Adobe After Effect Complete Motion Graphics Course

1. Motion Graphics Course Intro: Hello everyone and welcome to this new course. In this course, we've been learning about motion graphics. And we will clear these motion graphics in Adobe After Effects. Boats maybe publish it on giving an in-depth knowledge about motion graphics. And like that, of course, is we give you a brief knowledge about motion graphics. This course mainly focuses on providing in-depth knowledge. The type box here like projects. In this course, we're going to create real life edge from start to end, whether you are a beginner and advanced discourse is for everyone, you will follow along with me through our discourse in creation process of this add bromine, you will learn about all the steps involved in creating this motion graphic from start to end, you didn't know about every ins and outs of creating a process. So what are you waiting for? Just take this course and start your journey towards turning motion graphics. Thank you. 2. VIDEO 1 Scene Setup: Hello everyone and welcome to this new course about motion graphics in Adobe After Effects and in this first video we will set up our environment, we will set up our background and we will follow some prerequisite steps which are necessary for starting our motion graphics journey. So let's get started. As you can see for creating our motion graphics I have collected all the required PNG files. PNG files means the images in which I have removed the background. So our first step is to import all the required files into our projects panel. So just select all the required PNG files. And you can see I also have a music file here and that we will use as background music. But make sure that whenever you use music or any kind of audio file into your projects, either it is royalty free or you have license to it. Otherwise you will get copyright strike. So first thing is that we need to import all the required files in our project panel. As you can see we have successfully imported all the files. So our next step is to create a new composition. So click on New Composition. It will open up dialog box. Type the name of your composition. You can choose any name for your composition. Here I am typing it as background. And you can also select the color here. By using the colour pickle. And click on OK. You can also select the width and height of your composition. Now just drag that composition into your timeline panel. So currently our background composition has. Red background. But what if you require any other kind of background?What can be done? You can also change the settings in composition panel. Or you can import any layer which is a solid layer of your desired color. So first let us drag and drop our first layer that is this pizza layer. So just drag that first layer into our timeline. So as you can see this image is too big S we need to scale it down South. Click on the layer and expand it layer and go to scale option. And Just adjust the scaling of that layer so that it looks fit with our composition. And the next step is to convert this layer into a 3D layer. As you can see I have checked that 3D icon, that cube size icon which converts any layer into 3D layer. Now go to Layers tab, click on New and then select Solid. Now you can name this layer anything and currently I am naming it. And you can choose the color which you want. You can also select the size. But since this layer is in synchronization with the width and height of our composition, we will not change that setting. And uh, we can change the color using this color picker. We can select this yellow color or you can choose any color which you want. And click on OK. So now you can see we have a solid layer with this yellow color. Now just drag your pizza layer on top of that layer. And one thing you need to observe that the layer which is on the top will be shown in front. So that is why we have dragged that piezo layer on the top. Now go to the Effects and preset panel and drag a gradient. So now go to your effects control panel and you can apply the color in the gradient. Example for start colour I'm choosing this yellow colour and our secondary colour is white colour. You can make any combination using this effect. Basically this gradient ramp effect is used for applying gradient on any graphic layer on any solid layer. So you can choose the type and colour and 1st and 2nd or primary and secondary colours according to yourself. As you can see, I am trying to apply a gradient here. Until I get a satisfactory result. But currently it is not looking that much. Good. So we need to keep hit and trial process until we get a satisfactory result. Or if you have specific hexadecimal code of the color, you can also apply it here. It depends because currently we do not have that. We are just trying to figure out which looks better here. Now you can see I'm adjusting some settings so that our background looks like it is placed in a spotlight. Like the edges have some dark shadow and our piece contains. The spotlight. Now you can also create multiple solids here according to your needs. This time I'm trying little. Light. And then click on OK. We want to apply the same gradient effect to other. So just drag and drop that gradient ramp effect here. And select your. I want this light yellow colour for our primary color. And for our end color, we are choosing this dark black color. But again, it is not up to our expectation. And you can change the ramp shape to radial ramp because we want a circular kind of gradient, we do not want linear gradient. So now you can see we are getting a spotlight kind of effect. Where edges are dark and our subject is in bright position. And this looks good according to our requirements. So with this we have successfully set up our background and we have also set up our first composition here. And in next video we will take this process further and we will know more about motion graphics and other techniques. Thanks for watching. We will continue in next video. 3. VIDEO 2 3D Layers and multiple views: Hello everyone and welcome to the second video of motion graphics cores in Adobe After Effects. And in this video we will learn about TV layers and we will also are in the layers in 3D space using multiple view ports. So let's get started. In previous video, we have set up our background and we have also implemented our PD. And in this video, we're going to set up our 3D environment. But before that, let us say, well, rejected. Now expand our Brazilian and you can see we have this scale option. So we can scale it according to our requirements. And we have also and we also have various options like anchor point position. You can use all these parameters for animation. You can give him these parameters to create unique animations. And just according to correct scaling. And you can see in our project panel, we have various parts and various ingredients of this thing. And we have all of them in PNG format so that we do not have any process to remove the background. So now drag this to the major. And first we need to adjust your scale. Was that entity it is, yes. Out of order. You can not get that much anyway. So now first and just it according to our requirements and disposition it by selecting the position do or you can define the position parameters in timeline, whichever suits you, you can do that. And we also rotate it using a rotation parameter so that it looks nice. Now, another thing is that we can make it a 3D layer by checking that cube icon. And now go to our view option and select to view vertical. Or you can also select to view horizontal. Basically what this does is that it creates two ViewGroups. One for our front view and second for our horizontal view or top view. Whichever you require an example, I have created two viewports, 14 vertical then one forefront. So you can see our top one is showing us where friend view of our projects. And second issuing the top view. As you can see in this top view, we have both the layers in same plane. Means Buddha. You are busy, they're in your Julia, bought at least in the same plane. And what we can do to create a 3D illusion. Basically, we can place these layers in 3D space at some distance. So you can either drag those layers just by selecting them and dragging it forward or backwards. Or you can. Just like parameters, positional parameters from the timeline by selecting that layer. But here I am just clicking on it and I'm dragging it front so that we can create the illusion that Chile is in printed and it wouldn't be Xolair is in backward direction. So that is why I'm just dragging it in 3D space. Now you can see I would've Boat Layer via created depth kind of effect here. And I'm placing another Julie just by clicking control plus D. I can duplicate this layer and I can just place that anywhere else. I am placing it backwards because I want to create a complete environment of all the ingredients along with this. So I'm just placing this layer and backwards direction. So we also need to reduce its scale because we are placing it in one direction. And it should not be that much big because it is away from one eye and the object ridges away from what I should be smaller in size. So that is my via decreasing its scale to match where perspective. Now we're positioning it according to our needs. And we can also rotate it so that it does not look similar to our first Chile. It looks something random. So now again, I have duplicated this layer and now I'm placing it in either direction. And we can also change the Zed coordinate of all these layers to create a depth of field of view. You can see I pleased to one lead, invent, other layer in backward direction. You can see that in what you bought, those lines represent a layer. So our biggest line represents, or would it be zealot? And all those small lines represent over Julia, since we are doing them from the top. And they are 2D objects. That is why we can only see them as a ln. U, v will view them from the front. We can see how they look. So now I'm increasing the scale of this layer since it is in front of our subject line. Now expand our TV layer. And you can see, since it is a 2D layer, we have various options like rotation in XYZ coordinates, changing its orientation. You can also tweak these parameters little bit to create some random view because currently all legit, these are pointing in the same direction and it is not looking random. It is looking like we have placed all of them. But we want to make the scene look spontaneous. That is by we have to rotate all these layers in random directions. So that sense of spontaneity, and you can see I have rotated all the layers in different directions so that none of them match each other. And all of them are looking like they are coming out of that visa layer or they're split or due to the rotation of the gel layer. So I'm trying to create that kind of effective. And you can see whenever you select any layer, you bought shoes, you its position in Frank direction and also from the top direction in both newborn, you can see we have its position anglers and rotation angular. So you can drag any of that and you can change it. Either. You can go to our timeline ban elderly again so that, that parameter note, so you can change that value precisely if you want any precise rotation or anything, you can just type in the value date or either if you want to approximate, may not work or approximate position, you can just drag it according to your needs. As you can see, I'm trying to populate the scene with all the layers. Later we will add multiple layers also. But currently we are trying to create a depth of field effected by placing the CDC in Zed coordinate with respect to our subject layer. And I'm also adjusting the sizes according to it. If the layer is entrenched, it should be a bigger size because it is more closer to her eye. And if the layer is backwards towards the object we added should be smaller in size because it gets away from our eye. So you should look small. So these practical things, you should also know if you mess up, when does eyes that look unrealistic? So you should keep these things in mind. So this video was all about our 3D layers and multi-view. So in this video, I have told you how you can create various views or your report. You can view your project using multiple nucleotides from various directions for your ease. And you can also create a TD layers. Basically multiple view ports are helpful when you have GD layers and when you want to position them with respect to each other? Or do you want to create any specific kind of, you know, that is why we have used these kind of arrangement. So thank you for watching. In the next video, we will continue our discussion. Thank you. 4. Video 3 Graphic Layer Transform: Hello everyone and welcome back to this new video. In previous video we have added various V ports. We have also imported our pepper layers and we have tried to create 3D perspective view by changing the position of that layer with respect to that axis. And in this video, we will try to create effect by importing various layers, other object layers. And we will try to populate the scene with the required measurements. And we will transform these layers according to your needs. Let's get started. Basically correct placement of the layer is important because if you are placing the layers in wrong order, it will just increase your time to edit videos. So our first step is to place all the videos and all the layers in correct position so that it is easier for us during the animation part. As you can see, we have correctly placed over GD layers here, but only two layers are not enough to create this scene. We need to add more things. As you can see, the ingredients of the 17th, so many things. And we have only added TDI. So these, this is not in a and it is also not looking at my tasty without adding much ingredients that we need to add much more ingredients. So just let us see what layers we have. And you can see there is some problem. I cannot see the timeline panel correctly. So let us change our viewport settings. And you can see when I click on this left view showing us and what left view of the project. And for Adobe tissue in your top view. And for custom view it issuing any Custom Collection View you can see. So let us keep it is top. And you can see since I have kept the boat, the viewport, one above the other, I have less space for my timeline. So we can adjust their placing according to a neat so that we get more space during editing. So just try to Jane the workspace according to our requirement first. Then we will proceed further. You can see we have various options here. You can use various options according to your requirements. But currently I'm not going to do each and every option here because our main aim here is to create our motion graphics video. So we will change it to two views, horizontal, so that our board review boards are in horizontal direction related to each other. So that we can have more space for expanding our timeline. And we can view both down, use correctly. So now we have adjusted our workspace directly. Now we can have more space. What I'd ever seen. Now it is time to import our remaining layers which belong to this slide. So let us search those layers. In our Projects panel. You can see we have this olive layer also and this big pepper also. And we want to include this into our project. So just drag and dropping timeline. And you can see this is very much big with respect to a project, so we need to scale it down. So good. Just select the layer and type S. It will directly open your scale property. Or you can just expanded layer and then go to scale parameter. Basically I prefer opening in directly. So I just select that layer and type S directly opens your scale parameter and you can scale it downwards directing. And you can see, since it is 2D layer, it is imported guest. In the center of the composition. You can see in the left viewport that it is in the plane of our pizza there. And whenever you drag it, it is still in pain. And for creating 3D kind of illusion using all these 2D layers, we need to position these layers in the z direction with the relative to each other so that when they move your camera between them, they should behave as if the scene is created by 2D objects. By getting a depth of field, because currently only the genie's out, please do create depth of field. This big pepper is not placed according to it, so we need to place it with respect to all the different objects. So for doing that first converted into 3D object by checking on net new icon. Now we have all led to the options available for this layer. Now go to our second panel and drag