After Effects - UI/UX Animations

1. Intro: Hey, this is Green, Bella, I'm a part of designer from Ottawa, Canada. This is gonna be a quick class that will cover a bunch of tricks that I use to create many product demos using Adobe after effects were going to creating a beautiful, smooth transition between two screens. And I'll show you my techniques and tricks that might be available to your workflow. The ability to show how it's green moves in the draft is a crucial part of the process, and this class is meant to help you take that game to the next level. 2. Essential Shortcuts: before we get started, I wanted to have a dedicated video. That is gonna be a quick overview of my after effects set up and and the key shortcuts and plug ins that I will be using throughout this course. First of all, kind of my my, um my overall workspace that I personally used looks something like this, which for the most part, probably look pretty similar to most of you. But, um, this is kind of how I have it set up like that may affect some projects upon top. Obviously, all my files will be here in 1000 compositions and my layers and timeline over here. And I love to have my effects and presets panel easily accessible here. So if I do want to quickly find a certain a certain effect, for example, they want a Gaussian blur. I can just search for it and, uh, click on click and drag on it to specific clear, just a quick way off adding specific effects. Um, a key plug in that I use is called motion V to. You don't need this blood in to follow along in this tutorial, but it's it's pretty handy, especially for easing and having complete control of easing. And in a way, that's we easier to use than the graph editor over here is this motion v two. It also comes with a bunch of other effects that are pretty cool, to be honest and could add a lot of value to your projects. I will go through this very shortly, But let me continue on with these guys. Also, the alignment pattern obviously like to have it really easy accessible, cause it's very highly used and quick typography stuff here, another plug in that uses aux and this is a plug in for if you use catch, which which I do. And it makes importing your designs from sketch to after effects. Ah, a lot easier. Instead of exporting things manually from from sketch and bringing them in here, this pretty much doesn't all for you, and it keeps everything positioned in the right place. It keeps things edible. Shapes remain shapes and type remains type and all that stuff. I also kind of want to go over my kind of essential shortcuts that I'm gonna be using throughout this course. Andi, I figured we get to kind of run through them now. Eso were not kind of brushing up on them every time way. Apply them throughout the course. So I'm just gonna create a new composition and I'm gonna draw a circle. Um, one thing. I also like a boat. This motion V to plug in is that it allows me quick control over my anchor point. You'll notice my anchor point right now is not centered or its knots in the bottom right after anywhere. It's just in a weird place. This gives me control to quickly position it where I want this. I'm gonna have a centered here, and I'm gonna also have my entire circle centered in my composition on I'm just gonna do a quick animation and just some some key shortcuts which are pretty basic or like, the P r S t. And you know what they are? Is p quick. It's the position after being here, T transparency are is the rotation assets for scale and you shows only the active key frames the way I would typically animate something. Say, I wanted to make this move from here to here. I would quickly click p drop in a, uh, a key frame Scrub through my timeline a little bit here. I would usually keep my eye on this, which will tell me exactly where I am in terms of my time. And if I do want control, say I wanted to be exactly one second and I'm off here, I wouldn't drop it right here at our hold. Command impress my hero couple times, which gives me control to move exactly 11 framed. So now that I dropped it here, I know my key frame is right here. So, um, now I know that I'm exactly one second I'm gonna move this ball up there. And that's taken exactly one second to move from here to here. Um se I wanted to change the scale as well. I would press s for skill and dropping a key frame and then with the usual could comes in. If I click you, it shows me only the active key frames, which is super handy to keeping your layers here looking all clean. So I'm gonna also use J and K, which jumps between key frames. K goes up a key frame, and Jake was backing him. It's a really great way of quickly navigating your way through the timeline to just a key moments on. And, you know, you're exactly on the right spot. So I'm gonna take this. I'm gonna make the scale here. 50 eso. Now, we're kind of going from big to small in exactly one second. Um, and this is where the easing comes in. Now, if I wanted to make this have a strong say, like easing than ease out, I could select all my key frames and I can use my motion V to plug in here. So this controls that he's in this controls that is in end out, and