Adobe After Effects CC : Logo Animation with Motion Graphics

1. An Overview of the Course: So in this overview video, we're going to learn about how to turn this logo into a motion graphic. Now the first thing I want to talk about is just a few ideas about logo animation. If you were to look on YouTube, I'll look on Google and just Google search some logos. You'll tend to find that Logos tend to be like simple and clean and very, and very straight to the point. But when it comes to the actual motion design of logos, you will find that they tend to be a little bit more complex. A good example of this is the Android logo. If you go onto YouTube and typing Android logo animation, you should find that there are four shapes that is transform into stars and bursts and circles, and then it actually morphs into the Android logo itself. Now, the thing I like about this logo is the actual logo itself is really simple, but the motion design isn't. And we're going to bring those sort of elements into this animation over here. So how are we gonna do this? If you look at this logo for Lisa Johnson, who's a fashion designer, Let's face it, there is only two triangles around some text. So how are we going to turn this into a really complex animation? I like to think of logo animation almost like a movie trailer. Where initially when you watch a movie trailer, you have some anticipation. And then you see a couple of scenes. You then go into the movie. You'll probably show some more scenes if it's an action film, your publisher, Shazam explosions and not fight scene. And then at the end you have the name of the movie and then is produced by the direct ten Whoever. So. Think of it almost like a high emotional spike at the beginning. And then it goes down, and then it goes right back up at the end to reveal whatever it's called. And that's how we're going to this animation. So in this case, we would create some anticipation with the borders of this logo. So with the triangles, I think it would be a really good idea to have some particle affects reveal the logo. So that would be the anticipation almost to get the viewer to think, what is this? Well at what's going on over here, we have the animation coming around to create the actual triangle. And then we'll have like a cool right on effect with the text. And then right at the end, just to end it, just like you would a trailer, we end with the Shema that goes across the whole logo and then it will reveal the logo. So join me in the next few lessons where I'll be showing you some particle effects, some motion design principles. And at the end, I can promise you you have a really cool logo to show off. 2. Introduction to Adobe After Effects CC: in this lecture, I'm gonna show you the complete fundamentals of after effects. If you've just turned after effects on on this is the first time you've seen it. If you already have experience with after effects, I recommend you just skip this video and you can go straight onto the logo animation. But if you've never opened up after effects before, watch this video and I'll show you some of the basics. So what are we looking out over here? Down here is where your timeline is. This is where your composition ists and over to the left If you click on here. This is where your import, all of your files and the effects and controls are all the effects and controls of all the layers that you'll be placing down here in the timeline. You have your affects and controls over here, and obviously you have a habit of the top over here as well. Andi, I'm gonna be going through some of the shock cuts that I use and some of the things that you're gonna need to follow along with with this cost. So how do you bring in a file? Click on Project Double click on here and then you can bring in a file like a PST, so we'll be using the Lisa Jeff file. Andi, when you bring in a file, you either want to bring in as a footage or as a composition. But we do. We do go into this later. We'll be bringing in as a composition. But this is how you bring in files. I'll just bring in that file. So I've brought in as a composition on when you brought in as a composition, it brings in a Photoshopped file with many layers. Here is a composition here, but you can also create a new composition with composition. New composition and a composition is basically the thing that you work on, almost like your workspace or your blank canvas. So I'll bring in the gold puffin Oh, you Zuma with the command plus and minus space bar lets you drag and then spare spot on the timeline lets you play. If there was some footage plane on one of the first things that you need to know when you bring in a layer is if you click this down here and then this one again, you have things to do. So you have a option for your position. There's the X. This is your why you have your scale and you have your attention, you rapacity and your uncle point on what your anchor point is, is this little bit here? You can always move the anchor point with this. And then once you move your anchor point and you click off that this was that changing so novel scale from a different place over to the left. This is where I like to use my effects and presets. So, for instance, and effects like Suijk will be using this letter in the costs and then over here is where your effects and controls happen. So if you remember what I said earlier, your project is where you bring in your file. You bring your files to the composition and then your composition have effects, and your effects appear on the effects and control over here on also down here, other things I need to mention if you want to cut any of this or slice it, you hold your option key or old key and your square brackets, so you're right square bracket would always cut on the right and you left, but I was caught on the left. You could move along after effects. Has a command C and V for copy and also after effects has a command D. This is really useful, so you can keep some things they could say. Come and see. You might want to do some work. You might want to keep that in your memory and then would that keeping that in your memory . You then press command D for a duplicate as well as command C two past wherever you copied earlier is useful. You'll get used to this. I'll just delete those for now. This here is your timeline bar you work area. So if we were to render this, it would render this from this point to let's say this point on the shot cut for this is be for the left side and and for the right side. So if