Adobe After Effects CC Unlocked: The Ultimate Beginner’s Gateway to Motion Magic

1. 1 Introduction: Unlock the gateway to the exciting world of motion graphics and visual effects with After Effects unlocked the ultimate beginner's guide to motion magic. This class is the first chapter in my comprehensive Skill Share series on Master in Adobe After Effects CC. Hi. I am Eli, and I will be guiding you through this incredible adventure. I am a professional motion and graphic designer with over 80 years of experience in the creative industry. This class is your starting point for creating stoning animations and dynamic visuals. Designed specifically for beaters, we will break down the essentials of after effects in a fun, approachable way that leaves you excited to explore more. From understanding the interface to crafting your first animated project, you will learn the skills to turn your creative ideas into Mohan magic. We will begin this class by having a guided tour of the after effects interface and tools. You're going to learn how to work with layers, keyframes and timelines. You're going to learn how to speed up after effects if it's lagging. You're going to learn easy to follow tips for creating basic ambitions. You're going to learn how to export your videos in different formats, including with transparent backgrounds and in gifts. You're going to learn how to work with Adobe libraries and Adobe column. We will cover how to speed up your workflow with shortcuts, tips and tricks. You're going to learn how to do time remapping and frame blending. You are also going to learn how to stabilize shaky videos, work with the content and way feel, and more. This isn't just a class. It's the first step in your journey to becoming an after effect pool. Whether you dream of animating logos, designing stalling effects or creating professional grid motion graphics, this class lays the foundation. Ready to bring your ideas to life, join me and let's get started on your after effects adventure. 2. 2 Class Project: For this after effect essential class, we are going to be working on two class projects. In the first class project, we will be creating a simple video composition of children playing in the ring using stock videos, text animation, and a lot of other techniques which you learn in this class, and most especially in videos three to 14. In the second class project, we will be creating a video composition of a desert drive using talk videos, time remapping, track mats, and other interesting techniques which you learn in this class and most especially in videos 21 to 27. I would love to see what you come up with. So kindly push your results to the class project and feel free to use your own videos as well. So see you in the class projects. 3. 3 Interface and Functionality: Hey, everyone. Welcome back. Welcome to the course. I'm really happy to have you learn with me in this course, and this promises to be an incredible course. I promise that by the end of this course, you will learn so much. Okay? Now, without further ado, let's go ahead and handle the business for the day. In this video, we're going to be covering the interface of after effects. So you're going to learn how to navigate the interface of after effects. Now, go ahead and open your after effects software. And this is after effects 2024 I am using. When I open my after effect, this is what I get to see. This is the pitch I get to see. And you also get to see this pitch if you're using 2024 version and a few older versions, such as the 2023 version. 2022 version, 2021 version as well. Okay? So go ahead and open your after effect, and this is the pitch you get to see. Now on this pitch, you can do a couple of things. You can start a new project by clicking on the new project button here. So click on this new project and you're going to be able to start a new project. Now, we're not starting a new project. We're just learning how to navigate the interface, right? So we're not starting a new project, so we're not going to hit the button. But if you want to start a new project, you click you know, if you want to open an existing project, you click the Open Project button, which is the one below here, okay? And we have suggestions, and this is after effects basically suggesting a few places to start for you. So we can click here to watch or Start tutorial, which is just a very basic tutorial, teaching beginners how to get started with after effect. So we can look here and see our recent projects. So we can open our recent project and just continue from where we stopped, okay? So that's it for this little page. Now just come here and click this close button here to close that interface. And now this brings us to the main aftereffects interface. Now, this is the main after effect interface, and all your work will be done in this interface. Now we get greeted with our interface divided into several sections, right? We have the top section here, which contains our tools and also contains our menu. Get now, these are our menus, right? This is the menu bar, and this is the tools, right? We also have this central section or this middle section, which for now shows us two buttons. Now, this is the new composition button. So you have to click here to create a new composition, and we have the new composition from footage button, which enables us to create a new composition from a footage or from video. Okay. Now we are not learning what a composition is, but for a brush, a composition is basically kind of a container that contains your work, okay? So your composition could contain your text, your videos, your effects, and so on and so forth. But that's just by the way, we're going to properly learn about compositions when we come to the video on compositions. Okay, so but for now, I just want you to just go ahead and click here. So click here and just click Okay. You just click Okay. And now we have a composition. We have a composition. Now we can see that here, it says composition one, right? So when you create a new composition, you get to have what we now call a viewport. Remember, without the composition, we just had two buttons here, right, which we could just click and then create a new composition. Now, from a composition, after we created our composition, we now have this space turned into what we call a viewport. Now, this is where you get to see all your work play, okay? All your animation, your V effect, whatever, whatever you do, this is where you get to see play. Okay? Right now, we have nothing, so it's just a red composition. So this is our viewport. Okay. And here we have what we call the project panel. And besides, if you're not on this same interface, maybe you messed up your interface somehow, okay? And it doesn't perfectly look like mine. You can just come to Windows here. So click on Windows and then go to Works piece, and then go to reset default to saved layout. Now, when you do that, it's going to bring you to something that looks like mine. Okay, perfect. Now the next thing we're going to be looking at is our Project panel. Now this is our Project panel, and in here, we have all our resources. It means all our compositions, all our layers, all our images, everything we add gets sieved here. So it means we can delete them from here and get deleted in our project. Okay? So everything is guaed here. And right in our project panel, we can create a new folder. So just click here to create a new folder and maybe give it a name, okay? Key enter. Now we can now add items to our folder in order to organize our project panel even more. So this is just a better way to work to help us organize our files when we have a lot of files, right? So we can create a new folder, we can do a whole lot of other things. We can delete our folder by clicking on this button, okay? And same works with other items. Even our composition, you can just click here and it's going to be deleted. So let's just delete our composition for now and create another one. So we can as well create a composition by clicking here. Create a new composition. So click here, and now this is our composition Windows once again, and this shows settings for composition, right? So we're not going to look at all of these settings in this video, but I just want you to look at where it says duration. And right here, we have 35 seconds, 18 milliseconds. So just click Okay. And now just come down here, then see that we have 35 seconds here. So this is the length of our composition. Okay, so this is our viewport, its our project panel. Now this is our composition timeline. Composition timeline. So we see this is comp one, which is the name of our composition, and then this is the timeline. So we can see the timeline relates with the duration. Remember, we choose 35 seconds when creating this new composition, and now we have 35 seconds as the length of our timeline. Okay? So this is our project panel, our timeline of viewport. Now, if you click here, you can see that you are being brought to a different panel. Now, this is the effect control panel, and in this panel, we get to control all our effects, all our effects. Okay? So these are the different most important panels we have as a beginner. So you have to know about the project panel, the effect panel, the composition panel, or the timeline, and also the viewport. Perfect. Now on the right hand side, we have some other panels. We have the paint panel, which enables us paint. We have the effect panel. Effect and preset, we just click, it's going to open. So this contains our effects in our preset. It's a very easy way or very quick way to access our effects and preset. We have the audio panel, which helps us manipulate our audio. We can increase the volume, reduce the volume. We can see how the audio is playing right in this display. We have the align panel, which is not too important for now. We have also the preview panel. Now in this preview panel, we can click to play our video, as you can see now, our video is playing, but of course, we don't have anything on our project, so you're not going to see anything play, right? Perfect. Now, that's it for this very basic panels. Now, on top of here, we have our menu bar. Now our menu bar is basically our menu bar, right? We have menus on our menu bar. We have the file menu. And on the files, we can start a new project, new team project, new folder, new Ado B Photoshop file, new Tema 40 file. We can open a new project. We can do a whole lot of other things close projects. We can save CVS. And, you know, all of these things, I presume because these are really basic stuff when it comes to software, right? The file menu. It's almost available in every software, okay? So right here, we have all of these, and we are going to work with many of these options as we continue in the course, okay? But this is just the file menu, very basic. And the edit menu, which is also quite busy. And on the edit, we have the undo new composition, which enables us to Basically enables us to do undo our actions, okay, our current actions. So all our previous actions. So we can redo. We can go back to history and see basically the history of our actions. We can cut, we can copy, we can duplicate, we can split layer, we can do a whole lot of other things which we're going to be looking at in in subsequent videos. And then we have the new or the composition panel. On the composition panel, we can create a new composition. We can go to composition settings. We can do a whole lot of other things which we're going to learn again in subsequent lectures. We have the Layers panel, the effects panel, the animation panel, the view panel, the Windows panel, and also the Hub panel. So these are the menu but sorry, these are menus, not panels, right? The hub menu, the Windows menu, the view menu. Now, under Windows, we can go to Workspice and select different workspieces. Now, this is not really important for this video. Okay, we're going to look at workspieces in a special video. But under Windows, we can activate panels. Okay, we can activate hidden panels. For example, we can come