Animate a Snow Globe in After Effects

1. Course Trailer: Hi, everyone. I'm Erin Gelato. And in this class, I'll teach you how to animate a snow globe using after effects. First, we'll start out by sketching our snow globes. Then we'll bowler vectors and illustrator. And finally we'll start animating all of our snow glow. We'll also animate particles. So what those do is instead of animating each snowflake one by one will have something admitting a lot of snowflakes that once we're gonna be using particle playground for that and don't feel overwhelmed by it because I have all of the settings that we're going to need. So I hope you're ready to animate and I'll see you in class. 2. Sketching: Hey, everyone, let's start sketching our snow globes When I created my sketch, I just made it very rough because I'll be fine tuning when we get over the illustrator the point of the sketches to give me a rough guideline and helpline. Which items will be on separate layers After illustrated this snow globe with the objects inside, I started a breakdown in my mind how it could animate this and what would need to be separated. Let's go over these layers now. The grass would be one layer, since it would need to be in front of the palm tree. The whole snow globe background could be on one layer. The palm tree trunk would be on its own layer, and then each palm leaf would need to be on its own layer so I could make them rotate a bit as the snow globe moves. I had a Flamingo drawn here, but it didn't quite work. So and when ahead and illustrated it on a separate piece of paper. The inspiration for my snow globe came from the fact that it snowed in Florida, and I found it kind of funny, and that's where my Flamingo Lawn ornament is wearing a scarf will be animating this as well. Now that I have the Flamingo draw, I can start to think about how I want this to be animated. The lex would be on one layer because they're stuck in the ground and they won't move. That includes this little top portion here. The body would be on one layer, the neck would be on its own layer and the head could be on one layer because it won't be moving its iron mouth. It's more of a plastic toy with a bobblehead. Finally, we have the back of the scarf is one layer. The middle section is one layer, and the front of the scarf is one layer. Now that I've thought about each piece and how they'll be broken out, I feel like I have a solid plan for Illustrator. Our final step is to take a quick picture of each of these sketches to bring in Telestrater . It's okay if they're rough because we'll be re illustrating them. Well, that's it for sketching. I'll see you in the next lesson where I'll go over illustrator file 3. Adobe Illustrator Prep: Okay, let's take a look at our illustrator file. Already created all my assets that I'll need for my animation. But I want to go ahead and break down how I built them. So then you can think about how you want to build you build your own snow. So first, the art board is 1920 um, pixels by 1920. And the document color motors RGB, if you make it in seem like a it won't import into after effects. Um, when I created when I went through and created my snow globe, I actually brought in these images that I took earlier. Just command. See, I m v. I'm gonna have to put that on new layer. So I'm gonna do command X new layer command be, and I'll just make a little smaller. I'm not gonna actually use these, cause I already built everything. Command X command be. But I just want to show you how where I started from. This doesn't need to be perfect, because I can already always shrink it later. That's something like that. All right. I'm gonna put that on any layer to turn that one off. When I was creating I used the brush tool and already picked my swatches from pictures. Kind of a tropical feel in for each piece. I just did a base color, So I'm gonna do kind of a mid green. It doesn't really matter what brush I pick, cause it's just gonna be all one solid layer. I wanted to do it this way so that I could just get some interesting, um, design going on in the grass I went through and I did all of that mean delete this because we don't need it because I already built it. But I'm gonna show you how that looks. Turn all these off except for the background And when I locked the background. Okay, so this is my grass, and it's two layers in after or in Illustrator. But when we're in after effects, it will come in as one layer because it after effects, only sees that top layer. So just kind of making a hand drawn Look for the grass. That's what I came up with, um, for the bottom portion of the globe. I just added a little bit of a shadow down here, so it felt like I had a little bit more dead. Um, I put my design in there, and then I just went through. And this is all, um, kind of a charcoal brush I believe I used. If you go to brushes, you can go Teoh Open Russia library, artistic and chalk charcoal pencil. So