Animating 3D Text in Cinema 4D | Pete Maric | Skillshare

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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.

      Overview and Getting Started


    • 3.

      File Organization and Texturing


    • 4.

      Animation with the Plain Effector


    • 5.

      Animation with Deformers


    • 6.



    • 7.

      Camera Animation


    • 8.



    • 9.



    • 10.

      Abstract Shapes


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About This Class

Join Pete Maric for a tutorial on animating 3D text in Cinema 4D. In the course you will learn how to use polyFX, the plain effector, deformers, emitter, and add post-production detail to create a dynamic text animation.

This course is broken down into bite-size lessons and is easy to follow. Course contents include the following:

File Organization


Animation using polyFX, plain effector, deformers, and emitters.

Camera Animation


Post-production in After Effects

Students should have at least a basic knowledge of Cinema 4D’s interface and tools. This course builds off the skills learned in my Skillshare class ‘3D Type in Cinema 4D and Photoshop’. If you want to follow along with the model that I use, you can download it from the class project section. The model is titled ’01_Inspiration.c4d’.


Meet Your Teacher

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Pete Maric

Designer | Cinema 4D Expert | Founder, Triplet 3D


Pete Maric founded Triplet 3D in Cleveland, Ohio in 2013, with the goal of creating a 3D studio that can bring together a wide range of skill sets and experience to deliver inventive, high quality work to clients.

He graduated from The Cleveland Institute of Art before working for three of the top 50 retail design firms in the US. In 2001, he began working independently in the architectural industry and worked with brands such as Adidas, Nintendo, and Everlast. His work has been featured in the Adobe Illustrator WOW! books, Photoshop User Magazine, Architecture in Perspective, Cleveland Magazine and House Trends.

Since 2008, he's been developing his CGI expertise, and teaches modeling and 3D animation at The Cleveland Institute of Art and Tri-C Community College.