that position in that direction so that we can create a 3D look. At NP. You can not see that much debt it, how it is 3D, but when you will move in the direction of the camera, you will observe that it will look like 3D just due to the presence of depth of field. And basically we have created big depth of field by placing 2D objects at regular intervals and not in the same plane. So you can also use this method for creating depth of field. Otherwise you can directly use 2D objects, but that is complex. And if you want to know how to use 3D objects in After Effects, I have created different course for that. You can go there, you can watch it. But here we will only use 2D objects in 3D space or creating 3D illusion. So you can see I've duplicated this layer. I'm placing it according to my requirement so that it creates completes the scene. And let us change the orientation so that it looks like there is some burst of the ingredients coming out from the visa so that it looks more deletions with this kind of bursty. Now scale it according to the distance from our subject. And since we want to place it in one direction, you have scaled it down. They debated because V1 to place this object fired from a, you can use various properties and various transform values directly by just clicking on the layer and then typing the keyword for that. Like if you want to change the scale of any layer, just click on that layer and type S. If you want to change any position of that layer and just click on the layer n-type B. It will directly open net position parameter or otherwise, if you want to do it manually, you can just expand it there. And you can find all those options in transform properties layer. And basically what I'm telling you is the shortcut of doing that. And you can also select multiple layers and then click on P. It will open all the position parameters for or less electrode layers. So this is the shortcut for doing that. And we're transforming the graphic layers. You can use this method for a single layer or multiple layer. So this video was all about transforming layer and placing the objects such that they complete our scene. And we have also learned how to adjust our workspace according to our needs so that we can edit it in a more comfortable manner. So let us place this jelly layer, disbursed jelly layer. And after that we will complete this video is one we can place here to create little bit of that burst kind of effect. So this was it for this video. Thank you for watching. And in next video we will continue with our 5. VIDEO 4 Scene Population: Hello everybody and welcome back to this new video. In previous video, we have learned about this in v's theirs and how to transform various layers in more efficient manner. And in this video, we will learn about scene population because we need to create a scene first, then we will have to create its motion graphics. So first we need to populate it seen with all our graphics, they are correctly so that it will be easier for us during the creation of motion graphics. Let's get started. As you can see, currently we have only three kinds of data. First, she's our food layer. Second is our ingredients kind of layer. Now we need more different kinds of diarrhea to populate the scene. So we can use this boasted to you the kind of there to add more dynamic field to our scene. We wanted to create burst or explosion, was spice explosion kind of effect there. So that is my VAD using this there. Because if you really use all the solid layers, it will not look that good. You need to create some ambient kind of effect there because it is food. So we have to use some split terrorism burst. These kind of layers. We need to use. Two now we need to populate these layers at different positions and different Zen directions and z coordinates so that it creates a complete 3D scene. So just select that layer and change its position according to your requirement. And here you can see whenever you are using any split air or splash or burst kind of layer, you need to keep in mind that you keep its orientation according to a requirements. Because here I am trying to create a splitter kind of effect. So I need to keep its orientation in such a direction that it is coming out from the pisa layer. So the debt, you can see it is above layer. And since it is, make what direction I need to reduce your size. And yes, do not forget it to make it 3D layer. Like you can see, I am trying to place or LA, split or objects in clockwise direction like they're splashing due to the rotation of this bizarre layer. So why did they sing these layers? You need to keep one thing in mind that they should look logic and they should not do imaginary whenever you are creating any scene like this. Because if I will place when they're in clockwise direction, under, in anticlockwise direction, it would look like some random scene. And it will not create that effect, that realistic effect. So that is why it is important that you should place it in a logical manner so that both the orientation and position corresponds to the competing. Because your motion graphic will look good only when you have all these things, correct. And then y is, there will be some odd odd type of feed present to it if you do not do it correctly or if you mess up with it. Although all then emotionally look good, but there will be some different kind of feel to it if you mess this up. So correct positioning and correct orientation of splash, kind of layers or destruction kind of layer should be it. You can see I'm duplicating these layers. And since I'm placing this layer in front, I need to increase its scale. And now you can see I am moved this layer away from that line of our basic object so that it also creates some 3D effect. And I'm just ending the position. And the basic thing I'm doing in this video is to populate this incorrectly because then I'll have 50 percent would be a word, then the only thing would be left is to animate the keyframe according to our requirements. Notice why I'm trying to populate this incorrectly, because first the scene needs to look correct. Otherwise, it will not look good even after animating. You can see I'm bringing this layer very close to my, very close to the screen. Because I want this layer to be done. For word means retry our camera motion. This there should be done the averages in front. And you can see now our scene looks little bit to populate it, but again, many things that are missing. You can see here we do not have any tomatoes, we do not have any onion layers and different kinds of things we had missing, so we need to add those layers also. What depopulation of the scene. Now, you can see we have these two layers. So we need to just drag and drop these layers. And if you are confused, do that where you can find these kinds of PNG. So there are many sites on the Internet where you can directly search and you can download these PNGs. You do not need to prepare every single PNG by yourself, data various sites where you can just go and search and download the PNG of your desired object. So now you can see I'm placing this olive layer pointing to my need just to populate our scene. Because it is looking MDE when updating these merge layers, because we are directing us pledge kind of animation. So we need to populate it. Now. Just press Control D, and it will duplicate that layer. And you can add it multiple times. But first I'm adding some orientation, some y-axis rotation so that you should look nature. And then our camera approaches in the direction of pizza. So it should look like it is some 3D object. It should not look like a 2D layer. That is why I'm changing, leaving rid of orientation. By using these 3D properties, you can position them. Position all objects in 3D space according to your needs. So this was it in this video. In the next video, we will move for letterhead and thanks for watching. 6. VIDEO 5 3D object illusion using 2d layers new: Hi everyone and welcome back to this new video. In this video, we will discuss about creating 3D illusion using 2D objects. So basically, for creating 3D illusion, you need to please 2D object in such a way that they create depth of field. And you can do this by placing the objective in respect to each other in z direction. And you can also do this by changing the orientation. And you can do this by populating the screen correctly. That is, placing the objects of right size and right direction and add a writer Zed coordinate means the objects which are closer to your eyes should be of bigger size. And the object which is away from your eyes should be of smaller size. And one more thing you can do for creating depth of field illusion is that you can add a blood effect. Like if you add a blur effect, it will create our similar effect like our eyes create. It didn't create a fake focused kind of effect. Like you can blend objects which are very far from your eyes and you can learn the object which is very close to your eye. And you can keep any object with the crisp clarity and that object will look like it is focused, just like our ICs, any object. So this is the method of creating 3D object and using 2D layers. And you can do this by correct placement. So basically, in this video, you will learn the correct population of the layers. And he will take it for a day or so, since all the steps are similar. So I will speed up the video from here so that you can see the steps happening in front of your eyes. And at the same time, it will not waste your time. So you will meet in the next video after completion of this. So you can watch this video now. 7. VIDEO 6 Camera setup in after effects: And everyone, I'll come back to this new video. In previous videos, we have discussed about population of the screen on motion graphics. And in this video, we will create a camera set up for our camera motion. And it will also create a camera scene and vivid manipulate some of the properties so that you can study. As you can see in the previous video, we hit populated our screen with the required materials. And when you right-click on a layer, you can find VDS options in. And you can also go to Layer new and then create a new camera. And you can see for creating a new camera, we have VS dy dt equals eight options. You can adjust its focus then you can ingest its focal length and radius. But I'm just like a budget angle of view. So I am selecting 35 millimeter as my preset. This represents our lens, but I mean that we are fitting a 35 millimeter lens in this camera. Then click on, Okay. So now we have a camera layer here. So basically one After Effects does, is that you can create multiple different views by creating new camera there, you can position camera layers at different position. And you can also see the cosine by using camera layers at various 3D positions. So that is why we have created a new camera here. And you can see when I expand this camera layer, we have various options. Just like an original camera, we have various options like Xu, depth of field, a budget, and various options. You can modify these options according to your needs, just like an actual camera on. But the only difference here is that it is a virtual camera created in Adobe After Effects. Because sometimes you can see only our four views and not enough. So we can place our camera anywhere in 2D space. Well, it getting anything. So as you can see, I'm adjusting the budget ready here. And I've also switched on the depth of field option so that we can get a motion letter so that we can get camera blur. Because we want to focus this camera on Brasilia. And we want all the other layers needed to be blurred. And you can experiment according to yourself. You can give different values for various parameters and you will get different result. Now, we had adjusting our focal distance. So V1 and that would be Zell. There should be a double camera focus. Okay? So now you understand why the position different layers at different distance so that we do not have to apply to every layer. The layers which are not in the distance of the focus will be blurred automatically. So now you can see we have registered our focal length such that our Brasilia is clearly visible. And in our prefix, you can not only create a camera layer, but you can also move that layer. You can animate that layer. You can create various kinds of motion effects with that. They're basically you can just leave it on camera layer just like you can play with actual camera. You can do all kinds of motion. So here we have set up our camera there. And you can see we have also got rectangular type of shape which represents camera layer. And you can drag that by you attended or you can just go to the pedometers and change those parameters. So for accessing the camera options, just click on the camera there. And this time we will try to animate the position of the camera. You can animate all that transform effect, just like any simple layer. Since I only want to change the position of this layer, I am taking out the position parameter. If you expand this there you will find, you will find same option, same transform options. So what animating the position? Just click on that stopwatch icon. It will start keyframing. And we want to create keyframes for camera movement. We wanted that our camera should move in forward direction. But for moving forward, we need to place the camera at certain distance. Because we wanted that end up being, our camera should be away from all of these layers. And after some time it should move through all these layers. So it will create 2D kind of illusion effect. So here you can see I have created my first you frame. And this keyframe represents my position which is far away from all these years. And since we have a distributable colon, we can see there is a decent blur applied to all these layers because they are autofocus. And as we move glucose to our focal length, all the layers will be clearly visible to us. So now you can see how easily we can create our camera effect. By using camera there. If you used lead effect, you would have to apply that effect to all the different layers. And then you would have to keyframe all different layers. But this is the best way for getting camera bled by using an actual camera layer. So now I have also applied some smooth and easy, easy fades. Do my keyframes so that our gamma starts and stops in gradual manner, just like any slider or any extra drain actual camera dream. We had also creating another keyframe because we also want multiple scenes. After these scenes, we want another scene. That is my, I've created more keyframes so that our camera returns to its final position after coming close to all these layers. And at that time we will perform our transition. So this was it for this video. Thanks for watching. We will continue in next video. 