we go back to the end, press n go to the far left Presby. So that's our timeline. There other things. If you right click, you can also get some things like your layer styles. So I will just grab hold of say something like a drop shadow, so I've placed a drop shadow on there. You can also do this with this layer, and it's over here as well, and then your effects or appear as well as over here. I prefer using this one and typing in the word itself. But there's no harm and using it over here. As you may have noticed, Alia, we have layers and, like with everything in four to shop the top layer is the thing that's going to reveal the reason it's black right now because there's nothing showing, so I would need to put that here and let's grab hold of this one. Let's go down. I will just show you some shortcuts. Soapy would be for position. Awful rotation. As for scale and T for capacity, the way I like to remember it is T for transparency because O is not used in here. So let's use off a rotation and then we have another one are again. Now we have another one, and then you can easily drag these out. Another thing is something called pre composition. Pre composition is similar to 40 shops, groups or illustrators groups, and it's when you select two files off more than two files on Did you press shift Command, See? Oh, you go into your layer down pre composed on what this does. It makes another timeline within this timeline. So now we have this timeline over here on the way to go into that is to double click a Nyren new timeline and the advantages. This because we have to hear if you go back one which is appear. But the original timeline, this is not treated as one item. And if you ever needed to change the atoms in there, you double click, and then we could play around with one of these. Go back and it will update itself. And that is pretty much everything you need to know to finish this course is very simple. I'm gonna explain all of this as I go along anyway, but I think this is a good introduction for you. The one last thing I need to mention is when we render a file. So once we've worked on everything of we render the file, we go to composition, we can add to the render queue, which is the old traditional way of doing it. But the new way and I recommend this way is composition and add to Medium Qaeda. This should come with your creative cloud. And when your media encoder is loaded here, it brings it in. And here and you can render out as an MP four. You could click down here and use different file types anything you want, really. And then here this year, end a button after you've made a path, I usually just do it on straight onto my desktop. But wherever you need the path to go, and that's how you render a file. 3. Importing Files, Masking Out the Logo and Adding a Vignette: in this first lecture, we're gonna important files set of power seen and stop masking out our logo. So the first thing we need to do is bring in our file. If you double click on the projects, I've left mine on my desktop. The file name. Lisa J. Logo. It's a PST. We want to impart this as a composition and retain the layer sizes open. Keep that as is okay, you may have noticed the first thing it's done is brought in the composition on the files. Each individual element these layers in photo shop. So if you are creating a logo for yourself, have them all laid up. Make sure it's an RGB file and then import as I've just been there. So double click on your composition. If you use command plus and minus, you can zoom in and out on. The first thing I want to do is change the composition settings, so I would like to keep this as a hedge D screen saw 1920 by 10 80. Let's change the frame rate to 25 friends a second. This is because I live in the UK if you If it's NTSC, you're after then That's 29.97 And if you're doing it for film 24. But for today I'm gonna leave at 25 francs per second. Onda, we want the duration to be around eight seconds at the most. I don't think it needs to be that bunk Onda. We can keep the background color as is. Okay, so with this being obviously cut off, we need Teoh scale this down. So if you go to your layer new no object. If you click on all of your layers shift, select all of them and click on this Pickwick drag and select the know Leah, Click on your no press s for scale. And then let's just start scaling this down with just a left click on the drug. Let's go around about there. That seems goodwill around that to 45 and I can delete that for now. Let's grab hold of the background layer. Press s for scale, unless just expand this. So if you remember from the overview video, we discussed how initially we need to start off with some anticipation. Andi, I think a good way of doing this is to reveal the border first with some particle effects. And with this logo being on a darker background, particle effects tend to look very good on a dark background rather than a lighter background. Andi, with it being everything being gold, I think gold particles and spark effects would look beautiful on this logo. So let's stop with making no path. So if you click on your gold path, if you click on this little box over here, it will solo it. And if you find that you have a transparent background, this box over here toggles the background, so let's keep it black for now. Helpers, look at this that Zuman Onda. As you could see, there's a tiny gap for us to stop. Musket out this logo all the way around, so make sure your goal path is selected. Select the pen tool unless start masking this out, press and hold a spare spot to drug screen and just start clicking, and it will start creating a musk. Don't forget your command, plus and minus to zoom in and out, and it's just a case of being passion. Using your spare spot to drug the screen and creating a mask with your left click. Let's go all the way around. If you click and drug, you can stop curving the path. Let's go around for now, I assume right out here click and drag, and if you've made a mistake, you could, Command said. We just do that section again, asked Cleaner. And there we have our first mask. So now let's duplicate our goal path. So click on the layer Command D to duplicate. I will just click off the other solo layer. And here, let's quick down goto a mask unless delete this mask so we already have the top section. So let's start going around and chopping out every single path. So there's one there. 