit section of Louis Fusion , which is where all of the magic happens for animation. 5. Sketching Title Animations: all right. So, you know, if you've taken courses from me before that we always start with sketching we never designed unless we've sketched first. And so we always always want to get our ideas out on paper beforehand. Now, for you guys. I always sketch in the paper app on my iPad just so that you guys can see it in the screen recording here. But I always suggest that you guys actually sketch on paper with a pencil. Animation. Sketching can get pretty complicated. You could make, like, a flip book to actually show the animation, but we're not doing anything that complicate here. Here, we're just going to sketch out the idea. We're going to straw some arrows to show the motion, and that just gives us the idea of what's in our head. We can put it down on paper. Okay, so let's start with the three square animation that I showed you before when I sketched that out. I just come here and I just drew three squares and I just wrote arrows coming down, telling me that those air going drop down and then they're going go this way right here is gonna be the words of my brand name, and things often run into each other in the sketch. That doesn't matter. We're just getting the ideas out here, so just have different ideas. One thing that I'm thinking here, as I'm sketching sketching can really help you. To refine your ideas is I might want that to then come back the other way and then disappeared, right? Another kind of disappear. That's pretty easy to do. If just by reversing, it's so that's cool. Now let's think had that other one where I wanted to do this square he was going to spin. You see, we're just getting the idea out here, and then it's going to split four corners. All right here. Okay. It doesn't really matter if you can read it. That's not the point. The point is to just work with the idea, get it out of your head, started thinking through it. So these air some that we've already done. Now I'm going to try and think about one that we haven't done before. So maybe I want kind of an upper right reveal that could come appear, maybe like an instagram handle. So I'm going to go ahead and Herro say there's a banner here and we'll have the Instagram logo that's going to circle around and then we're gonna have the at handle here. I could just be like little logo that pops up, Do you see? That's when I havent done yet. But I'm just having this idea in my head and I'm getting it down on papers that I can see it. And of course, then I would want that to you spin back the other way. And you could, like, number these if you didn't want to get confused. So this would be like number two and this is number one, or you could use different colors to show different parts of it. It just depends on what works for you. But the idea is get these ideas out on paper with your hands before you start. Actually trying to work in lieu of fusion on the iPad toe actually animate them because if you think through it first, it could be much more effective. Once you've gone through this first exercise and you've learned how bloom a fusion works and how you animate things in it, then when you come back to make a new title and you sketch it out again, You'll be thinking you had Okay, This is where I'm gonna need a key frame. This is where I'm going to need a new layer and you'll begin to grasp the way that it works . So this is an iterative process, as it is all designed. So I've obviously already sketched out a bunch of these for the different animations that I showed you in the last video. But I want you to go ahead, make sure that you've sketched out at least 3 to 5 different animation ideas so that you aren't just doing what I'm doing. You can follow along with me, but I also want you to be able to express your own ideas and the type of animations that you want to see in your titles. Do some sketching and then in the next 6. The Edit Section of LumaFusion: way are going to go ahead, and we are going to look at the edit area of Lumen Fusion, so you're probably familiar with the timeline. And if you've used refusing all, you've probably had to go into the edit area for something. But to get into the edit area, we actually have to have a clip on our timeline. So we're just up here in the top left and there's the sources panel, and I am entitles and from titles I will normally just like scroll down to the bottom and grab one of these classics or these planes because we're just going to lead everything off of it anyway. So the less there is, the better it is for us. So if you grab that, you just drag it down, and I we have a clip on our time line. Doesn't do much. It just says your text here, but it's a clip. So with the clip selected, which means that it's highlighted, then we can go on. We can choose edit, which is the pencil down near the middle of the bottom toolbar. If you ever need to know what it but it doesn't limit fusion, you can always just hold down on the question mark in the bottom, right? Let's go ahead and hit the pencil. And now we're in the editing interface, depending what type of clip you have selected. This could be a little bit different, but there are three main areas at the bottom when you have a title selected. The main area is the title section, which we're in now, which is represented by this tea on the toolbar. There are layers along the right, so you can see where it says you were. Text here, ruin. Go ahead and add another layer by hitting the plus icon just above that. And we're going to add a shape layer to hit that, and it automatically adds as a rectangle, and you can see that this shape layer is now on top of the text layer. What's confusing here is this works different than almost every other program in the world in that they were here that is lower in the list is actually on top, so it's a little confusing. A lot of features aren't accessible unless you have the layer open. So you just hit the Chevron to the left and that will open up the layer that allows you to do things like delete your footage and adjust all of the different properties. So I'll hit the late because we don't want the text. With the shape open, I can actually adjust the shape. Size loom. A fusion did not have very robust tools as far as graphic design ghosts, so it's a lot of kind of hunting guesswork and tapping on the sliders to get things exactly where you want them to be. They don't have any snap guides or anything, so