8. VIDEO 7 Scene creation by camera manipulatuon: Hello everyone and welcome back to this new video. In previous video, we have learned about creation of camera layer and how you can set the parameters for you all to watch your camera. And how you can position your parameters. And I can position your camera layer according to your needs. And in this video, we will create an actual scene by using our camera layer. So let's get started. As you can see in previous video, we have created just two keyframes, or the position. And those two keyframes represents 15 position and second, the actual position which we want. No. I have also added two more keyframes here to smooth and demolition V1 today at our camera should move slow when it moves through all these layers. And then suddenly you just pull back to its original position. And at that time we will perform our transition. So you can see with 2D layers via creating 2D vector. And since we have also applied our focal length, sure disputing that gamut of lytic, I know that effect. And since the layer present at definite directions and then different distance from the camera, we can see. Just like in real scenes. And we need to simplify and we need to move in our motion. So just go to graph editor and just make beaks more pointed. Because we want a sudden motion of auto Cameron. He wanted that it should start its movement slowly and it should be in its full speed. And then it shouldn't become slow. Now you can see as we play, our camera is reaching do these layers suddenly. And then it is moving slowly through these layers between the two middle keyframes, that boom middle keyframe. So you present the motion of our camera between these layers, the one that motion to be slow. That is why we have gap between these two keyframes. And then the gap between last two keyframes is very small since we want a quick return of our camera there. Now you can see last keyframe and we're camera moves backwards in ready short time. Now you can see we've moved meant and then slow movement, then again, quick movement. So you're just creating very good kinda of a vector. And in-between this weekend, just change a wet ingredients and disposition. We can just replace all these layers and you can place different layers if you want to create a menu kind of aid. Now you can see it is working fine. And we have also applied a lot easier to all the keyframes to smoothen the motion of the camera. And you can alter the speed of the camera using graphite eaters and be able to compete at that step. And then we are viewing our scene. And according to other primates. But you can see and disappoint a little pieces or dead focus. So we need to change our focal length and we need to change some parameters. So that of a visa layer should be in-focus whenever camera reaches near that layer. And we have also started our keyframe for the focal length option. We can ingest our focal length such that it should be small at this time interval so that our puzzle there should be incomplete focus. Now you can see as I am increasing my focal length might be zillion is incomplete focus. So you can see we can move our camera, we can change our parameters and we can also animate our parameters by using keyframe animations. And since our focal length was not matching with our movement, we just anyway did it using our key frames. And now you can see when my camera is far away, I ever just shared my focal length again. So now you can see our scene looks correct as my camera is approaching. It is in focus all time because we have estimated our focal length to match and to focus on visa always. Now you can see our scene looks good. And C and this point of focus. So we need to adjust our parameters. Now you can see, now you can see we have successfully created and were seen by using some camera motion and by keyframing some of the gamete options. And also by adjusting our focal distance. Yet able to achieve that 3D kind of letter which we achieve in Canberra. You basically that effect is called bouquet effect. So you can see we have achieved an illusion of our bouquet effect by using 2D layers in 3D space. This was it for this video. And in next video we will continue with our discussion. Thanks for watching. 9. VIDEO 8 Camera Transform and Camera Motion Refinement: Hello everyone and welcome back to this new video. In previous video, we have discussed about seeing creation in Adobe After Effects. In this video, we will learn how to improve that scene. So that gets started. In this video, we will define the motion of our camera and we will make this even more realistic. As you can see. We have two of our view ports open. And currently we are working on our B cell layer. As you can see when we play this video. And we're busy start scaling according to our requirement. So it is looking somewhat odd. So we need to keyframe that visa bridge so that it looks realistic. Now, I will try to frame this camera there again for proper movement. And we're doing this because in previous keyframing, our present there was constant. But since we have made changes to it, so we need to synchronize our camera according to those changes. Because otherwise our layer can go out of focus. So you can see I'm adding four keyframes for camera there. First to give him, he presents very fast motion of the camera towards all these objects. And get a blank third keyframe to slow down our camera, we wanted that our cameras should move slowly between second third keyframe. And that duration between second, third keyframe represents the period where our camera moves in between all these vegetables and all these layers. And after the movement, we want our camera to pool deck with full speed. That is why we are keyframing our next key frame very close to or third keyframe. And also don't forget to easy ease the motion. And here you can see I'm going in graph editor and I'm making all the graphs more pointed. Because we want our motion to be more fast during our first to second keyframe and our third, fourth gift. Because V1 to very fast approach and very fast pelvic. Now you can see we have successfully animated camera. So now let us see my playing it. Now you can see our camera is approaching fast during our first second keyframe. And during our second third keyframe, it is moving slowly. And from our third 24 keyframe, it is pulling backwards with full speed. So it is looking nice. Now you can see our camera movement is looking nice. Dinner. Second, third keyframe. We're moving in between ingredients there. And in our first third integral, we are coming forward and pulling backwards. Now many of you must be thinking why I am stressing on this movement too much. Because if you will mess up with this movement of the camera, our holes in the scene will be ruined. So we want to ensure that and this defaming should be done correctly because all other scenes depend on this keyframing only because with respect to this camera, we will animate all of our layers. So if you will not do it correctly, all that effect, all that crispiness of this video will be gone. That is why we wanted that our all vegetable layer should be in-focus when camera approaches. So for doing that, we wanted that our distance should be correct. And that is why whatever this tends to be correct, we want that it should be key framed properly because we have applied a fixed focal length to the camera. So anything which goes beyond that focal length would be that already. To anything that goes beyond that focal length would be blurred. So we need to keep that thing in mind at the time of key framing. Now you can see our animation is looking correct. And basically it is not an animation. We have just animated our position of the camera. You have not judged any single ingredient layer. In further videos, we will animate those layers for creating unique motion graphics. But currently we have only an image in our scenes. So this is also a kind of motion graphic technique in which you do not animate every single element, but you just animate the position of your camera so that it creates an illusion about moving objects. So this was it for this video and the next video we will continue with our construction of this promo video. So thank you for watching. 10. VIDEO 9 How not to do a multi layer animation: Hello everyone and welcome back to this new video. In previous video we have key frame number two layers. And in this video we will keyframe our remaining layers and we will also create a wider motion graphics or other layers. As you can see in our current scene, only our three GD layers and moving. And that movement is due to our camera movement. And all the other burster cheerleaders and bigger pepper layers and all the olive layers and not moving now. So we need to apply some motion to it. We want and that there is some slight rotation in these layers so that we can get little bit of 3D kind of field from the scene. Currently, only three layers and moving. You can see from the scene and venue look in side view. So you can see when you look in the top view, you can see we have six. They are selected. And when you batch select multiple layers, you can get handled for changing their position altogether. But one thing you should keep in mind whenever you select multiple layers. And if you move one handle, all the layers will be affected. Because in that way, that same key for him parameters will be applied to multiple layers. So that is my distinguished need to keep in mind whenever you are trying to apply keyframing to multiple layers in a single goo that seem keyframing will be applied to all the selected layers. Although you can see multiple dragging well angles, but whenever you will try to drag those angles and whenever you will try to change the position, you will affect the keyframes of all the selected layers. So that thing to keep in mind. So as you can see, now, I have selected this red pepper layer and we want little bit of rotation. So let's just start over keyframing for the Zen tradition. And just deep your play head at the time duration when you want the rotation to start. Give your rotation value. You can see we have applied our first key frame here. We'd let me just end just the rotation value. This will be good enough for our rotation. And we also want to apply that rotation to our second layer. So by selecting that layer, I have also your duty to our first keyframe. But good fun thing in mind. You should not forget that districts with the camera, you can see that our first paper layer is closer to the camera so it will rotate with much faster speed. Actually if both upper layers outward, inward similar speed, then also you will have to keyframe with the lead in such a way that the layer which is closer to the camera should have high-speed and the layer which is away from the camera should have lower speed because you would have seen in actual scenes, the object which is away from the camera always moves in slow speed. All the wada objects are moving with the same speed, but in reality, this is the illusion we get. Then the object which is Avi, always moves in slow speed. So for creating the 3D illusion, we are doing the same thing. We are creating our rotation keyframes for both the paper layers. But we are keeping this thing in mind that, that rotation for our near layer should be more. Notation for the fire layer should be less. Now you can see we have applied both keyframes and both our paper layers and now rotating in very mild infection. And it is also giving these layers 3D kind of IHL because previously they were too static. And whenever there is too many static layers, they always look like 2D layers in these situations. So we need to add a little bit of field to-dos layers. So that is why we ever did slight rotation. And we have also played with the rotation value of our friend. Pepper is rotating in much higher degree. And our previous, that is the pepper which is away from the camera is rotating at a low angle. So again, creating an illusion of depth of field. Now, I have selected all the state 2D layers. And this time we want to apply slight clockwise rotation. And as you can see, all these layers, at least in circular fashion. So we can apply similar keyframes to all these layers. So that is why I've selected all the layers together and I'm a plain seam keyframing. Do that rotation parameters of all the three layers. It will not only save us time, but it will also synchronize into motion on these three layers so that our Burst effect, it looks more prominent. Now you can see we have all these are live layers. And there are too many Olivier's. And you can see we have all these early layers. And these are the layers so much. And you can see we have so many olive layers. So first we can select all these layers. And we just supply bunch keyframing. So you can see by changing the parameters of one missing a layer, you've applied keyframes to all these layers. And all we have done that. You have selected all the layers first. Then we have selected the parameter of any one layer and we have changed and VFD applied the keyframing to that layer and net seem keyframing is applied to all the layers. But you should keep in mind sometimes, well, we're doing this batch. Keyframing is not good for you because many where we have small layers in that manner, it can work like you can see in previous function when we have applied bunch keyframing to all these bursts layers, they looked good. But now, since all these early layers are moving in different directions and also they are presented in different sites of visa. If we apply same kind of key framing to all these are live layers. They will not look good. Although we have applied. I keep it. I mean, but when I replay this keyframing, then you will learn what I am trying to see. Some of you might be thinking, it is such a time saver that we can apply direct keyframe into multiple layers, but it is not good every time we need to select when you want to apply beds, give me Me menu. Want to apply a single key framing. And then you develop that mindset of selection. Had venue, need to choose bunch keyframing and venue. You did use single keyframing and their time. Your editing game will improve. As you can see when I'm playing. Since we have applied similar keyframes, the olive layers which I present to the left and moving in right direction due to this place. But all liveness which are present in right of the Pizarro also moving to the left direction because we've applied same keyframing. So this thing I was talking about, although it has saved our time by a blank keyframe into all the layers, but sometimes you do not require that. So another way of doing and saving over time is that we need to divide all these layers into bunch. Like we can divide all these audio There's into two branches. One can be done layers which lie to the left side. And that can be done there. Which lie to the right side of the puzzle so that we can apply different keyframing to the layers which are to the right. And we can apply different keyframing to the layers which are to the left. So then all these layers will play. They will create realistic kind of effect. Currently they're looking too much of animated. Currently they are looking married because our layers are moving in same direction. And this is completely ruining of respect of 3D. Splash. We want that all our ingredients should be moving away from the present such that there is burst. And B1, that all the ingredients should move away from the prison due to its rotation. But in this, you can see all the layers which are to the left are following that. But all the layers which are to the right are not following neck. So we need to connect all these things. So now we have bunch selected our layers. We have selected some of our layers, is you want to change. We have not selected all the other lives. Vm only selected some of those layers are which we want to apply different evening. As you can see, we have applied some keyframes. But still it is not clogging up to the point. So we need to change the keyframing for more layers. Still, some of our layers, which are to the right, are moving towards left and we do not want neck. So this was the point I was mentioning in this video. I was telling you about applying key-frames. So what you have learned in this video. So it, from this video we can take down three points. First thing is that you can apply single keyframing. And you can also apply multiple keyframing, which means you can apply keyframing in bunch. And second thing is that bunch keyframing saves your time, but it can also ruin your complete project if you do not consider it or if you do not use it cautiously because you can see for saving time, I have applied keyframes here, but it is just opposite to what I expected. So there are three points you can take from this video. First is that you can apply keyframing, do a single layer, and you can also give them into multiple layers. And it is called batch keyframing. And, but during application of basic reframing, you need to keep one thing in mind that it can ruin your project or it can save your time. So you need to be cautious about applying that give him incorrectly. And third thing is that for applying their keyframing correctly, you can also divide all these layers into a bunch of different layers which seemed characteristics and apply batch keyframing to those layer. So it will also save your time and it will also look good. So this was it for this video. In this video we have learned how not to apply our key framing and how not to apply a bunch keyframing because it can drain your project if done incorrectly. So thanks for watching. 