Working with a Client - Real-Life After Effects Logo Animation | Andrew Pach | Skillshare

Working with a Client - Real-Life After Effects Logo Animation

Andrew Pach, Animation all the way!

Working with a Client - Real-Life After Effects Logo Animation

Andrew Pach, Animation all the way!

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16 Lessons (38m)
    • 1. Introduction

      0:57
    • 2. Showcase and Brief

      1:52
    • 3. Principles

      2:46
    • 4. Examples

      1:23
    • 5. Storyboard

      1:18
    • 6. Composition

      2:20
    • 7. Division

      1:50
    • 8. Position

      1:47
    • 9. Overshoot

      3:32
    • 10. Camera - theory

      2:57
    • 11. Camera - movement

      4:02
    • 12. 2nd scene

      3:48
    • 13. 3rd scene

      3:22
    • 14. Adjustments

      3:14
    • 15. Add a Project!

      1:59
    • 16. Thank You!

      0:46
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About This Class

A client contacted me and wanted to have a minimalistic, clean, and sophisticated animation for his luxury type of brand and logo. We discussed the project together and came up with a couple of ideas for the animation itself.

With this class, I would like to teach you Logo animation in After Effects and the entire process of working with a client - from brief to finished and polished logo animation.

24537fa3.jpg

I want this class to be more than just animation in After Effects, I want to give you context, backstory and principles you can apply to your own real-life projects so you can feel more secure and sure about your motion graphics skills and knowledge. After this class, you will be more confident with custom logo animation for your personal projects, brands or clients!

Before we start the animation process I will walk you through:

- The brief and discussion with the client

- Gathering information from the Logo

- Animation principles

- How to make a storyboard for the animation

Once we gather all the above information, we will start the animation process:

- I will walk you through each single step

- We will use a camera

- I will teach you how to use an Overshoot (and bounce) script

- How to use Hold Keyframes

- How to build up scenes from existing animations

- ...and many more useful After Effects tips!

This is approximately the animation we are going to prepare (and that I did for the client), so a couple of cool techniques will be implemented:

0f114ca2.gif

We will use After Effects CC2021 within the class itself, but any version from CS6 will work for this type of design.

I hope we will start together soon, enroll the class and start watching and working with me!

Meet Your Teacher

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Andrew Pach

Animation all the way!

Teacher

Hi! My name is Andrzej Pach, to my friends known as 'Nigel'! I am an After Effects / PowerPoint / video / graphic design junkie eager to teach people how to utilize their yet uncovered raw design talent! I run a YouTube channel called "andrew pach" which I do with absolute joy and passion. Here on Skillshare, I would like to share interesting, project-based classes that will make your design workflow a greater experience.