here and activate the character panel. So where's the character panel. Now this is the character panel. So click on it, you're going to see that. We now have a new panel opened here. Now on the character panel, we can work on the text of our project, okay? So these are all panels. These are all hidden panels, but all of these panels cannot be exposed here because, of course, the interface will be too stuffed, right? So some of them are hidden, and when you want to use them, you can go ahead and enable them. So these are panels. Perfect. Now, that's it for our menu bar. I can just close this. Now that's it for our menu bar. Just click here to close them. Okay? Now, that's it for our menu bar and for our menus. And right here we have our tools. We have lots and lots of tools. We have the home tool. If you click here, it's going to take you to the home page. Get on to the homepage, which is the intro page, as you know it to once again close. And this is the Move tool, this is the hand tool. And let's not really go over these tools because we have a special video for them. So just know that this is your tool bar, okay? This your tool bar. And on this bar, we still have some properties, right? So properties. This can also serve as a properties bar, a tool bar. And yeah, so that's it for our menus, our tools, our panels. And there is one last thing I want to show you before we close this video. Now, the last thing I want to show you is how to zoom out into our viewport. Okay, just like I'm doing right here, zooming in and zooming out. This is really basic stuff, but it's really important because it's something you're going to be needing to do a lot. So to do this, I just use my mouse wheel to scroll mouse wheel in and out, and you're going to see that I am able to zoom in and out of my viewpod. If I hold down my Spacebar button and click, I'll be able to pan around my viewpod. So it means I can zoom in and then pan around and just keep panning around and kind of zooming in to see more details and further work on the elements of my project even better, okay? Yeah. So just hold down your space bar and you can pan around pan around. Yeah, that's it for this video on navigating the interface of Adobe After effect. See you in the next video. Bye bye. 4. 4 How to customize the Interface: Hey, guys. Welcome back. In this video, we're going to learn how to customize our interface in after effect. So our interface can be customized. So we can customize our interface to fit our diverse creative needs here in after effect. So first of all, we can go to Windows, go to Windows and see something, go to workspaces. And on the workspace, you can see that. We actually have different workspaces. We have workspaces for default. Now this is the default workspace, which we are currently on as you can see, it's checked here. But we have other workspaces as well. We have the color workspace, the admission workspiece, the effect workspace, the essential graphics workspace, the learn workspace, the library's workspace, we have many other workspices Now, all of these workspaces have been designed to suit a particular need. For example, let's go into Color Workspace. So click on Color Workspiece. Now on the color workspace, you're going to see that we have our panels arranged in a certain way. Now we still have effect control here. We have a project panel here, but we have this new panel, which is called the lumetric scoops. Now these lumetric scoops is a panel that helps us in color correction. It helps us in a process of color correction to achieve incredible results. So as we can see, this panel has been brought in here to enable us do color correction. That's why this workspace is called the color workspace, and not just this panel, but we now have the effects and presets panel, which is right on the left, right corner. And right here, we can pick our color correction effect and add them to our footages and do our color correction. Okay? So let's look at all the workspaces. We have the motion tracking workspace. This enables us to do motion tracking. So we can see that the tracker panel has now been enabled in this motion tracking workspace, right? And similar also with other panels, other workspaces, rather. We have, let's say, the paint workspace. So click on the paint workspace, and we can now see that paint panel has now been enabled, and with this paint panel, we can select color. We can select we can manipulate our brush size, our brush type, and so on and so forth. Right? So this is the concept of workspaces. Let's go back to default, and we can actually customize our workspaces to fit our specific needs. Let's say we want to do something or perform a specific task, and the workspaces here don't just fit our needs, right? So we can go ahead and customize our workspaces to fit our specific needs. So let's say we want our preview panel, which is this panel to be around the side. Okay? So one thing we can do is actually move it. We can actually move it to this side. So how do we do that? We can just come here to the left hand side of our panel here, where my mouse is, click and drag. Now, as we click and drag, we can now see that these points where we can just drop our panels are being highlighted. So we can drop our panel here, we can drop it here, drop it here, drop it here, so you can see the highlighting, right? So these are where we can drop our panel. So we can bring it and just drop it here. To just release. Now, we can now see that our panel has now been docked here. That's our preview panel. To have our preview panel, and then we have our composition panel. We can click it and dig it. So another place. Let's want it here. Let's assume we want it here. Yeah, so we can see that it's now here. So this is our preview. This is our effects control. And if you click here, we can go to our project, right? Yeah, so this is how we can customize our panel. So we can do that with all these other ones, move them. We can even do same with our tool. So for our tools we can just click here. And now we can see that the entire tool bar has been docked out, right? So we can bring it to wherever we want. Let's just drop it here and see. So we can see that our tools have now been arranged here. But of course, they are consuming too much space, so we don't want that. You can just click it and drag and maybe bring it a bit below. Like this. Now, I'm not doing anything special in specific. I'm not trying to achieve a special or specific result with this customization. So it might not make sense. Like it doesn't make sense right now, having our toolbar here, right? But the objective, of course, is to show you that it's possible to customize our interface. It's possible to customize our interface. You can drag this guy and have him here. So we have our audio here, we have our composition here. You can settle down and do an even better customization, right? It mustn't look like this. It mustn't look like this. Yeah, so that's how to customize our workspace. And we can actually save our new custom workspace by going to Windows, workspiece or workspie. And then just go ahead and save a new workspace. So if you click CV, we can give this name, let's see, Ogle Workspice ugly workspace because this is really ugly workspace workspace. Because this is really ugly. This is our new workspace, the ugly workspace. We can now go back to our default, click on default, and now we can see that our default has now taken the shape of our ugly workspace. But we can do one special thing. We can just go to Windows, go to workspace, and you guessed it right. We can reset default to saved layout. So reset, and now we can see that our default has now been brought to our saved workspace, right? So go back to Windows, go to workspace, and go to ugly workspace. We can now see that our ugly workspace has now been saved. Right? So ugly workspace, and we are park to our ugly workspace. And, of course, we don't want our ugly workspace because it's ugly. So we just go back to our default workspace. Yeah, so this is our default workspace. Some other ways we can kind of change between workspaces is coming here. Now now, these are workspieces, actually. This review is a workspiece on its own. These all panels. It's a workpiece on its own, right? It shows us most of the panels, not all of the panels, most of them. And we have the learned worksiece as well, and our small screen workspiece as well, right? So go back to the default and just click here and go back to edit workspie. And right here, we can actually edit the way our workspieces are arranged here, the way they are arranged here. So we can bring our ugly workpiece above our default and hit, okay? And right here, we can now see that our ugly workspace is now above our default workspiece. You get the point. So that's how we can actually that's one of the ways we can actually customize our workspie let's go back to the default workspiece. And I really don't like the ugly workspie. I'll just go to Windows workspiece just delete it. So I've deleted my ugly workspiece and hit okay. And now we have no ugly workspace. So that's it for how to customize our workspaces here in after effect. And that's it for this video. See you in the next one. Bye bye. 5. 5 Composition, timeline & viewport: Hey, welcome back. In this video, we're going to learn about the composition, the timeline, and the viewport in after effects. And we slightly covered these items in our first video. In this video, we're going to be talking about them in more details, right? So I showed you a couple of ways to open or to create a new composition, and I kind of explain to you what the composition is, right? So let's go over that one more time. So how do we start a new composition? We start by clicking on this button here. This is a short cut. So click here to create a new composition. You can as well come to composition and then new composition. So this is your composition panel, right, or your composition window. So right here, we can put in the name of our composition, and let's just give it a name test, right? So let's give it test, test comp. Perfect. And right now, we see that the composition settings are divided into three. We have the basic settings, we have the advanced settings, and we have the three dran drum. Okay? So we're not going to be looking at advanced and three drendr. We are just going to be focusing on basic settings for now. Now the next thing we can see here is our presets. So these are our presets that presets are basically bundle of settings that we can apply and go right away. Okay? So for example, the preset that is on right now is called the HD 1920 by ten ATP, 29.97 frames per second. Frames per second. Now, we're going to learn all of these jargons in this course. So you don't have to worry. Okay, we're going to learn what frames per seconds are. And for this, 1920 by 1080 is basically the size of the frame, the frame size, the size of our view, okay, that the dimensions of our view. So the length and the breadth, okay? That's 1920 by 1080, and that's in pixels. Okay, that's a unit of measurement. So pixels. So 1920 pixels by 1080 pixels. And this is a HD this is what we call HD. So you might have heard the name HD or you might be familiar with the name HD. Maybe you're watching YouTube video and you just turn the settings to HD setting, right? So that's high definition. And these HD settings are very decent settings, very good settings, and most televisions show their highest quality of images in HD. Okay, now this is actually full HD. We have different kinds of HD. We have the full HD. We have the HD. Now this is the full HD, even though it's written HD here, full HD means a full HD, right? And that's 1920 by ten ETP. Now the actual HD is 720 P or the lower HD. Now we can find it here. This is 720 P, right? Now this is also HD. So these are all preset we can apply. So let's say we take the four k resolution. You can see that it has different dimension sizes, different or settings, right? We have 23 pixels per second, sorry, frames per second and so on and so forth. For