3D Blast! In Adobe After Effects

1. Introduction: Hi, my name is Martin and I'm a motion graphics artist. In this class. We're going to learn how to build this cool 3D car entirely in After Effects. To achieve this, I'm going to show you how do I work in my studio. We're going to learn how to keep the order, how to build the mood board, how to prepare files for After Effects, how to make an After Effects setup, and also some cool concepts like 3D text, looping tips and how to export your animation. If you want to learn all these, don't hesitate and enroll to this class. Thanks. 2. Order: Tidy up!: Hey, what's up? Thanks for taking this class. I hope you enjoy making these cool 3D car and learning all this cool stuff and cool concepts I'm going to teach you. Also I want to teach you about my day-to-day work and how I do things. How are usually work in my studio. First of all, we have the order of our project. We're going to keep it tidy and simple. We're going to use this setup of folders. You can change them as you want, but remember to repeat this process always the same way. That's how if work with other people. If you have a team, you all know where to look for the stuff you're working on. Also, I use Dropbox always to store my works. That's because you can work from any computer and also you can send links to clients through your phone or laptop or whatever. It's really fast and you are always backed up. Well, let's begin. First of all, we're going to create an After FX folder. Here we're going to store all the After FX files. We're going to put the name of the work or the client, and you're going to save it sequentially. These are the four projects, I saved for this tutorial, so you can always go back. If clients asked for a big change. Then you have AI and JPG word. In JPG we're going to store our textures, our elements. In AI, we're going to have the design for our car. We have material where we're going to store the phones or scripts or any external material or any client material. Then we have our references folder where we're going to keep the images we like. We want to follow the style. We're going to make some research and we're going to put all the references in here. Then we have the renders where we're going to start putting our renders. No matter how many are they, we're going to keep changing this name. So you always know the last name is the last render. The same as we do here in the After Effects files. 3. Moodboard: Creating your visual idea: First of all, we're going to look for references. Don't think this is a waste of time. You have to collect images, videos, animation references, design references, style references to make a better work, a better animation. Invest your time in this part of the project. Take your time to look for the references. I use Pinterest, you can use Instagram. Here we have two, two artists I really like. This one is from Argentina as well. You can look for color palette. You like shapes. Well, just make your own research but invest your time. Here in Pinterest, I found these 3D paper models that they are for, for folding, for printing and folding to achieve these 3D vapor cars and buildings. We're going to follow these style. With this, I also went to coolors. It's coolors.co or you can generate your own color palette. You have to press the ''Space bar.'' Once you like any of the color, you start locking them. Then the web changes to three other colors accordingly to the ones you select it. That's how you can make your own pallets. Also I searched for my fonts in the font. That's how I ended up making my mood board. The mood board is really simple in this case. With this mood board you're going to follow always a line. You know your colors, you know your shapes, know your texture, your typography. This is how you can keep it simple. If you're not a designer, just like me, this is the way to move forward without having trouble. One really important aspect of an animation is the story. It's this idea behind the technical aspects. We're going to make this simple loop, but also we can think of a cool idea with this car. 4. Design: I came up with this idea of trying to make paper crafted cars in After Effects. I started searching for paper graph models. These are printable models, so you can print it and then you cut it out and then you fold it, you stick it and you have your 3 D car over your table. So I copied this idea and I tried to make it inside After Effects. First of all, we have the logic. We have to think of cubes and we have to be careful with the height and the width of these parts so they can fit when we fold them in After Effects. Now, we're going to check the blueprints of our 3-D paper car. We're going to start with one side then we're going to define the wide of the car and then we're going to respect the measures. We're going to do like this. We're going to activate the grid. You put view, show grid and then we're going to activate the snap to grid option. Then we're going to start designing our car with the square option. Our squares are going snap to these little squares in the grid. So that's going to make it simple. We designed one of the sides. We make the windows, we make everything. Then we're going to measure our design. We're going to count these squares and then we're going to design the front side. We're going to determine the wide of our car. This is really important. Once you've determined the wide you keep matching the measures of the side to complete the design. You follow these measure 16 yellow, 16 yellow, 14, red, 14 red. These parts are going to match when we fold them in After Effects. Then we do the back following same measures and the wide measure. We're going to have a new one because we are going to help the back of the car. So these part should be the same measure as this one. Same