this controls that he's out. So say I wanna have a He's in and out somewhere around here. And now if I press space notice, it has, like, a nice easy to it I could have gone more extreme. This is, like, now very strong isn't very strong. He's out, or somewhere in the middle or again you could have complete control by playing with this exactly to your liking. Another quick thing I wanna talk about is the parenting effect right here or two. Or I should say, um what that does that gives control over, um, over making two things animate the same exact way. So I'm just gonna drop in a square here. I'm gonna fix its anchor points. And now, of course, if I go back to my timeline on Lee, my circle is moving. But say, I wanted to take this queer position it right here. Say I wanted this square to do exactly what the circle is doing. I could take my square, take this whip here and drag and drop it to the layer. I wanted to do exactly what it's doing. So now that I did that, you can tell here that it's apparent layer is this layer. Now they do the same exact thing, which is super handy. We're gonna be using this tool in this in this course, this also does other things such as like, say, I wanted the rotation to say I rotated this a little bit and now you'll notice both of them rotated. It's very, very handy tool, especially for you. Are you X work? Where way? Kind of want to minimize the amount of key frames were using. So right now, even though all these air moving this way if the only key frames that are being used are just these two on this one layer, it just makes it easier to to maintain and manage all these key frames. And it makes after effects have to work a little less hard so as not managing, you know, kind of all these different key frames. So again, the less begin use key frames before you. I work where our compositions could get pretty complicated pretty quickly because there's a lot going on, the more we can use certain tools that make that easier, the better. 3. Planning for the Animation: So we have a design here that that it created and its strict for the purpose of this course . And it's just a way for us to, uh, to show off. Some of our micro interactions are transitions, um, of us going from this explore screen where we're on the wireless headphones screen and we're going to click on one of these items and we're gonna transition into this detailed page. We're gonna take a few things into consideration here. For example, the way the headphones are gonna come from here to here, it's gonna grow. These despair happens, gonna come to the center of the screen, they're going to grow, We're gonna slide out. The rest of the items were gonna slide up the bows local right here. So it's a bit higher, and it's gonna turn into white, and the entire background is gonna go from this light gray color to this dark color. Um, it's gonna all happen pretty quickly. Probably maybe about a second or so, but it's gonna look super slick. Um, so this is this is all in sketch, of course. And I'm gonna be using a tool called a U X, which is gonna help us import this from sketch to aftereffects. It's important that our items are fairly clean terms of how their other organized, but it doesn't have to be 100%. You're probably gonna have a A design could be similar to this. It could be different if you want to kind of mark up something similar to this that also that's also cool. But yeah, as long as they're organized in a way where it's easy to make sense of how these are organized and structured, I think is just gonna make it easier for you guys to make sense of it and after effects once it's in there. 4. Importing the Design and Getting Started: now for the fun part. Let's get these designs into after effects and start enemy them. Like I said, I'm gonna be using this plug in called a u X. If you do want Teoh, download it, it's free. It's just at a e u ex dot io You can download it for free, get it installed, and I'll tell you how this works. Once you do have it installed, um, you're gonna wanna go to your, uh, plug ins and go to a U X and click open pattern. And it looks just like this. It's super small. Um, but, uh, very useful eso when you do click on anything. But for now, let's click on the art board overall here. So we have our first screen. A first are poor selected. I'm gonna click, Send selection to A and what this is going to do is it's gonna copy all the attributes here in their right positions, and it's gonna get them ready for us to paste it into after effects. Now, some of the stuff are images. For example, these four for headphones and the bulls lowers image those they're going to need to be exported. But this tool does it all for us. So I'm gonna click. Send selection T e. It's gonna ask me where do I want to export those images? I have folder here called Assets, which is right next to my my aftereffects file and I'm gonna click select. So what this did right now is it exported those images on and have them ready for us to to import. So I'm gonna go back to aftereffects and you'll notice in my AUX plug in here. It's already it knows that I've already copied this wireless headphones art