I just wanted to add just a little more interest to the imagery that we have by just putting that hand drawn Look on there and be snow. Globe back is just a solid circle. And then in the front, I have this outline. I put a little bit of a green. Let me turn the grass often that second, see it put a little bit of a green down here. Just kind of give it a little more deaths, like that's what the that very front of the globe. Here we go. Okay. And so the next layer behind the grass is gonna be my tree trunk. That's all. One layer with its texture. And then we have each palm is its own layer. So I can animate those separately. And for the Flamingo, um, I put all of its facial features and everything on just the head layer. Uh, there you go. Did kind of a hand drawn outline to everything to, uh if this if his mouth was moving, we'd have to break up the layers even more. But since it's it's just like a plastic doll or something in there, it doesn't need to be on separate layers. The next thing I have is the Flamingo neck, and it will have a little bit of overlap kind of up here and down here because when we animates, we want it to have some room to move without separating in between. Let me show you what I mean. Group it. Okay, so when I move it, it gives it kind of a curve to that neck. If this was this just stopped at the head right there, there would be a separation kind of a triangle separation there. All right. And then we have the body, all one piece, and then the legs are all on its own layer because they're gonna be just kind of stuck in the ground. They wouldn't move. So that's that. And in the scarf, and I accidentally have ah texture separate. But I can put I can pre compose those when we go into you after effects, so I'm not worried about it. Right now we have the mid scarf and then we have the front of the scarf, and that's that. Those will be their own layers each part of that scarf so we can animate them separately. Um, I kind of put a little bit of a darker shade on each piece. So then it'll give it a little bit more deaths there. And then finally, I have just my snowflake for my snowball or whatever. Um, we'll use this as a texture map when we go into after effects doing the particles. So that's our illustrator file, and next will go into after effects and we'll build our composition. 4. After Effects Settings: Okay, now that we're in after effects, so go ahead and build a new composition. I'm gonna do 10 80 by 10. 80 30 frames per second And let's do six seconds, Law, Main snow Globe main snow globe animation. I'm gonna make a folder for call Drug got in, make a folder for elements. I'm going to import our file. We'll see Glo elements. Snow womb and I also made you a texture to put on the background. So bring that into I'm gonna go to composition, retain layer sizes and open those. All right? I'm gonna drag the texture comp in the snow globe, Call over two columns these layers. I'm gonna add two elements. All right. Excellent. Open the snow Globe call. There we go. I'm gonna take the background. Scale this down. Doesn't really matter. It's just assaulted color. Then I'm to go into the texture. Mina, Command C command Be that I'm gonna scale that down a little bit. I'm gonna change the mode to well to part. I'm going. Teoh. Add a effect. Blur Gaussian Blur. I put it at one. See how that goes. Bring up mine. Fine. I'm gonna turn down the opacity a little bit. I just clicked on the layer and hit T. That's rapacity. All right, so that is ready for us. Just gonna lock these layers because they won't need a move. It all go ahead and hit command s You want to save off, done and in the next lesson will be able to start animating. 5. Animate Snow Globe: Let's go ahead and start animating our snow globe. I'm gonna go ahead and drop. Drag this composition to army and composition on a scale it down. Give me to about there. I need to move the anchor to the bottom of our globe. It was checked to see the rotation on that. Think this is a faras I'll have to get. So that'll work. I don't want it. Teoh, go off the composition like that. So I just wanted to make sure that it's not too big. All right, so go over your snow globe and turn off that snowflake, because we will need it until later. Now, let's start animating this main part or the main globe. We want our animation to be from one second. Choose out three seconds. 