Ch... See full profile

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1. Introduction: welcome to this course on animating texts in Cinema 40. I'm Pete Merrick, the owner of Triplet three D and Animation studio, based in Cleveland, Ohio. In this course, you will learn how to use Polly Effects, the plane effect, er, de formers and emitters to create a dynamic text animation. I will walk you through the process of setting up your seen animating rendering in post production, so let's get started. 2. Overview and Getting Started: Hello, everyone. Thanks for enrolling in this course. Before we get started, I want to give you a basic overview of this project. This class builds off the skills learned in my previous skill show course three D type in Cinema 40 and photo shop. If you haven't view this course yet, not a problem. You could still learn a lot from the lessons included in this class. I've included a cinema four D file that you could download and use to follow along. It's titled 01 Inspiration and it's located in the class project description. I want to walk you through this three d scene that I've included eso This three D scene contains all the geometry that we're gonna be using. So we have our text. We have text with displacement, put on the materials. We also have some additional geometry with explosion reformers in here and we have these light bulbs. We also have a camera, a light and the sky object. The one thing that I want to point out about the sky if you download the cinema four d file that I included, you might have to go into this HDR I image and go into the color tab and then import a new texture for the sky. So the way that you would do that is just click these three little debts, locate a new HDR I image and then hit open open. The other option is this. If you want to create your own three D text, if you create a new file and you come up here to the spines, go to text so we'll just type in three D text for the time being hit. Enter can go in here and you can choose whatever front that you want. Once you have this three d spine created, what we're gonna need to Dio is come up here to our extrusion extrude nerves. And then we're gonna drag and drop this text as a child until you see that down arrow. Then you let go, and then that creates three D text for you so they could come into this extrude and you can play around with the depth of this movement. How deep your letters were going to be. Spend a few minutes going through here figuring out what kind of thought you want to use, how deep your extrusion wants to be. If you want any caps on this extrusion, all you need to do is go, Philip cap and fill it cap. That gives us a little bit of bevel on these edges. So pretty simple. So before you get started, either create your own texts. Use this cinema four d file that included to follow along or the last option is Go back and just watch this three D type in Cinema 40 and Photoshopped course. All right, so let's move on and let's start on this project. 3. File Organization and Texturing: Okay, let's get started with animating type in cinema 40. So the first thing we're gonna do is we're gonna come into our geometry, no objects, and I'm gonna turn off all these layers besides the letters. For the time being, I'm gonna go into this no object containing all my letters. It turned on. These displaced letters are going to make sure all these displaced letters are in the same doll is my other letters All right, So at this point, what we could dio we can go ahead and texture the letters to the front of the letters are lighter than the sides for the time being, any go ahead and turn off my grid. So the way that we're gonna do that is I'm gonna take this letters material, and I'm gonna hit command C command V on the keyboard and I'll take this that will click it going to the color channel. And I'm just gonna creates some sort of light, yellowy orange type of color for the fronts of these letters. So now we'll go through, Let's say on the end. Well, well, first, delete this texture from the top of the knoll. I'm gonna take this letters blue color and drop it right under the no. On the object manager. Then I'll take the same letters. Yellow color. Drop it on. The knoll is well, And now, with this yellow color selected, I'll come down here in the attributes manager and right here where it says selection, we're gonna type in C as in cats, the number one and hit Enter. Now you'll notice that the front of this letter and the side of this letter are two different colors. I can get out of my camera view. It s on the keyboard to frame that letter. So we have two different colors, one for the side and one for the front. Okay, so what we're gonna do is we're gonna texture the letters in the same fashion. So I'm gonna hold on command on the Mac and click and drag both of these letters onto the remaining letters just like that. Okay, so now we have these displacement letters. I'm gonna go ahead and make a duplicate of that. This displacement as well. So it command C command V on the keyboard that I have a duplicate. I go into this yellow color into the color channel and right click where it says color copy . Open this displacement where it says color, I'll hit paste. All right, so now we could do the same things with with this displacement letter. I'll grab this and drop it right on this I And with this selected what we're gonna dio is come into the attributes manager again. Word says selection type and C as in cat, the number one hit enter. And now we're just gonna duplicate this yellow color by command, clicking on a Mac and dragging onto these two. Now we have one final one to do this displacement. I just click that command C command V. And again, I'm going to go into this color of the previous material copy is going to hear paste that same color, and I'm gonna drop this right on. This s with the selected C one