Learn Adobe After Effects In 2 Hours

1. Introduction: Hey, my name is everyone and welcome to learn adobe after effects CC 2017 In two hours In this new and exciting course, you will learn one of the best applications for motion graphics and visual effects in just two hours. Even if you have no experience at all, I will go through all the basics with you, and we will also cover exciting topics such as motion tracking and even three D camera tracking. In this course, you also learn chroma, keying or green screen techniques, animation, key frames and also to export your final video once you're done with your project, just to name a few things, this course consists off 22 aftereffects lessons. And I promise you, if you learn these 22 techniques, you will be able to create anything that you can imagine with a bit of practice, of course. So if you ever wanted to get into the world off motion graphics and visual effects, now you can in just two hours. And if you don't have a copy of after effects, you can download a free 30 day trial from adobe dot com. I really hope that you enjoy this course. Feel free to ask questions if you have any. And let me know what you think of this course once you have completed it. Thanks for enrolling. Good luck and have fun. 2. The Interface: All right. So welcome to the first lesson. And in this Listen, we're just gonna look at the interface in after effects CC 2017 Now I'm using after effects CC 2017 but you should be able to follow along in previous versions as well. So before we start, I'm going to go up to window right at the top and then go to work space. And then I like to sit mine to standard. All right, You've got all these different work spaces, but standard is pretty nice. It's got everything that you need. You can obviously go through these and take a look at them. But I recommend using standard because I'm gonna be using standard throughout this course. Eso yet Make sure that your workspace east said to standard. Now, if you look at the screen is gonna go around and just explain to you what every or what each part of the screen means and what you're going to use it for. So if you look right at the top, you've got your tools years. So it's your selection to your hand tool, which is like a pan, and you've got your zoom to zero your camera tools and also your masking tools like your shape, your pain, your text. And just below that, we've got our project section, and this is where you're going to keep all your compositions and all your assets. Like if you bring in graphics or logos or footage, that's all going to be inside this project area. And just next to project, you'll see a tab called Effect Controls. Click on that. This will display all the effects on the selected layer, so we're going to get two layers very soon. But this is we're going to see all your effects. And then if you click back on Project, that's really see your assets. All right, just next to this. This is the composition screen. This is basically going to be the main screen where you see your what you're actually working on with a composition that you're working on, and right below that you've got all your settings for this composition screen, and then you could resume you at the bottom. So currently, this is say, to fit up to 100%. So that's pretty nice if you move or if you re side of your screen. You actually just keep your composition kind of sized correctly. And then you've got all the tools here, like your title and action safe and your proportional grid. If you wonder, just space things out nicely, and then, of course, your quality as well. So you can either sit this on auto and it's gonna select the quality depending on your computer specs or your CPU, so you can also drop this down by our justice drop downs, a full off third or quarter. So if you're working on a really complicated composition and it slows down your computer, you can try and sit this to half or even go down for the 2/4. All right. And you've also got your camera selection year. We'll get to that later and then on the right inside. We've got some tools here. So this is we can find the character, like if using text this weekend strange, the fund and the size and the style all of those things. Andi can also click on these two little arrows and you get things like your effects and presets. We're not really going to use this. I'm gonna show you guys a really easy way to get your effects on. Didn't most have something called libraries. Also, not really going to look at that. So I usually just sit by and to character. That is good enough. And they need the bottom. We've got your paragraph. So this is basically when you using text, you can just select your, um, paragraph style basically so really simple stuff. And then at the bottom on the left hand side, this is we're gonna see all your layers or your layers in your composition. We're gonna look at that really soon, and right next to that is your timeline. And this is we're gonna be seeing all your layers in a timeline style, and you're going to do most of your key framework in this area. So it's a really simple identifies, actually. Just remember that your assets will be in the project area and your layers will be at the bottom and this is your timeline, and then this is your main screen we're gonna be working in. So that's the interface in after effects CC 2017. I'll see you guys in the next lesson. 3. FX Console: Hey, and welcome to the next lesson on this. Listen, I just want to show you guys a plugging that I'm gonna be using throughout this course, and it's something by Andrew Kramer or video copilot, and it's called FX Console. Now, in this video, I'm going to show you guys how to install it and how to use it. So I really recommend downloading and using this. As I said, I will be using it throughout the course, and it will speed up your workflow a lot when adding effects in off Perfect. So I will leave a link to this website in the video information section where you can just Google effects console video copilot, and you will find it and you'll find a version for Windows and also for Apple. Now I'm on Apple. Some Schmidt download the Apple version, and I didn't save it on my desktop for now. Just save that and it's pretty small as well. It's like 2.9 Meg, and then I'm gonna go to that quickly show you guys how to install it. So it's gonna expand that DMG file, and I'm gonna double click on the installer, click on open and then I'm simply gonna go next, and it automatically picks up the version off after effects are showing CC 2017. Click next, Next, and it's gonna ask me for my password. So let me just type in my password here and then click on finish, right, So we can close all these things down. And now we're gonna go into after fix. I'm going to show you guys how to use it. So I'm gonna start by creating a new composition. And you can do that by clicking on this little icon year, and I will go through all these sittings in a later lesson. So this is just basically the show, the effects console plugging how it works. So I was gonna leave all the settings default and click on OK, And I'm really quickly. I'm just gonna right to get the bottom, go to new, and I'm gonna add a new layer. So I'm gonna add a text layer just to demonstrate how this plugging works. So I'm gonna take Slayer is gonna type something your religious type text. All right Now, usually, if you want to add a specific effect to this layer you can select this layer and then you can go to effect you at the top, and it will give you all these categories and then you can go to Let's tell you, when I had a blur, go to blur and shopping and then he can search were blur effect that you want an idea. So let's say we want to add a fast box, Blake and selected from your and then you've got your effect. Apply to that lace. And now, with this latest selected you and the effect controls at the top, you see your first box blur, and I can go and increase the radius here, and you can change the settings. Another way to add. In effect, he's if you right, click on this layer and you go to effect and then you get the same category last year so I can go to let's say, distort and I can go to liquefy, and you can sort of apply your effect in the window. So that's usually how you will add effects. Two layers. Now, with this new FX console, it just makes it a lot faster, a lot easier to add effect. So what I'm gonna do, I'm going to let my layer year in the bottom and then on my keyboard, I'm gonna simply press control space, and it's gonna bring up this little search box. And now I can simply type in blur, and it's gonna give me, although blurs all the effects with a word blue in it. And I can use my arrow keys to go down or up. And let's say I want to add a forced box blur can just selected press enter, and there the effect it's now applied to that layer. So basically, you don't have to. No way that effect is so usually will have to right to go to effect. And then you need to remember kind of way that effect easel under what category is Nike and simply just highlight that layer press Come on space or the short get that you actually apply to it. You can change the shortcuts as well, and I can simply type liquefy, press enter and they have got my liquefy effect on that layer. So I'm gonna be using FX Consul throughout the scores, so make sure you install it. That will just make everything a lot easier. All right. So I will see you guys in the next Listen 4. Keeping Things Neat And Tidy: All right, So welcome back. And in this video, I'm going to simply explain to you guys that show you guys how to keep your off to fix project nice and neat and tidy. And that's really important when using after effects of working in aftereffect. Because your project can get really messy really quickly. And it's always good to keep everything nice and tidy to rename your layers to just keep everything inside of folders inside of aftereffects just to make your life easier because sometimes you will work in a composition for a couple of hours and your savior, and then you come back a few days later. And then if you just kind of put everything in one folder and you didn't rename your layers , that will be really confusing for you to carry on working on that composition on that project. So really simple stuff to keep everything nice and neat. So let's say we bring in some assets, all right? So I'm gonna bring in this video file, which is just my channel, my YouTube channel intro, and I'm gonna bring in my logo as well from the drag this in your And don't worry we're gonna go through everything regarding importing assets in a later video. So this is just to explain to you guys how to keep things neat and tidy. So let's create a new composition as well. So I'm gonna click on this little button at the bottom to create a new camp, and by default, it's gonna name it Comp one. I'm gonna keep all the settings default or will explain this in a later video. Okay, so now we've got Compere. We've got a video file and we've got a graphic or a PNG image file. So what you can do is you can just simply right click in this area and you can go new folder. And then I like to create a top folder called Assets Like That, and I'm gonna make it all caps. You don't have to just something I prefer. And then with this assets, fold the selected, you go to file you at the top and the new and in folder or new folder, and then I'm gonna call this one graphics and then I'm gonna create another one. I'm going to select assets again. Go to file new new folder, and we'll call this one video. All right. You can obviously create some more. They And then I'm gonna create another folder under assets. Go to file new new folder, and we'll call this one camps. And that's for compositions, right? And then you can simply drag your assets into these folders. So I'm going to drag my comp one into camps. I'm gonna drive my video file of my movie file into video in my P and G into graphics. Now, it's nice and tidy. You can expand these folders to see the contents. And if I double click on my comp one now, it's gonna open up my comp one yet the bottom And another thing that I like to add is a archive folder. Okay, so under comes, I'm gonna click on cops, go to file new new folder, and I won't go this one archive. All right. So let me explain to you guys why I create an archive folder. So sometimes you work on this camp one. You spent some hours doing some stuff in there, and you want to create a new version. All right, So what? I'm gonna doing a duplicate this comp one on day is a couple of ways to duplicate a asset inside this project area. You can go to entity at the top and you can click on Duplicate Oregon is a short cut on the Mac. It's come on D, and then it's gonna automatically give you a new number, like comp to. And now what I want to do is I want to file this comp once I'm going to drag it into archive and then if I double click on, constitutes gonna open up, come two years the bottom in a new tab and then you can start or carry on working on that come to so basically come, one will be saved and archived if you want to go back to that version later. But now you've got a cop to you and you can start working in this one. So let's say let me just show you guys If I delete this, if I go back into Camp one and I add some texting your religious type something, yeah, hello, and then I'm going to duplicate this complaint. So with this compound selected, I'm gonna use the shortcut. Come on D to duplicate it, and then I'm gonna archive my comp once I'm going to drag this into archive, and then I'm gonna double click on comp to just to make sure that we working inside off the comp to composition and you can also close camp one year at the bottom so we don't see that . And as you can see, we still have our layer in your Now I can duplicate this layer by using the shortcut. Come on. D again. And I'm certainly gonna move this new lay just out of the way. It's just type something. There's well, all right. So now you can duplicate, come to If you want to create a version three duplicate that I'm gonna archive Markham to now, doubly can come three to make sure we working inside camp three, close that one. And then you can start working on that camp. Obviously, no. If you want to go back to camp one for some reason, just publicly can camp one under archive. And there is your comp one version. All right. Another thing that you need to remember to keep everything nice and tidy ease to rename your layers in your comp area. All right, so Let's go into Camp One. And currently we've got a layer year called Hello and you can simply just highlight this layer at the bottom Chris Inter New Cabo to rename it and you can call it maybe top text layer or whatever. You actually want to call that layer. So let's say we had a solid Let's add a solid. They okay, and I'm gonna move this down below the text. And let's say this is our background now by default, it's called dark, Great, solid one, which is not really nice. So I'm going to rename this to background, so just highlighted again and then press enter on your keyboard to rename it. And then I'm gonna type background. And as you can see, that just looks a lot neater. So you know that's your top text layer, or you Let's call it a raid text, and this is your background, and sometimes you'll have, like, 20 or 30 layers year in this area, and if you rename them, it's just gonna make your life a lot easier. All right. So just remember to rename your stuff here in the layer area and also remember to create folders we can file all your assets. And that way your project will be neat and tidy. If you come back to it at a later stage, you'll know what is going on inside this project. All right, I'll see you guys in the next listen. 