now, we're just going to be sticking to 1920 by 1080 and 29 frames per second, 9.97 frames per second, okay? So we can aspect ratio. Now, if we aspect ratio, we can see that the aspect ratio is 16 ratio nine, right? And this means that it's going to maintain this size, this shape, okay? That's the frame of our video. So we can continue to increase the size. Like this, just click and drag to the right inside, and we can now see that the width and the height are increasing at the same time. That's because this button is on, right? We go back to or foolish D. And if we have this button off that's on chat, it means we can customize the dimension separately. So you can see that the width is getting increased while the height remains constant. So we also have the pixel aspect ratio. So for this setting, I will highly recommend you stick to the square pixels, okay? So stick to the square pixels for this, and resolution is basically the the kind of quality you want to preview your work in, right? Or you want your composition to be set to, right? Is it full composition or full resolution or half resolution or told resolution? So that's basically the quality, right? So let's stick to full. And next we have the duration. Now, we saw this duration in the other video, and this is, of course, the length of your composition. So you set to 35 seconds right now. We can make this one, and it's going to be 1 minute 35 seconds, right? So 1 minute 35 seconds, 18 milliseconds. And we have the background color as well. You can click here to select the background color. So you can give it red, you can give it white. You can give it whatever color you want. We can paste in a color code here and it's going to select the color of the color code, and you can select the color heidokO you can even use this guy here. This is what we call an eyedropper to to sample a specific color, right? So we can see that we are sampling this particular color, which is kind of blue, right? Yeah, basically, that's it, guys. And now let's and we can now see that. If we select when we select the color, okay, it gives it automatically selects or gives us the name of our selected color, right? Now for this, it's real blue. Let's go to red, something that has to do with red. Let's not choose a perfect red, so we hit okay. Now we can see that this is called the medium red, right? So it gives every color a name. That's one other good thing. So we hit okay to hit our new composition. This is our new composition. And like I said before, we have the view port here. We have our timeline here. Now we're going to go ahead and see our timeline. And now our timeline is our timeline. This is our timeline. We can see that our timeline is now 1 minute 35 seconds long, as you can see. You can click here to trim our timeline to reduce the size of our timeline. That's the length rather, of our timeline. So we can just click this button. And if we are kind of satisfied with the length, let's say we want to trim this to 45 seconds, we just need to bring it 45 seconds and then right click on our timeline and then trim come to work area. So we've trimmed our timeline to this work area, right? That's one way we can kind of trim our timeline. Let's just undo that by doing Control Z or Command Z on your viewpoint. I did this, so I'll do Shift Z, it's not doing. So I'm just going to create a new composition again. Yeah. So we have a timeline. So we can click to kind of go around or go over our timeline. We can click here to zoom in and out of our timeline. So we can see that with this, we are zooming into those specific frames. So we can see this now into frames. So we can see that we are going frame by frame, frame by frame, right, instead of second by second, right? So that's how we can zoom into our timeline. We also have this button here, which enables zoom into our timeline as well, okay? And this button here will help us go round our timeline like this, just like this. Okay, yeah. So that's it for how to navigate our timeline. We have this settings here, but these are active when we have layers. Now for this, let's go back to this composition one, which I created. So this is the composition two. The new one, if you click here, we can see that we are back to composition one. Now, it means that we can have multiple compositions stacked here. Like we have one here, we have two here, right? So go back to one. And right in one, we can see that we have layers, right? We have this layer, we have this layer, right? We can see that it's called the ship layer two, and this is called the ship layer one. So this is a type of layer. It's a ship layer, and we have a video on layers. So we're going to learn all the types of layers and how to use them. So you don't have to worry about the type of layer, right? So now we can see that right here, we have this I icon. Te icon, we can disable or hide our layer. That's the layer in our timeline, right? So we can hide our layer, we can enable our layer. Now we are not going to look at all the options we have under our layer in our timeline. Okay, because we reserve this for for the lesson so we don't have to cramp everything in this one lesson. Yeah. So that's it for timeline and how to prey the composition. Now, let's look at our viewpot. This is our viewpod and we have some pretty cool options in our viewpot on our Vpod. Now for the first option, this is a Zoom option or rather the magnification ratio option. So right now, it's on 50%. We can zoom in to 100%, just like this, 200%. 6.25% and so on and so forth. So this is a way of zooming in and zooming out using a specific percentage, okay? So we can also fit to our viewpot. You can fit our composition to our viewpot by simply using the fit. We can also fit up to 100%, and basically the same thing. Next, we have our resolution. We have the full resolution, we have the half resolution, so we can keep reducing our resolution because as we continue to work on our project, it gets heavy on our computer and it slows down after effects, right? So we might need to reduce our resolution from time to time to enable us play or preview our work better, right? So we have the third, the quarter, and even the custom resolution where we can basically reduce it by custom settings. So let's go back to full. And as we reduce the resolution, if we zoom in, we're going to see that our layers are pix lat, right? Our resolution is reducing our quality of reducing. Okay? So let's go back to food and you just see that everything is now back to normal. Now you can also pan around your viewport by clicking on your mouse wheel. So click on your mouse wheel and hold and basically move your mouse, and now you can see that instead of always holding down the backspace, sorry, the space bar button and clicking, you can just use our mouse wheel. Just click on the mouse wheel and now we can pan around as well. Now the next guy is the first preview options. Now the first previews, we can use adaptive resolution, which will kind of uh display our work in an adaptive resolution. So it means it can adapt the resolution to the performance of our computer. We can use the wireframe resolution. Now, this will kind of convert our views into a wireframe, right? Now, this is an easier way to preview our work, okay? We can see it in the final quality, which is the best quality. And this will take the most load on a computer. But let's just maintain adaptive resolution. And the next guy will help us toggle transparency. So we can see that we are now seeing transparency. This is a sign of transparency. This checker pattern in the background. This shows us that behind these layers, we have nothing else, right? So that's the way to toggle transparency. We have this button here, which helps us show our ship visibility. You might not see this at work very well right now. So let me just try. So now it's enabled. Now if I just enable it, you're going to see that it casts an outline on our ship. So if I enable it, you're going to see the outline. Now let me just change the color of this outline of this ship to white so that you see what I'm talking about. So now this is it. This is the outline I'm talking about. Now, if I disable this, you're going to see that the outline is gone, right? So this is what this button does for us. Okay. Perfect. Now the next option is a region of interest so we can click to kind of crop our composition to a particular region of interest. So let's say we just want this part as our region of interest, so you can click and crop our composion to this part even further edit the size like this. Like the way I'm doing, okay? And when we are satisfied, we can go to composition, and then crop composition to region of interest, just like this. We can see that we've crop to composition to this region of interest. So Control Z, Control Z, yeah. So that's the work of this region of interest here. Now the next option will enable us to go some features which are really important. So we have the title slash Action sieve. Now, if you enable this, it's going to give us these guides. And these guides are basically telling us that whatever we're going to be doing, we should not exit these lines, right, if we don't want work to be cut out when viewing on devices. Okay? So the siver it is to the middle like this, the more it's going to be possible or show that our work will be previewed without any problems of cutting out in several devices. So that's just the use of this guy here. And we have the proportional grid, and this is just a grid line helping us to maintain proportion in our compositions, right? Maintain proportions. Because at the end of everything, this is a design tool, right? So we have also conform to design principles like propulsion and so on and so forth. So that's what this guy helps us do. We have the grid, and this grid helps us to maintain proportion and do a whole lot of other things, which we'll be looking at in subsequent lectures. We have the guides. The guides help us to fix or arrange elements properly. We're going to be also looking at this more in further lessons. We also have a ruler, and this is the ruler. It helps us, of course, measure and basically do design well, right? And if you click on the ruler and drag, you're going to be dragging what we call a guide, right, a guide. So you can drag this horizontally and also this ratically. Okay? So this will enable us position our elements well, do our design well, so we can as well disable them. Okay, b them. So let me see these are our guides. You can see them horizontally and vertically. Go back and remove our rulers and select guides. Perfect. And then the next option is the RGB option. So this enables us kind of separates our composition to different color channel. So we can see that it's set to RGB now, which is red green and blue, which is the ideal color channel, okay? Or rather the color mode. For a design, a digitally reviewable design. So like designs that will be previewed on the screen, right? So this is RGB, we can view only the red channel. We can view only the green channel, we can view only the blue channel, we can view only the Alpha channel, which is the transparency channel, and we can view the RGB straight. So go back to RGB. And yeah, so we can also set the color space for the project, but this is kind of advanced for now, and that's it for this RGB panel. And then we have the exposure. We can increase or reduce the exposure of our composition, okay? And just click here to set it back to normal. And we have the snapshot. You can kick a snapshot of our composition, maybe take another snapshot or maybe when we make a change like this, just click here to go back and see what we had before. So click and hold and we can now see that this is what we had before, and this is what we have now, right? You can also al option click here to see the difference between our new arrangement and our old arrangement, right? So this is just a nifty feature, I would say. J, that's a fancy feature. Nothing too important. So that's it for this video guys on composition, viewport and the timeline in after effect. See you in the next video. Bye bye. 6. 