Transcripts
1. intro: Okay, welcome to my course on animations in Adobe After Effects. I hope you're going to enjoy my course and you're going to follow along with me. There's plenty we're going to cover. By the way, I'm married monologic. I'm an Adobe certified associate and obviously by experts at opposite of arts instructor and also ended up becoming professional. You can often find me all Adobe forums or as they are now coated on the communities where I'm helping people like yourselves. Welfare challenges in After Effects in Premiere Pro, in Photoshop and Lightroom as well. So come and join me on our course. We're going to explore lots of exciting features in Adobe After Effects. There'll be quizzes, there will be assignments as well, which you may have seen if you join through my pretty protocols. If you haven't have a look at my video editing in Adobe Premiere Pro from the lentils. And now join me here inside Adobe After Effects. Let's start this journey together, I mark more algae and I will encourage you to join your struggle and let's start working together.
2. exercise Files: Hello, thank you for joining me for this animation in Adobe After Effects Fundamentals course. As we go along, as we move along using the exercises, you will have access to exercise files. So you should have this folder already, which I have on a desktop called After Effects course. And in here you have the content. We're going to go through some planning to add more content to this course. At the time where you downloaded the files. There may be more folders in here, there may be more continent here as well. Also, you want to have some of the content. You will not have this folder here, for example, because this is where towards the end of the course we talk about exporting your compositions as videos in After Effects. You will also not have this folder here because this is just the autosave that gets created as we work on the project. So you will not have these two files. And I think you all have this one either because this is a published video as well that we do later on during the course. But you will have all the folders with the numbers and you will have the assets for their annual have also this project, this is after we're going to create, okay? So the content for this folder will change as I'm recording more videos, more lessons for this course. But you will have content to the After Effects course folder, which is available here on the course. So you're going to download it as a Zip and then extract it and just drop it on your computer. I'm going to keep it on the desktop to make it easier to have access to it. So without further ado, downloaded files and join me for our journey on creating animations in Adobe After Effects. I'm married monarchic. Thank you for joining me. Let's get started. Let's get cracking.
3. open AE project: Welcome back. Let's start by opening a project. So if you make sure you start your aftereffects first and you'll be welcomed by the welcome screen, like this one here. Your screen may change. It keeps changing. Everyone Dan with some updates to Creative Cloud and to After Effects. So Medical be different. But in any case, he always going to have an option to open new projects, to open a project. So there'll be open, put it bottom on the left-hand side. Also, just to mention as sometimes the home screen doesn't appear, it happens sometimes. What you can always do is inside After Effects, you can always go to File Open Project or Control a on Windows command on a Mac. So no matter what method you're going to choose, who's going to open a project file. So integers open project. I have my files and a desktop already in the afternoon, our after-effects course. So whatever you've copied your folder, let's we can find the files. But I'm here. And that's our first project in here called first project. We did click Open. And just so you're aware, when you open your project after project, you may see this dialog box. It all depends on which version you're using. So if you do get Delbruck, just click Okay, you can click okay anyway, so it doesn't matter, okay, After Effects, we'll just make a new version of your project that's suitable for the version you're using. So I'll click Okay, that's fine. And it's going to open and it should open, just laid out because it should open exactly the same way. And you see animation here in the top center here, we're going to explore interface in detail in our next video. That's it for now, we'll just open in here. And and if you just press space bar on your keyboard, It's going to play automatically. On both Mac and Windows, just press Spacebar and there's going to be some animation here. So you can see the cast slides in the upper peers. That's something we're going to build later on as well as part of our animation projects. Okay? One of many projects we're going to work on. For now, we just want to make sure that you have your office open, that you open it successfully. It may create a new version, so that's okay. So and I just place my space-bar to stop it again. If you look on the top of the application frame, it might insane w After Effects 2020, first project converted API file, okay, AEP is the file format for after-effects projects. Okay, After Effects project API file. So something you may see it as familiar if you use Adobe Premiere Pro, is that the both premiere and after effects use projects because we just open the project in here. And once we have this project and Ryan, and we're going to open in here and we're going to explore the interface and all customize our interface of it as well. Because especially if you haven't used Premiere After Effects before, but you have used Photoshop Illustrator InDesign. This looks so totally different because in Photoshop, Illustrator InDesign, and animate, you have your tools on the left-hand side and some panels, independent dock on the right-hand side. In here. We've got him everywhere and the tools are right here in the top-left corner. By the way, this is our tool span a lot toolbar. Okay, so now we have our project file open. Let's have a look around the After Effects interface and less sample we're going to look at in our next video. So keep it open for now. And we're going to continue on the next video on the same project in here.
4. after Effects interface: Now that we have our project open, Let's have a look around the interface. Let's get familiar with the interface, especially if you haven't used After Effects or even Premiere Pro before. So as we know, on the top center here, you can see your animations. And this is a composition panel. If you look on the top, on the top it says composition. All the panels, they called panels, loosely called pallets. They had the names on the top. So good composition here. Effect Controls project. This one doesn't have a name in here, such explains a second. And they'll be some more here on the right-hand side. Don't worry. If your interface looks and indifferent. Going to take over like when customize it. So first of all, what we might want to do is look at workspaces, because After Effects comes with a set of workspaces. If you look under Window menu and workspace sub-menu, you have a list of different workspaces. And normally by default, you should be on the default workspace. I want to default waxes rarely I have some custom workspaces like my MMR expats, but I'm gonna default workspace right now. Okay? So if you not on default workspace already, just change your workspace to default. This will help us because what this is going to do is it's going to position the panels in exactly the same places and the same locations. That this will be helpful. Okay? Also, once you establish that you own default workspace already, what I would do next is go to the Window menu again, like space, and reset it to the default to this site layout. This will give us exactly the same default workspace in After Effects. So I'm going to just reset default to cloud from the window menu and workspace sub menu. And it should be something like this. Okay, that's our default workspace in here. So what did the workspace is doing was finding the workspaces even from other Adobe applications with workspaces do is they show you certain panels. And they show you certain panels in certain locations and of certain sizes. That's an example by default in aftereffects. On the right-hand side, you can see all these panels here to this quite a few of them. And one of them is opened, in my case, the libraries. And I can click the name libraries to collapse it. So the whole like this, okay? And it's a list of panels in here. But that's fine. Okay. So nobody composition panel here, right on the top in the center, right below, across the entire width of your screen will be the timeline. It doesn't say timeline, but this is the timeline. And this name here first project is the name of this composition we're working on here. Here in the Project panel, which is in the top-left corner. Always by default. You can see the composition here and it says first project. This is the project, this is the composition that's opened in here inside of After Effects. In a timeline. These are all your layers. These are layers inside After Effects. So we have six layers here, 12, six delays in here, in the timeline work in exactly the same way as layers in other applications, not just Adobe applications. The Leyla top is always in front. The layer underneath is always behind. Here's an example. If I move this, well, we normally call it play head in, in Photoshop and Premiere, but in After Effects surgery called a current time indicator or CTI. So if I move CTI, say maybe down a bit, it actually doesn't matter. So if I move it air nowhere here, actually it does a cable here, Hagar. So if I move it down there after three seconds. And if we take, say the charge a layer here, and if we move it up, so it's above the cable layer, there's the cable. Does the charge or the charge, I will actually move to the foreground of the cable layer. And a pelvic cable is hidden, is behind it. That's how you can decide what appears in front, what appears behind, by moving the layers up and down. Okay, I'll move them back. So I'm going to move the charge a layer back below the cable layer. So the charge ends up, ends up behind the cable. Let's okay. So that's our timeline. Let's have a project panel here. The project panel, it's always going to show you everything you've imported into After Effects. So we have in here are all of these images, all v's PNG images and a jpeg also have a folder which I have created called images. And there's a composition here called first project. And if you keep your composition selected in the project panel, you can see the project settings, okay? But for now I'm going to keep it on the right-hand side. We have all the different panels moving to care of them in our next video.
5. customise Workspace: You know a little bit more about the webspace and Annabel, the interface inside After Effects. And in this video we're going to take care of the workspace or gained to customize our workspace. Some of the things you can do to customize your workspace is you can make your panels begins smaller. For example, put a time on here at the bottom of the screen. And as you move the cursor over any of the edges like here, you get this double pointed arrow point in different directions. So you can click and drag to make this panel tall or short. Data's obviously makes the other pounds like the composition panel began smaller. So I'm going to keep it quite small for now. Maybe just, just like that. So you can still see all the layers. That's fine. Okay, I'll maybe just a little bit bigger. You can also make say Come project panel wider or narrower. So you can make it wider or narrower. Like especially if you have a big monitor and it's a lot of information here in the Project panel. But obviously I'm going to keep it quite narrow. Let's say maybe something like that for now. On the right-hand side. We can also make these panels wide or narrow. But just make sure you can see the content. Because something you can do in After Effects, which you can't do in other Adobe applications like Photoshop and InDesign and Illustrator is you can make these panels very narrow. So you can go very narrow. Something we can't do in Photoshop. I'm going to keep it quite white for now. And maybe I'll open one of them just to see the condyle inside. So for example, if I open up the character panel, for example, for text, I don't want to make the panel too narrow because you want to see everything and there won't even be a scroll by the bottom. Okay, so I'll keep it a bit wider. It should normally jump to the default width. So as you're making it narrower or wider issued jump, it should snap to the default. And I'm going to leave it as is for now. With all of these panels here, you can find them under Window menu. These are all the panels that you can open here that the oldest alphabetically. Yes, they are all here. All right. As we customize our workspace, here are some suggestions independent on the right-hand side. Here. At the time of this recording, the default behavior for the panels in aftereffects is that you can only see one panel at a time. So if I click psych info, the Character panel collapses. If I click Preview, the other panels collapse as well. If you want to be able to see multiple panels, which we do want, you can go to any of these panels to one of the tabs, doesn't matter which one. Right-click on it and go to panel group settings and disable solo panels in stack. Solo mode or solar panels, severe you may be familiar with if you use Lightroom, is we can only see one Panhellenic time, but I will just see more. I'll give an example. So you're disabled solar panels instead. I definitely want to see the info panel all the time. Okay. I explain why in just a second. Okay. Also want to see maybe the align panel, okay. And maybe also the cathode panel. You're going to work with text a lot. But for now let's say I want to see the info panel and align panel or the time. If I want to align something and I'll explain everything about the info panel in the next video. And we're also going to have a look at the preview panel in the next in the next video or the video after next. At our explain everything. Okay. Just wanted to make sure that we have this solid melt disabled solar panels and stuck. We don't want it okay. For the rest. I think we okay for now. The one morphine I do want to change is in the project panel. There's so much information. And I want to be able to see the frame rate of videos and compositions. So what I'm going to do is I'm actually going to make this a bit wider for a moment. And I don't need to see the type in here because I can tell what they are. So I'm going to move the frame rate. That's the frame rate to the left. Or you can move the type, you know, say here. Ok. We don't want to see the size. Yes. Why not put the frame it as well. And also may want to see the video info, which is the resolution. So I'm going to move that all the way to the left. And a bit more sites before the type. There we go. And I made the panel narrower again. It will be the info could be a bit too wide, a family that actually could be narrower. And the video info could be a bit wider. So I can actually see the resolution. Here we go. And I'll make this panel back to its default as the default, our case, I'll make it a bit wider. Maybe like this. Here we go. You don't have to do it if you don't want to. Because when you select any item in your project panel in the top left corner here you can see the settings, frequency, the resolution, and facade, the composition. You can see the resolution and the frame rate and the duration as well. So it's up to you measure something you can do here in the Project panel. Obviously with all the folders, you can collapse them and expand them, but I'll keep them expanded. Here again. And as we making some changes, we made quite a key change in here. Will, may want to do is save them as our own custom workspace by going into the Window menu workspace, and save as new workspace, then you can name it whatever you like. Okay? So I'm going to call it. So I'm going to call it numeric. Yeah, actually I'm going to override my default workspace, which is MM, my workspace. So I'll be good. Okay? Yes, I want to replace the existing one and I'll click OK with workspaces. If you have a big monitor or high-resolution screen, you can also see them here on the top I can see a few, but not many. But you may be able to see even more. What I can do is I can go to this chevrons here, and there's the list of all the white spaces we have in here, including the default workspaces and the customer spaces you have created. So I can always switch to my workspace. We're here, That's my workspace. Alternatively, you can go Window workspace and then choose the workspace. What you can also do here is you can also add a keyboard shortcut to your workspace. By default, these free workspaces have keyboard shortcuts. We can also change one of these keyboard shortcuts to your customer base for a 100 feature. Okay? So why are we creating workspaces? Well, if you start making changes which you don't like. So for example, let's say just to show you what you can do with workspaces, I'm going to take the preview x by a preview panel. And I'm going to drag it. And you can move it anywhere you want. So for example, if you get this highlight is going to be docked together with the composition panel. Or if I go to the left to get this vertical bar is going to be docked in between the project and composition. By this might be a handy, actually, this might be good for effects and presets. So I could click and drag and if I want to dock them together with the preview, drop it here. So there'll be both together in here. Okay. But do you start making changes and you don't like what are you doing in here? Well, you could just take them box, I could drag it back a while. What I drop it may be done or maybe you never know. So the easiest thing to do would be to go to Window menu, workspace and reset your workspace to saved layout. And this will take care of that for you. Here we go and we back to our custom workspace. And it opens the panels which were opened earlier. And it set the size for them at the same time as well. It's all set up really nicely. So that's one of the reasons why could workspaces. And now the interesting feature about customizing workspaces and credit own custom workspaces is that they sync to your Creative Cloud account. And when you get a new computer and install, say After Effects, you expats were already be there. That's how I got my MM workspace I created quite a few years ago. And it's sinking every time. I get a new laptop, for example. Okay? Okay, so that's how you can customize your workspace and how you can create your own custom workspace as well.
