Add Movement to Photos - Adobe Photoshop, Adobe Premiere Pro & Adobe After Effects | Chris Brooker | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Add Movement to Photos - Adobe Photoshop, Adobe Premiere Pro & Adobe After Effects

teacher avatar Chris Brooker, Filmmaker & YouTuber

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.



    • 3.

      Separating your Layers in Adobe Photoshop


    • 4.

      Adding Movement in Premiere


    • 5.

      Adding Movement in After Effects


    • 6.



  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

In this course, I will show you how to separate a photo's subject from the background in Adobe Photoshop and create dynamic animation in Adobe Premiere Pro and Adobe After Effects. The objective here is to bring your photos to life!

Rather than uploading a still photo to social media or your website, bring it to life and add some dynamic movement. 

You will need Adobe Photoshop and Premiere and/or After Effects. No previous editing experience is required, although a basic understanding of all three Adobe programs would help. 

Meet Your Teacher

Teacher Profile Image

Chris Brooker

Filmmaker & YouTuber


I’m a filmmaker and photographer from England. I graduated from London South Bank University with a first-class honors degree in 2015 and have since created hundreds of music videos, corporate films, and commercials with many established companies, record labels, and artists. 

In 2018, I turned the camera on myself and launched the Brooker Films YouTube channel. With 900 uploads and 95,000+ subscribers, I focus on sharing educational content to help others create compelling video content. I wanted to take that a step further though, so here we are.