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Transcripts

1. Introduction: Hello and welcome. In this logo animation class, where I'll show you how I have worked with a client and show you everything what I did to finalize the project with him. This is the animation that we will prepare in the class. Take a good look. And what's important here will not just work on the animation itself. I'll walk you through a client project from start to finish, from gathering information about the logo itself, thinking about how to animate it, storyboarding, and then moving to the animation at the very end of this process. It will be helpful if you know your way around aftereffects already. But if not, I will work very slowly and patiently. So you can follow all the steps. I'll of course, show you a couple of scripts you can use, but they will be completely optional. And I will show you ways to do this without anything, just a clean after effects installation. I do hope you are excited for this last because I certainly am. This is a real product, a real workflow. I'll show you and I want to make this together with you. See you there. 2. Showcase and Brief: Welcome in the showcase and brief lecture of this class. At first, I'm glad you are joining me where I'll walk you through a real life project with a client. He also allowed me to showcase this product. So I'm really happy to be doing this with you. This is the logo I was presented with and the information I've got. He wants a simple and clean animation. Now, immediately, as a designer, you need to write down key words to know what's the work with. Simple, clean, minimalistic may be. So those are keywords I'll have initially in my head, asking him a little bit about this business. He told me only that this is a private membership club and keeping it at that, I could draw from this. Maybe the animation should be elegant, maybe luxurious, definitely not cartoonish or playful. Additionally, I'm looking at the logo itself and the font choice here is pretty obvious. We have Serif fonts here. So this also implies not to use playful or cartoonish animations unless the client wants that. So those are the next keywords I added to my list. Now the client gave me another luxury. He showed me allele logo animation from an application called K Club. This is the animation in which he showcased. This is beautiful. He showed me and animation, and animation. And he would like something along those lines. So the logo clean, simple. And this is all the information we need. To recap what I've said in this lecture, the animation should be clean and simple. Information about the brand itself being a private membership club implies also some kind of mystery, luxury, elegant style of animation. The logo itself is written in a serif font, which implies a more strict animation, more serious type of animation, and a playful or a cartoonish one. With all the given information noted down, we prepared ourselves further work. 3. Principles: Before we continue, I want to briefly talk about a logo animation itself. There are so many little unwritten rules you can follow or you can freestyle completely, but it will be easier for you if you follow some kind of pattern, some kind of rule of thumb when animating. When animating, you want to reveal logo animations in a couple of steps. For example, make three or four distinctive segments, which introduced one element at a time to harmoniously and naturally flow together into the entire national. Wow, that sounds almost poetic. But what do I mean with that? For example, here I animated a logo for a client. By the way, he's called Vasco Patricia. If you want to check out his website and you need a persuasion coach, vasco Patricia.com sent me this logo and he wanted also a clean and simple animation. This is why I'm drawing from this example. I divided this animation into a couple of segments. You can see this is the finalized logo. So initially I thought I want to reveal the text first, then the blue box, and then follow it up with the text on the bottom. Now, the way I did this, I made the first segment. Like initially the text flies in. Then I made a rounded animation here, which reviews this blue object. And then I followed with this text. Anyone anytime comes in at the end. And this is exactly this fault. The logo animation principles and rules of thumb I will talk to you about. I divided this animation into 123 distinct segments, which make everything nicely flow into each other together. And I wanted to emphasize and give brief pauses and elements that I reveal. I did also a second review here where I revealed a box in a different way with the clean line on the left side. This is just a different way of animating this object. To recap this lecture at least a bit, a few logo animation principles you can follow and incorporate in your work. Remember to make distinctive segments. When animations within your logo animation tried to achieve emphasis on important moments and give brief pauses between the animations. Do not show everything at once. You some offsets, stagger animations and give the viewer a bit of time so he can pay attention to the details. Another very useful tip is keep your warden area in the center. You want the viewer to focus and know what to watch out, not to roll his eyes around the entire screen unless you have a super high tempo animation. Those are just a few hands. There are far, far more principles, but those would be the view I wanted to highlight here. 4. Examples: The following logo animation. Ima is for the brand of my wife. She's knitting and I wanted to give a little bit of backstory, which is the knitting equipment, which is segment 1 and segment 2 was the animation itself. And segment tree was revealing the actual logo. Again, I follow those little rural stumps. I introduce