6. info and playback panels: In this video, we're going to talk about the importance of the info panel and the preview panel, which I mentioned in the previous video. And now the info panel first, I mentioned earlier notes. I'm going to give the info panel open all the time. That one of the reasons is that it gives you quite a bit of information, quite interesting information as well. For example, as you move the cursor over the clip in your composition panel, it shows you the X and Y position of your cursor and the RGBA color values at the same time, x and y and may be more useful than RGB in this case. But what's more important, what's even more interesting is that when you play your timeline, so if I hit Space about to play, your info panel is going to tell you if it's playing in real time. What happens when you hit the spacebar when you play your timeline is that aftereffects loads all the frames into RAM memory, shows you how many friends had been loaded. And it shows you. And when it starts plane from RAM, it will show if it's playing in real time or not. This is a big feature in the info panel. That's why I wanted to keep the info panel open all the time. And I want to keep an eye on the info panel. Because I want to make sure that after Effects is going to play my animations in real time whenever possible, obviously, because there might be times when it doesn't. Okay. This also brings another interesting feature about After Effects, especially when you come from Premiere Pro background, for example, in After Effects. After Effects will have to run the frames first. So basically is going to play everything in once. And then when I place the second time, you're going to see it plain normally. So always wait for the play head for the current time indicator, CTI to go on a loop and it keeps plane. And again as green line here as well aware the frames have been rendered in premium. For the previous panel. You can customize the playback in here. So you could use the preview panel to play and stop your animation as well. There's a play button, Start button. You can go forward one frame or just keep the last frame or backwards or the beginning. More importantly, you can customize the keyboard shortcut you want to use for the playback. I'll stick the space bar, but you could change it. You can use any of these keyboard shortcuts to play your timeline. Okay? I mean any OSDI, the space bar. You can also choose if you want After Effects to play on the loop. It does it by default. You can make it play just once, but I'm going to keep the loop. Okay? I wanted to play on the loop all the time. Because remember, it's going to run the first. So keep it plain on, on an a look. Also for the range here. That's quite interesting here. Work area is this bar here. And by default is going to play the entire carrier. There's also an option for weaker extent by the current time or entire duration. So you wanna things you can do with the work area is you can shorten it. So I could take this vertical by the end and make it shorter. Now after effects will only play three seconds because only plain work area. Alternatively, you could play entire duration. It would play the entire five seconds. Or you can say Weka extended by current time. And if your current time indicator is outside of our carrier, is going to play more than just three seconds. But I'm going to stick to work area. That's fine. Okay. Now let me just move it back to five seconds. You can also ask, You can also tell After Effects whether you want to play from current time, from the current time indicator position, or from the start of range, which normally would be the first frame. I'm okay to play from the current time indicator. That's fine. Okay. You can also tell After Effects to skip certain number of frames for the playback. This may be useful if you have either slow computer or you work with some very sophisticated content. For example, you work with 3D content. Things get slow. Or if you go into do some rotoscoping or let's see, or if you do tracking as well, things gets lousy can tell After Effects to skip maybe every other frame or every two frames just to make things faster. You can also lower the resolution for the playback. I want to leave it on auto for now. Okay? So we're going to leave it for now, but just a couple of things to keep in mind. And once we customized it, I'm actually going to minimize the preview panel because I don't need to see it anymore. There's want to keep an eye on the info panel. Here. It's going to show us if it's playing in real time and align panel on there, maybe somebody panels as well. So just some people set up initially, this might be very useful. With the info panel and the PIR panels. You can customize the playback of your animations.
7. how AEP works: In this video, we're going to talk about how After Effects works. How the after-effects project wax. What we established already is that after effects like Premiere Pro works with projects, we opened this project earlier. So if I navigate to my desktop and I've got this after-effects course for the hair. This is the project file. The AAP file. Import into After Effects will be linked. This is the same as in Premier Pro. So when we're looking at here, so if I just collapse that, we're looking at the project panel, all these images that had been imported into this project, they linked to the files on your computer. After Effects doesn't embed the assets, okay? And when you start working on something inside of After Effects, you create a composition. This is a composition, secret composition. This is the equivalent of sequences in Premier. You can create folders if you want. Also, you have the folder icon at the bottom to make folders in a battle for making compositions which we'll be using later on as well, okay? And all the compositions are safer when the project the project file doesn't contain any media. It only contains instructions on what you're doing inside of After Effects. That's why your after-effects projects are such small files like in Premier Pro as well. And just so you remember that if you're going to move your content, you need to move your After Effects project file, your API file, and all the assets as well. All the images, videos, animations, everything. It's just to understand how the after-effects project works. And and just remember to keep on savings because you're after his project has all the information about everything you've done in your project. So you just need to keep on saving it. I have now and then, okay, so you keep it safe. And in our next video we're going to talk about auto safety because we do have autosave here as well.
8. new Project: Okay, in this section, are we actually going to start creating some content? So first of all, as you get started, you could have your project first. If you still have the product open from last time from the previous section, you can close it. We don't need anymore. You can go File Close Project automatically, just making your project and After Effects will ask you to close the other one. Because in after effects economical open one project at a time. So I'm going to click on New Project here. And we're going to give it, and we're going to save it as a strategy. So the way as well, because what happens is when you create your project. Unlike in Premiere, in After Effects, I didn't get a dialogue box. We can name it, interests them options. You just opens interface like it does here for me right now. So what do we do here is I'm going to serve as straightaway. So File, Save As. And just to mention here, when you serve in your projects, you can actually save them into different versions, which is quite nice. Because you seen aftereffects. Your project is a project of a specific version. What I mean is, when I've saved this project, if I choose a standard savers, This project is going to end up as After Effects 2020 project. And you can't open it in earlier versions. You can't open it in 2019 and 2018 and 2017. Just something to keep in mind. What you can do is you can always save it again and you can save it into older version. So you could save it to all divisions if you want it. Okay. But for now it's me to do normal, save us a standard version. I'll put it right into the folder on the desktop. And when we criticize project here, this is going to be our project for the entire class, for everything. So we're going to give it a generic name, I'm going to call it. So cause project can name it anything you want. We want to save it and we're going to do a between inside this project. So I'm going to click Save here. It's saved in my folder on my desktop. Perfect. So I'll click Save. And now it's saved, right? And no, once we've got our new product set up and it's saved as well. We're going to talk about autosave in the next video because other side is going to be really important. Let's remember if when you do inside After Effects is saved in your project file. So let's talk about auto safe next in our next video, next, so I'll leave it open and it will continue in the next video.
9. auto Save: We made a new project and we said as well, we deemed it. Now it's time to set up an auto safe. Because you know, your products really important. Because your project saves everything you do inside After Effects, all the information about that if when you import it saved in the project file, project file doesn't. And that any content. But it does store all the information about anything doing here, which means it's good to have a backup. So if you go to your edit menu on Windows or After Effects menu on a Mac, you have your preferences in here and the same menu here. And then we have a category for auto save. This we can customize autosave. Premiere will do auto save for you automatically. It will do a backup for you automatically. But here we're just trying to set it up so we can choose how often you want to deal with and so on. So if I do autosave pair, so remember Edit menu on Windows After Effects million Iraq. And in here afterwards is going to save your, a backup, a backup of your project every 20 minutes. So this will be a backup. It's going to create up to ten different versions. You can also choose where you want it to be saved is normally going to go next to your project. We can also choose a customer location. With auto safe. Normally, when our con, real words, a project. What I recommend is having autosave in different location, for example, different hard drive. Because what if your project, or let's say if a folder becomes corrupted, you're going to lose your project file. And the autosave as well at the same time. So normally I would go to Custom Location and I will choose a separate external hard drive. If you can't set external hard drives, which may be the case if you worked for large organization for example, and USB ports may be locked. What it could do if you can use this solution is to save your auto save in a folder which has been used for online services like Dropbox or OneDrive. If you can use them obviously because the pads because this Das ware, even though you will have your auto safe on the same hard drive, you will have a backup that's going to be saved on a separate server. Okay? So the solution for now I'm going to leave it as it is. So it's going to be on a desktop. That's fine. That's okay. I'm okay with every 20 minutes because I'll keep pressing Control S or Command S. I've known them anyway to keep second automatic keep saving. So that's okay. But just so you know, he can customize and here you can change the options. Here, I'm going to click Okay, so now we have this auto save customized and we're ready to start importing some content, which we're going to do in our next video.
10. import: Okay, we're now ready to start embody some content. Normally when you create a new project, as you can see on screen here, the project panel becomes available automatically, becomes active automatically, and it's got its border around it here in the top-left corner, which means you registered important some content. And we have a folder which I will show you just a second. So I'm going to go to File menu, input and file or Control I on Windows command I on a Mac to import. And we'll navigate to the desktop, to our folder. And we have the subfolder called 01 getting started. So I'm going to open it. And now we import everything here. So we're going to Lust zu around everything in here, all the images and then click Import. You can import them one by one if you want it to. The auto body options here at the bottom, we're going to talk about these later on. We don't need any of these right now anyway, I just want to input f in here. So I'll click Import. And all the contents or the assets will be imported into your project panel. After Effects creates links to all of these files on your computer. As I remember. And if an import into After Effects doesn't get embedded, Hey, I just click away to deselect them because the old highlighted, when you select any of them, you get a preview on the top and here and information about these assets. So these are all PNG files. Told them I have no background like this one for example, this has no background and flatten the image is 1280 by 720 amino acid car last one interlaced and so on. When you import in content, just to mention what you can also do as, and what I usually do as well, is in the project panel, in the empty area, you can simply just double-click. And it will also give it the input dialog box. Just another way you can input the content is always, there'll be a number of ways you can also drag and drop the content into your project planning from an Earth from your desktop, for example, sacred open, say Windows Explorer. And I could just drag and drop some content into the project panel to get it imported. Okay? And maybe we can also do in here as symmetric organizing things is I'm going to make a new folder here. And this is going to be 01. Getting started. Okay? I'm going to move all of these assets into this folder so we'd highlight them all and then drag and drop them into this folder. You get this plus icon. Just drag and drops. It's all in a folder. I can always collapse it expanded. So the old here, but it's just in a folder, will default. The reason why I named it 01 and then getting started is because everything in your put his panel folders and files are always listed alphabetically or numerically. That's why it goes from 0, 1, 0, 2, 0, 3, 0, 4, and so on. Okay? Okay, Now that we imported the content, we're ready to for our next step, which is going to be to create a new composition so we can start using this content. So I'm going to save it, control S or command S on a Mac or keep it open. And the next video we're going to talk more about compositions and create a new composition and just emotion. Just by the way, when you input, you can import pretty much anything into aftereffects and image file format and a video format. And if you not really.
11. new Comp: Now that we've imported our content, at least some of the content, we're going to put these together. We won't be doing an animation see yet, but we'll just put it together first. So in the next step is going to be to create a new composition as we call it. And you can see this a new composition button right in the composition window. In here. You can also use this icon here at the bottom of the project panel to create a new composition. We also the composition menu here we can create a new composition and it's exactly That's actually what Control or Command. And thus in here, in After Effects, it creates a new composition. So once you made in your project imported some assets, your next step is to create a composition. And once you have in your composition, you're going to start adding content. So I'm going to click on this big new composition button in the composition window. Or you can just click on new composition icon at the bottom of the project panel, whichever way you prefer, we're going to name it. So I'm going to call it the same or electricity went to LA just getting started. And hinder basic tab. We've got some presets where we can choose what settings one to use. So instead of typing the values manually, the width and the height and the frame rate, we can actually choose a preset. For example, in this case, bernie image is 1280 by 720, is what we call 720 P HD or standard HD. So we could use HDTV, HDTV, 720 percent. At least one of these in here. So it is just one of them doesn't matter which one right now. So it's one of these presets here. So the width and height change to 1280 by 720. And they keep the aspect ratio of 16 by nine because there's the aspect ratio for standard video, whether it's a full HD standard HD or for k, it's 16 by nine. By default, your TV will be 16 by 9 as well. And is going to set up two aspect ratio for the pixels. Two pixels, yes, pixels are always square in digital content. We have this frame rate. Depending on which RVs process you've chosen, you have a prime frame rate set to either 25 and 29, 97. So just explained about the frame rate here. If I click on this drop-down menu, There's lots of options in here, but just some of the most popular ones are 24, 25, and 30, or 29.97. 24 frames per second is a standard frame rate for video online. Of the video or in cinema or on DVD or Blu-ray. Has to remember DVDs and Blu-ray and no one's buying them nowadays. Standards fragment will be 24 months per second, especially for the web like social media. 24 frames per second will be standard. When you should video, you'll get a choice of different frame rates, 24, 25, 30, 50, 60, a 120 and so on. To mention the attitude 25 and 30, 30, 29 per 97. This relate to the old standards for television, where we used to have the PAL NTSC systems, where Palo was, most of the word. Ntsc was America, Canada, Japan, and a few more countries. So palaces, temples to use 25 frames per second frame rate. This was HDTV, HDTV 25. And the NTC's to use first year 29.97. And that's why we have these two prisons here, pal and NTSC, these two presets in here. But let's say if we creating an animation for the web like social media would set the frame rate to 24. And I'm going to change to 24 frames per second. What the frame rate, what difference this makes? The higher the frame rate, the smoother your animation is going to be. However, the higher frame rate, the more processing power will be required from someone's device to play it back. That's one of the main reasons why 24 frames per seconds a standard for web delivery. And you wouldn't see a difference between 24, 25, 30 frames per second anyway, so there's no need for extra frames. Extra frames also mean bigger file size because you get more frames every single second. So 24 frames per second. Typically standard for web, social media, email, websites, e-mail into someone pretty for startup, and you know, even DVD, Blu-ray and so on, okay. For resolution will keep it as full. That's fine. And by the way, you present is going to choose to custom the morning to change anything. I've changed the frame rates, Olinto custom. That's okay. And we'll get its duration here. We can set up how long you want your composition to be. You can always change it later on. By default, it's always going to be five seconds, so I'll leave it at five seconds is fine. You can also choose the background colon here. So I can click on this color swatch and choose a background color if you wanted to. What I like about these background colors here in After Effects, something I haven't seen in any other Adobe application is when you choose a color, it gives you a name of the Cadillac medium gray rat, or a deep green, or there's also the green Dahlgren ego. So you can choose the color. You can also type in the color value in RGB, HSB, hue, saturation, brightness, or hex value as well. I'm going to, you can also sample the color from anywhere. I'll cancel it because we'll have a background image anyway so that we don't need a background color. So I'm going to click Okay, and this makes a new composition. Let me just change this back to you. Okay? Cause you your viewable ideas. And now you have your new composition here minus called Getting Started, which I'm going to move into the folder as well, or drag it and drop it right into the folder. Here we go. So it's falling scientists, if I collapse the folder, it's in. There's our composition. If you need to change your composition settings at anytime, you can just go to Composition menu and composition settings at anytime. And you get the same dialogue box. We can change all these settings at anytime. So just so you know, okay, so it's Composition menu, composition settings or Control K or Command K on a Mac. So I'm going to cancel it. And now we have this composition here minus called Getting Started. And it's right in here in the Project panel. I'm going to do Control S or Command S to save it. And that's how you create compositions inside of After Effects.