logic. It has to match perfectly. Then we have the roof which also has to match the wide and the top of the side.This is how you're going to design your car. 5. Assembly in Illustrator: We now have our design, 3D car with exact measures we needed. So we're going to assembly that, illustrator file, in order to work properly in After Effects. I imported my color palette and I'm going to choose the darker color for the strokes, so I'm going to copy the color code, and I'm going to put the color code in the strokes of this palette. This is in order to pick the colors and the strokes at the same time. We're going to start picking colors for the different parts of our car. Now for the parts that are going to be horizontal in 3D, like this one, this one, the roof, we're going to choose a darker red just to make the illusion for shade. We're going to go to brightness, there we're going to lower it a little bit. That's cool. We're going to do the same for these two. Great. Now we're going to group our layers in order to assembly the whole car, then we're going to ungroup it, don't worry. Now we have our side, then we have our front, then we have our roof, and our back. Great. Now we need to build our second side. So we're going to duplicate this, paste it, and then we're going to put transform, reflect, horizontal, 180 degrees. I'm going to place it on top of the roof. That's beautiful. Now we're going to divide in groups. I'm going to make distribution where we have to fold this virtual paper. We're going to ungroup the groups we made before. We're going to start grouping the faces of the folded paper. We're going to group this part. This is only one side, so you don't need to group it. Then we're going to group the back window. The roof doesn't need to be grouped, its only one layer, and we're going to select the front window and group. We're going to group this, this doesn't need to be grouped. The front part of the engine, I'm going to group this. The sides are okay like this. For now we're going to erase the wheels, we're going to make them afterwards, and we're going to group this again. Now we got all the groups we needed. Sounds good. This is not grouped. Yeah. Great. This is not grouped. Yeah, it is. Now we're going to prepare the five for After Effects. So after grouping these in separate layers, we have to divide the layers because it's all in one layer now. So we're going to group these as well. We have to choose our layer and click this bottom over here in the top right corner and put release two layers sequence. This is going to make a layer for every group we made before, so now you've got to select all the layers, but one, and you're going to drag them outside of the first layer. So now you have the separate layers. 6. After effects Set Up: Now we're going to start with After Effects. So we open the program, and in this window, the project window, which is a really important one, one of the main windows, we're going to start making our folders. We're going to make some order here. So first of all, we have our render comp. This is where we're going to start the compositions to render, and then we're going to create a folder for the elements. In this folder, you're going to put some Precomps that you're going to use, and you'll also going to put your files. I'm going to put Illustrator files here. For the moment, we are not going to need more folders. So, this is only an introduction to the program. You can watch Jake Bartlett's tutorials for learning After Effects from zero if you don't know how to. So now we're going to focus on our steps to cover the 3D Paper Car Assembly, not all the aspects of the program. So now we're going to import our file. We can go through File, Import File, or we can press "Command I". We select our Illustrator file. This Illustrator file should be in our Illustrator folder, in the Skillshare project. Remember we made this in the first lesson. So here we're going to search for our design. If everything is tidy, we're going to work faster. We're going to find everything really fast. So we Select our car and we go to Options, and we put "Import as composition, retain their size." Great. Now this is our first precomp, which is our car. We're going to name it car, and then we have all these layers, which are the layers we separated earlier in Illustrator. So we're going to drag them into AI. Now we open this car composition. We're going to Erase these layers, which we are not going to need for the moment. I rearranged a little bit my workspace, and then we're going to press "Control" or "Command K" to see the properties of the composition. So it's an HDTV, 1920 by 1080, and its frame rate is 24 frames, and it's 10 seconds zero frames long. Great. Now we're going to start naming our layers. Now we can change the color to the two layers. We going to color the front layers green, and the back layers with yellow. Now we're going to make all these layers 3D, and we are going to press this column, this little sun, which means it's going to take the vector properties from Illustrator. So you can scale it up and it won't get pixelated. So next step is to put the anchor points in place. For doing this, we're going to press the Y. We're going to drag the anchor point to the side where it needs to be folded. Great. Now after placing the anchor points, we need to establish the parenting. This means, which layer is going to follow which other layer. So this layer should follow this one, and this one should follow this one, this one should follow the roof and so on. So we got back C. It's going to be the sum of back B, back B is going to be the sum of back Window. Back window's going to follow the roof, the roof is going to follow side A, side B is going to follow the roof, and front C is going to follow front B, and front B is going to follow from