in the selection field and that are coming. Click in drag. These all under here. So now we have all of our letters textured 4. Animation with the Plain Effector: Now we're ready to start animating these letters using the plane. Defector. So what we're gonna do is go into mo graph and at a poly effects. So with this Polly Effects added, let's go ahead and drag it into our text knoll. So in this inspiration No. And with the poly effects selected, let's go up to mow graph affect, er plane defector. So you notice right away that are letters are starting to do something with this plane defector. And if we come into here into the parameter and two former, you notice that we have position checked. So with position unchecked, this plane defector doesn't do anything. We can also check a rotation. So if we start playing around with some of this rotation, we can also affect the letters a little bit differently. Okay, so let's go into fall off and we'll change this from infinite fall off to a linear fall off . All right? And then what we're gonna do is we're gonna rotate this 90 degrees. I'm holding down shift while I'm rotating to snap to debt 10 degree increments. So now if we move this plane effect, er, it starts affecting our letters. Okay, so let's go back into this plane parameter and two former. So right now, what's happening is all these polygons are being offset by one meter, as you could see in the position. So if we increase this number, we can increase our far away. Those things are offset. So let's try to And let's try adding some rotation to this as well. I'm just kind of playing with these numbers. See what looks best for your scene. And the last thing that I'm gonna dio is enable scale. And now for the X, Y and Z, I'm gonna type in a value of minus one tab minus one tab minus one tab. So with this plane effect or not, what we could do is we can animate the position of this plane effect, er, to make it look like these letters are forming out of nowhere. All right, so the first thing we want to dio is instead of 90 frames impregnated, create a four second animation. So this is 30 frames a second. I'm gonna increase this number down here to 120 and then I just I'm just gonna drag this little slider so I could see all the key frames. All right. So again, with the plane defector selected, I'm on frame zero. I'm gonna move this all the way out, so I don't see any letters, and then I'm gonna add a key frame for the position of this plane effect, Er, and then I'm gonna come through, Let's say to frame 90 and I'm gonna move the position of this plane defector until all my all my letters air formed, and then I'm gonna add another key frame. So if we scrub back and we play it, here's what it looks like. Okay. So if we wanted to play around with the ease in and ease out of how this plane defector comes into the scene, all we need to do is go in the window timeline F curve and select their plane Defector hit H on the keyboard. And the only thing that we animated it is the position. So it's the position X in this particular situation. So all I'm gonna dio is gonna have this plane defector start slowly, speed up, and then he's back and then have a little bit of slow down at the end here so it'll start slowly. Speed up, Teoh. Full speed in the no slow down at the end. So select this key frame and just pull that out. That will make it start a little bit slower and then pull this one back a little bit. That'll make make it slow down a little bit slower. So now if we play this here is what it looks like. So we might want to go back in and kind of tweak some of these parameters of this plane defector. So maybe you want this to offset a little bit in the X? Maybe we wanted to offset a little bit in the UAE or in the Z a little as well. And we could scrub through, see what that looks like. Kind of like the way that looks maybe wants a more rotation on some of these parameters so we can increase these or decrease. These however we find looks best for our scene. Let's see what that looks like. So go through in a justice. However you feel looks best for your scene 5. Animation with Deformers: so I'm gonna continue animating this thing. So what if we went into this, Know where all about letters are? And we added a little bit more animation to this as well. So an easy way to do that is we can right click cinema four D tags at a vibrate tag. So right now, if I hit play the vibrate tag really isn't doing anything to this. But if I enable position and then I hit play. So these letters are going to start vibrating a little bit. Um, so let's just go 0.5 point 5.5. Let's see how that affects it. And those numbers might be a little bit different for your scene. I think that's still a bit too much. So ago, 0.25 I went to five right here. Let's see what that does. It's a little bit better. So at this point, what I'm gonna do is I'm gonna take this, and I'm gonna animate this parameter of this vibrate tag. So I jumped two key from zero and Adam, aka hold on control and set a key frame for this amplitude by clicking this little button right here and you'll notice that a little key frame is created right here on frame zero. So now I'm gonna jump to frame 20 and go into this vibrate tag and then zero out these values. So at key frame 1 20 then I'll add another key frame here. So keep for him 1 20 The vibration of these letters stops so it vibrates, and then it slowly gets less and less until it comes to a stop. Okay, so the next thing we can do is animate some additional geometry to make this a little bit more exciting. So I have this pyramid created in this pyramid has an explosion effects on here. So all we need to do is come into this pyramid and animate this explosion effects as it's getting close to where this pyramid is. So right around here is where I want to start this animation. So it's going to explosion effects, and I'm gonna take