5. Importing Assets In To After Effects: Hey, welcome back. And in this listen, I'm gonna show you guys how to import assets into after effects. So we actually touched on this in the previous lesson. But let me just quick to show you guys again. If you just want to focus on importing assets so really simple in this project area on the left hand side of your screen, make sure that project is selected and not effect controls. So project that's highlighted and can see there's nothing in there. I don't even have a composition or anything, and it's really easy to import assets, and you can do it in a few different ways as well. You can simply DoubleClick in this area, and it's gonna open up a browser and any consider licked a movie for, like, a video file or graphic fall. J picks PNG stuff. What if you want to import, you can literally just highlight it and then click on open and it's gonna import that file into this area, right? I'm gonna delete this file again. Another way to import assets. Ease to just right click in this area, and then you can go to import and you can select either multiple files or just file. So let's say one import one file. I'm going to click on file and then we just simply select my graphic, follow my video files we can open, and it's gonna bring in that asset. All right, you can also right click, go to import and go multiple files if you want to import multiple falls at once. So now I can select all of these files and I can click open and is going to import all those files. And it's actually gonna bring up this window again so you can actually browse to a different location. And I'm going to click on that file, gonna open that, and it's gonna bring that in again, and it's gonna bring up this window again. All right, Another way that you can do it. You can go to file you at the top, and then you can go to import and you've got the same options here, file multiple files, etcetera. But the easiest way or the way that I like to import assets is simply by dragging and dropping. So I'm gonna go to my finder or your file explorer, and he can simply just select the files that you want to import, drag and drop them into this project area. And there they go. Alright, someone to simply just select my video file and maybe I want to import the logo is well service, highlighting both of them and dragging them into the project area and the agency importing Very simple. So that's really very easy how to import assets into after effects of showing you guys how to create folders to keep everything nice and tidy. So once you've imported all your assets, follow them under your folders and everything will be nice and neat. And that's how easy it is to import assets into after effects. Also, you guys in the next listen. 6. Creating Your First Composition: and welcome back. And in this video, I'm going to show you guys how to set up your first composition on. I was gonna go through some of the settings when setting up a new composition in after effects. All right, So again, there are a few different ways to create the new composition. I'm going to show you the few different ways, and then we'll show you the easy way that I usually use. So you can either right click in this project area, and then you can go to new composition. Or you can go right to composition you at the top and then click on new composition. Or you can simply use this little icon at the bottom, and this is the way I like to do it. Just look for this little picture yet the bottom. And if you point to where details create a new composition, click on that. That's going to open up the new composition settings box, so I'm gonna cancel that. There's one more way that you can do it, and that's by using the shortcut, which is really easy, and the shortcut you'll see ease command in rights or simply with this project area selected. I'm gonna press come on in on the keyboard to open up my new composition settings. Right. So this is really simple as well. So right at the top, you've got your composition name, and this is what you want to call your composition. So let's call this my first comp or right, and then below that, you've got your resolution or the size off your composition. Now, for this course, I'm mostly gonna work in full HD, which is 1920 by 1 80 to make sure that yours is said to this 1921 80 resolution. And below that, make sure there's a city Square. Pixels were always going to use square pixels in this course. And then you put your frame rate so you can click on this, drop down and consider between all these different frame rates. Now I'm gonna use 25 you can on the used 29.97 or 30. Even That also depends on the footage files that you are bringing into after effects. So let's say you've shot some stuff at 30 frames a second. Make sure that your company's also said to the same frame rate, which is also going to be 30. I should Most of my stuff on 25 or 30 doesn't really matter. But I'm probably going to be working in 25. If I bring in footage at a different frames per second, I will just mention that in that video. So yeah, this is basically we set your frames per second and this is the resolution Full Hall, third quarter. We could obviously change this yet the bottom inside off after effects. Once we created our new composition. So you don't really have to worry about this. You can just change it whenever you want to. And below that, we've got our start time code. Now I just like to use 0000 And that's basically just a starting time code off your compositions. I don't worry too much about that. And below that, we've got our duration off our composition. Right. So this is basically we're gonna change them out off seconds. He can change this to 10. That will be 10 seconds. And you also don't really have to worry too much about this. Of course, you can always change it So let me show you guys, If I click on, OK, that's gonna create my composition. You're on the side, and then I'm gonna create a new folder to keep everything nice and tidy. I'm going to call this assets and in underneath assets. I'm going to go file new folder. I'm gonna call this cops, all right? And then I'm gonna file my first comp into that folder, and it's nice and tidy, so this is by steer, compute the bottom. You can see it's 10 seconds in duration. And if we want to change this duration, you can do that. So it's not really just sit in stone to that duration. So inside this composition, Aiken, go to composition right at the top, and then I can click on composition, sittings and all. Basically, take me back to this page. And now I can go, Let's say, wanna change the duration to maybe 20 seconds? So we're gonna change that 20 Click on. OK. And now you get this zoom bore you at the top of your timeline so I can just extend this and you'll see that our composition is now 20 seconds. Right? So this is basically just a zoom bought that you can also use year to zoom in on the timeline when we're gonna be using key frames and stuff will probably use this quite a lot . And let's say we wanna Drummond down again, maybe to only five seconds. So I'm gonna go back to composition composition settings, and I'm gonna change this duration to 05 like that and then click on OK, another composition duration is five seconds. All right, if you want to play back your timeline, you simply press space ball and you'll see that that played will run, and that means it's actually playing through that composition. You also see this green line, which means it's rendered if it's not rendered, and you've got a lot of layers that might play slowly and intellectually. Cash those frames so it will start to turn green and the next time when it's run through, if you played again, it will play a lot quicker the second time. Once it's green, right? So that was just the easy way to play your composition. You can also use this preview section you at the top. Let me just resize this so we can see everything there, and then you can also eat play year, and this will basically the same thing. But it's just so much easier just to use space born your keyboard and in space bar again to stop that playback, you can also simply just click and drag to put your play it. Let's say you want to go to four seconds. You can just click and drag it and put your played over four seconds and it will give you your time. Indication you on the site. You can see they it's actually updating to four seconds. You can also change this manually. Let's say you want to go to the 1st 2nd I'm simply going to click your and I'm going to change this with the arrow keys to one press enter and you'll see that your played will jump to exactly one second. Now. I usually just use the drag and just to drag it around you. It's the easiest way to do it, I think. And that's basically how to create a new composition in after effects. It's also you guys in the next listen 7. Working With 2D Layers: All right. So in this listen, I'm going to show you guys how to work with two D layers inside off after effects. So most of the work you're doing often fix will probably be two D layers. I'm going to show you guys how to do three d as well. But in this listen, it's only gonna be to the layers. Alright, So I've got this comp set up already. My first comp, if you don't have a compass creating you Camp A zai showed you guys in the previous listen , and then I'm gonna start creating some layers, and I should explain to you guys how the old two D system works in after effects. All right, so I'm gonna bring in some assets, So I'm gonna go to my finder, and I'm gonna bring in a video file, and then I'm also gonna bring in a graphic file, which is just my logo, and under my assets, I'm going to create a new folder, and we call the one video and because assets again, new folder, and I'm gonna call this one graphics. All right. I'm going to drag my video fall into video, and my p and G into graphics. Everything is nice and tidy and I'm gonna create some layers year in this composition called my first comp. And let's start with a simple background. Okay, I'm gonna rightly to new and I'm gonna create a solid Now these are all the kind of layers styles with the layer types that you can create something like text solid light will be more three D related camera will be three d related. No object will get to that later shape, layer adjustment layer. And in these bottom Teoh, we don't really gonna worry about them for now. Someone create a new solid, all right. And you can give the solid and name, and I'm gonna call it background to keep everything nice and neat. And this is the size off my solid, so I'm gonna make it the same size as my composition with just 1920 by one of 80. And if you accidentally change this, you can simply just click on make comp size. If you click this button, it will just jump back to the size of your composition. All right. You can also set the color yet the bottom. So if I pick on this, you can see it. This let's say we want to make it like a dark grey click on OK, and then click on OK again. And that's basically just creating like a solid, just a flat plane. And that's gonna be your first layer. All right, let's say we want to create some text now, so I'm going to right click New and they want to create a text layer right on missions. Type something you text simple as that. So now with this new text layer, you can see it's actually above our background, and if I move, this ticks down. He can just drag and drop it. Drag it below our background. You'll see that the text is going to disappear, and that's because it's below our background. You can also drag this up again. Now it's above our text and let's create another text layers. I'm going to write like new text, and I'm gonna call this one, um, type something. Hello? All right. Obviously it's over there. Texture is gonna kick on it, and then with your new hello text layers selected, make sure that your arrow a selection to ease highlighted here at the top, and then you can simply just dragged around inside this camp area to reposition it. All right, So you can just click your lay on the side like, let's say you want to move the text. So I'm gonna kick and highlight text, and then you can simply just drag it around. So let's change the color off our hello layer. So I'm going to select the hollow texting on the side, and then you're under character on the right inside. You can see there. We've got read something to simply click on that and they're gonna change it to blue picking. Okay? And it's gonna change the color off that text. So as you can see, our hello is above the text layer. So if I drag this hello over text, you'll see that it's above our text layer that text layers underneath. Hello. And let's I want to put the text above the hello. You could simply just click and drag this text layer above Hello, your in this area, and I can see it's above our hello text. All right, I'm gonna delete my to text layers, so I'm simply gonna click on the one old in command and then click on the other text layer , then press the lead on your keyboard so they gone and we're gonna bring in some graphics. So I'm gonna take my P and G fall, and you can either drag it into your viewer year where you can drag it into the layer area . So let's say you dragging your little boys, you just put it right on top. So if you have multiple layers year, it's gonna put it right at the top. And let's say you want, for instance, you want to drag below your background, you can simply just drag it into your layer area and place it below your background. But now we just want place it on top. So I'm gonna drag and drop it into the side, and you can see these. Our logo. We can resize it. You can click on these handles resize it. Simple is that we can holding shift, and it will just keep the aspect ratio the same. And, yeah, you can just click and drag it again to move it around. And it's renamed that layer because currently it's got this whole PNG file name, which is not really nice. So I'm gonna click on it once, press enter and I'm gonna type logo. Now. Each layer has a lot of parameters below it. So to expand the parameters, you'll see there's a little arrow year on the side off that layer, something. Expand that and then recede. Transform. Let's expand that as well. Now I've got anchor point position, scale, rotation and capacity, right? So it's gonna move this into the center on going to scale it up slightly, all right. And now you can see if your position years they've cut your X and your Y value so I can simply click and drag this value. So that's my X value, and it will change the position in the X Axes can do the same with the Why axes up and down . You can do all those changes right here and then below that. We've got scales. A current institute. 93%. I can click there, and I can just input 100 press enter, and it's going to link both those values together, and you can also just click and drag you to scale. It did say when a scale it exactly 50% Quickly typing 50 bris enter, and it's gonna scale it exactly 50% below that. We've got our rotation so you can just click and drag. And this is the rotation off that layer. Let's say you wanna said it exactly to 90 degrees. You can just click there and in typing 90 priests enter. That's exactly 90 degrees. And then you've got your capacity as well, so to show the opacity. But I'm going to create a new layer quickly. I'm gonna minimize all these parameters. Right. Click New and let's create a text layer. And when the type text, all right, and I'm gonna place my text below my logo, so I'm going to drag it down. So we've got our background right at the bottom. Then we've got a text layer, and then right at the top, we've got our logo so under my logo and expand my parameters again. And I'm gonna set my rotation back to zero like that, and I'm gonna sit this scale back to 100%. So we've got our layered mice and big the logo and now capacity. That's basically the transparency off that layer. So If I said this to 50% you'll see that you can actually see through this layer and you can see the text behind it. Okay, If I move it around, you can see they Let's go to 50% transparency. If I said this to zero, we won't see that layer at all because it's 0% opaque, so it's 100% transparent. Economically can drag this just gonna see the effect that a pastis got on that layer to consider to 90%. So it's just like D transparent, and that's basically opacity. All right, now let's minimize the properties or the parameters for logo. You'll find exactly the same things under text, but there will be a few extra parameters because it's a text layers that I was gonna move it out here so we can see it and underneath our text to expand it, you'll see that we have text and then also transform. And then transform is exactly the same. If what you position your X and your y, and you put your scale okay for text is always better to not use the scale year. Keep this on our 100 if you can and then just use the actual text size on the site of the character writing. You also have irritation. Could do that. And then you also have your capacity. Okay, let's minimise these parameters and let me show you guys how easy these to duplicate layers inside this area. So I'm gonna move my logo to the corner yet I'm going to scale it down slightly. So I'm gonna go this scale, and I'm gonna say this to 50% scale and minimize that. And with my logo