try and get them positioned. It's often best to get it close and then to use these little sliders, but just the incremental arrows to get it exactly. So if I want this exactly in the center, I'm going change it to Center X 50 and Central Y 50 And it can take a little bit of time to do this. But it's the best way to get it exactly in the center so you can adjust all of the properties here, but you can't actually do any animation. All of the animation is done inside of the frame and fit window, which is the processors on the left of the toolbar. When you open that up, you get the frame and fit. So it's really important to know what section you're in because you can't do any of the animation things that we want to do inside of the titles. That's where you set up what the title will look like, but there's no motion involved in that. What this means in practicality is that each title is animated as an entire hole. And so, if you want multiple pieces moving within your title, those air going to actually need to be separate titles on your timeline, we'll go into this in more. 7. Keyframing Basics: Okay, so now we're just time to actually learn about key frame. And in order to understand what we're about to do, you need to know a little bit about animation and its history. Basically, in the old days of animation, there were master illustrators or animators who would draw what were called the key frames . These would show characters were scenes in a particular position, and then they would draw the next specific and important position. And then the in between owners who were kind of lower animators would come along and they would draw the frames that happened in between. And you might have 12 or 24 frames, you know, in a second of animation. And so they would draw those frames that happened in between there where the motion was going on. That's where we get the term key frame nowadays. So for us, the computer is the in between ER, and in our case, the iPad is the computer and we are just going to set key framing where we want the object to be at particular points of time, and then the computer will figure out the rest, which is very helpful because we wouldn't want to draw every frame here that we needed to deal for these animated titles. Within this frame and fit, we have a bunch of different options, and here we're just going to learn about some motion key framing. We will learn about a lot of other types of key framing as we go along, but important to know that the timeline exists down here at the bottom and this is the timeline for the entire clip. So this runs from cream zero on the left all the way up to frame 3.29 which is three seconds and 29 frames at the end, because this is a four second clip at 30 frames per second. So it was. We placed key frames along here. We can tell it where the position to be. And remember, we're not just animating this square were animating the entire title clip. And so anything that we have within this title will be animated with this. Let's say we want just want this square to move across the screen. If we know that we wanted in the middle when we're half way through at two seconds, then we can set our key frame right here. We have it in the middle. We want the whole clip, which is represented by the bounding box around the edge, to be in the middle at this point. So we will hit this plus icon and that adds a key frame. You can see it in blue on the timeline now. We don't want this to be here all the time. We want to move across the screen, so we're going scroll on our time line all the way back to zero, and then we're going to move it. We can either grab this and move it, but that could be a little bit tricky, since there's no snapping send you on that, or we can just move the position X in our size and position properties over here. So we distract Position X, and then why will stay exactly where we want to be? So we'll just move that offscreen. Then, if we hit play down in the toolbar, we can watch as that square animates. So then, if we want that to animate across and be off a to the end, we'll just go ahead. We'll place our cursor there, and we'll move X again that will automatically at a key frame. Therefore, we wanted to be. So let's watch that whole thing. So now we've made this square move across the screen with three key frames. Now we could have just used to key frames for that, but then we couldn't have guaranteed that right. At two seconds, it would have been in the exact middle. You have to use as many key frames as you need to in order to get the result that you want in your motion. So that's the basics of motion animating key for him. You can do that with rotation. We'll talk more about doing that with rotation and size. There's also blending, so there's a lot of different things that you can animate. Go ahead and make this very simple animation. Just so you get the idea of what's going on with the key frames. I know that it can be a little bit to wrap your mind around at first when you first start working it with it. So we want to start out pretty simple just doing this where we just move this square across the screen 8. Keyframing Size: all right, the next key framing technique that we're going learn about his key framing size. So let's scroll back to the middle. And we've already got a key frame set with this size in place, because everything that we have in our size and position is set on that key frame, and this is just the normal size that the title normally is. But we want to go back to the beginning, and what we're actually going to is we're going to make that size much smaller. Then we'll need to move our position X back so that the squares on the edge and then it will grow as it goes across the screen. But you can see the an entire clip is being shrunk, not just the square, and that's what I'm talking about. It's so important to understand that the entire clip is being affected by what you do here . You can't affect just individual objects. We just have one object. But if we also had text on here, that would also be size down. Everything in the clip is affected by what you do here in your key frames, so let's watch this, then see that that grows and moves across. So, of course, we also wanted to shrink. So we want to look at what our sizes here, and it looks like our size is 12.6. Let's just make that in even 12. And the size slider takes the X and Y axes and does them together. The size exercise wife's lighter can allow you to change