10 Amazing Effects in Adobe After Effects

1. Class Introduction: Hi, my name is Elizabeth. I'm a digital artists that specializes in Adobe Photoshop, adobe Illustrator, and Adobe After Effects. In this class, we are going to export ten of the best effects that After Effects has to offer. We're going to go over particle systems, Ball Action effects of fractal noise, altering colors. And so much more. These are only some of the effects that I use on a regular basis when creating an after effects. They are powerful and so much fun to experiment with. Discourse is for any experience level from beginner to advanced, is designed to help you learn and explore all the after-effects has to offer. So let's get started. 2. Class Project: The project in this course is to use the effects that you learn in this class and apply them to your own images, animations, or videos. You can use one effect or you can combine effects to create something completely unique. It could be altering texts. It can be adding animation to a text. It can be animating, exploiting particles. We're adding a rain layer to your video. Walk through all the effects in this class and choose the ones that interests you the most and the ones that you will utilize the most in your creations. Go explore and have fun with it. When you're done with your project, post it to the project section of this course. And as always, if you have questions, don't be afraid to ask, post them in the discussion section, and I will answer them as soon as I can. I'm more than happy to help and have fun creating. 3. Ball Action Effect: The first effect that we're going to look at is the Ball Action Effect. This effect essentially breaks down your layer into legged grid and it will break it apart into tiny balls. So the best way to explain it is to show it to you. So I have this video of a young man running, scale it down a little bit so it fits our comp. Now you can apply this fact to just about anything. You can apply to a solid layer of video, text and image vectors. And you can create a lot of things with it. You can create water, you can create landscapes, and even o'clock affect the Ball Action Effect is located in your effects panel. Under the simulation section, we can just type in ball and it's right here under simulation. Now you'll see that there is a 16 located next to the effect. This number is telling you the bits per channel or the color depth for this effect. So if x can only be used on certain VPCs, if you go over to your project panel, you'll see where it says 32 VPC. Now this number needs to match the number on your effect for this effect to work. So to change this, we're just going to click on it where it says depth. We're going to click and change to 16 bits per channel. Click. Okay. Then we're going to drag this effect onto our composition. You'll see that when you apply the effect of briefs your layer down into little squares. And each square takes on the color of the layer where the square is located. Now if you look in the effects panel, you'll see a few settings that can be manipulated. And this is what makes this effect really special is when you start changing these settings. So let's play around with these and show you what it does. So scattered does exactly what it sounds like. It's going to spread and jumble the ball around in a 3D space. But you'll notice that no matter where the ball goes and carries that hue with it, the larger the scatter number, the more dispersed they are. And they move on every access. They go left to right, up and down and backwards and forwards. So they move in a 3D space. Next is the rotation axis. This setting allows you to choose how the layer is manipulated in a 3D space. It can rotate on each axis, individually or on multiple axes. So if you do the x-axis and you play around with this, you'll see that it tilts forward or it tells backwards. Undo that with command or control Z, Y. You'll see that it's swinging left to right. Okay? You'll see that it basically just rotates on its side. Now if you combine them, x and y, it's going to rotate on both those axes. I normally do is all three axes. So we're going to include, choose that one for now. The next thing is going to be the twist property. And basically what the twist property does, it's going to allow you which axis is going to be manipulated by the twist. On the x-axis? If you twist it, is being manipulated on the x. Undo that, go random. It's gonna choose a random axis. That's crazy. And do that. Now if you go down a brightness, which is one of the best ones, Let's turn this a little bit on the x-y axis so we can get a better look. Okay, if you choose the brightness property and you, or let's bring the grid spacing up and the ball size down just to get a better look at this. Now with the brightness, you'll notice that when you increase the twist angle, the balls being manipulated based on their brightness or darkness. Twist this a little more easily. You can see they're being pushed and pulled based upon how bright or how dark they are. So grid spacing is the space in between the balls. If you have a smaller size ball and you increase your grid spacing, you'll see that the area between the balls is increased. If you have a larger ball, everything just getting pushed together. It's going to look like a mosaic tile. Let's reset all this. This effect can be used for like a cool career transition to bring text onto a scene. So let's try that. Let's delete this layer. Let's go to our text tool. Drag out a text box, type in a word. We'll type in. Let's bring this down so it's altogether. Okay, go back to our effects. Drag the ball action onto the text. You'll see it's broken down into a grid again. And we're going to just destroy the text. We're going to bring this scatter up. Let's change the rotation and the twist. We'll change it to X, Y, and Z. And then we're going to change the grid spacing in, increase it. And we're going to decrease the ball size. And we're going to set keyframes for all of these. Go to your layer, hit U to bring up the keyframes. Now I put the keyframes in the wrong spot, so we're going to select them all and drag them to the beginning of the timeline. And Emery go about the 3 second mark, two or 3 second mark. And we're going to set our play head there. Go back to our effects control panel. And we're just going to reset the effect. And that'll set keyframes for the settings. And we're just going to decrease the grid spacing so you can't see the grid on the text. Now we're going to drag our playhead to the beginning and hit play. And you'll see all the balls scattered into one word. And that's how you can use a Ball Action Effect to create a text transition or even a layer transition. 