this down to zero, and I'll set a key frame for that. Then I'll scrub through a few king frames, maybe to like, right here and then I'll just bump this up this time to 2.5. Looks pretty good And then I'm gonna come through, maybe all the way at the end and just increased this number a little bit more at a key frame. So now I'm going to go into this explosion effects F code right here. H on the keyboard. And I could kind of tweak this. So I want this to start the explosion right away. Uh, that looks pretty good. It's week that, like this, and then I wanna have that overshoot a little bit. So I'm over shooting it by just grabbing this and have that curve go a little bit past with this final point is So what ends up now happening now is this thing explodes. And then it gets to the gets the end of the explosion that it starts going back a little bit. Okay, so maybe that last parameter, maybe we could bring that down a little bit. Something like this. Let's see if that affected our f curb it all it did. So I'm gonna just go back and overshoot that one more time. Let's see what that looks like. Okay. Very good. So now we're going to continue doing that with this next pyramid, So let's see what we want this thing to come in. So right around here is where I want that to start animating in. So go ahead and set that to zero at a keep rate for that and right around here should be exploded. So at a key frame, your numbers might be a little bit different than mine in this time. And then I'll hit four at the end and also said a key frame. No, I'm gonna tweak that F curve by going into the here, hitting H on the keyboard. I want this thing to start exploding right away without any season there. He's out and I overshoot that just a little bit as well. So that way it kind of explodes, then comes back a little bit. There you go. And now we're going to this next pyramid. So we're going to do the same thing this time. It's an explosion to former, so this wants to come into the scene right around here. So I'm going to the strength of the explosion. Set it to zero at a key frame. Then right around here, it's probably around 15% and yours might be a little bit different and living out scrub through to the end. I'll just increase this strength just a little bit. And again I will tweak the f curve of that explosion. So hit H on the keyboard. I want this to explode right away. Tweet this curve a little bit, a little bit and just add in a little bit of overshoot there. So let's see what we have so far. The problem right now with this is that we see all of this geometry before it ever explodes . So we're gonna take care of that by coming into here and let's see what we wanted on right around here. We want this thing on. So I'm gonna take this pyramid, go into the basic tab where it says visible editor visible on render. I'm gonna have both of those on and on. I'll add a key frame for those and then I'll step back one key frame, and I'll turn these off and off and then at a key frame. So I'm gonna do that for the rest of these. So right here. Second pyramid on on and on. Step back. One key frame. Turn those off and off. And for the very last one right here. I want this thing to be on right here. So here on set a key frame. Step back one frame and turn those off. Right. So now if I go ahead and play this now, those were coming into the scene exactly what I want him to. 6. Emitters: All right, so now we're gonna animate some of these light bulbs, so I'm gonna turn these things on, and the first thing I'm gonna do is go simulate particles at an emitter. So if you never played around with any emitters before, here it is right here. So if I hit play, you'll notice that these little whites nodes air coming out of this emitter. But if I render this, none of those white nodes actually show up. So what I need to do is I need to assign some sort of geometry that's gonna be omitted from this a matter, So I'll take the submit. Er I'm gonna rotate it. Oops, I'm gonna rotate this and better 90 degrees step backs, and now it shoots up. You could see up this over here, so it's either to see. So if I step back, you'll see that this emitter is omitting upwards. All right, so now go in my top view, I'll take this emitter present to the front of the letters, and I'm gonna resize this. So if I go to this emitter X, I can resize this this way and just make it a little bit deeper bring it forward position is how you want. And now to get something to omit out of this, what we're gonna do is we're gonna grab one of these light bulbs were gonna make it a child of this emitter. Alright, I could turn off the rest of these light bulbs. All right, so right now I'm gonna take this emitter and just kind of push it down a little bit, so you'll notice that it's admitting up, but we're really don't see any of the light bulbs right now until I take a render. So now I'm taking a render, and you could see that these light bulbs air being omitted from the submit. Er, unfortunately, right now there way too strong as faras the intensity of light. So what I'm gonna do is I'm gonna come into this light bulb unfolded, and I'll go into this point light, and right now it's at 50% intensity. Let's bring this down to, like, 5%. I could take this original light, and I really don't want this one in my scene, so I'm just gonna push it all the way down, so we don't see it from the camera if we wanted to see these emitters are this these light ball was being an admitted. All we need to do is come into this particle tap of the emitter in click show objects. Now we could see all of our light bulbs. So right now, I think this is a little bit too high going to start the submit, er a little bit farther down. Yeah, Let's just scrub through and see what the intensity of those lights looks like going to my interactive render region. And I think that's pretty good. It's not too intense. We have