12. project Panel: In this video, I want to tell you a bit more about the project panel. So project panel is your hub where you find everything you import into your project. So all the images will be here, all the videos and sounds, everything to import, and it will be here. All the compositions you create will be here. This is what's inside your project file. While the links at least information about it as well. As we know he can create. He's in the project panel or this icon here, the bottom. Ecosoc create folders using the Project panel. You can import a new content by simply double-clicking inside the empty area in your project panel. Okay. And would also want to mention is that sometimes depending on what you're doing so that After Effects is going to be conflict sensitive. So you may need to have the correct panels selected depending where you are. And remember with your compositions. If I were to delete this composition here from the project panel, nothing would happen because we don't have anything in the composition yet. If you had any content and aftereffects would not delete an accountant, it will just remove the composition. But you would lose all your animations, all your keyframes, all your layers. Because when you, once we start putting everything together, what we'll be doing next section. Here in the timeline. You have layers in here, like you saw an early example in the first section here, okay? So your project panel is we can also get lots of Michelin about the content. So if I scroll horizontally is something you have seen earlier is a good types of content. The resolution, the video Infosys called frame rates. Second, file sizes as well. So you can see how big are the files. And in points out points and file buffers. One, as you can see where the files are actually stored in here. And obviously you can make any of these columns wide on narrower. So I can change this applies to any of the columns. Also, when you select any of the items, you can see all this important information on the top of the project panel. For example, when I have the composition selected on the top of the project plan, you can see that it's 1280 by 720 resolution, square pixels. It's five seconds duration and is 24 frames per second. That's the climate of the composition. So it's all in here. Some will apply to videos as you're going to see later on. On the top of the project panel, when you select the video, you'll see the resolution of the video square pixels, duration and family as well. Because primarily applies to every video and every animation. Okay. So that's just a bit more of the overview of the project panel of all this counterion here. And we write it to create more content, to put more content onto our timeline, which we're going to do in our next section. You read it to really get started. I'm going to save the project as usual. File Save, actually I've saved it already, so mine is grayed out. We save is grayed out because I'm going to save it. Okay. Also, just to mention that at some point, we're going to see some backups in our folder here. I don't have one yet because it's, as you remember, it's second every 20 minutes by default. But I will see a folder with backups in here in just a moment.
13. add Content: Now that we've imported or the content, we're ready to start putting it together. We can start adding content to our composition. We have a compositional credit earlier, which bought it some images which we're going to use in this section here to get started. We have abandoned image, which we're going to synthesize the background. That's why we're talking about composition settings and we're making a composition. I mentioned that we don't need any background color really because we have an image instead. And this image is 1280 by 720 already. So all we're going to do here is we'll drop this image for our background. Now we have a couple of choices here. Using the Project panel. You can start a drag in this image and you can drop it into your composition panel here, or composition window. Because this image has the same dimensions as the composition. What's going to happen is as you drag it towards the center, it's going to snap automatically. So if I drag it, it sort of snaps, Right? Yes. So it's quite easy to put a light in the center and I'm going to use the mouse button and image will just sit right in the background, right in the center of the composition. You also get a new layer in the timeline panel player, the background dot PNG. But let me show you another technique for adding this image into our compulsion. Somebody to undo, edit, undo or Control Z or Command Z on a Mac, the usual keyboard shortcut, this is the same. And this time I'm going to drag this back on that P&G emerge right into the timeline here. Now when you drag an image into the timeline in here, that's what the laser here. What's going to happen is the image, whatever immature dragging or video will always be centered automatically. Which in this case doesn't change anything. It does make it a bit easier because we don't have to worry about dragging and dropping it right into the center of the composition if you wanted to. Although you know, with selection tool, you can always move it here at any time and it's going to snap. Kind of. Okay. But say if I just undo again, if you want a quick and easy way, you can just drag this image into your timeline in here. One more thing I want to mention here, when you dragging assets into your composition window or into your timeline. I'm in images, videos. After Effects. We're not a resize them. If I, if we had this image Babylon as PNG, which was much bigger, you would only see a part of the image After Effects doesn't re-size the assets. If this image solid, say this image is 1280 by 720. Let me show you something. So if I make a new composition, but this time I'm going to go for full HD 1080 P. So go for HDTV 1080, 24. And I'll just click Okay, not a semi-rigid but not PNG. And I'll drag it and you can see is much smaller. It's still slapping like before. But it's much smaller. Because After Effects doesn't resize the images. So the image will be much smaller when you drop it. So just something to be aware of. Also. So I'm going to just undo the last few steps actually only to keep it because I wanted to show something in next video. Because in the next video, we're going to talk more about the timeline panel. So let's leave it like this as it is. And let's talk about the timeline.
14. timeline: In this video, we're going to have a closer look at the timeline panel and turn on here. And what affects things I wanted to mention here is that every time you create a new composition, I have to, he already, they opened in tabs in a tunnel here somewhere. There's Getting Started composition comp and this compound comp composition. And in the project panel we've got a comp 1 and getting started. So there's going to be a lot of tabs by the end of this course, okay? Now, I don't need this compound here. So I'm going to close these in this close button on the left-hand side here. This does not delete. An fn, is just closing the composition inside your timeline. This component is to layer, although I'm going to delete it, so I'm going to highlight it and just press Delete key in here. Yes. Sure I want to delete component. Or one more thing I want to mention here is whenever you want to rename NFA and in After Effects, you don't double-click on it. Now it doesn't do it. You press the Enter key on the keyboard to rename it. And again, this applies to everything they want to rename. This will be the sum of the layers. If I go to the tunnel here, select the layer, press Enter. You can rename it in here. A bit more about the timeline. In general, the timeline. There are two different views for this section here, but it's toggle switches and modes button at the bottom you can see the switches, this one looking at right now switches these buttons and motes like blend modes. For now, I'm going to switch back to switches because it's shorter between more space for the timeline doesn't matter right now because we're not using them anyway, Not yet. When you toggling between switches and modes was actually happening is we told them between this first icon and the second icon here. And you can use them both together as well if you wanted to. I can even go for the Federal, which gives even more information. But we just don't needed here right now. Let's just too much. I'm going to disable these two. So it's just the first one. That's fine. Okay. In the timeline, looking at these columns here from the left, we've got the visibility of the layer. So if you just turn the layer on and off, if you have a sound, this column also becomes active. We can mute the sound, went at some sample a bit lighter. Next one is the solid melt soloing. For example, if you have, say, 10 layers in your timeline and you want to see just one, you can solo one layer. So this comes in really handy. And you had luck. Actually in this case, I'm going to lock this layer because we're looking to do anything in the background. I don't want to accidentally do something to read. So Locke is actually a good idea here. So we need to lock this layer. They'll get a color for the layer which you can change by simply clicking on this color swatch. Not right now because I'm totally rocket and can click you can change the color or the label as it's called. But I'm going to, I think also a vendor. I'm going to lock it again. And by default, After Effects will give different labeled colors for different type of content. As you can see in the project panel. Here you go this lavender color for the images, and different color for the compositions, different color for the folders. There'll be done Kola for videos, different color for sounds. Now with a name for the layer. As you remember, you can use the Enter key to rename it not right now because it's locked. But I could just unlock it if on to rename it. But I'll leave it as this. And we'll just lift these ones alone for now. We're going to talk about at least some of them a bit later. So I'll leave it for now. And this is your timeline. That's where you got your timeframe. Ruler. This top bar here is for zooming in and out. So I could take either start at the end and zoom in into the timeline. So you can zoom in all the way. So you can see individual frames. This is frame 1234. If I move the play head in most to frame 1, 2, 3, 4, these are individual frames. You can also move this if you want to zoom into different part of the timeline. But I'm going to zoom out just like that. And just to explain because people often ask about these and the they really confused about is, these are forams. These are seconds. I know it says f Mike here, but it's actually seconds. This is 1 second, 2 seconds. You, whenever you see column, these are seconds, just a number. These are frames. So if we zoom out even more, when you zoom out a lot, you get to the point will actually see as four seconds. But when you're zoomed out a lot, okay, So this was the top badass the band, and if here is the work area. So as I mentioned in one of the previous videos, you can shorten the word carrier to only play a short section of the timeline. Just like that. Okay, so I think that's enough for the timeline for now. As we start doing more, we're going to explore more features of the timeline.
15. arrange Scale Content: In this video, we're going to add some more content and we're going to look at timing as well. What we do in here for now is we'll put all these images together. The credit composition, we're not animating it yet, but will make them appear one by one in time to make it look like an animation. Okay, so we've got a background here and our timeline development is going to stay all the time for not doing infinitive background. And we have this mobile app which comes in at the end. We've got a sign that charge the car and the cable. So next we're going to show a charter. So we're going to take this charge of that PNG image here. And because this image is much smaller than take composition, I'm going to drag and drop it into the composition window here to place it. So take the charging image, drag it, and drop it somewhere here. And if you want to make it smaller, here's what you do. We using the selection tool. We will use Shift key to keep the proportions like we do in other applications like we used to enforce Roberta recently as well. However, I'll show you something. I'm going to hold the Shift key down. I'll take one of the corner handles and click and drag and nothing happens. Well, you see in After Effects, you need to start the resizing first and then hold the shift key down. So not holding anything and keyboard, we're going to click and drag to start resizing. And now I'll hold the Shift key down and make it small. Keep holding Shift key down, keep resizing it. And then once you're happy with the size and release the mouse button first, and then release the Shift key and make it a bit smaller. Here we go. Then I'll click anywhere inside of here. Be careful with this, punishes the anchor point of this object. So keep it or keep it for now, leave it for now. And I'll move it maybe somewhere there. Maybe something like this. So just to recap, when you resize in assets on your composition, you start to resize in first, then hold the Shift key down and keep holding Shift key down and then reach the mouse button whenever you hypothesize. The sequence is important here. Okay. Let's drop our finales. I'm going to time it. Okay. So I'm going to drop a car. Yes. Well, maybe somewhere here. Not sure what a position yet because we need a cable as well. So all droplet cable here as well. I guess the cables have bit too big, so I'll make it small again, click drag first, then hold the Shift key. If you want to zoom in, say I want to zoom in a bit closer to see what is going. Hinted bottom-left graphic composition window, this is your zoom level. Your number here might be different because what happens by default is After Effects is going to fit. Depend on the resolution of your screen, depending on the size of your screen you, this number will be different. What you can also do ease. If you have a scroll wheel on your mouse, you can use this training wheel as well to zoom in. Also, if you want to pan around in your console window, just use the space bar and click and drag the pen around. Just make sure your composition panel is active. Because if you into time and space about Buddhist play the timeline. And when to move this. I wanted to be somewhere here. What I can also do is use the arrow keys on the keyboard to move it ever-so-slightly. Maybe something like this. Now I can move the car. Here. Again, I'm using the arrow keys to nudge it, so slightly. Simulate it. And I'll zoom back out. So I'll go to the drop-down menu and do fit. And I can zoom out. And this is what we need for now we're going to add this mobile app later on. It's also a discharge in sign. So dropping here, she's Shift key to make it smaller proportionally. Maybe something like this. Maybe this will do for now. I'm going to start arranging the time in our next video.
16. content Duration: In the last video, we put together some of the elements in here. We've got all these graphics, almost all of them now on our composition window. Now we're just going to make adjustments. First of all, what I want to adjust here is the sign up button here in the previous video. This one here. Because I place it right there. I want it to be behind the charger. Saying the timeline. I'm going to move this layer down below the charger layer. Well, it's interesting features we have in After Effects is when you select an item in your composition window, like this sign here, delay will get highlighted in a time and automatically to this leg it's highlighted for Maxine or which one it is. Also when you move the cursor over the items again, these highlights. So you can see where the edges are of the items. These Here we go. So that's done here. Now, for these elements, we want them to appear one by one, not all at the same time as the background, which will be here. But then I want different elements to appear, maybe every second. So first, let me just zoom out here and a timeline. We can also consider the entire sequence. Initially, I want just the background and then the charger with the sign will appear a second later. So if I move the playhead current time indicator to 1 second. Here, we're going to do is with this layer, charge a layer. Now this is the layer routes across the entire timeline. But I wanted to start in here, so I'm going to take the start of this layer. What you get is double-bonded arrow. And I'll drag. And if you wanted to snap here, you just hold shift key on a keyboard and it will snap automatically out of the same where the sign. So start dragging it out, hold the Shift key, and snap automatically. So Wiis were not appear for the first second. Then at two seconds, we want the car, this layer here. So try it into here. Okay? And then at three seconds the cable. Just be careful way you clicking and dragging because if you click in here and drag, you're going to end up moving the entire layer, which you could also do. But this is all I want to trim it. So I wanted to start at three seconds gain. I'm holding the shift key down so it snaps automatically. Okay, So if I just play it, The appear one by 112323, okay. Now at four seconds, oh, by the way, if you want them off your current time indicator to exactly four seconds. As an example, in here, you could just click on it and you can just type in the values. The last two digits are always frames. And then moving from right to left, you've got the frames, seconds, minutes, hours. So I'll change 0, 9, 2, 0, 0, and 3 to 4. This will move the current time indicator to exactly four seconds. Now, I'll add this image called mobile app, or drag it and drop it here against too big. So I'll make it small in the corner. Just like we've only been here for a second. And I want to trim it. So this starts at four seconds. If I play it, all the images appear one by one. It's almost like an animation. And what we can do now in our next video is we're going to talk about placing in the line in items when your composition window, it's going to safe, keep it open. And next video we're going to align this last item.
