Adobe After Effects 2026: Beginner to Advanced

1. Welcome! Start here: Welcome to After Effects Mastery. The complete course that takes you from total beginner to confident decorating motion graphics, animations, and visual effects. This course is for anyone who's opened After Effects and felt lost. Offer someone who hasn't opened it yet, but knows that they need to. If you wanted to create professional visuals but didn't know where to start, you're in the right place. This course is built differently. Over 1,000 student reviews were analyzed across top After Effects courses. Find exactly what people struggle with, what they search for, and what's missing everywhere. Every lesson in the scores exists for a reason, and anything that didn't make the cut was left on purpose. You will not just learn to click buttons. The techniques here come from real experience, years of creating content for social media and delivering video work for clients that generated millions of useful results. The tips you'll pick up aren't textbook theory. They are the kind of things I learned by actually doing the work professionally I had a privilege of teaching over 10,000 students across the world with hundreds of five S reviews from people who used these exact skills in real projects. Over 20 focus lessons. You learn how After Effects things, how to animate anything using keyframes and expressions, how to build real motion graphics, including logo animations, kinetic typography, and three D scenes. Everything is current and kept as concise as possible. So you get exactly what you need without sitting through dozens of hours of videos. Recommend watching videos in order because every lesson builds onto the previous one. You can also control the volume and the playback speed of every video to learn at your own pace. If you get stuck, we need any help, drop your questions below. Just make sure to check the existing questions first because there's a good chance that the question you want to ask has already been answered in detail. At some point, you'll be asked to leave review. Please wait until you've had a chance to really experience the material. Your honest feedback helps to improve the course and better serve you and future students. Footage, presets, custom tools, and links mentioned throughout the course are available in the downloadable resources section. Thanks again for joining this class. I'm genuinely excited to help you build real After Effects skills to give you the confidence to create motion graphics, visual effects, and animations for your own projects or for clients. Let's jump into the first lesson. 2. Interface Tutorial: How Every Panel Works: So let's just move to the first video and talk about the interfaces and the workspaces. This is what you get when you come to after effects. It might be the Where does this do? Where do I click? What are these buttons? Well, let me explain. So in front of you, you have a window, and this is going to be your preview. So everything we'll work on. Basically, this is like a screen that's going to visually show what's going to happen. At the bottom, we'll have the composition where we'll put all the layers together. On the right, we have things such as align, audio effects, and on left, we'll have our files. Now throughout the course, you might see that my workspace looks slightly different. That's because you are able to if I get my cursor to the edge between the two workspaces, I'm able to move it around to however I want. Then I can move the composition, for example, bottom to the right, and you'll see that we have the blue highlight that shows where it's going to be put. So if I put it here, there you go. And then I'm able to just drag it back to the same place to where it was. Now, at some point, you will close a panel on purpose or accidentally. How do you reopen? Let's say you close a panel, the composition, all you have to do is go into Window and search for composition right here, and it's just going to be put back. And by the way, if you moved something around or you deleted something, it looks weird, you can right click on the default and reset to save layout. Is just going to be put back to the default one. Now, we have different workspace. We have the review, learn, small screen, standard libraries, and then a couple of other ones. You'll see, I have horizontal and vertical, and these are the ones that I created for myself. You'll see it looks slightly different from the one that by default. Some people work in different workspaces, but to be honest, I prefer to work in only one workspace and customize it to my liking. And so this is the one I have for the horizontal video, and this is the one I have for the vertical video. And we can switch between them by just literally clicking on the one that you need. Let's go back to default. Now, the tools that we'll be using are in the top left corner. So we have home selection tool, hand tool, and a lot of other tools that we'll get to know a little bit later. Again, a couple of things to remember. If you close the panel, just go into Window and open a panel. You can move your workpiece around, customize to however you want. You'll see some of my workpieces in the future, if you want, you can just copy it. If you have any questions, let me know. Other than that let's jump into the next video. 3. After Effects vs Premiere Pro: Compositions, Layers & the Key Difference: Now a lot of you will come from premiere, and before we create our first composition, we have to understand the difference between premiere and after effects. And even if you don't come from premiere, this is still going to be useful because we're going to explain how after effects works. So premiere things in time. You have a sequence, and it's a timeline where clips play one after the other. You're assembling story. A clip ends, B clip starts. Everything is linear. While after effects things in space. You have a composition, and it's a canvas where layers stack on top of each other like in Photoshop. The time still exists, but the primary question isn't what's going to play next. It's what sits on top of what and how does it move? In Premiere Pro, Eclip is a piece of footage. You cut it, trim it, move it along the timeline. After effects, everything is a layer. Footage, texts, shapes, solids, even audio. And layers don't just sit there. They transform. Each one has a position, scale, rotation, opacity victim. You animate those properties over time using key frames. So here's the mindset shift. In premium Pro, you're editing content. In after effects you control how things look and move. Another analogy, Premiere Pro is like a film. Whilst after effects is like a scene inside that film. You build the elements in after effects, then bring them into Premiere Pro to live inside the edit. If you have any questions, let me know. Other than that, now that we understand the difference between premiere and after effect, let's jump to the next video and create our first composition. 4. Setting Up Your First Project: Frame Rate, Resolution & Color Settings: Let's create your first composition. There are a couple of ways we can do this. First of all, we can click on the screen, click on New composition. It's going to open the composition settings that we have to customize. Now, we can also go to the top and click on New composition or here's a hat. You'll see that in the settings to the right, there's going to be letters. And if you click on those letters, that's a shortcut. Shortcut will save you a lot of time because when you learn shortcuts, instead of going to a lot of different menus, you'll be able to just click buttons. So I really recommend you to learn shortcuts. And basically the third way to create a composition is not clicking anywhere on the screen with the mouse, but pressing Command or Control and is going to open the composition settings. Now at the top, we have the name of the composition, and then we have a number of different settings. First of all, we have the presets. Yes, it looks a little so here's how do you think about this. If you are creating a vertical video, I recommend 1080 by 1920. If you are creating a horizontal video, I recommend 1920 by 1080. This is in terms of the resolution. In terms of the frame rates, if you know nothing about framewves, you're not sure which one to use, use 30. Some people use 24 and people use 25, and people use 60. What's the difference? The lower the frame rates, the more abrupt the video is going to be, and the more frame rates you have, the smoother the videos if you're going to use it for social media, social media is going to decrease the size of video, like compress it. And therefore, it's actually going to lose the number of frames. Now, 24, 25 is something that movies use and definitely can be used as well. But if you don't want to think about this, then just stick to 30. In terms of resolution, keep it to full. Start with the time code, put it to zero, the duration. This is just how long your composition is going to be. We'll always be able to customize it later. If you're not sure, we can just put it to something like ten, so we just need to put ten here and then put zero here. Now, another portant note is that the bigger the resolution, the more framers you have, the more power is going to eat of your computer. So if your computer is not very powerful, just try to minimize that as much as possible. Computer is super super fast. Go ahead and use four K, 120 frames if your computer can handle that. Now, I'll show you a couple of techniques in the future to speed up the process for your computer. But overall, I'll say this, if you have specific resolution framework that you're going for, you will know that. If you don't know that, just put 1920 by 1080 or 1080 by 1920 and 30 frames a second. And for the background color, let's keep it black for now and press new game. So you'll see the background color turned black, but it doesn't mean that the video is black, actually. It's transparent because if we look on this button, it becomes transparent. This grid always means that something is transparent. So when we export it, it's actually going to be transparent. As a shortcut Command K, we're going to open the composition settings back, and here we can change the color of the background. This background color is just a helper for us in different situations. So if we don't want to be black, we want to be gray or whatever, we can put it, but it's not going to be visible when we export the video. So if you have any questions, let me know. And let's jump into the next video. 5. After Effects Keyframes Explained: How to Animate Anything: This video is all about keyframes. What is it and how it works. So I'm actually going to go into top left corner and click on the Rectangle tool, and you'll see that we have a shortcut, so we don't have to click on it. We can press on or click. And if we click and hold, we'll be able to choose different shapes. So it's not just rectangle tool, it's actually shaped tool. So we have a rectangle, we have rounded rectangle, basically rectangle with rounded corners, ellipse, polygon, and start. Matter as much what we create, so let's select an ellipstool. And I'm just going to draw a circle. By person shift, I'm going to make sure that the circle is precise because if I splding shift, it's going to become squeezed, but by person shift, it's going to be very round. Now I'm going to person V to select the selection tool to the right in the properties panel. Once again, if you don't have it, go into window and properties. I'm going to select the field color of white. Now for this shape layer, I'm going to select it and press on P to reveal the position of it. And by clicking on the stopwatch, I'm going to create a key frame. This is the key frame. Now, if we move further a little bit to, let's say in 1 second, which we can see here, I'm going to click and drag to the right. And the if frame is going to move. So basically, we're telling that at this time, it's going to have this position and at this time, it's going to have different position. So if we go back, this is the movement that we not to go back, you just have to press Command set and it's just going to go back to the default position. So if I select the Shape layer, person P, we're not going to have any keyframes. Now, how do we animate other properties? Well, if I click here to close the shape layer, open it, it's going to open the transform, and we have our co point, position, scale rotation, and opacity. And we can activate each and every one of these without actually having to click and open because usually it's closed you just have to click number of times and trust me, when we spend 8 hours moving your mouse, you want to learn circus as much as possible. So if a person P, it's going to be position. If a person it's going to be scale. If present T, it's going to be opacity. If a person R, it's going to be rotation, if we click on A, it's going to be ca point. Now, we only get them one at a time. How do we get multiple at the same time? Well, we just have to press Shift at the same time. So I have Inca point, and now I'm just pressing Shift P, STR. And this is basically the same as clicking here and opening all of these. Now, if we go into the contents, ellipse ellipse path, stroke, dashes, taper, fill, transform see that we have a ton of different stopwatches, so we can animate each and every one of them, create E frames, and then customize it to however we want. If you have any questions, let me know. Let's jump into the next video. 6. Smooth Animations with the Graph Editor: Easing & Curves: Let's go back to our circle and press on P, create a keyframe and something that we can do is we can move the keyframe further away and then change the position, and it's basically going to do the opposite thing. We're going from this position now to the position that we had in the beginning. So it's actually going to do the opposite way. And obviously, if want, we can move the key frames around, but this is not the point of the lesson. The current movement that we have is quite rigid, but there's a way to make it very smooth and after effect. Oh, I'm going to select the keyframes and press F nine on a keyboard. Sometimes you have to press F and F nine depending on the type of device that you use. And if we play it, you'll see that the movement is a lot smoother. It all has to do with a graph editor, which we can open by clicking on this button here. If we select our shape layer, we'll see the graph that we can customize. So this is basically the smoothness of the move. This is the kind of movement we had before, and then we can select the key frame actually from here as well and press N F nine and make it smooth. So before and after, big difference, right? But here's an interesting thing. We can select the keyframes and then make them even smoother, like so. So basically, I'm just dragging these handles. And if we take a look at the movement, it's going to be even better. So we have a very slow start of the movement, and then we have a very big speed here, and then it just ends very slowly, as well. So we have a lot of movement here. See, we have, like, big jumps right over here, but then by the end, we have barely any movement. Now, if you're someone like me, and you like precise things, you will love this. We can actually double click on the keyframe and customize the keyframe velocity. It looks a little bit confusing, but basically the maximum that we can do is 100 and the minimum we can do is 0.1. And so we can put a precise number here and it's going to customize how it looks. And we have two velocities, incoming and outgoing. So for the gif frame that we have on the right, it's going to be incoming velocity. And for the i frame that we have on left, we actually have to close this one, double click on that keyframe, and as you'll see, it will have the outgoing velocity. So here we can put precise numbers. Just remember, for the first one, let's just put 65 and it's going to be exactly 65, this one, and double click on this one. The influence for the incoming, let's put 65 as well. And so we'll know that we now have precise movement on the left and on if we put another keyframe here and then click on this keyframe, this one says 32. But if we move it a little bit to the right, this one is going to change as well. Now, you don't have to use the keyframe velocity and most people just use the handles, but if you want something super precise, then there's a way to do it. And another to show you here is something called motion blur. Whenever you have movement, like you see on the screen right now, there's a little bit of motion blur when I'm waving my hand. And if you wave your hand in front of you, you'll see a bit of motion blur in your eyes as well. So we can actually achieve a very similar thing here because as you'll see, we have zero motion blur here. It can be achieved by clicking on this button, which literally is called motion blur. So if you click on it, you'll see that the edges become not as smooth. That's because we have the motion blur. And the motion blurr increases the more speed we have. So let's take a look at how it looks now. I have a bit of motion blur. But then if we really move it closer and speed up the movement, we'll have a lot more motion blur. Like, you can see the edges are a lot more blurred. So if we let it play, it does require a bit more power for your computer, but once it renders, it's not a problem at all. So I'd actually really recommend you to use it. It takes videos to the next level. It looks a lot more professional and I really recommend you. If you have any questions, let me know, let's jump into the next video. 