your horizontal and your vertical independently pending on what you want to do there. So when we're here, we won't be back down to 12. So we'll go ahead and we'll set our size down on. Sliders are not very refined. So you do have to use these arrows and tap a lot to get it exactly right, and we'll take our position X and we'll drag it back. Just barely exits there. Okay, now let's watch the whole thing and you can see that it's kind of bumped up there for some reason. Limit fusion when it gets to the end, will often bumped back a couple of frames, but it should be on 3 29 and off the screen there. All right, so this will get more intuitive as you go along. But Basically, you've got to set the key frame where you want it to be. So if we want to be at 100% size when it reaches the middle, we set that key frame. And then if we want to be a 12% when it's entering the shot, then we want to set that on the 1st 1 And we can adjust that as we go along, so size can be a great way to do. Like a reveal. You can set something outside zero and then bring it up to 100. So then it can just appear in the middle of the screen. There's a lot of different cool things that you can do with size. Let's just try a little bit more just so we can see this. Let's go halfway in between. So at one second, let's actually make it larger. Bring up to 1 20 Then we'll see it get bigger and then smaller again so you can use this to set up. And if you need more time than four seconds, you can adjust that on the timeline. So say we wanted to do more. Bring that back. We'd have to hop out of here by hitting the back here on the top left, and then we can expand our things. So let's say we want to go up to, like, eight seconds. Okay, so now we've got an eight second clip. But there's nothing going on after four seconds because we are. It took it away. So let's go ahead and hit. Edit again and you'll automatically come back into titles. But remember, you cannot keep frame anything here. You need to go to the Bremen fit and then let's say we want to have this guy come back. So at 3 29 he's off the screen and then we come back here to you six and will put him back to you. His position of X zero. Right? And we're going to set his size back. Teoh 100. Okay, so now if we watch this through what kind of ping pong off that side, it's best to go look back at your dimensions and just copy those exactly So position 104.8 . Set that back. Negative eight and we'll get the scale 12 back to you, said these letters not very precise. When the major drop acts in them. A feud. Okay, so then we will watch this through. Get the pig, punk. Now, what I don't like is this one where it gets bigger now and already love that effect. So this is how you delete a key frame. You just drag your play bar to that key frame so that it snaps in place there. And then you hit the single ex dot Don't hit the multi ex dot on the left because that will delete all your key frames. Just hit this single ex dot and that will delete just one key frame. So now we can watch this through again. In the next video, we will learn about key framing the crop. 9. Keyframing Crop: All right. So we've set up this square to do the little grow and bounce. Think and we've shown how you can do reveal by size, right? You can take a sites all the way down to cereal, and then you can bring it all the way up to 100. Now we're going to show how to do reveal with the crop in case you don't want the size to be changing. So we're going, Go ahead and we're just going to turn off the view of this square for right now. So right over here on the left, In my timeline, I'm just going to hit the eyeball and that squares off. We're going to drag out a new title. So I'm just going grab another classic main here, and we're going to learn how to do a reveal using a crop with this text. So let's go ahead and we'll swap the position on these two. Then we're going to go ahead and we're going to you take your classic Maine and we're going go back into the edit mode again. So now we have our text, and we're going to do a reveal on this text using a crop. So, of course, to do any Kiefer, I mean, we have to go into our frame unfit option on the left. And now we're going to Instead of having the size and position open, we're gonna open up the cropping, and here we get our crop handles. Basically, the crop will allow you to reveal something or hide parts of the clip. So for this case, we're just going to a reveal from the bottom. So we want to take the top all the way down. So we're just dragging this top slider on the right down until we've hit in it. And of course, now we want to set our key frame there, got a key frame, and now let's go in by about one second. We can always advance one frame just by hitting the arrow with the bar behind it. And now we're going to you go ahead and we're going drag that back here. So now we should see this Reveal as we go push play. Yeah. So that's a simple crop. Reveal right there. Do that on. Let's just say that we leave it until we get to three. We set our key frame again. Remember, you have to reset that key frame because it's going Teoh animate what's in between, and so you want to be the same up until the three seconds. And then by the time it gets to the 3 29 mark, we want that to be gone again. So we're going toe crop that back down. All right. Now, let's watch the whole thing. We reveal the text is there, and then the text disappears. So it's fairly simple to use this crop to do a reveal. But you can use the crop to do a bunch of different types of things, and it can be really useful when you're using shapes as well to just show part of the shape . So we'll take a look at that when we look at some of those ones that we showed earlier. Like the Four corners, one that involves a lot of different crops to show just part of a shape to get that four corner feel. So that is how you revealed using crop. And in the next video, we're going learn how to reveal using blend moms 10. Keyframing Opacity: way want to learn how to key frame using blend modes and opacity? And basically, this is just like a slow reveal, as we bring in the text is, we make it more opaque. So rather than a reveal where it rose like the size one were revealed, where only part of it comes in at a time like the crop, this is going to be a reveal where it all comes in, but it just fades in. So let's go ahead and let's take this text that we have here already and let's duplicate it . We're just going to use the duplicate