2345 and six. So go ahead and carry on, shopping out the rest of the logo, using the techniques I've just shown you, using the masking technique, the space bar to drag screen command plus and minus to zoom in and out unless mask the rest of this logo out. So this is just a speed run. For now, if you'd like to follow along, please carry on watching this. If not, you're more than welcome to just skip forward towards the end, where I talk about a vignette. Now we have must our logo path. Let's shift. Select everything here unless turn it yellow just toe just to keep everything clean and I'll composition and let's go to layer new, solid and let's make a completely black solid. Now we want to do this because we want to add a vignette to this, and this shouldn't take too long. See, grab hold of your black solid. Bring it to the bottom. Click on your background layer. Click on this ship tool over here and click on the Ellipse Tool. Click and drag from your top left hand corner. Let's go down unless start making oven yet quick down on the mask. Let's go to the feather and let's start feathering this out. Click off, Let's have a look and there we have a vignette 4. Adding CC Particle World and an Intro to Expressions: so in lecture to we're gonna learn about Sisi particle world on an introduction to expressions. So if you're following along, please open up lecture to start on. The first thing we need to do is make sure we have our composition selected. Laia new on solid keep everything as is okay, Rename the file particle world and let's look for a C C particle world in the effects and presets Top Sisi Particle world Click and drag that onto your solid You've just created and you should see some particles. Now what we want to do is create these particles to go along this path over here that we must out earlier. Now we could do this using the producer. So if you see the producer, we have a stopwatch and each part so we can obviously click on the stopwatch. Move along. I'll just press you to reveal all the keys. It will create another key for him And then if you press play, move from left to right now this is okay for if you're doing linear movement but because we want to do around movement around here, this is actually quite difficult to move. So if you see, we have are two key frames. I'll make another two key friends over here just just as an example. One. There, one over here. Just show them I'll just do another one over here. And if I move this just slightly, Ope for now, you should see that it has, like, a very linear straight line on. Of course you can. I didn't ease into this to kind of smooth this out, but I wanna I wanna have more control of this on the way to do that is to use expressions. Now, let me just delete those key friends for now. So why are expressions? Expressions are chord sequences that could be put into after effects aftereffects, then uses these core secrets is to aside value to things like position scale on Rotech on. I'll show you a quick example. So if I was to go here and make myself a solid well, just make a random color like red, okay? On our press s for scale. Just scale this down, and then I'll just press p for position. Hold down the option key and click on the stopwatch. All for the PC option key for the Mac, and it's just to click on the up the stopwatch, and this will give you your expression. The numbers will turn red. This means that the expression is working and you should have some text over here. So this is where you would type your bits of court on. I'm not going to show you how to do too many measure things with this because this is a whole subject in itself. But for now, if I was to show you a quick example, if you were to look at this, it's 1960 by 5 40 And that's because after effects likes to measure in pixels. So 1960 by 5 40 is the middle of 1920 by 10 80 which is the size of our composition, meaning that the top left corner just over here will be 00 So let's make an expression. Let's go down here. Click on the text box square bracket, zero comma zero close square bracket. So what's going on over here on your position? You always have your X and your y, and that's what this is. Your 1st 1 is your ex and your why are we having an expression within the position value to put the X zero on the Wyatt zero. So when I click off this, it should shoot the top left. So staying on this example, if I wanted it to go back into the middle, I would say 90 60 9 60 Andi. I just want to bring it down a little so let's say 100 and that's how expressions are used . And this is what we're going to do in the next section where we're going to assign CC particle world. To that, Noel objects, so it animates around the sections of our goal path. 5. Creating a Path for CC Particle World: So in this next lecture, we're going to create our path and then when a sign, our particle world toe are no path. So let's first create our no. So let's go to layer New. No object and let's just solo one of the paths for now. So let's grab hold of the 1st 1 Zoom in. Let's have a look. No click on the position P for position. If you can't see it, it's because we haven't solid that as well. So there is. Let's on a key frame on position and I just want to bring this up. You can always click and drag it as well. I really like no objects, I think very useful. You use them for the kind of like nothing layers, and you could grab hold of them and use them to scale objects. When you quickly want something scaling in a group, or you could do things like this where you can assign particle well to it. So the very useful I'll go to five seconds and I just move it along here. You will see why. Now this is more, Um, this is a better way of positioning. C Z particle worlds producer than actually using the producer itself. When we just move this here, you'll start noticing that there are handles on these handles. Allow you to make busier curves. And you've got much more control here than you would have done with Sisi particle Wills producer. So you could click and drag these. Let's have a look at how this is looking. I'm obviously a little off. So if we got to the front Zuman, just click and drag the handles and I think I'm gonna need another key frame in here. So we'll put one around about here just gonna smoothing out this curve and I'm gonna have it towards the edge. I think I want my particles to move along the edge, zoom in and have a look at that. We're getting there and then just this button power over here. It's moved along nearly that. Okay, so this is looking good, is moving quite smoothly along that path. So all we're gonna need to do right now is I didn't