3 15 Let's go through 15. I'm doing this. So then, um, when we build our particles, we have room in front and that will let us animate a bunch of particles before we get over here. So then they'll already be there that when we start in a meeting. All right, so one are layers selected. We're gonna hit our and shift p in that contest are rotation in our position up. And those are the only things we're gonna animate on this main snow globe. First of my go ahead and go to layer new shape layer, and I'm gonna create a solid here. Go ahead and create another one by hitting command D and just smooth made up. And I'm gonna lock those layers. We're using those just toe. See where our ground planus. We don't want them. We don't want the I'm gonna unlock those real quick Kimber, drag him down. Uh, we don't want the snow globe to go below this line specifically, because then it will be like it's going through the ground. So I'm gonna creates that command d to duplicate and move it over here. Not just gives us It will help us. Um, see how we want to animate those as well. Lock those close them up. All right. So at 1 11 in a hit position, your rotation that sets a key frame here just right where it's at right now. That's our beginning. Position and rotation. Now, at 1 17 I am going to hit negative 20 on that rotation, and I'm looking at this is a plea. Um, the time display there, If you wanna see exactly where my 10 is when I at a que friend at 1 19 I'm going to go over just a little bit and up go up somewhere. I'm hitting the left mouse button and I'm just scrolling back and forth. So then I can move the height on this. That looks good. Okay, so it it doesn't go through this plane right here, maybe change the color of them. Let's change it to be over us. Yeah, it's easier to see. All right. Yeah. Okay, now we're gonna go, Teoh 1 29 I'm gonna put a zero on the rotation, lifted a little bit more and move it over. Now at two. A seven. I moved it a little bit more to the right, and a little down, actually was go up a little. Yeah. Okay. No, let's go to to 15. Let's rotate. Nine point, actually is Go 20 and let's go back. All right. There looks good. 10. Now, at 2 19 we go down a little bit in a to 24. Let's go left and down. A little more, actually. Let's make those the same as these. Okay, so we're gonna go command, See, after selecting these key friends and command be it's going to paste them right on that time indicator wherever that time indicator is. So if I moved it over and I hit command be pasting again, commands you don't do that. Now, at 2 25 I'm going to put that I'm gonna drag this year a rotation of her. So let's see how that goes. So there's a little bit of awkwardness, but I think it just might be, um are key frames aren't smooth. We're gonna go over to the graph editor and check out all of our curves I'm gonna hit, actually start position. I mean, the rotation, because there's only one curve. And since these air so straight, that makes our animation very choppy. If we go ahead and select all of these and we hit, um, convert selected key frames, toe audio, Otto busy a. Then we can start. You got a un select after you do that. Otherwise it'll affect all of them. Now we can start making our curves a lot smoother. So this will added he's into this key, this lad and he's out. This will kind of give it a little bit of a hold on that rotation. It'll still continue to move, but it will stay longer in that position. Let's see how that works. Just gonna hit space bar to view it. All right. And now So we're working on a curve for all of the animation. Going up over, kind of in a circle. There's a hole there, actually, probably. And see what that does get was dragging it out. A little sort state was curved, are rotated. There we go, and then it lands. So it's kind of doing a wobble right now, and that should be because of our position. So I'm gonna select these again, and I'm gonna hit audio. What? I keep saying that auto busier. And then I'm gonna separate thes so I have a little bit more control over these settings. I'm just gonna straighten these out like we did before. Let's see how that works. I kind of like that stays in the air a little bit too long. We could probably bring out a little bit still making it. So then the curb, its smooth so you can tell which one is which, by the color, this one is the Y position. And that's what we're affecting right now. Hit space bar in this up a little bit. Okay? I'm Tauron about this because I think it wouldn't go through that plane Earth, this plane. But it's also just a choice to keep it now as is. So I think I'm just gonna keep it as it because I kind of like the movement that I'm getting from that. But it So now we can delete all of these because our innovation is done here. Now we're gonna create a new shape layer again. But I can go over here and hit the lips tool. I am going. Teoh, make a She broke quick for us, and I'm gonna change the fill to kind of a dark blue since it's gonna be our shadow turn up past you just a little bit. All right? So when the end, when the globe moves, I'm just gonna move this shutter with it, so that gives a little bit more depth on the animation. I am going. Teoh, put the anchor point at the bottom of that shadow Unlock that just scooted down a little bit. There we go. Gonna hit position and skill. Keep for him there. Stretch it just a little bit. So here we could probably go back and then move the position just a little bit. So I just copied those key