See full profile

Level: All Levels

Class Ratings

Expectations Met?
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Introduction: Hi, my name is Chris. I'm a full-time at filmmaker and photographer from England. And in this course I'm going to be talking all about how you can bring your still photos to life through video using Adobe Photoshop, Premier, and After Effects. Now there's two different parts of this process. There's the photo manipulation and that's all done inside of Adobe Photoshop. And it's really important that you have Adobe Photoshop installed on your computer in order to do this part of the process. But the animation palettes can be done in either Premier or After Effects. I'll show you how to do it in both. But you don't need premiere and after effects you can do It's in Premiere all Adobe After Effects. It doesn't matter which one you choose, but I will show you the process on how you do it in Premier and after effects. So this is all about the Adobe suite. So Adobe Photoshop, Adobe Premiere, and Adobe After Effects. So let's begin animating. I'll still images and bring them to life through video with this course, Let's get into it. 2. Setup: Now before we jump into Adobe Photoshop and we start animating and stop completing this process. It's really important that we have the correct image in place before we actually start editing gets. So, first of all, you want to make sure that there is a clear foreground and background. So it makes sure there is a subject in the foreground. So this is the part closest to the camera. And then make sure you have a clear background. If there's anything in-between that could be distracting than these could potentially ruin the effect. So if you have a picture of somebody and there was somebody else standing right behind them, this could be a little bit distracting and it could derail your efforts. So it's really important that there is nothing distracting getting in the way of your subjects. And then of course, it's really important as well, but this is a high-quality image, so it makes sure that it is not pixelated. Make sure that it is not blurry. Make sure it's in-focus, it's sharp and it's a good frame size. So I'm not saying you have to take a picture on a digital SLR camera. This can work for your phone photography. Just make sure that the subject is in focus and the image is nice and clear. Now it's also worth noting as well that the background should have some level of interest if this is just a plain photography background, so just a white screen or a blank screen or a blue screen. Then this effect is kind of going to be lost a little bit because we'd go into lose that elements of movements. So makes sure there is something interesting in the background of your photo in order for you to maximize the results of this effect. So make sure that the subject and the background are nice and clear and there's no one or nothing distracting immediately behind the subject. Makes sure that the photo is sharp and in focus. And then make sure that the background of the photo is interesting and isn't just a plain wall or something really boring. So with those three boxes and now ticked, Let's get our image file into Adobe Photoshop and we can separate the foreground from the background. Let's get into it. 3. Separating your Layers in Adobe Photoshop: So now that you've got your photo selected, we now need to get this into Adobe Photoshop so that we can separate the foreground from the background. So once you're on your computer, you just want to navigate through to that picture. Then we'll right-click. So let's open with and select Adobe Photoshop. Now the reason why I've done it this way is because if you open Adobe Photoshop and then import it, you could actually set the wrong composition settings. So if you just open it with Adobe Photoshop from your finder or your documents that you know, it's going to be the correct dimensions. So once that as being imported, you can see down here in the bottom right there is these padlock icon. You first just want to uncheck that, so we're just going to get rid of that lock. So this means we can actually make changes to the image. Now from here, we just need to go ahead and draw a mask around the subject. So that is me in this example. So to do that, I'm just gonna go over to the left of Photoshop, hover over the Quick Selection Tool. Hold that down and go to Quick Selection. Done from that, you can see if we go into the top-left, you can see you've got this option here. So this is the size and the hardness of the brush. So if you pull the size all the way up, you'll see the brush is going to expand. And if you pull that down, the brush will shrink. So go to a suitable number. So I'm going to go for somewhere around 150, 160. And then I'll keep the hardness at 100 for now. They just want to draw a mask with a, your subjects. I'm just staying within myself here as you can see. And that is drawing this mosque around myself. Now as you can see, this table is also part of the foreground, so I'm just going to have to extend that mass to include this table and the objects on that table. And they get, you can now see once we've done our first pass, that is definitely not perfect. As you can see down here in the bottom left, I've chopped off parts of my arm. So I'm just going to go back in and I'm just going to add those parts. But as you can see, I've included the background now. So in order to get rid of that, you just want to hold option on the keyboard. If you're on Mac, if you're on Windows, the keyboard shortcut is on the screen now, hold down Option on Mac or the Windows