button, which is the plus and two squares in the left side of the toolbar. Press that. And now we have this on when we go into edit, we, of course, need to go to our frame and fit. And now we want to click on Crop so we can get rid of all of the's key friends we already set. And this is where you want to use that X with the three circles that will actually get rid of all your key frames. So now we just need to reset our crump so that we aren't doing anything with the crop. It all and will close the cropping tool on the right and we're going go to our blending tool. All right, so what we know is when we are about one second in which will be at the five, we want this to be revealed. So let's hit plus there so that we're full opacity. Let's go back 24 seconds and will drag the opacity all the way down to zero. Don't push play to see it through. All right, that's a little bit too fast. So let's go ahead. Let's delete this key frame right here. Just drag our play head to it and then hit the single delete button and let's go in to six and we'll go ahead and we'll set that opacity to 100%. Now let's watch it through. Okay, I like that slow. Reveal their. Then at seven, we'll set the key frame again. Just hit the plus button and then at 7 29 will come back down to zero. So we'll have ah, slow fade in and out fast, fade out perfect. So that's the basics of using opacity to just bring in a clip while it is sitting there. Now remember, this would affect the entire clip. We're not just affecting the text. Whatever's on the clip would be affected, which is why we have to stack different clips on top of each other, right? So now we know a bunch of different ways of revealing parts of a title, including shapes and text. So bringing it in with motion, bringing in with size, revealing it with the crop or revealing it with capacity. So in the next video, we're going to talk about how to work with text in the title tool. 11. Text Tools: alright. In this video, we'll learn how to actually edit the text that comes in with a title in Loom Effusion. You first need something to be working on. You need a title there, so we've added a couple of titles already using the title section. You can also add a title by hitting the plus inside a circle and choosing overlay title matches going. Bring in your basic title and then we can go in via edit. So there's already a text layer here. We're in the title section in the middle of the tour. There's already this title layer here, and this is where a lot of people get confused about how to edit. There's a couple ways to do this. One is to open up that layer, and once you open up that later, you get all the controls for it and you can actually edit the text by hitting the pencil button. Then you can go ahead and you can type in whatever you needed to say. So in my case, it's gonna be Ben. You gotta make sure it doesn't capitalize. It been designs done. So now the text has changed, and then down here we have all of the controls for the text, but you have to remember if you need to change what the text says, you just go to that pencil by. So then let's go ahead and let's try changing the front. Always use the front quicksand for my brand, and then we have these size controls. So let's go ahead and but bring it up to 100 there. You can also control the justification and the spacing. And then here's where you control the color, so color will and X is here. I always use white on black or black on white most of the time, so would was going to leave it like that. But that's where you would change it. And then you have an edge color. Let me just show you with another color what this looks like so you can see that and we actually use something like this in the glitch effects so that it kind of looks glowy, but we don't want to leave that on because that looks terrible. So we're gonna go ahead and just switch back to black. We'll just bring the edge wit all the way down to zero so that there isn't actually an edge to it. And then there's the shadow so you can add a shadow killer. You can control the saturation of that as well. Of course, we don't actually want a shadow, so we'll just bring the opacity all the way down, and then you can control the text position. Remember, this isn't its position for animation. This is just its position on the canvas that makes up the clip. Put that back to 50. There's the rotation, so people often get tripped up and they'll think that this is where they do the animation. But of course, that's not where you can do the animation. We would have to go into the frame and fit to do that. But that's how you go about editing text here, and you can make your style. You can see that there are some styles here already made. If you want to save a style, you just press the safe styles, but which is the plus inside the circle, cut in half here, then you can save your style, so that would save the size, the font color, all of that together into a style that you could reuse over and over again. So that's the basics of working with text here inside of bloom effusion. Now that we've assembled this tool set, we will go ahead and we will actually make an animation in the next video. 12. Making the Animation: all right. Now that we've learned all of the basic tools needed for creating animation, we're going Go ahead and we're going to recreate this 1st 1 that I showed you with the three squares dropping down and the text reveal here. So we'll go ahead and we will, of course, start by making a new project. So we'll just hit the plus icon in the bottom left. We'll name this squares reveal, then hit plus in the top right, and we're ready to go. First thing that we have to do, of course, is go ahead and bring in a title to the timeline. Grab a title. Drop it in. Now it's important to remember that you only get six layers of video inside of loom. Effusion used to be three and then in Lima Fusion 2.0, they doubled it. So we will have to have multiple layers in order to make this work, because each clip is animated on its own, so we need multiple clips layered on top of each other in order to animate thes squares. So let's go ahead and start by tapping on our clip and then tapping at it. The pencil on the bottom, brewing ahead, and we'll just delete this text by opening it up and hitting the trash can. Then let's go ahead and add are square. So the shape that it automatically goes to is a rectangle and there isn't a square option. So we're just going to have to adjust this. And