board. And it's asking me if I want Teoh to export it into a new composition or occurrence now, because I don't have accomplishing created, I'm gonna click new I'm gonna make it at double the size. Um, and I'm gonna click this button right here and now it's doing its thing that imported these thes images. The naming is a bit funky, but I think that's okay. We don't need to You need to worry about that and look at that. It exported everything at the rights, size and in the right position, and everything is layered, which is pretty cool. Now there's a few you'll notice are layers here. There's a few items here, which are the groups which we can remove, and one that can do that is just by selecting everything here and then click delete group layers. Must that quick wait up to leading all those groups? Um, yeah. So that looks pretty good. And we have everything here nice and layered. Now it's a little bit messy. There's a few of these things, but you'll notice that everything is is layered and the text is still text. Um, so this is gonna be easy and fun to work with. So the initial screen here, we wanna have it come in in a quick way, but in a nice, interactive way that gets gets users a little bit excited. After all, this is bulls there a pretty cool company. They're pretty innovative. And I think this app should feel pretty pretty interactive, pretty engaging, and maybe not super super static. So, um, let's think about how we want to make this. First of all, I'm gonna select these guys just to see them here. One thing I usually do just to make this easy for for me to keep track, I would change the colors. So, for example, gonna select all these, and I'm gonna click on the color here. I'm gonna give these a color of red. I mean, let's give it a different color. It's something that stands out. There we go. And I'm gonna do the same for these. And I'm gonna give groups as let all and gonna give them a color off, say, blue. And then I'm gonna do the same for these. And a peach and these. Okay. Uh, Ugo. So what I like about this is that I can easily look at these and tell what? Which section they are. You know which part of which card there? Um, one thing. I most changes this guy. I'm gonna give it a different color, so it's not confusing. Okay, that's just a visual cue that I personally use. It just helps me group these things quickly. So we're going to start off here with an empty screen and these air gonna come in very quickly and, um, interesting way. So I'm gonna first take, um I'm gonna take all these. I'm gonna move my cursor a little bit and gonna do the open square bracket which moved all these a little bits And the only reason I did this just so I don't see them right away of these. Now it's it's clean. And Aiken, I worry just about these guys and making them come in. We're gonna make thes just fade in very quickly. So this is my search icon and my back arrow something both Presti and I'm gonna click on the capacity, make that zero and make it at the, uh, half a second mark. I'm gonna make that be 100. Just a quick fade for these guys and I'm gonna make the bow's coming in from the side. Press the p for position on drop one key for him here and drop another key frame here. So I'm just pressing J and K jumping between my key frames and the first tee from here. I'm gonna I'm gonna make it be outside, and now it animates like this. Um, obviously, it's very linear. Very boring. But let us take these two key frames and let me give it a nice he's in. He's held at around 60%. Replay that. Okay for this guy, let me also, um, let me do the same thing for him. That drop in position right here and then another position. All right there. And I'm gonna take both Volsky frames and just click on this right here, which is gonna apply the same exact easing as the bulls. So they come and just like this, and, um, let's make them be a little bit longer. We don't have it half a second. Let's make it be at exactly one second. Now, if I want to drag these two key frames to be exactly at the one second mark you're gonna hold with my timeline being right here, I'm gonna hold shift and rag these and now they're exactly that one second. So it's just a little bit, uh, it's Brenda Explosive replay. It looks good, but I think I want the He's out at the end to be a little bit stronger. Que those good for now. We'll revisit it inhibits. Once we see it was the full screen. So this still stood and then these guys, we need them to come in in quickly, and, um, in an interesting way, one thing I'm gonna do here, So I'm not animating each one of these. I'm gonna make each one of these cards have one parents layer which is gonna be the base on the rest will be will be talking to that parent layer. So all I have to worry about is moodiness. So I'm gonna take these guys, and I know that the rectangle here is my base. So I'm gonna select all these guys, and I'm gonna take this whip here and drag it to the rectangle. And I'm gonna do the same for this and select all these guys dragged rectangle. Same for this drink. And now what this does is if I just select just this layer and I move it. Everything moves with it, which is gonna make it's a lot easier to keep these guys bundled up together. 