everything slowly and the logo itself is revealed at the very end of the animation. You can see this allows me to animate much, much easier because I already know in the back of my head what steps I want to follow and how do I want to animate? The last examples will be from the logo. We plan to animate where I want to show you what I did in the end. In this logo animation, I reviewed the logo segment 1. Then I made a little bit of rotation, segment two. And then I emphasize the logo by pushing it forward to give it the last little touch. This is exactly what I did on the second iteration of the animation. I did something very similar here, and this is the animation we will work on in this series. We have reveal, the segment with the flight crew and the end, pushing forward of the logo, everything clean, simple, luxurious, elegant. I can see those keywords fitting this animation. I hope this will be a great journey to work on this together, Let's open up After Effects and let us start working. 5. Storyboard: It is a very, very, very useful when preparing for animation to have some kind of storyboard. Of course, you may think this is awkward and looks ugly. But in reality, I have drawn something like that on paper. And having that maybe in your head, maybe on a storyboard makes it so much easier to animate. You draw a couple of frames, like 36 or nine frames, to also restrict yourself from going overboard. Remember, we wanted this to be clean and simple. Do I need more frames to draw the initial animation? Know, I made an idea. I'm looking at the logo, perhaps I'm looking on other animations on the Internet to get some inspiration. And since those were two letters, my initial thoughts were here that I will click them together, then I will enlarge them in some way. This wasn't exactly planned and this was a made-up as I went through the animation. But I was sure that I want to play with the camera and that I want to make the click together and that I want the emphasis to push. So we have that really impactful and strong animation. At the end, this was approximately my storyboard and you can get in the habit of making them. This will make your animations that much easier. 6. Composition: Welcome to the beginning of the logo animation itself. As promised, I will use scripts to show you a real life workflow, but I will also show you how to do this without anything with a clean After Effects version. Create a new composition. You can press Control N. And I will call it simply logo animation. How else to call it the composition size, full HD frame rate 30 is my standard frame rate because I can easily switch to 60 if I need to. And for the duration, I usually go around eight seconds to have some room to work with. Okay, this will be our initial composition. You can open the grid by pressing control and apostrophe. And you can also, by clicking just the apostrophe, open the title action safe. You could also do this here. Or by going to View and showing the grid. Okay, I'll show the grid because I want to create a simple sample logo. I'll press on the text. My kit is screaming behind. And I will just two l, like two letters. I'll select the letters with my character tab. I make it bigger. By the way, if you don't see the character tab window and you have all the possible taps to enable here. Character will be this one. Okay? I want to make sure that this is in the middle. Again now the aligned tab plays middle, place, middle. I will also place the anchor point in the very middle, in the very center of this by going to control and double-clicking on it. Now the anchor point, this is just if I need to resize this perfectly in the middle. Once you have the letters ready in order for the logo to be changeable, pre-compose the logo itself. I'll click on the layer with my example logo Control Shift C, and I will call it logo itself. You can call it how you want. This just my nomenclature, logo itself. And we have the logo itself composition. This would be it for the very first lecture where we set up our composition if you want. Additionally, we could create a background Control Y. You can select a white solid white color by going here, pressing Okay, and putting it as the last item. Okay, Perfect. We have no Everything setup and prepared for our animation itself. 7. Division: If you recall the original logo, it was two letters, so I had to divide it in health. In order to achieve this, I will try to go very slowly so you can replicate the steps. Please select the competition with the logo we created. We have the composition and I have the grid enabled. If you still don't have the grid, open this icon and showcase the grid. All right, I will simply select the rectangle tool because they're rectangle tool. When a composition is selected or a layer is selected, instead of creating a shape, will create a mask. I will start from the left corner and I'll go the middle of the screen. I hope this is perfectly in the middle. And we have the mask prefer just to see if it's the middle. I'll quickly inverted. Okay, I reach the middle point. Now I can duplicate this logo itself. Composition. I can press M. And here within the math because we have the same exact mask, we can invert the mask. This way. We've created a left and right side. I can turn off the bracket now, so I see it perfectly. And what's interesting here, no matter what we put in this local competition, for example, if you had a logo with a rectangle, not two letters, it doesn't matter. We will always have two equal parts and we can animate split, move around those parts. At any given point. The logo itself invited me to divide it in half. So it was a no-brainer. But in general, when you create masks, this is a great way with using the grid to separate your composition into equal parts. I hope you are able to follow along during this step and the next steps, we will slowly start to animate distinct. So stay tuned and I will show you interesting things about overshoot. 