remember, the adjustments are weird because you would think that Ah, high end with the 50 by 50 would make a square. But it doesn't actually. So you just have to try and eyeball it, get as close to a square as you can. All right, So now that we have our square, we're going go ahead and would just try and set it on the canvas about where we want it to be. Try and sit on an even number here. Just said it right there at 70. That will just make it easier for us to put the others in. Where do they need to be? Then? We want to set up the reveal for this square. Let's go ahead and go to our frame and fit option, and we're going used to crop to do this reveal so we'll go to cropping on the right and for the first key frames, starting at zero, we're just gonna make sure that it's cropped all the way to the top. And then we'll set our key frame by pressing the plus button. I wouldn't give it half a second to reveal. So then we'll drag that down to reveal the whole thing. Let's see how that looks. It's pretty good. One thing that you'll notice right away when you're working with animations in the refuge in is that there is no speed ramping option. There's no way to turn this into a curve, so there are some hacks to try and get around that. But for this one, we're just going to do pretty simple animations. We aren't going try and do any kind of speed ramping or easing in and easing out, because that's a little bit more complicated, given the limitations of limit fusion that we want to get into right here. That seems to work well on. So we will go out of there and we'll come back and we'll add the motion later to this one. Now let's go ahead and let's extend this clip out, give ourselves a little bit more time. Six seconds, maybe because we'll have one come in to come in three and then we'll move across to do the reveal. Let's go ahead and move it across for the reveal, so we'll go back to our frame and fit, and we're now in size and position. Well, I have one revealed at that point. Well, the 2nd 1 revealed by one second. Let's go ahead and at two seconds, let's set our size and position. We'll give it one second to get across, so let's go drag our X to move it right at negative 100. All right, let's watch that. I think it's moving across a little bit too fast, so let's go ahead and get rid of that one at three and let's go to you 3 15 I will go to X 100 again. Let's watch that through. So now we can go ahead and we can use this one to create the other two shapes. Go ahead and we will duplicate it by pressing the less with two squares and duplicates at the end. But we want to bring it back, and we want this one to appear just when this one finishes, So 15 frames and then we'll edit it to make sure you have the second clip selected, the one that's on top and it and we need to edit its position. Now we want to keep it right in line. So we're just gonna edit far. Why here moved the square down. I will put it right at 50. There. Go to our motion to adjust our cropping. Let's go ahead, get rid of cropping frames, said it to just below the other square to start. And then one second we'll have it reveal, huh? Okay, let's bump out. Let's do it again. Duplicate. Yep. And in the original one, I had them all move at the same speed across. But I'm kind of interested in having them each move, not at the same time across. So let's see what happens if we do that. So we want this guy to be right at one. We'll do another edit on it. We, of course, need to change its position so we'll go and we will adjust our center. Why bring it? We want to get as close to even as we can't here, and we'll go to our cropping jester Crump there and our second grew up to be right there. All right, let's watch it. Let's go out. Let's watch it all through here where we can see everything come and remember, This is a process of experimentation, and so you may need to go back and make a lot of adjustments. It's a process of tweaking it here, tweaking it there. Let's go ahead and add our text in to this video will grab our text here and drag it here. Course we don't want it to reveal until they start moving. Can appear right about there. Okay. And we just want to do a crop reveal on the text. Let's go ahead and you in it. We can change our text to say what we want to say. So we Jap on that and then we tap on this text edit button, which is a little pencil in a square. Then we can say what want I'll just put Ben designs here. Change for the front two quick sand change that size. So it's just fitting in there. All right, now we can do our crop, so we're going go to our frame and fit and go to our cropping tool will drag our left side in. Make that even with squares. Said it with the plus button. We really wanted to be right there, right When that second square starts moving, then we'll just track it across. When that second square stops moving, see if we can get it to be completely we ve and we're not quite right there. So we'll need to make an adjustment on our size. So let's go back to our text size. Let's bring it down slightly, see what that does to our motion. So we wanted to be appearing. Ask the squares going across. We want to make sure that nothing is appearing like out on the left hand side before the square is past it. So I think we just need to adjust where the squares positions are slightly. Let's go ahead. Let's pop out of here. Go back to you. The squares start with the middle one, since it's with the words within our motion, we're going to go here and let's increase our position till we feel comfortable with it is what I'm talking about, where it's just a process here. One of 2.5. We'll leave it there. Okay, so then let's go ahead and adjust the others to one or 2.5. Go into their motion, go to the final key frame, buying up, and I will just line up the last one. They probably have to adjust a little bit on where the text reveal happens. Let's watch it through now. Okay, so you can see that they're the crop is following just behind the square. And we wanted to be exactly with square. So we're gonna have to just the crop on the text, go into the text year. Fran fit under the crap, and that's still right, but that it's not quite so. It's a new breed, a little bit to the left so that it lines up exactly. Watch it through here. All right, that's pretty good. Okay, then we just need to even out these so that they all match up at the end point. And that's how we go about making that simple title animation in Lumen Fusion. So go ahead and