4. Particle World Effect Part One: The next effect we're going to look at is the particle world effect. Particle World allows you to create emitters. These emitters can be manipulated to simulate multiple effects like snowfall, fireworks. This is one of the effects that you need to experiment with a lot to understand what it is capable of. But I'm going to walk you through two of the many things that you can do with particle systems and Particle World. This is a very powerful effect. Don't be intimidated by it. The first thing I'm going to show you how to do with Particle World is how to replicate an image or a layer. So let's jump into After Effects and put an image into your comp. I have this vector of a planet or a moon. And the first thing we're gonna do is we're inject it into the comp and we're going to hide the layer. So click on the eyeball in the Layers panel. Then we're gonna go over to our Effects panel and we're going to type in particle. And you'll see CC Particle World. We're going to change our bits per channel to 16, so it matches the particle world. The next thing we're going to do is go to Layer New and add a solid, doesn't matter what color it is. I'm just going to do black. Click. Okay. With the solid selected, we're going to go to our Effects panel and type in particle. And you'll see CC Particle World. Drag that onto your solid layer. And you'll see this firewall work type object pop up. That is your particle system. And each of these lines are basically emitters. Let's go down and rename our particle system. So click on the layer, hit Enter, and let's type in emitters or a particle or whatever you want to name it. If you move your play head forward, you'll notice that they move. As you scroll through your timeline. Zoom out so you can get a better look. Okay? And this is something that you can manipulate a lot. If you go over to your effects panel, you have a bunch of settings that you can play around with. Like the birth rate, which is how often they're created, the longevity, which is how long they last. So if you break these down to less than 2.5th, you'll notice that they're not lasting as long as they were before. They stop early. Whereas B go longer. You'll notice that they're lasting a lot longer than they were before. You go to producer. And this is where you can position the emitter up, down, side to side, even forward and backwards in a 3D space, we pull out. You'll notice that these are lasting. Let's decrease that so you can see a better look at that. Okay, Let's undo that. And the radius is basically how wide, tall or deep you're part of that particle system will be. Let's reset that again. If you go into the physics tab, you'll notice that we have different types of animations and you have explosive, your direction axis, which is the direction that it's flowing. Cone. It's going to be emitted up instead of being emitted down, like what the explosive. You can do twirl. There's a lot of different effects and you can use and the emitters, it's just something they need to play around with to see what best suits your project. I'm going to show you how to replicate an image and have it flying towards you in a 3D space. So let's go to our Effects panel and let's just reset all the settings. And we're going to collapse all these. So it's easier to look at. Bring our playhead back to the beginning. Basically what we're gonna do is run attach a, an image to each of these particles. And we're going to make it so the particles are flying towards us through 3D space. So the first thing we're going to do is we're going to go to particles. If you click on particle type, you'll notice that you can have different options. So scrub forward in your play head a little bit so you can see some particles and change it to star. You'll see that they're stars. You can have spheres. You can have faded spheres. Bubbles. There's a lot of things that you can play around with. The one thing that we're going to choose is the textured square. Okay? And then if you go to texture which is right below it, click on the arrow. We are going to choose the layer that has our image on it, which is the moon. And you'll see that each particle is now represented by the image that we selected. It doesn't look that great right now, but we can change this just by playing around with some settings. So go back to your effects panel and we are going to change the birth and the death color to white. If you change these colors to white, the color will be of your image won't be manipulated. Next thing we're gonna do is bring the opacity up to a 100 percent. If you look at these, you can see there's somewhat see-through. But if you bring these up to 100 percent, now they're solid. If you bring it down. They're going to be more transparent. We don't want to see throne because you can't see through planets. Now, if you scroll to the beginning of your play head, you'll notice that these images are going to be falling down. That's because we have gravity apply to this particle system. Okay? So let's go back and we're going to change the physics of our particle system. Pc, there's gravity are here. So when you gravity's in the positive, It's going to have your emitters falling down. If you put it in a negative, you emitters are going to be going up instead of down. So because we want our plans to be flying towards us, we don't want to have any gravity at all. So we're going to change our gravity to 0. Okay? So