these light bulbs. That's pretty good. So I'll turn off this and render region. Maybe these light bulbs could be a little bit bigger. I'll just grab my scale tool and just scale those up a little bit. You know, I'm gonna rename this emitter front, and then what I'm gonna do is I'm gonna hit command C Command V on the keyboard and I'll rename this. You met her back. I'll take that emitter and just push it to the back of the letters over here, and I'll take that emitter and just kind of push it down a little bit and I'll take these light bulbs, grab the scale tool and just sort of scale those down just a little bit. So the light bulbs that are in the background just a little bit smaller, the ones that are in the foreground giving a sense of depth. All right, so now this is getting pretty intense. There's a lot of a lot of things going on. If I do a quick interactive render region, um, you'll notice some of my letters are getting a little bit blown out so we can control that by going into our light point light. And if we want to bring down some of the intensity of some of these lights, that's gonna help with some of these letters not being blown out. So I'll bring that down to 4% since there's so many lights and makes sense to bring down the intensity of this point light inside of these light bulbs. All right, so play around with those emitters. If you want to go in here, um, and check out some of these parameters. So right now this emitter is gonna continue emitting light bulbs. It starts at frame zero, and it ends at one free, 150. Since we only have 120 frames in here, it's gonna continuously emit light bulbs. For the four seconds of this animation. Go back into here. Um, you can play around with some of these other parameters that achieve some variation. Gonna leave it just like this and move on. 7. Camera Animation: Okay, so now we are going to animate a camera. So for the time being, I'm gonna turn off these emitters so I could see the letters a little bit more clearly. And I want this. Let's compose this. So right now, if I go into my render settings, I have the set at 16 by nine aspect ratio. So I'm gonna go ahead and create a camera. I'll look through this camera. Let's compose this. If I go into the camera, could go into composition grid to enable my rule thirds. And maybe this wants to end up something like this. So a key frame 1 20 or maybe earlier, maybe 1 10 I'll set a position for that camera movement, and then I'll jump back all the way to where these letters air starting. And maybe I just moved this where I'm really focusing on this. I right here said another camera position. So here's my camera animation. I could probably take this and move it a little bit farther down. There we go. And now these letters are kind of off the screen as they're being being built by this plane effect. Er so what? I'm gonna do is I'm gonna go somewhere in the middle, and I'll take this camera on a sort of push it back slightly. So I take my move tool. Just kind of push it back just a little bit. Let's see what that looks like. So go ahead and create a camera animation until you're happy with the results. Maybe this one needs to be a little bit more a little closer to these letters. So I'm just gonna go through, get closer to this right here at a key frame. There we go. This one, I think I'm gonna rotate it just slightly. Like here. Come this way. Let's see what that looks like. That's a play. It's probably a little bit too much as far as that camera movement could push this back for the 1st 1 kind of makes it a little bit more subtle. So go through, uh, get your camera looking exactly how you want it. You know, all we need is some sort of really subtle move on this. Just so the letters air readable 8. Rendering: Okay, So now with our scene sets, we have the camera animating the letters coming in the light bulbs, everything set and ready to be rendered. So at this point, what we can do Let's go into our render settings and for the output, either the 12. 80 or 1920 or, if you need it smaller, 7 20 with I have 16 by nine aspect ratio for all. For the frame range, select all frames that I'll give a 0 to 1 20 Let's go save. And I'm going to specify a safe path. So on my desktop renders inspiration main click save. And here is what we're gonna need. So the Alfa Channel will be great out. Um, we're gonna want to check the Alfa Channel and check separate Alfa right here. We want to make sure we are quick time movie. And for anti alias ing, this is set to geometry as the default will want to set this the fast and then let's go hit render And that's gonna render out all of our frames of our animation. So let that render So the next thing we want to do is add a cell render effect So let's go here at a cell render and the only thing we want checked is this outline. So now we'll go back to save, and we'll rename this inspiration cell and then we'll hit render to render out another pass . So this is going to give us just the lines, the outlines of all of our letters. It looks almost like a drawing. So let that go ahead and render up. The last thing that I'm gonna do is I'm gonna create a Alfa Channel for just my friends. Next thing I'm gonna do is I'm gonna create a Alfa Channel for just the front of my bulbs. And the way I'm gonna do that, I'm gonna turn off cell render. I'm gonna come into here and onion double click to turn off my geometry. I'm gonna turn off my back and mentor I want to have on is this front emitter and I'll take all the materials from this and I'll just delete these, right? So the reason that I do that is I don't want the glass to be transparent. I want all these balls to be completely white in my Alfa channel. So come into here and where it's a save. I'll specify safe path here and I'll just call this bulbs. We just want to make sure that we have Alfa Channel and separate Alfa selected or checked. And now