ease to the very end because we don't want it to stop suddenly. So you right click key frame assistant. Easy's on what this will do this will gradually slow down instead of just stopping all of a sudden. Now we have a no puff done. Let's actually look into how to bring cc Partick world into this nor path. Now if you remember in the previous lecture, I mentioned how after effects likes to measure in pixels. So if we look at our composition, it's 1920 by 10 80 after effects likes to look at the middle as 9 60 by 5 40 And this is where things start becoming a little bit difficult because if you look at your particle world layer, I will just solo this for now. Go into the effects control, go to the producer and everything is zero. And this is because Sisi particle world has its own position value which is completely independent from the after effects one. So as we know, this is 1920 by eternity. But Cc's particle world will see this as a one. So 000 in a 1920 by 10 80 composition would mean the middle. Andi, If I was to type in one along the X, it's over here. So if you look over here, this would be another 1920 by 10 80 one Is here zeros here? So three would be around about here. Excuse me to to would be around about here. Now let's just go put this back to zero. So now that I've explained that, let's assign our position X of the producer to the Position X of the No. Let's just quickly name this right click. Let's call this particles underscore Control controls That's key this down particle world. Let's go to the producer. So if you remember from the previous lecture, you would hold option on a Mac. Are Ault on a PC? Click on the stopwatch, click and drag the pit whip up until the X value of the no and let me just click back onto my composition. I seem to have clicked off it for some reason, and you've probably noticed we can't see any particles. And that's because if you look at our position, if you remember, this was zero. This would be one. This would be, too, and we have sent our particles 918 units over to the right, so let's bring this back with an expression. So let's come down to expressions Ah, promise. This is not too scary. So it says this comp dot layer particle controls, which is our no layer, which is what it's attached to transform position. And then we have our zero over here and the zero represents an X position. X a one would represent position. Why on a two would represent positions set? I don't know why it's like that. It's been like that ever since my early school days of learning after effects. But it's just one of those things where it's just kind of like that, and it's been like that ever since. Now, to bring this back, we're gonna have to bring it back by multiplying it by the compass size, which is 1920 by 10 80. So let's click down here. Divide 1920 by 10 80 on. We need to add a bracket on each side, so let's go to one side bracket. Click on the other side, a bracket over here, and we want this to minus 0.5, which will bring it back into the middle unless you click off it and see what happens. And there we are, So let's go ahead and do the same thing to our position. Why just gonna quickly zoom in here? Hold option, click on you stopwatch, click on the pick, whip and put it towards the Y value this time and we want to do the same. Thing is before you may have noticed that this is a one. And if you remember earlier I mentioned how position why is associated with the number one in this case. So let's do divided by 1920 just like we did before and put them in brackets Now we can't do the same thing is before on this is because we're using a 16 by nine ratio. If we were using a square ratio, we could use no 90.5 in this situation. Andi, the producer would put it exactly where we want it, but because it's actually thinner the Y axes, we need to now divide 10 80 by 1920 so 10 18 by in 1920 equals. Just using it on my phone right now, 0.56 to 5. And then we divide that by two 0.28125 So let's put that in here right now. So it's minus 0.28 1 to 5. Click off it and let's see whether Producer goes And there we have it. And that's how you get cc particle world to follow you on. No, perfectly. So thank you for going through that with me. I know expressions can be quite hard to understand. Sometimes in the next session, we're gonna actually go into particle world and make some of the particles quite nice. We're not gonna be touching expressions anymore, I promise you. But in the near future, I will be doing a course on expressions which will hopefully help you understand more about this subject. 6. Editing the Particles and Bounce: in this lecture, we're gonna finally dive into CC particle world on Play around with some of the settings. So let's click on Sisi, Particle World, Gautier Effects and Control Panel. And then let's just open this up and let me explain what's going on over here so we know what the producer is. That's the thing creating the actual particles. The physics will be controlling the physics of how the particles are being controlled. At the moment we have an explosive. And then if you look down here, we have the actual particle itself, which is a line, and that's what showing over here. So let's go to the very top on. Let's look at the birth rip. So I want the birthright to be a one. It's looking pretty crazy right now. So have that as a one. I'll just press you on the particle controls so we could see our key friends. We just wanted to go along there. I can hide this goal path for now. We can, uh, we can get back to that later. So just the particle world and the controls Onda we want the longevity at the moment is right about that one second. We want it to be about four seconds because later on, we're gonna have the particles bounce along the floor and then we want them to slowly fade off. I think that would look quite nice. So if we have a key friend at for the birth at the beginning at one, and then when we get to about three seconds, I'm gonna knock this down to zero. Let's press you on the particle world layer so we could reveal those key friends. Let's have a look. We can always play with this later. But for now, just to get some key friends in there, let's look our producer now. It's coming out quite thick at the moment. So when that produced to be quite thin, so I'm going to say 0.1 Then we're gonna copy that for now. I'm gonna pass that into all three of them because I wanted to come from a very thin place , just almost like coming from a point there. A girl that's better the next Let's go into our