6 Important Tools: Hey, there. Welcome back. So in this video, we're going to go over some important tools here in after effect. So without further ado, let's go back to our project and create a new composition. So, create a new composition to click here to create a new composition. And for this, let's give it composition one, 1920 by 1080 pixels. And for the color, let's give this white color and head Okay. Perfect. So this is our composition. And the first tool I want us to look at is the shape tools. Now, these are the shape tools. There's a rectangle two. So click on the Rectangle two and click here on your viewport and just click and drag. Now, you can see that with this tool, we are creating a rectangle, okay, a rectangular shape, okay? And you can see that we can create a square if we want, we can create a rectangle. If we want, we can create whatever shape that looks like a rectangle, okay? So I just want you to do one thing while still holding down your mouse, hold down shift. And with this shift, we can now see that. It gives us it locks the ratio. Okay? It locks the ratio, and it means that we can only create a square, right? We can only create a square or perfect shape, a shape with perfect side like a square, right? So if we are satisfied, we can just release our mouse and now we have our shape. Now this is our shape, and just come back here, click and hold that's left click and hold. And you're going to see that we have other shapes under this tool. We have the rectangle we have the rounded rectangle tool, which creates a rectangle with rounded edges. Okay? We have the Ellipse tool, which creates an ellipse. We have the polygon to, which creates a polygon. We have a star tool, which creates a star. Okay, so these are the tools under here. Now, the next thing I want you to do is go here, which is the selection tool and click on the selection two. Now, this selection tool enables us to select items, select layers, select elements in our design, in our work. So this is the major tool in after the effect, the selection tool, because we need this to select and move stuff around, like how I'm doing here, okay? So this is made possible with the selection tool. The shortcut for this tool is V on your keyboard. Hit V on your keyboard and you're going to be brought to the move to or the selection tool. Okay? So this is the selection tool, and then these are the shape tools. Now, let's just go over the other ones. Let's select the rectangular, sorry, the rounded rectangle shape tool and click and drag. Now we can see that we have this guy with rounded edges, right? With rounded edges like this, rounded side. Okay? Click and hold, select the ellipse, click and drag. And if we hold on shift we can now create a perfect ellipse. Hold star, set the star, click and drag. Now you can now create a perfect star and then go back to move too. Now always and show you go back to your selection too. Okay? Sorry, I always call this move to because in Photoshop and Illustrator, it's called Move too, not the selection too. So pardon me for that, but always make it a habit to go back to your move to. It's the most important tool. Okay? That's habit to make it easy for you to master after effects because it's going to help you get less frustrated because sometimes you might using this tool and want to move your ship. Let's say you created a star and want to move your ship. Now, without going back here, you might just want to select and move the ship while creating a new ship unintentionally. You get the point. So always make it a habit to always go back to your move to after you've created a ship like this. Perfect. So we have our rectangle tools, or rather our shape tools. Now, we know this as our hand tool as our pan tool. We can use this to simply pan around like this, pan around like this. Okay? So we can zoom in the mouse wheel and pan around like this, okay? With this tool. We can use our space bar to pan around. Or we can use our mouse wheel, click and hold our mouse wheel to pan around. We get. We also have our Zoom to. So this is our Zoom to. The shortcut is Z. So select our Zoom to and just mark E, select the space you want to zoom into Zoom. Zoom, just like this. You can hold down Alt or option on the MAC to zoom out. Okay? Zoom out like this. Zoom in Zoom out. Zoom in Zoom out. Perfect. So that's how to use the Zoom to here in after effect. The next two we're going to be looking at is the rotation to. The short cut is W, and that's the rotation. Now with this tool, we can rotate an item or a shape. You can rotate a shape or a layer. So just select the tool and select the shape you want to rotate and just click and rotate. Click and rotate. Now we are rotating everything. Now, just click and root it, click this and route it. Click this guy. Sorry, click this guy and route it. That's basically it for these two. Now, we can see that all these guys have been treated in one layer. That's why sometimes it's hard to select individual ones because they're all in one layer, right? So that's one characteristic of ship layers, but we're not going to look at ship layers in this video. So we have the rotation tool. We have one other tool, which is called the pan behind two. Now, this is the pan behind two, and this two helps us to move our enco points. Now what's an anchor point in after effect? An anchor point is basically the point around which our movement occurs. So like this point, as you can see this button here, this round point here, we can see that with these two, we are moving it right. So if we move it like this and take our rotation tool and try to move or rotate. We can now see that it's rotating around our new position. This tool enables us edit the position, basically move the position. Okay? So that's the pan around or rather pan behind tool, okay? For you. And it's also called the core point tool, right? So we've looked at this tool, this tool, this tool, this tool, this tool, the shape tool, and now the pen tool the pen tool is just another ship tool, okay? Just another ship tool. We can use this to create custom ships to draw just to draw ships just like this. Okay, so this is just another ship tool. Okay? Perfect. Now, for every shape you create, you can see that right here, we have the field. Now, this field is the field color. That's the color inside our ship. Now we can change the color. Hi, okay? The color inside this our shape now takes our field color. Okay? And for the stroke, the stroke is a color outside our shape, on the edges. And we also have what we call the stroke width, okay? And this stroke width is let me just boost up the stroke width so you see. So you see what's happening around our ship. Now, that's the shook at work. Okay? Now, this is just by the way, and it's not really recommended for this video for this level, but that's just because we are using ship layers for this video. Next, we have our text tool, and the two enables us create text. So just select your textol and then click and now you can type in a text and go back to your Move tool and select your text and bring it here. Okay? Perfect. Now we can see that our text also has the encopoin. So it means we can take our encopoint tool and arrange it to the middle or to whatever place we want to have it, okay? And if we do our rotation, it's rotating again from this place, right? So that's our text tool for you, and we have the brush tool, which is a brush tool, which is a brush. Now, we're not going to look at the brush tool, the clone stamp tool and the eraser tool. But these are also important tools, okay? But they're not basic. So for now, we're not looking at them. We're going to look at them in further lessons. Okay? So Oh, finally, we have these are the tool, the root to wash. We are now looking at this guy also and this guy as well. So we're stopping here. We're stopping at the text tool. So these are the most important tools for now for this video. Okay? So we've come to the end of our video on tools. The next video, we're going to learn, we're going to go a step further into our journey to becoming experts in after effects. So that's it for this one. See you in the next video. Bye. 7. 7 How to speedup After Effects: Hey, guys, welcome back. So working in after effects can be frustrating at times, especially when you have a complex project or you're working on a project that has a lot of things in it, okay? So this can actually slow down our software and give us frustrations. So in this video, we're going to learn how to speeding up our software, our after effects software. So in order to speed up your software, especially if you're experiencing lag, it first of all, come to edit, click on Edit and then go to Porch. Click on porch and then all cache. So click on all case and this will enable you clear all the case that has been stored up as a result of after effects working for that long, ok? So you'll be able to clear off the cache on your computer and ease up your computer performance by this, just click Okay, right now, I don't have any case, so that's why you're seeing zero KBT. But you should see the size of the cache based on your computer, based on what's peculiar with your situation. So that's how to clear cache. So that's the first way to speed up your workflow. Now the second way we have to do with preferences. So I'll go to edit and then preferences. And then you can just hit General for now or go immediately to media and Dix cache. Now, opening differences on a PC might be a bit different from opening preferences on the MAC. So the shortcut for opening preferences is control all sem column. That's for PC or command option semicolon on the MC. Just hit Command Option semicolun on the Command Option semicolon on the MAC, and it should be brought to your preferences. It should be a general. You can now go to media and Dix case, click on Midia and Dix case. Now here, you can customize your media and Dix cache. Right here, you can enable your dis cache and you can enable the maximum space. For your ticks case, the bigger, the better, and you can go ahead and choose a folder for your ticks cache. Now, I would recommend you choosing a folder that's not located on the drive where after effect is been ron. Okay? So if you have a different drive for these drives, I would recommend using SSD. So if you have an SSD, an extra SSD drive, I recommend you choosing that drive, just click and then choose a folder on that drive, maybe create a new folder called Adobe Te files or and then just select that particular folder, and that single action will enable you run after effects way faster. Now, if you have on ****'s cache, this empty digs cache will enable this button. So you can click here also. You can click on the button also to clear out your ****'s cache. And I highly recommend you using SSDs, that's solid T drives for your computers. That's good for running your computer and for storage of your ****'s cache. Okay, like what we just saw here. Now, that's because the SSDs are faster than the normal HDDs drives. Now, the normal HDD drives are those ones with the spin with the ***** in them that spin, right? You make this weird noise and the spin when running, right? Now that's the old kind of drives. Those are less expensive compared to the SSDs, but the SDs you give you way way better performance, more than twice, more than 100% better performance, right? So it's recommended that you use them if you want to take this after effect thing serious. Okay, so that's how to customize your ***** and media cache. Now the next thing I recommend you to do is click memory and performance. And now in memory and performance, you can kind of increase the memory you reserve for other applications, and thereby increasing or decreasing the memory you reserve for after effects. Okay? So we can see that I have 16 gig Ram installed on my computer, and we have five gig reserved for other applications, and then 11 gig reserved for after effects. So you can reduce this or increase this just like this, okay? And this will give after effects more knee way more room, okay, to perform better. And make sure you always enable multi frame rendering as well. So make sure multiframe rendering is always enabled. This is very important to hit, okay. And with this, you should see an incredible improvement. But if you want to go a bit further, you can just come to file and then project settings. And right here in project settings, you have to come to video rendering and effects and make sure or your GPU is selected, that for me, make GPU acceleration, that's Coda in bracket. Make sure it's selected. This can be a bit different as compared to different computers. So if your computer is a low budget computer that doesn't have a GPU, but you don't have this option. So this is an optional option, but it exponentially increases your performance and your previews, your playing ability. And with this, we've come to the end of this very short video. See you in the next one. Bye bye. 8. 