7. Layer Parenting & Linking: Control Multiple Layers Together: In this video, let's talk about parenting, something super useful in after efacts because let's say I want to draw another circle within this one, let's make it red so that's easy to see. And what if I want to stay in exactly the same position, move with this layer. So we have shape number two, we have shape number one, and we have a very interesting tool called parent and link. And so if we jack this whip and whip the shape layer number two to shape the layer number, these are now going to be parented. So if we go back in our movement, it's just going to go back with it. But now, if I come here and if I click on none in the parent and link, these are not going to be together. The white wine is going to move on to. Now, here's the interesting thing. The two shapes or the two objects, whatever you do, two videos, they will say in exactly the same position relative to each other. So if I come to the very beginning apparent shape layer number two, two shape layer number one, these are going to stay exactly in the same position. And you will also notice something that if a person commands that, come here and par the red circle to the white one because we don't have the motion blower enabled for Shape layer number two. If we go to this very fast movement, the red one is not going to have motion blurr while the white one has a lot of it. But if you click on this button, both of them are not going to have the I actually don't like when things are not super precise. And so if we select the two shape layers, and we go into the align panel, once again, if you don't have it going to Window and align, when we select the two, we are going to align them relative to each other. So, this one is going to align them horizontally, and this one's going to align them vertically. And now we have the red circle perfectly in the center of a white circle. However, it's also important to know that we changed the position of the white circle a little bit, and so it actually changed the position of it and created and not the keyframe. So it's important to note that if we want to do something similar, where we have to build a certain structure and then do the animation, it's better to build the structure first and then do the animation. Because in order to keep them precisely in the middle, we have to delete these keyframes into the animation from the beginning. So let's move it to the right. And then select them, go to the graph editor. The graph looks a little bit weird now, but let's just customize it like so, and let's let it play. It's going to be perfectly in the center. And you can parent as many things as you want, so we can create a number of different circles. We can create a number of different star tools, triangles, and by the way, another tip for the star tool, you can customize the number of angles it has with the scroll wheel of a mouse, so you can make it a triangle or add a lot of different angles to it. So let's add a triangle. And actually, another thing that we did is that under one shape layer, we created a number of different shapes. So if we didn't want this to happen, we have to delete it. Then make sure we diselect any shape layers, create a shape, and now press Shift Command A to diselect it or just click somewhere on the screen with not selecting a layer, click somewhere and we can create a lot of different ones. Now, you will see that a lot of layers are open and we're not able to see all of them, and we can press on A and A. So when you select all the layers and you press on A and A, you basically open the anchor point for all the layers and then just close it. So you can do the same thing with position, so you can press on P and close, and just going to close all the layers simultaneously. Can select shape layer three to eight, and I'm going to press shift in between to select all of them, and we can parent all of these to Shape layer number one or to number two. It doesn't matter because number two is connected to number one. So if you parent to number two and select Shape layer number one and click on to reveal the keyframes and then start the movement. There you go. It's going to have the movement, and we'll have exactly the same thing if we select all of these and parent it to shape layer number two. Since everything moves together, it's actually very convenient to connect it to either one of them. Also select a number of them. So let's select the shape layer and click on the color and then put specific color. It's just for you to identify it. So we can put it to red. And then for the circles, for example, we can put it to something like green. It's going to be a little bit easier for us to identify. We know that all of these are triangles, and the green ones are the circles. Another useful thing we can do is we can shorten specific layers, so we can select one and then shorten it up a little bit. And so it's actually going to disappear before it and there are a couple of things that we can do. We can either shorten up from the end by literally dragging it to the right or we can move the whole layer to the right. But then we're actually going to extend the layer a little bit to the right. So if I preson Command K and make the composition a little bit longer, let's put it to 15, and by dragging this, I'm going to zoom out. You'll see that we can move the whole layer to the right or to the left, or I can preson shift to make sure we have precise fitment. I can just shorten the layer like so. And we can select a number of different layers and do the same thing at the same time. We can select layers, and then they're going to appear or disappear relative to each other because we had this space here. It's just going to keep it. If you have any questions, let me know that let's jump into the next video. 8. After Effects Text Animation: Animator & Per-Character Control: In this video, we're going to talk about text animation and presets. First of all, we need to select the text tool. We can go into top left corner and click on the text or as you can see the shortcut Command I prefer to use the shortcut. Command it's going to open the textol and we need to click to start typing and then type something. For example, let's be very creative and type something like text. I'm going to put it right in the middle. My preference to keep things in the middle and let's make the text white. I'm going to press some V to select the selection tool because if we have the text tool enabled, if we click somewhere to the side, it's just going to create another text layer, which is something we text animation is pretty simple, and there are two ways we can do this. We can build it custom manually from the ground up or we can use already created presets. Presets basically already pre made animation, and we can easily apply by going into the effects in Presets panel. So we have the animation and preset text, and then, for example, animate in is going to let the text appear let's search for something like fade up by characters. It's one of my favorite animations. So if I drop it in, the text is going to disappear. Let's select the layer, press on you, and it's going to reveal the two keyframes. So this is going to be the first one, and this is going to be the final one. Basically, what happens is we animate it 0-100. Obviously, if we don't like the position of the keyframes, we can just select it, move it to the front, for example, and started from the very beginning. Great things that we can move the keyframes closer or further apart, and therefore, our text is going to be very fast, like so. Or it's going to be very, very long. Here's the super useful tool that if we want to do a very precise animation, we can do it here by animating the start and the end. So at this point, I want it to be a specific letter, let's say we have a different word text animation AE. So if let's say, at this point I want it to be like text animation, the word animation be visible on the screen, we're just going to drag it a little bit to the right to, like, this point. And then we can move this keyframe closer, as well. So it's going to type text animation very fast, and then the other part is going to take very long. Let's play. This is the way you can customize it to play around. Hopefully, at this point, you're like, Oh, this is how I can do it because you will have a lot of realizations during after effects. You'll learn different styles and techniques throughout. And when you have the realizations, it opens the new world for you in a way. So let's close the text open top. Let's see what happens. It adds the animator, and then in the animator, you animate the range selector. I might be like, Oh, it's confusing. What is this? Let's do it manually by hand from the very beginning and you'll see exactly what's going to delete this animator and we'll have no animation on screen and click on Animate. And here, we need to click on what exactly want to animate. Do you want to animate the opacity? Yes, let's try to do it. It's going to be very similar because opacity is just how visible or unvisible the layer is. Let's click on opacity, it's going to create a very similar thing, the animator with the range selector. The opacity. So I'm actually going to open the range selector, and we have a very similar thing. We have the end, and this is 100% exactly what we need. So I'm going to move it to roughly 1 second, and the first keyframe, I'm going to put it to zero. And let's let it play. Nothing happens because we have the opacity to 100%. So if we lower it down to zero, let's see what happens. So it's actually a good animation for out. But how do we do it appearing? Well, instead of end, we actually have to animate the start. So if we keep the end at zero, let's select this keyframe and delete it so that this one is kept at zero, and we can actually click on the stopwatch to get rid of the keyframe. Let's click on the start and then animate the start so that it goes 0-100. And in order for it to start appearing the right way, all we have to do is to make the end to 100%, and it's going to appear. And then we can customize it exactly the same way, going 0-100 of the keyframes further or closer. Let me make it just a little bit bigger on the screen so that we can see there's a number of ways we can smooth it out, make it a little bit more interesting, if we add the position, for example, and then change the position, it's going to start from a different position, as you can see on the screen. But most of the time, you don't want to do the manual animation hand by hand. You want to either use presets already in after effects or create your own preset. This is how to create a preset. You want to make sure you select certain animation. Let's say this is the one that we have. We bit of the position customization, we have the range selector. And if we select this animator, and we go into the effects and presets, right click and click on Save Animation Preset. It's going to save the animation that you have selected here on the left. And let's call it animator opacity plus position. And click on say I I disable the search and go into Animation presets, user presets, it's actually going to have the one which is saved Animation opacity plus position. And if I completely get rid of this text and write another text, let's write text on the screen, once again, go to a line, put it right in the and I'm just going to either double click here or drag it onto our text layer. It's going to apply the animation. So if I press on you, it's going to reveal the keyframes, it's going to have exactly the same animation as the one we just created and saved. And I would say that this is a solid way to animate text, but it's not sustainable long term. There's way better and way faster way to do it, which we're going to explore in the next video. Let's jump. 9. Kinetic Typography: Advanced Text Effects for Social Media & Presets: I'm really excited about this video because we're going to talk about advanced text animations and kinetic typography. Now before we get into this, what is kinetic typography? Basically, it means that the animation reinforces the meaning of the word. So word fast will appear like that on the screen or it will be typed very fast while the word slow. Well, it's going to take a lot longer to appear on the screen. Usually it's animated with music with bits of the songs, things like that. So I'm going to show you a very interesting and easy way to do this. First of all, you need to go to Ascripts, the link is going to be in the resources section and into download text. Say, flat is $30. Well, it's actually not because if you want, you can put a price of zero. It's just a suggested price. Then add to card, go ahead and download it, install it. It's very, very simple to do. Once you have it installed, you should have it in the window and text Evo. You're not going to have this blue Moji it's just the one that I put to easily identify for myself. So let's click on it. This thing is going to appear. But actually, what you can do is you can just make it a little bit smaller and then stick it to where should we put it? Let's put it to the top. And then let's make it just a little bit smaller in the screen so so that it doesn't take a little space. So the way this works is we either have to type a certain text on the screen or we just need to click on plasm. It's going to create a text layer with text that we can animate. It's called Texebo that's why we have it on screen, and has two keyframes. The keyframe on the right is the final position, and the keyframe on the left is the one that we need to customize. Right now, we have no animation because we have no customization. Let's go to transform and put opacity to zero and let it play as simple as that, it's going to do the animation. And the interesting thing is that you don't have to be precisely over this keyframe in order to customize its initial position. So one of my favorite things about is that we can click on position and then move the position a little bit down, and it's going to have a slightly different animation. Let's take a look. It already looks next level. And this is exactly how we can create those viral text animations that you see all over social media. It takes literally, how long did it take us? Less than a minute. And it's similar in terms of the animation. We can move the keyframes further apart or closer. So if we move them further apart, it's going to take very long to appear on the screen or we can move them very close. Let's take a look very fast. A couple of things to pay attention to is the delay in the top left corner. Currently, it's at 1.2, but let's put it to something like five. Basically, it's going to delay each word a lot more. So you can customize that, play around with that. If you go into styles and go into a blur, we can actually blur the animation as well, because right now it's very sharp. If I zoom in, it's like it's really, really sharp, right? So if I zoom in and I press on shift and this button, it's going to fit the screen exactly. It's the same as going to fit the screen here. So we can do, you know, like 800 and then go into fit screen. Way. This one is sharp. And if we put something like, let's put 50 and 50, it's going to blur the text. And once again, I'm not over this keyframe, but I'm customizing its initial position and condition. Pull it a plate. So how do we do the kinetic typography? Well, we can play a lot with it. But basically, we need to put specific text here, like, for example, fast. This one needs to appear fast on screen. So I would just move these a lot closer fast and decrease the lay to something like one. And it's going to appear very fast on screen. And if I select this layer, press Command D or Control D to duplicate it, and then I'm going to select it right in the preview and literally just start moving down and press on shift to make sure the movement is precise. Press on command T to open the text tool, and let's write something slow. Now if a person you to reveal the key frames, so this one just move a little bit further away, maybe increase the lay to some like three, and we'll have the difference, right? One very fast, the other one is slow. That's basically the difference, and you have to play around with it. Sometimes you have word appearing with a certain color when certain color is mentioned. Sometimes it's like flickering. And the way you kind of come up with the stuff is you take a look at what already exists and just try to use creativity. Creativity is basically taking a look at a lot of stuff that already exists, and then just combining it into what you like, because there's no other person who likes the same stuff as you like exactly has the same experiences you have. By combining your experience and combining just a lot of different styles, you'll be able to put it together and create something of your own, and that's basically how you do it. So a couple of things about text as well, is in the properties, we have the paragraph. We have the alignment. So it's center text, left alignment or right alignment. If we have it in the center, it means that whatever we type, the text is going to stay in the center. But if we click on left alignment, whatever we type, it's going to be aligned based on the left and the same thing with the right. So it's going to be based on the right and type from the. We already know that we can align the things, but we can also align the text. So we can put the text right in the middle and then align in the middle the horizontal and vertical alignment, basically. And if there are any specific questions, you can always leave them below, but other than that, this how it's done. Like it's not rocket sized. It's not super hard. It's just sometimes when you see it for the first time, might be a little bit confusing and overwhelming. But once you practice a little bit, it becomes so great. So I really recommend you to install text It's going to take your life to the next level, play around with it. The more you play around, the more experience you'll get, and easier is going to be for you to do this. So if you have any questions, let me know, let's jump into the next. 10. After Effects Shape Layers: Motion Graphics Fundamentals & Stroke Fill: In this video, we're talking about shape layers and booting graphic fundamentals. So we already know a little bit about the shape layers. If we go into the shape tool and then we can select the rectangle, front to rectangle, ellipse, polygon, and a star tool. Now, we don't necessarily have to click on it in to create the shape layer. So if we go into layer, new and click on Shape layer, we can create a new shape layer. And then if we select a specific shape, we can draw it and it's going to draw it in the shape layer. And the interesting thing is that we can have multiple shapes in the shape layer. So one and two, and we have them both under one shape layer, but manta. And in order to avoid this, all we have to do is to diselect it and draw a different shape. And there's also a thing called a solid. You can create a solid by once again going to layer, new solid. Click on a game and it's going to create it. People confuse the stuff a little bit. Let me explain the difference. A solid is basically a big rectangle that has a fixed size. So you're not able to stretch it in any way. I mean, you can change the color, but it's not something it's designed for. Like, you cannot really animate its color from its base properties. You can still move it around and you can make it a little bit smaller in the screen by dragging a handle pressing on shaft that's going to scale uniformly. But usually it's used as a background. It's just a lot easier to use this background, although it looks like a rectangle. We can create it with a shortcut command wide, and usually the solid settings are the same as the composition settings. So it's with 1920 by 1080, we use pixels as units, so these are the units, and we click on Okay, it's just going to create a new one. Now, if I select the rectangle tool and I double click on the rectangle, going to create a shape exactly the same size as our composition. So very similar situation as a solid. But in this case, we actually get properties to the right. So if I click on the solid, it doesn't have the shape properties. It only has a couple of layer transform properties, but it doesn't have, for example, the fill and doesn't have a stroke as well. I'm going to press on S and decrease our shape, delete the solid in the background. Let we have a couple of things. First of all, even though we created a rectangle without rounded corners, we can still come to the shape properties and increase the rounded corners. If I start doing it and press on shift, it's actually going to do it a lot faster. It's going to multiply the values. So we can increase its size here, and these are the shape properties. Then we also have the shape transform, and I know it might be a little bit confusing, but here's the thing. If I close and open the shape layer, we have the transform of the layer itself. And remember, under each layer, we can have multiple shapes. And if I open the content, we have the rectangle. Rectangle has its own transform. So if I draw another rectangle here under the shape layer, if I open the rectangle too, it will have its own transform. The transform under a specific shape is going to be different than the transform of the layer because the transform of the layer controls both of these as you can see on the screen. But if I transform just one shape, it's just going to transform one shape. Now on the right, we can change the color of the field to white or to any color that we want. We can click here and we can set it to none, so it's literally going to be non existent. We can set a radio or linear gradient. Let's click on it. So if I click on the field color, it's going to give us the gradient. The Bottom one for the gradient is the color, and the top one is the opacity. Let me put this one to red, and let's keep this one white. I can actually select the opacity top right and put it a little bit less or to zero. So we'll only be able to see the red stuff here in the transformation state. Now, let's put it back to maximum and presion. If I click on our rectangle, so it can be the rectangle or it can be a gradient color, it doesn't really matter. The main thing is that we select the rectangle and do the shape layer. We are able to customize the gradient. So we can drag this handle and then by pressing shift, I'm going to make it straight so that the gradient is not as abrupt. And then we can click on this one and drag it to the left as well. So it's going to be a very smooth gradient. Do a very similar thing with a radial gradient, but here we need to customize the center point, and the one on the right is going to control, how far from the center the gradient is going to be. We can actually go to the solid color or disable this one completely and then go into the stroke. Stroke is something a little bit more interesting. So if I click on the solid color, we cannot see it because the stroke width is at zero right now, but if I increase it, it's going to be visible. So stroke is just an outline around a certain object. We can put specific color, exactly the same thing, make it red, or we can put a gradient or a radial gradient or put it to a non. Now, the word motion graphic means graphics in motion. So we just need to add motion to the graphics. This is the graphic that we have on screen. So how do we add motion to it? Well, we have to do it with keyframe, something you already know how to do. So if I was to press, for example, on P, change its position, and let's move it from here to maybe like here. So we have a basic movement from left to the right. Let's start from the very beginning. Select this, press F nine, go to the graph editor, select these again, and then make them a little bit smoother. So here's our move. Bit too slow. Let's move these closer to 115. So it's going to take 1.5 seconds. 