physics. So let's open about physics tub. So the moment it's an explosive, which is good, but I want it to be more like a fountain, so corn axes works for that, so it looks more like a water fountain. But it is a little bit crazy right now, so I'm going to turn the velocity down to zero point 10 So it's thin. The gravity is at five. Keep that as is. Let's go down to the particle. Andi, I don't want it to be a line. I want to make my own particle, actually. So we do that by clicking on here. Go down to Textured Square, got layer new and let's make a solid on. Let's make the color off the solid. Make a yellow So I'm just gonna pick this color over here. We can always change this later. Let's grab hold of a lips tool and let's make a circle. This is gonna be our particle. I'll just double click that for now and just move it over to the center, back to our particles. And then we wanted to be a textured square, which we've already done good to texture. Leijer, which is just below it and click on the medium yellow solid. So the solid we've just created, and then We also wanted to apply the masks that we've applied to the solid, which is this here. You can hide the solid for now because all it's doing its sourcing and you should see that it's now producing. That's solid. Now let's carry on with a particle panel. I want the birth size to be zero point 100 Andi the death to be 0.10 me up! So the small, the variation. We could put it to 75% at a bit of variation in there. Andi, I want the death color to be just more of a orangey color somewhere around about there. Let's go down to extras. Andi, let's have a look around about here. Let's just quickly jumped back up to our physics because now, once we've done that, we need to add in a bounce. So go to the floor and then go to the floor action. Unless, at a bounce, There we go. Let's press play. Let's have a look. And that's how we get a bounce. Yeah, I'm gonna bring back our goal layer. Which waas? Which one was it? I think it was this 1st 1 here there we are just so low that so we can have just We can just look the particles, the path, Andi, the bounce. Go to the beginning Press play, right? The first thing I want to do is go back to this medium solid, go to layer solid settings. Andi, I want to pick from this color. Okay? That Let's have a look. Yeah, that's more like it. Andi, I think I want the particles to carry on producing. So the finishing a little bit too early. So let's move this key frame the birthrate Cree frame all the way to about four seconds and then the die off as you go towards the end. There we are. That's better. Let's have a look. So they go around on the day off as you go towards the end again, we can always play with this later and refine it as we go along. Unless just move this to the beginning. I think I'm gonna knock it down further because we are gonna have three of these. So I'm gonna go 0.4. Let's have a look. 11 last time. Okay, that's better, cause we are gonna have three of these, we're gonna have one on one corner, second and third, and then the three other paths. We're gonna have them come in with a particle effect as well. So I don't have too many particles on screen, so I think that's about right. I'm just gonna click and drag all of these. I'm gonna right click on one of the key frames and I'm going to roll across time on what this does. It averages out the time between this point on this point and doesn't go fast all of a sudden and slow than fast is a good way of keeping all the key frames in speed on in sync. At the same time, I'm deflect all my key frames. I'm gonna hold option click on the end key frame on drug It he is. So it ends at the same time as the particles. Let's have a look one last time, and thus it 7. Creating the Rest of the Triangle with Particles: in this lecture, we're gonna finish off the remainder of the triangle using this particle technique. If you're following along, please open up the file Lecture five. Start now, there's gonna be two ways to do this lecture. You could either go back to the previous lecture on Do follow along and make the other two corners, which would be this one on this one. Oh, you can follow along right now on we can make it a much quicker and easier way. But if you want to practice with the expressions, I recommend going back to the other lectures and following through that way. So I have just unsalted all of my layers. So it reveals the whole logo on and we want to click our particle controls Command click Particle World V, actual Hidden Particle Onda. The goal path that we initially used. Hold shift command. See, I make a pre camp all you could go on to just quickly canceled up its layer Pre compose. Let's keep everything as is. We could call this top try particles. Okay, Now we want to duplicate this, but we don't want to duplicate this within the composition, because if you do duplicate this within the composition. It's just doing the same one twice. So we actually need this composition this pre combat, should I say. But we want it as a different pre camp on. The way to do that is to duplicate this one of the top, so you can do the same Command V Command. See? So then, it appears, is number two. Double click on that composition settings and just rename the top two left. And let's do that one more time. Just quickly. Go back in there. I just want to change something. Okay, and then one more time on Let's call this right, Okay, now let's go back to our main composition unless put the right paths into the right compass . So not this one path. Three. Come and see. Let's go to the right. Come on, V, and let's delete the top path back to the men composition. Let's look for the left path, which is number five. Come on, see, but to the left puffed composition. Andi Command V. Unless delete this one. So everything's in the right composition for now. Let's go back. Let's have a look. Excuse me, This one so Now we can hide these for now, so let's hide that on. Let's hide this. Let's bring the right composition down and then let's bring the left one down. Now, unlike before where we went through all the expressions this time, we're only gonna need to go in and change the path. So here the path is at the top. So let's grab hold of our path. So we know that this is the beginning. This is the end. So let's put this off here. Just click and drag. Let's put this path over here. This is around one edge of the curve. This is the other one, and it's just a case of cleaning it now. So now you path will, although right now we'll look a