work on making one like that on your own, and that will be good practice for you. And in the next video, we'll go ahead and we will talk about adding image 13. Image Animation: all right. So hopefully at this point, you're starting to feel comfortable with the idea of key frames and how they work. Now we're going, go ahead and we're going to look at adding an image because that's just a little bit different, so we won't go over that as well. Go ahead and we will make a new project here. New project. We call this one van because we'll do a van image and will press. Plus, so this is gonna be the one where the van drives across and reveals the title. So let's start, as we always do by adding in a title. Just drag it onto the timeline and then hit the edit button. We'll delete the text, and when we hit, Plus and stood shoes in the shape were actually going choose to add an image. It's at an image you can see it says Select image. There is no image here currently, so we're gonna go ahead and add it by clicking import image on the right hand side. And then we are going to choose this van image, and it's important if you want the image to look like it's sitting on the background of the video, and it needs to be a PNG. So this is a PNG that I have created in assembly, and I do have courses on how to create something like this in assembly. And now we've got it in here and we can do what we would normally do with, like, a shape. We could resize it and we can change its position. Let's go ahead and set it right at 50 and 50 right here. And then, of course, we can add our motion to it. So let's go here to framing fit, and we'll just go all the way out to two seconds and we'll hit the plus so that we know it's exactly in the middle at two seconds. Then we'll drag back to frame zero, and then we'll just adjust its position X here, right off the screen before it comes in. Push play, it goes on. We'll go all the way to the end and will take its position X just off the screen there. All right, so here's the play through. So the van drives across. Not too bad. No, what we would do if we had speed ramping. Here's we would just speed that up as it went across and then slow it down after it reaches the middle. We can't really do that here. We can try to mimic that a little bit, so this is a two second thing here. So if we go out to you about 1 15 and we want to set a new key frame, we're just going to drag that position X back so that it's going slower at the beginning. And then it will have to go faster at the end, right? So here's slow and then it speeds up and then slow again, right, And that is very rudimentary. The more key frames you add in, obviously, the smoother that will be. Of course, we can mimic it on the other end that it will go faster as it exits that watch it through. So that's just a little bit of what you can do to try and get a little bit more interesting . It's not very smooth here. We need we need to add in a lot more key frames to make that actually smooth as it accelerates there. So go ahead and try adding an image you can use your own. Or you can just download a PNG from the Internet and just try it out. And in the next video, we'll start looking through how we made some of those other animations that I showed you at the beginning. 14. Four Corners Animation: all right, in this video, we're going, Go ahead and we're going. Look at how the Four Corners was made. So let's tap in on that. And let's take a look how this goes. Now, this is actually one where I reversed the animation to make it disappear. Take a look at what we have going on here. You can see we actually have five video tracks going on at a time. And the reason for that is that as we come in, we just have this square appear. And then we have to split that square four ways. Which means that we have to have four different tracks to make that happen. Because the only way to make these corners has to have that same square be cropped in. And we'll take a look at that in a second. And then we begin the reveal of the text that stays there, and then we bring it all back together right here, come back together, and then we just have that same square disappear. So let's take a look at this clicking on this. And of course, there's nothing going on here. But one thing you always want to note is that if you're going to anything with rotation and you want it to appear to be rotating around itself, that object has to be in the center right like this one is in the center. Because when you come here to frame and fit and you do rotation, it's going to rotate that entire clip around its centre. And so this guy has to be there because you can see it's not just rotating the squares, rotating the entire clip. It's got to be in the center of the screen. It's really important to understand. With rotation, we'll see another example of that later in the lower thirds. We just have to keep frames here. We start at rotation 354.92 almost 3 60 and it's just going rotate around until it gets back to zero. At that point, let's jump over and let's take a look at this first of the corners. We had it, and of course we have to have these match up. Exactly. That's another thing where the center is really helpful because we always know where this century is. Go here to Freeman fit. Let's look at what we've got. So we start off with key frame here, then have a key frame here off to the side so you can see that we've got position X 25 and position. Why negative 25 right? So that it moves up into the right. You can see it moves that entire frame. So let's take a look at our cropping to see what's going on there. You can see we've set the crop key frame right there, and it's just cropping in on that corner, so the cropping doesn't need to change. We just have to be ever cropped, and it's already over that first square and pops out. So all of these are doing exactly the same thing. So let's take another look at this and let's look at our size and position here as it goes back in. So we set our position to be the same so that there's no motion in between these two points and then we should have it go back to 00 in the last frame, and so that creates that effect where it comes out and then it goes back in. So each of these squares is set up the same, except for, of course, the position of the crop is going to be different for each one, so that we're just getting 1/4 of each square and then you have their motion, which just moves them in the opposite directions. That's what