friends and paste him Where the for a position in scale. I'm gonna just expand that shadow a little bit. But over skillet down skillet. Young here too. So it went from 105 to 100. What you're kind of like because it's going a little bit higher in the air. Now, I am going to come over here with the position a little bit again, expanded, and then we can go back to our original said it. All right, let's see if that worked. - We hear well, expanded a little bit. Gonna copy that key frame. Pace it here. See how that works. I was pasted, didn't over there, and I'm moving it back a little bit because the scale got bigger. So it's true that think that work better. I'm gonna select thes go over to the curb. Editor again. Hit busy. A auto busier and miss elects just scale so we can see it? Yeah. Okay. Let's look at the position. It's weird. There we go. So I just separated those two, so I have a little bit more control. - Something that looks good. I'm gonna go ahead in turned on the past 11. Here we go when you zoom out. This is what it looked like. This is all animated. We're gonna hit. Gonna go ahead and save our command us. In the next lesson, I'll show you how to animate the objects within the globe. 6. Animate Objects Within Snow Globe: Now that we have, our snow will be animated. Let's go ahead and animate the objects within the snow bloom First, I like to look at where I'll need to start animating these little pieces, so we know at 1 11 it should stay still at 1 16 It will move to the left at 206 It'll move upward at 2 14 It'll move to the right, and then at 2 26 it'll land. And that's just slightly after the snow Globe lands. So then we have a little bit of overlap to that action in the middle. Now that we know where we want to enemy, let's go over to our snow globe. And this is the composition that we brought in from illustrator. So if you look at these layers thes air, all the illustrator layers that we have to work with if we go toe 103 let's hit left mouse button, click and shift to snap it to the time indicator. At 3 16 we'll do the same, and that just matches helps us match up to original composition, where we've already animated the single, so we know where we can and me. And in that space, Okay, We know that the outline and the grass won't be animated. So let's turn that red and lock it. We know that snow globe in the snow globe bottom won't be animated. Still stuck those and we know that the legs of the Flamingo won't be animated. Look, that let's go ahead and pre composed the front of the scarf. So that's with the texture and the back of the scarf. If I so low this unless you'll be able to see him. So that's the texture and that we have that Phil back there. So we're gonna go ahead and pre compose mid scarf and the back scarf. So pre composed that all right, I should have been at all No, no. Okay, I'm gonna select thes That's all of the Flamingo, and I'm gonna turn it pink. So you know that that's one object that will be in a meeting. I'm gonna come over here in turn, treat a green. Now let's pull out our markers for our animation at 1 11 We know that that's where the hold is 1 16 So I'm just left mouse button clicking and dragging out 1 16 is where they'll move Left, 206 It will move upward to 14. They'll move right and to 26. They'll go back to their original position. So let's sell though the tree first. Now, make sure your indicator is at the first marker because we know that's a hold. We're gonna use this pin tool here. I'm just gonna click along the trunk. I'll stop there so you can see what's happening if I hit you on this layer. It adds a key frame automatically when I add that pin. Now, if we trying to animate this, if I go to the second marker, if I use the top Penn, which is this one right here, and I just move it and lose the bottom of that trunk too. So we're gonna back to Marco one and we're gonna add more pins. So then it'll be sturdier. We're gonna pretend like this trunk is a plastic toy. Since this is sturdier at the bottom, it wouldn't move. But up here it would have a little bit of gift. So we're only gonna be animating the 1st 2 pins if you go to two or the second marker. We know that it needs to move left. We don't need to move it two months. Just a little bit. As if that plastics kind of flimsy. And it's just moving with the water. Now we're gonna move up a pen. Three and pin four will move. Right. Penn five will just select these two. Command C Command V. Teoh, bring us back to our original position. And this is what that looks like. Okay? And the reason why we did that is we can close pen to now. We're just gonna need pen one for this next part. This up a little bit. All right, So, above this tree texture or tree trunk, we're gonna say layer new null object that basically just gives me an empty layer that I can have thes palms follow. And we're gonna select this layer. That key. We're gonna all click left mouse button, click and take