little bit crazy. It's still will follow along. Yeah, that's looking crazy, right? Let's clean this path up. Let's zoom in. Let's get this round. Straighten that up. Let's get right in there. So amount. Let's make sure these busier curves are clear. Spin this all the way around, and there's no harm in doing it the other way. It's just is just to repeat in the same thing. So I felt this is like a faster way to do it. Let's go around. Let's get that busier curve to just go wrong. The edge that we are go back to the top. My curves not looking good for some reason. Ah ha. That's why it was pointing them in the other direction. Strike that round their way out. We're getting this. Let's bring this curve down. Here. Click this round. Here. Bring this down just soon. That open a little bit. Just bring that up a little bit, okay? We're getting that less press plate. Yeah, Looking good. So let's do the exact same thing to the left Particles. Let's go in. Change our path. Make sure it's clean and there will move off to the next lecture. I'm going to now turn this into a speed run. So I will see you in the next lecture. 8. Revealing the Borders with a Lens Flaire: in this lecture, we're gonna finish off our first triangle, revealing the borders with lens flares. If you're following along, please open up the file Lecture six. Start on. The first thing we want to do is go to the top, try particles, and we want to create a new solid. First of all, let's make sure our solid is black. Okay, on Les name this file lens flare. Excuse me. Less land this solid lens flare. Okay, let's go. Toe effects and presets type in lens flare. Let's go to generate lens flat dragon drop here. Andi, we have a lens flare. And you know we have access to this. All these attributes over here, we could change the brightness. Um, we could put it. We could blend it with the original. Now for this. I want to keep out 105 millimeters, which is a smaller one on. I want to knock this down to 20%. Let's grab hold of this. Let's just zoom in because I don't want this to be directly in the middle. I want this to be slightly offset, so it just brings a bit of ship to the lens flare Yeah, something like that. Zoom back out, Andi. Let's go to our blending modes. Click on Let's Go to Light. Let's look our particle controls on What we need to do is move the actual solid itself directly onto the beginning of the particle controls on What we're gonna do is attach it to the actual the actual puff itself. So let's just move this slightly down, crumpled in the pit whip. Put it directly onto the particle controls, and I should see it move. Okay, so that's working for me. Let's go to our lens flares capacity. So click on the solid press T for rapacity. Let's move it right down to zero. Click when you stop, watch. Let's move forward. Just a couple of frames right about there. Unless put this straight to 100%. Let's have it go around on around about three seconds, make another key frame, and then at four seconds, I want it to be completely out. Let's have a quick look at that. Yep, that works for May. One more thing. Click on the lens flare pressed off a rotation unless have it spin just a little bit. So make key frame at the beginning of zero. Let's move forward all the way to four seconds on, Let's say, let's say half a circle. So 180 degrees. Okay, you should put key frame in there for you. Let's move back. Let's have a look. I think there's only one change I have, and that is theatrical lens flare. I have it at 20% right now, but I think it's gonna be a good idea to maybe just bummed that up a little bit. Let's have a quick look. So yeah, 2025%. And the last thing that we're gonna want to do right now is reveal our Bader on the way we're going to do that is using something called trim paths on to use trim paths. We're gonna need a share player, so there's two ways to create share Player. You could go to the traditional way of laying new or the way I like to use it is to click off everything, make sure none of your layers selected got your pen tool and then just stopped drawing. So with nothing selected, let's start drawing a shape. Let's go over here and you might have noticed that in your layers over here, start creating ship. Click and drag over that and click here. Now, if your ships haven't come out like this, you might want to go to your fill tool and then turn off your fill press, OK? And then you could click on your stroke. Come the actual text itself to bring this option up and leave that one on. Okay? And then you can mess room with the size of stroke here. I'm gonna keep mine around 30. Just make sure that is completely covering the board. It I think that's OK on def. You want to make an amendment, just make sure your pen tool is selected and you can click and drag here. And if you hold your Kurt your option key, you can start adding a busier curve to it. So nothing too technical. Let's just get that right. Okay, So let's go down and go to the ad tool and go to trim paths on what we want is toe animate a path that goes along this path over here. So the way to do that is to use this, But before we animate, let's grab hold of all share player put it above the gulf path. We want to use this as an Alfa. So you click on this little box over here and say all format on what this is doing. This path here is now using this share player we've just created as an Alfa. So it's actually there you may have. No, it's that is hidden. And if this is the first time you've used it supposed to be hidden, you can also look at if you like. But this is what we're gonna be doing if you move down here and then we stop animating this , you will see that it's now starting to move on the way it's doing that. If you turn this on, you can see it's just using this as an Alfa to reveal the image below. And this is why this is turned off. So let's start animating this. Let's click on our particle controls, press you if you don't already have your key friends up, let's go down here. Let's go to let's make a key frame at 0% on the end. Press you so we could just see this one on the particle controls so the particle controls end on this camp key frame here. So we want to make this at 100. And now let's just follow along. Make sure lies consistent. So I'm also gonna make a key frame here. Move that forward slightly. Let's go around here. No, I think that's working. I think it's revealing yourself a little bit too much. They think it That's just at a bit more speed to this. So just bumped up slightly and again around here. Okay, let's press space bar. Let's run preview this. I'm going to apply everything we've let in this lecture to. The other two pre camps were gonna be adding in a lens flare. We're gonna attach the lens flare to the particle controls. Then we're gonna add in a share player. We're then gonna use the share player as an Alfa to reveal the gold path. So remember to do that. And by all means watch my speed run right now. And I will see you in the next lecture. 