you have to do there. It's a little complex because you're really thinking of this as one square shape, but you actually have to have five different video layers to make this work. And then, of course, at the end, we have just gone ahead and redone this one as a rotation back down 23 60. And then we've got the size going from 102.1 so that it effectively disappears there. Once you see it, it probably is easier to wrap your mind around them when you're just like thinking about how it's happening. But you might not originally think that there need to be all of these different layers of the video tracks, but that's how you do the four Corners one, and we'll just continue in these videos going through and looking at each of these examples 15. Glitch Animation: alright in this video, we'll move on to the glitch effect and we're going to look at that and we call this the glitch effect. But like we've been talking about loom effusion while it is the best editor on the iPad is , of course, limited. And so we can't do everything that we might do in another editor or we can't do it is easily and so this is kind of my attempt at a glitch effect, but obviously there are a lot better glitch effects out there. And so this is really just turning off. Turn it back on, turn it off, turn it back on. So let's just take a look at it. So we start off, turned on and off fast, and then we slow it down and then we stop and we just leave it on. So it's going to the edit. And of course we have to go into frame and fit to see our key frames. And our key frames here are going to be all under the blending because we're just turning the opacity on him back off again, and you can see this has a way more key frames in it for a single clip than anything else that we've done. And that's just because it's capacity all the way on. And then we go to the next frame and we go opacity all the way off and we got the next frame all the way on and we do that for a little while and then we get to doing every other frame. And so we gradually increase this. And so they got between the key frames, gets bigger as it starts to stay on longer until it finally just stays on. So the glitch effect, it's not very hard to do. But one thing that we do want to note is to kind of give it that like Electrical Viper, we have actually turned on a shadow in the text, so going to titles, going to the text, we can scroll down here and we can see I've tried to give it like this electric blue color in the shadow right here. Originally I had tried it with the edge. That's why you can see that the edges colored there. But I brought the with all the way down because the edge wasn't working very well. So we're using a shadow and we've got it on Blue. We've got the opacity up on the shadow about our distance, and we've brought the Blur up quite a bit so that it will look like it's fuzzy. And so that's kind of the simple glitch. If, like, they're not too difficult to dio, just take some time because you have to add in so many key frames. 16. Draw Animation: So the next example that we're going look at is this one called logo draw here, and this is where you just get the logo to draw out. And this is an effect that I've used before and DaVinci resolve to kind draw out my logo. But we don't have all the tools here in the confusion that we have individual results. So we kind of have to be creative in the way that we do this. So it's played through again, draws out, and then the circles dry out. Two parts, the being the D and logo move away to reveal the words. So let's go ahead. Let's jump into it. Let's see what happens here. So let's start with the B and you can see that it is positioned in the middle of the frame when we're in the titles. But when we jump over here, we actually have adjusted that frame over. So we're trying to get the being the D to be around the center, so we have to adjust their frame slightly in the frame and fit to get that to happen. Then we're using both a size and position and a corrupt, so let's look at the crop here and the crop is all the way up here, and we have to have it cropped on both the bottom and on the right so that we can just reveal the stem of the be first. So we started out with nothing, and then we start dropping down. By the time we get here to frame 15 we've got the stem completely revealed. We've cropped it right on the edge there so that none of kind of the circle part of the B is revealed. And then, as we dragged forward, were cropping out to the right now and so the B reveals itself. So that's the cropping. And then at that point, we go to size and position because we've set the position to be right where it should be just off from the center. And then it has to start moving as it moves going reveal the text. And of course, the D is just all of that, but reversed from it. So let's go take a look at that. This is the D, and, you know, it's just that it's the same thing, but it's hopeful to see it a couple times so again it's in the center. But we, of course, move it over. And so that's the important thing. When you're on the title, you can only see where you've drawn. You can't see where you're actually positioning. The frame and fit is where you see what's actually happening. I'll be back to the crop here so we can see the crop coming down of these air revealed people show up in the 15. The bulls are revealed. That moves across perfect. Okay, we've got the cropping. We've got the size and position. Now let's look at the text here. So in the text going frame and fit, what we have is a crop on it. So we've cropped it in completely and to crop something and completely, you have to make sure that you get the dimensions right on the right hand side. We want cropped right in the middle so you can see we've got left at 50. Top stays at zero. Bottom zero. We've got the right at 50. So that their meeting right in the middle. So then these circles meet there and you can see we're just a little bit off. And where we've positioned those because it is hard to get it exactly right because there's no guides or snapping in the refuge in. I think most people won't notice that. So then we start to crop out, and by the time we get here, we want the crop to be finished. So to 10 the crop is finished. Those continue to move. But we just leave like that. And sometimes people will wonder why we wouldn't just take the crop all the way out to the edges. We could do that. But then the reveal would be much faster as that crop tries to get all the