window, and front window is going to follow the roof. Now we are ready to save our project. So we press "Command" or "Control S", and we're going to save it in our project folder inside After Effects, and we're going to put the name of our client or the name of the project, which is Skillshare 3D Car, and we're going to put 001. This is because every time we make a big change in the After Effect project, we're going to save it in a sequential way. How you do this? You're going to press "Command", "Shift", "Option S", and automatically we are in a new file here inside After Effects. It already save our 002 version. So this is how, if a client ask you for a change, for a correction, and then it goes back and forward, you can always go back to previous versions. So every time you make a change in the projects, in After Effects, you can save a new version. Some really huge projects we made have like 80 or 105 software After Effect files. So believe me, it's really helpful. Now we're going to start building our car for later animation. 7. Adding some textures: Here, we have a quick tip if you want to texture the elements of the car. We're going to choose one like Side A. We're going to precompose it pressing Command or Control Shift C. We're going to leave all the attributes in car. Then we should press again in this vector option and make it 3D. Now we can import a texture in case you want to texture the design. We're going to make another folder called JPEG, drop it inside so everything is tidy again. You are going to drag it into our comp and make it 3D. Scale it down a little bit. I am going to change its blending mode to Multiply. It's looking pretty good. Now we have our texture, but we should make it better because now it's affecting the whole car. We're going to convert this Illustrator file into a shape layer. We right-click, Create Shapes from Vector Layer. Then our Illustrator file becomes shapes layer. Inside the content, we have all the sub layers we created in Illustrator. We're going to start naming. We're going to work without external scripts in this occasion. We're going to duplicate this, and we're going to leave the main body only visible. We're going to hide them in this layer. Now we separated our body from the rest of our car. This is where we're going to apply the texture. We're going to duplicate this, put it over the texture, and we're going to name this car body. This is the texture, so we're going to use this layer as a matte. We're going to tell the texture to use the alpha information from the layer above. For doing this, we're going to go here in the Track Matte column, and we're going to put Alpha Matte. Now it's going to use the alpha information from the layer above. Now we're going to lower the opacity. Now we have old paint details in the car. It's looking good. We should do the same with the door. Now we have our car with some textures in it. You can repeat this process in all the layers. Just make sure you have all 3D layers and you have the vectorize box turned on. Also, you can add some reflections to the windows. Now we have the design already set up in After Effects, and now it's time for building our car. 8. Assembly in After Effects: Now, we're going to build our 3D car. We're going to start rotating our layers. First of all, we're going to rotate this. Be careful to check the anchor points before rotating. It should be in the edge of the layer. We're going to rotate 90 degrees, or -90 degrees. Minus 90. Now, we're going to rotate it 90, then our back window, we're going to rotate it -90. It's looking good. We can see that the back, it's aligning. Now, we're going to do the same with the front. We're going to rotate 90 degrees. Then we can rotate this one -90. Again, this one front window, we're going to rotate it 90 degrees. Great. It's looking good. Now we're going to rotate side B -90 and our last step, we are going to rotate the roof. This is working because we did a good parenting job before, -90. Great. Everything is linked to side A, so now we're going to switch to active camera. We're going to start looking at the 3D space and we're going to rotate this just to check. But, we can see our car is looking great. Our 3D car is looking amazing. This looks good because we did a really good job before, in the Bifurcation. This is a key aspect of working with After Effects on with design. We did a pretty good job designing with the grid. We applied a good job in the parenting, rotating, texturing. Everything looks really, really fine. Now we're going to make the wheels. 9. Let's Roll! Creating the wheels: Now we're going to make the wheel of the car. We're going to create a new project in Illustrator, a new file by pressing "Command N". For the moment, we're going to make it Web-Large, create. We're going to show grid and we're going to make a wheel. It's okay. I'm going to import my color palette. I'm going to copy and paste in the same place the circle. So I'm going to press"'Command C" or "Control C" and "Command or Control F" to paste it in the same place. Now, we're going to scale it down pressing "Alt" or "Option and Shift". We're going to pick our layer color. So now we have our wheel. We're going to erase this, we only need one layer, and we're going to adjust the artwork. Looks good. Then we're going to select our wheel and align it. If you don't find the Align Window, you always can go to Window, search for the Window, the missing Window, put Align. Then you can align in the x and the y-axis by pressing these two. Sounds good. We can save it, "Command S" or "Control-S" inside the AI folder. I already have my wheel, I'm going to replace it. Great. Now for making the wheel in After Effects, we're going to add a script. So you can go to aescripts.com and search for Create 3D Shapes. There you have it. Create 3D