9. Speed Run and Finishing the Rest of the Borders: 10. Subtle Second Reveal : In this next lecture, we're going to reveal our second triangle. If you're following along, please open up the file Lecture eight. Start on DA. Something I haven't mentioned in the last lecture, which I should have mentioned is this Over here? This is called collapse Transformations on. If you've come out of your composition after doing everything from the previous lectures, you may have no a size dark. And that is because the blending modes in these compositions haven't come through, so to allow them to come through is to click here on DA. This does two things. It continually rust arises and it collapses. Transformations continually. Rust arises if you have an AI file or a vector file, and it keeps the vector file as a vector file rather than a rust arise file. Andi collapsed Transformations is when it brings all the effects within the composition to the outer comp, which is this one here. So let's have a look and let's start working on our second triangle. So let's select this. Select this one and commander like this unless make a pre composition so shift command see on will call this second try on what we want to create is an image like let's put that on And we also want a scatter arise, scatter arise Unless drug that on, put that on What do these do? So I'll just hide image white Phenomenal. Just focus on sketch rise and we're just solo this layer. So what does catch rise? Do if you start doing If you start bringing this up, it starts scattering izing. All of the images that was in this composition is brilliant. You can mess around with this. You can 3 60 them. You can twist and turn them. It's really useful. I like using this one a lot. It's a good way to reveal logos. I'll just zero them out for now and image wipe. If I start bringing this up, you could see literally Just wipe steamer John on. What we're gonna do is have these put together. So if I put them at 50 I put this one of 50. Oh, I need to clip this on. We need to swap this around. We need to have the image wipe at the bottom and now you should be able to see it slowly, start revealing like a very light particle effect on this is how we're going to reveal this second triangle while the first triangles ah, revealing using the particle effect and lens flares. This will be like a nice little addition to that. So let's do that. Zero them both out. Porky frame on both of them. Press you revealing the key frames. Andi are just revealed these three as well, so we can have a look. So where do we want this? So if everything starts slowing down about three seconds, I think it's safe to say around about 2.5 seconds. Let's have this up. Excuse me. Have been that the wrong way around? I'll just swap this around, No way out. Bring this in and the same for this as well. Zero this out here on a 100%. Let's just make sure that both on the same line and let's just eazy e's these in. All right, let's have a look at that. Yeah, that's looking good. I like how it's very subtle, he adds to the man prime reanimation. Yep, that's why confirm a 11. Write-On Effect: in this lecture, we're gonna learn how to do the right on effect. If you're following along, please open up the file Lecture nine. Start and let's go straight to our Pentothal. Less solo name. Assume in with command. Plus, let's have a look, and what we want to do is make sure the file is clicked. The layer, unless that making a path on what you want to do is make path like you would right? So I would probably start here, and then I'd probably dragged the pen around. Let's go down. You want to try and add curves to this because we don't write generally in a straight line , there's always a curve and then let's go across. Let's go down. I'll end that one there, then click off. Click back on Let's make a second mask so I will start here, go around and just follow along with the with the pen. Zoom in. My mask is a little bit messy, so it's just dragged them play around with some of the busier curves as well. This is all just don't with a regular left click. Get that round there and then I like to click off on, click on again and then I'm gonna do another mosque. We'll start here. Uh, just the first thing I need to do is just move this over here. Just not that one. That if you need to delete any points, just hold a command burn, and then you can click, and it will delete the point for you like that. I'll just undo that. And if you hold the option key, you can turn it into a busier cuff. Zoom out and let's have a look at the first word. So what we need to do is go to effects, generate stroke. And this is similar to the lesson with the trim paths that this is just another way of doing it. I wanted to show you both versions. This is the one I actually prefer. But you can also do this with the trims path technique which I showed you in a previous lecture. So what we want to do is make sure the masks are selected. We want to use all the masks and I wanted to struck sequentially. I want the masks, the pan style to be revealing. Andi, I just want to build up the brush, so we make sure we get all of the wood, but you don't make it too big. And then this is where we this is where the magic happens. So we'll be animating this round. Still a little jacket e here. So this is where we play with a mask. Spring that out slightly. Maybe I need to bring up. Make this a little bit bigger. So let's make that 14 just a tiny bit bigger. A golf 16. Let's just make sure that works smoothly. Yeah, that's looking good. It looks like it's written on quite well, right? Let's move over to our 2nd 1 Let's just hide the effects on the controls because we're going to carry on with this. Got your mental? Make sure your name is selected unless carry on with this next part. So here I'm gonna start over here because there's a crossover and I don't want one part to then start revealing the other with the size of the brush. So I'll do this first. Sometimes when you're brush is too big, it construct, revealing of the parts of the text, so you need to watch