8. Position: My idea for this logo animation was that they will click together into one position. And I will show you something interesting when it comes to that. Please go to the Layers panel, press Shift to select both of them, and press P to reveal the position property. The position property, of course, allows you to move everything around. Now, we will move the y-axis, which is up and down, as I told, because I want to click them together. But what you can do in After Effects, it's not just randomly move them around. I will approximately judge an eyeball how low and how high I want this animation. But the trick here is to work on pixels, not on guessing game. I want this to be professional and equal on both sides. So I go plus 250. Okay, it's a bit low, but I think this will give us some room to play with. And here, negative 250, this will subtract or add this amount of pixels from the original value. This is absolutely an amazing feature of After Effects. You don't have to move everything around. You can simply add or subtract values and they will be added or subtracted to this value. Please remember about district when you work in After Effects, I will key-frame, key-frame to start this position. And I should make those keyframes previously. And on 20 frames, I'll move my play head forward. I need to now subtract 250 to get back to the original position. If I would be smarter, which I am not, I would make those keyframes right away, okay, here, plus 250. I'm always messing this up and perfect. We have initial position keyframes set for our animation. If we preview this, we get this ugly movement. See you in the next lecture where we'll do something amazing with overshoot. 9. Overshoot: Something that almost immediately makes you a better motion graphic artists are expressions that allow you to give some overshoot, unbound two animations. Look at this position. I can click on this position, and I have a script from emotion tree called Excite. Clicking on excite, it applies the script to the position value and look what happens to the L. It has some damping oscillations, some wiggle after it finishes the position animation. And this is, this looks so much more natural. Absolutely do not worry if you don't have scripts because we have motion script.com, a free site from Dan Albert. Thank you very much made. He explained a realistic bounce and overshoot. You can go into his article, you can preview what overshoot is just what I showed you here. Overshoot like dampens the oscillation of the given, given animation and bounds simply bounces the animation of a certain value that we put in. What we can do here, we can use this expression and insert it into our position values by hand. Please go into this website. You can read through everything if you'd like to learn more about what overshoot actually gives. But here, I just want to grab the expression. I want to take a shortcut and just steal the expression legally from this website. You need to go to key frame overshoot because we have key-frame set and simply take this existing expression here, control C or Command C. If you're on a Mac, go back to After Effects, I will remove the expression. So we are both on the same page. And click on the position, press your left Alt or Option key, and click those keys on the stopwatch. This will enable the expressions panel control V to paste the expression itself. It is this expression. And to change the animation, we only need to change the 2 first values. Now let's preview it. Okay, The letter number 2 oscillates a little bit. And I think this looks pretty cool. If you think that the decay is how long the animation will decay and stay alive. And the frequency is how much of the bounces we should see I only be reduced and the frequency here and maybe increase the Decay. So we have a stronger or, or I will reduce it. So we have some more of those movements. Okay? What you can do, you can click on the existing position. Boom. Copy expression only goes to this new position control V, and we've copied over this expression. Now, look what happens. We only have two position keyframes, and we have this beautiful oscillation at the end of the animation. It isn't the best. I think the scripts are a bit better, but for what we are doing now, it's perfectly fine. What's important? The last keyframe needs to stay linear. So if you want, you can press F9 to ease these keyframes. I'll use my scripts to ease them a little bit, something like this. But the last keyframe needs to stay intact. Beautiful demotion start slowly and then jumps into the space. I absolutely love it. Just remember those second keyframes. If I keyframe them the same way, the expression would no longer work. The expression is calculated based on linear values. If you go into the graph editor, you need this to be linear. Okay, perfect. We have this initial animation. This is what I wanted to teach you about, about bounce and overshoot. Overshoot is something amazing to use and motion graphics. And you can see the appliance right away. 10. Camera - theory: I want to introduce some movement, and I do not want to mess with the keyframes on those compositions. For that, I can add a camera into the composition. I can right-click New and select a camera. We can use the existing presets for a 35 millimeters or 50 millimeters. If you want a wider angle of view, I will decide, let's maybe go for 50 for this logo animation, boat would look perfectly okay. Don't worry about this overwhelming menu here. We only need the angle of view and a couple of features here. Okay, we've added a camera to the competition. I'll place it on the very top because this looks more clean. In order for a camera to work, layers