1.5, even though it says 15, a little bit confusing, right? Well, it's because we have 30 frame rates. If we go to, let's say, 2 seconds exactly and then go a little bit to the left, it says it's 129. And the way you are able to move like frame by frame is by pressing command, and with the arrow keys, go to the right or to left. And if you press on shift, you'll be able to jump ten frames. Like so. So if you go to the left, it says 129, although that's 58 milliseconds. So hopefully this is understandable. If not, please let me know the QNsection below. No, the shape layer, and we go into content rectangle, rectangle path. We're able to customize the path of the rectangle itself. Because if we use, for example, the scale of the shape layer and I click on this button to disable proportional scaling, basically, if it's enabled, it grows or decreased in size proportionally, it keeps its shape. But if I disable this button, it's going to do this thing. And you'll see that we have a bit of a problem. Our rounded rectangles become a little bit weird. That's because we increase and decrease the size of the whole Now, in order to avoid this, we need to use the size of the rectangle itself. So if we increase the size of the rectangle transform, we'll have exactly the same issue. So we need to use the size of the rectangle path. So click on this button, and let's click on size. Now, I'm going to select the layer, press on to reveal the key frames. Now have two keyframes, and I'm actually going to move this keyframe to the very beginning, so we're going to start from here. But at this point, why don't we make it a little bit smaller on the screen? So we can make it precise, we can make it 600 by 600 pixels, so it's going to be a precise square. Let's go to the graph editor. This might look slightly weirdly because we have disabled the proportional scaling. Now, in the size, we have red and green, and you'll see the two colors, red and green. So it's just a different representation of the same data. If we select this and press F nine, it's going to be a very similar thing, and then we can customize it and make it a little bit smoother and do exactly the same for the green graph. Let's take a look at what we have Now we have a bit of a shape morphing becomes a lot more interesting. Now, if I click on the shape layer and we can actually do a bit of customization on the right, and I click on the roundness, it's going to create another key frame. And by doing the roundness, we can actually make the shape, a circle because basically a circle is just a square with very rounded corners, right? So if we increase it to the maximum to roughly 340, right, select it F nine, go to the graph editor, select it and make it a bit smoother. Let's see, just becomes a bit. We can play around with keyframes. We can do the movement first, then we can do the size, and later, we can do the roundness. And in order to do a precise movement so that one keyframe is over the other, I just have to press on shift, and it's going to stick like a magnet a little bit. So let's take a look at what we have so far. Now, another trick is that if you want movement to be super, super smooth, you want to overlay the keyframes a little bit so that the movement is overlapping. And while we have one movement, the other movement starts to happen on the screen. Let's do exactly that. Let's select the size, overlap the key frames a little bit, and overlap the keyframes a little bit here. So, it's a little bit overlapped. Looks a little bit weird, but let's take a look at how smooth the movement is. It's a lot smoother than what we had before. We don't have to wait until we have the movement finished to start at the next moment. We can just overlap it and becomes extremely smooth. So if you ever saw a super smooth camera movement in after effects, then that's how you do it. It's basically done with a number of keyframes, just overlapping each other. Now, this is the basics. In order to do the advanced stuff, all you do is you just play around with lots of different layers. Remember, you can parent the layers, you can move them together, animate them in all sorts of different ways. And when you play around, like, five different layers in different situations at motion bloer? Oh, yeah, it becomes like next level. If you have any questions, let me know, let's jump into the next. 11. Logo Animation: Step by Step: In this video, let's do a logo animation. Now the thing about after effects is that there's 1 quadrillion ways to animate a logo. Well, maybe not that much, but there's a number of ways to animate the logo. There's no right to wrong. The question is, what do you want? Or what does your client want or maybe you since you got inspired by that. Is there a specific request that you're going for? Let's explore a number of different options. This super basic logo. We have the text and we have the shape layer in the background. Let's call it circle. And by the way, the way we can rename this is by pressing Enter, and let's call it circle. First of all, the most basic one is just animating the opacity so that the logo appears on the screen. We have to let both the text and the circle. The way it's like both is by pressing command at the same. We can press and shift. The difference between command and shift is if we had multiple circles, if I press on command, I have to select each one of them separately, but if I press and shift, I can select all of them at the same time. So basically everything between the two that I'm selecting. So I'm going to select the two and press T to animate the opacity. Set the keyframe and this is going to be a final keyframe. So I just have to move it a little bit further away to 1 second. Put this one to zero, and let's let it play. Now, we don't necessarily have to put it for the word logo because it's black. So we can play around with colors a little bit. We can delete the keyframe, we cannot animate it at all. It's just going to be at 100% all the time. And what if we add a background? Let's person command Y and add something like a gray background. And I'm going to put it to the bottom. In this case, we'll have the word logo on the screen. So actually, what we did in the very beginning would be very useful. Put it to zero, and let's animate both. Now, what if you have 100 different layers on a logo and you don't want to animate it hand by hand? Well, we can just delete the key frames and delete it from here so that we just have it at 100. I'm going to close it. And let's select the circle and the logo, and we'll do some crazy. We will press Shift command C or Shift Control C, and it's going to do a thing called precompose. Let's click on. Basically, what it does is it takes these layers and puts them in a separate composition. So if we had 50 different layers, it would take all those 50 layers and basically put them into one layer, like precompose them. So now we can press on T immediate opacity, go 0-100, and we don't have to worry about each layer. It's all together. Now, we can press in Command set, command set, command set, command set, two, and do, and it's just going to undo it. Or we can press Shift command Z and it's going to redo it. Now, we have a number of precess that we can animate. One of my favorite ones is the inky Irish wipe. So if we search for it, you'll see it's called a transition. So if I select the pre comp and double click on it, it's going to apply it, and if we let it play, it's going to have this beautiful animation. Or we can do it completely different way. Pressing Commandet do, select the press on S to reveal the scale, create the key frame, so this is going to be the final keyframe, and let's play around a little bit. The way the scale works is it works based on the ink point. The inc point for the logo, for example, is here. It's not in the center. So if I decrease the scale, it's going to decrease based on this point over here. But what if I want it to be in the center? Well, we have to press command and double click on this button, which is pun behind tool or the ink a point. So I double click, and the inc a point goes from here to here. So let's take a look Before The same we have to do for the circle. The ca points to the right. So once again, command or control and double click, it's going to be right in the center. So now we can select the two and decrease the scale to zero so that it's non existent. You cannot see it, because if you go to negative, you'll actually be able to see it. This is going to be inverted. So let's put it to zero, and we have the animation. Now, there's an interesting technique where we can do a bit of an offset in terms of the key frames. So at this point, we can do a slightly bigger keyframe and it's going to create a bounce effect. So if we select the two and press 110, we're going to make this one a little bit bigger and then it's going to become a little bit smaller. Let's take a look. But the moment is very rigid, so we have to select it and press on FN, F nine, and let's take a look. Beautiful. What if we move it closer? What if we move this closer? Beautiful. What if we open the graph editor and select all the keyframes and just make everything a bit smoother? What about this one? Let's take a look? Maybe move these ones a little bit further away. Don't forget to turn on the motion blur. It's going to make things just a little bit better. Let's take a look. Yes. Now, another thing, if we're animating the transform effects, remember, we don't necessarily have to animate both of them. So I can actually delete all the if frames from the logo, and I'm deleting these ones because I want to keep this final position here because it's going to just delete these and logos going to stay in this position. If I delete this one, it's going to stay like this. But if I delete, for example, like the first one and the last one is going to be bigger based on this key frame. So delete these and we can actually de this one. And remember, we can parent the logo to the circle and it's going to have exactly the same effect. If you're building a logo here and you have 100 different elements, you can animate each element separately. It's going to take quite a bit of time, but it's going to take things to the next level, and it's going to make it much, much better. So there's no right wrong. You just have to experiment a little bit, see what works for you if there is any specific requests from the client or from yourself. Don't worry about copying others because that's the way to learn. That's how you get your creative stuff going. So take a look at the stuff floating around the Internet and see what you like. And then just come here and experiment a little bit. If you have any questions, let me know that let's jump into the next video. 12. Lower Thirds: Build a Professional Lower Third from Scratch: In this video, we're going to create lower thirds. Lower thirds is the text overlay in the bottom corner of the screen that identifies something or someone. You constantly see it in news, YouTube videos. It's where a title slides in from the side. So we're going to create one from scratch. Now I will say that there's a bunch of templates on websites like Infatu elements, motion array, art list where these lower thirds are already pre made and you don't have to come up with them from scratch. That's actually really easy to do. So if you don't want to pay money to these websites, you can just build it from scratch. Do it is once again going to create some sort of text. Let's call it lower third. You cannot see it because it's black, so just select all text by pressing Command A, click on the film and make it white. So I'm going to select the text and make it a little bit smaller in the screen. It doesn't matter how you make it smaller or bigger. You can increase the font size. You can press on S to make it bigger or smaller, or you can just make it smaller on the screen, like so, whichever option works best for you. Do something a little bit creative. We are going to have an outline for the text. So I'm going to select the routed rectangle and I'm going to diselect the text, shift up from Command A and draw rectangle and then put it below the text and actually we need to make the text black again. Let's select the shape and the lower third and put them right in the middle so that they are centered. This was before and this is after. I'm going to parent the text to the shape layer so that these both work together person command Y to add a gray background so that we can easily see what's happening, sect the shape layer, move it a little bit lower and a little bit to the side. Once again, just like a logo, there's a number of ways to do the reveal, but one of the more interesting things that I think we can do here is press on P, press in the position. This is going to be the final position. Let's come to and lower it down in the very beginning. So the keyframes press on F N F nine. But now, I'm going to move this keyframe to 1 second. Select the graph editor, and actually, instead of this moment, we're going to do something different here. We are going to move this handle to the left to the maxim, and this one, so the moment is going to be slightly different. It's going to start very fast and then end very slow. So let's play. It's a different moment to, for example, this because we don't see it for a big portion, but in this case, we see it almost instantly appearing on the screen. So it just allows us to have a bit more control. So it appears on the screen. Remember to add the motion blur to make it a little bit more expensive, and then we can play around with a font with colors, and it's going to be as easy things that you can take a look at motion array and Vato elements. Take a look at the templates that these websites have and get inspired by the templates, and then combine multiple templates together with the skills that you'll learn in the squares and what you've already learned and just use it for your own self. And then you can save it as a template. And I'd like to show you how to save templates, which by the way, you can also use in Premiere Pro in the next video. So let's jump to it. 13. Motion Graphics Templates: Create & Export MOGRTs for Premiere Pro: In this video, we're going to talk about mogart and templates. Mogart is a motion graphic template. And the interesting thing about Mogart is that you can save it in aftereffects and use it in Premiere Pro. However, it doesn't work vice versa. You cannot save it in premiere and use it in after effects. And also the one that you save in after effects, you cannot use in after effects. So you can only use Mgartz in Premiere Pro. However, you can save it in both software. If we were to use after effects, we need to create a template. It's really, really simple. All you have to do is to save your project. So I'm going to person command as save a project, save it to any location, and let's call it lower third animation. Person save. I'm actually going to close this project by parsing shift control option command S, and now I'm going to create a new composition, 1920 by 1080, and let's say we have a person on the screen. I'm just going to draw an unpleasant or maybe pleasant for somebody person on the screen. Anyway, let's say we want to present this person. So we'll go to the place where we saved our project, then we go into the project panel, and we need to import this project into our panel. And so it will have the composition. What we can do is we can drop the composition here, and it's going to present it in exactly the same way. And if we want to customize it, we can come here and we can either copy things from here so we can copy the lower third and the shape layer so that we don't use the gray solid, or we can just delete the gray solid, it doesn't matter at all. So we can use it both ways, right? Or we can come here, select both of these present command X to cut and then paste it here, and it's going to appear on the screen just like so. Now, the great thing is that it doesn't actually influence the original project. So if I close this project, let's save it. This is going to be a person. I come back to the lower third animation. This file is not changed at all, even though we did some changes in the person file. Now, how do you use this in Premiere Pro? We need to go into the top Recorna and click on Essential Graphics. And basically, the way it works is whatever composition we have, it's going to export this composition. So we need to select the composition. It's going to be this comp number one. We can call it lower third. We can delete the background so that it will not be visible, and it's going to export the shape layer and delay third. Things that we can select which properties we want to change in Premiere Prop. So let's close and open text and source text. So if I drop the source text here, we'll be able to customize the text itself a little bit later. So let's see it here. If I type something extra, it's going to type it here as well. But the one left is just kind of a title. So we can call it title or we can give it a name. It's basically the name of the property that you will be able to customize here. It's just for your reference, this one left and the one right you will be able to customize. Drop things like scale, for example, and we'll be able to increase and decrease the scale. Or, for example, for the shapelyer, if we open the contents, rectangle, for example, fill, we can drop the fill and then change the color of the background. And not to export, you just have to click on Export, Motion graphic template. It needs to save the project. Yes. And then you just select the folder where you want to save it. The local template folder works by default, so you'll always have it in premier pro as well. So I would just save it going okay. Once you finished, we need to go to Premiere Pro. Let me just create like a basic sequence. Lower third. This is the animation that we have and actually has a preview as well. So you can see if we go from left to right, it's just going to work exactly the same way. And then we just have to drag and drop it, keep the existing settings. And let's zoom in, and let's let it play and just go into appear. And if we go into properties, we'll be able to customize. Remember, lower thirds, that's exactly what we had. So we had lower thirds, the scale, the fill and the name. So we have the name, the scale and the fill. So that's how you do it. If you have any questions, let me know, let's jump into the next video. 