now if you play head, you'll notice that they're coming straight at us. Slowly. Let's change this to half. They're coming straight at us. And this is playing a little slow because it's rendering while it's playing. Once it goes through, once it'll play a little bit faster. So this is just way too fast for us. Let's bring our birth rate up to four and our longevity down a little bit. And then let's increase our radius so that the plants are spread out. And it will do it on the z-axis as well. So there are some depth to it. Okay, let's play that again and see how it looks. As you can see that they're all different sizes, but we want to make that even more dramatic. So we're gonna go to particle and we're going to bump up the size variation is just due to a 100. And you can notice that some have gotten bigger and others have gotten smaller. So there's a larger variation in the sizes of the planets. They're lasting a lot longer than I would like, and there's too many of them. So let's bring this down to two again, and let's bring our longevity to say 0.75. Okay? Okay. And they're also moving a little too fast. So let's bring up a velocity down to about 0.5. And that'll have them coming at a slower speed, maybe even slower than that, let's say point 35. And I still think there's too many of them. So we're going to decrease our birth rate to say 0.75. And we'll just increase the longevity to 1.5 seconds. And let's see how that looks. That doesn't look bad. Now another thing you can do with the particle system is add some camera movement to it. So if you go over to your effects panel and scroll down towards as extras, you'll see that you have an effect camera. You can animate this so that you have some movement in your composition without. Adding a camera to it. So let's scroll ahead to like midway and I'll just show you how this works. So if you decrease the distance, it's going to bring your particle system closer to you. So it's decreasing the distance between basically the camera and your particle system. Let's have it right about there. And if you decrease it, and if you increase it, it's going to take the particle system further away. Okay, So let's bring it in a little bit, maybe like 0.5. Now if you look at rotation, it's allowing you to rotate your particle system on each axis. So settle these back to 0 so they're easier to see. If you increase your rotation on the x-axis, it's going to look like this. Undo that y-axis, z-axis. So why don't we set some keyframes for the rotations just to see how it'll look with some rotation in it. Not gonna go crazy. Let's just say five, me a little bit more. 20, the z-axis. Let's just do a multi 20 and see how it looks. That looks pretty cool. You can do this with multiple images. Let's say you wanted to add another planet and say you want to add Saturn, drag the image and hide it. Go to your emitter layer and duplicate it. And then go to the Effects panel of your new layer and just change the particle texture to the new vector, which is Saturn. And then just change a few settings. So it's not animating the exact same places that you're moons are. So let's make the birth rate a little bit lower. And then let's move it over and down. And then change the camera. Change the camera rotation so it's different. Okay, and then let's see how that looks. This is something you can also do with a text layer. So let's say you wanted to add a word to this instead of another image. Just go to your text tool, drag out a text layer, and let's type in moon, not move moon. Okay, and then you're just going to hide your text layer, go to the emitter, change your texture under particle to the text layer. And you'll see you now have the word floating through space along with the planet. 5. Particle World Effect Part Two: Another thing you can do with a particle world is add like a weather effect like snow. And say you wanted that snow to stick around in the scene for a little while. You can do that by altering the floor of the particle world. So let's do that real quick. Let's go to our layer panel, click on Layer New, and add a solid. Once again, doesn't matter the color. Okay, and then we're going to go to the Effects panel, type in part and particle world. Drag that onto your solid and hide your image for a second just so you can see how it's sticking around. Let's say we want to add some snow to a scene. Go to your particle tab and let's choose the faded sphere. Ok, scrub forward a little bit and you'll see that they kinda look like snow, just yellow snow. So let's change the color to white. And let's change the depth color to maybe like a light, very light blue. All right. Now, if you scroll forward, you'll notice that they fall through the floor and basically disappear. So we want them to stick around on the floor. Like when snow falls, it sticks around. So what we're gonna do is go to the Physics tab. And you see where it says floor, click on the arrow and floor action. So ice is basically going to make it so that they move around. They stick around, but they're sliding around like a piece of ice would on a floor. Okay. Glue is going to make it so it just falls and stays in that area. And bounce is going to make them mounts. So you can use bounds for like raindrops as rain has a tendency to splash when it hits the ground. So what we're gonna do is we're going to manipulate this so that the snow falls but stays around longer. And how you do that is by changing longevity of it. So we're going to have it stay around for four seconds, which is the length of our comp. We're going to change it to clue so that the snow falls on the ground and just stays there. Snow doesn't fall from where this access point is. It typically falls from the sky a little bit higher. So we're going to move our producer. So to do that, just go to the producer tab and increase the position to above your scene. And now you'll see that the snow is falling from out of your scene onto it. Okay. Another thing is it's kinda, it's falling and lyric cone cheap. So we want to widen this radius so it's falling throughout the whole scene