shapes. Scripts are like external helpers that people can develop and we can import them into After Effects, so we have new tools. So in this case, you can put the number you want, you can put even zero to buy it, you add it to the cart, and then you check out. You will have to put a name and an email, so then you proceed to checkout, and the mail will arrive to your mailbox, and there you can download the scripts. When you download it, you go to your After Effects folder in the Finder or in Explorer, and then inside scripts, you can copy all these scripts that we downloaded. Just like this. You copy them here inside the script folder. So then you reset After Effects and when you open it again, you will have the scripts on the file Scripts, Create 3D cylinder. You will have a lot more, but we're going to focus on this one, this external tool. Now we're going to make a new composition for the wheel. We're going to make it 100 by 500, going to name it Wheel. We're going to try to make the side of the wheel. Since we have the two cups, we're going to do the middle part. So now we're going to create a new solid by pressing "Command" or "Control Y" and we're going to make it 250 by 500, that looks good. We're going to duplicate it like 25 times. We're going to select all layers by pressing "Control Command A." We're going to open our script, Files Scripts, then we're going to put the number of layers we have, which is 25, create. Now it created a new object, where we can modify the cylinder. We are going to increase the radius until we can see these gaps. We're going to leave it just when the gap starts. So now we have our 3D cylinder. We only have to scale it. Looks good. If you see the gap, we can reduce the radius a little bit. That looks good. Now we're going to import our wheel file. We can drop this in the Precomp folder. Now we're going to import our wheel Illustrator file. We have it here Illustrator. We can import it as a footage. Great. We're going to drop it here. We're going to make it 3D. We're going to rotate and scale the side of our wheel to match the Illustrator file. So we rotate it 90 degrees in the x-axis and then we scale it. Also scale the wheel as it's a vector, we can turn all into vectors. We switch to front view and we try to align as better as possible the side of the wheel with our Illustrator wheel. Looks good. Scale it a little bit. That's fine. We switch to our left P. Duplicate one of the cups and we move it to the edge of the side of a wheel. Now it's looking good. Now we can pre-compose all this by pressing "Command shifts C." This will be the 3D wheel, we have to select all, I'm sorry. Then we put the 3D box and we fill this box. Now we have our 3D wheel. You can see that the cups are little bit bigger than the side, then we can fix it, scale them down a little bit, now we are close, it's looking really good. Now we have our wheel. We are going to tidy this up a little bit. We're going to search for our layer in the source project 3D wheel, great. We'll incorporate this into the car. First of all, we can decide that one of these gaps should be filled with the dark color which would be like the inside of the wheel. So we dropped off fills effect, or we double-click with selected layer, which is this gray color and we make it even darker. Good. Now we have more external gap and our internal gap. Sounds good. Now we're going to open the car, we're going to go to use, and we're going to use the W and let's see front, that's good. We are going to drop our wheel, it's good. I'm going to scale it down to match our little car. We're going to check the tab U, great. We're going to duplicate this one, move it behind, it's really good. Now we're going to go to the tab E, duplicate both and control D. We are going to rotate them back to zero, that's good. Replace them, we are going to go back to one view, I acted camera. Now we can see our wheels. You integrate in null three just to check if everything is okay, it looks good. Now we're going to make the wheels and the wheels to null and our side A. We're going to check if our car it's okay, it looks good,pretty good. We can adjust the wheels. Always adjusting the radius. You can close the gaps, but it looks good. So now the car is finished and we're ready to start animating. 10. Parent Hierarchy: Once we've finished building our car, it's looking pretty good. Now, we're going to prepare it for the animation. So before animating, before putting any key frame, we have to position the car and rotate it. We can scale it a little bit. That's good. First of all, we have to define the hierarchies of the animation. So we're going to start making Nulls. We're going to go to Front view. First of all, we're going to erase this Null. First of all, we're going to create a Null, pressing Control or Command Alt, Shift Y. We're going to make it 3D. We're going to position it in the center of the car, or we're going to check. You can check the Front view and also the Top view. It's looking good. Only the car will be parented to the Null. As everything is parented to the Side A, we're going to parent only Side A to the Null. This would be Body Car Control. If we rotate this, only the car rotates. Then, we have to create the Null. Let's going to rotate the whole car. We're going to duplicate this one, we're going to change its name to Left Turn or left rotation. We're going to put it here, the edge of the wheel. The Body Car Control, it's going to be parented to the Left Turn, and the four wheels are going to be parented to the Left Turn. We're going to duplicate the Left Turn, we're going to rename it Right Turn. We're going to move it to the edge of the right wheel. Remember to do all these movements in the front window to be more specific, and then we're going to parent the Left Turn to the Right Turn. Finally, we're