17. align and maximize Mode: Well, this last image we placed in here, this image of this mobile app. I place it here on purpose. I want it right in the corner, excuse me. But certainly show you a couple of options. So one is you could just move it excuse me, and dropping into a corner. It's going to kind of snap normally snapping as much. But if you just want it to sit in a corner, what you can do is use the Align panel. So if you keep this item selected and go to Align panel on the right-hand side. It should be somewhere here in your paneled dock on the right. I kept it open from earlier on. You can always go to Window menu if you can't find it and aligned to open it. And in the align panel here, it's going to align to a composition automatically. The adoption will be grayed out. Oops. Oh, explain this in just a second. And now we can align our layer two, left and right, top and bottom and the centers, horizontal, vertical centers. So if you want something to be right in the center, you can just use the aligned palette really quickly and easily. In this case, I want to align it to the right and to the bottom. This will place it right in the bottom right corner of the stage of decomposition. But it seems just happened. This is a very common medical edge. Now it just happens quite often to people who study, you will learn in After Effects. If you take any panel and you double-click on the top of the panel, you take it into maximize melt. Maybe good enough like if I go to the composition panel here and double-click on the top here. We can see just the composition panel, kind of like a full screen in a way. And it can double-click again to take it back to normal. But it's a different story when you do it in the panels on the right-hand side, like if I do it online panel again, double-click. It does something like this. And that's why people get into panic mode. Not sure what to do. So just double-click again. If you like keyboard shortcuts, we have a keyboard shortcut for that as well. On Windows is the key in the top-left corner of your keyboard next to one. All the people whose videos I've watched, who are Americans they call it acts on the graph. I'm not sure what we call it here in Europe. On a Mac is the tilde key, which normally appears next to Z on your keyboard. So I can just use the axon graph to go maximize, minimize, same the timeline. Maximize, minimize, couples from Palo, maximize, minimize. It's actually really clever because he didn't even have to select the panel. It's wherever your cursor is, is detecting the position of the cursor. And then it goes to maximize, minimize mode. If you like menus, you can also do it for the menu. Every panel has a menu is three horizontal lines. And in here, under pellet group settings, you have this maximize panel group. And then can go to the same menu. And the wrist top panel group size. Okay, so we aligned our clip to the bottom right corner and we've looked at the ways we can fix or go to maximize motor, minimize melt.
18. prepare Animations: As we're moving on in this section, we're going to start animating. And in this video we're going to talk about some basics of key framing. When could animation so we can do is we can import some new content here. So I'm going to collapse this formula for the number 1. And we can actually do is when you input the content, you can also import into your folders. So if you had to go to File Import on window, double-click in the empty area inside the project part or to import. Okay, going back to our After Effects course for that, I will keep adding more content as we go through exercises. We're going to import the entire folder number 2, 0, 2 animation basics. So when we select the entire folder, don't open the folder. On Windows, you click input folder. On a Mac, you just click Import are open and it's going to import the entire folder. So what its entire folder called Zero to animation basics in here. And if you open it, we have quite a bit of cotton in here. So got some images like keyframes emerged, tennis ball emerge. We also have to after-effects projects in here. There's one called interpolation. There's one here. And this one called rotation animation. This one here. First of all, start with is this image called key frames. So I'm going to make a new composition, which is 1280 by 720. So I'm going to call it sir. Keyframing basics. And we'll go for HDTV, HDTV 72025, an opportunity for a metal 24 frames per second. Just 1280 by 720, five seconds, okay, migrants color doesn't matter. So I'll click OK here. And I will take this image called key frames, and I'll drop it into the timeline. And this will become more background. And because what I'm going to do anything on this image, I'm also going to look at here, it's locked. Now for the animations, we're going to use this tennis ball image. So I'm going to drag and drop it into the composition and make it smaller. It was really bad. I'm going to scale it down. I'm holding the Shift key down to keep the proportions. Initially were pleasant anyway, you want, doesn't matter. So I'm going to drop it may be here for now. So it's frightened air. And when it comes to animations, you're going to start keyframing and you're going to keyframe certain properties. So as we prepared us, we'll get it all ready. We're going to start animating and keyframing in our next video. As we got, it's all ready to go.
19. keyframing Basics: And just start animating. I will can animate anything NOS. All we do for now is I'm just going to make this tennis ball move across the screen. So initially actually it was make it drop from above. So allows me to move it up and wanted to be a bit higher. Maybe here. And maybe I'm trying to zoom out a little bit. So you can see what the ball is. Actually, I'm going to zoom in to 100 percent, which displays, but fluxes haven't told temporarily we can choose the hunted hare. Here it is not going back to selection tool. In a timeline. Find your layer. So this is the layer I'm working with. This 10 is monolayer. And on the layer there's this triangle here on the left-hand side, or a Chevron. If you click on it, you'll see the property select transform properties in this case. And if you open transform properties, you can see all the properties that can be animated. Anchor point, position, scale, rotation opacity. So we're going to choose what a property we want to animate. In this case, we'll animate position. This one here. I'll start by position in the current time indicator right in the beginning of place the ball what I wanted to start, okay, that's the start. Now, once you choose the property you want to animate, it will click on the stopwatch here to enable keyframing and also auto key-frame at the same time. So I'm going to click on the stopwatch. And this will insert what's called the keyframe. This blue diamond. Hey, if I just move the CTI, you can see this diamond here and this is a keyframe. Just move back. Once you add a keyframe by clicking the stopwatch. If you decide, actually, I want this object to be somewhere else. I don't want it to be here. You can still move it as long as you keep your current time indicator what it is. That's fine. I can move it. I'm saying that because what's going to happen now, from now on is that every time your current time indicator is not on that key frame. So if I move it here, if we do anything to this object After Effects, we'll insert a new keyframe automatically. So fame with my current I'm indicating here and move this object anyway. You get a new key-frame, and you get this line which indicates the movement of the object. So I'm going to undo, edit, undo or Control Z. Other commands that typically once you have the first keyframe, you will define the duration of the animation. So I'm going to move the CTI to say maybe two seconds. We can always change that. And now I'm going to move this ball right down. If you want to move the object in a perfectly straight line as you drug in it, hold Shift key down and a keyboard, and move it all the way down. Here. Let me double-check if this is the bottom of the state. So if I make it fit, there we go. And because we only have animation for two seconds, I'm going to shorten the work area to say just over two seconds, or press Space about the play. And the ball just moves down. If you decide the animation is too slow or too fast, the weight can change the pace of the animation is by changing the spacing between these two keyframes. If we move these two keyframes closer together, it is. This will speed up your animation. If you move them farther apart. And doesn't matter which one you move in. As long as you get more space, the animation will be slower. And so you can define the speed of the animation by changing the spacing between the keyframes. And if you decide you want to animate and other property. So let's say I want this ball and maybe rotate as well. I'll move the CTI back at the beginning. You don't have to move the right to the beginning, but we typically just start from the beginning. And optical and stopwatch for rotation. Not changing anything, Not yet. That will move the current time indicator to towards the end of the animation, see here. And now we'll change the value for the rotation. If you want the object to rotate certain number of full circles, this first value, this will be x, is the full rotation. So if I type in here, say to this ball will make two full cycles, excuse me, it, when it's animated. And we get another keyframe for rotation here. So now we have four keyframes on a timeline to four root two for position and rotation in here. Well, the keyframes, if you decide you don't want a keyframe anymore, you can just select it and press Delete key on a keyboard to delete it. Okay? But actually let me tell you more about managing keyframes in the next video so we can cover it a bit more in here. So I'll leave it open. And we'll talking about managing keyframes more in the next video.
20. manage Keyframes: In this video, we'll talk more about the ways we can manage keyframes in our project. We've done some animation here so far. So there is more and moving downwards and rotating at the same time. And I'm going to add some extra keyframes just to show you some techniques. So let's say if I move the current time indicator summer here, and I forgot about it, and then I change the rotation value. Let's say I'll do three times. You know, what's going to happen after Effects will add another keyframe automatically. So now I have three keyframes in here. And I'd already want this last keyframe. I'll do another one. Maybe here. I'll do maybe to us. Well, they've got four keyframes. Just show different ways we can manage the keyframes. If we have keyframes which we don't need, what we can do is once you have the keyframes selected, you don't even have to move your current time indicator. Can just click on the keyframe annua here and just press Delete key to delete it and it's gone. Okay? Or you can also do is if you say the keyframe, if you look on the far left of your timeline here and this section, you've got this button in the center which is add or remove keyframe. Now mine is gray right now. Okay. If I move current time indicator to what the keyframe is, it's going to turn blue. And what is going to do now is actually going to remove the keyframe because I'm on the keyframe, it helps us gone. Now it's caret because the current time indicator is not only keyframe. And now if I were to click on this icon is going to add a new keyframe automatically as well. That's how you can add keyframes without changing the values. For an example, I'm going to undo. Let's say I want this ball to move down here. Maybe here. I wanted to stop for a second. That so I wanted to add a keyframe for position without changing the value. Here we go. And then I want to hold it here for a moment. So if I move the CTI just a little bit more, and I'll move the ball back up. Now, here's technique I'm going to show with you, I want this ball to stay. So what I want here, It's the same key for missing here. But how do I know what the position is supposed to be because it's moving already. I could go back to the previous keyframe and write down x and y. Actually just wipe position in this case because it's moving just radically. But here's a better way. So if I move the CTI at or what I want this ball to stay. Say maybe here. I can select the keyframe, press Control C or Command C to copy it, and then Control V or Command V to paste it. Yes, you can copy and paste keyframes in After Effects as well, just using copy-and-paste, started copying based. So now these two keyframes are identical. The ball doesn't move, is just rotating, stops and goes down. So you can copy friendly have selected, and when you paste it, It's going whatever your current I'm indicators. So if I do Control V now, again, another key from here. I'm going to press Delete to delete it. When stuff like him, the keyframes. You can also use these triangles here to jump between the difference. They can go to the next keyframe, excuse me, and the previous keyframe using these buttons here. If you like keyboard shortcuts, you can go to a previous keyframe using Latin J and go to the next keyframe using the letter K. Jk are next to each other on the keyboard. So they can go k, k, k, j, J, j. When using J and K on a keyboard, the keyboard shortcuts is jumping between any keyframes you have on your timeline. So for example, if I want to jump between the first, second keyframe on the rotation property, but I press K, it will still jump productivity because this is just navigates through all of the keyframes on a timeline. That's okay. So just j and k, j goes to the previous keyframe, k goes to the next keyframe. Bits about it, about managing keyframes, I guess so we're ready to do someone emissions. We're going to make this ball move along this line here. It's all, give it up and this will do for now. And let's move on. The next video.
21. animated Ball: In this video, we're going to create an animation for this tennis ball to make it move along this line in the image. What we can do it just to get started quickly and easily is where this thing is monolayer we have in here. We can either delete it or we can hide it and lock it. I'm going to say keep it and it's going to hide it and lock it. And I will add another instance of the tennis ball. Make it anthracis yawned. And once you scale it down, we'll place it at the start. Just something to bear in mind. Ideally want it to be one. We want to position. I want it to move it across this line here. So I'm gonna keep the center of the object right on this earth line. So we just start say that there's going to be starting point at this point because we haven't enabled keyframing yet. It doesn't matter why your current I'm indicators doesn't matter. So now next we're going to open the properties for the layer. Here will move CTI back to the beginning. So right at the beginning here. And we'll click on the stopwatch for position. Initially, let's quit his animation in a way so that Iran's to each corner for 1 second. So if we move current time indicator to 1 second, and it will remove the object for writing the next corner, I'm holding Shift key down. And this adds a new keyframe. Then we'll do the same at two seconds. Or make it move down to the next corner. Oops. Because vasopressin Ron's keen on the shift character. By the way, by default when secretin these keyframes After Effects will give you curves in here. Leave it, ignore it for now. I'll explain everything and just a moment. Okay. Just keep moving. So go to three seconds. And we'll move the ball again to the next corner. And then again four seconds. I will move it up here. And a little bit more at five seconds, right at the end. Now, Sweeney done, you should have this kind of animation. Let's also animate rotation. So go back to the beginning and CTI, I'll click on the stopwatch for rotation. For rotation, we can start with just two keyframes, one for the start, one for the end. So I'm going to go right to the end. You can just press a key a few times and I'll give it some, maybe let's say free rotations. This should be enough and I'll play it. You decide how many rotations you want, how fast you want it to be. You can do four times, five times if you want, you can do some additional rotation here as well. You wanted to. But I'll leave it as free rotations. And again, don't worry if the tennis ball doesn't go on and on along the line. I'll explain everything in the next video. For now, we just want to make sure that it's moving across the screen. And you have keyframes for position and rotation. And then once you have it, again to save it or keep it open. And the next video we're going to make sure it moves along a straight line.
22. keyframe Interpolation: Now in this video we're going to make this bold move in a straight line because what do you have in right now is something like this. I've changed some we just saw. We got exactly the same results right now. And when I stop it and select the layer, you can see the puffy slide is, that's where you get it by default. Because by default, After Effects doesn't move the object in a straight line. Not when you have multiple keyframes, but it's actually easy to solve. It's something called a keyframe interpolation. That's we're going to talk about in this video keyframe interpolation. And by default After Effects is using this Bezier interpolation, which means it's giving you curves. But in here we want straight lines. So we'll do, is, this is all for the position. We're not touching rotation here. On the position property, we need to select all the keyframes to start off. So I'll usually do is just going to sue around all these keyframes here. I'll show you a trick later on. This hides all the keyframes, so they all get blue with all keyframes selected, right-click one of them doesn't matter which one, because they all highlighted anyway, it's just right-click all of them and go to keyframe interpolation. This will give you a dialogue box. And by default, the spatial interpolation this will be interested in here for the shape of the path. That's how it changes across space, spatial. It's Bezier or continuous bezier. In this case, we want it to be linear, wanted to be straight lines. And then we'll click Okay. And I get parallel straight lines. And the ball will move perfectly along the line. Just like that. So we didn't hear was highlight all the keyframes. Just lasso around all of the keyframes. Right-click one of them. It doesn't matter which one. And open keyframe interpolation, how we said this spatial interpolation to linear. Otherwise, you get Bezier, which gives you curves. Now click OK. Now show you why mine was straight to start with. Because you see this setting in the after-effects preferences. We can tell After Effects to make them linear by default and you can always change that later on. So what it can do is you can go to your preferences, which you can find under Edit menu on Windows and, and After Effects menu on a Mac. And then go to General. And in general category, there's a tick box here. Default, spatial interpolation to linear. And this is not ticked by default. So once your ticket, all your animations will be straight, will be straight lines automatically. That's what I have as a default because most of the time I want it to be straight. And if I want them to be curved, I'll click OK here. At anytime. You can highlight all the keyframes. Right-click one of them again, go to Keyframe Interpolation and change it to bezier. And click Okay, and get what we had before. Let's come under. I think the question here is, which one are you going to use? Morse more or most of the time, linear bezier. And as the one you can set up in your preferences because this will save you a lot of time to just choose what you want the default behavior to be. Here, default spatial interpolation to linear. You decide, you choose what you want to do. And this is not ticked by default, but I've got to detect and window click. Okay, and now we have this beautiful animation for our animated the ball.