this. Pickwick, Move it down to this position. Now it will follow that pin. So you have to click off for it, too. No air out or anything. So watch that red square. It's gonna follow that pin. No, we need bees. Palm's I've already moved the anchor point on him and I'll show you that you just want to take this pan behind our anchor point tool and you want to move the anchor to the tip of that palm that's gonna be following that tree trunk top. And also, when we hit our, it will be able to rotate from there, too. Which is what? So go through and do that to all of the palms. Now we're gonna use peas. I'll click on these stock watches for the poems, and we're gonna pick Whippet to the position of the North. So if it click off now, Oliver poems will follow that trip in. Okay, it's in close and all selectees palms again hit our I'm gonna set a rotation at the very first marker. Then at the second marker, they're all gonna move toward the left. So just having mall selected, then toward the right or toward the top until four, then toward the right, and then back to the original position and have to select those each one by one. Actually, just select him all and hit zero, and we'll bring us back to the original position because we started at zero. Let's see how that looks. Now let's work on some overlap over here. When it moves left, it'll start with the which is that marker to it will start with the left palm bottom palm, and then the next one, this top one here and then won't go to the top, right? And then finally, that one, that bottom. When we're moving to the third part, we would start with the right palm in the top, right? So just the opposite direction. Now at four, it's gonna move completely to the right. So we would again do the right poem and then just basically have that the move in the same . And then it's moving back to the left. So we would start with this bottom left poem and we would move to the next one so it would go bottom left palm Tough love poem, top rate poem. Bottom right, Tom, Let's see how that looks. Okay. If we go back over here, we can see it with this. No one animating. And that works for me. Now we can animate our flamingo so well, un Salou, the palm and well, solo the back of this. Actually, let's start with the Flamingo legs, the Flamingo neck, the Flamingo body and the Flamingo head. We need to set this up so we can animate it, so make sure that your anchor point on the head. It's kind of right there. So when we rotate, it knows when we rotate it. It doesn't really leave the neck. The flamingo body. Let's put it about right here. Only rotate it. It kind of stays on that on those legs, which we want, and then the neck will have about right here. So if we rotate that stays with the body. Now we need to turn on our column for parents. Well, parent, the head to the neck. So flamingo head to the flamingo neck, something going neck to the Flamingo body. And then we need the Flamingo body to the Flamingo legs. So if I roadie rotated the body, the neck and the head along with it, we can go ahead and hit our key frame for rotation at the first marker. At the second, we know that it moves left, so let's start with the body move the neck down and the head to go to the 3rd 1 It's moving up so they can put zero at the body, maybe five. But body move the neck back a little bit and the head kind of up there. Then go to the 4th 1 Now it's way. It's more to the left, I think the next fine, because we don't want it to be. And we don't want that neck toe or the head toe leave that neck too much. So I just did a little bit more and then we're gonna hit zero. We're gonna select Oliver Layers for the Flamingo and hit zero. All right, so if you look at that, it already looks interesting. But we can do a little bit better by moving our key friends just a little like we did with the tree or the poems. So we know what to the head would move first than the neck and then the body. We know what the 3rd 1 the next or the head. Then the next and then the body. The 4th 1 would be, Let's see, Let's do the actually, let's undo that last one that I did. Let's start with the body, then do the neck, do you the head and then we'll do the same. So the body is the 1st 1 the neck and then the head. And then on the last one, it will be the head, the neck and then the body. And let's see what that process. Okay, if we go over here, we can see kind of flips its head along with the snow globe. Do you think that works for us? Now you don't Duthie. Back of the skirt. The minute scar from the front scarf, the mid scarf is gonna need to follow the neck of the flamingo, so we're gonna parent it to the neck. The front scarf is gonna follow the mid of mid scarf, and then the back of the scarf will also follow them in scarf. And I'm gonna say this real quick. Now what? One. Actually, I'm not quite done. Let's turn those off. I'm gonna go back to one, though. I'm gonna do a puppet pin tool, and this will