going to duplicate one more time, our car control, we're going to put it on the top. We're going to rename it, "Full car control." Here, we're going to animate the position rotation. This is not parented to any Null and we're going to parent the Right Turn to the Full Car. This is how we can control everything from here. We have to establish this hierarchy. Now, we can move the car up and down. You can animate that. We can rotate it to the left. Sorry, this way. When it reaches the left extreme, and then we can rotate it to the right when it reaches the right extreme and with the Full Car Control, we can move the position of the car. So you see everything is working. Now the car is prepared for animation, but you have to think the steps before animating. Because if you don't prepare the file like this, it would be really difficult to prepare it later on and you won't be able to reach all these movements separately. So you have to think a little bit before animating. I think that's a key point. 11. Animation: Once we have our setup done, it's time for animation. First of all, we're going to animate the car control moving up and down. I'm going to make it 80 frames. I'm going to start moving the car up and down. We set a keyframe in the position. We can press P to reveal the position of this new. We move five frames. We move the car up. Then we move five more frames. We copy and paste this keyframe. Then we're going to put an expression that's going to loop this. We press Option and we click on the stopwatch. We press this triangle. We search for Property, loopOut. This is how you make a loop between these keyframes. Now the animation is repeated and it's looping. It's looping because we have an 80 frames long in this work area. Also we have 10 frames between the first looping point. I already know that this is going to happen eight times, and it's going to perfectly loop at the end. This is how we can move the layer. I will still be looping. Great. Then we need to animate the car. We're going to see if we have to. Now we can switch to the active camera. First, we're going to animate the position. First, I'm going to position the car in one of the extremes. I can put the extremes here. I'm using the safe margins just to make it symmetrical, you click here. We're going to position this in the extreme. That's great. You can make it a little bit further, you can make it here. We can see part of the side for our car. We're going to move 20 frames. Then we're going to position the car in the other extreme. Great, it's looking good. It's looking really good. Then we're going to move 20 frames again. I'm going to copy and paste the same. Now we have linear keyframes. It's really bad. But we're going to fix that. First of all, we're going to loop it the same way we did before. We press Alt, click in the stopwatch, then we click this button, Property loopOut. We're going to press F9 to easy ease the keyframes. Now we got something better. We're going to try to make it longer. We're going to move 40 frames. We are rendering the workspace area. Great. Now we are going to touch the the curves of this. We're going to press Command-Shift-K or Control-Shift-K, and now we have the Keyframe Velocity. Also, you can select the Keyframes to easy ease them even more. Then right-click Keyframe Velocity. Now we can touch the influence of the incoming velocity and the outgoing velocity. If you press F9, by default, the influence goes to 33 on the outgoing and the incoming, and the speed goes to zero. It means it decreases the speed up to zero and then it accelerate again, and then it decreases to zero. We're going to exaggerate these a little bit. We're going to increase the outgoing and the incoming velocity. We're going to see how this works. Remember we have to do the rotation as well. That's going to help the one I mentioned. I think it's a little bit exaggerated, so we're going to make it 70. Looks good. Now we're going to make the rotation. Right turn, Rotation. We press the "R" to reveal the rotation, and the car is coming, it reaches the extreme. Let me start lifting. Then goes back again. Looks good. We're going to press "F9" and we're going to exaggerate a little bit. We adjust the keyframes, we put the influence in 75 and we're adjusting the distance between keyframes to reach their desired effect. I think we're really close. It looks really good. We can do the fall a little bit faster, I think. Also, we can do like bounce, a little bounce. That's great, it's looking good. You want to make a little bounce, so we're going to move three or four keyframes from the base this way. We're going to make a negative rotation, just a little bit. Copy and paste the last keyframe. It can be done by pressing Zero, it's looking good. I have the movements. With these outgoing velocity, it's really not going with the bounce movements. So we're going to decrease it a little bit, so it starts accelerating before. It looks good. Looking really good. Now, we're going to make the same for the left turn. Remember without the fairies, everything is looping. We can move their workspace area, that we won't get any trouble with the loop. We're going to take these keyframes as a reference, we preview. I'm going to try to increase the influence on these three keyframes. This is a really meticulous job. You have to start tweaking and getting into the details to get the best results. Now, I think it's looking really good. We can fake a little bit rotation as well, like eight, for example. Hit the "U" to see the keyframe's layout, eight and minus eight. So we can see the side of the car, then we're going to copy that. The same curves, we press "F9" and input 55, which is the same we have. In the first position keyframes we put 55, 55. We're going to pre-release, we're going to exaggerate this a little bit, I'm going