way to the edges by that time period. So a lot of that has to do with timing how far you crop it out. Some of these things that we're talking about might sound confusing right now, and that's just because you have to practice and you just have to practice and go over it and try changing key frames and see what happens and go over it over and over again because it's a hard thing to wrap your mind around, so practices what will help. This makes sense. First you try one thing we take the crop all the way to the edges goes way too fast, revealing it so they try something else. That's really how you figure this stuff out that, and watching other people do it, but doing it yourself is where you really start to see it. 17. Lower Thirds Animation: now look at one that I know a lot of people are interested in how to do these. So this is the lower thirds, and lower thirds is the type of title you use a lot. Win your interviewing war. They used it a lot in the news or broadcast shows, right? Whenever you want to give some information, often about a person have the lower third, so let's play it through. Box comes, spins up, extends out. My name appears and then in my organization and the website appear so you can put whatever you want in lower thirds. But very often it's going to be the name and persons affiliation. So let's go ahead and let's take a look at this. This one's a little bit complex. You can see we've got four layers going on here, and this bottom one is the square, so let's go ahead and hit at it. Let's take a look at it right now. I'm going to do a solo, which we haven't done before, but this is important for your border. For you to be able to see this so hit solo in the top left that's going to solo this clip so that we don't see the other clips. It's very important we talked about this a little bit before. But when you want to do rotation like this, your object has to be in the center. So on the title, it's in the center. We don't position it down in the lower left. We positioned the square in the center and you can see would come here and we can see that we've got it in the center ex Central y 50 50. So it's right where it should be. And then here we actually move that over. So we used the position of the X and Y to move that entire clip over, and hopefully this is starting to make sense to you. You're starting to see how this works. But if not, go ahead, Ask me a question in the comments. I'm happy to do my best to explain it further. It's kind of hard concept to get at first, but we move the frame over there because that entire frame is going to rotate. So we bring this up using size and position so the white brings it up, and then we're gonna add rotation here so you can see that entire clip is rotating in position there. All right, and after that, then we're going bring in the other elements. Here it's over. Turn off the solo, and at this point we can see those expand out. Looks like my timing's ill a bit off on that. We'll have toe look at that in a second here, and it all comes together again. There's the spinning, but it do you position the whole frame over the entire frame, spins, stops and then comes out. Let's go up. Then we have this whole rectangle. So instead of trying to elongate that clip that has the square in it, we just add the other rectangle has the same height but different width. And then we'll get it here and we can see that we brought the right tingling. You can't see anything because we've got the crop on. But we brought that rectangle over and now, but are cropping here. Start off with no crop rotates and then it opens. You can see we've got the crop set to be that zero so that it starts out with nothing. It's still it completely cropped up by the time we get to the one second and then it begins to open stops at. So let's go here and let's look at the text because the text is another crop thing. Let's go here. Do you can see on the crop here? We've got it cropped out. And then once we get one, there it goes. We're running a little bit ahead of ourselves. I'm just going for him by frame and checking to make sure that that crop is just following the crop on the rectangle behind it. Okay, looks better. That stress, right? All right. So those air are both crop things with their position set into the lower left and then we'll come here. We just want this to pop out. So let's take a look at that. Here we have a shape and we have the text. And this is what we're talking about when we've seen whatever you put in here into the title is one thing. You can't animate them separate, so I can animate this text separate from the shape because they're together on a layer. Let's go to framing fit and we'll see what we've done here. So it doesn't show up at all. Until here we've got this size set to 0.1 so that it can't be seen, and then it comes out. So it just pops. So we bring up to one or 3.2, and then we bring it back down to 76.6. So we get that little pop there, but and then back down. So that just gives it a little bit more motion. Little bit mawr feeling to it. So and that is how you build this kind of lower thirds. There's a 1,000,000 ways you can build lower thirds. You can just bring it out from the side. That works really well until a lot less complicated. You can just pop it out. But I want to kind of show you guys some different ways that you could do these things. So we've got the spinning extension and the pop, which makes just for a more professional look to it. Okay, so that is the lower third 18. Final Thoughts: that is going to do it for us now. We've gone over all these different types of title animations. We've seen how to do opacity and rotation and movement and size. There's just so many different ways that we can make this happen. I want to thank you so much for coming along with me on this course. I think this has been a Superfund course to put together. I hope it's been really useful for you again. Remember what I've said about just practicing, working with key frames so that you can learn as you go along and please do. Go ahead, finish your projects together. Remember three animations and please share those with us in the project section for this course because you really will learn more if you practice and if you share your work with other people. So I'm really looking forward to seeing what you can put together again. Remember, asked me any questions that you have in the comments. Thank you so much for watching, and I will see you in the next course