selected, I was gonna move it up to the site there. Now, let's say you want to duplicate this logo, create multiple copies of only two copies. You can simply select this logo layer and you can go to edit. And in duplicate, we can use a short cut. Come on, D. So that lay selected on prison? Come on, D on the keyboard and you can see the Now we've got a logo. And loga too, as well. So the longer to five Move this down. You'll see. It's just a exact duplicate off that first layer. You can also select multiple layers like that and I'm gonna press. Come on, D on the keyboard to duplicate both of them. Now I can see we've got a three and four as well. With them selected, I'm just moving them to the side. And now we have four layers. All right, you can do the same with the text, So I'm gonna move my text up to the top. And with that lay selected, I'm gonna praise Come on, D. It's gonna great they takes to exact duplicate off. This one obviously can change this new layer so I can just double click on it and then I can just type something else takes too right. And I can change the color of the sticks to to something else. Let's make it lice and shocking green. And an Argonauts is just going to the parameters and it can change the transform, baby A scaled down or irritation maybe something like that to 90%. And yeah, that's how easy it is to just duplicate your layers. If you want to move it around, just make sure that your selection to is selected you at the top like that. So let's say you want to change the scale of this and you don't want to go into this drop down and then do the drop down your as well and then look for scale and then change a day. These shortcuts were everything in off effects. So with this logo selected, you can simply press s on the keyboard is for scale, and it's gonna just bring up that one parameter for scale. And I can scale the Doubters scale it up. All right, I'm gonna undo that. I'm gonna minimize that again. Let's say you want to change the rotation of your logo, and you don't want to go through that old drop down sequence. So I'm gonna select my logo, lay on the side, and then I'm gonna press are on the keyboard or irritation, and it's gonna bring up the rotation parameter, and I can simply rotate it. Okay, The same with position. So you guessed that p for position, okay. And you can change the position when I undo that. And for opacity of besties, slightly different. That's not O. The best is actually t for transparency. And I can change the value for a pass ity or transparency, right? To remember t for capacity. Okay, so let's say we want to bring in our video file as well. So I can simply other dragon in here and you'll see it's gonna place it right at the top off our layer system. You're on the side, so I'm gonna delete that they let's say we want to place it underneath this logo, but maybe above the text, you want to place it in the middle off text and logo. So now I can simply just drag it in your drag it. So it's got that line between logo and text release. And now your video. If I scrub the timeline yah, you can see there's a video playing and it's underneath the logo. But it's above the text and obviously also above the background. So now I want to change this size off. This video is going to rename it first. So with that highlighted press in tow, when you call it a video and they want to change this size or the scale so I'm gonna press s on the keyboard for scale, and I will set it down to about 40%. I'm gonna type in 40 press enter, and then I'm gonna minimize the perimeter and with that video Lay selected, I was going to drag it out and move it somewhere. They and now I can play this back. So with your on your timeline, just make sure you on the first frame and then press space bar on the keyboard to just play through that. And you can see that it's cashing. It's creating this green line. Okay, there we go, and I can see the duration off. This video is only three seconds. So if I screw up three year and it goes over that three second mark, that video will actually disappear because there's nothing on the timeline here to show, so it will not show anything if that video is not longer or if it's not basically showing on the timelines. If I trim this down to two seconds even and it will only show up 22 seconds and then it'll disappear, right? And that's how easy it is to work with two D layers in after effects. Also, you guys in the next listen 8. Working With 3D Layers: All right, so in this list, and I'm gonna show you guys how to work with three D layers inside off after effects. All right, so we're gonna start by creating a new composition. So I'm going to click on this little icon at the bottom. Where showed you guys started creating in composition and call it Come one for now. And make sure that it's HD. So 1920 by 1 80 I'm going to leave mind at 25 frames a second, duration. Five seconds. That's perfect. I mean, okay. All right. I'm gonna bring in some assets. So I'm gonna go to my finder, and I'm going to drag my YouTube logo into the project area, and then I'm gonna drag this logo into my composition. You can either dragon in year or two, the bottom where the layers are, and then let's rename this, so I'm gonna press enter on it and just call it logo. All right. Next, I'm gonna create a background place. I'm gonna write, take your go to new and in solid, and we'll call this one background or just BG for short and let's give a color. So let's make a dark blue pecan. OK, OK, again. So we've got our background now. Obviously, our background is above our logo and want to drag it below our logos. I just drag it there as we've got our logo in front and I want to change my logo into a three D layer right now. To do this, you need to click on the toggle switches or merger at the bottom. And if you kick this, you'll see it will show you some different parameters of different options next to each layer. All right, we've got this one, this one and this one, and you can see you've got real Cuba. And if you click on this little cube next to that layers at least two logo, we gonna enable this cube. That means it's a three d layer. So now if we expand the parameters for logo, you'll see some extra options here. So under transform, you will see things like orientation and X y and Z rotation, and your position will also have three numbers. Now we'll have the X y and then also the Z access or right. So let's start with rotation. So expectation is basically that can see it looks like it's a three D layer. And then you got your wire irritation, which is that concede that looks three d as well, and in it catches the rotation, which is kind of the normal flat rotation towards the camera towards the screen. Same with position. So you still have your exposition and also your Y position and in your serve your Z position. So that's basically going back. It's not scaling it down. It's actually moving it further away from the camera. And if you bring it this way, let's bring it closer towards the camera. What? I'm gonna sit back to zero so they especially are easy. It is to just enable a layer to be three d. Just click on this little cube icon, and now I can also add something like a lights. I'm going to write, like, go to new go to light, and then he can change the type of light that you want to go for this instance, I'm gonna create a spotlight, and then you can also change the color of the light. Let's just leave it white for now, OK, and then click on OK at the bottom, and it's gonna create your light rising. Awesome. Move your light around. So if you click on these little arrows, you can move in the X axes and you can see the light is affecting our three D layer. You can also move it up and down. We can move it towards the Z, which is closer towards or back towards the camera, and it goes to go into the spotlight Properties year go into light options. You can change things like the intensity year. You can change the color of the light, so let's make it red conceived. Got a raid like now you can change the cone angle, such as the angle off that code. You cannot change the current failures if he said it. Zero. You'll see a horse line like that. Or if you make it nice and soft. Something like that, you change the radius and the fall of distance cost shadows on off. So another thing that you can do when using three D layers is to create a camera into your scene. So I'm gonna rightly go to new and in select camera. All right, and this will give you some options for your camera. And this basically just used these presets. So I usually use this 35 millimeter camera, then click on OK, And now you can actually move around in a three D space in your scene. So if you go to the top here by your tools, you can see this little camera. I Konya click and hold. You can either slick, between unified camera to orbit camera to track X and Y or track Z. All right, I'm gonna say this on unified camera tool and I think, click and drag in this view area, you can see we can actually look around our scene. All right, it's gonna undo that if you get a strange movement when trying to do this, there is a bug that I've picked up in after effectively click and drag. It actually kind of moves all around. If you do get that, just expand your camera year in the layers and the next to transform. Just click on reset. And then that should just fix that movement for you. So if I move around, you can see that our logo is three D and also our light. You can see the lights moving around in three space. But our background is still two d. All right, so you can go to our background layer and I can click on this cube next to background as well, and they're not gonna move it back slightly because it's on the same plane as our logo. So I'm gonna crispy and then just move it back. You can see it's going back. I'm gonna remove the light for now, Rogers, delete the light. And then if you move your camera to, we can see that the background is also three D now, like that. And now what you can do is you can scale up your background, so it's kind of just filling more area of your seeding. Okay, let's bring in some text as well. So I'm gonna write like, new text, and it's cool. This 13 d fixed okay. And next to that three d text, I'm also gonna enable the cube to make three D. And now, if I click on my camera to you at the top, the unified camera tool, you can see that is also three d, and it's on the same plane as that logo. So you can, either. In this view, let's say we send it to this. You can select your selection to and using these errors. You can move it in the Z axis. Lincolnwood, behind your logo. We're in front of your logo and I can click on the camera Unified movement to again. You can move it around now you can see it's in front of our logo. So the order off three D layers in this area doesn't really matter, because it will always show the one that's in front in three D space and not the order of the layers here in this section year. Okay, another thing that you can do should go to your camera to you at the top. Hold in or click and hold, and then you can go track ex and why Camera tool. And this will basically just track going sideways and up and down. And we can also use this track Z camera tool and that will distract further away or closer to the object in your scene. Okay, we can also enable dip the field on our camera, so I'm going to expand my camera options and in camera options here at the bottom and in depth of field. I'm gonna make sure that's on. So by default, that's usually Officer, just make sure that's on. And let's just increase the Apertura to see how it works. And then you can also change the focus distance so you can see everything is going out of focus. So I'm going to just increase this slowly until my text easing focus like that, and then I'm gonna increase my opportunity. Widmore Okay, And let's change the focus distance. I'm just dragging it up. So now I can see the my text, This kind are in focus. Now, gonna move this camera to around Girl's gonna increase the focus distance a little bit more so I can see the tea is in focus. The three and the D's out of focus on the background logo is also nice and out of focus. If I move this around, he can kind of see the effect in real time. So that's just enabling depth of field on your camera. So I'm just gonna minimize that, and you can do the same with video files. So let's say we bring in a movie files from the Dragon in your dragon into my scene, and I'm gonna skate it down scary down slightly, Just move forward so we can see our Videophile playing. And I'm gonna enable three D on that layer as well. You can see it is actually playing If I play this back, I was gonna disable the depth of field quickly cause that's slowing down things dramatically. Was gonna change this type of field in the camera to off. And now, if I play this back, you'll see that the video is actually playing in that three d space. So on that video layer, I'm gonna move it forward just using these little arrows, and I'm gonna move it up slight. The If I play this back, you'll see that it's actually playing the video and we can still look around the scene and you can see that video is now in front off the text and the text is in front of the logo on the logo is in front off the background. All right. And that's how easy it is to use three D layers inside off after fix. Also, you guys in the next listen 9. Adding Effects To Layers: Hey, welcome back. And in this video, I'm going to show you guys how to add effect to your layers inside of after effects. So first of all, I'm going to create a new composition. So using this new composition icon and make sure it's HD and said your frame rate, I'm gonna make this 15 seconds as well. Okay. And I'm gonna bring in some assets. So I'm gonna bring in my YouTube logo again, just dragging that in your and then I'm gonna drag it into this compass section at the bottom sets, placing it right in the centre on Let's add a background as well, just to make a nice So I'm going to right click, go new solid, and we'll call this one BG for background on. Let's choose a different color for this one. Let's do like a dog raid. Maybe something like that. You gonna cake looking okay. And I'm gonna place my background below my logo and I'm going to rename my logo. So select the logo layer, press enter, and then type of logo, right? Nice and neat. And let's say we want to add in effect to our logo, so remember in one of the previous videos, I showed you how to add effects using the normal way. And then I showed you guys how to install effects console. Obviously, the normal way will be right clicking good effect and in looking for your effects some way in year, finding it and then clicking on it. Let's go one at a blur, so good a blurred shop and then maybe let's add a gorge in blur, and then that will apply it to that layer. And you can increase the amount of blur and everything. Yeah, so we rather going to use it. Ex consul to any fix is just so much easier. So obviously, if you don't know the names off the effects, it's better to kind of use the old method off right, leaking and looking for them because you can browse three and you can experiment with different effects. But after a while you will kind of know the names of the effects. And then it's easier to use if X counseled by just typing in the name off that effect. All right, so let's say we want to add a blurred to this logo, so I'm gonna simply select this layer and you know, my keyboard. I'm gonna press control space to bring up if x console. And then when a type blur and it's gonna bring up all the blur's year, let's say what at a gorge in blue, I'm gonna go down using the arrow keys and on Gordon Blur press enter, and that's gonna add a Gordon blur to that layer. Right. So now I can increase the blurriness so I can just ah, dick and drag, and you can see that that logo layer will start to blur. All right. Each effect will have different parameters. So in this course, I'm not going to go through all the effects. They are a lot of different effects, so you need to experiment and add them and see what they do, so each effect will be different. Let's delete this effect from the place, sir, with our logo layers selected, I'm going to click on this chord in Blur and just press the delete on the keyboard, and it's gonna delete that effect from this layer. Right? Let's add a glow effect to this logo layers without local, a selected I'm gonna press controlled space to bring up FX console. And then it's gonna type low, right? They concede glow, and I'm gonna