instead of just in this cone area. So to do that, we're going to increase the radius. So it's covering the entire comp. Ok. And another thing that's add some depth to it, so increase the Z radius. So it's falling forward and backwards. Okay, let's play that forward and see how that looks. Alright, let's now is a little thick. So we're going to change the size of it. So go to particle and your brute sizes change it to 0.05 and your death size is changed to 0.1. All right, that looks good. It's falling a little fast, so we're going to decrease the birth rate to about one. All right, That doesn't look bad. Let's increase the size variation to a 100. And let's see how it looks now. Alright. Okay, so that's how you can add snow to your scene. Let's see how it looks with our image. Make sure that you're solid layer is above your image. Because if it's not, you're just going to see your image and not this, no. Okay. So let's scrub back to the beginning and press Play. And that's how you add snow to your composition. 6. Mosaic Effect: The next effect that we're going to be looking at is called mosaic. This is a great tool to use if you want to make something look pixelated or blocky, or if you want to blur out somebody's face or license plate. So we're going to drag in. I have this video of a man. Let's scale it down so it fits. All right. And then your Effects and Presets type in Mosaic. And it's under Stylize. Drag that over to our panel. And we have a warning. So we need to change our bits per channel to 16 to match this effect. Click Okay. Now you'll see how these are really big blocks. And that measures the blocks on vertical and horizontal. So if you decrease your horizontal blocks, so the more you increase your horizontal blocks, the more lines you're going to get. So the lower the number, the more distorted your image is going to be. And sharp colors is basically going to make it your edges of your blocks sharper. So let's say that you want to pour out this man's just his face. Okay, so we're going to duplicate this layer. And on the layer below, we're going to delete the effect. On the layer above. We still have the effect. So if you turn out the above layer, you'll see that we have a normal video below it. And the top one is the only one with the effect. So just to do his face, we're going to use a mask. Go to your Shape Tools, click on Eclipse and drag out an eclipse over his face. Now you can play with the size, the size of the blocks to distort his face however much you want. And that's how you play out somebody's face using mosaic. And that this man was to move around. All you'd have to do is animate the mask. Now another thing you can use for mosaic is to make things look more pixelated. So let's bring in, let's say an image of a rocket. Let's size them up just so that we can see a little bit better. Okay, drag mosaic onto it. You can see how it's turned into pixels, like large pixels. If you increase those numbers. Just back to the smooth image that you had before. You can get more like an eight-bit video game type of feel of an image. Another thing you can use with mosaic is you can turn it into, you can use it as a transition. So let's say we drag mosaic onto this video clip and increase the number of blocks that we have. So the videos somewhat normal. Hit a keyframe for the vertical and horizontal blocks. And let's go to four seconds. And then we will just decrease this to 0 and the other one to 0. And go to your layers panel, click on your layer, hit U to bring up your keyframes. All right, that's good. Let's hit T to bring up our opacity. Set a keyframe for 100 percent and drag that maybe 20 frames back. And then go forward to where you were before. The shortcut to move back and forth is Shift and then Page Up to go backwards, and then Page Down to go forward. So we're gonna go back to where we were before. And we're going to decrease the opacity to 0. Okay, let's go to the folder. And you can use this as a transition. I'm going to speed this up while it renders. And you can see as it plays, it starts to get distorted and then fades out. So you can use the mosaic as a transition as well. 7. Rain Effect: The next effect we're going to talk about is the rain effect. It's called the SCC rain. This is useful if you want to add some well rain to your scene. When I first started adding videos, I will use a green screen rate effect. And it never looked great because it always had like use of green to it no matter what I did to it. And I couldn't manipulate the size of the raindrops or the speed. But with the rain effect, you can manipulate all of those things and you can use it for other things as well. So let's go into After Effects. And I have this picture of a dog in some rain. And let's go to our Effects panel and just type in rain. And it's under stimulation. It's called CC rainfall. Drag it over to composition and drop it in. Now, you can see that if you go to the beginning of your count and scroll into your image, you'll see rainfall. Now you can manipulate this and a lot of ways. One thing you can do is you can increase or decrease how many raindrops are falling. So say you wanted to be pouring out, bring it up. Okay. Another thing you can do is you can manipulate the size and scroll and a little bit. And you can barely see them, but they're getting fatter and skinnier. Okay? You can increase or decrease the depth is basically manipulating a 3D space. You can increase and decrease the speed of the rain. So let's bring it up a lot just so you can see how crazy it can get. Chordal, you get absorbed. Okay, and you can decrease that if you use wanting to be a light drizzle, let's bring it down to 1000. And you can see there's a very light drizzle. You can manipulate the wind, which is the direction of it. So go to the right and it'll start going in a diagonal. Same way for the left. And at some point you're just going to have sideways rain. It's reset that you can increase the spread of it, which is going to spread out the rainfall. So B, decrease it. You can see how close together they are and further