that's gonna render out just to our bulbs. I'm gonna show you these renders. So here's our main pass I'll scrub through. It should look something like this. The Alfa Matt will just be black and white information that we can use for track maths and masking in after effects. And then we have a cell render, and this is just the black and white outlines of all our geometry. We also have a bulbs Alfa that we rendered out. 9. Post-Production: So now we're in after effects and we're gonna import all of our renders. So in the Projects window, let's go ahead and double click here, select all of our files It opened and I'm just gonna create another folder and I'll call this movies to keep this thing organized. And then I'm gonna drop all of my movie files into here. No, I'm gonna take my main camp. Drop it in here If I scrub through, Here's what we have so far Now I'm gonna import the sky image. Let's say leave this at the default. I'm gonna grab the sky and I'm gonna put it in the bottom of the layers Not gonna mask out this main camp so I'll grab my A inspiration main That's my Alfa dropping on the top of the layers Stack that with this first render selected I go to my track Matte. If you don't see track matte, all you need to do is click this middle button down here in the lower left and then with the main render selected, Let's go select Loom Amat And now that cuts out all the black from here that we could see our background sky. So now I'm gonna take the sky Command C command V to duplicate it. I'm gonna come up Teoh effects, color correction, black and white. And I'm just going to start playing around with these with these values up here until I get a little bit more contrast. There we go. And I can also add a curves adjustments to this, and I can make it a little bit more contrast. E pull this down. Okay, so now I'm gonna add a little bit of a layer. Master this coming up to hear grabbed my lips tool and just draw over top of that. That's gonna create this mask. It is dragged us up. I could see this a little bit better right here. What's his mask and an invert? That and they're gonna go to mask, feather and just click and drag to feather that a little bit. I can use my directs electoral and just kind of reshaped this mask a little bit. There we go. And now, on top of this layer, I'm gonna agree to create a new layer that's a solid just to kind of give that background a little bit more darkness and I'll choose some sort of dark blue kind of color. I'll take this blue color and set the blend mode to multiply. Not gonna hit t as in Tom on the keyboard. It just kind of reduced the opacity of this a little bit. All right, so looking pretty good. What I'm gonna do at this point is going to create a color overlay for these letters. So I go ahead and go layer new solid, and I'll choose some sort of yellowy orange kind of color for this year's might be a little bit different. So now I want to mask this out as well. I'm gonna take this Alfa, put that on top with this orange color selected, we're gonna go to my track, man Lubo Matt, and I'm gonna change the blend mode of this to Let's try Linear Dodge. It's a little bit too much. So you could play around with some of these blood. Bodes until you will find something that's appropriate for your scene. I think that looks pretty good. Um, now I'm gonna add a little bit more shadow to the scene. So right now we have a little bit of shadows being cast from our lights, but I want a little bit more shadow on the bottom of these letters to give it a little bit more contrast. So again, I'm gonna come up So again I'm gonna go toe layer new salad and choose some sort of dark blue color again and again. I'm gonna go in here job my Alfa Channel in here and good on my salad color. Numa Matt. Now we get this dark letter go to multiply hit t on the keyboard, Bring down the opacity just a little bit and not gonna mass that out even more so I come through here with the pen tool and mess that out. I want full this mask inverted and then I will feather this a little bit more and there we go. Now we have a little bit more. Sorry. Now we have a little bit more contrast to these letters. At this point, we could take our cell render and put it on top of the layer stack and you'll notice it gives us an outline of these letters on going to do here is changes blood mode from normal to multiply. And what that does is titled This On and Off so you could see kind of outlines these letters a little bit Can it helps to find him a little bit more. So at this point, we're gonna create an additional yellow salad. So let's go layer new salad and I'm gonna pick some sort of color from in here. Maybe it could be a little bit more yellow, So just kind of tweak this color right here. And then what I'm gonna dio is I'm gonna go ahead and use this bulbs. Alfa put that on top of their but this layer selected Let's go track, Matt Bloom a mat. And now this lights up our lightbulbs. So what we could do in this situation is we can hit t on the keyboard and we can add animation to how this thing lights up. So let's turn down the opacity a little bit here and we can add a key frame here. It would get start the's at key frame zero, so it gets a little bit lighter. And then as these letters come in, maybe they can get a little bit more transparent. So the letter stick out as they come up. We can increase that opacity just a little bit. And maybe they could just fade out all the way at the end. Something like that. Okay, so now if we want to get a little bit more contrast of these letters, we can use the main cup again. Put it on top again. I'll take my inspiration, Alfa Luna. Matt and I could change this to a linear light. That's way too much. If I take my capacity down something like that, it gives it a little bit more contrast. And now what I'm gonna do is I'm gonna creates some blur to this. So I create a new layer