press enter to selected and it's applying the glow ready. And I can change your radius year or your glow intensity and you'll see that that will effect that layer only to go. Let's look at some other effects. I'm gonna delete my glow, and this time I'm gonna browse my effects. So I'm going to right, click on it, go to effect and didn't go to color correction. And let's say you want to add a exposure effect to that layer, right? We've got our exposure effect applied, and then you can increase the exposure conceded, actually, just making it brighter. You can change the gamma correction as well. Office it all of these things on this one effect right Then you can also add multiple effects to the same layer. So let's say we want a red glow effect first, So I'm going to pick up my layer and in press control space to open if console and then I'm gonna type low. All right, so I've got a glow on the riches, increase the intensity and maybe the radio slightly right? You've got a glow enabled, and now we want to add a blur after the glow. If it I'm going to select my logo layer again and in control space to open FX console, and then I'm gonna type blood. Okay, let's go down to gorge in blood and then press enter and I can see in your effect control section that you've got your glow at the top, and then you've got your Gagosian blow below that. And now I can increase the blurriness and I can see there. Now it's blurring it out. So it's first applying the glow effect. Okay, it's going from the top down, first applying the glow effect and then, after the great effect, it is applying a Gordon blur. So the order of these effects are also very important. You can rearrange them by just dragging and dropping. Let's say we're doing the blur first, and in the glow, you'll see if I'm just drag this above the globe, you'll see that the effect will look slightly different because basically, it's first doing the blur effect, and then it's glowing that result. So just be aware that the order of your effects is actually very important as well. I'm gonna put my blur again below my glow, and you can also enable and disable these effects using these FX buttons. So if I click on this FX button next to glowed, we actually switch off a glow. But it was still applied. The blur You can see there, and I can also switch off the Blur's well, thinking that ethics button. So now nothing is actually enabled on this layer or no effects or active and and I can go in and I can click on the glow one again. It's just gonna enable the glow effect, and I'm going to do the same with blood. Another thing that you can do is you can switch off all effects on a certain layer all at once. So on this lay at the bottom, you'll see there's a little if ICS boxier. If I click on this ethics box that will actually switch off all the effects on that layer, and if I click on it again, it will switch them all back on. Sometimes you just want to quickly preview an animation with out having the effects added to a specific player. So then you just disable it your and then you can enable it again. All right. We can also hide or show these layers. So if you click on this little I next to these layers, you can hide them or show them. So let's say when I hide our logo temporarily can just click on the I. It's still there, but it's just eaten from our composition. Working in a blood again. We can do the same with a background. Just hide it or show it again. All right, let's delete our effects from the logos. I'm going to click on the logo layer, and then I'm gonna delete both of these effects of issues highlighting them in prison, delete on the keyboard. And now I wanna add in effect to the background, and I want to add a Grady and full basically to this background. Okay, so with the background selected, I'm gonna press control space, and I'm gonna type radiant just like that and you'll see there's a Grady int ramp that we're gonna use. So I'm gonna click Ingredient Ramp, and I'm not gonna add this nice Grady int on the background. You can either choose between linear ramp or a radial ramp, and I'm going to say the stewed radial ramp You get around kind of circle ramp effect and then I'm gonna move this start off the ramp, just down some, just dragging this middle point down to the center, and then you can have your start color, which is black, and you're in color, which is white. I'm going to change the in college by just clicking in this little white box. I'm going to change this to a dark gray, maybe something like that, and impressed. Okay. And then I'm gonna change the engram position so it's kind of more towards the outside, right? If I hide my logo now, you can see that we've got a nice Caray Deion or a radio radiant background, and I find able my logo again. You'll see that the logo is sitting on top of our background. It's scale is down slightly. So with the logo selected, I'm pressing s for scale on the keyboard and insurance. Scale it down slightly. Maybe something like that, Dixon eyes. All right, let's say when I add a drop shadow, which is also normally faked to this logo layer, you can either go the long way off right, clicking on logo, going to effect and then going to perspective. And then you clicking on drop shadow. We can simply select your logo layer press controlled space to open FX console and then just type drop, and that will take you to drop shadow Press enter and you can see they we've got a little drop shadow that the back, and you can change things like Europe, ass ity, the distance and the softness. So I'm going to enable the distance or increase the distance. And then I'm gonna increase the softness as well. And then you can also change the direction as you can see the if I move this around the direction off your drop shadow, and then you can also change the transparency of capacity off your shadows. And it's all the way up to 100. We can say this maybe 2 50 to have a bit of a softer shadow to your logo, and they are basically we've got a drop shadow effect on our logo now, and we've got a Grady int effect on our background, and that's how easy it is to add effects. Two layers inside of oft effects. Aussie guys in the next listen 10. Creating Text In After Effects: hi and welcome back. And in this listen, we gonna be looking at creating texting off defects. Now we've touched on creating text on in some of the previous lessons. But let me just show you guys quickly how to create texture, not to modify text and some different things you can do with text. So first of all, we can create a new composition. So I'm gonna click on new composition and make sure it's HD and said your frame rate and said generation clicking okay, and then I'm going to write to get the bottom and get a new and in text. All right, let's type something. I'm going to talk after effects and you can see it's nice and big. And now, with this latest selected, you can change the text properties you on the right inside, make sure that you, under the character tab you on the side so you can change the text. Size was gonna drag a dancer. It's slightly smaller. You can also change the tracking, so if I increase the tracking can see that's the space between your characters or between the letters, and you can also add a stroke effect to this So you'll see this two colors year. So you've got your main color, which is the green. So I could now changes to maybe like, a nice gray. And below that, you've got a different girl, and that's gonna be the stroke color. So if I click on this white below, this is gonna bring it up and let's make this blue, Okay, click on OK. And then you could just stroke with you so you could increase this and you'll see that we have a stroke now around our text. And currently the stroke type is sick to stroke over full so you can see the stroke is actually going over the text. Or you can change this to all folds over all strokes. And I can see that the full of the text is actually going over the stroke, which looks better, I think. And I can still increase the stroke with and the text washing just kind of stay in front off that stroke. Yet the bottom You've got your text height just like that, and you've got your with as well to conduce that, and you can set your bold if you want a bold it if you want to italics it if you want to make it all caps or not, you can also make it superscript or sub script can enable those things they can change into small caps. And if you have two lines off text So I was gonna go in here and I'm gonna put effects on a different line and I select this layer. You can also change the leading, which is that space between lines. Right. Let's create a quick background as well. So I'm gonna rightly new solid, and I'm gonna call this one BG. Let's make it dark grey prison. Okay, okay. And we'll put my background below my text and let's add a drop shadow to our text. So I'm going to click my text and then press control space to bring up the FX console and type drop for drop shadow Press enter and and I can increase the distance and the softness . And maybe the past is slightly and I can see we've got a nice drop shadow on our text. So really simple to create texting off effects are because enjoyed this one. I'll see you in the next video 11. Animation Basics And Keyframes: hi and welcome to this lesson. And yeah, this Listen, we're going to look at animation basics and also creating key frames. Now, in after effects, everything is key frame ble, or you can basically animate any parameter that you see. So I'm going to start by creating a new composition. So click on new composition and I'm gonna make this 15 seconds in duration make sure HD and said your frame rate click on OK, and I'm not gonna bring in some assets. All right, so I'm gonna go to my finder and I'm gonna bring in my YouTube logo again, which is just a PNG. And then I'm gonna drag this into my composition and when a scaled down slightly stronger scaled down to about 40% and then I'm gonna move it around, maybe to this site off the screen. All right, so now if you go into the parameters off this layered, it's just rename it quickly. I'm gonna call it logo. And if I expand the parameters here, you'll see that we've got position and comporting scale rotation and a pass iti, and next to these parameters, you have something that looks like a stopwatch. And if you see this stopwatch, that actually means that you can create key frames, which means you can animate that parameter. All right, so let me show you what I mean. So on the timeline, you make sure that your plate is set to the beginning off this sequence, right at the first frame and on position. I'm gonna pick on this little stopwatch next to position and you see it's gonna go blue. And it's also going to create this law dot year on the timeline on the sequence next to position. And that's basically a key frame. Now, if I go forward to about two seconds, I can now change the position off this layer so I can either click and drag you and you'll see that's gonna change the position of the year and because that stopwatches on it will actually create a new key frame at that position on the sequence automatically. So now if you go back to my beginning off my competent press space to play, that's actually going to animate between those two values, so you can see it's going to start at the first position, press space, and it's gonna move over to that new key frame. All right, I'm gonna go back to the first frame, and I'm gonna delete both of these key frames so really simple. You can just click and drag to highlight them birth year in the sequence and then pressed a lead on your keyboard. So now if I play this back, you'll see that the animation has been deleted. So I'm gonna go back to the beginning of my sequence and let's animated the rotation. So next to rotation, I'm gonna click on the stopwatch, so it's gonna create a key frame and let's go to about two seconds and then I'm gonna change the rotation. 280. Press enter, and you can see it created a key friendly. It also rotated my logo 180 degrees. Never go back to the first frame. Press space. You'll see there's going to rotate from zero degrees, 280 degrees. All right. You can also click on these key frames to move them around. So let's say you want to have this rotation happen over four seconds. Second baseman, you just click this in key frame, drag you towards four seconds, and now if you play this back, that rotation will be a lot slower because it's actually doing it over four seconds instead of two seconds. You can also drag it closer. Let's say you want to have a really quick rotation. I'm going to drag this key frame to one second and knife. Play this back. You'll see that we have a really quick rotation. Only one second, all right. You can also animate different parameters at the same time. So I'm going to say my rotation back to around four seconds and I'm gonna go to the first frame and I'm going to click the stopwatch next to position to create a key frame on position as well. And I'm going to go to four seconds and then we're gonna move this logo to the right inside of my screen, and it's automatically going to create a new key frame on position. So if we go back to the first frame and I pre space, you'll see that the position and the rotation are actually animating at the same time, so we can add some scale key frames as well. So in the first frame I'm going to cook on this stopwatch next to scale. It's gonna create a key frame for scale. And then I'm gonna go to the middle, which is two seconds, and I'm gonna change this scale to 100. She'll see it will increase the scale there to 100 of the size, and I'm going to go over to four seconds, and then I'm gonna create another key frame on scale, and we'll sit this back to 40%. So now it's gonna go from 40% to 100% and then back to 40%. So let's play through that. So, as you can see, it's animating position scale in rotation at the same time. And what you can do is you can movil these key frames around so I can maybe put this middle section off the scale. I can move that to around one second, and then I want to put these end key frames under two seconds so I can just select all of them, dragging a box around them, moving them to two seconds. And after prey suspect animation will happen over two seconds, which is a lot faster. All right. You can also Eazy e's these key frames. As you can see, it's kind of very jagged looking. It's kind of going up and then suddenly down. And also the movement is very linear. So if I highlight all these key frames and I right click on them and if I go to key Frame assistant and then you have different options here, but we're just gonna go with Easy East. For now, that's basically going to smooth out your animation. So let's play that back and then you can see the animation looks a lot smoother. The shortcut to apply. Easy, easy, easy. If nine safe Iraqi can you go to keep from assistant, You can see the Eazy e's shortcut F nine. All right. Just really easy to create an easy, easy effect on your key frames. All right, you can also animate parameters under different effects. I'm gonna delete all these key frames for now, so we don't have any animation on this layer, and they don't want to apply a blur effect to this lay. Okay, it's gonna move this into the center of our screen, and it's make it slightly bigger. I'm gonna change the scale to maybe 80% something like that. And let's apply a Gordon blur to this layer. So I'm gonna cook on this layer, Chris control space to open up ethics console. Then I'm gonna type blur, and I'm gonna go down to caution. Blur, press, enter. And now, as you can see, this little stopwatch next to these parameters as well, which means you can animate them as well. And another way to get to these is actually to expand the parameters under your logo. Year on the sequence and you'll see effects so I can expand that and you'll see all your effects down your work so I can expand Gordon Blur. And then you see, you have ALS these parameters that you see right at the top. You see them here in the timeline on your sequence as well. And this is where we're gonna be animating them. You can either use to stop what you at the top we can use to stop what you at the bottom. So let's go to the first frame of our animation and I'm gonna clicked the stopwatch next to blurriness Go. It's gonna create a key frame. Let's go to one second and then I'm gonna increase the blurriness. That's just drag it up, uh, to around to around 100. Okay, you can see it's adding a key frame. You can make this 100 precise just by