apart. Receptor in the extras panel, you can go in and you can basically tell it where you want the rain to stop, where your ground level is. You can see that too. Well. Let me change the color of the rainfall. Maybe it'll make it easier and bring the opacity of it up. So if you bring the ground level up, it'll bring the rainfall up. If your horizon line is say up here, you can bring the ground follow-up and I'll have it going on the horizon line to where the ground is and not all the way through your scene. You can have it at random, increase the randomness of it. And you can change the color of your raindrops, of course. So let's say you had some neon lights in the background and you were, it was raining out. The rainfall is going to have a hue of those neon lights in the background. So let's say that the neon lights are pink. Okay, let's decrease the opacity a little bit. And you can have that. So let's say you didn't want to have rainfall at all and you wanted to use this just for an effect, maybe like speed lines. So let's get rid of our image. Let's just get a solid layer on here. It's like a white layer. And add the rainfall tool right off the bat. Let's change the color to something bright. Okay. So you move forward, you can see the rainfall. So let's change the winter where it's going pretty much sideways. Okay? Something like this can be used for like speed lines that are the enemy. In an anime animation. It can be used as a background. We can manipulate it and a lot of ways and use it for more than just rainfall. So let's say you had somebody running through the scene and you wanted to add some quick lines is to make it more dramatic. You can do this and you'll have the lines coming in. You add a mass to it. And those lines will show up in a certain area and go flick their mass will see you add some feathering to it. Say you had somebody running right here and that's just the speed lines to show that how fast they're running. So there's a lot of things you can do it the rainfall effect that don't involve rain. 8. Leave Color Effect: So the next effect we're doing is a leaf color. Leaf color does exactly what it sounds like. A leaves the color that you selected in the image. This effect isn't great on every image or every video. If you have, if you have a video or an image that has a lot of similar colors, but different hues. And you want to remove one of those hues, it's going to be really difficult to have a clean selection. For example, in the video I have here of the clips with apples. If I tried to leave just the red on the clips, it's going to leave some of the red on the apples as well because the hue, the hue of the clips is similar to the hue in the apples. But if I tried to just leave the blue, it would probably work really well. So let's see how that works. So dragging it video or an image onto your comp and then go to your effects panel, type in leaf color, and drag it onto your comp. And over the effects panel. You'll see a few settings to play around with. The first thing you want to do is select a color that you want to leave. To do that you click on the eyedropper. And I'm going to do the blue. So I'm going to click on the blue area. Now you can see nothing's happened yet, but that's because we need to select the amount that we want to recolor or desaturate. So if you go all the way, you'll see that basically everything in the image but the blue and even part of the blue has been desaturated. It's black and white. You removed all the color from it. Okay. If you do it this part of the way, It's just going to take some of the color I love the rest of the image, but leave it in the blue. So let's declare all the way. So everything else is black and white and the clips are blue. Now you'll notice that it's removed, this part of the blue as well. That's because we clicked on a blue up here. But the blue that is down here is a little bit darker or a little bit lighter than the hue of the blue that we have up here. And we can fix that by just playing with the tolerance and the edge softness. So if we increase the tolerance, it's basically allowing a larger selection of blues to be left in the image. So say like from a light blue to a darker blue, which would be like from the blue that we selected here to the darkness of the blue down here, allowing it to be selected. And even the blue and some of the drops is going to have the color. See here and here it's the reflection on the water that has blue in it. And that's okay. It looks kinda neat. So that's how that works. Basically what the edge softens is doing is, is similar to feathering. So it's going to increase it if you bring it up a lot, it's basically going to bring all the color back in your image. So we don't really want to mess around with it that much. You can see that it's bringing the red here. And we don't want that, we just want the blue left in it. Let's see what happens when we try to select the red. So let's reset all this and go to your eyedropper and select Run on the reds. Okay, and now let's bring the color, the color backup. So you can see that it's removed. Parts of the red here, right here, right here, and here. That's because the hue of those reds are darker or lighter than the hue of the red we selected. Let's try and select a brighter hue of red. Let's go right here and do the same thing. You can see that as you move to different parts of the red on this one selected. Let's play around with the tolerance and see what we have. And you can see that when we play around with the tolerance isn't great because it's bringing back the yellows as well. So this is very useful if you have one distinct color that you want to leave in the image, like a bright orange. It doesn't have a lot of reds and yellows in the image as well. Or like with this one, a bright blue that doesn't really have any other hues of blue into it. 9. Light Sweep Effect: The next effect we're going to look at is called the light sweep effect. It's basically like adding a spotlight to your scene. It's great for adding light to a text layer. Then you can animate and have it