14. After Effects Masking Tutorial: Mask Real Footage Like a Pro: In this video, we're going to talk about the basics of masking. Go to drag footage of me into the project panel. So this is the way we're going to input the file. Next, I'm going to drag the file to the bottom to our timeline, and it's going to create a composition, the size of the image. So if you click on Command K, it's going to open the composition settings and the width is 6,000 by height, 3,030. That's because that's the resolution of the image. Although if you don't like it, we can put something like 1920 by 1080. To be just a horizontal video, and we can select our footage and press Shift Option Command G or So G means it's going to fit the video by the top and by the bottom. Shift Option command H is going to fit it horizontally. So we either fit it vertically or horizontally. A better example would be to show it with the rectangle tool. So let's draw a rectangle, no stroke, a fill. Shift Option command G, is going to fit it by the top and the bottom. Shift Option command it's going to fit it horizontally to the right and to left side. Now, masking in after effects is super useful. In this case, we're using an image index video, we're going to use on a video to track the mask. So the way you can draw mask is two ways. Use a shape tool, which we know how to use. We have a shortcut, and we can select any shape and whatever shape we select. So let's start with the start tool. If I select our image and start drawing, it's going to create a mask. Now, how do we create shape? Well, if a person commands that and dis select our video, we're going to create a shape. But by selecting our video or image, start drawing, we're going to create a mask. Polygon, rectangle, it's going to create mask. That's the basics very important thing here is that if we select a rectangle with rounded corners and start drawing the mask, it actually has rounded corners. It's just rounded very small, so you can really see it. But we can control the roundness of the edges by using the scroll wheel. So if I scroll, as you can see on the screen, it's becoming more and more round. Now, in terms of let's say we close our layer, how do we open the mask? What do we do with it? For Spurs fall, we can open the layer, and we'll have the masks this way. But what I prefer to do is just click on the layer and press on M, and it's going to open the mask. If I press on and select the selection tool, we can customize the mask. So if we select it and select all the points of the mask, we are able to move the mask. If I select just, for example, two of the points, we'll be able to move just two of the points. Now, if you're not able to select it, just make sure to select the mask on the clip and you'll be able to do it. You will also see that we have these handles. With these handles, we're able to customize the roundness. And this is actually something that comes from the next way that we can create a mask, which is a pen tool. I delete the mask by clicking on the pressing on delete, select the pen tool. Let's create something with a pen. So the way the pen tool works is we need to put a point and put another point somewhere else and make sure that for the stroke, we do enable it because there is no fill, so we can disable the fill and enable the stroke, and there we have a line. So it's very similar to the shape tool in terms of that we can select the stroke and the fill similar properties. Let's delete this one and draw a shape that's going to be completed. So we can draw, for example, something like this shape. We have our stroke color. We can enable it. And then for this shape, because we closed the loop, we can actually include a solid color as well, and disable the stroke, for example, and it's going to be shape. So as you can see, we can create a shape very similar to the shape tool, but a custom one. Another board note about the Pentool is that we can click and start moving to the right or to the left in p pressing shift and making it straight or by 45 degrees, we are able to add these handles, and these handles allow us to create very smooth so if we were to shape something like, let's shape something on the screen, say, look, we can easily create a shape here of the mac book by dragging some of the handles. So, of course, you know, to make it perfect, we have to spend a bit more time doing it, but this is going to be pretty good. So there you go. Like, a very quick shape, the shape of the Macbook. Now remember, if you want to fit the screen, press shift and this button, the screen to fit it. And creating a mask with the pent tool is very similar to creating a mask with a shape tool. Let's create a mask. Let's select your layer. Click on the Pen tool, by the way you can press on G to select it, and let's draw a mask by selecting our layer first. And there you go. We have a mask. I chose as the mask, and of course, we can delete it if we want. Now, let's amend it a little bit and do a very similar thing like we did before. Select your image, and let's draw a mask. Here. So in order to make it smoother, remember just to click hold and drag the mouse and it's going to make it a bit smoother. Doesn't have to be super precise or perfect because we can select the mask, and then by pressing on Vt, we can customize the mask to our liking. So if we select certain points, we're able to move them around just like so very useful. Another important aspect of the mask is that we can invert it. So if I click on this button to the mask, click on it, it's going to invert the mask. Basically, it selects everything else at we had before doing the opposite. And if I click on the mask and opens properties, there are a couple of things that we can do here. So we have a number of modes that we can select by clicking on this button. So if I click disable the inverted, we can click on subtract and it's going to subtract from the mask, basically the same thing as the inverted or we can do something like intersect, lighten, darken or select the based on the work that you do, sometimes these things can be useful. So I'm not going to go through all of them now, but just remember that you can play around, experiment with this a little bit, and find the one that you need. In terms of the feather, it's going to allow us to have not super precise edges because right now it's like we can see each individual pixel here. But if we increase the feather, it's going to just make it a little bit smoother. So we have almost like a gradient. Obviously, we can also control the mask opacity and a great thing as well. If we zoom in a little bit, we can do the mask expansion. So if we start expanding the mask so that we don't see the computer, in this case, let's expand it a little bit more. We don't see the computer, the mask became just a little bit bigger. It's very smooth and yeah, it's just really good. Now we can put anything we want there. Now, if I delete the image and I want to draw a shape, for example, let's draw a circle on the screen, put it right in the middle. Say, I want to mask the shape layer. How do we do it? Well, if I start drawing the mask, it's just going to draw other shape layers here. So something we did before with you is precompose. Let's select our layer, person Shift Command C, and it's going to precompose it. And once this layer is precomposed, we can mask it out, just like so. So these are the basics of masking. If you have any questions, let me know. Than that let's jump into the next video. 15. Mask Tracking: Track Masks onto Moving Objects: In this video, we're going to track a mask. Let's come to After Effects, and I'm going to drag a video of me in this case, and I'm going to double click on the video. A couple of ways that we can do this. We can put the whole video here and it's just going to play the whole video, but the whole video is very long. We don't really need the whole video, I'm going to person Command to do. And here, we can actually select just a portion of the video. Let's, for example, select it from here and I'm going to use the in point, and let's go a little bit to the front until I run past the camera. And now we did this selection, and if I drag this clip over here, it's going to show just this part from the in and the outpoint. And we click on this window and press on Command W to close this window. And we can press Command Y to close this window as well, or just click on a closed button in the top left corner of any window. So in order to track, let's select our footage and select the Pen tool. Obviously, we can do it with the Shape tool as well, but with the Pentl we'll be able to make a better selection. Let's zoom a little bit with the scroll wheel, and I would like to mask out, for example, the ship here. And let me just do a quick selection. It's going to select the ship. For the mode, I'm actually going to set it to none so that we can see how things are going here. And for the color of the mask, we can make it something a little bit more viewable. Let's make it a blue. In order to track the mask, we need to right click on the mask and click on track mask. And the pop up on the right is going to appear other window, and here we have a tracker. We have a couple of methods that we want to track. We can either track the face at the bottom. We can track the perspective or other aspects such as position, position rotation, position scale rotation, position scale rotation squePerspective. In this case, because we're tracking just something in the background, we can actually choose the position. And in order to start analyzing and just track it, we can either do it frame by frame, but we can also click on the playhead and just start analyzing, it's going to track the selected mask forward. So let's click on it. It's great to do it in real time. No cutting anything here. So let's see what it does when I'm in the frame. So when it goes a little bit weird, we can actually help it out a little bit. So by pressing command and arrow head, I'm going to move to the right and to the left. Okay, so it starts going here a little bit. We can press on V to select the selection tool, select the mask, and then just move it to the place to where it should be. So let's press on command left and then right, command left, right. Actually, maybe it's a little bit too much. Let's try to analyze now the frame forward. Okay, so we need to select it again and move it a little bit. But maybe a better solution for this would be to move to the point. So let's see. This is this ship. Where do we see the ship in full again? So start it from here. Let's select the mask and select it here, and then analyze one frame forward. Another. Yes, this is good. Let's click and play. And just going to continue analyzing the mask. For the next frame, we need to just move it a little bit to the right, and the last frame is just going to move out of the frame completely. Great. So now we have the selection of the mask, and we just need to come to this point and then track it backwards. Let's see if it does a good job. Okay, so here it goes a little bit wrong. Let's just move the mask a little bit, another frame, and we know that it should be there. Another frame should be somewhere over here. At this point, we can just move it, like, so just roughly to have the selection there. So we have the ship visible here a little bit, so we can start putting it like so. And let's see if it's going to analyze things. Not really. We still have to move it manually. So there's a bit of manual work sometimes that's unavoidable because obviously, Aftereffx is not a super smart AI machine at this point yet, although definitely will be in the future, but in this case, this is how we have to it. Okay, and at this point, it does a good selection. So let's come to beginning and see how our mask went. Pretty good. Obviously, if we open the mask, we are changing the mask path. And when we come, for example, to this point when we have the arm, we can actually select the point of the mask and move it a little bit, then press in command arrow to the right and move it a little bit as well. Like, so and arrow right, move it Excel. And then we can play around with every single frame, which is going to take quite a bit of time. So for the sake of time, just so that we don't waste it for you, I'm not going to do it through every single frame, but you get the idea. So if I select the mask and we move it a little bit, you'll see that the mask kind of follows around my hand here. And if we select the subtract, it's going to subtract the can apply a certain effect if we go to the effects and price span of some Gaussian or Gaussian blur. People pronounce this differently. And if I press on E, it's going to reveal the effects. And if I open the gaussian blur and click on compositing options, click on plus, we need to select the mask and then press on M and click on inverted, for example, and it's going to blur the shape there, right? So we're basically applying the effect specifically to the mask. Like, this is the reason why you would use it. So you can blur somebody's face in this way or blur the name tag of the car. If there's something in to blur, this is the easy way to do it. And then something we'll do in the future, as well, is to completely erase something from the screen. So this is going to be super, super useful as well. If you have any questions, let me know. Other than that let's jump into the next. 16. Congratulations!: Congratulations. If you are watching this, it means you made it halfway through the course content. I know you've covered a lot so congratulations to you for making this point. There's a lot more valuable content coming soon, but before we get to the next video, I want to simply ask you if this course gave you values so far, could it take 60 seconds to leave a quick review? Your feedback helps the next person decide whether this course will help them too, and it helps me continue creating better lessons for you. So leave your feedback now. And, of course, if there's anything I can help you with, please let me know in the Que in the section below. You're doing great. Keep going with that being said. Let's get to the next video. 17. Track Mattes Explained: Alpha Matte vs Luma Matte: In this video, we're going to talk about really exciting topic called Track Matt remember press command to create new composition and press. Now I'm going to track a picture of me here, once again, Shift action command G. Track MT is basically another form of a mask. And the way we do it is we have to select, for example, a shape layer and then draw something on the screen. Let's do it like this. If you don't have it here in to click on Toggle switches and modes at the bottom, and then you have to track mat your image to something else. So if we track mad the image to the shape layer, this is what we're going to have. If you select the shape layer and I press on selection tool selected, and I move the shape layer, it's going to move it. So it's a very similar thing to the mask. But there are a couple of interesting things we can do about this. First of all, we can track mad literally anything. So we can track MD star tool, exactly the same way. So let me put it on my face, like so and then track mad the image to the shape. And it works, by the way, both for video and for pictures. And one thing as well, is that the shape layer, it becomes invisible, but we can actually make it visible. So we will have the image track matted to that, but this one but if we click on the icon, it's going to be hidden, but the image is going to be tracmded to the shape layer. So let's delete it and come back to the rectangle tool and track our image to the shape layer. Now, these are the settings of the track Mat. What we can do is we can click on the invert the MD and it's going to do basically the invert of the mask, almost exactly the same thing, or we can click back on Invert to just do the selection. And something we can do here is also click on Alpha this is something that allows us to use bright parts of the trach mat of the shape layer, for example, for things to be visible and dark parts to be not visible. Might be a little bit confusing, so let me delete the shape layer, and let's draw it again. And let's go to the properties of our shape layer. And here we can do a linear gradient. Now, I'm going to open the setting and for this one, I'm just going to put black just for the ease of it, and I'm going to drag it a little bit to the right and a little bit to left, B person shift, I'm going to make it super straight and perfect. So you'll see that on the right, we have a dark gradient. On the left, we have a bright gradient. And if we track mat our image to the Shapler, the dark areas will be not visible and the bright areas will be visible. So if I put something like a command wide, and let's put a red background, going to drag it on the background, you'll see that it's not just becoming black, it's becoming trans so the white parts become not transparent and the black parts become super transparent. And this is called Luma mat. But if we come back to the alpha mat, you're just going to do it based on the shape without it being brighter with darker, it doesn't matter at all. So this is how we do the track mat. If there are any specific questions, please let me know. But other than that, I'll see you in the next. 18. Green Screen Tutorial: Keylight for Clean Chroma Key: In this video, let's talk about the green screens. Green screen is when you have a green screen in the background. Usually it's used to just completely get rid of the background, isolated, isolate subject from the background, object from the background. And there are a couple of ways to do it After Effects. The old way to do it is called a color key. It's just an effect that you apply, and then it completely gets rid of the green color. But there is a better version that's been added in 2019. If you search for key, it's called quilt. And so we select our footage and double click on the effect and it's going to apply the effect. And in the screen color, we need to select the pick and then just