23. roving Keyframes: There was another fantastic feature in After Effects I want to share with you. Now there are many, but this one more than I would in mind right now in here. We're good. He's animation and we made this tennis ball and move across the screen. And it's moving in straight lines. I cross this line in the background. And let's say the client, we're going to talk about speeding up, slowing down in another video. But I want to show you for now is what if the client sees this animation and they say, what do you know? What can you make this ball and move at a constant speed? Because right now, what's happening here is if I just play it from the beginning, again, in here it goes slower. And here it goes faster. And here goes a bit faster. Because what we did initially is we made in each section of the animation to be one seconds long. But the path is different length, different sections. And that's called Robin are roving. You're going to go into rove the keyframes just so you can see this and so we can keep the original. Why don't we do is I'm going to duplicate this layer. I'm going to collapse this layer selected and go to Edit, menu, duplicate or Control D or Command D on a Mac, the duplicate, the layer. And I'm going to rename this one. Tennis ball roving. Remember, Enter key to rename. And aftereffects. I'm going to hide and lock this tennis ball. And on this one here to see the edit keyframe. So I'm going to open the properties for the layer in here. What I need to select all the keyframes for all the movements for the position once again. So highlight all the keyframes for the position. Okay? And I will right-click one of the keyframes again, doesn't matter which one because they all highlighted our rove across time. And this will reposition the keyframes for you. So the object will move at a constant speed automatically. So won't go any faster or slower. And also at the same speed. It's only do here is highlight all the keyframes for position. Right-click one of them and rove across time. This will reposition the keyframes for you automatically so that the object moves at a constant speed all the time. Here's one more challenge for us in here. Let's say the client is happy with the animation. But they say, this is good. I'm happy with the tennis ball moving at constant speed, but I wanted to move faster. So we're going to do here is we need to move all the keyframes closer together. But how do we do that? So we can keep the same distance at the same time. Here's what we can do. If we keep all the keyframes selected on the position, oscillate them again if he disliked the morality. Go to the end of the last keyframe. Hold Alt key on the keyboard and holding Alt key down, click and drag. And this will move all the keyframes keeping the same spacing between them. So if we move it to the left, making the entire animation faster. But objects is still roving, is goes faster than before. That's Alt key. And then you just drag the last different because we want to move the economy of the fast one, but we tend to move the last one because we can move it both left and right. This will give you more animation tools to work with now. And in our next video, we're going to create an animated project and war than talk more about different. I mentioned features as well. But it gives a good startup for animations in After Effects.
24. easing: In this video, we're going to talk about easing your animations. Apply an easing to your animations. So far we'll be including some animations. We've animated this tennis ball moving across the screen. But just before we work on a project, which we're going to do next. I want to show you how you can create more natural movements in our animations. Like in here. At the moment, this ball moves across the screen and it moves at a constant pace. We know how to make it more faster and slower by what we could do here is make it speed up and slow down, speed up and slow down to create a more natural movement to make it interesting in general as well. And that's what easing comes in. Just so you can see how easing works and what the differences are between them as well. What I'm gonna do here just to show you, is going to make a new composition. So let's make a new composition doesn't matter what the size is, or call it, is in Psalm I'm making 1280 by 720. That's fine. 24 frames per second, five seconds is fine. And I'll change the background to this nice greenish background, doesn't matter. We just want a new composition. And I'm going to maybe, let's add some text here. I'm going to add some text here. I'm just going to call it is in for now will have it just got ease in or you can type anything you want really. And just customer mortgage through this text is we'll make it move across the screen. And just so you can see differences between different types of he's in, we'll have it four times. So just keep that in mind when you organize the content here. So I'm going to make this text a little bit smaller because a bit too vague and light, It's fine, doesn't matter really. And I'll make it move across the screen or something to open the Layer Properties. And at the beginning or set a keyframe for position. And then a few seconds later. So let's say if I go to, for example, two seconds, I will just move it across the screen. So when start moving it and then I hold the Shift key down on the keyboard, set in motion a straight line. And let me just show it in the work area here. So we've got this kind of animation. At the moment is not even here. The text moves at a constant pace. And as we're going to get into easy to now, I'll give you a few more tips in here as well. So for example, we've got this layer, which we want to have four times. So it can have some, so we can apply some easing. But we don't want to recreate this layer again. So we can do is we can duplicate this layer using Edit, Duplicate or Control D or Command D on a Mac. And so we're going to duplicate it. Okay, so which replicate it? The duplicate will appear on top of the existing layer. I'm going to swap them in a timeline here. So on this second one to be below, and we're going to move, It's all Endo is. If you open the properties so you can see your animation property the position, or select both keyframes for the position. Okay, Then we'll do, is, we'll lead to drag one of the handles, hey, one of these squares, one of his key, keyframes. And this will allow you to move the entire animation at the same time. And if you hold Shift key down, you can move it in a perfectly straight line. I guess. I'll do again so you can see where we didn't hear so well. Duplicate this layer. So go Edit, Duplicate, duplicate the layer. This is ease in freely moving down. We'll open the properties so we can see the property for position. I will highlight both keyframes here. And it will grab one of these handles, drag it down, and hold the Shift key down to make it move in a straight line. A bit high. Just move it swaps. I decide to hang the kitchen, so highlight book, make sure you select both keyframes, That's the key. So you can move the entire an image. And then we'll do once again saucer this layer. Go Edit, Duplicate. I'll move this down so it's easy in four. And again, open the properties for the layer. Highlight both keyframes and here. And click drag or hold the Shift key down and just drag it down here. So I've got this layer four times and here, the swap, the first one, we will have no effect at all. Okay? I don't want to change the texts, so it's all the same length. So you can see exactly what the differences are. And I'm going to rename this layer. So this would be no easing. Second one is going to be, say, ease in, out. The third one is going to be easing in. And the last one is going to be easy, ease as a kind of like a preset. It's all about changing the pace of the animation here. Let's select the is an outlier. Let's open the properties so we can see the key frames, the position keyframes in this case, with ease in out. We want to ease out of the keyframe, want to ease out of the first keyframe to make the object's speed up. So again, select the first keyframe, put another one by accident. Let me just delete it. So select the first keyframe, just the first one. I will right-click on it and choose kiloohm assistant and then easy, ease out to ease out of the keyframe. And you see a keyframe change to this like a Chevron icon. So if I play this now, the second layer will move differently. And we'll start later and all just speed up to catch up with the rest. It's easing out of the given it's speeding up out of the keyframe. Whenever you apply, easing is in, is in out, you'll see these keyframes changing into this chevron icons. Okay, so let's open the next layer. We just made this taller time, as you can see by the keyframes. Maybe not too much. So this one isn't in easing enroll is into the keyframe, which means we'll be applying it to this second keyframe here. So instead of the second keyframe in the timeline here or right-click on it. Keyframe assistant. Easy ease in to ease into the keyframe. And we've got chevrons this time pointing in different directions. So now this third layer is going to start faster and because it's going to slow down before it stops. So easing out, we will make the object speed up out of the keyframe is in, out of the given is in any will make the objects slow down into the keyframe is an int, is an integer keyframe. And for the last one, we have Easy Ease, which is both for the entire animation. Let me just collapse this. So an easy ease, we'll select both keyframes because we applied to everything. And this, I'm not going to use the menu for Change, Animation, keyframe assistant, and then easy ease. They also have keyboard shortcuts for all the properties here. Easy Ease will make the object speed out and then slow down. So it's applying ease out and ease in as well. So you can see the last animation will speed up and slow down. The first n-dimensional top moves at a constant pace all the time. The second animation is speed and out of the keyframe, so it starts slowest. We get psi and its spin up out of the first keyframe. And the third one is slowing down into the second keyframe, easing into the keyframe. And the last one is spin out of the first keyframe. And then slowing down into the next keyframe. Say got no easing on the top then isn't out on the first keyframe, is in, in on the second keyframe or the last one. And then easy ease on both keyframes and easy ease on all the keyframes. So now you know how to apply easing, you can use either right-click on a keyframe or keyframes. I can right-click Keyframe Assistant for ease in properties here. Or you can use animation menu if you prefer, and you have the same key frame assistant here as well for isn't properties. Now that you know all these different ways, we're going to take it into practice. We're going to put into action. And we're going to create an animated banner. We're going to create this animated banner for EV awareness. Okay? So this is easier than just stop it here. That's how you can apply easing in site After Effects.
25. animating Project: Now that you know more about animations, how to create animations, how to keyframe and edit keyframes. Organ do next is we're going to create a project. Or it is I'm going to show if you're looking to work on. So first of all, we're going to input some new content. So what are the project panel? I'm going to double-click in the empty area inside the project panel to be some new content. And the right on a desktop, we've got our after-effects course. And in here we're going to bring in this folder number 4, 0 for EV awareness. We're going to create an animation that's going to bring awareness about electric vehicles is just an example. So we need to import this folder. And if you open this folder will go to Condon here. So but a bag on the image. Now there's about an image is 1280 by 720, already, perfectly by 720. So when we create a new composition window, make a 1280 by 720, so called standard HD frame rate. It's up to us. So once we get a content, Let's make a new comp, new composition and when to call it the same EV awareness. And want to use 723 percent. So HDTV, HDTV 720, doesn't matter which primitive going to choose. Because, say if we create this animation for the web like social media, we want 24 frames per second. And for duration, I'm not sure how long this is going to be. Seven seconds for now, 700, 000. And balanced color doesn't matter because we'll have a background image. So I'm going to click Okay for now. Now, we're ready to start doing the content. Every overlay, every image we have in here will be animated. Starting with the background image, multi-band image. We're just absolutely could animate backgrounds. Why not? We could make it appear. So if we dropped the background image into our composition, because this image is the size of the composition already. And we want it to be right in the center. I'm going to drag and drop it into the timeline. So after-effects will position it right in the center automatically. And let's make it appear. So I'm going to use the keyboard shortcuts from now. So I'm going to press T for opacity. And we'll click on the stopwatch to set enable keyframing or sedative opacity to be 0% initially. And we'll give it 1 second to animate society 1 second will change the opacity to 100 percent. So there's Bible you mentioned, we'll just fading in 1 second at this point because we animate in his bag an image. If you were element in the second image as well, It's up to you how you want to animate. Obviously, if you're making it fading as well, it does actually matter. We're going to set up a your background color. I actually quite like it. Just to white if you wanted to all be interleaved. The while we'll be animating this project is that everything will animate in a sequence, one after another. So as the background of the image appears, that's it. And we're going to bring in now for the rest of the composition because we have chi in here and also the charge and the cable which is going to connect them together. What we could do at this point is composite them first and then animate them because we need to decide where the cable is going, whether charges going where the car is going. So I'm going to drop the car into the composition window here. Let's say somewhere. And just drop the charges as well in here. And charges too big. So I'm going to make it small. That's somewhere here, maybe that's better. I guess the car can be a bit smaller as well, actually. Yeah, let's make it a bit smaller as well. And then the cable goes somewhere here and I'll make it smaller because it's a bit too big as well. I will position them so UPS. So the cable goes here, right? And now we can position the car. So it's just the composite. So deciding how this is all going to fit together in here. Now we'll be animating them one by one. If you want more visual presentation of how this is all going to appear, we could do so we can start starting layers at different times. For example, the car won't appear until 1 second. So I'm going to trim this car layer. And as I'm dragging, I'm going to hold the Shift key down to make it snap to the play head. But also the charges should appear the same time. The charge it could be first, so the car could start site two seconds. And the keyword three seconds. At least for now just you can see the sequence and I'm going to rearrange them. So say the charge that goes down there. So you can see how they all appear in sequence. Now registered, animating them with charger will make it say maybe sliding somebody intracellular charge a layer. And I'll press P for position. P for position, or click on this stoppages, add a keyframe. Now in this case, I'll animate this charge a backwards because at the moment I'm happy with the position of the charger, but this is going to be its final position. And I wanted to animate from outside the screen from the left-hand side to start with. So what we can do is once you set a keyframe for position, you can just simply move this keyframe. So I'm going to move this keyframe to two seconds here. And now I'll change the position of the charge. Dose will create a new keyframe automatically. So got a background appear. And then the charger just slides in India. So just sliding of the car the same but it's just from the other side. So, so the car layer or press P for position again. I'll set a keyframe with a stopwatch, and I'll move this keyframe to three seconds. And now here, or move the car outside, outside this screen here, this is going to drive in. Buy less. With car. It should be obvious, bit slower, maybe competitor charges. So I'm going to move this last keyframe a bit farther down. Let's say I'll give it a 2.5th to slightly and you can always just tweak the speed at anytime. And now at this point here, that's where the cable will start and we'll unmute a cable. Cable will just make it appear just capacity. So press T for passively with the cable layer selected. I'll click on the stopwatch. Again. We can move the keyframes, make it quicker, some of the different by 1 second. And back here or change the opacity to 0%, which would instead a second keyframe automatically supplies that the end point here, that's what we're going to get so far. So the charge comes in as if the background is moving, and then the car comes in as well. And then the cable appears. With the car. I would add some easy in on the second keyframe to make it slow down before it stops. So in the last second keyframe, on the last keyframe, right-click keyframe assistant and easy ease in to make it slow down before it stops. Slows down and stops. Not with a charge or not that the cable know. Then once we got all these here, we'll add the image of this mobile app. So I will drop it onto the stage, scale it down because it's too big. A baby in a corner if you want to align akin to the align panel and align it to right and bottom. If you want to be very specific with this upper image, will just make it appear. So when the animation stops on the mobile app layer with the layer selected, I'll press T for opacity because we'll just make it appear. Or Celeste stopwatch for the keyframe. Or move the keyframe 1 second down the timeline. And then back here or change to pass the 0%. If I play it, this is going to be our animation. You can always just tweak everything at your own time whenever you wanted to, add, customize it the way you like. This is just some examples of the quaking in animation. When I'm looking at is the animation for the mobile app, I'm thinking it should fade in quicker because it looks really strange when it's semi-transparent over the car here. I'm going to put these keyframes closer together just to make it faster. We can do it while the play head he's playing. That's better. Maybe even faster. I think this is okay for now. So I'll move the play head to the end or current time indicator. Well actually let me just trim this layer as well seeking see how they all coming together one by one. There we go. A little bit more. Well, for my ego. And not we'll put some text here. So I'm going to grab the type tool. Grab the type tool. Okay. I'll just click for now we're going to focus more on text in the next section. So I'm just going to click in here for now and type in some texts. So let's just charging late. Simple by war, just type in some name. So I'm just going to type in charging up not to use any names of the companies. And I'll switch back to selection tool. So you can just move this text and we want. And on your right-hand side, the craft Apollo should open automatically and here you can customize your text. Okay. I'm just going to leave it as it is for now, and we're going to explore it in detail in our next section so we can leave it for now. And for now we'll just want it to appear fading. So again, I'll make this layer start later. Or press T for RCT. Click on the stopwatch like we did before. Are more display headed by about a second or even a bit more than a seconds. It's nice and slow. And at the beginning, set it to 0. So if I play it, this is going to be our animation. You know, all these main animation techniques in here. So you can just tweak your animation by a plane isn't located with the car. By making objects, animating the flu way, he's changing the positioning between the keyframes, spacing between the keyframes to change the speed of the animations, and so on. I'm just going to leave you with this for now. This will do for now is our animation. And one more thing I'm going to show you in the next video is introducing some black into this movement here of the car. Just to make it look a bit more realistic. So keep working on it, play with it. This is your challenge in here to create your own version of the animation. And I'm going to leave you with it. This is good. The end of my animation. And our ultimate in next video where we talk about blurring in here.