11. VIDEO 10 Correct way of doing multi layer animation: Hello everyone and welcome back to this new video. In previous video, we have seen how not to apply our keyframing. And in that video, we have also ruined our project by applying bunch keyframing in multiple layers. And we have come to be doing Dead Sea. And in this video you will get to know the right process of applying keyframing. So we will connect our scenes and we will also make that seem more realistic. So this was in this video. So let's get started. As you can see in this video. Good, in many things I always love. So we need to collect, give them into multiple layers. And we need to add some more rotation tool, some layers because you're just not looking realistic. Didn't know. As you can see when I play this video, many of our layers and moving in the wrong direction. So we need to correct those days. And the best way of doing this is that you can just delete that, keep dreaming. Because if you will try to correct keyframing for all the layers, it will just take so much time. So I have just deleted that keyframing, but all these olive layers. And now I will apply the keyframing. Again. Limited layers. I'm not applying to all the layers. I will just select the layers. As you can see, the motion of multiple layers. And we also need to apply a rotation effect to this busy because V1 to date, all these ingredients are coming out of the pizza due to its rotation. Because previously there was no cause for coming out off all these ingredients. So we want to create a cause that due to the rotation of this bizarre layer, all these ingredients are coming out of the visa, so we want to do that. So I have applied slight rotation to that layer. We do not want very fast rotation because again, it will make all the scene look unrealistic. Because we want very mild kind of rotation like our time has stopped for a few seconds. And then again it is resuming. So we want that kind of effect and making it more impactful. I have, you can see just by adding rotation, do that visa layer, our scene looks. So much better. It is much life to it. And now I was blessing of splashing of all these layers looks much more relevant. Now let us play it one more time. You can see we have deleted keyframes for some of the other layers because there was too much movement. And we have introduced what rotation movement in our pizza there. And just by doing these two things. And when I mentioned, looks much more realistic. And we also need to add some more animation, somewhat impact to our Oliver's to the right. But before that, let us try to play it one more time to see what else can be improved. And I didn't know everything looks good. Yes. We do not require much more movement in olive theirs. And that was the mistake we have done in previous video by applying batch movement to all these layers and it is completely ruined composition. But now you can see we have fixed our composition and we also need to apply a little bit of EECS to rotation motion. So now you can see we have almost corrected our animation. And now our motion graphic looks much more better from our previous video. And the basic thing that you must have observed by now is that there are some principles behind a good and bad motion graphics. And those principles are, you can see VR changing no motion according to the movement of the camera. Like here. We're also keeping in mind that time between several shorts like here you can see. And here you can see I'm trying to create a little bit of slow motion kind of vector. So in realistic condition, you can imagine that in slow motion, our objects should not move. That much. Debt should be slight rotation, but not that much rotation. So these things should be understood. Before applying that keyframing or applying any kind of animation. You will need to have that realistic kind of imagination in your mind. Before creating any motion graphics, you need to have that understanding of speed with respect to time. It, how much you earn speed should be, and how fast your motion should be. Because you can see in previous video we have applied very fast motions to over graphic layers. And although the other motions were correct, but still that motion made it look terrible. And in this video, we have deleted several keyframing for our layers. We have kept the framing for some layers, we have deleted, keep aiming for multiple layers. And we have also applied slight rotation to that visit there. So another thing you need to note is that you do not have to overdo the key framing. Because more keyframing, more motion does not mean Seaberg Motion Graphics is good. Sometimes less keyframing, less rotation, less motion can also be beneficial for creating a very good Motion Graphics. You need to keep in mind just simple changes and it will be good to go. So that is what we learned in this video. And we have also corrected our layers. So thanks for watching. And in next video, we will continue with our Motion Effects. Thanks for watching. 12. VIDEO 11 Secondary compositions and reusable shapes: Hello everyone and welcome back to this new video. In this video we will discuss about shape layers. In previous video, we have animated our ingredients layer, we have estimated our visa layer. We have also created our position and movement and emission for our camera layers, we have refined the different layers we have discussed about various techniques you can apply during keyframing. We have also discussed about best practices which you can apply during motion graphics. And in this video we are going to discuss about shape layers. So basically, shape layers is a kind of shape which you can create inside Adobe After Effects. So VM, you can use these layers. As you have seen in previous video, we were using this, which we have imported from outside. But you can also draw these layers inside. So basically after-effects provides you this feature that you can draw random shapes inside After Effects. And you can read them as separate layers. You can animate them, you can change their shapes, you can mark them. You can create various kinds of creative stuff with them. So how we are going to learn this? We're going to use shape layers for creating our price tag for this video. As you can see, we are creating promo video for any general restaurant you can consider it. And for doing that, we have created our motion. And we want price tag layer to represent the name and price of the ingredients present. Lake here, I want to name tag, which is, it is Baeza. And we also require another egg which says the price of this layer because it is a kind of menu ed for restaurants. So let's get started. So for creating a shape layer, you need to select the shape tool from our layer. So before doing the test play this video one time, you can see everything looks good of a motion graphics or multiple layers looks good. Now, the only thing which is missing in this scene is the name and price of distinct. So for doing that, first go to Composition, create new composition. And here we are taking small size intranet by 800. And you didn't name these layers. So I'm naming this composition as heading com. Basically this will be a subcommittee of this main comp because in this composition we are only going to create our heading. And the reason we're creating this in separate layer is that we want to use this composition again and again, because we do not want to create this composition, again, we want to reuse these compositions when we change our items in this menu video. So as you can see, I have created this composition. And now you can see in our timeline we have blue composition, Ruben, one is our background layer, and second is our heading com. That background layer is the name of our main composition. And what heading home is the name of our shape composition. So here we have created 800 by 800 pixel composition. And in this view, we'll create a word price tag. Although you can drag and drop your price tag. But by doing that, we will not have debt much control over its color, over its shape. So that is why we have decided to create the price tag by using our Shape layers. So there are many ways of creating a shape layer. One way is to click on your pen tool and then you can draw any shape. And the second way is to go to our shape layer. You can click on any shaped like a rectangle tool, the ellipse tool. And then you can draw that shape here. And if you want to draw, I need a new shape, which is not a fixed or primary shape. Then drawing it using your Pen tool is the best option. You can see when we click on the Pen tool and you can see little star icon is presented it to represent that. It is going to draw our shape. And then there is a squared n dot type of icon presented with our pen tool. At that time, it represents that it is going to draw a mask. But here we can see a star icon is present with that Pen Tool, which means that at this time, our Pen tool will be used for creating a shape. So you can see just by observing the icon inside of your pen tool, you can know what the European 2 this going to create if it isn't having a square box and adored inside it, in that way, it will create a mask. But here our pen tool has started at each side. So here it will create a mask, it will create a shape. So for creating your shape, just click on the positions. Duty quiet. So you can see here, I have drawn a single line by using my pen tool. And it is you presented as shape layer 1. But we do not want lie in the 1D 2D and what we do not want line P1 or 2D shape. So that we can use the shape as a price tag. And you can see we can return to our previous comp at anytime. All the two columns are independent of each other at this time. Because we have not added our comp 12, our background com. So again, we want to create a different comp for our price layer. Currently we have created different column for our heading there. But here we want to create it for our price there. So now you can see I've created a new comp by going to composition and then clicking on New com. And I have made this comp. They deal with less in size. And for drawing our shape, just go to our Pen tool and start bringing your shape. Here I want to draw a price tag, or you can also say it is looking like heading shape, which we keep usually in shop or naming our objects. So this shape looks good and it is looking like little chat message. They build 3D chat message, which you present a heading there. And you can also adjust your shape just by dragging the handles. You can see this independence. We do not have engaged. If we drag and drop our layers from outside, we would have to adjust it accordingly. But here, since we are drawing the shapes inside of After Effects, we have complete control over it. We can give it stroking, we can give any color. So here I'm changing each field properties. I have applied a fill color of this yellow. And you can also change the opacity. So I have also changed opposite the perimeter of the shapes. So here you can see we have three shape. There's first shape is that upper shape, and second shape is the shape which is backwards. So I have applied whether to board the ships. We want to create little bit of orange kind of color so that it looks good. When we keep it. You can see we are drying this green color but it is not looking good. This color looks a little bit satisfactory. Yes, discolored looks good on this background because we want to match neck color background also, so we need to look according to it. So now you can see we have created our shape in this comp. And what else we can do. We can also apply a gradient. So just search your Gradient Ramp Effect and just drag and drop on top of our shape layer. And you can just apply your effects according to the requirement I am selecting my first primary color, which is this orange color. Then click on, Okay. Then we can select our second color. And let us try some dark color. Is this looks good. It is good looking in transition. And completely blacked. Does not looked at which we need to select this red colored only. And then click on Okay. You can see we have also apply a gradient to our shape layer. And you can see how easy it is to create these kinds of shapes and their device you would have searched for such on Internet, then you can just import the shapes. So it will take your time. And in that time, we have already created the ships to now go to our previous comp and just drag and drop dead calm which we just created. So now you can see we have just imported this shape into our previous composition. Now this composition is like a sub composition to our main comp. And we can just transform these properties just like any normal layer. So first we need to place this price tag, or you can call it, we can place it as a name tag. You will create another shape for the price tag. But first we need to place it for the name tag. So you can see now we have two options. We can come out of this sub and we can just change it property like any transform. So now we have two options. We can change any properties regarding this complex by using our transform options and all options available for this layering and for changing the shapes. We can just go inside that complete and begin to change the properties of the chip. So we have full control over the shape. Now, that is why I was saying about using our shape, therefore creating this kind of shapes. Now you can see when you double-click on your component, you go inside that com and you can just switch between multiple columns now. And since our pump is used in our background com, so whenever you make any changes in this comp, it will be reflected directly into our bet income. You can see here I've changed the color and I will also apply a little bit of stroke. So let's give it a stroke of blue pixels, or you can just increase that to 10 pixels. Now, this looks good. So this was it for this video. Thanks for watching. We'll continue in the next video. In this video, we have learned about creating a V-shaped layers and how we can modify the shape layers and how we can create a subcommittee. So thanks for watching. 13. VIDEO 12 Text options and character panel: Hello everyone and welcome back to this new video. In this video we are going to learn about creating a vertex there for our price tag and also for our heading tag. So in previous video, we have created this beautiful looking shape. We have also played gradient to that layer. And now in this video we will complete our sheep. And we will also give it beautiful text for what heading and also for our price. So let's get started. So as you can see, when I expand the shape, then we have two ships, shape 1 and shaped 2. You can also customize this by applying different colors to different shapes. And this is also advantage of D-shaped there. So you can just combine multiple shapes. You can control all these shape layers according to her advantage. You can morph these layers. You can apply stroke to these layers. And you can do all sorts of work that you want. You can change its opacity. You can change its gradient, anything you can do with these layers. And these are best for getting these kinds of price tags or any cartoon kind of animation via you want solid colors. And in that case, you can just use your solid layers or you can just use your shape layers for creating that shape. Firstly, we will refine these shapes by applying some extra properties and then we will give text layer to the Shape layers. As you can see, I'm messing up the recolor, whatever stoke. And this looks fine. You can also change the fill mode. Currently, our fill mode is selected to normal. You can also chain that will mode. And you can also use these shape layers in a more creative way. Like here, we want to create our shapes for solid use. But if you want to use your shapes for a light use or forgetting any kind of view. You can also use debt by changing up the new modes and applying various options to it. You can also change the field properties. Now let's go back to our main comp, and now you can see all the changes which we have done in our comp one is automatically transferred to this calm because they calm is a subcommittee of that calm. So now you can see how easy it is. You can just edit your full composition here and all those things will be applied to your main and primary com. So that is why we use multiple sub cons for creating various parts of our video. And then you can just combine all those parts into your main comp. Now we need to write a text, whatever heading. So just go to our horizontal type tool. And you can see that the icon on top, and we have selected it, and it is known as horizontal type tool. So you can use that for creating your text. So when I click on that, you can see we have a new text layer. Currently it is empty because I have not typed any text. And we also have our Character panel on the side on which you can select your size, you can select your font. You can select all kinds of customizations for your text. So now my desktop price for this. So now you can see we have dived it to 30. And you can select various text options. Now we need to position this takes layer. So go to our text layer and click on our position parameter and drag it according to a requirements. And we position our text according to our requirements. Now this looks good. We also need to increase it tonight though. So for doing that, just go to our Character panel. And you can see there we have text size option, so just increase its value. And you can also apply various kinds of texts options like letter spacing, more data lake. You can do any kind of stuff. All the options regarding your text is present