pick the green color, and it's going to get rid of the color. You sure that's how you do it. If I press, for example, command Y and add a background to it, just going to add a background. And if we come back to the effect controls and select our image, there's a number of settings that we can customize if we open everything. And obviously, it depends on the footage because sometimes you have a bit darker green. You have just, you know, the green background or, in this case, you have a green shirt, so you have to play around with settings. There's no one setting that works for every single so you do need to come here and play around a little bit. So, play around with the black, and you'll see that if we set the clip black to mangum, we have a lot of pixels. So that doesn't work here. So in this case, we might need to do a bit of a white, and then replace color. It's replacing the green with gray or we can set it to something like red, for example, and it's going to do red color, and we can clearly see it something like at the top here. So it goes from gray to green. Necessarily use this every day unless you work with green screens. So most of the people are not going to use it, but if you're one of the people who is going to use it, I just recommend coming here and getting yourself familiar with it. The more time you spend with it, the more experience you get with it, literally spend 10 minutes playing around. And trust me, you'll be better than 99% of the people on the planet because you'll understand how it works. And of course, if at any point you have any questions, drop them in the Q& section below. Other than that, I'll see you next. 19. Rotoscoping with AI: Roto Brush Tool Step by Step: This video, we're going to learn rotoscoping. It's an advanced way to isolate the subject from the background, basically to mask it. And here we can do a very, very precise and interesting selection. So we have this very challenging video because we have a lot of movement, and in this case, we're going to completely isolate myself from the background. I'm running, I'm moving. I have hair, the background, there's foreground, and then I disappear at some point from the screen. It's like, how do we isolate myself from the background? Is it even possible? Yes, it is. So it is done with a tool called roto brush, and we have this tool here. And another tip that I'll give you before we get into this is that in After Effects, there's a ton of really useful shortcuts, but I don't mind having a shortcut for the roto brush. I created a custom shortcut, and I'll show you quickly how to do it. So if you press Option Command and upper comma, it's going to open the keyboard shortcuts, or you can search for keyboard shortcuts by going to Edit and keyboard shortcats There's a shortcut. So click on it. And here you can search for, for example, Roto Brush tool. I'm pretty sure it's not by default, this one. So I put option W to be able to access it very fast. So just click here to add a shortcut and delete if you have a previous one or just keep the one that you have. And click on Okay. And whenever you press Option W, you'll be able to have it. And this tip will also save you a lot of time in the future, because you can create custom short in order to use it, we have to double click on the footage, literally, double click on the screen. And we have this green pop up selector that we need to select the footage with. I will zoom in with the scroll wheel and by pressing space, I'll be able to move around. Here's how to control it. So if a person command or control, click with the mouse and literally just drag the mouse up and down. It's going to make it bigger or smaller. You want to add the selection, just click on AD and it's going to start selecting. It's going to do it with a purple outline. If you want to get rid of a certain part, you have to, for example. Let's click here. It's going to select it, but I don't want it. I have to press Option or Alt on Windows, and just delete this part to make sure it doesn't select it and this part as well. I found works best. If you selected something extra, in this case, it's better to just press in Command Z until we get rid of that because we have a bit of a history in the road of Bartl that we can revert back to. So let's make it a little bit smaller, command and with a mouse and do a bit of a selection on my head. Selection here, here, get rid of the rocks. Zoom in even further, select the shoes, great here and get rid of this part. Okay. So let's see is everything okay? Yes, everything is. Shift, and this button, we get back to the full screen. And now, in order to analyze it forward, we just have to press on space. And it's going to start playing and analyzing every single frame. It might take a little bit of time, and it's going just to do it automatically. Now, at some point, you will see that the selection actually goes a little bit weird. So, for example, this bottle is not selected. We wrote that. We just go back to the place where it starts going wrong. So we have to search for that literally just like that. Let's see. Busing command and arrow keys, I'm able to just go back and forth. So it goes wrong here. This is the first time. So a Zoom in literally just select these two places. It's going to do the selection again, get rid of this part and this part. And just present space. Actually, we need to select here as well. And I present space, it's going to just start playing and continue analyzing. Okay, so let's check if the selection is good. Should everything be good here? Okay. Eight. Here's something for me to tell you is that when we zoom in on the hair, for example, we'll see that the hair selection is not super precise. Like, for example, at this point here, it's just going to look weird. Actually, if we go back to the composition, we'll see that we have lots of this white stuff, and something that we can do to avoid that is go back to the layer and select the refine edge tool. And let's just find the point where it starts going, for example, wrong here, and we need to just select the point where we need to refine the edge. We can do it like so and it's just going to do a much, much better selection of this place. It's going to take more time and more power for your computer. So at this point, let's let it play. And as you can see, the selection became a little bit slower, but it does a much better selection and isolation. Great. So let's come to this point and just double check that everything's okay. So if we come back to the compositions, you'll see that the selection here now is just it's much better. Like, it selects the hair 100% better. So we can actually do similar thing with the glasses as well. So let's come back to the composition zoom in. And yeah, it looks a little bit weird here. So let's come back and find the place where it starts. It starts roughly here. So we need to select this point. Actually, let's just select the glasses, like so, and let it play. And then once it goes a little bit weird, we just need to select it again and cut this part out because we don't really need it. So at this point, let's say we are satisfied. Obviously, for this shot but we need to customize a little bit more, but let's say we are ready. At the end, all we have to do is click on freeze. By clicking on freeze, it's just going to freeze everything, so it's not going to render it in real time. It's going to save power of your computer and a lot of your nerves. Ahead and click on freeze. You don't have to click on freeze, but this is going to make your life a lot lot easier. You have to wait a little bit until it does the cutting and then we'll come back to the compositions. By the way, if you want to unfreeze, you can just click on this button because right now you're not able to customize. But if you want to customize, you just have to click on freeze. It's going to unfreeze it, and then you'll be able to customize it again. So let's come back to the composition, fit the screen, and let's see what kind of selection it did. You can clearly see that at this point, we don't have the refined edge tool on the hair, but at this point, we do have the refined edge tool, and you can obviously just go back customize, but it just takes quite a bit more time to. If you want to get the background back, you can easily do it. So in this case, I'm going to duplicate the footage and the one on the bottom, going to press on E to select the effects, and I just have to delete it. This is the interesting thing that we can do here is we can add something in between myself and the background, so we can add something like let's add a shape tool and put it behind myself and behind the background. And it's just going to stay there behind myself and behind the background. If you have any questions, let me know that let's jump into the next. 20. Warp Stabilizer: Fix Shaky Footage the Right Way: In this video, we're going to learn to stabilize the footage. So I have this very challenging video of me running. You can see that it's hard to watch the video because of how challenging it is. So the question is, how do we stabilize? Well, we have to go to the Effects and precess panel and search for stabilizer, specifically for the warp stabilizer, and I'm going to drag and drop it onto our footage. It's going to start analyzing all the frame. So it does most of the work automatically, and we just have to wait until it does so you can see it's like 10 seconds left, and for the footage of like 10 seconds video of this very crazy stuff happening. And then it's going to start stabilizing. May stabilize the video, but then we will get a lot of distortion. And because we have a ton of stabilizing to do, it's going to look a little bit weird because if you take a look at the background, the whole background is just shaking, going weirdly. And the way it does is it really zooms in on the video. So it has a lot of space to work with, and then it just moves the camera to stabilize the video. So in order to control the warp in the bagon, we have to go into advanced, and then for the crop plus and then smooth, I would actually recommend you to setting it not as much. So, for example, go for something like ten instead of 50 or something like nine, and then letting it play. And so you will still have quite a bit of moment, but it's not going to be as crazy as it was in the very beginning, and we won't have as much warp as we had in the very beginning. We'll still have it, but not as much. And so we have to find this kind of middle ground. So I wouldn't recommend you setting the highest percent of stabilization because you're going to crop the video complete Si, if you have a footage that's very shaky, there's almost no way to save it. It's like trying to make a good sound out of a bad recording. There's just literally no way to do it. So it's just like a tool that allows you to do the stabilization, but it's not going to make the footage look really, really good. So if you have any questions, let me know, other than that let's jump into the next video. 21. Motion Tracking: Pin Text onto Any Moving Surface: Welcome. In this video, we're going to learn how to track motion both automatically and manually. So we have two clips here to practice with. One of the clips is just me walking at home. I'm just walking, and here we will track the walls. And then for this video, track something on the ground and let's jump in. We need to go into the top right cardinor and go into motion tracking. This is going to change the outline a little bit, and we need to click on the video. And the first thing I like to do is I like to click on track camera. It basically tracks the camera, which we can see in the top left corner, similar to kind of stabilizing the video, and it gives us these points where we can create certain things. So if you come here, we find this point, we right click and create solid and camera, for example. And then if we play this video, this is just going to stay there. So we can actually put a text there or anything you like, and it's going to completely just stay in that one of the things that I like to do when I'm creating a solid is precomposing the solid. So shift command C to precompose, go in compositions. We can completely delete the solid and then change the resolution to whatever one. So this one is a little bit too small. Let's do 1080 by 1080, it's going to create square. We can put some text here, text. Here, let's select the text. Go to the horizontal space, and for the fill, let's set a white color and then put it in the middle. So if I go back to our compositions just going to have a text, and the text is going to be just on the screen floating at all times. So this is one way to do it. The other way to do it, if we delete the three D camera, we delete the effects, everything is we go into motion tracking, and we click on track motion. And we need to decide what we want to track position, rotation, scale or all two of them or three. So we just need to do a selection of what exactly we want to track. In this case, we will track and it will have these two square pop ups. So with this, we need to select certain points that we need to track, and it's just going to track those two points. It's really important because if, for example, you track like a rubbish bin, and then you put your text on the left, it's not going to work. You track this part of the video. The left part of the video most completely differently because we have a lens lens has a distortion, so the moment is very different. So in this case, if you want to put a text or something simple, it's better to track the place where you want to add. This case, let's zoom in a little bit, and let's give this a try. I'm going to click in between the two squares and then drag it to the left until we get to this point. So we will track this point. And let's go for something else. Let's put this point to here. You want to select something very contrasty and super good in terms of the focus? Because After Effects, obviously, it has to connect to something. If you just select tree, it's not going to work really well. Trust me, you'll have to do it by hand. But if you select, very contrasty and isolated points, it's going to do a good job. So I'm going to click on Analyze, and it's going to do the analysis. Although you'll see that this one actually does a bit of a weird movement. So we don't want this to happen. So I'm going to press on command set, and we can tell that it doesn't work. Potentially, one thing we can do is we can increase the space so that it has more space to work with. It takes more time to think about it, to render, to analyze everything. But it does in much better selection. So let's give it a try. Let's click on Analyze, and it still jumps, and then when I move into the frame, doesn't really work. So let's try to find a better place, and let's go for this bunch to be very contrasty. So let's click on Analyze. You can see does a much better selection here. Here's the very interesting part is that when we get into the frame, it moves the selection, but we can actually do something very smart here. We have to find a point where the selection starts going wrong. So it's good here, good here, here, here, here. And this is the first frame where it goes wrong. So when you come back to the previous frame, and by pressing Option or Alt, we have to find another very contrasty place, and it's going to move the selection based on that point. You'll see outward in a second. So let's press option, and you can see that the cursor changes from black to white. And now we have to move it to another place. So let's actually move it maybe a little bit to the right and put it to another contrast to place like there. And you'll see that the selection is here. But we just move the enca point basically to another place. And let's click on Analyze one frame forward, forward, forward. Does a good job. So we know it works, and let's just let it play and continue. There as well. Like, we lost the tracker there at the top. So we have to find a place where we lost it. Yes, this is the last frame where it's good. So click on option and move it to another place, and let's go more beef, something like here, and analyze forward. Yes, and then let's play. Great. So you did this very good selection. Now, what do we do next with it? Well, in After Effects, there's a thing called in null. Null is an object that can apply lots of effects to. You can control lots of effects with, you can power in things to it. And we created this by pressing Shift Option Command Y or shift control Alt Y. Going to add a null. And when we do this tracking motion, we need to edit the target. So click on Edit the target, and here it already selects the null, which is perfect for us and click on Okay. And then we have to click on Apply X and Y dimensions and click on. So now our null has all the tracking that we just did. And now, if we come back to another workspace and drop like a text on the screen text. Play the text, it just moves around. But if we select the text and then parent it to the null and let it play, the text is going to stay perfectly there. Okay, so something went wrong there at the end, which I'm not sure what exactly happened, but we can just go back, re analyze, reapply everything or create a new null and apply it to new null. Now, in this case, we did the position, the rotation, and the scale. In order to select it, you just have to select the footage. So we did all three rotation, position, and scale, but we don't have to do it. So, for example, if I open the footage, motion tracking and we have a tracker, I delete this tracker. Let's select our footage again. Motion. Let's do just the position. We have the tracker appearing on the screen, and then let's go for a contrast the place. Let's go actually for one of the boats. For example, let's try this one. Oh, actually, let's go to the very beginning and then get it to the boat. So let's start from here. Let's click on Analyze. It's going to do the analysis. As you can see this one's Zoptoster because it's just one analysis. And then the same thing, let's create null Shift Option command Y and edit the target. In this case, let's do null number two, press New cap, and then apply and click on Apply. And if we go back to the horizontal, we can create another text let's call it boat. And let's move the text a little bit to the left, make it a bit smaller on the screen. So he one of the boats there and then parent the boat to the null number two, and then the boat is going to stay there. You can see this text, it changes a little bit in perspective, but that one doesn't change at all. And if we do it for the second image, which is at home, so let's drag it to the composition. Radio over here is going to create a new composition with it. Very similar thing, go back to the motion tracking outside with something like track camera. It's just a little bit easier for most of the stuff. And then, if not, I can do the track motion. So let's go for a track camera. It's going to quickly analyze it and solve Once it did it, you'll see we have a lot of points on the screen, we can put something on the right or on the wall on the left. Once again, something like clock. You can always create a text with it as well, but the solid just something that I'm used to. And then whenever you move, it's just going to stay on the wall, and you can create something on the screen as well. So let's create a solid as well, and it's just going to stay there all the times. And then remember, you can always just precompose it, put something else there as