5. Sliding Cards Interaction: Now let's make these four parts come in and an interesting way. What I'm gonna do is I'm gonna make them all slide in from from their sides. So this one will slide him from this side. This one was like it from this side in this one from here in this one from here. What I'm gonna do is I'm gonna select this and I'm gonna move it right to the edge of, uh, the outside of the airport. Same with this. And seen with this and this, Actually, let me undo this before I do that. Let me drop in the right key frame. So let me take these four rectangles here and press the P and drop in a key for him. So they end here and it'll drag this key frame right here. And then let's do that. Let's do it over again. Let's take this. Move it aside. This this side, See, that's instantly creating the animation for us. So at least they come in like that canal. If I do this, they come in like this, which obviously is linear. We wanna give this a little bit of the right easing, so I will I will take these four and give them that same easy we did. So they all come in like this a little slower here just because it's rendering. So obviously looks pretty robotic, the all coming in at, um, at the same exact time. And, uh, kind of a boring speed, but let's give us a little bit more life. Let me go back to this key frame here and let me take this guy and press. Actually, let me go to this key from here and press, uh, select all these three. Sorry. First and the press are for rotation in this drop in a rotation keeping here. So at this point in time, we want them all to be 0% rotation. Zero degrees is to say eso it's lined up nicely. But then when it quick, you gonna quick Jay to go back into the a key frame here, and I'm gonna make them all realty slightly, so it gives them a little bit more of an organic feel when I click on this and I'm getting a rotate this guy a little bit like this, and then I'm gonna move him a little bit. So he's outside the campus, the same for this one. I'm gonna make him rotate like this and moving a little bit help. And then this guy, same thing. And then let's take all of these and also applies. I'm easy to it. So now you'll notice they kind of royalty and slight in. And then let's give them a little bit of a bounce to them with motion v two. There's a excite feature here. That kind of gives them a little bit of a nice bounce. So the week we're gonna do that is we're gonna select all these end key frames here, and I'm gonna press, hold command and click on them. And that's gonna kill the easing it had. The reason for that is because when we do click on this Excite tool, it does its own thing, and it the easing can't interfere with that. We're gonna click on that. It's doing its thing right now. And let me also click on the all the initial key frames. Let me change the way they come in. I'm gonna click on this guy, which gives us another set of easing, just so if we do want to have a couple of different settings. Weaken. Do that. I'm going to. This one really high, isn't it? Is out. So now they come and grew in a high kind of ease in ease out. And then they have a little bounce and see how that looks. Okay, that's cool. The bounce is probably a little too strong. Let's see that again bounces a bit too strong. Let's fix that. We can select these guys and then go to our effects right here, and you'll notice that there is. There is some settings here. There is overshoot, balance and friction on the reason why there's two of them, because one of them is for the position and the other ones for the rotation. I'm gonna make the overshoot only be 10 and the balance on the beat 10 and I'm gonna do that for all these. So let's take a minute. But it's worth it, and I noticed that I forgot to do it on the 2nd 1 here. That's another cool thing about this motion. V two is that it comes with a bunch of easy settings, and they're pretty highly configurable for certain effects that are pretty common, like this excites him, his jump tool and just a quickly of adding some some effects. In this case, I'm like a little bit of a spring effect, which is pretty common. So it just makes it a lot easier to work with this stuff. So let's preview this now. A little slow right now. Is this rendering? But this looks good. This is not a crazy overshoot like it was before, so and there's not much of a bounce to it now, so it looks good. Now, the only thing that they all come in at the same exact second, which is a bit a bit weird. So I'm gonna make them all come in initially. So now they're all coming in at the beginning, even with the header stuff, and then we're gonna make them all a little bit offset. I'm gonna click on the 2nd 1 here. Press Command that compressed the right arrow say, for crime, it's 1234 Then press the open square bracket 234 and the same for this one. Do it before what this did is there and made them a little bit offset. So they come in at slightly different times. That looks pretty cool. Now, this may be a bit overboard. If we were doing this for a really app, it doesn't need to be this this funky. But the main goal here is that we're learning a bunch of techniques for some high fidelity micro interactions. So this looks pretty cool for this initial initial screen. Eso all this is happening in exactly one second a little bit more with because we offset them. So even though it took us a little bit of time to get this all going, it's really offer that one second. But the devil's in the detail. I think once you do this little, little things here with the timing, it makes a big difference. Next video, we're gonna be going over how we're gonna transition into the second screen. 