in this character panel. You can just choose any option and it will be applied. So this was it for. 14. VIDEO 13 Simple text animation and kinetic typography: Hello everyone and welcome back to this new video. In previous video, we have created our shape layers. We have created our texts layers. We have applied gradient to a ship. There's, we have applied various kinds of options to our Shape layers. And we have also given various character options to our text layer. We have change its font size, you have change its position. And now we want to change its animation because currently our text there is static. There isn't a thing happening in our text layer. And our video is about motion graphics. So how we can make our texts static. You need to move our text too. So for doing that, we are going to create basic kinetic topography in this video. But if you want to require, but if you want to learn about advanced kinetic type of graphene, you can watch my other course, which is also present. And I have also created a separate course for kinetic topography. You can watch that worse if you want to learn about advanced kinetic topography. But here we will only limit ourselves to basic kinetic topography because this course is about motion graphics. It is not about dyadic typography. So if you want to learn in detail, you can just take that course. So let's get started. As you can see in previous video, we have positioned our text layers. We have position and worship. There's so for animating our shapes, we are going to use some pre-built presets. So go to our effects and presets panel. And you can see we have various animate in text. You can just drag and drop these presets on your text layer and you will be good to go. And if you want to learn about creating your own preset, eating your receipts from scratch, any mating without using preset. Then I would suggest that you should take my other kinetic typography course. Because here we are only going to learn about basic kinetic typography. So you can see just by applying this preset, we have descent looking effect, but this is not going according to our requirement. It is just too much for our and animation. We want to create the same kind of kinetic topography look. You want some fade look. You do not want reining characters here. So let us choose some other reset. So you can see fly in with a twist. It is also not looking. According to our expectation. We need to select some the preset. And if you want to create your own animation without using preset, you can just apply animator. You can just drag that. You can just go to text layer, expanded text layer and then click on animate option there you can create a new animator. You can just position any propagation it. And then you will be good to go. Right here, I've selected my scale properties inside this animator. And just by changing my keyframes for this scale property, I will be able to animate my text. You can see data are some difference. Our normal Transform Scale property is different and our animator scale properties different. You can see in our animated, every character is considered defenders. So when I increase the scale of this option, my every single character is being scaled independently. But if I would have applied my scale property from my transform option, single, all the texts would be scaled up just like a single object. So that is the difference between using animator for your animation, using transform properties for your animation and for text. We usually use animator because it gives us the freedom of making changes to every single character of your text. You can see keyframing is nothing new. The only difference is that here we are using our animator for animating our text. So here you can see we have created our own animation. This time we have not used our pre-built presets from if expanded. And when you tried to play it, you can see it looks good. It is just a basic. De Exchange Commission, which in which we have applied some offset key-frames and some scale keyframes. And by using these two parameters, we have created this in the animation. You can also create this animation by using your transform properties. Now you can see when I play this, our texts and emission looks good. And we have also position our bag non-leader according to our text animation such that when x lies in between. Because after I animating a vertex two had changed some of its position parameters. So we need to position our background layer according to our text. So we have done that by using our transform properties. So that does save it one time. Now we'll do a keyframe assistant dense electron, easy, ease. By that you can just make our motion more smooth. And we want to create pop-up animation for our background layer. So that is why I have any mutate our shape layer by giving some basic scale keyframe and smooth and effect by applying some easy ease. And you can see how good it is looking. Just way too, dreams. We have created this beautiful looking pop-up animation. And in that price tag, we have also created a kinetic topography. And you can see, since we are using different compositions, our timeline is also clean if he would have tried making the same and the mission into our main con, that would be so much difficult because already so many layers represent there. So by creating a separate composition for such site task is good option for us. And you should also encourage using many subproblems. And then you should assemble those sharp comes. And you should assemble, then you should assemble those sub comes into our main comp. Now for the bump kind of effect, I am adding one extra key-frame. And if you don't know about how to create this bumpy effect, you can watch my other course in kinetic typography course, I have talked in detail about creating these kinds of motion effect, these kinds of bumpy effect in text and other layers. So basically, we just stop any animation by going in one direction. They did with extreme and then returning back to its original position and it creates this bumpy kind of effect. You can see when I play, you will get to know what I was talking about. This pop-up kind of effect. Have a stroke being a boat. So you can create this effect by just adding one more giving. And we also want to add a little bit of scale and emission. But we want to reduce that time. So we are just reducing the gap between these two keyframes. So it will just reduce the time of its scaling up. Now you can see our price pop-up is ready. And you can use it anywhere inside our main composition. So this is the use of creating a site com. You can get various templates of the parts which are reusable. And then you can use those parts inside your main comp. And you can also see if this edge separate new template if you want. But Yara, I'm only going to use it in my main comp. And you can see how easy it was to create some basic kinetic typography. One by using your pre-built presets and second by using your animator. And when I go back to my previous comp, you can see all our changes all over text layers and all our animation is present there. So this is the advantage of using multiple compositions and also using nested composition one inside the other. So this was it for this video. In this video you have learned about gating, kinetic topography. You have also learned about animating your shape layers. And in next video, we will learn about Welcome positions and how you can use multiple compositions, how you can bet in compositions, or you can get pre-comps and the right way and wrong way of using opposition to thanks for watching. We will continue in next video. 15. VIDEO 14 Wrong way of reusing compositions: Hello everyone and welcome back to this new video. In this video, we will learn about the wrong list of reusing your compositions. As you can see in previous videos, we have created our composition layers. We have created sub columns such that we go, do you reuse those compositions later on? But there are some limitations to it, and there are some wrong ways in which you should not use your compositions. Like many of you will think that you can just directly drag and drop your that AECOM inside your primary comp and you can just use it multiple times. But one thing, most of you would have misunderstood that there are some problems. Then you just drag and drop a single comp inside your parent com. And we're going to see all that in this video. So let's get started. And in this video we will discuss about the wrong ways of reusing your calm. As you can see in previous video, we have created this price tag, which contains $30. And we want to use this shape layer again and again in multiple. My main menu options. We do not want to create this shape again and again. You want to reuse that shape. You just want that we should change that text inside it and we should be used it again and again. So how we can do that? First, let us just watch this composition. As you can see, everything is looking fine. Up till now. All our motion graphics for different layers is working fine. Our pop-up is appearing it correct time or shape layer is correctly animating. Our kinetic topography is working. Everything looks fine until now. And we want to use that same price tag or multiple times. How can we do that? So let me try to reposition this shape layer. And we will try to place it here and we will just increase its size. And we want to use this composition as a one name tag. Previously it was used as price tag, but now we want to use it as name tag. And we would also create a duplicate layer. What are you using it as price tag also. But first, we will just complete our heading. So now let us play it one more time. You can see even after placing it at different position, everything looks good. So you can use in multiple ways, either you can just change its positioning. Gnu, that I may dislike scale rotation and opacity position. And when you are doing it with single comb, then nothing is wrong. You can just change all these parameters and you can reuse that come. The real problem arises when you have seen from multiple times and that same comp appears multiple times in the same project. So as you can see, we are inside our component and we are changing our text layer. And I have used my text S visa. So now our price tag has become our heading tag. And I am reducing my deck size so that it should fit inside this shape. There. So this is the second way of using it. In this way. In previous way we, we're only changing our parameters. That is position, scale, rotation, anchor point. And in this way we are changing the content of our lake here we have changed our text layer. And that may just rotate it late in the week so that our pizza looks aligned with a price tag. Now you can see since we have just changed the text layer, all that kinetic topography stayed intact and you test saved so much time because already we had anyway didn't that takes layer. So just by changing that source, be able to use it. So now let us go back to our main comp. And now when you just play this, you can see in place of our price, we have our name tag now. And now our beg you presents the name of dish. Here it is showing visa. And up till now everything is good because we have used this comp only single time inside this, and now let us duplicate it by just pressing Control plus D. And we have duplicated this comp. And we want to use this column for price also. So now you can see here we are using our cunning brain. So you can see here we're using our mind for creating. As you can see here, we have duplicated our piece for creating a price tag. And we want to save over time. And that is why we have duplicated it so that it contains all the properties from our previous layer. And now we just need to change the text. So now you must have thought that it is so easy, we can just reuse it multiple times, just duplicate that layer. And you can just use your composition multi-word names. Yes, you can use it, but this is the only way you can see. You will get to know why I was seeing that. Plus lead us position this text in-between. You can also change the shape to make it look like a new shape. You can see I have modified the shape of this tag so that it corresponds to our price layer. And I am also moving the second shape to give it a new field. Basically, we are trying to reuse the pipes from our previous composition and we are trying to just create a new shape. But one thing you should keep in mind via inside the same composition, that is component, which we used for a name tag. And we are changing all the properties, hold the shape properties inside that same composition. Although it is a duplicated composition, but it can affect us in many ways. So now that does just be this shape. Now you can see we have just catered some completely different shape from our previous shape. And this looks good for our price tag. And let us try to play this. And you can see our kinetic topography is also working fine, and our skater animation is also working fine. All the parameters from our previous composition is same. The only thing that is changed is our shape. Now, let us go back to our main comp. That is our background com. Now you can see the difference. Not this is the problem which I was talking about. You can see, although we have duplicated the composition, but if you will change the composition by going inside it, all the places we are that composition is used will be changed. So now you can see we have lost our name tag. Although both the layers were duplication of each other, but still they are same composition. So if you go inside the same column and if we change the properties inside their company, all the places where that same comp is used will be changed. That is why both our name tag changed. So now most of you must be thinking that if these kind of things happen, how we can reuse this composition. Because if we tried to change it, you can see again, I've changed the name to present. In both this, we have our busy, now we have lost our price state and how we can use these compositions. Because by duplicating, we are not able to use this. Because if I duplicate and change the parameter inside a single composition, it will just change that for all the places where it is used. It's how we can use it. So this was the VA I was talking about that. This is the method you should not apply for it, you using your sub gums. So in this video, we have discussed about the wrong ways of using your composition and how you should not use your composition for saving your time. So desk, that was it for this video. Thanks for watching. 