move around in your scene. So the best way to show you this is with a text layer. So we're going to go to After Effects and grab our text tool, drag out a text box and type in a word. Let's just type in light sweep. And I'm going to bring the font size down so it all fits or not. Alright, now let's bring the text down a little bit. So it's centered on our scene. Sorry about that. And then let's scale it up a little bit as well. All right, next thing I'm gonna do is I'm going to create a solid layer to go behind this text that's very similar to the color of the text. So let's go to layer new solid. It's crap, our eye dropper click on this. But then we're just going to go a little bit darker. Click Okay, click Okay. And then bring that solid the lower text. And you can see our text, but it's a little bit difficult. So let's add a light sweep to this so we can see it better and animate the light over it. Go to your Effects and Presets, type in a light, sweep and drag that effect onto your comp. And you can see right away that there is some light showing. And if we grab the anchor point and move it around, you can see that lights up where that is. You can manipulate the size of the light and the direction of it. So this is going to have it going at a 90 degree angle. You could have a startup here and sweep down. You can have it straight up and down. And have it sweep across your scene. You can change it to more of a spotlight so it's softer and increase the width of it and the intensity so it shines brighter. Make it really right. You can change the color of it. Say you wanted it to be like a yellow hint like that. And you can also animate this so it moves through your scene. Let's bring the width down a little bit in the intensity. And we'll animate this through our scenes, drag it over off our composition, set a keyframe for the center. Let's move forward to suit two seconds and drag it over our text to the other side. Okay, and then let's play that and see how that looks like going to your scene. We can make it bigger. And the intensity. Oops, let's bring it back to the beginning. You play it through. And it looks just like a spotlight onto your scene. Another thing you can do is make it linear. Have it go in at a 90 degree angle. Okay, let's decrease the width of it. Let's get rid of the keyframes that we had before and go and bring it to the top of our text, set a keyframe, and then go to two seconds and bring it down. Ok, scrub forward, see how it looks. And basically you have a light sweet going through your scene. Another, and another thing you can do is have it reveal the text. By changing your reception to cut out, you'll see your texts goes away. But once you move the light over it, your text is revealed. So it's kinda like using a mask with the light sweep. So let's go here and we can increase the width of it. Let's change it to smooth, and let's bring the intensity up a little bit. So let's bring this over to 0. So let's animated. So it starts here and ends over here. So I rather put a keyframe and then move forward a couple of seconds and move the center over. And you'll see how it reveals the text. Like a mask using a light. This can be used for text or you can use it when you have like a flashlight in your scene. And you want to use the light sweet to reveal things in your composition, like having a flashlight shine on something. 10. Fractal Noise Effect: The next factor we're gonna do is fractal noise. And fractal noise. You can do quite a few things with, you can make something seem like water. You can animate it. So it has looks like there's light rays going through water. You can make it so it looks like there's something underneath somebody's skin. So we're going to start with that to show you how to use fractal noise. So I still have this same video of this gentlemen. I'm going to go over to my Effects and Presets and type in fractal noise. And drag that onto my video. Now this is going to come up just looks like static. I should before I do that, well, you're going to duplicate this. So Command or Control D. Now select the image that's the video that's on top, and drag fractal noise onto that layer. Now you look like, now this is going to show up and it'll just look like a bunch of static. There is a bunch of that stuff that you can do with this. You can change around the way that it looks like a swirly. You can change the size and contrast of it. You can make it look blocky. Change the complexity of it. You can animate the movement of it. Inverted so it's darker. We're going to do right now is we're going to make it look like there's something underneath this gentleman's skin. So the first thing we're gonna do is we're going to drag out a mask right over his face. And then we are going to correct it a little bit. Move it around so that it's covering basically all of his skin. Zoom in on that. E looks great. All right, Now we're going to change the blending mode to soft light. And you can see it makes it look like he has a bunch of blotches on his face. So that's without it. That's with it. And we can even move these points in. So it's only covering is skin and not in his hair line. It doesn't need to be perfect right now because we were a display in. And you can do other things to this and make it look even creepier than it does. Just play around with the settings. You can invert it. You can change the contrast. It's going to make it look worse. Bring it down so it's not as apparent, change the brightness of it. Just doesn't do much for this effect. Changing complexity. You can animate it so it looks like it's moving underneath the skin. You can change the opacity, so it's also not as apparent. Us choose the blending mode if you're going for a different effect. But let's say on soft light. Another thing you can do is create a ocean using a solid layer and fractal noise. So let's go to layer new solid. Let's just have black and add Fractal noise to that. Now to make an ocean, you need to change the noise or the Fractal Type 2 dynamic progressive. Let's lower the contrast a little bit. And invert it. You can see this looks like the bottom of the ocean. Play with the brightness a little bit. Lower the complexity. And if we add a tint to it, say the color of water. You have loops. Let's bring it a little bit more blue. Here we go. And let's alter the complexity a little bit. Make it not as sharp. Play around with the brightness and the contrast. And you can also animate the evolution. So it looks like the water is moving. And easy way to do this is used to use an expression. To use an expression, you're going to hold down Alt or Option and click the evolution stopwatch. And you'll see this comes up. And in here we're going to type time TIM, me with the asterix and then put a number between 200 and 300, gonna put like 225. Okay? Basically this is going to loop this animation so that we don't have to sit here and put keyframes and over and over again. And that looks like water. 