easy as that. And then if you wanted to be behind the person, all you have to do is roto brush the person, now that you know how to do it, and then it will be behind the person. That's how we do. Have any questions, let me know, other than that, let's jump into the next 22. Content Aware Fill: Remove Objects from Video Using AI: Welcome. In this video, we're going to do some proper effects. We're going to explore a tool called content aware fill, and so tool that allows us to completely get rid of certain objects, whether that's video or a picture in our compositions. So here's an example. We have a video of me walking. I'm going to drag it into the composition, and it's just a video of me, it's not record on tripod or anything is just me walking, and I want to completely get rid of myself here. This is going to be challenging. It's not just me. It's the back as well. The background doesn't have a very simple wall. We have the floor, we have the different colors, all that stuff. How do we get rid of me? So the way the content of our field works is we have to have an empty space in the picture and then it's going to fill it. So the first thing we have to do is we actually have to mask myself out, and the way to do it, easiest way to do a person is by selecting the rotabt or something we already know I'm just going to double click on myself and do a selection of me. In this case, it doesn't have to be super super perfect, but once again, the better the selection, the better the results are going to be. So I'm actually going to start from here from this point, and I'm going to press in space and going to analyze it forward. Perfect. I'm out of the frame now, I'm just going to go back and going to do the analysis backwards, and we just need me to completely disappear from the screen. Okay. Let's see what we have. So I'm just going to check so that my shoe is selected. As you can see, right over here, it's not really selected, so I'm going to click on it as well, and let's see if everything is good. Let's go forward. Yes, on this front, everything's okay. Let's go until the end and just double check that everything's okay. Everything is okay. Perfect. So I'm going to click on Freeze. Okay, so just completed this selection. Let's go back to the compositions, and there we have me. Black on the screen. I'm going to duplicate the footage by present command D. For the bottom one, I'm actually going to click on E to reveal the effects and delete the Roti Brs tool. We need to create an empty space, and we can actually do it by doing a track mat. So I'm going to select the footage on the bottom and track mat it to the footage at the top. Now we also need to click on Invert the selection so that we have an empty space of me walking on the screen. So if you click on this button, it's going to toggle the transparency grid, and we'll see that this part is actually just empty. I'm going to go into Window and click on content aware fill. Now, the way this works is we can do a number of things. So we can do the H blend surface or object. In this case, I'm going to click on object because we are basically removing an object. And for the Alpha expansion, if we put it to zero, it's basically doing this selection of what we have here. But obviously, we don't want to do it, I want to give it a little bit of extra space. So if we increase it to maximum, it's going to just take a bit more space. And then we can obviously do the same thing for the mask. If you click on the footage on the top, click on E roto brush, and then if we go into roto brush MT, here we can do the shift edge and basically, increase it a little bit, and then this one is going to increase a little bit as well, because it's based on the one that we have here. So we took a little bit of actual space everywhere. Great. Now, we need to click on generate fill layer. It will ask us to save the project. I'm going to save it, call it content aware fill. Important to save because it's going to create another folder with content to where I feel images. The images that After effect is going to generate while it's generating, I'll explain how it works. So let's click on Save, and then you'll see that it created a new layer, and now it will start working. So it's analyzing here at the bottom. You can see the progress. If you cannot see the progress, you just need to make this thing a little bit higher. You can always put it, something like that. So the way it works is it analyzes the frame. If you're in certain position and you cover certain objects, once you move out of the frame, the frame that you used to cover will now be visible. And so After Effects will look at that and generate feel that way. And now that it's done, we can actually see this in real life. So if I scroll, we'll see that I'm actually nowhere on the screen, and if I disable this layer, we'll see where I'm at. But if I enable, we can see exactly what it does. Does, honestly, an amazing job. Obviously, we can see a bit of the shadow. But still, this is pretty incredible because we don't have to track anything, I just does everything on its own. And the only way that we can identify that the person was there is by the shadow. But imagine if we didn't have the shadow, if the person wasn't stepping anywhere, and we just need to remove some object from the background. This is such, such a powerful tool, and we're really stepping up the game by using this video is available for practice or you can use your own video. It doesn't matter at all. Please go ahead and give it a try. When you give it a try, it will take things to the next level. And the last thing I'll show is that if we go into the folder where we saved the project, so this is the contract where I fill the project, and then it actually generates the fields. And if I go into the folders, we'll see exactly what it generates. So we can see frame by frame how I'm walking, and we can see exactly what's happening. Another thing we can do is we can select the background present and just remove a little bit the opacity, and then we'll be able to see it frame by frame, how it does it. Honestly, really, really good job. So if you have any questions, let me know and let's jump into the next video. 23. After Effects 3D Camera: Depth of Field, Lens Types & Camera Setup: Welcome. In CD, we can talk about the three D layers in camera basics. So our current composition is 1920 by 1080, and let's give it 30 frames per second. Now, an important thing to understand is that what we have in front of us right now is already a camera. So we always have a camera in after effect. It's just this one, we're not able to move around. We cannot add things like depth of field or change the angle of view, but what we have in front of us is already a camera. Now, we can create an additional camera, and the shortcut for that is shift option command C, and it's going to give us the camera settings. Camera settings, if you have experience with real life cameras or you ever play the DSLR or you know the camera triangle, shutter speed, ISSO and aperture, then that experience will be super useful. If not, don't worry, I'll walk you through. So we have two options. We have the one node camera and the two node camera. And the difference between them is that a one node camera is just like a layer, the way it moves, but a two node camera has a point of interest. So for example, a two node camera has a point of interest. This is where it so if we move it around, it's going to always face this point of interest. So it's always going to almost, like, rotate and it will always look at it. However, the one node camera doesn't have the point of interest. So the way it's going to move is just the way you move it. So it's going to move like a layer right left up down to the front to the back, and it's not going to rotate around the object. So that's the only difference between too. Now, obviously, you can give it a name. And in terms of the preset, it will just make your life a little bit easier. And once again, if you're going for something super, super specific, great, but if not, then you can use default settings. And presets give you the default settings. So once again, if you know anything about the camera, the smaller the millimeter of the lens, the wider the view is going to be. And then the bigger the number of the millimeters, kind of zoomed in it's going to be. So if you want to go for something in the middle 50 or 35 works really well. And then if you go for something like 15, we are going to have a very wide field of view. So I believe the video that you're watching right now it is like 35 millimeters. And if we had 200 millimeters, it would be like this. You know, really zoomed in. Now, Zoom, the film size and the angle of view is just some of the numbers that show is based on the preset. And honestly, don't worry about this. Obviously, you can move them around, and then the other values will move with it. But it is so specific. Like, honestly, I have never touched this, even though have ten is with After Effects. And in terms of the units and the measurement, it's just the way the information is presented. So if we change it, it's just going to change here, just the way the calculation is done. So the comp size changes. And then if we change pixels, inches, millimeters, it's just the information is going to change. But honestly, it's not something that you should worry about because it's not going to influence any of the results. For 99% of people, don't worry about it. In terms of the camera, I actually prefer to create a two node camera and then there's a way to make it one node camera very easily if we need to. Let's go ahead and click on, and it will tell us that we need three D layers for the camera to have its facts, certainly. Let's create something simple. Let's create a shape, and instead of the linear gradient, I'm going to put a solid and I'm going to select it and put it in the middle. And for the shape layers, let's make it three D by clicking on this button. No, if I open the camera and it transform, if I move it to the right, so I'm going to change the position to the right. It will always look at this. Actually, a better way to say it would be to have two viewers. So this is the front view and this is the top view. Let me do it like this. So if I move the camera to the right, you can see the camera is moving to the right, but it's looking here. So let's continue. It keeps on looking here because this is the point of interest. Let's double click on the camera and select one node camera. Now, if I change the position, it's just going to move like a basic layer. That's it. So that's kind of the difference how do we override the camera right over here. We just have to create a null. So, let's press Shift Option command. Why? Remember, the null is just like a layer that we can apply effects to or do certain controls with that. And this is the way that we can control the camera. And if we click on the camera and then parent the camera to the null, if I change the position of the camera, it's still going to have the point of interest. That's because I change the camera, but if I null, and by the way, we need to make the null three D if we want to move things in three D. If I change the position of the null, it's going to move like a normal camera. So this is super powerful. Actually, let me create command Y a background, in this case, let's make it red. I know it's going to be a little bit contrasty, but we'll be able to see things clearly. And another important thing is that if the layer is two D, it's not going to be affected by the camera. So let's take a look. If I change the position, because the shape layer is three D, it's going to be influenced by the camera, but the red solid is not going to be influenced at all because it's just two D. So it's going to stay like two D and it's just going to be like a background. Let's go through the settings of the camera because we have a number of different camera options, but it's important to understand that there's also different renders, and in this case, we are using a classic three D render. So we can see it here. We can also switch to advanced three D, and we're going to have different options. And then we can do a Cinema four D basically another application which is super super advanced, and with it, you can do some incredible 3d4d work, but we're not going to cover it here because this is super super advanced and you have to have Cinema four D installed in order for that to work. I don't have it installed. So if I click on it, it's going to say that it's not going to work. But we can go from classic three D to Advanced three D, and you'll see that the camera options actually change quite a bit. So let's go back to the classic three D. In classic three D, we have things such as the Zoom and you'll be able to see the changes on the screen. You shouldn't worry about knowing exactly how things are going to move and how it's going to work. I don't always know how things are going to play out, and it doesn't stop me from creating videos. So if it feels a little bit overwhelming, it's totally okay. Once you give it a bit of a practice, trust me, you will get it. I will click in your head. So don't worry about it. Let's just go through the settings. So the depth of field just means blurry background. If you ever wanted to create blurry background or blurry foreground, do it with the depth of field. And let's do it right here on the screen. So I'm going to put a shape layer just for the organization purposes a little bit lower. For another shape layer, let's select a start tool and then draw it on the screen. Let's make it three D, and then for this one, I'm going to press on P, and I'm going to move it in three D. So you can see that our shape layers shape layers located right over here, exactly where we have the focus and we have the point of interest. But this shape is located a little bit further away. Which means in the camera, we have the depth of field enable, and we have to focus on this one, because if I move it a little bit, you'll see where the focus is. It's in the same position as this. If I increase the blur level, the thing in the background is going to become out of focus. So let's go back to one viewer and fit the screen. This one is going to be out of focus because it's located further away. Let's go back to two viewers, and we can achieve exactly the same effect by, let's say, putting the blur level back to 100. Then increasing the aperture, and it's going to become out of focus as well. The aperture in real cameras is basically how wide your lens can open? Because the more it opens up, the more light comes in, and therefore, the blurrier the background can get. Once again, if you know something about the cameras, you understand it. If not, don't worry about it. We go further, everything that we have here is basically the customization of the blurriness of the background. I'll give you a quick example, press on Command Y to create a solid, this one's going to be white. And let's apply an effect called CC ball action. I'm going to drag it onto our layer. So for grid spacing, let's put 22 for ball size, let's put seven. So it's going to be kind of small on the screen, and let's make it three D, press on P, and move it a little bit further away just a little bit. And then let's go back to one view so that we can see things very well. To delete the second shape layer, and everything we do from this point on and until the end is basically this blurriness of the small things on the background. So we can play around with it. We can do a triangle, and you can see it changes a little bit. We can do like Pentagon, and everything that we change is going to change it a little bit. Basically how the light is presented in the background because sometimes it can be like circles on the screen and it can be the shapes, this is the way you can control it. I'm just telling you this so that you don't worry about this because this is so niche and specific that if you have to use it, you now know what it does. But if you don't have to use it, like, trust me, don't use it. It's just a waste of time because honestly, this is not going to really change the results of the video, the results of your work. And if it's not going to change the results, you're not going to get paid more. You're not going to get better video out of that. Why would you even spend time just wasting on this? So another thing I'd like to show you is that we have advanced three D as well, and if I click on it, you will instantly notice that the background is not blurry anymore because in the Advanced three D, we don't have the depth of field. We don't have the blurry background. So if I open the camera settings, we only have the Zoom, so we can just zoom in, and that's it. But we have something interesting here because we have our Shapler and if I open have geometry options enabled. If I go back to classic three D, the geometry options are grade out. We're not able to do it. But in the advanced three D, we have geometry options. And here we can add extrusion depth, and if I rotate our object, it becomes three D, and then we can move it in three D to however we want. This is the big difference between these two. And unfortunately, there's still not really a way to combine it. So that we have something three D and also have the depth of field. But it still allows us to do some incredible things and to be aware that if we want to create certain effects, we have to creatively think about it. There's still a way to do, to use three D stuff at the blur, but it's a lot more advanced. You can always just search for it online. I'm not going to go through it here because it's just going to take quite a bit of time. But it's relatively easy to do, and if you want, you can always just search for it. If you have any questions, let me know that let's jump into the next video. 24. 