16. VIDEO 15 Price Tag composition creation and animation: Hello everyone and welcome back to this new video. In previous video we discuss about reusing our compositions and using them in different forms. But whenever we tried to duplicate the composition and we tried to reuse that same composition inside our main comp. We were always facing a similar kind of problem. Because whenever we tried to change the content inside our same composition, it was being changed for all the places where it was used. So the better way is to create a separate composition for our price tag layer and to use a different composition for our name tag there. So in this video, we will create a separate new composition which we will use to store all our prices for different products. So let's get started. As you can see, we have a different composition here. But before getting a different composition, I would like to modify the shape of my layer so that it looks like an intake. So you can see I went inside my comp 1 and I changed the shape of my shape layers. So now I have also changed the text layers. And my text choose Visa. And my shape is like a price tag or you can say a name tag. And for creating new composition, go to your composition panel. Click on new composition, name that, and click on Okay, so here we have a new composition and we will use this competition for creating our price tag. So by selecting my band dude, I'm drawing a shape. And this time I'm trying to create a square price take shape. You can be open with COPD we do. You can create any shape. Yet I am creating according to my requirements. So now you can see we have created our shaped one. And again by using our pen tool, we are creating our shapes, do. And we are getting two ships so that we can have more control over our color preferences. So now you can see I'm changing the stroke volume when IT industry value, we get different width of stroking line. And we do not want this much stroke, so I removed my stroke. And you also don't want this color, we want some different color. So go to our field option and now change w. But having fled color does not look good. So go to our effects control panel and now drag our gradient ramp here. Now you can see by selecting both colors, I can decide the gradient color on my shape layers. Now go to our horizontal type tool and start typing. So you can see here, I'm typing my price value since we are using that textbooks for storing water price. So here I have died at $30. And you can just go to its position property and change its position according to your requirements. You can also go to Character panel and change its font size. And it depends on you whatever properties you want to change. And you can see in this video, I am increasing my piece because we have already done this kind of work for creating or previous composition shape layers. So that is why I'm not explaining it in debt much depth because I've already experienced that. So for creating our animation, you can see I have added animator to this shape layer. And we have added, and you can see I have given two keyframes of the range. We want. This text should scaling one-by-one character by character. So that is why I have given you James. Basically I'm playing with my scale property and I am changing its range. So now you can see how easily we have created this scale animation. And this scale animation is happening character by character because we have used any mater here. You could also use our transform properties. But by using our transform properties, our scale would be happening or where our complete texts, but we want our character by character scaling. That is why we have used this animator. So now you can see just by two keyframes, we have applied lease and login kinetic topography. You can also use any pre-built presets here, but since we have used them previously, I do not want to repeat that process again. So that is why I'm using that momentum that is using animator to animate our text. Because any meter provides you with infinite control over your text. You can create anything with it. The only thing required is your creativity. So now you can see I'm positioning my shape layers so that my text is insane. So now when I play, it looks fine. Now V1, that of a shape near should scale. So selected our skated that ammeter here. And plus 10 value. And we wanted that scale from 0 to 100. And that is why I've given two keyframes. Now you can see first of a shape layer is animating, and then our text layer is also animating. And we can also improve it by easy easing the keyframes. So just select all the keyframes. Right-click, go to keyframe assistant and click on Easy, Ease up. Didn't know. You must have. So by this point, you must be familiar with this process of using the motion by using our keyframe assistant and going to easy ease. So that is why I'm not going to explain it again and again. You can use it according to a requirements. It is recommended that you use should easy ease the keyframes to create more realistic kind of motion. So now we're going back to our main composition and now a drag your second competition. So you can see now we have two compositions. One composition holds our price tag, and second composition holds our name tag. So whenever we will change our product, we can always change the value inside these two compositions and we are good to go. You do not need to create these takes again and again. So first let me position this price tag by scaling it down so that it looks according to the scene. So first type scale down my now I will move to the position properties and I will place it. Displaced. Looks fine. We didn't move. Yeah, this looks fine. Now I have also converting this layer into a 3D layer so that we can position it according to go over the requirements in this 3D space. Because we wanted that it should be visible in such a sense they'd be good at 3D illusion. And the air moves. You can also change the position of the anchor point. So it got a spawns do the animation correctly. You can see as I rotate this layer into 3D layer, previously that all lived layer was behind this layer. But then I position it correctly, that olive layer is in front of our price tag layer so that it looks more included into our scene. That is why I brought that are living there in front of a price tag there. And we did it by changing our price, staying composition into 3D calm, and then by changing its position parameters in z direction. So now when I tried to play it and everything looks fine, that does tried to play it one more time. Wait one minute. Let me expand this timeline so that we can have more clear view. We want that were named egg layers should start at this point. So let me position those layers correctly. And now when we tried to play it, everything looks fine. Now you can see Bryce is also coming at right time and our name is also coming at right time. Previously, it was not in-sync. One thing was coming and it was delayed. So that is why I position both the layers directly in my timeline. And now both our text are synchronized. And everything looks fine in the scene. So let me play one more time and then we will be rewarded with it. So, yes, Now you can see we have almost completed our first slide with all the layers animated. They've also animated about price tag. We have also animated our name tag. And in next slides, we will need required to change these elements and to position them according to our requirements. And we will be good to go in next slides. We will not have that much work of animating every single thing. We just need to replace some things with others and we will be getting saved in different sites here. So this was it for this video. In this video you have learned how to create a separate new composition by changing the our shape layers. And we created a new price tag the area. And we will use that composition in our future requirements whenever we tried to add our different products slide in it. So this was it. Thanks for watching. Thank you. 17. VIDEO 16 Precompositions , Uses and advantages: Hello everyone and welcome back to this new video. In previous video, we have discussed about creating separate new composition for our price tag layer. And we have also animated that layer. We have applied kinetic typography, we have applied motion graphics, and we have also position that composition inside of a 2D space. So in this video we will learn about pre compositions. So what are decompositions? Basically, pre-comp is a new kind of composition, which is kind of our main composition. You can call it as bad end of our main composition. In previous video, you have seen whenever we tried to create a new composition, it was a child of our percent composition and it was one layer down inside our composition. But when you want that, any layer should be above your preexisting layers. So in that way, we call it a pre-comp. So you will get to know about it more when I show you how you can do it. So let's get started. We use when we apply our pre-comp to create or to create a super composition. And whenever we want to apply effects to all the layers inside our parenchyma. So as you can see, when I tried to play my existing composition, there are so many layers and everything works fine. We have our price tag there, we have a name tag layer, and we have all our motion graphics. There's which contains our paper layer, our pizza there, and everything we have inside this main composition known as background composition. So you can see our comp one income to our child composition, which we have inside our main composition, that is our background composition. But we want that all of these composition should be inside a separate super level composition. And we want to apply effects to debt super level composition. So that is why we need to create a precomp here. So for creating pre-comp, just select all the layers by selecting our first layer, then pressing Shift, and going to our last layer. So now you can see we have selected all the layers inside our background composition and then right-click. And now you can see we have option of pre-compose. Click on P composed. Now you can name your pre-composition here. Basically I'm naming it seen one because we will also have different scenes. So yeah, we have seen one and I've selected move all attributes. You can also select lever that you use if you want to do that. But here I'm keeping all my attributes. So now you can see we have only single layer that is seen one composition and every layer which is inside this super competition. So now you can see we can apply all our effects to this layer, and it will be applied to all our layer. You can see how efficient it is if we tried to apply those effects to every single layer, it will be very time-consuming. So the best way to apply bunch effect is to create a pre-comp and then apply your effects to that comp. Now you can see all our composition works fine. And the better part is that we have a single layer. So we can have all our Effects or level transitions to this layer and it will work fine. So you can see now I duplicated this and let me just shift our top layer. So now we can create two different scenes with different products here. And we will be having same properties inside. So first, let me increase my duration because you can see our work areas is more than so. I went to composition settings and I changed the duration of our work area. So now you can see our work area is expanded and both our compositions are visible by now. So now you can see we have created a pretty calm and we have also duplicated our pre com. Basically, it is advisable to create a similar kind of things inside a single composition and then bunching those compositions together to create our main scene. So you can see firstly, we created our price tag composition, then we created our name tech composition, and we kept all those inside our, but in composition which contains our layers. And then we pre-comp all these layers to create a single layer on which we can apply several defects like the letter grading and everything. So you can see we will have inconsistent effects across all the layers since we are applying it to a single layer. So that is the benefit of a pre-comp. So this was it for this video. Thanks for watching and we will continue in our next video. Thank you. 18. VIDEO 17 Reusing compositions correctly and increasing efficiency of editing: Hello everyone and welcome back to this new video. In previous video, we discussed about creating our precomps. We discussed the benefits of creating our peak homes and using them. We knew the effects. We knew the advantage of using our pre-composition. And in this video, we will take one more step further towards increasing our editing efficiency. And we will see the right ways of reusing of an existing competitions. We will see the right ways you can reuse those compositions to save your time, to save your efforts. And you can see in one more previous section we discussed about the wrong ways and the problems which arise when we try to reuse our competitions. So in this video, we will overcome all those problems. And I will tell you the right ways you can use to reuse your compositions inside your same composition. So let's get started. As you can see in previous video, we created this scene. We created a preComp of all the layers and everything looks fine. Our price tag is a single composition of a name tag is a competition. And together our background composition is apparent competition. And then we created a pretty calm Is our scene composition. So now let's get another scene. So go to our scene layer and duplicate that layer. So now we have busyness and let me just position it. So now we have positioned both our scenes one after the other. And you can see our first scene is fine. We want their double pizza and all these layers should be present inside our foreseen. But we want data we need, we wanted our scene two should contain some other elements. Like I want to create s2, which contains a burger. So how can I do that? So you can see as we have already created all the kinetic topography or law motion graphics here. We can just change the text, we can just change the scenes and we'll get separated new scene. So you can see I've entered inside my scene and I selected all the layers. So you can see for using that, I went inside my comp 1 and we go to our Brasilia. And then I precomposed that layer and I'm naming that layer is image placeholder. So you can see I'm creating a separate new composition which were primary element, like air. Our primary demand was our visa. So we want to change that element again and again. That is why I'm creating a separate competition for it. So I have kept my pieces a layer inside competition named as image placeholder. So now when I go to my primary scene, you can see we have our Scene 1. And inside that scene one, I have changed my visa layer to our image placeholder. I have read that layer inside my image placeholder. Basically what I have done is that I went inside this scene one composition. I took my picture layer and then I created a precomposition out of it. So previously it was Layer. Now it is a separate composition which holds what visa layer. So now you can see we have our main composition and inside it we have three competitions. For the three elements we want to change frequently. First one position for the price. Second for the price tag. Flesh was for the price tags, again for the name tag, and third, for the main element which contains our visa layer, because we view gender data again and again for different elements. So let us play it one more time. So basically what we're doing at this moment is that we are preparing our Scene one composition for duplication because we cannot just directly duplicated and change the images, because it will change images for all the compositions. We are, we have duplicated that compositions. So we need to just adjust some things. Then we will be able to use their composition again and again. So now you can see I have duplicated my scene one layer. And now I'm placing that scene one layer and just send to my scene one. And now I will change the element inside this second layer, which we have duplicated just now. So now I've duplicated it to my scene one. And by pressing Alt and dragging the scene on top of my scene one, I have replaced that composition. So basically what I've done is that I have duplicated my scene one composition and then I have renamed a competition to see into. And then I have replaced my duplicated version with this new composition. There does seem to. So now we have two separate competition, C1 and C2, with same properties. And now we can just change the things inside this competition and it will not affect main composition. So now you can see I have duplicated my image placeholder, and I've named it as image placeholder do have selected it. I am praised my alt key and I'm dragging it over my image placeholder layer. So it will replace it with my image placeholder too. So now you can see we have replaced our image placeholder with our image placeholder 2. And then we can just change our image inside this layer. So now you can see I'm changing my busily with this burger layer because we are creating seem to our scene. One contains design and our seemed to condense this burger layer. So you can see I've replaced my visa layer with this. And this time you will observe that by changing these images, we are not affecting our previous composition because you can see we have replaced our composition with renamed composition. That is, we have replaced it by image placeholder 2, which is a separate new composition. So that is why. Now you can see we have our burger layer here, inside our image placeholder to. Now you can see why we have renamed this image placeholder because we tried to change the image inside of a previous place holder, it will be changed for both decomposition. That is why we have created a separate new composition by renaming it and replacing it. So let me just resize this. Now. You can see we have these two compositions. One is one, which is led by saying, no, it is named Dang, Yes, it does have a name tag. So we need to replace it. So by four, using it, go to our projects panel and just duplicate our comp one, you're going to be duplicated as Comp, rename it to price do. Now we will replace our comp one composition with this price to competition, and then we will change that text layer inside it. So just click on net, hold Alt key and then drop it or what our component. So now we have successfully replaced of a price competition. And now we do not need that previous competitions, so we deleted our comp one. Now go inside our price to competition weight before let me just see. So again, you can see I have just dragged