clicking on it and typing 100 pressing. Enter and it's go to two seconds on the timeline. And then let's set this blurriness down to 07 just clicking on it, typing zero. Press enter and after a break this back, you'll see that's gonna go from zero blurriness to 100 back to zero. All right, so let's say one. Add a rotation animation on top off this. Now you can go to your rotation. I'm gonna go to the first frame of animation. Click the stopwatch. Next irritation. Go to two seconds and I'm going to set this to 3 60 Okay, you can see any difference here because is actually doing a perfect full rotation to go back to the beginning. If I brought this back, you'll see that we have a rotation, and we also have the blur effect. And that's how easy it is to add key frames of animation in after effects. Because enjoyed this one see in the next listen 12. The Pivot Point: and welcome back. And in this listen, I'm gonna show you guys how to change the pivot point on something in after effects. Right? So we're gonna bring in some assets again. I'm gonna bring in my logo for YouTube, and I'm gonna create a new composition HD 25 rooms a 2nd 5 seconds in duration. Clicking okay on going to drag in my logo into this composition is gonna call it logo by renaming that layer. And if I select this lay, you'll see there's a little cross here or something in the center off this layer because, squarely, it's nice in the center. And if I rotate this, you'll see that's going to rotate around that crossing all that point. And that's basically the pivot point for this layer, right? And let's say you want to rotate this logo in a different way, maybe wanna rotated around the TV section or maybe around the corner. Then you will need to change your pivot point on that layer. Right? So what you can do is with that lay selected you at the top. You've got something next to this camera and it's called pan behind or anchor point tool. So if I click on this Nike and click and drag and you can basically reposition this pivot point, So I'm going to say this pivot point to be in the center of this TV just year. The small ray TV, they a knife. I changed the rotation. You'll see that's going to rotate around that new pivot point off that logo. Okay, so really simple. Just click band behind and then you can change it. Let's sit on the corner now. If I change rotation, you can see that it's rotating around that point. Okay, can also let me just undo that. You can also sit it outside off your logo. So let's say you want to rotate around this area. Yeah, I can actually just drag it outside of your logo or the graphic. And then, if I rotated, that's gonna rotate around that pervert point. So just something to keep in mind when moving and rotating objects. Your perfect point is basically the center point off that layer, and then once you've set your perfect point, just make sure to click on your selection tool again. And then you can obviously just move your image or your layer around. So that's how easy it is to change your perfect point in after effects, also in the next lesson. 13. Layer Parenting: Hello and welcome back. And in this Listen, I'm going to show you guys how to parent layers in after effects, right? So, first of all, we're gonna create a new composition and make sure it's HD said your frame rate. I'm gonna make mine five seconds in duration cooking, okay? And don't want to create a text less. I'm going to right click new text and ah, let's write Parent Going to change my Fonte. It's really horrible. Just set this down, okay? It's gonna move it some way like that, and then I'm gonna create another takes place. I'm gonna write, like, new text, and I'm gonna call this one child, okay? And we're gonna move it out of the way. So I've got a parent, and a child is gonna move my apparently above the other one. So don't worry about the order of your layers because they not overlapping, so it doesn't really make a difference. So what I want to do is I want a parent, the child to the parent layer writer with a child lay selected. You can either click on this drop down and he can select the layer that you want a parent to so you can do that. Or undo that. You can use this little around squiggly thing, which is a pickup. You can click on that and drag holding and drag it to the layer that you want a parent, too. It's doing exactly the same thing. It's just kind of visual way off, linking that layer to that layer. All right. Now, if I move the parent layer around, the child will follow along. As you can see this, I'm just moving. The parent lay at the moment gonna undo that If I expand my parent parameters ago to transform. If I change this scale, you'll see that the child is also following along. And, ah, the same. If I'm going to change the rotation, it's also going to follow along. But things like capacity. The child will not follow along because that's basically a layer parameter, and it's not really a position or a transformed parameter while it is to transform parameter. But it's not a position or irritation parameter, so opacity child will not follow, but anything like scale irritation opposition. The child will follow along, so I can now go in and I can create a new text layer. Let's just call this one new and I'm gonna move it to this area. And now I can basically parent the parent to the new layer. So I'm going to use this pick up on the dragon from the parent to the new. Now I can see a child is parented to parent. Parent is parented to new and in new is not apparent to to anything. So now if I click on New and I moved around, you can see that the parent and the child layers are both parented to it. So it's moving around. And if I click on parent and I move that around, only the parent and child will move because the new is not parents to anything, so basically, then you will stay on its own. And if I click on a child and I move that around, that's the only thing that's going to be moving around because there's nothing parented to the child. Layer hope that makes sense. So if you go to new and I get your rotation, if I rotate the new layer, everything will follow along because the child's parent to parent parents, parent that to new. And Yeah, everything is nicely parented together, so that makes sense. That's just parenting layers or linking Lays. If you want to call it that, I mean after effect. Also, you guys in the next lesson. 14. Working With Solids: Hey, and welcome back. And in this video, I'm going to show you guys how to use solids for different types of things in after effects . So first of all, we're gonna create a new composition, and I'm gonna make it HD 25 frames a second and duration five seconds clicking, okay, And then we're gonna create a new solid. So I'm gonna write, like, new and solid, and I'm gonna make it comp size. So it's 1920 by one of 80. And the thing that I'm mostly used solids for is basically to create a background. OK, so we're going to click on OK, and I'm gonna call this one background BG, and that's basically just a simple, great background. So obviously you can click on this layer. You can go to lay at the top and then click on solid settings. And this is we can change the size of your solid and also the color. So let's say we want to change the color to raid, okay. And then it would basically just change the color of that solid to read, so you can obviously also apply effects to this solid layers. So I'm gonna click on it and then press control space to open up if X console and I'm gonna type radiant, radiant ramp and I'm gonna make this a radio ramp, and then we're gonna move the start off the ramp down to the center, and I'm gonna change this white to maybe a darker gray and the dangers expand the end off the ramp. So just move that out. And this is just a way to create interesting looking backgrounds. You can also swapped the colors around, so it's lighter in the center and dark on the outside. So, as I mentioned before, the thing that I use solids for the most is just to create a simple background. Now what you can also do. Let's delete this background and let's say you have some text. This is right text like that, and then it's gonna move it down, and I'm gonna make it slightly smaller. Now, let's say you just want to put a small background behind the text. You can also use solids for that, so I'm gonna write like, new solid, and then I'm gonna make about 600 the width and the height. About 200 And, um let's change this to maybe like, a dark blue click on OK, then click on OK, again. And obviously we can see that our background is slightly too small. So I'm gonna, firstly, just drag it below our text in the layers section. And with that layers selected, I'm going to go back to lay at the top and in solid settings. And then I'm gonna increase the with and the height IQ and simply just dragged the with you and you can see it updating in the composition. And then you can also do the same with height. Just said that it's kind of covering that text, something like that. Click on OK and knife. But it's kind of smaller background for your text. I'm going to rename this 12 BG for background, and now I can go in and add something like a drop shadow on your text. So with your text selected, I'm gonna press control space and just type drop for drop shadow on delicious increased the distance and the softness and maybe the past is and I can see you've got a kind of small background behind your text and something you can do now is you can link your background to your text or you can parent it. So with your background layers selected, I'm going to click on this pick up and just drag it to text. So it's parenting it to the text layer. And now, if I click on my text and I moved around, that background will actually follow it around. So that's another way to use solids is one more way that I want to show you what you can use. So it's forced. You can create a three D environment or a three d box. So I'm gonna create any solid, and I'm gonna make this one compass. I so just click make comp size, and that will just create a solid that the same size of your composition. And then we're gonna make this a three d layer. So I'm gonna click the Little Cube box next to that layer to make it a three d layer, and then we're gonna expand the parameters, expand, transform, and then I'm gonna change the X rotation. All right, I'm gonna change it to 90 degrees, so it's kind of lying flat, As you can see now, and with your selection tool, I'm going to click on this blue arrow and just move it down slightly so you can see That's kind of like a floor, all right? And they don't want to duplicate this lace. I'm gonna highlight that layer. And on my keyboard, I'm gonna press come on d to duplicate it. And then on this new lay, I'm gonna move it up. So on that blue a row, just click and drag can move it up Can see Now we've got something like a ceiling and I'm going to duplicate this one again. All right, I'm gonna move it down and want to rotate this one flat against I'm gonna expand this one's parameters under transform. I'm going to sit the X rotation back to zero. So it's nice and flat like that, and then I want to move it back into Z space. Okay, So, under position, I want to change. The Z parameter is gonna drag and move it back. And now we can create a camera so we can see what's going on in our scene. So I'm going to write, like, new and camera. Okay, leave it all on D for them is gonna change the preset. Make sure that's on 35 millimeters. Click on OK, and now, with your camera to you at the top, you can just click and drag to see your environment or the three d box that you created. All right, let's add a light so we can kind of see what's happening in the scenes. I'm going to write the new and in light, and I'm gonna create a spotlight just a normal white spotlight. Intensity 100. That's fine. Click on OK and and I can see that we have is gonna move this up slightly this light and then under the light parameters, I just wonder. Change the extra tae shin. Just move it down slightly and maybe it's going to the light options and just increase the cone angle so it just kind of lighting it slightly better like that. And then, if we take our camera, tour the unified camera to you at the top, we can move around in our scene, and you can see it's like a three d kind of room that we just created just some interesting ways that you can use solids so other for backgrounds or just for a small background behind something behind a logo behind some text. We can also use it to create three D environments like this one to grow the floor in the background in a ceiling type of thing. We can also use it to create the three D box. So you're solids can be very handy in after effects. In a later listen, I'm going to show you guys how to use mosques as well. And with mosques, you can basically create different shapes from normal solids as well. So in light to listen. I'm gonna show you guys how to do that. But for this one is just are to use normal, solid. So as a background as a smaller bag around behind something, maybe even as a three d layer to build a box or a room from just using solids. So because enjoyed this Listen, I will see you in the next one 15. Null Objects: Hey, and welcome back. And in this Listen, I'm gonna talk about using no layers in after effects. So let's create a new composition going to make mine HD 25 frames a second and duration five seconds. Click on OK, basically, a knoll is almost like a dummy layer. You can't really see it. It won't surrender, but it's got all the transform parameters, like a normal they will have. So you can use it to link stuff together or to group things basically. So let me show you what I mean by that. So let's say we have a solid layer and I'm gonna make it slightly smaller. Let's make it 1000 by 400 maybe. And I'm gonna make you like, a light gray, something like that. And it's great. Some text on top of that. So I'm going to write something year school it text, and I'm gonna make this just a different color so we can see it with better. Make a trade. All right, I'm gonna scale that takes down slightly, and then I'm gonna move it down or moving to the center. Something like that, and inlets at a drop shadow to our text. So the text lay selected. I'm gonna press controlled space and just I mean, drop for drop, shadow press enter And it just increases softness They and the capacity as well And maybe the distance slightly like that. And I want to create another solid behind this gray solid. So the easiest way to do that, I'm going to duplicate this great solid just by pressing Come on d to duplicate it. And in the back one, the one at the bottom. I'm going to go back to layer and insulted sittings, and then I'm going to increase the size of its slightly. So just increase the word and the height slightly, and it's making a different color. I'm gonna make it maybe, like a dark gray, something like that. Someone's gonna just playing around with the width and the height. So we have, like, a kind of border. So we've got a text in front, then you've got ah, light grey solid behind the text. And then behind that solid, we've got the dark grey solid that's basically acting as a border. All right, now let's say you want to kind of move all these things together and you want to scale them together. It's obviously what you can do is you can select all of these layers, then press it's on the keyboard and then scale them together like that. But you can see that takes this kind of moving around because they all have different perfect points and things like that. So what you can do now, I'm just gonna minimize all these layers and much you can do. You can rightly go to new, and then you create a no object and you can give it a name. So I was gonna call it a placeholder. We can call it No, we can call it position or whatever you want to. And they don't want to link or parent all these three layers to my place holder or to my no object. Okay, you can do it one by one. We consider all three of them and then use these big quips to parent them all to the placeholder. Now you can see my text great solid and dog race a little linked or parented to the placeholder. And now I can click on my place Holder and I can go to the position and I can move it around and you'll see that my text and everything else will follow along. I can also press s for scale on my place. Although on my Noel object and I can scale it up and down Then you can see that everything will basically stay in place because it's all linked together to that. No object can do the same with rotation. So if I press or on the keyboard for irritation on my no object chicken rotated and everything will just follow along nicely. So now I can add key frames just to the placeholder. So let's say we want to add some key friends to position. I'm gonna crispy on the keyboard to open a position. And on my first frame, I'm going to click on this stopwatch to create a key frame. And then I'm gonna go to two seconds on the timeline, and I'm just gonna change some of these values, maybe to the side like that. Enough. I play this. You'll see that everything is moving together and it's add some rotation as well, so I'm going to take my place holder or the null object again. Prints are on the keyboard sit a key frame on the first frame, so we're going to stop. Watch, go to two seconds and they're gonna do a 3 60 degree rotation. Let's play through that and you'll see that we have a 3 60 spin and a position move as well . And the cool thing is, we only have thes key frames on one off these layers. We don't have any key frames on these layers, so just keeping things nice and tidy and nice and simple. Another thing that I want to show you guys ease. Let's say you want to see all the key frames on one of these layers, so we know we've got a position key frame and also a rotation key frame on our place holder or the knoll layer. So with that lay is selected, press you on the keyboard, and that will basically just expand all the parameters below that layer that has key frames on them, so I can see it's actually showing us the position and also the rotation parameter for that layer, which is really nice. You don't have to open it up like this, and then you see all these other things that you're not really interested in. It's only showing you if you press you to only showing you the ones with key frames, which is really nice. And now you can play this back. You see, we only have these four key frames and we don't have any key frames on these bottom layers , and it's just really simple. Now, if you want to change some of these values, you can only change. We only have to change the parameters of the key frames on one layer, and that's using no layers in after effects. Hope this made sense to you guys and that you enjoy this. Listen, I will see you in the next lesson. 