8 Introduction to Layers & Layer Types SS: Hey, guys. Welcome back. In this video, we're going to learn about layers in after effects. Go ahead and create a new composition. Hit Okay. We don't need to give it a name. So what are layers? Now, if you're coming from Pootoshop, if you know how to use Pootoshop or how to be Illustrto, you of course should know what layers are. So coming from if you're not content with Footshop or Illustrto, layers are basically containers that contain of different elements of our design, different elements of our project here in A to B after effect. So that's what layers are. So let's say we want to add a text to our project. We need a text layer to be able to add the text to our project. If we want to add a ship to our project, we need a ship layer to add a ship to our project. You get if we want to make adjustment, we need an adjustment layer. Let's see if you want to add color adjustments to video or footage, we need an adjustment layer to add a color adjustments. So those are what layers are, and of course, there are different types of layers, right? Like I said, if you want to add a text, use a text layer, and if you want to add a ship, use a ship layer, right? So now just come here, two layers. Come to the menu, and then layers menu, and then click on New. Now on the new, you're going to see that we have text, we have solid, we have light, we have camera, we have null object, we have shape layer, we have adjustment layer, we have content on ware fill layer. We have Adi photoshop file, layer, then we have Maxon them for the file. So these are different types of layers which we can add to our project. Now I will just double click to import some files. Okay? I just counsel that. I just want to import some files. So there are several ways to do that. You can either come to file and then import and then import file or multiple files, okay? Or you can just double click like I did before. Double clk and go to the folder for this module, the folder title layers. That second folder for this module for this course. So it's zero to title layer. So go into this folder and then select now, I'm just going to make this large icons. I'm just going to select this guy and this guy. Now I'm holding down control. You can hold down command on the MAC to select multiple, right? I'm holding down control. So now I have this tree selected, so hit in pot. Perfect. Now I'm going to draw this guy, click and drag here and drop and release. Okay? And do same with the others. Click and Drag and release. Click and Drag and release. Okay, now I just did this to show you some types of layers that we're going to be interacting with in this course. Okay? Now, as you can see, there are three of them here, and I want to just click on this eye icon here. That's for this first layer to hide it. Okay, now this will expose us to this layer. That's this guy with kit board. Okay, now this is an image. Okay? It's an image. So whenever you import an image, it's going to look like this here in foto Shop. It's going to look like this. It's going to have this icon. Okay, this image icon, you can see here. It's going to just look like this in Photoshop. And then yeah, it's just an image. So we also have this layer. So this is a sound layer, as you can see, it has the speaker icon on for it and it doesn't have the eye icon. Why is that? It's because the speaker icon signifies sound. So it tells us that there's sound for this layer, but there isn't a video for this layer, right? While this guy, this one is a video, okay, children playing. As you can see, this is the icon here. It's a video layer, and as you can see it MP four, right? The sound is P three. Now, for this video layer, we have the eye icon here and we also have the sound. Okay. The video doesn't have a sound actually, so that's why we don't have a sound icon here. If the video had the sound, we are going to have a sound icon. Now, if I just play it while often the sound for the music, we're not going to see it play with any sound. That's because the video doesn't have a sound. But if the video had a sound, you are going to see the sound icon here for this video, for this video layer. Yeah, so this is the video I'm playing. And now I'm just going to go ahead and play the audio. I'm just going to on this speaker icon and then play. And now it's playing. Okay? It's playing. I'm sure you can hear the sound? So that tells you that this is an audio file. It is an audio layer. So this is what an audio layer looks like. This is what a picture layer looks like. This is what the video layer looks like. Now these layers are not here, of course, because because this we are imported externally into after effects. So these are the native layers. You can create after effect, the native kind of layers. So you can create a native text layer, a native solid layer, a native light layer, a native camera layer, a native, non object layer, and so on and so forth. And we're going to learn all of these layers work and how to use them. Okay? So for now, I'm just going to go ahead and not delete. I'm just going to create a new composition to create a new composition here, okay. Now for this new composition, I'm going to start creating layers. Now, let's start by looking at the solid layer, okay, the solid layer. Now what's a solid layer. So click on solid, and if you click on solid, this is what you see. This is the solid settings, and then we have the solid name the name of the solid. Now a solid is just a background with a color. Physically, that's just what the solid is. It's a background with a color, and it's taking the size of our composition, as you can see here. So it means if we create this solid, it's going to fill the frame of our composition, okay? And then it means we can also increase or reduce the size. The width and the height. And we can also lock aspect ratio so that when we increase the width, the height also increases in the same ratio. We have the units of measurement. We can see it's pixels here. We have all these other guys, the pixel aspect ratio, which is square, just like how we have it in the composition. And right here, we can go ahead and pick a color. So click here and now you can pick a color. You can pick a color with this color picker. If you have the color code, you can as well piece the color code here, the color code you want. So I'm just going to pick this color and hit okay. And we have the dropper tool here, which means we can sample a color, right? We can sample the color, as you can see, the color is changing. Yeah. So just go back and pick my color, my desired color and idokay and heiPerfect. As you can see. Now this is just a solid. This is a background with a color. So that's what the solid is. You can apply an effect to a solid. You can apply effect to basically every type of layer. Okay, most types of layers. That's a solid type of layer for you. Now, let's go ahead and create another type of layer, which is the text layer. So click on text. Now a text layer is, of course, a text layer. We learned the text tool in the video on tools, right? Now this is what it does. You can write in a text layer. So it contains our text, just like how we see here. So this is what the text layer looks like. It has the T as the icon, it has the name. Or what is written in the text or the name of the text, okay? It has the icon. It doesn't have the sound because, of course, it doesn't have a sound, right? It doesn't have the speaker icon. And yeah, so this is a text layer. This is a shape layer. Perfect. Now let's look at the next type of layer. New. And this is a light. Now, light, we won't really look at a light layer in this video. We're going to leave that further video because it's a bit advanced because light layers don't work like normal layers. They work only as three D layers, and we've not covered three threes a bit advanced for this level. So we won't look at light layers, and we also won't look at the camera layer. Okay? Because the camera layer only works with three D as well. So the lights and the camera, we won't look at them. Now let's look at null object. So click on null object, and this is what the null object is. This is just what the null object is. Null object is an empty layer. It's an empty layer, like the name implies, null, okay? So it's an empty layer. And what this layer does is we use this layer to drive transformations for other layers. That's what we use the null object. So let's go back to the types of layers. You have the null object. Now we have the shape layer, click on the ship layer. Now for the ship layer, it enables us to create shapes, as you can see. After creating my ship layer, my shape tool was now selected. Okay? Now it's telling me that I can now create a shape, right? I can now create a ship. Now I've created my ship, that's my rectangle shape. I can click here to change the field color. I can click here to change the stroke color. I think we covered the field color and the stroke color in the video on tools, right? Yeah, I think we did that. So as you can see, we have our ship layer, we have our text layer. We have our solid layer, we have a null object. Okay? And now if I have my ship layer selected, I can create more shapes within my ship layer. So it means I can create a star ship in my ship layer. Okay? We can have multiple ships in our ship layer. This is a very pecular feature with ship layers. It doesn't work for other types of layers. It only works for ship layers. We can create multiple ships in single ship layer. Okay? So if we want, we can have one layer for all the ships or multiple ship layers for multiple ships. Yeah, so that's how ship layers work. We can create multiple ships in our ship layer. Now, if I click here, I can go into the stroke options and now select how I want my stroke to be. I either want it to have a field color or to have a color, which is the present condition. As you can see, the stroke has a color. I can select gradient. So it's going to have a gradient like you can see here. I can as well select this type of gradient, which is a radial gradient, okay? And it's going to have a radial gradient. I can select this guy to totally remove the gradient, and now ellipse doesn't have a gradient. So it okay. No, I'll just close this for now and go back to my selection too, and I change the color change the field color of my ship layer of my ellipse. So I want to give you a different color one that will stand out from the background. Perfect. Okay? Yeah, so we have our layers. Now let's look at other types of layers. With the layer new and now adjustment layers. So an adjustment layer is also an empty layer, but on an adjustment layer, we can add effect to affect the layers beneath it, get the layers beneath it. So if we add effect on these adjustment layers, let's say we had an effect that changes colors and we change the color from the effect, it's going to affect all the layers below our adjustment layer. Perfect. From that, we have the content away fi layer, and we're going to look at this layer, this type of layer, especially in another video in another module. Entirely, okay? But this is