alternative. And then just draw over the part that shouldn't be there. So we're just getting rid of that. And they just want to go through and you just want to fill in any sections that should be filled in. So this airport should be n omega, this bit is not included, so I'm just going to add this n. And then you go, we're pretty much there. So now I just need to go through and remove parts. But in order to do that, I have to shrink the brush down to fit into this gap. Then we'll go option again. And we'll just remove those parts. As you can see, there's a gap between my arm, so I'm just going to hold Option and we'll remove this bit as well. And again, we're just going to shrink that brush down. And we'll just fill in that gap like this. So as you can see, that's looking pretty good. Although you can see, if I zoom in next to my ear, I've included this part here, so I'm just going to get rid of this. There we go. And that's looking pretty good. Now as you can see, once you've done that, you'll notice that you've got this mass perfectly around your subject. So from here you just want to copy and paste this into its own layer. So in order to do that, we're just going to go Command C on Mac Windows, that is control and say, and then Command V or Command V. And that will copy and paste that into its own layer, as you can see. Now if you wanted to, you could actually go into this and you could clean up the mask if it's not looking perfect. As you can see, a pair in my hair, There's some purple that which I do need to fill in. So you could go through and make those fine adjustments. But now we need to go and fill in the background. So if we turn the background layer back on and we turn this layer off, then we're going to hold Command on screen. If you're a Mac, the keyboard shortcut is on the screen. If you're on Windows, then we'll just select Layer 1. So select the thumbnail, not the word, not over. Hey, I select the thumbnail and lay a one. And that will load at that mask again. And now with Layer 0 selected, so the bottom layer, and we'll just go to the top bar of Photoshop and we'll select the select option, got onto modify. And we'll just select Expand. And we're just going to expand this by 20 pixels. And we'll press Okay. And as you can see, that mosque has now been expanded. You can take that a little bit further if you wanted to, but I think 20 would do the trick here. Then we'll go back into Select. We'll get on to modify. And you can feather this off a little bit if you wanted to as well. So you can go feather, Let's add five pixels of feathering just to soften it off a little bit. And now we can actually fill in this mosque. So we're gonna go up into Edit. We'll get down to Fill. Then from that you want to select Content Aware, color adaption to be selective blending normal capacity, 100% transparency, that should all be fine. Then we'll press OK and Photoshop will take a moment to generate a fill layer. They go so as you can see, if we deselect that mass, so that is Command and D, or Control D, you can see that background has now been filled in. Of course, it's definitely not perfect. So in order to clean this up, I'm just going to zoom in. We'll go up to the Clone Stamp Tool, which is this button on the left, will decrease the size of this a little bit and we'll make sure the hardness is at 0. And then from there you just want to hold option on the keyboard. And that will change the brush to the smaller brush head. We're just going to select this over here. So options select. Then we'll move over and we'll just start painting. So as you can see, we've got this crosshair on the left and the circle on the right. Essentially, the crosser is the reference and the circle is the brush. So it cloning what's at that crosshair and putting it where the circle is. So as you can see, if I go all the way over, then I start to add this wall back in. You can say I'm copying this plug. So just go to Option and then just paint pots of that in God back. And just keep repeating this process and fill in your background as best as possible. And they just want to go through this process of just adding a and in cleaning up this background, it doesn't need to be perfect because we are going to be adding our subjects back in over the top. But if you clean this up a little bit, then that would really help. So this is our subject on top, and then this is the background. So as you can see, these two layers are now completely separated. So now from here, we just need to get these two layers into Adobe Premiere Pro or Adobe After Effects. So we need to export this from Photoshop. So in order to export, we're just going to go file. We'll get down to Save As so ignore exports will go to Save as well places on the desktop and we'll call this separated layers. Then you want to make sure that the format is Photoshop. Then we'll press, Save, Press Okay, on this menu. And that has now been exported from Photoshop. And now we can import these layers into Premiere or Adobe After Effects. 