16. Pre Composing Layers: All right, welcome back. And in this listen, I'm gonna show you guys how to use pre composed or how to use compositions inside off other compositions. Or it sounds really complicated, but it's really, really simple, actually. So first of all, let's create a new composition, and I'm gonna name this one my main complicate. So it's gonna type in a me at the top of Maine comp, and it's gonna be HD one and 20 by 1 80 25 frames a second and five seconds in duration. Click on. OK, all right. Now I'm going to create some s. It's here or someone layers. So I'm gonna start to the background new, solid, and I'm gonna call it BG for background. And let's leave it nice and gray, and I'm gonna make it comp size, so it's filling the screen and then I'm going on, okay. All right. We've got a background and let's bring in some assets again. Gonna bring in my each of logo once more, and I'm going to drag it in on top of our background. And let's just scale it down slightly, holding in shift to keep the aspect ratio. I'm gonna move it here to the side. All right, Now I want to create some texts. I'm gonna rightly new text and let's type in your tunnel vision TV. That's gonna make it smaller. All right, let's make you'd like a dark grey, maybe. And I'm gonna move it here to the bottom. Okay, let's move the logo center. So it kind of looks like something. All right, so we've got these three layers now, and let's say we want to pre compose that. We want to group them together so we can add effects to all of them at the same time. Well, we just want to kind of group them together. We don't want Havel's these different layers, so really easy. You can select all of them your in your layer section or the main compute the bottom, and then you can right click, and you can pick on pre compose. Okay, All that's gonna do It's gonna basically take all those layers and it's gonna add it into a new composition. And it's gonna add that new composition into your project or into your comp as a new layer . So really simple. I'm gonna call this my logo with text and BG background. Okay. And I'm going to select Movil attributes into new composition. Click on OK, and I can see you've got a comp. You only have one layer inside this project now, so anyone layer And now it also created a new compere in your project section. So you can see these are main camp, and you can also see another comp logo with fixed and BG. Now, to keep things nice and tidy again, you can create a new folder year and you can call this one pre camps. Okay. And you can move this logo with Dixon BG into your pre camps folder just to keep it nice and tidy and maybe a new folder and call this one main comps. Okay? And then we move our main comp into that one. So we still have one company for going to this one. You can see this is the camp. But now, if I double click on this camp that will actually open that comp and you can change the settings around here so I can see you've got two types here. We've got our main camp, which is the main one we created at first. And then we've got our logo with fixed and BG comp that we created when we did the pre camp . Okay, so now I can go it and I can maybe move this logo around. Maybe moving they enough to go back to my main camp. You'll see that it will update this computer. Medically, let me see if I can just add something years. Well, in the main Come, I'm gonna add some more text. I'm gonna go new text and elliptical this text, okay? And I'm gonna make it bigger, and I'm gonna give it a different color. Let's make it red place in this corner. So now we've got our with text. Which is that And then we've got our logo with text and BG, which is that whole thing inside a compass and 1/2 ago into lager with text and BG camp. You can see it's got all these elements thes three elements. It doesn't have the rate texting the So now I can remove this logo in the center. And if when I go back to my mind, computers see that our text will be overlapping. That because the text that we created now in the main camp is above or over or in front off everything else that is in that pre camp. Okay, so that makes sense. So it's actually just grouping together layers and creating a new composition with those layers in sight. So I can also add, in effect, to this compass. I can highlight it and in priest control space and this type blur, and I can go down to maybe a gorge in Blue and Aiken, blur it out and you'll see it's only affecting the logo with text and BG assets. It's not affecting my text, basically, so I can go into this compass well, and I can move things around you. And inside of this pre compute won't see the blue effect because the blur effect is actually applied outside or in the main camp so you can move things around. You don't see the effects apply to it. But now, if you go back to your main camp, you can see that the effects are actually applied on this pre cum player. Okay, one more thing I want to show you guys is ah, let's start with a blank composition again and I'm gonna create a text layer and it's just call this text one, and then I'm gonna apply glow effect to this layer. So I'm gonna press control space and I'm gonna type low. And let's just increased the radius and also the intensity so you can see there's a nice glow on that layer and I'm gonna pre composed this list. I'm going to write the pre compose and I'm going to give this a new name was gonna call this pre comp like that. Click on, OK. And now you've got this pre comp inside your main camp and if I selected, you can see they are no effects applied on this pre camp. Now where is that effect? So, basically, if you double click on this pre come to open it up, you'll see your text laying there and you'll see your glow effect on that actual text lace and I can increase the radius again. And if you go out to your main comp, you can see that effect is actually applied. But you don't see the effect year so basically can have different layers inside this pre comp. I cannot duplicate this text one I can move it down and on the sticks to I can remove the glow so you have one layer with a glow, and in this lay without any glow, that's just make this one another color, like blue. And I can see if I click on text to the glows, actually disabled. Why can just delete the glow effect completely? And if I click on text one, you can see that the glows apply to that, and enough you go back to our main competence told you, see one pre complain a er with no effects. Apply to this. So now I can go and add a glow effect on to this pre comp. So I'm going to do control space. And then I'm gonna talk, glow, press, enter and now, especially gonna glow both of these layers Together, you can see it's adding a blue glower under text, and this glow is being affected on a layer with a global ready. That's why the raid is looking so intense because it's adding basically to close on top of each other. But for the blue Texas, only adding one blow. So I hope that kind of makes sense. Pre composing is basically just grouping layers together and placing them inside a new composition. All right, so yeah, because enjoyed this. Listen, I'll see in the next one. 17. Rotoscoping And Masks: Hey, and welcome back. And in this listen, I'm gonna talk about rotoscoping and masking. So first, let's look at rotoscoping. Rotoscoping is basically cutting out a shape on object from a footage file or a video file also a graphic. And it can either be a still frame what can also be a moving frame, and then you obviously need to animate that cut out. So it's actually following the shape off the moving objects. So let me show you guys what I mean. So let's say we've got a shot that's gonna bring in this shot that I just formed with my iPhone. I will include this in the listen description as well. We can download this footage and I'm going to create a new composition is gonna make it HD and five seconds should be fine. And then I'm gonna drag this clip into my new composition. If I play through this, you will see it's just a shot off my Mac keyboard, and it's kind of moving around really subtle eso I'm gonna show you guys how to wrote a scope, that keyboard. So we're basically going to cut out the keyboard and they were complacent on a different background. So I'm going to create a background layer below my footage. So I'm gonna write, like, new solid, and I'm gonna call this one BG for background. I'm gonna leave it grey. Make sure it's the same size as your comp 1920 by one of 80 and then I'm gonna click on OK , right. I'm gonna put my background below my footage. Just rename this one to footage like that. And now we're basically gonna cut out this keyboard, and then we're going to be able to see the background behind the keyboard. All right, so let's do that. So with that footage layers selected, I'm going to go up to the top and I'm gonna click on this pain to know if you're holding your We'll see we've got different options here, but for now, we're just going to go with a pen tool and we're gonna zoom in year as well because it's kind of difficult to do rotoscoping in 100% view. We need to kind of get closer to the image so we can get accurate results. So you're on the zoom level. I'm going to sit this to about 200% and then you can use your space ball holding space, and then you can click and drag to pan around space Ball will enable this pan tool, and if you release it, that will go back to the pen tool. All right, we're going to start you on the corner and was gonna click there, and I'm gonna use space to pan around. I'm going to click there and then we'll click and hold and you can see it's actually going to create a busier curve. And you can also readjust these points slightly unused space to pad, and then we'll click just to create new points along this keyboard. You don't have to do so many points, actually, cause it's a very straight lighting can actually just go right away, and you can also readjust them just by clicking on them again. And I'm going to click and drag again to create a nice curve there for the edge and just go down the side down the side down there and then click and drag to create a age. Just reposition this point there, and then I'm going to click again year. I mean, just click there. I think they creating new points today. And I'm gonna close this point by just clicking on that one. All right? We've got a bit of a shop edgy on the side and that what we can do is we can convert that to a busy a curve, right? So I'm gonna kick on this pain to me at the top, and we'll click and hold, and then I'm gonna go to convert Vertex Tool, and it's gonna click on this little point they and you'll see it's gonna create a curve for right and I can adjust this handle. So it's just gonna showing that like that. And if I zoom l two foot up 200% again, you can see that we have our keyboard cut out, and then we've got our gray background behind it so I can switch it off. You can see now it's black. We can switch on the background. And this footage layer is now basically just this keyboard because we wrote a scope that we cut out using mosques or using the pain, too. We must be cut out that shape. And now we only have the keyboard. Now it can also feather the edge. So if I zoom in your slightly to about 100% you can see the ages or really hard, and we want to soften that slightly. So if I expand footage and you'll see we have mosques now because that is actually a mosque that I drew around the keyboard and enough we expand mosques. You'll see that these mosque number one, which is this light pink one that I created. And if we expand most one, you can now expand the feather amount. So as you see, if I expand that, you can actually start seeing the table again. Images zoom out there again. You could actually see the table again. And if I just take that back slightly, you can see that it's just creating a nice soft line around. It's usually let's say this to about five pixels, and I've presuming it about 200%. You can see that the ages just slightly softer. If I say this back to one can see it's a very hard age, set it up to about five again, and it will just soften that edge again. You can also expand it so if I expand it, that why she expanded that way we can bring it in words. So if you have a slight dog age around it, you can just bring it into the minus. So maybe about minus five should be fine, and they can see that it's nice and soft. Maybe that's a bit too much. Maybe minus three. All right, that's looking. Finally zoom out again and and I can see that it looks nice and soft around the edges. But now, if you play this back, you'll see that we have a problem because the keyboard is actually moving. But the mosque is not moving, so you're going to see that it's revealing some of the table below that, and that's not really good. So rotoscoping is basically animating that mosque frame by frame to follow the camera movement or the object movement and the camera move so it can be a process that can take a lot of time. But obviously they or a few tricks and stuff that you can use to dispute it up, and we're going to show you guys want to techniques that I use when I'm doing rotoscoping. All right, so Basically, we want to create key frames on the mosque path, and that's the parameter that we're gonna animate to roda scope. So we've got our mosque, they and we're gonna quickly show you guys how it works before we start actual rotoscoping . So on the first frame, I'm gonna click the stopwatch next to the mosque both on. And then let's say we go to about one second and I've got my selection to selected year. And just make sure that you have one of these points selected or not, all of them. So if you click on this one, only the one selected. Now, if I click and drag this point if I moved around, you conceive, I scrub through this Now, that key frame or this one point on our mosque is actually animating. All right. And you can do this with all these points so I can go to this one second point again and I can move another point. Maybe they maybe that point, they If I scrub through this now, you'll see all three. Those points will be animating. And that is, if you use an object, maybe like a person that you busy rotoscoping that person or the shape is actually changing . So you need to change the