to put 12 and 12 minus 12. We also have to bring the car inside the composition. You have to also respect that the first and third keyframe, when you're looping with this expression, have to be the same exact keyframe. Now, we're going to move the keyframe rotation to right. Don't worry about the loop, it's going to loop anyway because it makes the whole loop in 80 frames and our workspace area is 80 frames. These, again, are really more natural look. When you move the keyframes, when you separate the keyframes, we are going to reduce the influence, in the rotation keyframes, I press "F9" reduce it to a 33, so it rotates faster. The animation looks awesome guys. 12. Final details: Reflection & Camera: Now that we have these cool animation, we're going to animate the front Window reflection. We're going to go to the front window. We know this key frame, it's going to the left the you move, 1, 2, 3, 40 key frames, it's going to the right. We're going to make the inverse movement of the reflection. It's going to start right and it's going to go left. We go to the front window. This is inverted, so we're going to put a key frame imposition. You're going to start right. Then we move 40 frames, it's going left. Then we move 40 frames. We Paste same key frame. We put F9, Command or CTRL-Shift-K to see the velocity and we're going to go from 55. Then we're going to repeat the loop properly, loop out. Looks good. Now we're going to see how it's working. We are previewing it. Looks pretty good. We're going to add some shapes there to complete the reflection. We go into the Shape Layer, we double-click one of the shapes, then we press ALT or Option. It's going to duplicate our layer and then we're going to duplicate it again to get another reflection here. That's good. Now we're going to put a camera to fix this. I'm going to go to Layer, New Camera. We're going to make it 35 millimeters. We can reposition the camera. We can point the camera to create a new object. We put Camera Control. We make it 3D. Then we bound the camera. No, we move the null object. This is how we can fix the bottom part of the car issue. Now we don't see it. Also we can make a curb for the bottom part if you like the other camera setting. Looking pretty good. That's great. We have our animation done. 13. Final details: Background: Now I'm going to create a background. We press Control or Command Y and we make a solit, you make it comp size, put it on the back. It's good. Now we're going to the top view, and we're going to create the shadow, the car. We create a rectangle, we make it 3D, we rotate it, 90 or minus 90 degrees, go to the front view. We're going to position this in the floor. It's good, and now we're going to go to the top view and we're going to rotate it, to match the car. I'm sorry, this isn't the rotation. That's okay. This is the shadow, we are going to parent it to our full car control, and we're going to make it the same color as the background. We're going to put it just up. We're going to change its blending mode to multiply. That's good. Now we are going to blur it a little bit. I'm going to use a first blur. It's looking good, I'm going to see the whole animation. Pretty cool. That's really good. Now we have the shadow, we're going to make the straight lines. So we're going to duplicate the shadow because it's on the floor, its own position. We're going to erase the first blur, turn the opacity up to 100, arrange the size of the rectangle, this is not going to be parented to any layer. That's perfect. So going to build the lines, the lines of the street. We can make them this blue color. We copy the color code from the design in Illustrator and we change to normal. We change to fill with our color. Looks good We're going to add stroke, two points stroke. It's looking really good. Finally we're going to add a repeater. We are going to click this button, and tap a repeater. Then the repeater properties can put like 30 copies. In the transform repeater, we are going to put zero, in the first number, which means the x axis. We're going to start moving y. Looks good. Now we have our lines, straight lines to help simulation of the road. We're going to animate the straight lines. Looking good. If you modify the first rectangle, it's going to modify all the rectangles because it's a repeater. So I think we can rotate a little bit the camera. Looks good. Now we're going to start offsetting this. We're going to move the position of this repeater. We're going to go to the last frame. We're going to position one of these lines. I'm going to put a key-frame position. Then we're going to the first frame, and we're going to move it forward, in the z axis. Remember to make it loop, so we're going to put it in the same place. That's cool. Submit slow. Start [inaudible] so you'll get the right velocity. We can put the camera a little bit up. We can fix a rotation, it's looking a little bit weird to rotate there. We can fix this. We're missing the loop expressions, so these final step, the rotation was not working, so now we fixed it. 14. Final details: Texture: Now we're going to put some texture in the background. To do that, we're going to go to JPEG. We're going to press Command or Control I and we're going to go to our project folder. I copied my new texture to jpg background texture. Open. I'm going to drop it and I'm going to change it's blending mode to hard light and we can lower the opacity. That's cool. Now we're going to move the texture around. Position. We're going to put a position key frame. We're going to move four frames. One, two, three, four. We're going to move the texture again. One, two, three, four. Again, one, two, three, four. We can move it like four or five times, then we're going to select all the key frames. We're going to press Command or Control Alt, click. Or we can do right-click toggle Alt key frame. This is going to make our keyframes jump with no interpolation. Then we're going to loop them as well. So we're going to press option or Alt, click and the stopwatch. Property, loop-out. You know this already. Now you can see how the background is animated, like an old movie. Like an old film make movie. It's looking really good. Looking good. You can do it even less visible. It's only a detail. That's looking really good. Next we're going to do the text and we have some really cool concepts. 