26. animating Project Blur: This is the animation will credit in our previous video. And what I wanted to add here is add some black to the car. The motion blur to the car as the car is driving in, give it a bit more black because it should be slightly blurry when it's coming in. Another some Blaine here. But just to make it look more realistic, one thing I've done so far is at a bit of easing to the car. I've got easy ease in on the second keyframe here. Says the cat comes in, it moves at constant speed, and then it starts slowing down before it stops, just to make it look a bit more realistic. And now we're going to add some motion blur to it in here. And we're going to use an effect, was going to show you how we can quickly and easily apply motion blur to any moving object. This will work especially well for the objects which move in front of your eyes. So as if you were panning with the camera when you shoot a video, for example. So in this case, where the car is moving in from one side to the other, is work really well. And we apply a really nice motion blur, this object here. So we want to apply this black, the color. Let me just collapse all the other layers so we can just focus on the car. They are, Gatsby's indices are going to CALEA. I would only see the keyframes I want to do is just apply some motion blur and it's now make sure you're in the switches, not in mouth. So you stumble switches and modes button to make sure you're in switches. They have all these columns in here. And this column here is for the motion blur. So just for this car layer, I'll enable motion blur in here to give us a nice blend for the car when the car is moving. Say here it's got this really nice motion blur. And emotional lies going to only apply when the car is moving and is going to change if the car is moving faster or slower. That's what's really interesting about this motion blur of motion simulation. Let's put it this way. If you use them, one of the newer versions of After Effects, 2020, 2019, 2018, when you tick or when you click on the motion blur is going to display automatically. But in the past, in the early versions, once you add its motion flattened layer, you also had to enable it on the top here. This now is enabled automatically once you add motion blur to a layer. And you apply in motion black to a specific layer. You can go to multiple layers obviously. So for example, you could just add motion blur. You can see what looks like. If you get in some performance issues, you could disable this motion blur in here and then just enable it just before you publish a video. Emotion plays still here on the color layer, but it won't appear right now as you can see, because it's disabled. So I'm going to enable it again. Also if you want to customize motion blur, what he can do is if you go to your composition composition settings, in your composition settings in the advanced tab, you can customize the motion blend here, the shutter angle, basically the beggar, the value for shutter angle, the more blurry you're going to have. Normally this is a 280 degrees. So if I set it back to 180, okay, when I click OK, there'll be a little bit less black on the car. So I'll click OK. And you can see there's a little bit less blends. If I do again, Composition, Composition Settings, advanced. Let's say if I do 90 degrees for example, and click Okay, That's, there's much less blur. It's a little composition, composition settings, typically with motion blur here. You want anything between 90 and 270 degrees. Also the back to the default 180 degrees in here. And I'll click Okay, Just a bit of nice motion blur on the chi here. This is different to apply in a blur effect to the layer which you can also do. But it's a topic for another video. This is just a motion blur. What's really nice is it simulates the movement of the object. And as the car is moving at different pace, different speed, motion blaze also adjusted automatically without you doing a keyframe. So that's the motion blur on this object moving here on our animated ad for EV, wordless.
27. motion Sketch: Let's have a look at the motions catch. So I'm just going to import some content here. And I'm going to import this motion sketch folder here, emulsion sketch. I'll bring the entire folder in here. And what we'll get inside is the still image, this an image of the sky which will serve as a background for us and as this image of the superhero which will make Morph across the screen. So the motions catch. The idea here is, this is another approach to create animations. This is a different approach. And this is a good example when you want an object to move along a certain path and you want to create a puff, because that's exactly what he can do with the motion sketch. You can create a path. Now I'm going to make a new composition from the sky image. So I'm going to drag and drop the sky, the javac image on top of the new composition icon here. So drag it and drop it right here. And just mix a new composition with the same name called Sky, which I'm going to rename. So I'll select this composition here in the Project panel. Press Enter to rename it. And it's going to be motions sketch. And you go, remember for naming, we use Enter key in After Effects. So this is the new composition called motion sketch. It's got the same settings as the sky image because we used sky image to make a new composition. So it's 1280 by 720 and it's five seconds. London is 24 frames per second. Now, we want to animate the superheroes and we're going to drop the superhero into our composition or make it smaller is way too big. I'm holding Shift key down to keep the proportions. Six, it'll be okay. And I will just start from the right-hand side. If you want to rotate the objective, we know we can do it in a timeline because we have the rotation property in here on your layer rotation. So you could make this object same move from left to right instead of right to left. Alternatively, what you can also do is use the rotation tool in the Tools Panel. Our rotation tool, you could just rotate the object just like that. Okay. It's been to undo control Z or Command Z at something to keep in mind when you rotate in, specifically in here, is what I tend to do is I tend to click on the actual object will rotate in. I normally don't do it outside the box handles like in Photoshop. Cause this may happen. Because when you move the cursor outside of the object, if I just undo, you can see if I select the layer, this layer on exists up to here. So if you move the cursor outside the handles, like in Photoshop, you can rotate in whatever is behind it in here. So that's why I always do it on the actual object in here. Okay, if I want to rotate this object, I'm going to leave it as this. I'll switch back to the selection tool and I'll move it back here on the right-hand side. Then we need a motion sketch palette for that. So go to Window, menu and emotion sketch mosquitoes panel should normally appear on the right-hand side of your screen On a default workspace. So it's here. Make sure you can see the entire panel. Sometimes it cuts off the bottom part. We're going to start capture button. And let's have a look at the options in here. So good emotions catch, capture, speed at 100%. What it means is that as we go into draw the path, as we're going to move the cursor around. The speed you're going to use is going to be used for the animation, is going to make it play in real time at 100 percent. If you say change it to a 100 percent, the capture speed as the credit path. When you play it, it will play a double the speed. Only a 100 percent smoothing allows you to smooth out your path to make it have fewer keyframes and make it smoother in a way. But if you set smoothing too high, you may get to the point where the object doesn't follow exactly the path. You want it only for what? For now at one. And we can always come back to it and change it. I want to show the wireframe years is going to show the path we're going to draw. And we also want to show the background. Otherwise you will not see the background in here. This is always disabled by default. By wanted to enable it for the duration is always going to use the duration of your composition. So if you want this animation to belonging to make a composition longer, what you do through composition menu and composition settings. But I'm okay with five seconds, that's fine. We can take you can take time. So I'm going to click Start cap tray. Don't have to do anything yet because everything starts from the moment when you start clicking, clicking and dragging. So you can take your time. Just keep in mind that you're going to have what in my case, is going to be five seconds. And this happens quite often. It's one of the bags. It is happens to you. This seems to be a Windows back in After Effects. You just got the start menu, click away and it should be back to normal. It just one of these glitches which happened quite often. I'm going to click on Start capture again. And I'll click and drag about five seconds. You can see the current time indicator is plane. And when you release the mouse button when it's finished or when the current time indicator routes for the entire timeline. You could animation if I hold the space bar to play it. That's our animation. If you want the path to have fewer keyframes with locations in here, what it can do is you can just undo, edit, undo, and just isn't moving. So I could do is say, maybe, say for, for example, and start capture again. And I'll draw the path once again. This will give us fewer keyframes. Now I'm going to split into two or so. I'm going to tell you a bit more about smoothing in the next video is to have a two separate sections. This gives you the basics of offer emotion sketch, how we use it, and we'll talk a bit more in just a second.
28. motion Sketch Smoothing: Coming back to emotion sketch just a few more things in here. So all we know so far is you can create your animation. You can create a path which the object will follow using motion sketch. You can adjust the smoothing if you want fewer keyframes, which will give you more curvy path if you wanted. Of course, we have all these keyframes which can adjust. So say I could select Enter, I can move the entire path because the typeof is currently selected, you can click away. You can click on the object and select any of the key frames like this one, could move just this keyframe here. You can just bend using the handles to get just that. He could tweak it to your liking however you wanted to. But what I want to also want to show you about this moving, because we're just moving. You can have a highest moving, which gives you fewer keyframes, which potentially gives you better performance because you have fewer keyframes to be rendered. However, that's not really a problem because you can just take time it's going to render when you export it anyway. So you don't have to smooth it out. However, if you want to adjust smoothing and you want to do it later, because right now what do we do in here is we've just seen this movie before we start capture. So if I decide actually, I've got two few keyframes, I'll need to undo. Actually need to undo a few steps. Because I won't need to go back to the moment word. I didn't have any animation. So if you just look controls it for commands it. Here we go. And then adjust the smoothing and then start capture again. Or here's what else we can do. Our cheeses moving back to one, which is the default, not going to worry about it too much. Or OS dot capture once again. So I've got the current time indicator, the beginning. The object is right here. And I'll start capture. Good five seconds. So I'm going to start animating the object writer. Okay, I'll just play it to see what looks like. Let's say this, okay, but let's say you decide, I went to your keyframes because the slurs that have been handed by the way, you can see all these keyframes on the timeline. If I go here, open the properties of the layer, transform properties, go to position keyframes here. All these keyframes, which means that you could delete some of these keyframes from here if you wanted to, because they just keyframes, you can do it. But here's another thing we can do. It's going to collab, actually going to keep it open. So let's say you happy the animation, you happy the way the object is moving. However, you want to have fewer keyframes. You want to adjust this moving, but you want to do it, say later, maybe next day or next week. Well, we can do is if you go to the Window menu, we have another panel called smoother. And isn't smoother penalty can adjust this movie. No smoothing here is going to be the tolerance. But it does the same. So say if I do tolerance of three, now, need to make sure we have our puffs selected. So what do you can do is you can just click on the name of the property called position in here. Or you can just select the layer which may highlight E can also last Sue around all the keyframes. Just make sure that the background is locked in this case because it's highlighting the background at the same time. My guess will actually lock the background because we don't need it. So you could just do this, but I will usually do is just click on the position key here. Or a lot more of less. So people know with position and for justice tolerance. So let's say free, we can just play here, try and arrow. And I'll click Apply. And it does exactly the same as it does when you adjust this moving into motion sketch. We just something you can do after the fact, something you can do later on. So you can just play with this silver at anytime. Whenever you have your position keyframes. This applies to everything, not just in motion sketch. So that's just the way you can create animations, where you can draw a path which the object will follow. And you know, you can use like a stylus and you can draw an intricate path, which makes it so much easier. Like a Wacom tablet with a stylus or like I know Surface Pro or stylists for example. And it can dry path and then the object will follow the path because you have the optimized selected. Okay? This, this one we're going to do here is we should rotate our object here. But again, we need to split it and I'll show it to you on the next video.
29. orient To Path: So far we've made our object moves along a path and it just follows the path, just moves across the screen. I'm just dragging the playhead, so current time indicator so you can actually see the path at the same time because if I press the play head space bar to play it, they will disappear the path, so you can just follow the path. However, it should also be rotating. So one of whom we could do is we could give them notation. So we'll start from the beginning. And I'll set a keyframe for rotation here without changing anything yet. Well, maybe I'll rotate it just a little bit. So I'll be changing this value here to rotate it just a little bit. Then I'll move the CTI to where we need to adjust the rotation. So this is, this is okay. Maybe a little bit here, like this. And he just continued doing that to make it follow the path. And After Effects keeps adding new frames automatically. Do the same here, just to make it rotate in. And there's well, over just a little bit because I want to show you another technique here. It's a little bit more. So let's say if we just do this section here, I'll shorten the work area. We don't we can't see the path. Analyze. It looks okay. But it does follow the buffers you can see because he can tell by the way the object is moving. Okay. And she would just continue doing that. I'm going to expand the word carrier and just keep adding keyframes. Assume of the object, just continue to rotate in it again. Because we have Keyframing enabled for rotation, you can just keep changing the values or you can just use the rotation tool. It's up to you whichever method you prefer. I'm just using this section in town here because I can just scrapped for the value right in hand a timeline, but it's just a matter of preference rarely. So you get a choice how you want to do it. But I want to show a different way. So I'm going to take CTI back to the beginning. And oxygen delete all of these keyframes for rotation to highlight them on. Because the literary delete them. Oh, check the position of the object. So it's here right at the beginning in case probably be a bit more of this stage, maybe lighters being up. And what we can do instead is we could tell After Effects to make this object follow the path and orients to the path at the same time. So with the layer selected, with the superhero layer selected, because it's our object. We'll go to Layer menu, then transform and auto orient. We can tell After Effects to make object follow a certain path and oriented the path. And in the auto or in dialog box. Also to orient along path, it's going to pick the path on the layer automatically. And we'll click, Okay, what may happen is it will follow the path. Yes. So if I move it, it's falling the power if it's rotating, then if ANS, it doesn't look right, it's actually kind of upside-down. So if I go back to the beginning, I just noticed that minus at minus 21 degrees. So I just need to change. It. Actually does follow. Let's see what is it? It's here. So this will be fine. And now it's going to nicely follow the path and a rotate automatically. So if I just play it and we'll move just aerosol, fine. Here we go. Notice that we don't have any keyframes for rotation. And we don't need any keyframes because oriented path is doing it without keyframing on rotation, is just following the path oriented to the path. Or you may need to do is just adjust the rotation at the beginning. That's it. And this will do the rest automatically. So this was under layer transform auto orient to make it orient to the path.