out for that Onda again the way to kind of keep that clean. And to stop that from happening is to keep the mask clean. We'll just go back and clean my massacres. It's a little bit messy. So again, holding onto the option key to add the busier curves and then just left, click in to change them was moved out down there. You. So this is just gonna come around and then start drawing this one, track that dough, make another mask for the second part, and there's no harm in having the mask. All is one. You can do that. I'm just doing this separately because, um, I just This is just kind of the habit I've got into, but there's no harm and just going from here directly to the top, back down to the bottom. I just added a key frame here. Smooth that cross click on this so I can carry on with my path. So, yeah, if you have a click off the path and you want to change something, there's no harm in doing that. You can always mess around with busier curve, but then to carry on with a path, always click on the last one you selected and then just carry on. I'm gonna see if I can try and keep. This is one musk groups on Do follow that round there. Yeah, well, And that one, that with the S, I want to start here, go round, click around here, fall around. And you know why? No. Let's bring this one across. Just don't do that. I needed a curve. And you probably noticed I'm not very neat with this. And you don't necessarily have to be as long as your stroke is big enough to cover up the word the stroke of the brush size, then it should be fine. Okay, so let's see how that's working. Click on this. Yeah, that was looking good. I think the one thing I'm going to do is let's have a look if we animate all of them. No, I think I prefer to him to do it sequentially. So I'm gonna on solo this. Let's zoom out. Let's have a look at it with the rest of the particles Press space bar just to run. Preview this section. So I want my particles to come around and then, as they're about to end, I say about three seconds. I'm gonna have this zero on within two seconds. The whole thing to be 100%. Right? That's from preview that and have a look. So yeah, looking good. 12. Adding in a Camera and a Shimmer Effect: in this lecture, we're gonna finish this course off using a shimmer effect that goes across the text. And then we're gonna add in a camera for some subtle motion. If you're following along, please open up the file Lecture 10. Start Onda. The first thing we're going to do is let's grab in effect unless type in sweep. Um, I'm gonna want light sweep less odd lights sweep to the fashion designer Andi here. The way this works is I'll just show you hear Zoom in. You'll notice that there's a shimmer and we can move this left and right then it will shimmer across the text. We could change the width and the sweep intensity, But I'm gonna keep everything as is because on this one, I'm going to start with cut out. So I wanted to kind of just tease what it says while the particle effects were happening. So let's keep this all the way to the left. Let's start our particle effects. Andi, I think round about four seconds. 3 to 4 seconds. We'll have it starts. We'll add a key friend. If you press you will reveal the key friend and let's have it tease fashion designer while the Texas happening. So I say, Let's go to 4.5 seconds and that's less animate this across. So as its initially teasing, let's go to the end, the very end of a key frame. Then make sure your layer is selected command D to duplicate on. Let's just delete the effects from the second layer. Track this forward and when the name is fully animated so that I'm gonna press t for rapacity, put this down to zero and have it revealed within a second. Actually, I'm gonna drag this back a little bit. So a second and 1/2. So it shimmers across teasing and then just slowly reveals, And then when that's fully revealed, I'm gonna have the lights sweep on the name. But this time I'm gonna make the intensity quite strong. So say 50. Let's make the with Bega Fair, 100. Bring it to the far left. You can hold shift if you want to speed this up center on at seven seconds. I wanted to shoot across really fast, so I'm gonna hold shift drag to the right. Now let's run preview that and have a look and The very final thing I want to do right now is at a camera. So let's go toe layer. New camera, Okay? And then layer new. No object. Right click. I'm gonna read. And the null object camera controls. Click the camera. Pitt wait unto the camera controls and that I'm gonna put a three d layer on everything apart from the background and the black solid. Now let's go into our compositions. Toggle switches, a mode command, a click the three layers. I'm going to go back and do the same with all of them. Come on, a tuggle, Go back. Command a click on all of them. Let's make sure all of them a three d and then the last one. Just these three. No, let's have a look. Andi, At about six seconds, I want the camera controls p for position to be there. But I wanted to stop, but 300 minus 300. That's from preview. This unless have a look. And there we have it. That's looking good. We have a little bit of camera action. The ship is working quite well at the end. The particles are working really well. Teoh. Add some intrigue to what this is about. And then the text types on I really like it. Yeah, 13. Rendering and Exporting: So now we have finished our work. Everything's looking good. I'm happy with everything. So now is the time to render. So make sure your composition is selected. So this one here, Lisa J logo, go to composition unless add it to the media in Karrada. Let's wait for that to load. The media encoder is part of your aftereffects creative cloud. So you should have this installed. But if not, please install it, because this is how you're gonna explore some of your files. It's a better compression and works better than aftereffects itself. So I'd really recommend using the media encarta, and when it's loaded, it should pop up over here. I'm going to keep mine as an MP for cause and MP for is a good compression. It's a small file on. It could be used pretty much everywhere. So I'm gonna do is a hedge to six full right there, the bit red. I'm gonna keep hybrid, right. And then this is your path. I'm gonna keep this as is on. Then this is your render button. Let's see, let's run to this file out. And once this file is rendered, you can click on this link here. This will take you directly to the file. And that's the final on a mission. Thank you for watching.