6. Transition to Detail Screen: now that we have intro set up here where these guys come in like so let's think about what happens exactly when we're going to click on this quiet comfort 35. Um, we're gonna want a transition into this screen, and we want to do it in a slick way where this pair of headphones grows to be like this and we fade out, the others, the other remaining items. We bring in the black background on that kind of stuff. So let me go back to after effects. Um, so I have a major that this image right here is actually ah, high resolution image of this pair of headphones. Eso when I do want to scale its it can scale and stay and steak pretty good quality. So if you do wanna do a similar effect just to make sure that you have a high resolution version of that asset and it's just shrunken down, so when it does grow and stay good quality. So once this comes in, I'm thinking maybe around the four second mark, we're gonna tap on this guy. So, um, let's take that into consideration and make these guys fade out at that point, I'm going to select all these layers. Uh, the all these leaders impressed t before the capacity and drop in a key frame right here. And we're gonna make it feet out at a belt for, say, 15 Here, make them all B zero. Except for the pair of headphones. As you notice MBS because we're gonna want that to grow. So these will fade out like this, and a pair of headphones is gonna grow. So let me go back here and that me Drop in the scale for the headphones and drop one here and also the position Drop a key frame there, and then go right here. We're gonna make gonna press use weapon, see both key frames. I'm gonna take all these ones and press you so we don't have to look at them. Um, and let's make the headphones nice and big right here and smooth this Teoh around right here, which looks pretty close to how we have it set up in our design. Uh, okay, that looks cool. Uh, let me just give it that same. Easy quickly. Will probably give this a little bit of a balance as well. For now this kind of girls like this, let's make it take a little bit more time. Cool. Um, let us fate that's making this guy slide out. So let me drop in a position key frame for this guy, and as a pair of headphones grows, we're gonna make this guy be all the way outs. And let's also give him that's using. So when you do tap on this, this kind of happens, which is pretty cool, Okay? And then let's also make the, uh, the search, uh, fade out. So let me click on that search from the transparency. And, uh, let's go here and drop in a key frame and then go here and drop in a key frame. As you notice. I'm using J and K lots, which is just a quick way for me to jump between key frames. Now I know at this key frame it's opacity is 100 and this key frame at zero. So that disappears. And so, so far, it's looking something like this. We're gonna make this look a lot cooler. Let's quickly take as you notice when I'm on my headphones. Here, let me rename this to headphones uh, you notice I can see my little these dots right here. Which I can grab this node right here and move it just like this. What this is gonna do is this is gonna make it animate this week. So now this is a little bit of, ah, of a curve to it. And let's also give this a little balance. So I'm gonna hold command and kill the easy on those last key frames and excite and actually do here. I think I already had some. Let me delete these and click on this and click Excite and let me give this. Let's keep the overshoot a 20 year but will make the bounce 20 as well. And let's take the first key frames. Let's make those have a really strong easy and easily to now look something like this Pretty cool. So look, something like this vehicle. Um, So let's also make that the background. Now change colors. Let me go back to my sketch file and let me, um, let me grab a couple of things here, so let me take that background color, so I'm gonna come here, take this background color copy. And what I'm gonna do is I'm going create a circle that's gonna at growing size and fill up the screen as this is growing. So let me, um, just go, right You create a circle and let's go this size and let me give it the color I just copied and let me make its anchor Point B writes in the middle and let me center. It's right here, and I'm gonna do the open bracket. Bring it right here. And what else I'm gonna do here is I'm gonna gonna make the steel be zero the stage, and I'm gonna make the scale be really big as it fills the entire screen. Uh, right here and I'm gonna give it that same easy. And