30. text Frames Differences: Let's talk more about text. This, this section we're going to focus on Paxton here. And for now, I'm going to continue to use in this animated banner and metadata that we created earlier. So I'm going to move towards the end. We'll get a text in here right at the end. As a text. The charging, charging up. Last one here. It's got a text here. And I'm just going to maybe Delhi display allow recreated. So delete this layer, delete key, a pie, the play head whenever the text to appear. Actually I want it to fade in from say there. And we're going to say the Type Tool, horizontal type or Control T or Command T on a Mac. If you click and hold here in the Tools panel, you've got your typical horizontal and vertical title. We just want to start that horizontal title. Mentioned I want to show if you right now is when you create text in After Effects, works like in Photoshop and in premiere as well. What I mean is if you just click anywhere, so let's say I'm going to click here, just a single click. Now, this creates an auto weight texts area and it just keeps expanding. Also noticed that when you move the cursor away from the text, it choosing to move to at some point. So you can just click and drag to it. This gives an all towards the x area. And if you want a new line into press Enter on the keyboard, Enter. And if you want a new line, Use and enter on the Key Vault. This creates this auto which text frame. So it doesn't move to a new line unless you press the Enter key on the keyboard and switch back to selection tool. I'm going to move it out of the way for a moment, so I'll move it down here. And I'm going to select the Type tool again. And this time I'm going to click and drag. Like for example, let's say you want the text frame to be right in the center of your screen. So I'm going to click and drag across the entire width of the screen. Click and drag, and this creates a fixed width text frame or text area. Okay? This is a fixed width text area that will wrap it into a new line. Or vertically. I haven't hit the Enter key and here it's wrapping automatically. So this different, whether you just click or click and drag with your type tool. And now if I switch back to selection tool, with this one, we can resize it. But it's actually resizing the frame. So let me undo. Same here. Can just resize and it's resizing. If we want to reset the actual frame, we need to use our type tool and just move it up a bit. Yeah, sorry, back to the Type tool. I'll click in here to select it and you get the handles on the sides. So you can just squeeze it, which will make the text reflow automatically. Because that's the fixed width text area. If I click on this one here, let me switch back to selection tool, type tool again and I'll click. There are no handles in here at all. No, because this is the auto width text frame. This one doesn't reflow the text, doesn't wrap the text into a new line automatically know you do it by using the Enter key. There's difference between these two in here. So I can switch back to the selection tool. But it's one more really important distinction, which again, you may know from Photoshop. If I select this fixed width text area with selection tool, I'm not highlighting text. You could buy them have two. So you just select it with the selection tool, for example, our selection tool. If you look on the right-hand side, as you start working with texts, you should see your craft a panel and also the paragraph panel. And in the paragraph panel is we can align your text like left, right, center. You can also perform some justification here. So I can make it justified all the way. For example, justify all. With these justify options. These are not available for auto width text frame. Because you didn't draw a frame with Type tool. You can't do justification. Again, this is the same in Photoshop and Premiere as well. So just so you're aware of some of the differences between these different types of texts frames before we get deeper into R using text in here. All right, So just to be aware, if you just click, you got auto width text frame here. If you click and drag, you got the fixed width text area, text frame. They just different. There's no right or wrong and there's no better or worse. They just different. And it depends what you want. Okay? Just something to be aware of. Where the text in After Effects.
31. character Paragraph panels: When it comes to customizing text layers, now this is going to be easier, especially if you've used any other, there'll be application before. So let me just delete these two text layers and say I want to recreate this text on top in here. So I'm going to switch back to the Type tool. Doesn't really matter what your current time indicator is right now, but I'll keep it here. And I don't want any specific text frame. I just want to add some text in here. So I'm just going to click once anywhere on the top in here. And I'll type some text. So what I did earlier was charging, Let's say the simulated are charging your car, your electric car in three easy steps. And something I've noticed in now if I just read about the Selection Tool is where my text is too big, it doesn't really does fit in one line, but I think it's too big. Something to keep it selected with the selection tool. You don't have, you can highlight it if you want to. We don't have to. And in the Character panel we can customize it. So here in the Character panel, you can change the font family. You can use any font family that's installed on your system. Because After Effects looks into your system fonts. It is later font, which is quite nice. It's available from Google web fonts is a free font. And so I'm happy with that later. Oh, but I can choose different styles. So maybe, let's see, irregular. It's more like a headlines or probably regular, but it's a bit too big. So I'm going to reduce the font size here. Maybe 48. I'm obviously, and as I'm resizing this text, it's resizing, but it's not staying in the center animal. Let me undo the last step so you can see clearly. So what I wanted to do because I did manage to center it or the smart guide is, I wonder whether the paragraph panel and make it center light. And now reposition it says a ride in the center here, you're going to see this anchor point here that's right in the center now. And now we'll make it smaller. It's going to stay in a sentence. I don't have to reposition it anymore. Also, just to mention when you're resizing text, you can do it right on the text on our screen here. So I could just click and drag one of the corner handles and then hold the shift key to keep the proportions. There's only one problem with this technique. Possible problem. If you resizing texts by working directly on a text in here, your font size doesn't change, so you will not know what size your text is. So for this one reason, typically, I just use the font size here. So I'm going to undo the last step. And I just need to change the size here from 48 to maybe 36. That's better. Especially when I zoom into a 100 percent view and use the space bar here to pan over. Does the hand tool temporarily does the text because I was almost a 100 percent. I'll just zoom back out to fit up to 100 percent area. So I think later regular 36 pixels looks good. If you have multi-line text, you can also set the lighting here. Vertical spacing is also tracking the horizontal spacing. I'm thinking this text could do maybe with some all caps, maybe, possibly. So you can make it all caps. You can simulate bold or italic. You got the small caps as well. I think all caps is great. You can also go to superscript and subscript. You could change the height and width of the characters as well if you wanted to. And you can also have strokes on text as well. In here. Now I'll leave it, I'll just make it all caps. So like NOW applications. If you want text to be all caps, don't type it in caps. You can use the feature for that. Because if the client, what is that? And if they say, I don't actually like this all caps, all you do is just disable this feature in the Character panel, that's it, and you're done. Save your time retyping the text. So when using Adobe applications, never typed text all caps? No, Never because we have this feature and average and high. No Photoshop Indesign premia After Effects. It's everywhere. Animate. Once you design it better. As we've got all green here and the paragraph panel, if you want to left align, right align center line in here as well. You've got the color on the right-hand side as well as if you were to change the color, you can click on add, it gives you a color picker. You can sample the colors, follow the Eyedropper. We can type in the color value in RGB, hex, or HSB, hue, saturation, brightness, or council at. These are the only options available because After Effects is used for display on the screen. So there's no CMYK here, just RGB, HSB or hex. So I'll cancel it. And of course, if you want to move it, you can easily move it around if you want to add a stroke to your text. It's here behind your text. This is a stroke color. So you can just click on it to activate it. And then you can click on it again to choose the color. So I could do say red for example, just for now. If you decide you don't want any stroke or fill. Which might be interesting idea. So if I go to fill for example, and I'll click on this icon here to make it no fill at all. And then back to stroke. I'll change the color to maybe like a darker green. So if I sample the color first and then make it dark as can actually see it be something like that. It looks like my text magneto, little bit more tracking. So I'm going to add some truck in here. I can just do it on a job now. Just to space out the cartel, I can just click and drag over the values. So if I do maybe say 50, which is little bit more spacing tracking. So this makes texts more readable. Here, just to make it look different. I guess with my strokes are probably went back to us. Why? Let's say that's better. And I'll click OK or stroke. My stroke is two pixels I can try and maybe one. Let's see, I think two is better, more visible. It makes the text look a bit more interesting.
34. Shapes Basics: In this video, we're going to look at shape layers and After Effects and how we use them. So we don't need any files to start with at the beginning. So I'm just going to, oh, actually we did do is I'm going to just make a new composition. So I'll click on New Composition button in here. To make a new comp. We're going to call this one shapes. And it doesn't matter what your settings are going to be. Something to do our standard, foolish, deep HDTV. Hdtv 1080, 24 frames per second. And the background color doesn't matter. Omega S1, a bit shorter, Sentinel is actually shorter five seconds. And I'll click Okay. And we're going to have a look at these shape layers in here or shaped tools. So these are the shape tools that we have in After Effects. And this all create a shape layers for you automatically. Just a standard shaped or so you probably know them already from AD application that Photoshop rectangle, rounded rectangle, ellipse, polygon and stuff. So for example, if I look at the rectangle tool on the top of your screen next to your toolbar, you gotta fill and stroke properties. So you can click on the color swatch to choose the Fill Color. Say I'll make this one maybe white. You can also choose a stroke. So I'll make a stroke maybe a dark greens and greater sample, the green background here. Some reason it doesn't pick up the Thus here. And Omega just darker can always change it. You can also choose the width of the stroke, the thickness of the stroke sick and make it thicker. So say if I do two pixels, for example, make it thicker, then we can just draw shapes. I'm going to click and drag. As you all know, if you wanted to create a square root, just hold the Shift key down on my keyboard and it creates a perfect square. So good a shape in here. With the shape still selected. What I typically tend to do is I switch back to the selection tool. And now we can start customizing the properties. I can change the fill and a stroke so I can make the stroke maybe with a thicker so we can see it better. Save your 10 pixels. We can just prove it and we want with selection tool. And we have a new shape layer in here called Shape layer, which I will just rename. Remember Enter key to rename in After Effects. And this would be my square. I'll know it's a shape layer because she players have this star icon as a thumbnail for the type of a layer. When you customize the shape, makes sure you have the latest left, obviously as always, but just a matter of things you can do with the shapes. If you look on the options for the fill and stroke on the top of your screen. You can also change the type of fill or stroke. So if you click on the word fail, you can change the type of the firm. So it could be just a plain color. It could be no fill at all. It could be a linear gradient or any gradient. Second, picking rid of range for it mostly, I'm going to just be a normal fill color. I'll click Okay for now. Now. And one that really important venue to know about shapes is the Create Shape layers automatically if you don't have anything selected. So if I want to draw another shape and I wanted to be a separate shape, separate layer, which typically you do want. I'm going to click away to deselect it. Pick maybe a different shape tool like an ellipse tool, and I'll draw a circle. So I'm going to start dragging and I hold the Shift key down to making a perfect circle. Then again, I'll switch back to selection tool. And I'll move it somewhere, let's say here. So if I click on the Word file again, we can change the fill type. So I'll say I'll give it a radial gradient fill. If wanted you to Carlos, you just click OK and then click on the color swatch again. So in this case we've got a gradient editor. Some other color stops like in Photoshop. This is my insight color stop. This one is the altered cast up and we can change where the gradient is changing. Can also change the color stops. You can add some more color styles by clicking underneath this bar. Again, like in Photoshop, we can just click and drag to remove the color stop, like in Photoshop as well. Okay, so I'm going to click Okay here. So but it's greater than, we can still control it from here. So I could just move this somatosensory. If I want to give a like a Shine reflection, I could move this maybe here at the top-left corner. And I can move Pickett's sure that transition for the gradient. You can change it at anytime and I'm using the standard Selection tool for that. You can also change them in the timeline. Looking at a timeline, make it a bit taller. Greater, fill opposite Almaty when you start customizing it is fully layer. And here you've got a start point and the endpoint. And highlight length and highlight angle. I just wanted much easier to do it right in here, right on the layer. That's just easier. Some of the stroke, you can clear the West stroke and you can change the type of Astronomy. Let me cancel it. When changing the type of your fill or stroke. What he can also do, ISI can use a keyboard shortcut when you have a color switch, color swatch here, gossip. You can use old key and click to change the type for film or the type of stroke old, and then click to change them. Yes, this happens sometimes on a stroke. There we go. And then Alt click again. I can just click. So pick a column and then I'll begin. Just made a solid. Okay? So I just click on the Stroke and give it a normal film. Making. All to show you here is this old click when change the value for the color in here. Just something you can change. Well, let me just a second, just Alt, click. Keep in mind that when you change in the type of film, for example, here, it's being reset at the same time. So if I keep switching and I'll go to the radial gradient gain, it's back in the center. So I need to reposition the center point. And I can move this point here as well. Also, when I click on the color swatch, it remembers the last setting. Okay, So I can just cancel it. When you're customizing your shapes in general, if I go back to the time, you can also mean timeline. So if I open the square, let me just rename this one. So this is so cool. So, so if I go back to square layer, get our contents and rectangle one. And we're going to stroke no fill itself up in the film properties. You can change the fill color here as well using eidetic colors swap sought, or just the eyedropper. You can also change the opacity of the film synchronous trunk. The stroke here got a color for the stroke opacity, stroke width. So all these options are here in the timeline as well. And you've got the usual all like a line cup around the cup for example, not in this case, but if you draw like a line with a line John as well and Mitre limit as well. You could even add dashes. So you could have a stroke with dashes in here. So I can just do dashes and it could make them may be a bit longer, big hands and there are fewer Dao shoes. You can even adjust the offset for the dashes. So you could have dashes as the stroke for your shape. But in this case I'm going to remove the dashes here, but just so you know, you could have dashes here as well. Another thing that I wanted to mention about the shapes is the anchor point for the shapes. So let's talk about that.