need to be set to three demoed. I will make those layers 3D. If you don't see it, read those options to press F4 or click on those buttons here on the bottom, you can enable additional elements by using those button on the bottom. Okay, we've activated 3D. Now our camera can get closer or further away and can move this composition around. As you can see, everything got blurred. Why is that? Because a camera introduces depth into the into the scene. If I go to two views, I would see the camera. And this is the focal point of the camera. I can turn the focal point of everything here. Everything in the composition will always be sharp. And for this logo animation, I actually do not want any blurriness. So I'll go into the camera itself. I'll open it. The same options we have here. The same options are to be found in the camera options. I'll go to the Camera Options and I will simply turn off the depth of field. You can see this little line has disappeared and everything is very sharp. Now, we can, of course, enable the depth of field. And we can move the depth of field itself by going to the focus distance. If I move the focus distance to match their composition, you can see the letters become sharp as well, but I do not want to mess in this particular animation with that. I'll turn that off and I have my camera prepared for work. The next step I want to take, I don't want to mess with the position keyframes of the camera itself. I will create a new object to control the camera. New Null Object. I'll press Enter camera control. Perfect. I'll make it green because this is the default green the script also makes and I'll parent, remember you need to parent the camera to the camera control. Okay. Now we have a separate camera and a separate controller. Remember, to enable also the treaty options for this object. At this point, since tedious enabled, we'll be able to move, rotate, and do everything with the camera we want. Here I wanted to explain some theory about cameras. In the next lecture, we'll finally do the movement according to the animation we have. And we'll try to pull out something cool out of it. 11. Camera - movement: You can use a camera and still make it a 2D animation. So this is what we will initially start. I thought that this first movement is first animation is little bit boring. So I wanted to introduce the camera at first. I will maybe make this animation a bit longer. Let's make it two seconds. So we really have some time to see what's going on. This will simply slow down the animation. You can decide for yourself how long do you want it? Okay, I'm staying at 1 second, 20 frames. Now for the camera. At first I want to introduce the two or the left side than the right side, and then pop the entire animation. How to do this? Go to Camera Control, press P, and simply work the position values. Remember to set a keyframe. I want to be safe. So I even saved this keyframe for later. I place it somewhere here. So this will be the original value. I place another keyframe, and now I'll start animating. I want these to showcase the letter, the left side of the animation. I come closer with the third value. You can see what happens to the camera. It comes closer to the composition. And I simply need to position this little litter in the middle of the comp. Am I in the middle? That's sometimes inconvenient. I'll return to one view because I don't need to see the camera actually. And position this in the middle of the screen. Might last adjustment, since I want no movement on the camera like this right now, I'll press left, Old, Left Control and click on this keyframe. You could also right-click and simply toggle hold keyframe. Okay, I am toggled it. Toggle hold keyframe. What a hold keyframe means. It means that the values will not change until another keyframe is touched. So the values will not change until the timeline appears here. This is perfect for static movements because we already have movement on the animation itself. Okay? The first part, like first 20 frames, I want to watch this, or 25 frames, 20, let's make it 20. Hit a keyframe. The second keyframe automatically becomes a hold keyframe. And now we will adjust the position to the second letter and you will see what I mean and why am I doing this? I will simply move the values to make the right side on, in the middle of the screen. I'm deciding to not to change the third value. And what do we have now? You can go back and press space. First item, second item, you can see this flight to pu, pull 20 frames later. 21 second, 1 second 10 frames, because I want to be equal 20 frames, 20 frames. Now I want to introduce the entire logo. So what I do, I switch everything back to the middle point. I could even copy this keyframe, but I want to some randomness in this animation itself, okay? They are approximately in the middle and I'll maybe make them much, much smaller with the third value. Why not? Let's preview boo, boo SHE. Okay. I think this is okay. And at this point we could switch to the second scene. Now, in my opinion, the animation shouldn't finish here. So I'll take the keyframes and I'll put them a bit later. This is because I wanted this to be the main part, not this finishing damping oscillations. I want those oscillations to be visible at the very end of this entire logo animation. Beautiful. We have our first scene completed. In my opinion, the scene shouldn't be longer than two seconds. You can go to the perfect mark of two seconds. You can press Control a to select everything. I'll press my left control D to deselect the background layer. Left old or option, right bracket key. This is seen number 1, I press U to hide everything and we are complete with the first scene. And in the next lecture, I want to show you how to build upon existing animations like this. 12. 