11. Puppet Pin Tool: And basically go to Puppet Pin tool is it allows you to manipulate a, a shape or a vector image layer and lets you set anchors and deform the mesh to make it look like it has movement. And we're going to do that with this fish. So let's scale the fish down and bring him back to the right. And then set a keyframe porn. And then we're going to move him over to the left and set another keyframe form. Then let's go back to the beginning and go forward about 10 frames. And alter his path a little bit, move him up, then go forward a little more and move down for a little bit more of them up and then down again. Just so he's not going in a perfectly straight line. The next thing we're gonna do is we're going to add some anchor points or pins to the fish so that we can deform the mesh to make it look like his tail is moving. So to do this, let's bring our fish onto our scene. Say right about there. And go to the top of after-effects. And you'll see this pin tool or a thumbtack. Click on it. And then we're just going to start setting anchor points to the fish. So let's zoom in. Let's set one at the head on the tip of his fins, the middle of his body, the end, and then two on his tail. Now we're going to only really manipulate the ones that his tail just to show you how this works. So go down to your layer panel, drop-down mesh and then deform and you'll see puppet pin and then a number by it. These are all the pins that you set on the fish and they're in the order that you set them. So number one's going to be the head, 89 are going to be the tail, and those are the ones that we are going to use. Let's have some keyframes for those. Scrub forward 10 frames. And we're going to move those two pins up to make it look like his tail is swaying side to side for 10 more frames and then move him down. And then just keep repeating this until the fishes all the way off the scene. Once he is off the scene, move the tail back down so it looks like it's still moving as he's leaving the comp. And then if we play this back, you'll see his tail is moving. That's a Fast Fish. If you want to go a step further, you can keyframe the fins as well, to be moving up and down or in and out. You can have the nodes be swaying too if you want. For now we're just gonna do the tail. It's wanted to show you how this worked. 12. Audio Spectrum Effect: All right, the next effect that we're going to do is the audio spectrum effect. If you've ever seen those videos or graphics where there's music playing and there's a line that's reacting to the beat of the music that's bouncing up and down, or circle that's bouncing in and out to the beat of the music. That is what you can do with audio spectrum. It allows you to create a visual component to an audio track. So to do this, you're going to need an audio track. And I have a track that I got from YouTube in their audio library. It's a free track that you can use. So I'm going to track the audio onto my layer, scrub forward and you just play, and that's how the audio sounds. Okay, the next thing you need to do is create a solid layer. New solid. The color of the layer does not matter. Then go to your effects panel and type in audio and audio spectrum and drag it onto your solid layer. Now, you'll see this line form and click on it. Nothing habits. That is because that you need to change the source from the solid to the audio layer. And you'll see that lines have already started forming. Play it forward. And you'll see things bouncing up and down. Quality a little bit so you can see it better. We can make these points are you can bring them in and out depending on how long, short, or the direction that you want your line to be. Okay? And they can also manipulate those here by the start point and the endpoint. So the frequency is the frequency that your line is going to react to. Maximum height is going to be how high your lines will go. The duration will also help with the form of the line. The thickness is how thick your lines are. The saphenous is going to affect the outer edges, blur amount or make them sharp. The color versus the color the inside of your color. So let's see. And then he can have the outside of your color. The hue interpolation is going to allow you to create multiple colors on the line. Okay? Your display options, you have not straight. Your display options or digital. Up, your color symmetry is the symmetry of the color go from red to blue. Or it's going to have red to blue to the center and then blue to red to the other side. So basically it's eight. It's symmetrical. Instead of asymmetrical. The display options, you can have digital, you can have analog lines, which are going to look like a heartbeat monitor kinda. And then you have analog dots, which are similar to the lines, but they're dots. And the sides. Let's change this back to digital. Forward a little bit. So we can see. So we have sides which you can have a side a and side B. The audio be manipulating, Woodside a, SIP, be up and down. You have to cite a, you've just be up for it. So you can see that side B would just be down. And then the composite on origin is just allowing you to put the audio wave on top of the layer that you have. So