just give us a little bit more interest When we swing the scarf back and forth with the snow globe. I'm gonna do that to the mid so that it can kind of slide up and down this neck. Multi. You one here, here and here. And then finally, let's turn that off. We'll turn the neck off to so we can see her back scarf so low that well, hit a pin here. There we go. Now we can turn the next the scarf in the front of the square foot and all. We're gonna be animating for the scarf or the pens that we placed. So let's start with the mid scarf. I am an unsold low, the front scarf in the back skirt. We wanted to move up and down that neck when it moves. So if we select this, maybe something like that, so it's gonna slight up the neck here, and then it's gonna go back to zero on the fifth marker. What us? I hope so. There we go. Okay, that one's good. Now let's do the front of the scarf with the pins I already have in place of the front or the first marker, it's gonna go down a little bit or out. We're not gonna mess with this marker are those pen? So we don't have to worry about it. We can go a little bit further that direction a little bit further. Actually, we are gonna mess with that pen because our mid scarf moves a little bit. Get back to right. I'm gonna make a bit of a curve on that 2nd 1 So then it kind of swings out when it comes over here Aereo and then won't do another swing up, and then I'll go back to me. Have you so left those pens and go to market five Manti? We did command. See community. Mm. Didn't work, man. See, community. There we go. That works. Okay. I am gonna take both of those off the front and the mid so we can see are back of our skirt . We're gonna just kind of follow what we animated for the first part. So or for the front of the scarf. We wanted to have a bit of a curve here, and since it's behind the neck, it's kind of more hidden, so we don't have the animate that pin. Now it's going to swing out a little bit more at three. And then at four, it's gonna curve upward. And at five, it'll return back to its original position. All right, let's go. And see what that looks like. It might flip up just a little bit too much there. So I am going to bring that down a little bit. It just needs a little bit of flip. There you go. So those are all good to go, Please, On solo everything. Click off and see. Let's see how that looks over here. I think that looks good. One of the front or the back scarf might follow a little bit behind, so then it doesn't look like it's moving at the same time. And then that will look a little bit more interesting. So let's make the backs carve. We'd probably want the back scarf to move first, so then you can see it and then the front so it doesn't cover up. We'll go second. So let's see if we move it One key frame for just the front of the scarf. I kept this first row of key friends or call him at the the start, and then I just moved everything else over one, and I'm even gonna take these ones and move it back from one more. I think that look a little better. Okay, so that's good we should have everything animated for this portion. Next, we're gonna go ahead and animate the particles, so I'll see you back in the next lesson. 7. Animate Particles: we're at our final step of this animation. All we need to do now is create the particles. First, we'll go to layer new, no objects. We're gonna animate the snow along B, um, snow globe. And that's what our particles will follow. So I am going to go to one. I love it. And let's get our position a pro quick. I already tested this earlier. So this is where we're starting. Right at the bottom. There. I'm gonna set a key frame there. Now go over to 1 20 and I'm gonna go up to 608 over to six. Away and up to 9 64 So kind of gives us this. It's going to give us this swish or push up. And then at two or six, we will dio 11 36 and 3 70 So if you see it, it's doing whole curve there. If you remember, our markers were at the bottom, then to the left than to the top, then to the right, back to the bottom. So that's all we're doing with this? No. At 2 14 we're gonna go to 14. 12 and he 50 and then the kids to go back to the bottom there. All right, Now, I'm gonna use this tool here, which is the convert for Textile. I understand it's span these to make that curve a little. It's better here. That means this fix this one real quick should be good enough. And if it's not looking, fix it later. Smell that's done. Let's go ahead and create a new solid, and we'll call it particles. Drag it below that outline because we want the outline to kind of cut off the particles. So then it feels like it's in the globe. All right. Next we'll go over here to effects and presets go over to Particle. Are you concerned? Particle goto particle playground dropped out on your particles layer. And this is the what it gives us to begin with. Just these red particles right in the middle there. If we open this later up and we go to