also a type of layer. Now, we have the At the way photoshop layer. You click on this guy, it's going to open your computer, and you can now type in a name. Let's just select this same name on Tito and hit save and hit yes. Now it's going to do something. It's going to open Photoshop and create a dynamic link between Photoshop and after effect. So it then means that whatever you do in Photoshop is going to be updated here in after effects. So let's wait and see how it works. Perfect. Now, this is our file now in Photoshop. Now, this file is linked to our R to be after effects. I'm going to do one thing here. We need to go ahead and place this picture in our phootoshop file. Just like this. Click here, and then come down here, click on the ship, er in Footishop then sorry the ship tool in Photoshop and then create a shape. So you just create something like this and create another shape like this. For this, I will give it red color and just create this. I want to also change the blending mode Okay, follow me in case you don't notice fish, just follow what I'm doing, right? So just follow what I'm doing and you should be cool. You should be good. I'm going to do one more thing here. Create a triangle, give it a different color, and then change the blending mood. Perfect. Now, all you need to do is go to file and hit Save or Control S or Command S on the MAC and then go back to after effect. Now you can see that our file has been updated. Our dynamic linked file has been updated. So this file is now updated, so we can go ahead and use our footage of file right in after effect. And if we make any new changes on our file, all we need to do is hit Control S, and it's going to update the file here in after effects. Now we can bring this down. Just like this. Perfect. Now, let's go back to file to layer and then new. And then the Cinema 40 file. We don't need to look at this. We won't look at this in this video, in this module. This is more advanced stuff. This is Cinema 45, Cinema 45, Cinema 40 is three D software entirely, okay? So that's a different ballgame altogether. So but these are the layers we will be looking at in this video. So we can see the adjustment layer, the ship layer, the null object, the text layer, the footage of file, the solid shape. And if you go back to our composition one, we can see our video layer. We can also see our audio layer, which is an PT file and our picture layer. So that's it for layers. That's an introduction into layers. See you in the next video. Bye. 9. 9 layers properties: Hey, Day. Welcome back. So in the last video, we learned about layers and layer types. Now in this video, we're going to talk about layer properties, okay? So layer properties are basically the attributes of a layer. Now this is the file from our last video, and right here, I'm just going to open click here to open my layer like this. And under my layer, that's my image layer. That's this particular layer. Let me just isolate this layer. So I'll just click here to isolate the image layer, this image layer you can see here. Okay? Now, I'm seeing only my layer. Now inside my layer, I have this. Now, this is proper this is what we call transform properties. Okay? Is what we call transform properties. Now, if I click here, it's going to open up. And under my transform properties, I have some attributes, okay? I have what we call the encopoint. Now the ancopoint is this particular point around which our transformations occur, right? Now, there are values for all of these. We have the X axis and the Y axis, okay, the horizontal and the vertical axis. So we have the ankle point. Now, if I adjust this, we can see that our image is adjusting. Our image is not really adjusting. It's our ankle point that is adjusting. Okay? Now, our ankle point was in the center. Now I'm bringing it to the right hand side, as you can see here. Now our ankle point is on the right hand side of our image, just like this, okay? So I am only adjusting this value. What if I adjust this value? Now, this is a vertical value, and as you can see, it's going up and down up and down. Okay? So we're adjusting the anchor point of our layer. We can click here to reset to reset all transformations. And now we have the position. Now position before we look at position, let's look at scale. Scale is basically the size of the layer. So we can reduce the scale. Now there is this chain icon here, as you can see. So this chain icon links the horizontal and vertical figures or units together. The dimensions, the horizontal and vertical dimensions are being linked together by this chain icon. So if I scale one, both of them will scale together, as you can see, just like this. Okay? Perfect. Now, I check if I unlink them and scale one, you can see that it's only scaling one side, right? Scaling on the other side. So that's the use of this chain, this link icon here. Now, I'm just going to reset this and link them back and re scale them. We scale the size, just like this. And we have the rotation which rotates along or around our anchor point, okay? Just like this. You have the opacity. Which reduces the opacity or reduces the transparency, reduces or increases the transparency of our layer, just like what you can see. So zero, make it transparent. And as I take it close to 100, it's becoming visible, right? And then we have the position, which moves our layer. Now for the position, we can see that the ankle point is not moving, only the layer is moving. For the ankle point, you can see that the position is not moving. It's only the ankle point that is moving, right? So that's a different. So basically, these are our transform properties. Now we have other things we can observe. We can observe this looks like a stopwatch icon. Now these are used for animation. And we're going to look at this, especially in the video on introduction to animation, okay? Now, I just want you to observe it for now. Now, let's go ahead and close this and let's look at what we get on other layers. The layer properties we get on other types of layers. Now, this is an image layer. I can click here to isolate it. I can now open my audio layer. So if I open my audio layer, you can see that we no longer have transformsis. We only have audio. We can open the audio, and then for audio, we can see that we have audio levels, we have the audio levels. We can increase or reduce the audio levels. We can open the audio wave property and see the wave. Now this is the wave of our audio. Okay, this is a wave of our audio. So that's what we get for the audio. And of course, we have a stopwatch icon here also, which means we can animate that value that property. Perfect. So also with our video on the video, we only have transform, just like the picture. Now, let's go to our other types of layers. Let's look at what we have under our ship layer. Sorry, our solid layer, not ship layer. So click on solid and we can see that we only have the transform properties, which is same with the others we looked at. And for our Photoshop layer, I think we only have the transform properties as well. Let's look at what we have on the text layer. Now on the text layer, we should have more. Now we have the transform properties here, and we also have the text properties. Now, if you click the text properties, we can see more stuff, right? Now, these text properties enable us to animate our text, especially, we can click here for the path options. Now for the path options, we well, basically, these are not set about for now, but we have the path options here just for you to know, we have more options. We have more options, Enco points grouping. So the grouping is for each character right now. So it means we can adjust the alignment. Let's just zoom in to see. Okay, now just take a look at your text, and as I adjust the alignment, you can see something moving, right? And this is the ancho point for each text. Yep. So basically, that's it. For these options. So we're not looking at these options for now. We are just looking at the transform options which are similar to what we looked at in the other layers. For the null object, we only have the transform options, and for the shape layers, we have more, right? We have the contents, and we have the transform. Okay? So for the contents, we have a lot of other things which we will look at specially in special module. And same also for the adjustment layer. We only have the transform properties. Now, as you keep adding effect to your layers, you keep getting them here as well. Okay? So let's say we add an effect to this layer to this adjustment layer. So let's just come to effect the effects and presets panel, click here. Let's just select, let's see, let's just type black and white. Okay? So this is black and white, let's double click on black and white. And now you can see that we now have a new property called effect. Now under effect, we now have black and white. This also is true for all other types of layers. As you keep adding effect, you can also control your effect in the properties section. I'm just going to undo this to remove the effect. And yeah, that's it for our layer properties, and that's it for this video, guys. In the next video, we're going to look at even more stuff under layer properties. So see you guys in the next one. Bye bye. 10. 10 Tiny layer features and their functions: Hey, welcome back. This video, we're going to talk about tiny layer properties, okay? Now, what I mean by tiny layer properties is all these other little properties, little features here, okay? Like, of course, we know what this is. But this other guy, and of course we know what this is, but these other ones, I'm sure we've not covered them, okay? So we're going to learn about them and their features and what they do, okay? Yeah, so let's start from here. This button is used to isolate a layer, like we saw in one of the last videos, right? And like we're seeing right here, it's used to isolate a layer. Okay. And this guy is used to lock a layer. So if we lock this layer, we can't move it around, right? We can't move it around. We can't even select it, okay? So you have to unlock it to select it. Now this is used to hide the layer, right? Perfect. Now, this little button here is called the Shy button. It's a feature that helps us to organize our files, helps us to hide the layers that we are not going to be using. Okay? Let's say, we've worked on the layer and it's just line there, and we are not going to make any more changes to it. So in order to just have it there, adding to the quantity of layers we have on our timeline, it's better to just hide it. We can just click here to hide the layer. We also have to enable it here so we can enable it here and you can see that our layer is now hidden, even though we can still see that it's active on our view port. So we can do that for our text layer as well and for every other type of layer. You can just shide them to hide them temporarily. If you click here, we're going to see that our layers are back. If you want to unhide them, you click Back here and you click back here as well. So we have the next feature here, which does something a bit advanced. So we won't look at this for now, okay? We won't look at this for now, but the next guy controls quality and sampling. Like you can see, it's quality and sampling. So it basically is after effects little way of handling the quality of our layers, okay? And it all depends on the type of layer, okay? Different layer will have a different setting that works best for it, okay? So we are not losing quality here, so we might not really see it at work, but you just need to select either of the options. We have this guy, this option. We have this option, and I think there are three options. Okay, we have this option, this option, and this option. Yeah, so that's where you get with this feature here. It's used to control the quality and the sampling. And then we have the motion blow. Now, the motion blow is a way of adding blow to moving object. Okay? So it's after effects, little way of helping us achieve realism on moving shapes on