of course I'm gonna move it all the way down to the back. Do this and that's moving One more layer back. It's called that black background. So now I'm gonna press shift forward slash. And so now, when I when I click on that, you'll notice that it all happened. So it happens too fast. But let's fix that. So we'll make that happen. Come in right about here. So as these feet out this does this. So it's happening a bit too fast. Let me slow it down. Boom. Who? And I think I'm not a big fan of the evening's over me. Let me change this sorts of bits softer on the ease in ease out. Okay. And also, what I'm thinking of doing is making it appear kind of with the headphones. So let me go here and click the position and keep the position right there. But let me go back to the initial key frame where it started and make it come in next Today had formed right here, so it kind of opens up with them. And let's keep that that same easing. And let's make that a bit stronger that easy in a little bit faster. Okay? It's time. Look cool. Um, actually, I think I'm liking the way it's coming in from their lemming. Bring it back to the middle. I'm going to remove that first position. Keep that coming in from the middle. Something like this. Also, What I'm gonna do is we're gonna let's go back to our design here. Um, the head rolls are actually quite a bit bigger. Let me make them bigger actually let me bring these guys in first. So I'm gonna take, um this and this, and I'm gonna go send selection to a E. And it didn't ask me to export any photos, because these are all just shapes and forms and colors. Eso let me go here. And I'm gonna actually import this as a new composition. Uh, because I'm gonna animate them all together. So and they're gonna come in around here. I don't cook new composition and drop these guys in so that Gil, it's also select all of these and go delete group players. We don't need to see all those Googlers. And, um, I'm gonna show you a technique that I used to kind of a group everything together. So I would click clear new, no objects and take all of these other layers and I'm gonna parent them to hear or have this of the parents. And then I'm gonna take this Now, the motors that have won all object here. So if I take this and move it around the all move with it, which is cool, it makes it super convenience. Oops. Here we go. So let's drop in a position key frame right here and that Another position key frame here, all the way down. See? And let's give this some easing. So this slides in. Now, you notice this. Put this in its own composition. Let's go back to our main composition and let's see how Let's drop that little projects. So this is my other accomplishing called wireless headphones details. And I'm gonna make that drop that in around here. So when this grows, this comes in, I'm gonna move it a little bit, something like this. So now it's looking something like this. So this is way too slow as we're seeing. Let's, uh, right now, you can notice that it starts off zero and then is 1 46 It's almost two seconds, which is way too long. Let me make this a lot faster. She probably take about half a second. So that me move this to about 35 and then go back here, this is probably was better. Cool. Um, to what I'm gonna do here is I feel like the animation is coming in a bit too much here. So I'm gonna do is not gonna make it come all the way from the bottom. It's gonna come just from right here. It is going to slide in just a tad like this, but that's kind of look weird. So we're gonna do is I'm gonna make them all be and, uh, fully invisible at first, and then the, uh they appear so it's gonna look something like this. Very subtle, a little bit less of animation, actually going to make even less. I'm gonna make it move just from right here. It's a very now it's moving a little bit less. That's much nicer. Okay? And let's make our headphones a little bit bigger. Go back here to our scale and let's make this around this size and right here. So they're gonna grow a little bit bigger. And let's make that Bo's slide up a tad. I'm gonna take this booze and it's gonna slide around. Race here is gonna start to slide. I'm not pressed that p position and dropping a key frame move right here and it's gonna slide to right here, and it's gonna turn white. So let me come in here and go tent, which is my color tent and drag and drop that right after that Bo's logo and I'm going Teoh , drop in a, uh, I'm gonna make it wait, But I'm gonna make the amount zero and dropping a key frame and then move over and then make it 100%. So now it's gonna look something like this. So slide, So slice of a bit too fast. Let me slow that down now. Looks nice, I think. Sliding a bit too much. Let me move that down a little bit. So now does this Very subtle, but it's pretty cool way. Also want the time here to change color. So I'm gonna take this tints effect that I just did a copy, and I'm gonna paste it onto this guy right here, toe paste. And if I press you now, I can see that, uh, didn't apply it. Let me check why? Oh, because we didn t tow Wait. So let me change this to white. There we go. So now that time also