4. Adding Movement in Premiere: So now that we've separated the foreground and the background from our image inside of Adobe Photoshop, we can get this into Adobe Premiere Pro. And once you've opened up Premiere and you've created a new projects, the first job that you need to do is to create a new sequence. So we'll go up into File, New and select sequence. And from Hey, just wanna go straight over into settings. We want to change the editing mode to custom. The time-based can be your frame rates of your projects. So I'm going to go for 25 frames per second in my example, but feel free to go for 24 or 30. It's completely up to you. Then this is the most important parts. We want to set the frame size. So this is why you want to look at your reference image. I look at your image and if it's a square image, then you want to go for a frame size of 1080 and 1080. Or if it was a white screen image, then we'll go 1920 by 1080. Or if it is a vertical image, then set that correct aspect ratio. But in my example, it was a white screen image. It was a screenshot from a video which was filmed in widescreen. So my frame size is going to be 1920 by 1080. That you just want to make sure all your settings here are matched. So square pixels 1, no fields, timecode of 25 FPS, or that would change if you have a different frame rates, Rec 709 color space, everything else is fine, so we'll just press Okay. And then from hey, it, we just need to import that Photoshop file. So there's two ways that you could do this. You could either just go into the Finder and you can drag it in, or we could go right-click Import, go through two error is on your finder and we'll just press Import and then will be presented with this menu here. And it's really important that you don't just ignore this and carry on. We need to make sure that image is not selected. We want this to come as individual layers. So layer one is going to be imported on its own. Layer 0 is going to be imported on its own press. Okay, and let's, and as you can see, you've got a separated layers folder now creates it. So we'll go into this folder or this Ben, and we'll just drag these two layers into a sequence. And as you can see, you've got the foreground and you've got the background. At the moment though, you can see these away too large, so we're just going to select the background, will go up into effect controls motion scale, and we'll pull the scale all the way down so that it fits the screen. So 50 in this example. Then we'll do the same with the other last of the foreground layer. We'll pull that down to 50 as well. Then we'll put the foreground layer on video layer to the background layer on video layout one. And now you can see our original image is there. Now that we've got our original image back together inside of Adobe Premiere Pro, the foreground and the background, and now living with each other again. Because these enough separated layers, we can animate the position, we can animate the scale, we could animate the rotation. And you can see only one layer is going to be affected at a time. So I'm going to go all the way to the beginning. I'm going to increase the scale of the foreground layer and I'll move the position down. Then I'm just going to select this arrow so that we can see this section here. We'll create a new key frame on position and scale. And then we'll go to the bottom layer, creates a new key frame on position scale. Then we go to the very end minus one frame. So select the back arrow button. And then we'll go to the foreground layer, and we'll pull this back down to 50 and we'll pull up position but to where it was. So that was 960 by 540. And then on the background we'll get it go the opposite way. So the full ground we scaled down the background, we're going to scale up. So increase the scale 255. And now when we play this back, you can see we've got this nice parallax effects now happening. So the foreground is shrinking and ground is increasing. She can see instantly straight away, I've got this really nice moving photo effect. And if you wanted to, you could actually add a layer of blood onto the background. So if you search for blur in the Effects tab, and we'll draw Gaussian blur onto the background layer. You can see you can increase the blurriness to make them stand out from each other even more. So maybe at the very beginning you've got a decent bit of blur. So GFA 44 percent credit, new keyframe on blurriness. Then at the end we can pull that down to 0. So you can see that's going to give us a nice soft focus effect over time. You will notice at the start there, we're getting this black border around the background. And that is because we need to select Repeat Edge Pixels and that will get rid of that for us. So if we play this back from the beginning, you can see this is what we have and it's really bought that photo to life if you wanted to as well, that you could also animate the rotation. You could animate the position. Alternatively, you could actually drop some effects onto an individual layer so that you can control each layer on its own. Or alternatively, you could even add some texts behind the foreground and the background. But let's go with some rotation animation first. Let's not get ahead of ourselves for the time being. So I'm just going to increase the rotation on that foreground layer so that a seven. Then we'll go to the end and we'll pull that down to 0. So as you can see, that's now rotating back into position as well. Of course you could do the same thing with the background as well. So at the start will keep the rotation at 0. But as we go towards the end, we'll pull that too. Let's go negative 3. And we'll play this back. There you go. You can see that he's not rotating around. Or alternatively, we can rotate the rotation the other way. So a go for, so we'll go for maybe plus 3, plus 4 somewhere around there. Let's play that back. Now. Iga luxury vehicle. Now let's get on to some effects. So let's go for a color correction effects may be. So let's go for curves. Curves onto the bottom layer. And you can see, if I just adjust some of these curves, you can see the background is going to be adjusted, but the foreground will not be adjusted. However, the best way to control the curves