3D Text Animation: Create a Cinematic Title in After Effects: In this video, it's talk about three D, text animation. Now that we have a little bit of experience with the camera, let's go ahead and experiment with text. So I'm going to create new composition Ns and 20 by 1080. Bras o. Let's write text on the screen, and let's make it three D. Once again, we can make it advanced three D or go into classic three G. And remember the difference is that in classic three G, we have the depth of field, the blurry background to foreground, and in the Advanced three G, we can make the text three D, we can stretch it out. So depending on the work that you do, depending on the type of video you want to do, just pay attention to that. In this case, why don't we use Advanced three D? So I'm going to the geometry options, and let's increase the extrusion depth. We can select the text, and then with this, we can move the text around. So it became quite three D, so let's actually make it not as much. Let's do something like that. For the text animation, just like for the regular text animation, we can use something like text evil and apply exactly the same animations or we can use the animations from the text layer itself, we can go ahead and click on Animate, create the position, change the position. Everything is exactly the same. But there's nothing that is super useful, and it is animation composer. It's a free plugin. I use the free option. It is so good in the free version that I don't even upgrade to the paid one. So what it does is it has the animation presets, has titles, typography, transitions, graphic components. I mostly use it for transitions. It's really good and for motion presets. So we have some three D stuff, and if I search for three D, it's going to give us some pop ups. Obviously, we can use just like two D. This is actually one of my favorite ones. It's called overshoot. So if I click on D layers do not support effects when Advanced three D render is being used. And the way we solve that is we go to Classic three G, click on In, and then go back to Advanced three D, and we are going to have the animation. So it's going to have this pop up, then we can select the layer. And in the edit in animation composer, we can customize the length of the transition, the number of bounces, the scale, things like that. I prefer to have one bounce, so that it's like this. But this is two D. This is not as interesting. So I'm going to remove it. Let's once again search for three D. Actually, real like this one. So if you click on remember, we still have to go back to Classic three G, click on In, and then put it to Advanced three. And let's look at what we have here. Or we can remove it and go ahead for something more interesting. So let's go for this one at the bottom. Once again, classic three G, click on In and then go back to Advanced three D. And there we have our text. And if we use the TextEvo, let me click on plus to add the TextEvo, there's a way to do it right over here. So if I click on this button, it's going to actually turn the text three D. So if I move it to the side and then add the geometry options, it's going to make it three D and it's still going to have exactly the same animations. In TextEvo, you also have presets. So if I click on one of the presets that I created in the past, let's click on apply, and it's going to apply the animation person P and person R and put this 20 so that we can see it in front of us and in terms of the TextEvo, I'm going to give you my presets. The way it works on a Mac is you have to go into documents, TextEvo, presets and literally just download it in the resources section, drop them in here, and you'll have exactly the same presets as me. On Windows, you just have to go into the TextEvo folder and then go for the presets and drop them there as. The prices that we have here from all four sides. So it's right left, top and bottom. We have both by characters and by words and just moves with opacity just like we had it before. So I use this most often. It's really good. You can go ahead and give it a try. And no need to pay for anything. It's all for free. But if you go to classic three G, it's going to make it two G. In a way, it's not going to have the scrutin depth. And we can add camera shaped option command C, something very simple. Let's add a background, Command Y. Let's apply something like a grid effect to it. So let's search for grid, apply it. Let's put it in the background, and let's customize it a little bit. Let's put border to something like one, and then we can customize it to make it square. So we have the text animation on the screen. But with our camera, we are going to add the depth of field. Let's just make sure that our white solid is also three D. So let's press on P. Then move it a little bit further away. Let's press on S to make the scale a little bit bigger, and let's increase the blurr level so that it's a little bit out of focus, then we can go back to the white solid, add a bit of a background. We can also change the color of it to, I don't know, something red. I'm not sure what's wrong with red today, but I want to use red, and then we can obviously invert the grad to have an even more interesting effect. So there you go. There we have our text, there we have our blur, and we're combining both the camera and the blur. So if you have any questions, let me know, let's jump into the next. 25. 3D Models, Materials & Lighting: HDRI & Light Setup 2026: Welcome in video, we're talking about three D modeling and lighting. Lighting is something that was available before, but three D modeling is something that was added in After Effects 2026. Might be a little bit scary and confusing, but trust me, I'll break it down to the simplest way possible. So let's jump to it. So the latest update of After Effects 2026 is that we have this new tools. These are the three D tools. So we have a cube. We have a sphere, plane, tours, cone, and a cylinder. The shortcut for that is Shift D, and we can switch between them by pressing Shift D and just going to go into the next one fronts. So Shift D, shift D, D, D, D, D D, and it just changes them. So let's begin with the cube, and let's just draw a cube on a screen. And you'll see that it's created in three D automatically. And by the way, the tool that I'm using in order to do this movement, the rotation tool. So if I click on W, that's the shortcut, and then we can move it around. Create all of them on the screen, then I'll show you kind of the interesting things that we can do with them. So we can do plain tool, the sphere tool, then the Taurus, then the cone. And by the way, in terms of the cone, it will grow in the direction that you draw it in. So if I do it upwards, it's going to go upwards. But if I do it down, it's going to go down, and then the clin door as well. Great. So this is the stuff that we have, and we can make this one a little bit smaller on the screen. Here's why it's interesting is that if we click on it and we go into the properties, we can customize a ton of different properties. So we can customize the width, the height, the depth. So if I rotate it a little bit, that's the way we can customize it, then we can customize the radius, so we can do the rounded corners or in other words, bevel, and we can customize a number of sides. In terms of the compositing options, this is in terms of the light. We'll talk about the light in a second, as well. And then something very interesting at the bottom is we can have the material, and we can set a different material. Right now it's set to default, but if we click the burger and go to the Get substance community assets. It's going to take us to this page where we can download different materials. And if we go into the types and go for materials, for example, all categories, we'll be able to download the materials, and we can download any of them. All you have to do is just to login into your Adobe account. So here we can download any stuff they want. Let's go for some self luminous technology or Oslk burns steel. Let's come to After Effects, and literally just I'm going to drag these from the folder and drop them here. Important that we select the material because there's other types as well. There's smart material, and not all of them works because they have a different file format. So the file format that we need is called SBSAR. If you go into materials, it now appears. Remember, so we have the cube selected, the materials. And if I click on Oil slick, click on W. I'd be able to move it around, and we'll have this material, which looks really interesting. And then if we go for something else, we'll have in terms of the material, we can also increase or decrease its scale, so we can make it really small on the screen, that small or we can make it bigger. And then we can customize some of the other stuff like change the rotation, you know, the texture, offset. This stuff is really interesting because something like this would have to be done in Blender, for example, before. By the way, if you ever want to learn blender, you can click on my profile. I teach you how to learn blender the easiest way possible, as well, at the same time as creating content in blender. So, those kind of three D explany before that, I'd have to come to blender to do stuff like this, but now we can do it here, which is really amazing. Now, in terms of lighting, not to create a light and After Effects we have to press Shift Option Command L and it's going to create a light. And we have a number of different lights. You can create a parallel spot, a point, ambient, and environment. Parallel, it just means that all the shadows are going to be parallel. So let's create it, and let's make the thing on the background a lot bigger. So and then just move it so that we have a bit of a background. And then we can actually duplicate the plane, click on R, and do a rotation of 90 degrees, move it a little bit lower, and just going to be kind of as the bottom of page. Now, in terms of the parallel light, let's decrease the intensity to 100. Now, let's go into two views and for plane in the background. Basically for backdrop, I'm just going to click on it and move it in three D space a little bit further away so that we can see how the shadows work here. Now, we get the shadows, and this is the parallt. Basically, all the shadows are parallel. This to explain this is that let's say our sun is so far away that if we look at the shadows that are cast in real life, all the shadows are parallel. So it's not based on lamp, because if we use the lamp as the shadow source, not all shadows are going to be parallel because the light source is so close to us that gets spread out. But in terms of the sun, all shadows are parallel. Now, if I double the light, we can actually change the light to something like spotlight, it's going to be completely different fact. So let me come back to one viewer. Obviously, we can move it around as well. So we can move it a little bit to the left to the right, and we can do the rotation of double glycon again, instead of the spotlight, it's going to be a point light, a slightly different effect. Then we can do ambient light just means that everything is going to be lit up at the same time. If we go for an environment light, this becomes quite interesting because we can actually download a file called HDRI and use it as our light. So you need to go to Link in the resources section. There's going to be link for the HDRIs and if we download Newport oft let's go ahead and download it. Now let's come back to After effect, and I'm just going to drag the the way it should work is if we go into light options, we should be able to have the AGRI. But because of the current bags I have with After Effects, I'm actually not able to select it. But the ARI file that you add here, you'd be able to just put it into the source and then you'd be able to let up your objects and your scene with it. Now before we wrap this video, I want to say that obviously there's a lot more to explore here. And if you are into this, I just really recommend you to come here and to play around with the settings. It's going to be best because me going through every single detail is going to take quite a bit of time. You don't need to know every single thing. So whatever you're looking to do, just go ahead and try and explore. When you come here, trying to explore, just remember trying to think visually, so just try to think of something in your head and then try to do it here. Obviously if you have any questions, go ahead and ask me in the Q&A section below. Now, if we select our shapes, we can do some really interesting customizations. For example, for the cylinder, if we decrease the number of sides to, let's say, three, it's going to become a block. Next, if we go into the cone, we can do the same thing. We can decrease the number of sites and then we can customize the radius to the bottom radius. And there's a lot of interesting settings that we can play around with. Something like this wasn't available before in Afrix now it is available, and it's just such an interesting and powerful tool that just make sure that we're not limited by our tools, but now we're limited creativity. If you have any questions, let me know. Other than that let's jump into the next. 26. After Effects Expressions Tutorial: Wiggle, Loop, Time & PosterizeTime: Instead, you were talking about expressions. Expressions is a line of code that you put into After Effects because After Effects actually is a coding platform. So with expressions, you can control After Effects. If you know how to code, obviously, that's going to be great. But if you don't know how to code, I'm going to show you the easiest way to approach this. So personally, I'm not a coder, but I still use expressions. And the way expressions work is when to have a composition, we need to create something on the screen. So let's create the cup tool, create it, and let's do a bit of a rotation to it, like so that we can easily see it. Let me press on P, and it's going to open the position values. But let's say I don't want to customize it manually, if I wanted to move randomly, how do we do this? Well, if a person option or Alton Windows and click on the button, it's going to open the expression window. And here we can write something like wiggle. There's a wiggle expression. We person Enter, and in this case, I'm going to put on one comma 20. It does is it says it's going to move once per second by 20 pixels in basically all directions. So let's click off and let's hit play. And you'll see that it starts moving just a little bit in all directions. So if I put it from the top, it's going to move from here as well. Now, we can't really see it. So let's put something like 100 and it's going to move a lot more. And if we scroll, we can actually see how the values change right over here. If something is red, it means that it has an expressions, and we can do it for every single thing that we can keyframe. We can also set it to, let's say, it's going to move three times by 100 pixels every second. Let's play. You'll see that it starts moving a ton. So if we're going to one, it goes a little bit crazy. And then we can set whatever values we want. We can set it like ten times going to move it even crazier. So let's hit play. So this is how you can really easily do it. And wiggle is my honestly favorite expression After effect because first of all, it saves you a lot of time, gives you a lot of random stuff, and then sometimes it's also quite funny. So that's why for show you how to learn all of this stuff very quickly and actually, you don't have to learn this in order to use this. Let me show you some other expressions. So let's delete this one. And in this case, let's click on R, and we're going to change the rotation. So let's see which one we need. This one is going to be good. I'm going to put a keyframe here, and then by second one, I'm going to move like 45. So this is our movement. Now, let's click on Option or Alt on our stopwatch and write LoopOut. So, this one is just going to loop this animation forever. Let's play it. So if I make our composition not 215, but 5 seconds and put zero here, and then make this a little bit longer, it's just going to loop it out forever. If we were to set it to, let's say, like 90 instead of 45, it will seem like it's just going forever because the cube is 360 degrees zero. So if we do 90, it's like the quarter, and if it's a quarter, it means like it's a precise movement. So if we let it play, it's just going to move like this forever. Although actually not moving forever. It's just looping by 90 degrees all the time. If we put it back to 45, we have this abrupt movement. But we can actually extend this movement and say to After Effects, like, actually continue going like this forever. And if we write time times 100, it's going to allow us to just play it forever. So we will have this movement, basically forever. And there's another really interesting one, and one of my favorite ones, actually, it's called posteuriz time. This one just says how many frames per second it's going to have. So if you want to make it a little bit more abrupt, it's not oftentimes used, but it's used in graphics to make it cool looking. So if you set something like 12, we should have it. But in this case, we should actually write time times 100 and it's going to work. So you'll see that it becomes a little bit abrupt. I'll be completely honest with you. I'm not sure why the pasteurize time itself doesn't work. It's just, you know, to solve it, I actually used a solution in order to come up with expressions on its own. And it's called artificial intelligence my personal AI of choice is Claude. Before this, I used to use GPT. HGPT honestly is super great with After effect stuff. But I found that Claude is even better. I was able to troubleshoot this issue with Claude, and if I ever need to come up with expressions or I find a way to use expressions, I always do it with AI. So I can ask it to generate specific expressions. We can do some really hard expressions. And instead of me thinking through it and then learning how to code, I can just ask AI plus Claude is so good at coding and AI stuff that I would just use it. So let's give it a try. Hey, Cloud give me a new after effect expressions that I don't know that's going to just allow me to learn, like, a new expression after effect, something simple in the very beginning and explain how it works very short and concise and give the expressions to try it out. Okay, and I'm just going to send it. No cutting this video, so we'll see how fast it works. Wiggle, okay? I already know the wiggle. I know the loop out. I know the time, and I know the posterize time. So I know those for. Sample A properties value at a specific point of time, apply it to any property. This grabs whatever the opacity was 0.5 ago and applies it now. This is actually the update for the latest After Effects. Okay, so obviously, you can read the explanation quite concise in terms of the After Effects explanations. If I delete these two and actually let's use it for this example as well for the rotation. So I'm going to copy it. This the way it works. So you can see how fast it is, and I can give you an example of what I used before. So about a year ago, I created this animation After Effects, and in order to do a lot of the controls, and there were really specific controls in order to save it as a mogurd in Premiere Pro, there's a lot I had to do. If I double click on E, it's going to give the expressions, and this is the expression that ChatGPT was able to create. Quite a bit of work. Honestly, I'd not be able to do it on my own, but he created, and then I had a very precise control over very precise settings, save it as a mogurt, put it into Premiere Pro, be able to control every single thing that I needed. And it just saved a lot of time. So this is the easy stuff in terms of, like, these expressions, but this is the kind of stuff that you can create it, and there's way more advanced stuff that you can create with it. So just remember that AI is your friend. You can ask for expressions, and honestly, you can ask any question. It's so good at it that it will tell you exactly what to do, when to do, and 90% of the time it's correct. Sometimes it's not correct. If not, you can always use Google because Google, first of all, is also an AI. And secondly, it's a search engine that will find you like a video explaining how to do something may not always find it, but most of the time it will find exactly what you're looking for. If you have any questions, let me know. I let's jump into the next video. 