changes to white And then the same for this arrow. Here's select this arrow and just press command fee. And it's also make sure this is what it's So now when this girl was thes change, I think that headphones are a bit too big. Claim you make a little bit smaller, steak these guys and make the scale a little bit smaller. Much better. And let's move it up just a tad right here. Okay, So let's see how this looks. We're gonna click on that, and this grows and this transitions. But let me fix that. Looks pretty cool. So that's the basic transition going from going from this to these animating and then clicking on that and it opens up. One thing I'm gonna try is for the background instead of that circle. Let me see if it look good with it, just changing colors and without without the circle growing cause maybe that's a bit overkill. So let me come here and grab my circle. And instead of having the scale grow, let me keep it big and then let me make it feed from from zero 200 which also looks pretty cool. It also looks pretty cool. I'm gonna make the headphones be a little bit less of a strong, easy in easy out slamming crab, my headphones here and let me grab the initial easing. And let's make this more like around this much? Maybe a little more. Let's do this. Let's watch this at full speed. It's pretty cool. Let's make it a little bit faster as well. Select these guys. Let's go all in on the season and yeah, that'll school. So this is pretty much it for the transition here. Next video, we're gonna be looking at adding some some little gestures. So just the tapping on on this, as well as putting it into a mock up into a phone and just getting it ready for for demo. 7. Mockup for a Demo: Let's get this ready for a demo purpose. Let's put a little tap gesture on this guy and put it inside and iPhone markup. Just so it looks nice for deadline, I'm gonna create a new composition. And, uh, let's I was gonna make it. Square is gonna make it 2000 by 2000 and let's call it Demel. And then I'm gonna drop in my, uh I mean, composition. And obviously, it's pretty big, which is good, because it's always better to have it. Big goose we can make. We can make it smaller. Eso school. So now it's Ah, it's right here. And before we do that actually will last. Even me. Let me drop in the iPhone markup. I'm just going to double click somewhere here. And I have a phone mark up here was gonna drop it in, and I'm gonna drop it right at the bottom here and actually let me move it up on top here, and I'm gonna bring down the scale right here. Say maybe around 73 for my for maybe 73. 25. There we go. Um, yeah. And you know what? I'm also gonna tie these together so I'm gonna make that iPhone frame be apparent. So if I do move this groups together s Oh, that's cool. So that we got this going on here. I'm gonna on a tap gesture right here. So let's, um it's create a circle and let make its anchor points centered. I'm gonna zoom in on this. You know what? I'm gonna make it white. I'm gonna give it, uh, I'm gonna bring down its transparency a little bit and I'm gonna give it a drop shadow. Let's bring the distance in a little bit And it's been softness like this. And now we have this little feet cursor. So we're gonna make this cursor come in around right here. I'm gonna make it be invisible at first and then be visible and I'm gonna make the position kind of slight and a little bit so your eye ah, catches to it. Let's go a little easy So this comes in like this and then we're gonna tap on this guy. So I'm gonna make the scale just to kind of make the illusion of a tap Gonna make the scale B 100 then I'm gonna make the scale be 70 and then back to 100 and then I'm gonna I'm gonna take these and move them to Ah, the police were, uh maybe Look, that looks about right, and I'm also gonna make it disappeared. Once I click on that, I'm gonna click back on the capacity, dropping a key frame, move a little bit and make the key frame the zero. Um, the one thing I would typically do to keep my file as clean as possible. I would cut this right here, so I would, uh I got this, so I don't need to see the rest of the timeline. So this comes in. It taps on this and its expense. Ah, I think I made my phone a bit too big. Let me me unlinked. These guys make my phone. Maybe 73 was the right number. 70 years. So now my demos like this, this comes in and I have this fake pressure that comes and it taps on this and then it opens up. I'm gonna make that a little bit bigger. Let's make the cursor be still 1 20 and it wants one. I think the media more 1 50 No, you. This comes in tap on this in the expanse. That looks pretty cool. Make this little bit smaller. Uh, let's take this Go a little bit smaller. Everything that was cool. So pretty simple. Um, I hope you enjoy this little course. Hopefully, he takes some some techniques that I personally use. Um and hopefully it helps with your and you're after effects. You I interactions. If you have any questions, please feel free to message me. And I'll be happy to help. And if he did enjoy the class, please give it a review on really appreciate that and thank you very much and have a wonderful day.