is to put this onto an adjustment layer. So we'll delete curves for now. Then we'll go onto a timeline and we'll move off foreground up to video layer three. Then we'll go into a project tab and we'll create a new adjustment last. So we'll go to the new item button. So that's adjustment layer and press Okay. And then we'll drop that onto video layer two. Now we can go back into effects and drop the curves on to the adjustment layer. And as you can see, if I move some of these around, I can change the background and knots myself. So basically the way that Cubs work is the top-right is the highlights. The bottom left is the shadows. The middle is the midtones. And if you want to make an area brighter, you move it to the top left and if you want to make it delta, you move it to the bottom rights. So if I go into the red channel, if I want to make the highlights of the red less red or darker, I'll just pull those down here. Then if I go on to the blue, if I wanted to make the shadows on the blue pop a bit more, I can pull that up or I can do something like this. And that's going to enhance the greens because I'm pulling that blew away. Whatever you decide to do that, I just get this to a point that you're happy with. And then we'll scroll through to the very beginning. We'll create a brand new keyframe on the opacity, on the adjustment layer. Then we'll scroll through to the end. We'll pull it down to 0%. And as you can see, we're getting this nice color change effects over time, of course there as well, because these all separate layers, we can add that text between the foreground and the background. So again, we'll just move the top layer, the foreground layer, up onto video F4. We'll go to the T icon. The type tool will select the video. And we'll just type out a word or a phrase. I'm just going to type out my business name, broker films. Then I'll go into that text and we'll change the font. So I'm going to graph a monster at bold. I'll increase the size of this. Place, this in the middle using the center align text buttons. Then I'll just reset the position down here. And then I'll just move the text down onto video layer three. So that is now under the foreground layer. And as you can say, foreground layer is now on top of the text. So if you wanted to, you could animate the text to bounce in on the scale, or it could move up as well. You could animate that to do something over time. But essentially because we've got a foreground and a background separated, you could add anything behind the subject. And that's going to really help to add that separation between those two layers. So now that you've actually gone through the process of animating, you're still photo. This is now a video. How do you actually convert this into a video file? Well, this is why we want to export. So we can either go to the Quick Export feature in the top right. As you can see, you can put this wherever you want this to go. So I'll put this onto the desktop. Then you can set a preset so you can go for high-quality, for k, high-quality 1080, high-quality 720. I'm going to go for high quality 1080. And as you can say, it's going to be Haidt point to 64, 1920 by 1080, 25 frames per second, 20 megabits per second targets. And then it's going to be 5 second long video, and that should be 12 megabytes. Cipher press Export. That's just going to take a second for Premiere to export that. And then as you will see on the desktop, we've got our video now exported. Alternatively though, you could go up into File Export Media. So load at the Export Media tab. So from here, what I would recommend doing is selecting H.264. Then you can just go down to output name and you can put this onto the desktop and you can rename this if you wanted to. Then we'll get on to video and simply just select Match Source. And then from there you can get onto VB. So the bitrate settings and just pull this up to around 20. Essentially, the higher that number is, the higher the file size is going to be. So as you can see, all the way to 50, that is 31 megabytes. But if we pull that to nought point 19, that is 320 kilobytes. So just pull that up to where you want that to go. Time interpolation. You can just select frame sampling, press export, and that's just going to take another second to export and that he's now on moving photo. So that is how you would go through the process of animating this still photo and bringing it to life and video inside of Adobe Premiere Pro. In the next episode, I'll talk all about how you would do the same process inside of Adobe After Effects. 5. Adding Movement in After Effects: Importing your Photoshop file into Adobe After Effects is a very similar process to how it was done in Adobe Premiere. So let's jump into After Effects, and I'll show you exactly how to do that. So with After Effects now open, you first just wanted to go new composition. And again, we need to match the frame size to the image size. So in my example it was widescreen. So here we're just going to go at 1920 by 1080 square pixels, frame rates of 25. And we'll make the duration five seconds. Then from that we'll just press OK. And now we need to import that Photoshop file. So again, we can either drag and drop or we can right-click import file. Once that has been important though, you'll be given this window. And again, it's similar to what we saw in Premiere. It's either going to merge that into one image file or it's going to give us the option to get this in separate layers, and that's what we want here. So import kind, you can either go footage, composition, composition, retain layer sizes. Let's just go for composition. And