whole shape of your mosque to follow that person or that shape that you busy rotoscoping. But in the case of this keyboard, the keyboard is not actually changing shape. It's just changing. The angle is maybe changing and the rotation is maybe changing. So I'm gonna delete this key frame, and they basically just gonna rotate and move this mosque around to kind of follow the shape off the keyboard. So I've got my key frame on the first friends and make sure that you clicked the stopwatch next to your mosque Both. And then I'm gonna go to one second and I'm going to double click on this mosque. So just somewhere in the age just double click it and thats gonna select all the points for me An hour can basically just rotate and scale this mosque as one all object. Also, click and drag it around, and I'm gonna do this really rough and really forced on. Let's go to two seconds and then I'm gonna double click on the mosque again, just rotated again. Just try and moving into position again. I'm not going to do this perfectly. But obviously, if you did this new production environment, you need to take some time and just do it perfectly, or I'm just gonna double click on that again up to three seconds. Now it's gonna create more key frames just raw and get it into position. You can see it's kind of going out here on the side. So we need to move some of these points individually. Sums gonna move them like so doing it really rough. As you can see him is gonna zoom in here to 200% and then we're gonna move some of these points around. Okay, This is really not perfect. But I'm kind of just showing you guys all you do rotoscoping. Okay, let's zoom out again. It's gonna four seconds going to double click on my mosque, going to rotate it something like that. And then I need to adjust some of these points against. I'm going to move into 100% zoom and select some of these points and just drag him around to the reposition them. Now to get a really great Rhoda scope, you kind of need to go through this frame by frame. We doing one second at a time. So we're doing. We're skipping like 24 frames was going to go to the last one. So it's always better to try and go through ALS the frames and make sure they're all sitting at the right place. But are you just start worth? I'll do like one second increments as we doing now, let me just finish this one and then I can always go back and add more key frames in the middle. So I was going to readjust these key frames quickly. So they're saying, This is really, really rough, but just so that you guys get the idea. So if I play through this, no, you'll see that it's kind of working, which they see. It's kind of shifting so we can see some of the black behind the keyboard moving so I can go in and we see some bad rotoscoping like that. You can baby sit your play it day and select that mosque, and then you can just reposition it. I'm gonna moving there, zoom into 200% and just start moving these points closer to the keyboard. like, So you can just go around to see way have any issues. Okay, so we can create a new key from day to fix that problem. Have a scrub through this section. You'll see it looks a bit better, and obviously we have a lot of issues on this side off the sequence, but as a sake, and just go in there and you can add more key frames in the middle as well can. Let's say we're gonna add more key frames day between these two key frames. Select the mosque, zooming there and a selecting these points and just refined them. Okay, so that's the basics off rotoscoping that can take a really long time to do some complicated shots, or especially if you were a scoping something like a person, you will have to create points all around that person or might be just around the hand or the arm, and you need to try and animate those key frames exactly to follow the shape off that person off that handoff that object to make sure that you can't see any background or any age is around that object. So that's rotoscoping, and now we can obviously go and you can add anything behind it. So I can now go and I can add text. Let's just say we had some text there. I can place that text behind my keyboard searches renamed this footage, not a keyboard. And now what I can do. I can bring in my original footage again, So I'm gonna place that behind the text and then I can see. So basically, we've got our footage here. You just rename that and then you've got the text and then we've got a keyboard on top of that. So now it's looking like the text is underneath the keyboard. So if I select the text layer and I moved around, you can see that it's actually behind the keyboard, which is pretty cool. And if you play three year, you'll see that the keyboard is just kind of floating above the text. It's not perfect, but as they say, it's just the idea that counts on. Now let's look at more masking options that you can do we just slightly different than rotoscoping. So I'm gonna delete everything. I'm going to create a new composition, and then I'm going to create a solid, rightly new solid. And let's just call this one solid. Okay? I'm gonna give it a color. Let's make it red. Okay. And now the same way as we started the rotoscoping on this solid lam gonna highlight it. And then you're the toppings, like my pen tool. And then you can click and drag to create a shape. Just do some random shape, they're gonna close it. So you basically cut out that shape from your solid case, and I can place a background below that. So I'm gonna write, like, new solid, gonna call this one background RBG. Let's make it gray. And I'm gonna place that behind our solid. So now I was solid. He's basically this raid shape and our bgr the background is the great background. So now we can go in the shape. You can refine the mosque so I can go into the parameters into the mosques and expand Mosque One, and that you can go in there and it can change these points around if you want to recreate or change the shape off this mosque and you can now add your fix on this so I'm gonna add a drop shadow on this one and you can see the distance with dishes. Increase that. And as you can see there, we created a new shape from a solid. And that shape is now sitting on top of a bag around. And it's gonna drop shadow on that ship that we created so really cool stuff on. Obviously, no, I can go in and you can rotate this and you can scale it and you can reposition it. And as I mentioned earlier, you can see the pivot point of sitting there. So if you rotate this, it's going to rotate around the pivot point. And if you want to change that point, we're gonna go to this band behind to lead at the top, and it say You want to sit the pervert to be kind and the center of this object. Maybe somewhere they And if I right at it now, it's going to rotate around that bullet. It was a skated down, and you can also just click and drag to change the position off that object. So using mosques on solid layers can be really powerful, because you can create any shape that you want to so You can also create letters from using this technique. So I'm gonna create the new solid, and I'm gonna call this one a and then I'm gonna make it red click on OK, so that's basically creating a basic red solid. And then I'm gonna cook on my pen tool and I'm gonna draw the letter A writer. Let's see if I click and just Troy and do something like that. Okay, so that's the outline. And obviously, now we want to create another mosque to cut out this little section. Years, I'm gonna show you how to do that. So currently we've got this mosque and this mosque property is said to add, if he changes to subtract, it's actually going to invert it. So basically, then we're just cutting out that section and we leaving everything else. But we want changes to add because we want to cut that out and we wanna get rid of everything around it. And then we're going to click on the solid layer again, and then we're gonna draw another mosque in this area like that. But now this second mosque, that small one, we want to change its property not to add but to subtract and you can see now that one is subtracting from this one so I can go into this blue mosque. Select your selection tool and you can click on these points and you can reposition it if you change the shape off that mosque. Okay, so these your A And now I can click on this one. Do control space at a drop shadow, and it's increased the distance, the softness and the opacity, and they have the little A, and we basically just used solid layers to create that Russia's. You guys can see that masking on solids can be really powerful because you can basically create any shape you want from just using a solid and using the paint will also play around with rotoscoping. Try and rose, coping something out from fruit each and trying to just kind of match the shape and the feather amount at all of that. And, yes, see what you can create because enjoyed. This one are seeing the next listen 18. Adjustment Layers: Hey, and welcome back. And in this Listen, I'm gonna show you guys how to use adjustment layers. Now, adjustment layers is basically also kind of like a dummy layer. It doesn't render anything, but what it does, it will affect all the layers below it. So let me show you guys what I mean, So I'm going to create a new composition, make it HD 25 firms of second and five seconds in duration. So first of all, I'm gonna create some layers. So let's start with a background. So I'm gonna write leak new, solid call this BG, make sure it's comp size, and I'm gonna say this color to Dark Grey, something like that. And, um, let's at some Texas Well, so I'm going to create a new layer text on the school, this text, and it's just make that maybe just a normal kind of light gray like that, and I'm gonna bring in some assets as well. So I'm gonna bring in my YouTube logo, and I'm just gonna drag that in year, and I'm gonna scale it down. She's holding in shift, scaling it down, putting it below the text, right, and then I want to add something to this background as well. I'm gonna add a Grady INTs. I'm gonna type in radiant Ramp. And I'm gonna make this radio bring down the center to the center. They changes white too, Something like that. And then just swap the colors around. So we have something like that, and it has expand this more towards the outside. Okay, so something really body secrets put our text there. Let's put our logo, they and and I'm gonna create an adjustment layer. So I'm gonna write, like, new, and I'm gonna choose adjustment layer. Right. So I'm gonna put the adjustment layer right at the top, and then we're gonna start adding effects to this adjustment layer. So first of all, I'm gonna add a blur effect to the adjustment layer. So with adjustment lay selected, I'm gonna press control space, and then we're gonna type blur, and we're gonna go down to Gordon Blow. All right, I'm gonna increase the blurriness to around 50 and you can see it's blurring. Everything all right? It's blurring our logo. It's blurring our text, and it's also blurring our background. Okay, now, if I move this adjustment layer one level down below my logo. Now you can see that the logo is not blood, but the text is still. Blood on the background is still blood. And if I take this adjustment layer and we would one down even further now, it's only blurring the background. That's not blurring the text. And it's also not blurring the YouTube blogger so really simple. An adjustment layer will only affect everything below it, so I can also add a glow to it. I'm gonna have My adjustment layer is selected, and in press control, space is at a glow effect. So it's first doing a blue, and then it's doing the glow effect. I'm gonna increase the intensity and also the radius so you can't really see that it's glowing the background, but it's actually blowing the background, and if I move this one up, you can see Now it's blowing the text, but it's not blowing the logo. And if I move this one up again, no, it's blowing the logo, the text and the background. So the adjustment layer is really nice. If you have a lot of different layers and you want to add like a global effect maybe, like tell a grating or any type of effect all the layers below it. Then you just add your adjustment layer. Make sure that's right at the top above all the layers that you want to effect. I mean, only at the fix to that adjustment layer, and it will basically affect everything below it. So because enjoyed this one I'll see in the next listen. 19. Green Screen and Chroma Keying: I didn't welcome back. And in this Listen, I'm going to show you guys how to do green screen or chroma keying within after effects. So I'm gonna start with creating in your composition HD 25 frames a second, and I'm gonna make the duration four seconds. Okay, I'm gonna show you guys how to do this with two examples. Now, I've got this shot that I'm gonna drag in your, which is pretty perfect. When it comes to green screen footage, you can see there are no shadows or no lighting changes on this one. I think it's actually a digital render. So it's really like a perfect green screen. And this will be really easy to key out the green. Sometimes you want to play something behind the object or behind the person. And the only way to do this is to remove the green, and then you can replace the green with something else. So on this layer should rename this layer to footage, and I'm gonna press control space and I'm gonna type key light. You'll see there's a key light 1.2, which is a really, really good green screen or chroma King plugging within after effects. And then all you need to do is need to pick the color next to screen color. So I'm gonna pick on this color picker, and then I'm going to select the green close to the object. And as you can see, it's removing the green. I'm going to switch off this total transparency ingredient. The bottom conceit showing black on offer. Play this back. You'll see it's actually keyed it out perfectly because is this a digital shot? Surrender. It's got a perfect green screen behind, and it actually works Well, if you want to enable this transparency, grit, just toggle this button at the bottom, then you can see the transparency. Great. So it kind of gives you a better idea how your green screen removal it's working and I can go and you can place anything behind this footage so I can go new solid, and let's create a gray solid make it comp size, and I'm gonna put that below my footage. And now I can obviously see that that is looking pretty good. So this is a very kind up unrealistic example, because in the real world, you're not gonna get green screen footage. That's 100% perfect. So I'm going to leave this compound. I'm going to show you another example. So the next example that I have is just a stole frame. It works exactly the same as footage. So I'm going to create a new composition again, and I'm gonna drag this stole into my camp. So just a still frame. But as you can see, we've got a bit of shadows here at the bottom and also two different shades of green around teams have got a light to green in the middle. I'm in a bit of a dark green yet the bottom. So I'm going to just rename this again to say footage. And then I'm gonna do control space. And I'm gonna add the key light effect again to that. And then I'm going to select a color that close to him. All right, then let me select something you in the corner because this green is very different to the screen close team, and we want to remove everything as closely around the object as possible. So I'm going to click on this color picker and then I'm going to select the green close to this person. All right, so if you look closely, you can see there's some shadows year below him, and it's also a bit of a darker shadow you on the sides and that's not really gonna work. If I switch off this transparency grid, you can actually see the floor still below him, and they might probably be some issues around on the ages as well. So I'm going to display the transparency group so we can see what we have. And then what I usually do is I apply a bit of a screen blur sake and just toggle the screen blur that will add a bit of a blur to the screen. And then you can also going to screen Matt. And then you can change the clip black and the clip white. So usually, if you up the clip black just slightly, you can see it's already fixing some of the issues you're on the side, but if you go to four, it will actually miss up the image as well or the person. So you contact that too far can just drag it and see if we can get and then you can also increase the screen softness just to make the ages around him slightly softer. I usually said this to around 0.5. Maybe it will just soften the ages slightly and let's just changes back to black. You can still see there is some shadows below him that we need to get rid off and let's just go back in you. And we change some of these settings around so you can increase this screen gain as well as you can see is that increase. This particularly for it will actually make up the white on this guy as well. I'm going to take it down to around 120 delicious struggle this transparency great. Often you can see that's looking much better already. Let me just drag it back in and see there's the floor in the shadow, and if you drag it up slightly, conceive A. It's actually getting rid of it. And now what you want to do is you want to click on this footage. Anyone a rotor scope very roughly around this person. You obviously don't want to spend time and go through, because then you don't really need green screen in the first place. So what you can do is just click on the mental and just quickly, very roughly trying kind of Adam mosque around this person like that, and that's going to get rid of everything outside off this mosque. And obviously, if this guy's walking and is walking across the screen, you will need to animate this mosque as well the same way that we did in the right to scoping lesson. So you will go into this layer into mosques into Mosque One, and you will animate this mosque both, and you will just animated along the time one year so that it kind of follows the movement off him walking across the screen, and now you can obviously go on. You can create a new solid, or you can bring in a different background, and you can place that below him, and that should look pretty cool. So, yeah, you just need to play around with this savings in key light. So basically, you will look at your screen gain on, and also the screen pre blur, and then clip black usually works quite well. If you want to get rid off something like a shadow or something close to him, and you can also increase the screen softness slightly just to add the soft lines around him and also try and pick the color closest to him. So don't pick a green. You on the edges. Try and pick a green that's close around the object that you're trying to key out. And that's how you do green screen and chroma keying and after effects. Also, you guys in the next lesson. 