27. UI Animation: Design App & Social Media Motion Graphics: In this video, I'm going to show you how to create UI animation for apps and social media. Now, this is not a super, super in depth tutorial on how to do it. If you click on my profile, I have a separate course specifically on how to do it. There's multiple ways to do it. This is a very easy way to do the animation. But if you are actually looking to do work, you can just click on my profile, get that course started, and I go a lot more in depth on how to do it. But in this case, I'm going to come to After Effects and I'm going to drag a screenshot that I just took of my Instagram page and then drop it here. Most of the time to do the animation, we just have to separate all the layers. All we have to do is to do a duplication. If we don't do it, let me show you what happens. So I'm going to select our tool and I'm going to start drawing a mask. And the only thing that will be visible is the thing that we masked out. And if we start doing something else, of course, we're going to create another mask and the other stuff will be visible as well, but the problem is that we don't really see what's happening. So what I prefer to do is just to duplicate the screenshot in this case, and then start creating mask. And when we start creating mask, everything is going to be on its own. So what we have to do is just create as many masks as possible so we can do it for Vladislav, then for this, for that, for that. And then this can be its own mask. This can be its own mask. And every single button just needs to be masked out. And then we're going to use a very interesting tool that's going to allow us to turn every single mask into its own layer. So let me not bore you with this, let me just do a couple of more things selected. Obviously, we want to do a very precise selection. In this case, I'm going to make it fast so that you don't get bored. So as you can see, we created like 15 different masks. So I'm going to select our screenshot, and here's a thing you need to do. So in the resource section, you will find a tool called Blood tools, and you need to drop it in this direction. So it's after effect script, script your panels, and then just drop it in here. So I have the Vlad tools. If I go into Window and click on Vlad Tools, it's going to have this window pop up, and usually put it here at the bottom. It's a good position like Tom. And if I click on this layer, click on split masks. It's going to create 15 different masks. So if I delete the layer at the bottom, and each and every mask is going to be on its to animate it is very simple. We just have to select all the screenshots, and we need to do some sort of animation. The easiest way to do it is with animation composer, in my opinion. So if I go into motion presets and actually, one thing before we do that, we have to click on Command and double click on this button. The reason why we're doing this is that we need to center the co point. If a person commands that, for example, let's go for this one. Click on S and decrease and increase the scale, it's going to decrease and increase based on this ca point, based on this one in the middle, which is not what we want. Want to person command so that we don't increase the scale. Select everything. Command and double click on this button, it centers the ca point. If I increase or decrease, it's going to be based on its own center. So let's select everything, go to animation composer, and let's do the overshoot, my favorite one. Go to animation composer, the number of bounces. Let's set one, and let's play the animation. There we have a ton of UI pop ups on the screen. If they overlap a little bit at some point, like, for example, here, you know, if we want to get rid of that, we just need to select all of it and decrease the number of bounces to zero so that it just appears on the screen. Like so. Now, one of my favorite things about composer as well, if we're going to edit and go for layer selection, we can do layer staggering. So if I move it to the right or to the left by literally dragging, you'll see what happens. We'll have layers appear one by one. We can do it like this. Obviously, in order to have it not appear just on the black screen because it doesn't look professional, create Command Y to create a white solid, put it on the background, and there we have the animations. We can select all of this, put it, roughly in the middle, and there we'll have the animation. Let's zoom in a little bit. Let's see. I mean, it looks pretty cool, right. Although one thing I notice that with animation composer, I need to select all the layers and then click on motion blur and motion blur again because the first time it's not visible, but now you will have the motion blur. It's going to be just a little bit more professional. So you can do this with any UI panel, like something on your phone or YouTube, Google, whatever, a really easy way to do the animations. And in terms of the Vlad tools, here's a couple of other things. For the frame rate, I have a bit of an issue when I import things from Premiere into After Effects, and we'll talk about that in the future, like how to do it, how to properly import things from Premiere to After Effects, the proper workflow. I always an issue with frame rate. So if I put it to 35, in this case, if I click on just 30, it will make it 30 frames a second. So Command K makes it always 30 frames a second. And then for clear cache, After Effects not afraid to work faster, you have to have some space for cache. It's going to render things out, but it takes quite a bit of space. And so sometimes you run out of space After Effects become slow. So this button allows you to clear all the cache from your computer from After Effects. It saves you time time because instead of going to After Effects settings and then memory CPUs going to disc. And then you'll see here, so the maximum disk cache size is set to 50. The more you can allocate, the better, but the more you can allocate, the less space you'll have on your computer. And then if you want to speed up the After Effects, I recommend going to memory CPU and setting this number to as low as possible so that you give After Effects and other Adobe products as much RM as possible. For the CPU as well, the less you allocate something else, the more you'll give power to After Effects and other Adobe software if you use it. Therefore, the faster it will another thing in order to speed up the process, you have the full resolution, but you can set it to quarter, so it's going to have the preview words on the screen, but it's going to work a lot, a lot faster. It doesn't have to load it. I as good for quality, that's why it makes things better. Another tip I'll give you is if you go into preferences as well, if you go into autosave, I recommend setting the autosave to every 5 minutes, and then the maximum project versions obviously as high as possible, as well. It's going to take a bit of space on your computer, but not it's going to autosave every 5 minutes because After Effects has a tendency to crash, and if it crashes, you will completely lose everything that was unsaved. So save it every 5 minutes. If you lost data of the last 5 minutes, it's not such a big of a problem. So if you have any questions, let me know. Remember, if you want to really master UI design, then go ahead and click on my profile and explore the UI design. But other than that, let's jump into the next video. 28. Transitions & Social Media Effects: Glitch, Shake & Zoom Punch: In this video, we're going to talk about transitions and all sorts of social media effects. And this is something we have to think about a little bit because yes, obviously, we can create custom stuff, but the custom stuff, if you create it by hand from scratch every single time, it's going to take quite a bit of your time. And obviously, we don't want you to waste a lot of time on something that you can automate. Every single transition, everything you can do by hand, you can do it with Cloud, you can do it with ChatGPT, you can write expressions, blah, blah, blah blah blah. But there are tools that speed up the process. And one of the tools that we've already taken a look at is animation composer. Honestly, it is absolutely mind blowing how good it is, the free version. And so I recommend it to anyone. So the animation composer, we have all sorts of pop ups right. But then if we go into transitions, we have a ton of different transitions. And if you come from Premiere Pro, you will really appreciate this because the free version also works for Premiere Pro and is just as good as this one. Let's create a command Y, white solid, and the other one, let's make red. We will have two of them. I'm going to cut the white one by pressing Shift Command D to make cut tilt it. So we have the white and then rewrit stuff. In order to apply a transition, we just need to click on it, come to the point where the transition is happening, click on Add, and then have the transition. So this one is super easy, but then let's go for something more interesting. Let's click on this one. And even though I'm not in the middle, I'm just going to move the cut to the precise spot right over here. So let's see what we have. Next. Beautiful. We can customize the colors, customize all sorts of stuff. It's really, really beautiful. And then what I really like animation composer for is that we have the social media stuff as well. In the titles and typography, social media stuff. Let's take a look at how much stuff we have here. So we have all sorts of, like, buttons appearing on the screen. Let's click on Add. It's going to have, like, YouTube logo, YouTube shorts, and then we have all sorts of other social media stuff popping up here. Let me make it a little bit bigger. The thumbs up, the all sorts of subscribe buttons. And we also have a mouse cursor. How good is that? Click on the mouse cursor. Click on Add. Let me just delete everything. It's hide from the mouse cursor. Put it here and let's play it. If you want to customize it, we can absolutely do. So customize the cursor, the colors, everything. It's really, really good. Now, another one, another free plug in free extension, if we go into Window, I have it here called Motion Doc. MotionDuck honestly, is really good as well, but I think it's a little bit worse than animation composer, just for the kind of workload that I have. So it has tapography presets, animation presets, as well. I would say that for premieppros a little bit bigger. If you want to give these a try, there's going to be links in the resources section. I have no affiliation with them. They're just really, really good. So that's both in terms of the transitions and all sorts of social media effects. Instead of creating from scratch, which, of course, you can do is going to be way more customizable, way better for the brand, but it's going to waste a lot more time. So you need to find the sweet spot where, you know, the customization doesn't take forever, and you also bring the results in. So if you have any questions, let me know, and let's jump into the next video. 29. How to Export Video in After Effects: Render Queue: In this video, we're going to learn how to export from After Effects. People overcomplicate this, but I'm going to show you the easiest way possible. You save it once and you are set forever. Unless, of course, you have to do some customization, but it's something specific, but with this method, we're just going to set the settings one and change it forever. So in order to export anything After Effects, first of all, we have our composition on the screen. We have this and we'll see that we have this empty space here. So if we don't like the empty space at the end, we have to do is to come to the end until our animation ends. Press on N, it's going to do the selection. So if you want to customize it from left, you have to press and B, but we don't need to click and B. And then we have to press Shift Command X, and it's going to cut the compositions, make the composition smaller to the area that we have selected. So it's going to make it this big. Shift Command X. That's the first thing. In order to do the Export, you have to go into file. Click on Export and add to render queue. For me, going there all the time is not a good thing. So I don't want to go to render queue. Option Command and upper comma and search for add to render Q. And then you can put your own shortcut in my case, it's Command E. All you have to do is to be in the compositions and pressing Command E, and then we are in the render queue. So this is how you export Natefcts you add something to render queue, you set the settings, and then you click on Render, and it's going to render, export it out. In the very beginning, you have slightly different set. And you have so many different options. Which one do I choose Let me explain. If you set the export with Alpha, it means it's going to be transparent. So in this case, let me click on this button. This video is actually transparent. We don't have the background. It's just, you know, this black background is just for reference. But this video is transparent. And if we want to keep it transparent, we have to use Alpha. Let's come back to the rantqu. If you just set high quality, it's going to export it with the background. But I don't want that, and I don't want to set it every single time. I don't want to think about this. So that's why I always have high quality with Alpha set here automatically. How do you do? Well, in going to Edit, templates, output module, set the default as high quality with Alpha, and then you can give it your own name if you want to. Click on K. And then if you are in the composition you press Command E, it's going to be added right over here with high quality with Alpha settings. And then all you have to do is to click on the output module. Let's save it to the downloads. Click on render. It's going to do the render. So let's come to download, see what we have. And there you go. You see that our animation is transparent. If we send something like Command E and we set it just high quality, click on render in exactly the same location, the background is not transparent anymore. But for this one, it is transparent. So instead of me just having to think transparent or not transparent, I just set it once and forget about this. And the good thing about it is that if we add some sort of background to here, so command Y, let's not do red. So in order to by the way open the solid settings, it's Shift Command Y. Let's set something like yellow, where it's great, and put it below the heart animation. Great. So Command E, delete the other exports, just to make sure I don't export high quality with Alpha, click on Render doing the render. Now, when we have the background, as you can see, we have the background, and that's the perfect animation. So that's what we do. Set it once, forget about this. And honestly, I never touch the settings ever again. And once again, if you need something super specific, you'll know about it, and then you will put the settings. If you have any questions, let me know and let's jump into the next video. 30. Dynamic Link Workflow: Connect After Effects & Premiere Pro: Premiere and After Effects software that work together. Now, how do we connect them together? Well, there's a thing called dynamic link. And in order to do it, we have to be in Premiere Pro. We need to click on a new sequence to great sequence. Let's click on. Whatever settings we put in our sequence is going to be taken into After Effects. This case, I'm going to go into the starter. And in order to import anything in After Effects, we have to have something in our timeline. This case, I'm just going to create a graphic, and we just select the graphic, right click and click on replace with After Effects composition. We click on, it's going to open After Effects right away, and we have to save the project, give it a name. Let's save, and there we'll have a graphic. Couple of things. First of all, if you are in Premiere Pro, you will have a live preview from After Effects. So right now it's stationary. But if a person P, create a keyframe, move it a little bit further away. So we have a bit of a moment in the very beginning. We'll have exactly the same thing happening in Premiere Pro. So this is literally like a live view from After Effects. And if we do a change in After Effects, we have the same change in Premiere Pro. No, this is good, but sometimes it takes quite a bit of power for your computer because we can have an extensive animation in After Effects. It's going to take forever to load in Premiere Pro. There's another way to do it. In Premiere Pro, I'm just going to click on Command Z, it's going two and two and it's going to have the graphic. Then in After Effects, I will just export the video. Option E, do the export as we learned you set the location, click on save, and then just render the animation out. It makes things a lot easier and a lot better. And then when I come back to Premiere Pro, I can just put the exported video, which is going to be this one just on top. And so we'll have the exported animation, and then the one at the bottom, I can just disable the whole track or I can select a press Shift Command E and disable the graphic itself. And so we'll just have the animation that we had in After Effects. Or there's another way to do it. This is our After Effects project that we just saved. We can drop it into premium so the composition that we had the animation in, it's going to be this untitled link comp. Click on. It's going to be added to Premiere Pro, and then we can drag and drop it. So the red one means it's premiere, the kind of bluish color means that it's render from After Effects, and the purple one is the graphic that we just created. So we have exactly the same thing just spread over time a little bit. So this one stays stationary because it has no animation because we command edit it. This one has animation because it's exported, and this one has animation because it's live view of what we have in After Effects. If your computer is super powerful, you can keep it as After Effects project here. If it's not powerful, you can use this option and just export it from After Effects, put it here. And if you need to make changes, yes, quite a bit more time. Now, super useful tool if you have the After effect project, and you want to do changes to the project into right click Reveal Infidr here you can always put shortcuts for yourself as well. Real infiders going to reveal it. You can double click on it, and then it's going to open in After Effects, and you'll be able to make changes to it very quickly so that you don't have to search which file you have where because sometimes you can get, I know, up 50 different After Effects files in Premiere Pro, so you can have 50 of these files in Premiere. To search and reference the names is just not really useful. So right click Reveal and finder, you can put your own shortcut and use it. So if you have any questions, let me know. And let's jump into the next video. 31. Last Step!: Congratulations you. You are nearly 100% done with After Effects master. There are just three small steps in today. First, take action. Every big result starts with one small action. So if you haven't already, take your first step by editing your first video. All of the best information in the world means nothing if you don't act on it, and even small steps lead to massive outcomes. Secondly, if you want to continue learning with me, follow my profile here on Skillshare. Lastly, if this course gave you value, could you take 60 seconds to leave a quick review? Your feedback helps the next person decide whether the course will help them too, and it helps me continue creating better lessons for you. Although the course is complete, your journey has just begun. I'm excited to see Eddie's in line, so be sure to keep me and your fellow students post. I'm here for your success. So if there's anything you need, don't hesitate to reach out in the Q&A section below. Thank you again for choosing me as your instructor, wishing you all the best looking forward to seeing you in future courses.