you can either put editable layer styles are merged layer styles into footage. Let's go editable layer styles. Press. Okay. And as you can see, we've now got a composition with two individual is imported. So I'm just going to select both of those will go Command C, go into comp one command V. So Control Paste, as you can see at the moment though, that is way too large. So again, we just need to go to this bottom layer, will turn off the top layer for now. We'll just pull the scale down to 50. And then we could just move this into the center. So if you press pay, that'll be 960 by 540. Then we'll just go into this drop-down arrow. We'll just copy that transform. So Command C or Control C if you're on Windows, and we'll just paste that onto the top layer, so Command V. So as you can see, we've got our two layers now imported. And if we solo them, you can see these again are separated. So again, we can go through that same process of going into transform. And we can animate the position, we can animate the scale, we can animate the rotation, and we can create new keyframes. At the start, go towards the end. You can move the Position, increase the scale. And you'll say it will play back and do that motion over time. But the reason why you would choose aftereffects over premier isn't because of this basic keyframe animation, it's because of the puppet pin tool. So the puppet pin tool is a great way of bringing life to a still image. So Let's just go through the process of doing a basic animation first. So we'll just increase the scale. So we'll increase that to around 55. And we're bringing the position down and we'll create a new key frame on position and scale. Then we'll go into transform on the background layer and we'll create a new keyframe on position and scale again. Then we'll just go halfway through the action, will increase the scale and the background. So 55 will decrease the scale on the foreground. So 50 and we'll bring the position but to 960, to 540. So as you can see, once we've added the keyframe animation onto both of those layers, you can see we've got this really nice animation. To take that one step further, like I mentioned, we're going to add a new type of animation, and that is the puppet pin tool. So we're going to use the Puppet Pin tool to add an extra layer of animation onto this foreground layer. So rather than it being quite flat, and now we're going to get quite a dynamic movements. So select your foreground layer, will go through to the point where it settles at its lowest point. Then we're just going to go up to this icon, which is the Puppet Position Pin tool. Double-click this layer. And as you can see, that's put a yellow points in the middle of my face. I'm just going to undo that Command Z. And then from that I'm just going to go ahead and I'm just going to create a few points. I'm just going to put a point on my neck. I'll put a point at the top of my head. Then I'll put a point here, here. Here, here, and roughly hair as well. So you can see you've got all of these different points. And if I move one of these points, you can see this is how we can now affect this layer. So all of a sudden there's an element of elasticity to this movement. So this is starting to look a little bit more natural. However, as you can see, if I move certain points around, it's going to move the table. So let's just add a few more points onto the table so that the table does not move when we animate ourself. So let's see how that looks. There we go a lot better. So from here, in order to create this animation, we're just going to go into effects, puppet, Mesh, one, deform. And as you can see, we've got all of these different puppet pin points. So highlight them all, open them all up. And as you can see that all gotten new keyframes created. So this means if we go back to the beginning and we move these points around, they'll animate from one keyframe to another over the course of our animation. So if I move my head over to the left, like this, I move my arm up, this arm up, and then I can move my neck over lift sorbet, shoulder can go up. Shoulder can go up as well. And as you can see over time, that's just going to animate back over into its normal position. Of course, though, if you really wanted to take this to the next level, you could even move those mid animation. So it looks like the head is going to move from side to side. Now this is a little bit more strenuous on the computer, so they still take a little bit longer to render out. But you will say once that has rendered and we play this back, you can see we've got even more movement in this image. So this is really bought this photo to life. Now the movement can be really subtle like this, or you can be quite dramatic with the movement and go for something really over the top. But of course, if you are adding the puppet pin tool onto images of people, then it can get quite noticeable if you start to move these points around too much. So as you can see, just playing that back, you can see that starting to look really nice. My head's not deforming too much. But there is this nice little bit of movement which feels a bit more natural. You can see it looks like my shoulders and my arms a sinking into position. And that looks really good. The last thing that I want to do to this, to really finish this off, is just to highlight all of the keyframes that we have selected and created so far. So everything, So all of the position scale and the puppet pin points will right-click on one of them. Go to keyframe assistant and select Easy, Ease. So this is essentially changing our keyframes from linear