effects particle playground cannon, we're gonna, um, pic with this one to the null position so the cannon will follow that. Know that we animated so just all clicked. All left mouse button, Click Pickwick Pit to position. Click off of it and I can see that the read particles are melting that direction. I'm gonna turn it white, so it's easier to see on that and bring it up to full. Thank you. All right, Now, we have a lot more to do, but that will get us started. See how it's leaving the circle of that snow globe and falling below here. We need to create a track Mac met. So it'll stay within that glo something. Go to the pen tool and I clicked off because if you click on your layer, it will create a mask. So now that I'm off of all of the layers, if I just go in here and start from an interest stoop to four well, that can clean it up in a second. I was trying toe. I want to get it low because they don't want it to go below on this yellow. Here we go. But I also don't want to go to low where it doesn't look like it landed on the grass. - That should work. I'm gonna go over here and go to the fill because my opacity is down and metal effects B particles Mago, bring that shape layer right above the particles, and I need to bring up the column moats. So then I could go to track matte so on the particles layer under track matte, I'll go out for a minute shape layer one, and then that creates it so the particles don't go outside of the globe. So if you look at it now, kind of cuts it off up there. So that's what we wanted. Move that shape layer up just a little bit because I want it to feel like it landed on the grass. So if I go over here and I go toe path and it's click on path, it'll give me this to select just a little bit. One should be fun. Let's go ahead and change our layer him out to the snowflake, and what I did is pre composed this. First. Just call it snow. Flee right click on it. This is what it iss. I had to steal it down just a little bit because otherwise this snowflakes look too big, so just go to 75% and it should be fine now, an added brightness. So if you go to affect color, correction, brightness and contrast, turned down brightness toe negative. 10. So then it doesnt take over the look of the globe. Now, if we go back to particles and you go to layer map use layer, you can go to snowflake. Then it changes Are, um, particle. You can use anything you want, so could do Kentucky. So, like a square of some sort. Yet you can create stars and things like that. So get creative with your particle is Well, all right, I have to do a little bit of tweaking because we wanted to do something very specific, which is stay on the ground, then move when the snow globe moves, then land back on the ground. So we have to get started by turning this up to 1 67 So is it a little bit of, um, movement here? And then we're gonna turn the velocity. Random speed 2 48 We need the particle exploder 20 and we need repel 200 We'll start with the particles per second pet. 25. Well said are particles per 2nd 2 1000 At 26 seconds. We'll send him back to zero. Oops. I forgot to keep room do keep from there. So go to 25 click the stuff, watch, then go to 26 and bring it to zero. And the reason why we're doing that is if we kept the particles per second moving or continuing to grow, it would just give us a bunch of particles. We want it. Teoh, stop making particles here before we get here. So then it'll just land in. There's less movement. So I'll show you the next part, which is one own I. We're gonna keep it at zero. So we'll set a key frame. Let me turn off that call on track matte mode. So then you can see this a little better. There we go. At 1 16 we need to go up to 814 204 We need to go to 1000 2 27 Go to 4 48 3 13 We'll go to 1500 and then 3 14 We'll go to zero. So that's how it should look right now. Let's animate the barrel radius next. So if we go to 104 and we change this up barrel radius 1 95 and then click the stopwatch. We need to go to 1 22 and, well, basically, put a hold on the 1 95 there. 1 26 We'll go to 8 15 2 16 You hold it and then to 21 we'll bring it back to 1 95 We're getting a little bit of the better movement there when we're moving it from 1 95 28 15 we're basically allowing the particles to stay in this region and then move to the right side. Let's work on our velocity. Next, at 1 14 we'll set a key frame. We'll change it to zero 1 19 Well, hold that key frame to 14. We'll change it to 10 and to 20 will move back to zero. The next thing we need the enemy is our force, which we confined under gravity. If you go to 104 we're in a changing forced to 4 50 This brings the particles more toward the ground, said a key frame. At 18 we'll bring it to zero. So this keeps it from leaving that area at 1 22 Good At 5 20 209 we'll put a hold on 5 20 to 17. We'll go to zero to 21. We'll go toe 2500 because we need those to start falling faster in order for it to land at the very end. And then at 2 29 will take it to 3000. 