35. Modify Anchor For Shapes: Here's an interesting option about these shapes in here. I'm going to open up the properties, one of these layers, Let's rectangle, for example, square in this case. And I want to rotate it. So I'm going to open the Transform section here and rotation. We can also use the rotation tool which is here and it told us, but also rotation tool. So I can just click on the rotation tool. Or you can use the rotation value here. I'm going to rotate this square here. It's only to click and drag. And look what's happened in here as some rotating it. Which may be something you may want, but typically not really. So let me undo the last step. When you start recite, rotate in animating shapes. Something really weird happening here. Here's why. If you select Rotation tool or one of your shape tools and have your shapes selected, shape layer selected in the center of your comp. You're going to get this icon here. This is the anchor point for the shape. That's what's being used when you rotate the object. So what you may want to do, what I would want to do in here is move the anchor point in shape. That's what this tool in here does. The Pan Behind anchor point tool, uncoupling tool allows you to move the anchor point. So if I select the anchor point tool and I'll move the anchor point into the shape we're writing so that it's going to snap when you drag it to me to snap right into the center of the shape. There's the anchor point tool or Y on the keyboard. And now if I start rotating it, I'll use the date, time, and this time it's going to rotate along around its center point. You'll be designing for the circle. So if I select the circle here, the anchor point is right in. So we'll just move it and it will snap right into the center. Let me show you one more technique. So I'm going to switch back to selection tool. I'll deselect all the layers because I want to create one more layer. I use n of these shapes. Doesn't matter which one. Let's say a star tool for example. Well, these tools like polygon and startled startle, especially you can always change its properties later in the timeline. I'll show you, sorry, let me just draw a star in here. Doesn't matter what the colonies planet, okay? What you can do is as you draw in your star, you can use the up and down arrow keys to change the number of star arms. As you still hold the mouse button down. You can also change it later. So it was an up and down arrow keys to change the number of arms for the star. You can also use the left and right arrow keys to change the thickness of these arms. I'm not sure if that's the right word. We can do this with left and right arrow keys. So you can do something like that, like a flower. But what I want to show you here is another way where you can move the anchor point to the center of the shape. Especially in the case if you want to center the anchor point inside a shape layer, this will be great technique if you want to center it. Because if you are able to Writing Center, you can actually use manifold it on the Layer menu. Transform, Center, uncoupled and in layer content or Control Alt Home, this should be Command old hormone, a Mac. This will move the anchor point to the center of your layer. That's right in the center, so you don't have to move it manually. And I'm not using uncoupling tool in this case, we're just using the menu. So it doesn't matter which tool you have selected. You just make sure that your layer selected, your shape is selected. And just use the layer transform center anchor point in Layer Content. There's this option here. We can center the object inside your composition window, Santa India. So right in the center. So you about selection tool. And I'll show you if you go to your Properties in a timeline and open your Paulista properties, we'll go to options for colors in here and start point, endpoint, but also and transform polys tau1 or sorry, under, under Polish style path here, you can change number of points at anytime. So I could do something like this. You can also change the inner radius, outer radius. In a roundness out around us. There's all these options can be changed later on at anytime on your shape. In here.
36. Masks and Shapes: Just looking at some basics of working with shapes, Shape Tools inside of After Effects as we've been working so far, are kept mentioning that before you draw a shape, make sure you don't have any layer selected. Because if you have a shape layer selected, and if you drag out a shape which you can, what's going to happen is you're going to end up with multiple shapes being part of the same layer. So you're limited in number of options, you can apply it. So say, if I switch to the rectangle tool, for example, I've got this layer selected. I can draw rectangle, which is still separate, but we're getting two shapes now on the same layer. So quite limited in number of options in here. So for this reason, no. Okay. Another technique I want to share with you now in this video is created masks. This is another reason why I mentioned earlier that when you create a shape who they shipped on, make sure you don't have any layer selected. Because if you have a layer selected with an image or a video, you're going to create a mask instead. So that's something to keep in mind. I think we should have a mask full day. That's cool. Okay. So now you will have a folder for masks in that. But what you can do for now is we'll just use an image, any image. And if so, let's say if I go, let's have a look what we're getting here. And we do the sky image as an example. And I'm going to make a new composition from this image. I'm going to rename this one, sky masked, right? And I'm going to move it into a new folder, which I'm going to call actually how we deliver it for now. We can we can tidy up later. So I've got this image. You can be any image you want, doesn't matter if you keep the image selected or the video. Now if you draw a shape with the shape tool, you're going to create a mask and Musk is going to show the content is at a maximum. As an example, I'm going to draw a circle is an ellipse tool. So click and start dragging. And you can just mask in here. As you drag in. If you keep holding the mouse button down, you can spacebar at a time to reposition your mask. The same like in Photoshop when you draw a shape. You can also use Shift key to make it too perfect circle. I'm going to make it small for now. Also, let me show you another technique. Let me undo the last step. Because just have an idea. I want to draw a circle as a mask right in the center of the composition here. So here's more kinda keep the layer selected. Select your shape like a circle or ellipse tool, in this case, position your cursor right in the center. You can see the anchor point right here. And then click, start dragging and hold Control on Windows command key on a Mac. And the Shift key. This will draw out from the center or from whatever you started dragging. And we can make it with the Berg oxygen into make it a bit smaller just so I can see the entire mask layers and R is the mouse button first, and then release the Shift key and the control key or command key on a Mac. So that's our mask. If the target is Musk's here in the timeline on the layer and mask one. If you switch back to selection tool, you can double-click any of the anchor points here. And you can transform the mask. So you could make it wider or you could make it say shorter or taller. If you don't want to do that, just click away to deselect. Or you can double-click or you can present on a keyboard. At the moment, I've got all these points selected, they all felt. So if I click any of them and drag, I can move the entire mask. Let me undo. If we click away to deselect, we can select just one of them and we can edit one of them. You can see them get the handles here. Let me change the background color, composition, composition settings. Change the background color. So you can see the handles better. Maybe I'll make it really dark. There we go. So when you have only just press Escape key or enter key loops, you can click any of these points and it becomes active. When it's active, you could reposition this one anchor point. Or you could change the curvature will be handles accusing Pen tool in Photoshop. Just some things you can do with masks. For example, let's say you want to make this much smaller. How we'll just double-click one of these handles and then resize the mosque. Holding Shift key down and Control key command Kinematic to resize from the sun that and shift key to keep it as a circle to make it smaller. The reason I'm making it small, I'll show you. So with the mouse button there is the keys on a keyboard press Enter it accepted is because if you open the properties for the mask here in the timeline, you can customize the mask expansion so you can always make it bigger. And that's something we're going to animate in here in the next video. So let's keep it small for now. And we'll animate the mask to make the image appear, reveal itself.
37. Animate Masks: In this video, we're going to edit an animate this mask. So we're going to mask on an image or could be a video. And in the timeline, you get the properties for the mask. Mask path must fervor much capacity and mask expansion. With mass expansion, we can make this mask big or smaller from its center. Okay? And we can also add mask feather to soften the edge of the mask. So if I add a bit more favor, I'm going to keep the channel box is going to apply around the entire mask just to make it soft. Dad say about 10 pixels, maybe 12, that's fine. And initially one, the mass to be very small. So I'm going to adjust the mask expansion to a negative value so we can't see anything. And my CTI is right at the beginning. And I'll click on the stopwatch for mass expansion to set a keyframe here. Then I'll move the current time indicator by psi about 2.5 seconds. And I'll adjust the mass expansion to reveal that was going to happen, to reveal the entire image to make it Shh. Let me just among the entail the end and play it. So that means being revealed maybe a bit too far. Some of the keyframe do what's three seconds with the mask fervor, the softness on the agent here. This could also be animated, but I'll keep it, to keep it 12 pixels all the time says they're good, nice soft transition or maybe even more than 12 pixels, make it nice and soft could amass capacity as well. So you could make it semi-transparent, which means the image will partially or totally disappear. So you could use that to create this fading effect. For example. That's just something you can do the masks. And we're going to talk more about mass and animating Mars and Muslim video. This is just how you can create masks with the shape tools to start with. And we'll get a separate part. We're going to talk about the Pen tool as well. This is just how you can use the shape tools to create a shape layers and how you can create a shape tools to create masks here as well. And make them animated like in this case, we have this animated mass which reveals itself, grows in size of the animated view.
38. render Video: When it comes to export it from After Effects and when to export this animation here. But as a matter which one will be exporting a composition? It can export any composition. So this composition will be just an example. And let's say I want to create a video file from this composition. So we're going to do is we need to render it in here. First, make sure you have your composition selected. It's either sector composition panel or select your timeline. And when you go to Composition menu, we're going to add to render queue. And this will automatically be added to render queue, which normally appears at the bottom of your screen next to your timeline. So it's hair. By default. After Effects will use best settings, lossless quality, right? So normally, only need to do here is just choose what you want to call it, where you want to save it. So here where it says Output to, you can just click on the name here. And I'm going to put it right on the desktop in the folder here. Or could be annua, occupying a motion sketch. That's okay. And I'll click Save. Just choose where you want to save it or do you want to call it? On the left-hand side here? And the Render Settings, we have best settings. There's a drop-down here, swell. But we're not going to use any of these in here. The same there, unless you want to export as Photoshop sequence or tiff sequence. Now, by default, when you export your animations, After Effects will create an AVI file on Windows and MOV file on a Mac. Because AVI is wind, is Microsoft, and movies apple. Okay? You can't create an MP4 file by default, not by default. Okay? So let's say you want to customize some options here. Here's couple of things you can do. What it does best settings, if you click on it. This will give you a dialogue box where you could export psi at lower resolution. Now what is that? What this means is, say if I take it to half, it's actually going to export not at a lower quality, just smaller video. Instead of having 1280 by 720, it'll be 640 by 360. So for example, if you have four K composition and you want to export it as full HD, you just export as half resolution. This will give you full HD. Keeping us full. You can also choose the quality. You could lower the quality if you want to do a quick export, this might be handy when you export something which requires a lot of processing power, BI or leave it, okay? Normally we're not changing anything in here. Just a couple of more things to mention is if you wanted to, you could change the frame rate of your composition. It could do it in here. I'll leave that because ideally you just change the composition frame rate in your composition settings dialog box and not when you're exporting. And in here, you could also customize the export. You could export shorter version of your composition is going to export the entire composition by default. In my case is five seconds. I can click on custom here. And it could set the end to be earlier. So say I could export may be just, let's say three seconds and four seconds and so on. But I'll click Cancel. So much. Enjoy anything here. Going to cancel out. On the output module what it says Lossless. If you click on that, you could change some settings for the export. So I could say, okay, I'm happy with the API because this will give me a high-quality video file. I could change it to quicktime as well on Windows, because Windows supports a movie formats. But I'll stick to AVI. That's okay. You can also set number, the depth. In this case it's just mix of colors because the economy isn't, it's just me. Yes, of course. But you could sum of useful features here is we could resize it unless previously. Unlike previously changing the resolution in here, you can set it to any size you want. When you resize it. Are you could also say I could resize to any of your LEA can use either Jordan for precise. So say if you have four K composition and you want it to be standard HD, you could go for HDTV, HDTV 720. For example. It will keep the same aspect ratio. You could also crop your composition. It's a good crop, top, bottom, left or right. Like sometimes people ask, How can I criticize effect? Where the video or the animation looks like? It's letterbox. It's got these black bars on top and a bottom section. You can see sometimes when you watch the video, which has different aspect ratio from your screens aspect ratio. So you could just add, you could just crop top and a bottom in here. So I can crop the bottoms. I don't know, 30 pixels, for example. It's going to be shorter, but I'll leave it at 00. You can also disable audio. If you have audio in your compositions, he could just turn it off. Otherwise it's going to be set to auto, which means if you have all your it's going to play. If you don't have any audio, they'll be no audio. But you get a choice here. And you could change the bit rate as well. Both stick to 48 kilohertz, which is the default. And it's a great, Well, good setting for the web delivery. Because I haven't changed anything here. I'm going to click Cancel. All right? And all we need to do now is we just click render here. And this is going to run the animation or video. You get a progress bar here. And it's done. So now I have this video in the folder on the desktop, which we get that center because it's exporting a lossless file by default, After Effects, you will get a big file for big, big video file. Okay, that's something to keep in mind. So if you want a smaller file, what you can do is you can send your video, your automation, your composition, to Adobe Media Encoder instead.
39. media Encoder: Here's a good example when you may want to create more, well, you may want to send it to me, terracotta, like seawater create MP4 file because, you know, we've done this AVI movie, but you can't buy them online. They just too big files and they require plug-ins, so that wouldn't work. Especially AVI file. What you want for the web, for the web delivery is and before file because MP4 is where MP4 place on everything. And MP4 is a part of web standards. So we can do instead is if I go back to motion sketch, there, I'm going to close up to the render queue. I don't need it anymore. And with the mosaic is selected, we'll go to the Composition menu and we'll add to Adobe Media Encoder Queue. This is going to launch Adobe Media Encoder. And we'll add it to Media Encoder automatically. And in Media Encoder, we can create an MP4 file. For that matter, emit and Coda. You can create anything you want really, because he could always different choices. This is loading into coupon on in here. And by default, it's going to use this H.264 or this one here. Let me, so I know it says format, but this is actually a name of a codec that's been used to create a video file. And this creates an MP4 file automatically. Let me just remove this one. So I'm going to highlight actually these and I'll use the minus to remove them, okay? Yes. Just want this one here. On this drop-down menu, you can choose pretty much any format you want. But typically you want H.264. Thus decorrelated produces MP4 files. Does decoding is widely supported across all platforms, everything online, every web browser, every platform, Windows, Mac, Linux, Android, iOS. They all support H.264. You can play it on your TV or a DVD player on everything. But you also do have a choice of AVI and QuickTime, again, you may not have AVI on a Mac because when Microsoft become actually 64, you got your quick time. So I want to actually 64. You can just press as well now because we now export an MP4 file, which purposes normally for the web platforms, you get some presets for different platforms here, like Twitter, YouTube, Vimeo, Facebook, and so on. So if you want, so again, say if you're exporting a video which is folk from After Effects, you can produce full HD or standard HD. Full HD, standard HD as well, say Mia for legislative HD. If you want to make it lower resolution. Otherwise, much Source High bitrate is just perfect. This will definitely give you a smaller file size. Now if you want to choose where you want to save it, what you want to call it, you just go in here. Money's going into the same for lesson. I'm okay with that. That's fine. And I need to do here is just click on this little play button to start the rendering. You can appreciate the bottom here you get a progress bar as well. It's going to load this from the encoder, is going to render it. And when it's done, it done here. Okay, So now if I go to the folder here on the desktop, I've got this one here. This is the AVI, this is massive, says 316 megabytes for five seconds. This one has an MP4 and this is 2.5 megabytes. The quality will be pretty much the same because MP4 is great at compressing the video files. So when you export in from he didn't call it from After Effects. You have two choices. You can render it right inside. After Effects is an add to render queue. Or you can send it to Adobe Media Encoder. If you want to produce something that's not AVI movie, typically for the web, you want to end before. So just send it to me than Coda instead.
Marek Mularczyk