keyframes to an Easy, Ease keyframe. And essentially that means rather than suddenly starting the movement when the keyframe starts and ending when the next key frame comes in. Just going to ease in and out of each one of those. So this just makes it feel a little bit more natural. So we'll just render this out and we'll play this back. And you can see that looks really nice. You can see as it comes to the end, rather than being abrupt ending like it was before, it's now easing into position and it just looks a little bit softer and a little bit more natural. So there you go, using the position transform and rotation, basic keyframe animation, and then adding in the puppet pin tool to add the extra elements of animation. We've created this really awesome still photo animation inside of Adobe After Effects. And we've really built the still photo to life, of course, like we did in Adobe Premiere, because these are two separate layers, we can animate the background and the foreground or at different effects on individually. So that means if you wanted to add that nice blurring effect, we can search for blur and effects. Drop camera lens blur onto the bottom layer. And you can see you can increase the blur radius all the way up to a high number. So let's go for 40 percent. At the beginning creates a brand new keyframe on blur radius and at around the NMAC. So somewhere around, hey, we'll pull that back down to 0. And then if we render this out and we play this back, you'll notice you've got this really nice focus blur effect on the background. Of course again, we could use some colors so we can go into color correction and we could go full, any one of these. Go for exposure curves, color gamma attempt, we can add an effect onto the background layer and that won't affect our foreground layer. And again, of course, if we go to the T icon and we add some text underneath that top layer. So we'll direct that between those two layers. You can see you can have text between your foreground and your background. So now that we've gone through the process of animating this, how do we export this? Well, the easiest way to export from Adobe aftereffects is to go composition, add to render queue. And then in the render queue option, we've got Render Settings and you want to select best settings. All of these are fine. Then we go to Output Module select lossless. Make sure the format is QuickTime. Post friend action is non channels, RGB, press Okay, then we can output to our desktop, so comp 1. And we can just press Render, and that's just going to take a second to render this from Adobe After Effects. As you can see, it should now be complete. However, when we go to play this back from our desktop, he can't be opened. It will open in After Effects or Premiere if you import it into those, but it doesn't play from a finder. So alternatively, you could go to composition, add to Adobe Media Encoder Queue. And as you can see, this is going to load up Adobe Media Encoder 22. And this means rather than exporting directly from After Effects, we're now exporting from Adobe Media Encoder. And as you can see, this is Adobe Media Encoder. And we've got our composition now waiting to export in encoder. And this looks a lot closer to Adobe Premiere rather than Adobe After Effects. So we can go into H.264. And that's going to load at the Dynamic Link connection, which basically means it's linking from aftereffects to encoder. And then once that has loaded, you can see you've got this Export window, which is basically identical to premia as. So this means we can go through the process of selecting H.264. We can select the outputs. So I'm just going to put this on the desktop. We'll call this P2 dash T2, that you can just match the source on video. We'll go to our bit rate and pull that all the way up to get a nice high-quality exports. And then time interpolation can be framed sampling. Okay, press that Play button. And Adobe encoder is just going to take a minute or two to export this from After Effects. And now because we've exported this in a hate point to 64 format, similar to how we would do from Adobe Premier. This will play back directly in QuickTime VOC or whatever media play it that you have installed. So rather than exporting through After Effects, you can export through Media Encoder instead, and that would give you a lower file size as well. By the way, however, encoder is a different piece of software though. So if you've only got After Effects installed, then rather than going through Encoder, you can just go to the render queue. So there you go. That is how you would animate an export. You'll still photo inside of Adobe After Effects. 6. Outro: And there you go. That is the end of the course. So at this moment in time, you should be able to separate your full ground and your background in your cell images and then animate those layers inside of Adobe Premiere and slash all Adobe After Effects. So my challenge to you now is to go ahead and animate your own style images, bring your images to life through video. And if you do, I would love to see your work. So please do consider uploading your work to the student's project section on the Skillshare students project page and a premise, if you do, I will call it my thoughts and opinions on your work. So thank you once again for watching this course. I've really do appreciate your support. If you're interested in filmmaking than I do have a whole world, of course is on my Skillshare page. So consider checking those out. But if not, thank you for watching. I appreciate your support and hopefully I will see you on the next course. See you there.