2nd scene: And the awesome thing here is that since I started to make camera movements, I knew that I wanted to continue this throughout this animation. Okay, see number 2, let's built upon the existing scene because at first I made the logo animation. I just had this movement and it snapped into the screen, but it was boring and looked incomplete. So I decided to add a second scene. Take the logo itself, or to be honest, we can duplicate everything. Take this press Control D, and place it on the very top. Now, move this forward so they touch each other. You can go page up, page down. You want to see that those two frames are connected together. If not, you will have empty space. Okay? Perfect. They snap to each other and I can now build the second scene with the existing animations. I press U to reveal keyframes. And here I wanted to have to give some impact and temple to this animation. Those 2 first key frames, the position they need to be much, much closer together. So I will adjust those keyframes. I'll subtract 150, and I'll add 150 here. At 150. The letters are now closer together. Now I want to work with the camera and to make this easier, you will now understand why I made this initial keyframe. I don't want to work on the same values. I want to take this key frame and I want to, sorry, Position Control V. I want to paste this keyframe here. This will ensure that I'm starting from the 0 and I can work on the animation from scratch. Okay? We have the first keyframe. I'll again toggle hold keyframe. My making my shortcut left all of control and click on it. And we will again adjust the position. I want it to be left, middle, right. How do this simply adjust the values to your liking? Maybe this value, we don't even have to touch the y-value unless we want to and we can come closer. Okay, I've overdone it with devalues. This, it seems that we have to touch those values after all. Now, I decided to make the second animation pretty quick. Maybe this is too much. I want to see the 2, 1, 2, 3, 4, 5 page down and pressing Page Down to go five frames forward. I want to be always equal 2020 2555. Okay, here I wanted to move this admission towards the center of the composition, 12345. And you can see how easy it is to try something out when you have already some animations pre-made. Okay, boom, boom, boom. Let's preview, Let's preview, Let's preview. This. All clicks together. Okay, It's not bad. Of course the logo is absolutely horrible. We have just two letters. It would look better with a real logo. But I wanted to show you the principles that we use here. Okay, no bad. But the scene number two cannot be too long. So 1, 2, 3, 4, or 5. Select this first layer, press Shift, select this last layer from s2. All right, bracket key. If you want a movement to be quicker, you can take those keyframes and place them simply closer. This might give a different impact. Yet we have a bit more and movement here. I think this is perfectly fine. In the next lectures, we can finalize this animation by adding, see number three, we are following the animation principles. We are building upon a couple of scenes and the storyboard we've set up in our mind and in our paint, this beautiful painting. And I hope to see you in the next lecture where we will work on scene number three. 13. 3rd scene: Okay, this is pretty amazing. We can now continue her work building the next scene. I'll extend my composition and what I want to do, I want a simple review for the, for the last scene. I'll again copy the original, original compositions, control V. I want to place them on the very top of my, of my entire animation and I'll put them forward. This is how you can build a logo animations. We have something going on. And the last thing I wanted to push, to push this forward to my, to my screen. So let me press U to see the keyframes. Absolutely not. I want this last animation to be really strong, really impactful, really quick. It should be where we are. Two seconds and 2017 frames. A bit of an awkward spot, but I want this to be approximately like 2030 frames, maybe one, maybe two seconds no longer. Okay, this initially looks amazing because we already pre-made this animation previously, but we move the camera and this is completely fine, but it doesn't have the last touch. What I want to do, I want to press S for scale. You can press Shift P to open both scale and position to see all of the keyframes at once. And I will keyframe, keyframe, the scale. I have now the value of 100%, and this is the end value. But at this point, I want this either to be bigger, so it comes together or smaller. Let's preview bigger. Not that bad. And let's preview smaller. I think smaller, like mix a more, a better impact here. Okay. Yeah, I do tend to like more. It coming from small to bigger. Absolutely. Do not worry about the motion because the motion itself right now is absolutely horrible. What we need to do, we need to go into the graph editor. At first we turn those keyframes to be press F9 on your keyboard. I'll just press here. And now preview the animation. Preview the right side. You see the animation itself. The biggest impact of the animation happens here, where it's still so far away. I want the animation to happen at the very end. So what I need to do, I need to drag this graph editor to the right side. By the way, if your graph editor looks different, just go to Edit Speed Graph, okay? Okay, It looks much, much better. What I can do, I can copy these keyframes over. I have a free script called East copy, just copy and I simply paste the easing. Now, bold letters will have the same. Okay, I kinda think it's now two quick, I'll extend this a little bit. Okay. This looks perfectly fine. We have the letters coming in and they are flying towards us a little bit less now preview everything, and let's go to the next lecture so we can adjust everything. So it works a little better together. Initially, we have the animation complete, but we still want to give some minor tweaks to make everything look nicer. 