15. 3D Text: Now we're going to make the final part of this project. We're going to make a new composition by pressing "Control" or "Command N." We're going to rename it text and by default, you're going to have this 3D renderer like classic 3D. For the 3D text, we're going to change it to ray- traced 3D. The problem with the ray- traced it's that it takes a lot of time to render the text. We're going to make a simple animation and the first animation. We're going to create a text 3D blast. We're going to align it to the center. Good. We're going to change its color. Now, when we make these 3D, we can see that two new options appear. Geometry options and material options. When we go to geometry, we have now Extrusion Depth. When we change this, we can see that the text has been extruded in 3D, the c-axis, it's looking pretty awesome. We're going to make it back to zero. You can see it extrudes like from the front to the back in this direction. We're going to duplicate this. This is going to be our cap. This will have no extrusion, that's good. When we turn on our extrusion, the body of the letter, we can see that this artifact appears. We're going to move a little bit the position to the front of the cap, minus two in the C- axis, x, y, z and I work in half. That's good. Now as the extrusion goes backwards and I wanted a little to come to us. We have to animate the position and the Extrusion Depth at the same time. First we're going to extrude it. Extrusion Depth zero, then moved 50 frames, and we're going to put 100, that's okay. We're going to apparent tick up to the extrusion. Now going to the position and the Extrusion Depth, put a keyframe, we press "U." It shows the parameters that have key frames. We're going to duplicate this, and we're going to put it below. Just to see the reference. I'm taking the extrusion as a reference. When I move the real extrusion has too match this. We move it, we animated in the C-axis and that's to match the reference, that's good. Now we can pre-rend this by pressing the "Space Bar" or "Zero" in the numbered. It looks really good. Now we're going to change its colors to black and white. That's good. Now we have the cap in black and extrusion white, and we made this linear. At the moment, this is, has no fun because it's too linear, too boring, but don't worry, we're going to fix that. We made it linear for a reason. Everything work at the same time with the same linear key frames, and then we're going to work with the remapping. But as ray traced 3D is really slow, we're going to pre-render this. We can I go to composition, pre-render automatically the program use QuickTime format with animation and with alpha. This means it's going to keep the transparency information. We hit "Okay." We're going to put it inside material, then we're going to hit "Render." After we render it, we're going to have the pre-render here. We're going to drop it, and we're going to put it in solo. Now we can see that the renderer is really cool. Moving linear like we want it and it doesn't take much time to render. I'm going to keep it here. Now, we're going to go to our car, that's good. I'm going to create our final composition, by pressing "Command N", we're going to name it render comp. We're going to put it into the rendered folder, there we're going to drag our car comp, and we're going to drag our pre-render comp. These pre-render comp should be in a new folder called maps or movies or videos or whatever you want to put. I'm going to fix the car. This is the space where the car loops and it looks really good. These are frames as we have seen in the previous videos. Now, we're going to press right-click and trim the cone to the work area, there we go. Now we have only looping animation, looking really good. We're going to go back to our render count, and we're going to press time remap. Let's I remind you, we're going to press "Control" or "Command" and "Alt"and "T." It's going to put two key frames, one at the beginning and one at the end. We're going to go to the last keyframe. We're going to move one frame backwards. We're going to establish these frame, I'm going to put a keyframe and stylish these frame as the last one. As we don't have more keyframes here, animation pauses, but we're going to make it loop. We're going to make this animation five second. It's okay. We're going to make this loop by using the same expression we used before. We're going to go to property. First, we're going to click "Alt" or "Option" click in the stopwatch, we're going to go to property, loop out. Looks good. As we have 80 frames, if we make the composition 240 frames, it should look three times perfectly. Looks good. So far, so good. Now we're going to make text for the text. We're going to make time remapping again. Now we can extend layer until the end. So we're going to make these texts appear, but we're going to make it appear a little bit faster. It could change the background color to see better. It's good. Now we're going to manipulate this linear movement to make it cooler. We're going to start, we're going to go, I am going to delete this, I'm sorry. We're going to move 10 frames. We going to go to the top of the animation, and we're going to move five frames. We going to make it bounce a little bit, and we're going to move