20. 2D Motion Tracking: Hey, and welcome back to this lesson. And in this Listen, I'm going to show you guys how to do two D motion tracking in after effects. So I'm going to create a new composition, HD 25 frames a second, and I'm gonna make the duration five seconds click on, OK, And then I've got a clip here that I'm gonna use to show you guys how to do this. I'm gonna drag this into my composition, and it's just a free and shot off this street sign and we could attract the street sign. And then we're gonna play some text and motion track that just to the motion of this footage. Alright, So first of all, make sure that you in the motion tracking workspace. So if you go up to window workspace, make sure that you are in motion tracking by default, you will be in standard. So just go to window and in workspace and in motion tracking. All right. Next, we're gonna create a nolo layers, so I'm going to write to get the bottom new, and then I'm gonna kick on No object. And I'm just gonna rename this. You don't have to you, but I like to keep it nice and needs. I'm gonna press intent and I'm gonna call a tracker. All right, then I'm gonna take on my footage again. Let's rename that as well to footage and then with your footage layers selected, then you're going to click on track motion year on the side. And that's gonna give you like this one. Track a point or track point. I'm going to zoom in your assume into about 100% and we want to change this tracker properties to track position, rotation and also the scale. And it's gonna give you to tracking points one and two and then we're gonna move it into place. We're gonna find two spots. That's kind of high. In contrast, in our footage and for the shot I'm going to use this corner years, they just drag in the middle of the center of this inside box and just put that little X on something that's high in contrast. And listen to some of the other ones. I'm just gonna drag to resize this and dragging the centre and place it on the scorn of a in this, a few more things that you need to change your before we start tracking something, click on options and make sure your channel is set to RGB. You can use luminess as well, but I find RGB gives me kind of big results sometimes and then also like to enable adept feature on every frame. Yet the bottom just enable that and then click on OK, and next we're gonna edit our target. So you click on a retargeting on the side and then against, like, your no object. Now we rename the two trackers. I just select that and then click on OK, and then make sure that you on your first frame and then you're gonna click on this track photo, analyze forward, which looks like a play button. Just click on that and you'll see it's gonna run through. And those points should stick to those areas on the footage that you selected so takes a couple of seconds and the regards done conceal the tracking data year and next you want to apply the striking data, Stickley can apply, and there's gonna ask you, do you want applied? I mentions ex and why, yes, we want to do, and then just click on. OK, so now we can just minimize ALS these layers here. And if we scrapped in the traditional, you'll see there is our no object that low red box. And if you scrub through year, you'll see that that red boxes actually sticking to that area in the footage, which basically means its motion tracked to the footage. So now we can add something like text to I'm gonna write a new text and a technical this two D tracking like that and can obviously move this around. Now I'm gonna just parent this two d tracking to my tracker. So with my two d tracking text layers selected, I'm just gonna use the pick up and then we're gonna parent that to the tracker layer. Now, if we play this back, you'll see that the text is actually sticking to the footage, which means it's motion tracked to the footage. Now, obviously, you can try different points in your footage. You can try points that's kind of further away or closer together and see what results work better for you. So you can also use something in the background if you wanted to track two more to the background in this instance, it's Morgan attract towards the movement off this street sign. So, yeah, I just play around with that. And that's basically what you do to be tracking in after effects. I will see you guys in the next lesson. 21. 3D Camera Tracking: Hey, and welcome back and in this list, and I'm gonna show you guys how to do three D camera tracking, inside of after effects so visible I'm gonna drag in my footage. So the duration of this clip is 10 seconds or about 10 seconds, and I only wanna use a section off this clip, so I'm gonna show us how to do that. So it wasn't gonna create a new composition, and when set this to around four seconds, anyone who used four seconds off that clip and then I'm gonna double click on the footage year in the project area, and it's gonna open up the footage in this view section year and then I only wanna use the 1st 4 seconds. As you can see, it goes on to about nine or 10 seconds. So basically going to scrub through you until I get close to four seconds, you can see the time, could you at the bottom. And then you can use page up and page down to go one frame for the one frame backwards. So I'm gonna go exactly to four seconds like that, and then I'm going to click on this button year, which is your outpoint? All right. And that's gonna set out point on four seconds. Exactly. You can use this one to create in point as well. But we're just going to use this start off the video, and then I'm gonna drag this into my composition, and it's only gonna take the four second clip and it's gonna drag that into the composition brunch. If I played back, you'll see that is the shot that we're gonna track in three D or do a three d camera track on. So I'm gonna go to the first frame and then on this layer, I'm just gonna rename this press intern, call it footage, and then I'm gonna press control space, and then I'm gonna type camera, and we're gonna select three D camera tracker. Now, this camera tracker effect will automatically store to analyze your footage, and it's automatically going to try and track it for you. Okay, It's busy solving the camera, and I think it's done. So let's scrub three year residency. It created these tracking markers on the footage, and if you scrap three year, you'll see the update and they move around. So let's say we want to use a section on the floor somewhere here. It didn't create any tracking markers on this side because there's no high Contras. Areas in the rodeo concede that creates something on the side here, but they're not really that good. You might be able to use some of them, but we're going to use something some of these tracking markers to just create our no object. You can kind of move your mouse around. You can see this disc will be sort of jumping around in areas on the floor. So what you need to do is you need to select a couple of these. I'm going to drag around some of these dots and it's gonna create that round disk on the floor and then you can right click. And then you can say you can either create text and cameras solid and Cameron on camera. Well, shut a catcher. So for this video, we're just gonna go create null and camera, all right? And it's going to create a camera for us. And it was gonna create a knoll for us right there. So you can see if I move through the footage Now we've got this knoll that's basically sticking to the floor and we're gonna create some text and link it to that. No. Okay, so we're going to create a new text Layers, so right, Click New and text. And they were just gonna top something that stopped three D trekker. And it's just changed the color. It's making blue. Okay. And then I'm gonna move it down so lightly like that, and we're gonna change this into a three D layers. I'm going to click on this three d tracker text layer, and I'm gonna enable three d on that. And then we want toe put it in the same position in three D space as this three D know that we created or the tracking know that we created. So I'm going to click the strike Knoll this know, all year that track it created, and I'm gonna press P on the keyboard to open the position. And then we're gonna do the same with the three d track a text. So I'm going to click on three Dietrich a text, and then I'm gonna press p on the keyboard is gonna show me the position. So basically what I'm gonna do now, So I want to copy the position off the track. Knoll on. I want to make the position off the text exactly the same. So to do that, you just click on position under track Knoll and any copy that he can do, command, see, Or I can go up to edit and in copy, And then I'm going to click on the position off the text, and I'm gonna paste it so it faced. Or you can use the shortcut, Command V. And as you can see, the text actually jumped to this area. It's really small, so I'm going to scale it up a bit. So with a text layers selected, I'm going to scale up the text at the bottom and we've got out. Takes the Now, if we play this back, you'll see that the text is actually moving in three D space towards the camera. Right? What you can do now is you can select the sticks and you can actually move it back, and it shoot kind of move in the same plane as the floor, something like that. And it's play that back. And as you can see, the text is now sticking to the footage in three D space. So that's basically how the three D camera tracker works inside of after effects are because enjoyed this one. Play around with it and see what you can create, and I will see you guys in the next lesson. 22. Adding Motion Blur: and welcome back and in this list, and I'm gonna show you guys how to add motion blur to your animations in after effects. So I've set up in your camp already, and I've got a nice gray background, and we're gonna add a very, very simple text animation to this concert is going to create a new text layer, and I'm gonna call this my no go. All right, let's just do a line break. There's something like that and then I'm gonna add a shadow to my logos. I'm gonna do a control space and add a drop shadow. It's just increasing distance, annals of capacity and also the softness. All right, we've got that. Now we're gonna add a simple animation. So we're gonna select that text layer crispy on the keyboard because we're going to animate the position, and then I'm gonna go to around frame 10 and I'm going to sit a key frame next to position , and then I'm going to go to the first frame and I'm gonna move this logo off screens. I'm gonna drag this number year this X value dragged off screen like that. And then if you play this back, you'll see that the text will fly in like that and then also want to add some Eazy E's to these two key frames, so I'm going to highlight them. Select them both. Right click key for him. Assistant. Easy, Easy. Or you can use the shortcut if nine. And it's going to smooth out the animation for us. If I played back now, you'll see that it's a bit smoother, and now we want to add some motion. Blood to this text is currently you can see there's no motion blur. Really simple to do on your layer that you want enable motion blur. You need to click on this little motion blur box or enable this little motion blue box. You can see it's got little circle with two circles behind it. Just enable that, And then you also need to enable motion blur on your comp this button year. Just click that and you'll see it's going enable motion blurs. And if I play through this, you'll see that we have nice motion blur as well. And that's how easy it is to add motion blur And after fix, I'll see you guys in the next listen 23. Rendering From After Effects: Hey, and welcome back and in this list, and I'm going to show you guys how to render your final animation from off perfect. So you have set up a really simple an emotion, just some text flying in, and then it's kind of moving closer or just scaring up literally. So I'm going to show you how to render this as a video file. So I'm gonna go to composition you at the top, and then I'm going to click on air to render queue, and it's gonna open their Indyk you for you. And this is weak intellectual Codex and your file format and all of those things that you want to export to. So you at the bottom, which is our put module. I'm gonna click on lossless, and it's going open up this output module settings and yet the top you can select your format like quick time or if you want to export an image sequence, and I usually go with quick time and then you can click on former options, and this is where you're gonna sit your Codec and this will be slightly different on a PC and on a max on a Mac. I always do Apple priorities for two to H Q. And on a PC, you can do something like animation. That's also a very good Codec for really high quality renders. So on my apple, I'm just gonna select Apple Produce 42 h Q And keep going, okay? And we don't want to export any audiencia at the bottom, which is audio. I can just sit audio up it off, and then we're going to click on OK, and then what is output to? I'm going to click on that and then responds to my desktop, and then I'm gonna give the name just gonna call it animation and then you can save. And then you can click on Orender and it's gonna stop the render. There we go. It's done enough ago to my desktop. Or see there is a new video. If I opened it in quick time, and if I play this back, you'll see there is our animation, and that's how easy these two into your final animation from after effects CC 2017 24. Conclusion: and you've reached the end off learned adobe after effects CC 2017 in two hours are really up that you guys enjoy this course and that you learned a lot. Also, remember that I run a YouTube channel called Tunnel Vision TV. We can find new aftereffects tutorials every week, so check it out if you want to learn more. And yeah, I want to thank you guys again for enrolling in this course. Please remember to keep practicing those new skills and yeah, Thank you for watching. See you guys. Next time. Goodbye.