layer new adjustment layer, rename this adjustment layer blur, and then I come up to effects we're in sharpen at a Gaussian blur. I'll repeat these edge pixels. I'll just bump this up pretty significantly so you could see what's happening here. And on this Blair. Later. What I'm gonna do is I'm gonna choose the pen tool and come back down here. So right here. I want this all to be sharp in focus. So if I unfold this going to masks, let's invert that mask and the other thing I could do is feather this mask a little bit too . All right, so now, right here. I want that in focus. Go ahead and depressed the stopwatch. That's gonna add a key frame right here. Enough. I scrub through the timeline. I could start changing where my eyes focusing by how much is blurred around the main main area. I want the viewer to look, so I'll add that right there. Maybe here this blur gets a little bit farther out to show these letters. Maybe it's something like this. Maybe here we start revealing all the letters to be in focus. You know, when you're seeing, might be a little bit different, So just kind of use your eye and see what looks the best. There we go. There's our blur. So one of the last things we want to dio is we're gonna add a new adjustment layer to this Before we do that. Let's go ahead. And now it's created an adjustment layer. So new adjustment layer and I'm gonna say effects color correction curves. And now I'm going to come into the channel. I'll go to my blue channel, just kind of bump up some of these shadow areas going to my red channel, Maybe grab the mid tones, bump up the mid tones of this a little bit. I'm gonna add one more solid layer on top. Choose a darker color was pretty good. Then I'll change this blend mood to multiply t on the keyboard, bring down the opacity just a little bit. Not gonna create a mask on this as well. So I'm just creating some sort of border, go to my mask, inverted and just feather this a little bit and that I could bring down the opacity just a little bit. Just so those edges are a little bit darker than the rest. All right, so this is looking pretty decent so far, we scrub through. 10. Abstract Shapes: So now I'm gonna import some abstract shapes that I created in Photoshopped into after effects. So I just want to show you these abstract shapes. You create these with the line tool with the brush tools however you want. So here's one shape. Here's another one. Here's another one. All of just straight lines and the last one. All right, so let's jump back into after effects. What's going to the project window? You know, import these abstract shapes, edible layer styles. That's fine. So now these all come in as separate shapes, separate layers. So I'm gonna go to new composition. That's for the for this new composition 10 80 by 10 eighties. Fine. What I'm gonna do is I'm gonna come into here. Let's just drop with these shapes into into here into this composition settings. Let's make the background white so we can see these. All right. And all I'm gonna do with these is I'm gonna make a wipe on. So what this layer selected? I'll choose this rectangle. A mask that was drawn mask on here. I'll unfold this mask, feather it a little bit, and then I'm gonna animate this shape coming out so I double click This said a key frame all the way down and then I'll jump over to frame, like 15 or something. Just animate that up. Congrats. Both of these going to the timeline. Grab these two. He's at some ease in and ease out. That's that Looks like So now we're gonna dio This is our camp one. And go ahead and rename this abstract one and you can continue doing this for the rest of the shapes. I'm gonna go back to my main camp. I'll take this abstract one and just put it right underneath the blur. And now you'll notice that this wipe sign right away, But it's a little bit too big, so I'm gonna take that and bring it down. And I also wanted to be a different color. So if we go into our effects and presets and type intent, we could take this tent and drop it right onto our abstract. I'll change this black color to something. I grab this picker. Maybe it's something like that. And as this I comes in, I want to take these and just kind of push it on top of this. I right and I can take this and just kind of push it over like that. Maybe these want to start a little bit later. There you go. Something like that. Let's get some abstract shapes in there. And then what I'm gonna do is I'm gonna go to my rotate tool, Just kind of line it up with that. I There we go. And maybe we could duplicate this a few times and push it over for some of these other letters So we can even play around with some of these blend modes. We go toe overlay or screen. We could turn down the opacity a little bit, so it's not as intense. So I'll hit command C Command V and I'll push this over. Maybe this starts way back here. I think it's animated right onto this. I I can just kind of resize this just a little bit. It's just adding a little bit more dimensions to this command C Command V to duplicate this one more time. And maybe I could push it over to the I. Something like that. You just sort of resize that as well. So now we got a lot of detail in this thing, and if we scrub through, we'll see what that looks like. It's looking pretty decent. So now we're ready to render out our final. So if we select all of these layers in our main camp, go to composition, render queue, let's click best settings. We want to leave it at best and full resolution. And then where it says lossless, come over to format options. And for the video, Kodak will just choose h 0.264 okay, and then for the output. Let's go ahead and I'll put this. I'll take my first initial last name in this and go ahead and hit save. And now when we hit render, our movie's gonna render out and we'll have a nice little type animation and the final should look something like this.