119. This is what we have. We're gonna add a little bit of random spread in the middle there. So go toe 1 15 and we can hold this at zero. So set the key frame there. At 1 17 we'll go to 0.4 and 1 28th We'll go 2.7, and then at two of one, we'll go to Seo. So let's see what it looks like on our mean part. Something weird happening at the top there. I think it's close of our snow. Please. Yeah. All right. So yet our snowflakes on, That's what that was at the top. I told you that one more time and we're finished. That's all we had to do. So in the next listen, I'll show you how to export it. 8. Export for Instagram: it's time to export our snow globe animation. First, I'm gonna trim this work or Compton work area, and that just consists the main part of our animation. Since we're finished with everything, I'm gonna go ahead and drop this into a new composition. Okay, lets at some time to this composition, I'm going to do about eight seconds. Maybe 77 seconds will probably work. I'm just going to duplicate this shift and send it over to the right deep. Okay, Shift. Send it over to the right. I was a little off change this to shift sent it right. So our animation loops and I'm just adding, Actually do about three. If I'm doing a looping animation for instagram, it usually continues on. But then there's not such a pause. I think. Now I'm gonna take the snow globe animation to the 2nd 1 to the render key. If you're render queue isn't up. You can go under window and go to render queue and then you'll be able to drop in your second animation for our render settings. I'm gonna go to we have quick time. Then we have h 0.264 I'm just gonna name it. All right, now we're ready to render. If you hit caps lock, it'll freeze your preview. Um, sometimes that's better. If you have a large file, then it'll just export quicker. And that is a finished export there, over to our exports. Now, if I open this with quick time, we have a video. I mean, a double check the size of that. All right. Perfect. Um, if you I use the scheduling up to schedule mind videos. So if it was, I think 500 megabytes or something I would have to you or if it was over 500 megabytes, I would have to You go into media encoder and just compress it a little bit more. But that one works from and you're ready to go for Instagram. I have a bonus lesson available for you to, and I'll just show you how to export and create a gift. 9. Bonus! Export a GIF: Hey, everyone were on her last lesson. It's a bonus lesson. All we're going to dio is export a gift. So the first step is Well, let's look over here. We have our full comp, six seconds. But since our work area is moved in, it's only gonna export this part right here, which is what we want. So we go over to the Render queue, I'm gonna do main snow globe animation and drag it to the runner que We can use lossless and best settings because we don't really want it to compress before we get word photo shop . Now I'm just gonna name it export for gift and save. Now I'm in Hit Render and that means it's finished. So we'll go over to photo shop the number to go import video frame. So layers export for gift from beginning to end. Make frame animation. It created a frame by frame animation for us and each each time or part in the timeline turns on and off these layers. So if we we played to 12 and it turns on layer 12 if we play a little more, it'll turn on layer 18 when it lands on 18 etcetera. Well, we're gonna do is go up to file export Safer Web. Alright, Right now, our gift is about almost form eggs. We need it to be under two men's if we want a post to sculpture so you can kind of mess with the settings however you want. I'm gonna move this down to 1 28 so that will be less colors. And it should change how many megabytes we have. So now we're at 2.7. I'm gonna go ahead and change this to 800 see what happens. So 800 by 800 instead of 10. 80 by 10. 80. All right, So 1.99 or 1.933 is perfect. And I'm just gonna go to save and all. Name it. Snow Globe. Erin Gelon hit Save. Now, if we go to finder, it's already in there. I can hit space bar and preview, So that's perfect. And I will be able to upload that Teoh still shares 10. Thank You!: thank you, everyone, for taking this class, and I hope you found it helpful. Don't forget to post your project because I can't wait to see what you create. If you have any questions at all, please ask them in the community. Fred, if you have them, I'm sure others do too. You can find me on social at Aaron Renee, and if you follow me on Instagram, I'll be sharing upcoming classes and speak peaks. You can also follow me right here on sculpture and you'll get a notification when I posted classes and new discussions. If you push your project on social, be sure to use hashtag sculpture by Aaron. So I confined your work. There might be prices involved. Thanks again and I can't wait to see what you come up with.