three more frames. We going to establish it in its final point. It should be there. AD is good, queue frames are not good. Everything good and better. We going to to make it a little bit faster. So now you've got to tint this, you got to start changing the time in-between key frames to get the result. This might be a little exaggerated. I'm going to put 35. These key frames refer to the time of the original animations. That's why we made it linear. Now it's looking good. Awesome. Now we're going to tint this. That's why we made it black and white. Because now with the tint effect, we can color it. Then turn on our car and we going to make this. The black, it's going to be red and the white it's going to be this color. Looking good. So this is how we use these pre-render with not a full control of the text, but a lot of control without taking much time rendering as we, like when we created it with a 3D ray trace. We can animate it like really see with it's time remap. That's why we made the linear key frames and we contented easily with the tint effect. That's why we put black and white. Now our last step is the, we can reposition this a little bit. I have synchronized the first movement of the car to the extreme with the text in. Looking really good. We also can exaggerate this with a little bit of scale. Remove the angle point to center, scale it to 50 maybe, and we can press ''F9". We can exaggerate a little bit the influence. Looking good. We're missing kind of the 3D. We're going to move this a little bit. I'm going to change the angle point. Looking good. We changed the angle point so it scales from this point, which is where the three lines are going. You see if we follow these 3D lines here, coming this way. Looking good. Now we got the scale linked with the 3D extrusion we made before. It's looking very awesome. 16. Handwritten Text: Now I got to do our final text. After efforts. I always like to combine strong topography with the unmade one. We're going to search for our unmade font. It's looking pretty awesome and great. I have to animate this. For this animation, we're going to change the background back to black, and we're going to start masking the topography letter by letter. To do this, you should do it as you would write these words. We start with the eye. Then we pressed Short B, we click on G and we start again, letter by letter. Now we have our text with the mask. These masks are in a sequential order. We're going to use the stroke effect to write this on. We're going to search for stroke, generate stroke, double-click or drag it. Then we're going to check this box to totally effect that we're going to use all the masks. The moment the program use our masks to draw a line, a wide line. So we're going to increase the brush size. So we cover all the letters secured. Maybe we will have to trick some masks a little bit. This option, heights, I revealed our masks. Now we're going to see where we can tidy up a little bit skewed. It looks really cool. Now we're going to change the bend style to reveal original image. It means that wherever we see the stroke, we're going to see the image below, in this case our texts. Now it's reveal. Great, and now we're going to animate the end. Three new blast. There we go. You can see how it's animating. We're going to put the it's going to start here. We are going to sometimes. It's going to be, the president you to rebuild our key fringe F9. We tweak our differs a little bit. Looks good. Now we can see our whole animations. It's really good. Our texts not looping, but don't worry about it. If you want to look this. We can get it out of the animation in this part, so it will look for now we are done. One last thing you could do is to put an adjustment layer. Person, commoner control Option or Alt. Why? You could put a posture eyes time. What this does is this lower the frame rate of the animation, making it look more rough, but sometimes it gets really cool results, so we're going to put it in 16. We press a Zero in the numb part to see the results. You can see we have a more rough looking nation. You can play with this option. This is the final look off our animation. I'm really happy with the results. Hope you are happy too. With this technique, you can do whatever you want. These like paper grafted. You can look for paper crafted models in Pinterest or Google or whatever, and you can do whatever you want. You can do plains houses, trees, plants. It will have this paper craft look, of course. But it's really interesting. We also learned some cool concepts like the new hierarchy for achieving these animation. The remapping with linear keyframes, tins with black and white. We learn a lot of cool stuff. I hope you find this really useful and you apply these techniques on your further projects. Thanks. 17. Export your Animation: Finally, we're going to export our animation. We're going to go to Render_Comp, composition. Add to Render Queue. I always use QuickTime. Inside the format options, I put H 264. Click OK, then you go to output two and you set the location of your render,it should be inside the render folder we made. I already rendered this. Then you hit render and you're ready to go. When you finish, you're going to see your final render.In the Render folder.Here you go.You can preview it. Slick and pretty awesome. That's it guys. 18. Conclusion: Congratulations, finally we have finished this class. I hope you enjoyed and I hope you could apply all these concepts into your day to day work. Now, you have two homeworks to upload to the class project, your moodboard, and your final project, your 3D paper crafted car. If you have any doubt, please contact me in the community page. If you are going to upload your final project on Instagram, don't forget to tag me. Thank you very much and see you on the next class.