14. Adjustments: To adjust this animation, let me make those letters closer because I don't like the pause between them and the space between them. I'll make those letters closer. Maybe I will make them a tiny bit smaller. I make sure that they are in the middle of the composition. And just to prevent a logo animation itself, I will place a circle behind them so I can see everything better. I will go to Align, alignment in the center. I will make sure that the anchor point is the middle, just in case. And I forgot to make the shape in the back. Okay. Now the letters should have a white color. Those are just, those are adjustments I want to make for the preview of this animation to see if everything works, even with different logos. Okay, that's not bad. I would reduce the scale here. It's in my opinion too big. So at the end, there's no problem for us to make it 80% of scale. I think this would look much better. Here. I want to reduce the value to 60 because I want to have at least 20 percent of scale up at the very end push. Okay? Here at the beginning, I want this to be more on the left side. I do not want this to be so far on the right. This is beautiful. Why we have everything on a separate layer. I simply press my camera control. If you, if you remember the camera controller, this very keyframe, you need to have this play head in this very point, because if you start to work here, it will just add another keyframe. I want this keyframe, I want this key-frame to be more on the left side, maybe more on the bottom, because this depends on the animation itself. The movement at first it's very slow. Boom, boom, boom, boom, boom, boom, boom, boom. Okay. Now the dis letter should be more on the right side because I want to have distinctive changes between these animations, okay, with higher EBIT lower. Okay? Now I've made some small adjustments. Yep. It looks this more to the left side. I don't I don't know if you see it the same way, but in my opinion, this was too close to the middle point, okay? Since this is the left side of the equation, left, right, middle. Okay? And since we used own letters before, this is because of the nature of the logo. I like to add something else to preview what would happen if, and actually how the animation performs on other shapes. It might be that the circle wouldn't work at all and it will be horrible. But we can also spot any mistakes that we have. We can see everything is perfectly divided. Sometimes you make a mistake with the mask and you have a gap here. And this is perfect. In my opinion, those little tweaks, we're completely enough. Now I need to extend this animation to five seconds, at least. So everything stays on the screen. This would be the entire animation process. I fold to animate this logo for the client. Of course, the logo is different and I made a couple of other animations for it. We finalized and adjusted the animation. Let me go to the next lecture so we can thank you for being here and we'll wrap everything up. 15. Add a Project!: When you are ready with the animation new inserted your logo or an illustrious, you want to render out to files, a GIF file to showcase it. And the video file for yourself, or just a GIF file. I'm clicking on the animation on the right, the animation, and I have opened my Adobe Media Encoder. You can also click on the animation, go to Composition and select Add to Adobe Media Encoder. I'll quickly drag two instances of this animation. And for the presets, I will select H to 64. The default options should be okay. And for the second one, I will select Animated GIF. Normally, if you would have a longer animation, you should reduce the size of the GIF. But since this is a 5 second animation, you can stay at full HD sizes. Normally, you would go in here and you would reduce the gift size. But since this time, we have only a short animation. This is completely fine. And I'll start. The rendering for Disclosure Project is also useful to have a screenshot of your animation. But I assume that you know how to do a screenshot. If not on Windows, for example, you can enlarge this window. You can come closer, for example, like this, and press the Windows key and print screen. On your PC, you go to Pictures, screenshots. And the screenshot should be there. You can go to Projects and Resources. You can download the resources if you want or simply create a project. Remember to upload the image as a cover image. I have my screenshot number seven. In my case, it is a screen shot number seven. Okay. You can position that. You can come closer. So it's a thumbnail. You can give it a title. And here you simply insert the GIF. You select image, you select the GIF and it will import here on Skillshare. This is the animation I've prepared. Perfect. You can add some text here. You click Publish. This is exactly how you can submit project on scarcer or Donald the resources and finalize this entire class. 16. Thank You!: You've arrived at the end of this animation. Thank you so much. Remember that if you need any more drama in this animation, you can extend or adjust any existing keyframes. To copy the easing. You don't need the script. You can simply select all keyframes and work on them together with the Shift key. You can open the graph editor. And right now, I would adjust all those keyframes at once. Please do. Let me know if you enjoyed this content. I absolutely loved working logo animations. I love to prefer more content related to that and maybe showcase you some work with I done with clients, which actually could make you a better motion graphics artist as well. Thank you very much for listening and see you in other lectures like this.