moving objects by adding a bit of blow to their movement, okay? Or a bit of blow to them as they move. So you can enable this for individual layers by enabling them like this and then making sure it's also enabled here. Okay? So it has to be enabled here for you to work here. Okay, now we have this other option here. Now, this is the adjustment layer option. Now, this layer, this option, what it does is it turns any layer into an adjustment layer. It turns any layer into an adjustment layer. Okay? So let's look at this layer, for example. Sorry our ship layers, for example. These are our ship layers. If we enable these for our ship layers, we can now see that there are no longer ships, but we have a transparent layer. Now we can add effect to our ship layers, and it's just going to work like an adjustment layer. So let's go ahead and add our last effect or black and white effect. So all you need to do now is select your ship layer and double click on your black and white, and right here, we can see that our ships are now exerting the black and white effect on the layers beneath them, right? So that's basically it for this layer. It just turns every other layer. That's basically it for this option. Sorry, I just turns every other layer to jtment layer. So I'm just going to undo that to bring back our ships. And then we have this last option here, which is the treat layer. So what this option does is it turns an object or a layer into a treat layer. So let's take, for example, our ship layer here. So let's just enable this for ship layer. Now, if we do that, we will then see that our three D tools are now enabled. So let me just off it for now and you're going to see that these three tools have been disabled, right, have been grid out. So if I just enable my three layer, you'll see that they're all on now. Now I can click one of them and basically do a TD transformation on our ship layers. So our ship layers are now three D. Our ships are now three D, as you can see. Okay? So that's just how to turn layer to a three D layer. It's just by clicking or just by enabling the TD effect right here. Now, we have this guy, which is the parent and link feature, which enables us parent and link a layer to another layer. So let's say we want to parent and link our ship layers. Okay, our ship layers. These are our ship layers to our null object. So all we need to do is to select our ship layer and click here and drag and drop on our null object, click on our null object now if we move our null object like this, we can now see that our ship layers are moving, our ship layer is moving. And right here, you can see the layer it's been linked to, right? The null object, the null layer. Perfect. So we can click here to select none and to unlink them. Okay. And right here, we have a little button here, which is the toggle switch modes button. Now, this adds some features. Okay, it gives us some new features. Now, these are the layer modes features. These are the layer modes. It's basically a way of blending between layers, and we have the track mats which we're going to look at in further lesson and basically the parent and link button as well. So we can click to go back to what we had initially, and we can also click right click here. So you can write click here and then come to columns and then select mode. If you select mode, we then see that button here gets disappeared, and then we have all our options all arranged here. The only downside to this is that we have a smaller timeline. So click to Goba. So basically, guys, that's it for this video. That's it for tiny layer properties and their functions. And this we come to the end of our video, see you in the next one. Bye bye. 11. 11 Introduction to Animation: Hey, guys. Welcome back. And this very short video, we're going to be having a quick introduction to animation in after effect. So go ahead and create a new composition 1920 by tent. Composition one, okay. Perfect. Now, what's animation? What is animation? Animation is basically the process of turning an inanimate object to appear like an animate object, okay? For example, animation is an object moving from point A to point B. So the process of moving from point A to point B is animation because, of course, it's an inanimate object, and it normally will not move from point A to point B, but animation makes that possible. So enough of the explanation, let's go ahead and explore how to animate in after effect. So the first thing I'll do is create a ship layer. So go to layer and then new and then ship layer. Now for my ship layer, I'm just going to go ahead and grow out an ellipse while holding down shift. Okay? So I just want to draw out the size of an ellipse and then take my move to now this is our ellipse. This is our ellipse. We can see that the ankle point is here, and we just want to take our ankle point and click on it and bring our ankle point to the middle, just like this. Perfect. Now, in order to animate our objects from point A to point B, all we need to do is simply go into our transform properties to click on Transform. And which of these properties do we want to animate? That's, of course, the position, right, because we want to move the position from this point to this point. So all we need to do right now is now go into our timeline. I'm just going to zoom in to my timeline. And then create what we call a key frame, okay? Create a keyframe on your starting time. Okay, you have to come to your starting time or to the time where you want the animation to start. For me, I want it to start at the beginning. So I want to bring my time to the beginning and then come to my selected property, which is the position and then create a keyframe so click here to create a keyframe. And when I click here, you then see that we have our stopwatch icon turned to blue here, and we have this thing here, this point here, this dot. Now this is what we call a keyframe. Is what we call a keyframe. So this is our keyframe. Now this keyframe basically records our position in this time. Okay? That's what the keyframe does. It records a property in a time. So it means in this time, we have our shape or object in this position. And the next thing we want to do is bring our time to the end, or to the next position where we want or to the next time, where we want our object to be at, okay? So we have 0 seconds. Now we want in 2 seconds, we want our object to move to the next position. So we first of all, have to bring our time to 2 seconds, like you can see here, and then take our object and bring it to the next position, right? Take our object and bring it to the next position. Now we can do this as well by just adjusting our property here like this. Okay? Now, as we move this as we make changes to our position, we now see that a new keyframe has been created. Okay? So after effect has recorded, this position in this time and this position in this time. Now it now creates a movement, okay, from this guy to this guy. So if we go back here, we're going to see that if you hit the space bar button or click on this preview this play and stop button here, we're going to see that our shape is now moving from point A to point B. I'm just going to change the color to make this standout even more. Perfect. So we are now moving from point A to point B. Okay? That's animation for you. That's basically animation for you from point A to point B. Okay? Zero point A to point B. Now, let's add point C. So come to point C and for my point A, I want to actually take this up or take this down rather. Here, I want it to come down. So now we have point A, two point B and then point C. Okay? So zero point A to point B and point C. So let's say we want it to stay a bit longer in point B. All we need to do is recreate point B. So select point B, hit Control C or Command C on your mark, and then come to where you want it to stop being on point B and then hit Control or Command V on the mark. So it's going to play for point A to point B, and you're going to extend point B for this time and then go to point C. Let's see from point C, we want to spend some time for going to point D. So from point C, I'm just going to take my time here. And now, like we did here, we can copy this guy and piece here. But we can also go back here to position and then click here to create a duplicate of the existing sorry, the existing keyframe. Okay? Just like this. So now we can see that it's also stayed for some moments before then move into point D and we want point D to be here. Sorry. We want point D to be here. Okay? So let's see. It's down coming from point A to point B and then stays a bit and then goes to point C. Then it stays a bit and then goes to point D. Okay. So that's just it for animation, for an introduction into animation. So this is the concept of animation, and this works with everything with almost every feature, almost every attribute here in aftereffect. You can admit almost every attribute here in afterefect. Now, this looks very boring, okay? I know it looks very boring, but this is just the basics. There are lots of ways we can make our animation more interesting. I mean, we need to look at all of them in further lessons, okay? So, but this is just animation. And this works for both the anchor points, the scale. The rotation, the opacity, and so on and so forth. Okay? So that's it for an introduction to animation. See you in the next video. Bye. 12. 12 Layer Styles: Hey, guys. Welcome back. In this video, we're going to learn about layer styles in after effects. Now, what are layer styles? Layer styles are basically effects we can apply to our layers very quickly, okay? To make our layers look more polished, look more good. So all we need to do in order to add layer styles is to right click on our layer. Then layer styles. Or we can right click here and then layer tiles. Okay? So right, click on the layer, and then come to layer tiles. Now, these are the layer styles. We have the drop shadow, we have the inner shadow, we have the outer glue, inner glue, Bvlinebs satin, color overlay, gradient overlay and stroke. Okay? And we have converts to editable styles. We have show all, remove all. So these are the options under layer tiles. Okay? Now, we are not going to look at all of these layer styles, but we're going to look at the important ones so you can look at the remaining for yourself. So I'll select drop shadow. So I'm just going to ad the drop shadow layer style layer style. Now, as soon as I add the drop shadow, you can see that under our layer, we have what we now C drop as layer tiles, right? So property has been added, which is layer tiles, and under it, we have the blending options and then the drop shadow. Now, the blending options are also options that come along with our layer tiles, and these blending options affect our layer as a whole. Okay? So they affect all our layer styles. So, for example, we have the global light angle, which affects all our layertles and the global light altitude. And we have the advanced blending under which we fill opacity, which affects the entire layer, like you can see here, reducing the fill opacity so we can't see the field color any longer. So we have the color channels as well. We have the red color channel, the green color channel, the blue color channel, RGB. Okay? So if I say off the red color channel, we can see that this guy turns to black because the red is the main channel, right, and so on and so forth. But this is not so important. Let's go to our drop shadows. Now, our drop shadows, it is basically a shadow added to our layer now. We're going to change this color. That's the color of our drop shadow to a black guy, so you understand better because, of course, shadows are black, right? So we have the opacity. You can increase the opacity. Sorry, make this 100. Or reduce opacity, and you can see the effect right in front of you. Okay? We have the global light, okay? Now, we won't look at global light. It's not important for now, we have angle that's the angle of our drop shadow. As I adjust it, you can see that the angle is changing. Okay? The