and dropped the price to by holding the ALT key. And I've dropped dead price to competition over my comp 1 and position 2, it is replaced. So now go inside our price to composition. And basically we have renamed it differently. So our rice two contains our text layer. So we need to just change the text. I have renamed our bizarre to our burger. So now we have edited our text layer. So you can see in older, although we have named those layers in a wrong manner. But the basic idea is that we are just duplicating our composition and we are replacing that composition with renamed composition. But you can see we are just replacing the same composition with the renamed good composition. And then we are going inside that competition and we're changing that. But I mean, there's, so in this way, we can just reuse that composition. Because you can see after renaming the composition, we have two separate compositions and we're not messing up with the properties of similar composition. So now we have our resilience for our first scene, and we have this burger competition for our second scene. And you can see we have done nothing. We'll just duplicated it. We have just replaced that composition with our renamed competition in seconds scene, and we just went inside. We just gene that text layer and we are good to go. So the same thing we will do for our prize layer. Although we have Mazda with our naming convention, I have named by name tag layer is rice too. So we need to correct it. So you can see I'm renaming it to name two. So now I didn't correct order. Now, welcome to holds our price value inside our first scene. So we have duplicated it again and we will name it Bryce to this time. And now we will just hold the old key. We will drag this price to whatever column 2. So it will replace our come to with this price to competition. And by this we have separate competition for it. Now we will go inside this composition and we will just change the value of this text layer. So let us change it to $20 here. And now we are good to go. So you can see with just one change, we have modified our properties and we have reusable compositions. Now we do not need to create separate layers for our price tag again and again, we can just use these compositions by duplicating it, renaming it, and then replacing it. But one thing you need to know that you just cannot use the same name composition again and again inside a single theme. Well, you can see inside a single composition, if you want to use that again and again, you will have to rename it. And then you will have to replace it. Because we want to hold different values inside it, although the properties are seeing. But one of our competition holds our epithelia that holds our bot earlier. If you will keep your name same, then it will be changed for both the composition and you will lose 10 for images. That is why we have renamed it to name two and price too, so that we can hold different values. And by naming it differently, we have just created duplicate com, which words are similar properties, and it is also a different composition. So basically it is saving our time. You can see I have done similar thing. So that was it for this video. Thanks for watching. And we will continue with what efficient motion graphics next video. Thanks for watching. 19. VIDEO 18 Graphic Replacement Along With Parameters: Hello everyone and welcome back to this new video. In previous video, we have discussed about our efficient ways of creating motion graphics. And we have discussed the right ways of using your compositions and how you can save your efforts by reusing the compositions again and again and incorrectly. And we have discussed about how we can use the same composition again and again. And we can use it by holding different values inside tech same composition by renaming it and replacing it. So by creating a similar completion with I renamed version of it. So in this video, we will get to know the graphic replace mentor along with parameters. So you can see we have all our price, say it. We have all of our text layer set. And we also have our objects there, which contains of a 2D layers, were tomato layers and all the different things inside it. We're creating this motion graphic. And you can see it is very tiresome job to create it for every single scene B12 create. And we have applied our time in our first scene for creating this beautiful looking scene. And it will be complete waste of time if you try to recreate it again and again for every single scene. So in this video, I'm going to tell you the right ways you can use to replace these layers along with parameters. And after-effects provides you with this feature that you can replace a layer with different layers, keeping its parameters and all the keyframes constant. Like if I've applied a keyframe to a single layer and I want to replace it with another layer. But I wanted that all the animation which I applied to that layer should be constant and it should not be lost. You should be applied to my new replace layer. So we can do that in After Effects. We can give all the keyframing intact and we can just replace that layer. And all of us scale all our parameters we applied similarly to replace layer. So we are using the same principles here for replacing ingredients. They are like you can see we have replaced our main ingredient. That is, we have replaced or B7, this burger. We need to replace, or at least elites and all this with different ingredients. So we will not create animation for every single of it. You will just replace it along with parameters. And I'm going to tell you the right ways of saving your time, saving your efforts, and how you can use the same technique of replacing layers along with their parameters to save your time and efforts. So let's get started. As you can see, we have these two bigger paper layer and we want to replace it with some ingredient. You can see I've selected these two layers. These two layers are in front, so we want to replace it with some other ingredient. So let us just browse through our project Spanner. And this domain layer. One minute. This whole tomato layer looks good. And we want to replace it with this there. So how you can do that? He wanted all our parameter should be constant. We do not want to lose our animation. We don't want to create anything because we have already created in our first scene, the one. We should replace it with all our pedometers in dictum. So just select the both our paper layer and go to our tomato there, hold Alt and just drag and drop on it. Now you can see we have replaced two or four layers with our tomato layer. And you can see already over layer is scaled and it contains all the animations, all depositions, and all the parameters in tech just by one replacement and we have applied or less the same parameters to over new layer. Now, not only thing we need, need here is a little bit of scaling and we're good to go with it. So now we have selected both the layers and just go to our first layer and scale it a little bit. Because we want that it should look corresponding to our scene. It should look a little bit bigger. And I'm also changing its position. Little bit, but you can see I'm not messing up with any keyframing. I'm not messing up with any of the animation part. I'm just placing it so that our scene looks good. And you can see all our slight rotation, all our keyframing is still intact with this layer. So I've just scaled to this layer. Now go to our second layer, that is our second tomato layer, and just increase its scaling little bit so that it is visible clearly. So now you can see just by little effort, we have replaced our two ingredients and you have also pleased it correctly. We have applied animation to it. And you can see we have only worked hard for getting that animation in our foreseen and while creating our second scene. And now we will do similar thing for these two layers. And we want to replace it with this layer. So just select all the layers. Press Alt, guess dropped dead. Over it. You can see, Wait, I'm trying to replace these front GD layers. Basically I've changed my mind. So I am trying to replace these forward layers and I will replace it with this let us layer. So I have just selected the debt letters layer. Press and hold Alt. Again. I have dropped it over those layers. So now all those layers are replaced with this latest layer. And our keyframing, our slight rotation is still present there. So now you can see how easy it is for creating several scenes. You do not have to work again and again for getting those scenes became yesterday, please. Layers along with parameters and the process of replacing it is dead. We just need to select the layer which you want to replace. Then you have to go to Projects panel, select the layer which you want to be replaced in its place, then press and hold Alt, and then drag and drop that on top of the layer which you want to be replaced. And your layer will be replaced. And all the parameters are lucky. Framing will be present still in our replaced layer. So now you can see I have replaced my energy layers with different kinds of tests layer. And we want these slides, tomato, Leah. Yes. So just select all those layers. Go to Domenico. There will be again, just drop it or whatever selected layers. So it will be replaced for all the three positions. You can see all the three layers which we have selected will be replaced by other sliced tomato layer. You can see. So now you can see just by two or three clicks, we have position it correctly. We have replaced all our ingredients. And best part is that it contains animation with it. So basically, I'm trying to preserve one TDL area. So that is why I have replaced again. Now we want to deplete all these old layers. So we want to replace these early layers with this audience later. So just select all the layers, go to on in their desk Alt and drop it over all the selected layers. So now you can see we have just replace it. But there is one problem. You can see the scaling is off point, so just press S, it will open scalar parameter for all the layers. So we can just modify the scaling for all the layers simultaneously. You don't have to reach to every single layer and scale parameter. We can just alter all that scale together. So now you can see I'm changing the scale parameter for all these layers together. So now you understood how easy it is for creating our motion graphics if you know the correct techniques. Otherwise, if you don't know these techniques, you will be busy creating the scene again. You will create all the different animations again and again. But that is not the right way of doing it. Always we need to see your time and efforts. That is why I am changing the parameters of scale by selecting multiple layers. And that is why we have replaced all our ingredients layers along with different, okay, dignity layers. So this is a very handy technique of replacing your layers with parameters. And you should keep this in mind because you can just reuse the layers which have similar motion by replacing it with other layer. And you will be having all the keyframes in deck. Now we want some of the GD. They are so Zoom. So I've imported this Julia. And you can see one olive level step. So I have replaced it again with this layer and change the scale property of it. Now you can see as we go inside our project's panel, we have some extra there. We can use this second kind of letters layer here. So I have replace it with this onion layer and I'm applying it by using the CAM plants, but I'm just selecting the layer which needs to be replaced. I'm going to the project's panel and I'm selecting the layer which is a replacement layer. Then I'm holding my old key and then I'm dropping that replacement layer over my replaced there. So it is just replacing the previous layer with our new layer by keeping all the parameters, all effects in older keyframing in tech. So now when you've tried to play it, you're going to get to know that we have all the same animation present, which we have inside our Scene 1. The only difference here is that all the ingredients are changed. And we have also change of a price and also we have changed our name tag. And everything is similar to it. So you can see we have successfully created our scene. Do. So let me try to play it one more time. And you can see everything works fine. All our layers are rotating. And every layer looks good. And we have created the scene do with just a minimum effort. You can see for creating our scene one, we required so much time because we need to create all the animations by ourselves. We need to get all the keyframing way our cell. But once we have set all the keyframes, then we add in super-fast mode. We can just replace all those layers with our desired layer and we can get our s2. So now let's go back to our parent composition, which contains both the scenes and let us try to play it. You can see now our first scene contains all these pieces earlier and ingredients. And I, we're seeing two contains all these burger layer and ingredients. And now you can see how fast we agreed it. Both of these scenes, first scenes require our time and second scene is just replacement. And we have replace it in correct manner. And you can see by using our competitions in correct manner, we can just save over time. And we can also say, well, whatever It's, the only thing required is that you should know the right technique of using other compositions. And it will save you a lot of time. And other thing you need to keep in mind is that whenever you try to reuse your competition, always you need to replace it with your renamed composition. So they're both. Our composition should not mess up. That is why you can see I have renamed it from C1 to C2, so that whenever I change the properties inside my C into my scene, when does not mess up. And similar thing I'm doing with my scene 3. I have duplicated my scene. And then I am also duplicating that seem to inside my projects panel. And then I'm replacing that scene three for my scene do layer so that I can get a separate news in here. And then I will create it again. And you can see I'm going inside my image placeholder. So basically this was it for this video. And in the next video we will continue with our discussion. So thanks for watching. And in next video, I will tell you more techniques for increasing your motion graphics speed and how you can save your time and efforts and be lazy with your motion graphics journey so that you can create it super fast speed with minimal efforts. So thanks for watching. 