essentially we have a white solid if we choose it, it, it's going to put the audio line on the solid. Let's turn that off so it's easier to see these changes respect to side a and b. And let's play around with some things that you can see how it looks. So if we prefer to hear, if we change the height, you can see that the height gets more drastic. And because there's like a big base right here, It's getting higher. So we're going to bring the height down, so it's in our comp. Now the frequency is something that you have to play around with just to get the look that you want. So if you want more of a wave effect, have a lower frequency, you want more of a audio effect, have a higher frequency. All right? So that's how you do with just a line. So if you want to create a circle effect, you need to add another effect to it, which is the polar coordinates affect take this and drag it onto your solid. Let's collapse this so it's easier to see. Now hyper conversion. You're going to want to change it to retract dipolar and then bring this to a 100 percent so that it forms a circle. You'll notice that our start and end points are separated. All you have to do is go back to your audio spectrum and move around the start and end points until they meet up. Well, now if we play this, you'll notice that's going on both sides, the AMB side. Let's bring this down so it plays faster. You only wanted to play on one side, just choose a side and it'll go on the inside of the a circle logo on the outside of the circle. C, you just have to play around with the settings to get the effect that you really want. The colors that you like around. So it's only purples symmetry. So you really just have to play with it. 13. Turbulent Displace Effect: The next effect we are going to look at is called turbulent displacement. This effect allows you to store your layer, giving it some movement. It's an easy way to create some waves or some wiggle to a text layer or an image. And let's do that to a text layer right now. So let's go to our text tool. Drag out a box that just type a word, like wiggle. And why it's a little bit, bring it down. Let's move my anchor point to the middle. Okay? Now go to your Effects and Presets and type in turbulent and the turbulent displace. Drag that onto your text and you already see, once you drag it on, that you're gonna get some distortion. And that's because when you drag it on, the amount of distortion, default is 50. If you move that amount to 0, your taxes back to normal. There are different ways to displace your, your layer so you can do turbulent bulge. Okay. A twist. And then there's smoother version of those. And then there's vertical displacement which will distort it on a vertical axis. And then horizontal. Same thing but horizontally. And then cross, which is both of those basically. Ok. And you can affect the size of your displacement or you can affect the anchor point. The complexity is basically going to break your layer down. So this is with no complexity. And this is with the max. Now if you have max complexity and a lot of distortion, your layer is just going to be taken apart. And if you go to turbulent, you'll see that it turns into like little particles. Okay, Let's reset this and we'll add a little wiggly animation to our text. So let's make our displacement vertical. And let's have it start at 0. And let's set a key-frame. Let's go forward once again. And let's bring this up to 50. Actually, let's drag that keyframe to about 12 seconds and then go to 1 second. And we will go back the other way to give it more wakeful. Play that back, see a little bit. You can make this more dramatic. If we change it to turbulent, you'll see that it gets really crazy. Okay? Another thing you can do is add an expression to your evolution, like we did with the fractal noise. So if you bring your amount, let's say your amount of to 40. Okay? Hold down Alt or Option and click the stopwatch on evolution and type in times with the asterix and still 200. Click off of it and hit your space bar to play it. And you're going to have a looping wiggle. You can also do this by just animating the evolution. Click the stopwatch. Go to the end of your comp. Wiggling around. And it looks like it's has waves. Okay? Another thing you can do is completely destroy your text. So let's go to 0. And let's add a keyframe for the amount, the complexity, and the evolution. Let's go to two seconds and we're just going to destroy our texts to bring your amount up, your complexity all the way up and bring your evolutional way around. Okay? Now let's go to the position and the, Let's go to the transform functions for our text. And let's add a keyframe for the position and the scale. Ok, scrub forward to the end. Let's scale it up even more. And the position, I think it's actually okay. So then let's play it forward. And you can see you can have your text just dissolve. And if you add an opacity keyframe to that, to where it's just dissolves all the way. You have a transition for your text. The other thing you can do is do it the opposite way. So let's Spring hit the texts and let's bring all those keyframes up. Let's select all the keyframes on the right and bring him over a little bit, and then select all the ones that are left and bring it to the end of your comp, and then bring the other ones all the way to the beginning of your comp. And you'll see them, the word come back. Let's bring these forward. So the word is actually on the screen a little bit. So there's lots of things you can do with Turbulent Displace to add movement to your layer, or to bring in text, or to add a transition to a layer. 14. Thank You: And you reach the end. Thank you so much for taking my course. If you'd like the course, I would love it. If you'd go review it, let me know. Do you think I love to hear your feedback? Please feel free to post any questions you have in the discussion now and I will respond as soon as I can also post your projects in the project section of this course. I'd love to see what you created and came up with, again. Thank you for taking this course.