20. VIDEO 19 Graphic Replacement along with parameters part 2: Hello everyone and welcome back to this new video. And in previous video we have discussed about the graphic replacement technique in which we have replaced our graphic layers with our replacement layers. And we have kept all our parameters in tech. And in previous video, we have created our scene to ingest one video. And in this video we will create our scene 3 by following some of the same principles. And so let's get started. So as you can see, previously, we had to seeing C1 and C2. And for creating our scene 3, we have duplicated our s2, and then we have positioned over duplicated layer it correct position. But up till now you can see both the layers contains the name s2. So we need to change it. So just to go to our project's panel, go to oversee into layer and duplicate it. And then replace that for our scene to layer by pressing Alt key and then dropping it over it. So now when we go inside of our scene 3 layer, we have this image placeholder to, we need to replace it again. So go to our image placeholder too, and we need to duplicate it again. So just duplicate it. And now renaming it to image placeholder three and then replace it. So we have a separate image placeholder for this scene. And then go inside it. Jane, this burger layer to ice cream there because of our third scene contains ice cream. So let us just browse through our project's panel. These are just chocolate. There's no, No, we need our ice cream layer. Yeah, this is the layer we want to do this. So just by holding Alt key and drop it over your burger layer. So now you can see it and we've also scaled it correctly. So now you can see how handy these techniques gate. We can just replace one layer with other. And we will have same scaling, same properties. So you can just position it correctly and we can just, I guess it's scaled. Now go to our scene 3 composition. So now you can see we have our four competitions. Open. Background composition contains our primary scene, which is our main scene. Scene one contains our possessing, s2 contains our burgers. In this scene 3 will be our ice cream seem. So we can just edit while the scenes separately. And you can see that by way of creating different compositions now we have separate control over every single scene. You can just change anything. So now going inside this scene three VM, same layers. You want to rotate this image little bit. So I am just trying to position it in correctly so that it looks good. To that desk. Position it correctly. Little bit of X rotation and then little bit of rotations and everything looks fine. 90. And you also want little bit of rotation for this image. That is why we are applying some external names. So now you can see the benefit of. Reusing your compositions and in this, via just customizing some of the things in previous competition, we have just to replace it. And we kept everything similar. But here we're just optimizing it. Here, adding a little bit of rotation to the primary object. That is our ice cream layer, so that it looks good. So you can see I have applied a little bit of rotation here. By applying two keyframes for our rotation. Then then select both keyframes by pressing Shift and clicking on load the keyframes. Then right-click or our keyframe assistant. And easy ease of rotation. So let's see how it looks. Just scrub over your timeline and you will get to know how it is to gain none. The next thing which we require is to change the name. So for doing it, just go to a name and then duplicate it and replace it with our name three composition. And then go inside it and change our burglar to ice cream. So you can see we are following same steps which we applied for creating our s2. We just duplicated a one name composition. We renamed it to name three, and then we replaced this name tree to our previous competition. And then we went inside it became the text layer. So now we have a separate completion which holds our ice cream named egg. And by doing it, we are not messing up with the naming of our previous scene. So it is very important that you rename it. Otherwise, whenever you change your name inside any competition without renaming it or without duplicating it, then you will be messing up with the properties of your previous scene. As you have seen in previous videos when we are trying to duplicate it without changing its name or without duplicating it and replacing it. We are messing up with the compositions wherever it is present. So we do not want to lose our properties, which we created in our scene 2. So that is why we are renaming it. So we have a separate new composition which will have a name tag. And we are doing same thing for our price tag. We have selected our price to, we have pressed Control D for duplicating it. Then we have press and hold Alt and drop it over, overprice to. So it is replaced by price three, which is our new composition, which we just created by duplicating it. And then since we have one new composition for our price, three, just go inside it and it contains all the properties similar to it because we have duplicated it. And then just change the value of our text there, and we have changed it to $15. So now we have created our price tag separately for this ice cream scene. And we can just adjust its position, the drill bit. And then going back to overseeing three, you can see we have changed our name and we have also change our price there without affecting our previous compositions. And we have done it successfully by duplicating that composition inside our project panel and then replacing it in our timeline panel. So now we want to replace all our ingredients with the ingredients which we have inside our ice cream there. So we want to replace all these tomato, all these audience, all these layers with different kinds of joke debt layers in the wafers layer. So we can use the similar techniques which we used previously. We will replace our graphic layers. And we will replace them in bunch. So I'm selecting all the legislators. And I would replace it with this joke that they are. So Jess, hold Alt and drag it over and selected layers. But one thing was wrong. So I have red and blue. Non tried to do it again. Yes, no, I disagree placed correctly. You can see in previous example, I forgot to press Alt, and that is why it is important that joke the layer independently. But if I press and hold my Alt key, it will just replace that layer by keeping all the parameters index. So now you can see we have replaced this layer with this chocolate layer and all our parameters at index. And we're next step is to replace all these tomato layers with some different kinds of things. So just select both of these layers which contains whole tomato, and go to your project's panel if we want to replace it with this layer. So just press Alt and drop it. And now you can see One more time, press Alt and drag. Over these years. Now we have successfully replace it. But little bit of scaling is off. So just to press Control zed for a loop. And again, by pressing Alt, just drop it over those years. Now, our next step is to replace all these slides are my two layers with some different ingredient. So just select all those layers, which contains our layer and we want to replace it with some different there. Just go to this layer by pressing Alt and drop it over it. So now you can see how easily we can replace all these layers. And without much effort, we are easily able to create this new scene because we have our keyframes in point. And I'm just messing around with scale. I'm increasing the scale so that it looks good. And you can see I'm scaling all the layers simultaneously by pressing S so that I open my scale pedometer for all the selected layers and I am changing the value, so it will be changed for all of the selected layers. Now, our next step is to replace it. Again. You can see this one that is layer is left, so we need to replace it with this block of chocolate. So just drag it over by pressing mold and it will be replaced. And we can just adjust the scale according to our requirements. One thing you need to keep in mind whenever you are trying to replace the graphic layers with parameters. You need to press the old key and then just drag your next layer over your previous layer and drop it over it. So it will be replaced by keeping all the parameters of your previous layer in place, and it will just change the layers. Now you can see we're almost there. The only thing we need to change these on in layers, so we need to replace it with some other layer. So that's browse through our projects panel. And we need to replace it with this chocolate layer. So just press Alt and drag over it. So now we have successfully replaced it and our scene is almost ready. And we are just messing around with the scale property. So they'd ever seen looks fulfilling. Now you can see I've increased my scale parameter area. So they had all these chocolate brownie should be a little bit bigger in size and our scene should look. We'll fill it up with all the ingredients. So now you can see we have successfully replaced all our layers from our seeing do with all our layers in scene 3. And we have done it by using our famous technique of Lady placement with parameters. So this method is very helpful when you want to create motion graphics, which is replicative. Because then you can just replace all the layers without much effort. And all your keyframes, all your animation will be intact. So just let us see how it looks. You can see it looks good. And all our camera motion is also there. You can imagine how much time it can save you if you will, try to create or recreate the same scene from scratch, it will require you more than one or two hours. Just in levy. It required more than one hour for us to create our first scene. But once our first scene was ready, you can create as many things as we want just by replacing it. And you can see how easily we can create our scenes. But one thing is off here. You do not want to rotation of this ice cream layer. It is rotating too much so we can just change little bit of lip pedometers. But before that, let us save it. Now go to our scene, do there. And you can see we have all our pedometers index. By renaming all the compositions, we have easily replaced our layers and we have successfully created our scene 3. And we have our scene doing intact. So this was it for this video. Thanks for watching. And in next video, we will complete our course and we will apply some final adjustments and some final refinement to our main motion graphics composition. And we will export the competition. So thanks for watching. 21. VIDEO 20 Final Compositio Refinement: Hello everyone and welcome back to this new video. In previous video, we have discussed about efficient ways of creating our new scenes, using our previous compositions and by replacing our graphic layers. And in this video, we will apply effects to our primary compositions for creating our main motion graphic video. And we will do some minor Egypt, or you can see we can do some minor adjustment into our various seen compositions so that they all look good. So let's get started. So let's get started. As you can see, in previous video, we have created both the two entry number scenes. Our second numbers in contains our burger layer and all leverage. They were layers. And we have position it according to our requirements. We have replaced the layers. So our motion is similar for all the genes. The only difference is that we have changed our ingredients, we have replaced our compositions. And we have also gene the name and price tag for different things. Now, the only thing which we require is some minor adjustments inside every single scene so that they look unique in themselves. So you can see we are inside of our main composition, that is background composition, which contains all our three themes. And you can see we also have our scene layers open. Our first scene composition contains all the layers which we belong to our scene one. Scene three contains all the details which belong to our scene three. And s2 contains all the layers which belong to our s2. And you can just play all the scenes independently inside your scene compositions. And you can see all our ice Kim, There's looks good and evil. And we can get our camera blur because we have replaced the layers. Now the only thing which we require is that we do not want that rotation in this ice cream layer. So I have removed all the keyframing for this rotation. We only want slight rotation currently it is rotating at very high speed and the angle of rotation is also very much. So. We want that our angle of rotation should be a little bit less. It should just wrote it slightly so that it is via npm, give him data again. And now what I scheme there is rotating very slowly and it is looking good. Now, previously it was looking unnatural because the rotation speed was not up to the mark with the scene. So now you can see, now everything looks good in this scene 3. And we need to add just some properties in different genes. As you can see, now, everything looks fine in the scene. Now go back to our bag lonelier. And let us try to play it one time. And you can see at regular intervals behave change objects. Now we need to change some things in our scene to go inside our scene do. And we want to replace some of our layers with this GDN because we have some TDS present in our body. So that is why we want to replace it. And we want our scene should be. Completed. Currently our scene looks little bit MD. That is why I am adding some more layers. So you can see I'm adding these sketchy do theirs so that we're scene looks more delicious and prominent. So that is why. And you can see I have duplicated again. I'm messing up with the rotation parameter for this layer and we want a date. These there should be present in clockwise order. And I'm doing this because our background was looking empty little bit. Md was looking in the scene. Are there seems that okay, but this scene was a little bit of empty. So I'm adding some extra layers here so that our scene looks good. Now you can go back to your bed in composition. It is begun on calm, pointing to my composition. And I tried to play it one more time. You can see and we've seen is looking good. Our second scene is also looking good. And now it is looking better because we have solved that problem of less objects and open leg around. So now our background looks fulfilled by adding those two layers. And our Scene 3 looks nice. It does not require much improvement. So now let us play it one more time. Now, our second scene looks good. About 13. Looks good. So now you can see we have successfully created our all let reasons for our motion graphics video. Now. And the only thing which is left is to apply some combined effect to all the three scenes. And we need to apply some transitions to transition all these scenes from one to another. And we also require a music. So I've added this sound layer. And you can get royalty-free music from any way. But one thing you should keep in mind that always use the music for which you have either permission or it is relatively because otherwise, you can get a call from the head of music. So if you want, your music should be used duo our commercial projects, then you should be aware of the music rights. So you should only use the music licensing. I did you purchase license for any music library or if you don't want like you can just get up and get you ready to close and you can use those videos also. And now I am trying to adjust my music and once it gets done yet. But this was it for this video. And in this video we have a gestured some minor requirements of motion graphics. We have created all scenes. We have also added on music the time you get done with it. 22. VIDEO 21 Appling external transitions and presets and completing the main project: Hi everyone and welcome back to this new video. In this video, we will add some transitions between our scene layer and we will optimize some of the scenes. And then we will wrap up our motion graphic and we will export it. So as you can see in the previous video, we have optimized about three scenes and we have also added audio there. We have synchronized that layer with our keyframes. Now we will apply transitions. And for applying my transition, I am using external plugin known as motion group, which contains set of transitions we prepared by professional. So you can just drag and drop those transitions. Or you can create your transitions by yourself. But you, I would advice that you can use transitions from outside also because we have several peaks or transition and it will save your time. So far using Moche Andrew, I went to my Windows panel to extensions and I'm opening my emotion row. Basically it is a library which contains various drag-and-drop effects. And I'm using the three transition because we do not require a very advanced kinds of transition. We are just looking for some decent transition to transition from one scene to another. And you do not require this extension for applying transition. After-effects also has rebuilt transitions. You can either use them all, you can use some other exchange if you want some more advanced level of transition, I'm using this motion Ruby was. It contains some pre-built transitions and it will just save time. And basically when you are in editing, mostly you will not create transitions by yourself. You will like to add it from the existing library. So this is example of how it is done. We do not have to create every single thing by yourself. You can just get some effect from the libraries and you can just save your time. And you can see as I'm browsing through the transitions, I have various kinds of transition here, and I'm browsing through it and I will apply my transition which looks suitable there. So let us look through this zoom transition. It looks good. He wanted that we should zoom in from one to other. So I'm placing my playhead here. And I am but I seen applying, so it will be applied and deposition of my playhead. You can see. And I'm going to speed up this video from air so that you do not go into boring stuff of browsing through the library and applying the transition. You can watch it in full speed. I'm just applying some random transitions from the library, which looks good to me. So this was it for this video. And you can see the final result. V8. Let me show you the final result in one minute. Now you can see final result. We have applied all the transitions. You have applied the 3D paint. This budget for this video, you enjoyed watching. Thanks for taking this course if you want to learn other things in After Effects, I've also created a course for that. You can just go there and watch it. So thanks for watching and thank you.