angle is changing right in front of your eyes. We have the distance, which is the distance of our shadow from our layer or from our text, okay? So let's increase the distance and then adjust the angle so you see what's happening. Perfect. Now, it means now it's that our text is getting far away from the background, okay? Because our distance has increased. We have the spread which does this. We have the size which does this, which smoothen out our drop shadow, basically. Okay, just like this. We also have the noise which adds some noise to our drop shadow. Okay? This is too much. So you just want to be adding very little noise, and you don't want the size to be this much if the distance is this much, right? Perfect. So basically, these are the options under the drop shadow. So you can see that we've added drop shadow to our layer. Now, just click here to close it, and we can hide our drop shadow with our eye icon here, okay? So this is our drop shadow. This is our layer with the drop shadow. Perfect. Now let's go to the next layer style. And the next layer style we'll be looking at will be the outer glue or the inner glue rather. So the inner shadow is simply a drop shadow that is applied to the inside, right? So we are looking at the inner glue this time. So inner glue and this is what we get. It basically adds a glue to the inside of our text. We can change the color here, make this bright or whiter. Okay, increase the size. To make it smoother, we choose the size to make it harder. Okay? We have the ring, we have the digita. We have the sauce. Now the sauce is the center. We can make this the edge and we can see what we get. Take it back to the center. We have the technique. We have precise, we have softer. So softer will make it softer and precise will make it harder, right? Yeah, so gradient smoothness, we can reduce this. Okay, we are not seeing any serious effect. Let's just undo and see other stuff. So like our noise, we can also add some noise to this, as you can see. So you just want to add a little noise, okay? Perfect. And then the opacity, right? You all know what opacity is. And then we also have the blending mode. We have it a screen right now. We can take it to normal. We can choose whatever blending mode we want. Okay? I know we've not covered blending modes, but we are definitely going to be using blending modes a lot in this course. So blending modes are basically a way to blend between layers. If you're coming from photo shop, I'm very sure you know blended modes already. There are blending modes also in ADB Los ido. So blending modes are basically way to blend between layers, really. It's nothing too special. For now. So these are the options, right? The blending the layer styles, the layer styles. So I can't find my I can't find my, I think it's the blending mode. Let me just take it back to I think lighting, or screen. Let's check screen. I think it's lighting, yeah. So Lighting is the blending mode. It is a perfect blending mood for our inner glue. So you can see that I've added the inner glue, we can write clique, go back to blending to layer styles, and then the outer glue is simply an inner glue which is added to the outside. So we don't need to look at it. We have the bevel and emboss, and this basically turns our layer to look like a treaty like a treaty layer, okay? So if we open this, we're going to see that we have options like the style. Do you want it to be outer bevel or inner bevel or emboss, okay? So the difference tan can achieve crazy effects, different crazy effects with the bev line and bows. We really covered this in the footage shop course. You can go and enroll in the foot shop course if you've not enrolled, and you're going to learn more about blending modes or how to use sorry, not blending modes, but also blending modes. You are going to learn more about layer tiles, rather, okay? Even more layer tiles than we have here. And we're going to see how we used the bevelin and bows, for example, to create incredible stuff. So these are the options under the bevel and embos. We have the size Okay, we can see what it does. That's the size of our bevo. Okay? We can make this softer, okay? Just like this. Okay, we can change the angle. But the angle will also change along with the angle for the other blending modes, usually. So what else? What else? So you can actually just go ahead and check all of these settings for yourself. Now, we have the color, the shadow color. We can actually adjust the shadow color and the highlight color. So you can see that as we adjust it, making it brighter, we are losing shadows, right? We are losing the dark parts of our effect, okay? So, also with the highlights, okay? If we take away the highlights, we are also going to be losing shadows, sorry, details, okay? The highlight details. So that's it for the bevo line and boss, Lear style. Right click the style. And now I'm just going to look at the gradient of lay so that you then check the meaning for yourself. Ingredient of lee is basically adding ingredient to our text using layer styles. Okay? So we have the blending mode. We have the opacity, you have the colors. Now if you click here, we'll be able to edit the colors of our gradient. So for here, we can click this guy and edit the opacity, okay? Same also with this guy. That's the opacity of our color. You can click the color here to change the color. You click and then change the color. As you can see, click and then change the color. And if you're okay with it, you hit okay. And, this is how we change or edit the colors of our gradient. We can work on the smoothness of our gradient, that's the smoothness between the both colors, the transition, the smoothness of the transition. We have the angle, the tiles, we have the linear gradient, we have the radial gradient, which is basically a circular gradient. We have the angular gradient, which does this. We have the reflected gradient, we have the diamond gradient. But we're going to be working with the linear gradient. We can reverse our gradient, our colors. Okay. Yeah, so basically, that's the gradient. And this has brought us to the end of this video. I don't want this video to be too long. Now I want you to just go ahead and look at the remaining effect, layer styles, rather, the remaining layer styles and see what you get, see what you can create with them. That's the stroke, the satin, the color overlay, and the ones we didn't look at, and the other ones we didn't look at, okay? So this is how our ship looks with all our layer styles. So I'm just going to save this file and make this file available, okay? So you can come and see what I did personally. Yeah, so that's it for this video. See you in the next one. Bye bye. 13. 13 Layer Masks: Hey, Day. Welcome back. So in this video, we are looking at layer masks in after effects. So what are layer masks? What are layer masks? In order to explain layer masks better, I'm going to pull up this image. Now this is the image of a guy, of a man wearing a mask. Now this is a face mask. And what does the mask do? What does it do? What the mask does is it hides parts of the face while exposing parts of the face. Okay? So it hides these parts. Okay, which are covered under the shape of the mask and then exposes this part. We hear the eyes and the lower parts of the face. Okay, so this is what the typical mask does, and that's what layer masks do. So ear masks hide parts of a layer. So in order to explore more, I'm just going to bring up one of our images. Let's bring up this guy with skateboard image, he import, and just go ahead and create a new composition. And then select the image and bring the image in. And I'm just going to open my transform properties and go to transform and go to scale rather. And one of the short cds to reach to scale is just hits on your keyboard. So hits, and you're going to have your scale transform properties. So I'm just going to scale this down a bit. Perfect. Now, let's explore how to use layer mask. So in order to use a layer mask, all you need to do is select the layer you want to work with. You want to apply the layer mask too and then pick your shape tool. Now, you're going to use your shape tool to draw out the shape of your layer mask. So so for my layer, for this particular layer, I want to use an elliptical shape tool and draw an elliptical layer mask. Okay? So you just need to draw it on the layer, just like this. And right away you have created layer mask. You have maxed out your layer, okay? So as you can see, you can click on the path and edit the path like I am doing right now. And you also have these guys, we call them handles. The long these long tails. We call them handles. Now these are used to further shapen layer the layer mask, to further modify the shape of our layer mask. So you see from an ellipse, we are going into we are modifying our shape into something else, something totally different. Okay? So now we've maxed out our layer, and now we have this. Now we can go ahead and create a new solid. Now there is also this way to create solid to create layers. Actually, we didn't cover this. All you need to do is right click here and then go to New, and then now these are your layers, right? So solid. Let's choose a different color. Something like this. I really like this color and hid okay. Then bring it below our guy here, our guy image here. Now, as you can see, we have maxed out our image, we've maxed out our image. So we are now exposing on this part of the image and keeping the other parts outside outside, okay? Basically hidden. So there are things we can further do to our layer mask, so we can select our shape, sorry out our layer, and then open it and we can see that we have a new property. We have a new property named mask, so we can click here to open up the mask property, and we have different different things we can work on. So we have AD, we have subtract, Okay? And we are just going to be seeing the effects we get with them with different moods, okay? So basically, you have Rd and subtract. Okay? That's basically plus and minus. You get. So we also have invert, which does the opposite. So the invert of RD is subtract and the invert of subtract is RD? We can also work on the ship to click here to work on the ship. We can reset this to a particular ship, either a rectangle. So if you reset it to rectangle, it should go back to becoming a rectangle just like this. But we don't want that control Z, and can reset it to an ellipse as well, right? But we also don't want that. Now we have feather mask feather. Now I'll just zoom in so you see what we get with mask feather. Now, I say boost up the feather. You now see that there is a soft edge. There's a softness that appears on the edge. So we now have soft edges. We no longer have sharp edges, right? We have soft edges. Okay? Yes on this that, we have the opacity, so the opacity of our mask just like this. Okay. We then have the expansion, which basically expands the boundaries of our mask. Okay, I just expands the boundary of our masks just like this. Okay? Perfect. So that's basically it. For mask, we can use mask to achieve incredible effects, okay? We can use mask to achieve incredible effect. Yeah. So, I am also going to, I'm going to just delete the mask for now. Okay. And one other way we could add a mask is right click, then go to mask and then new mask. Now it takes the shape of the entire layer. That's the mask. The mask takes the shape of the entire layer. And you can take your selection tool and now start adjusting the mask like this. Okay? The dimensions of the mask, the ankle points of the mask just like this, the points of the mask, okay? And So we've basically done this to our layer mask. We've added layer mask and then we edited the shape, right? So we can undo that or maybe just delete the layer mask. And let's see one more way we can add layer mask, select the guy, and take your pen tool and throw out the shape of your layer mask. Okay? Perfect. So this is one other way we could add a layer mask. Perfect. Okay. And then one of the we could add the layer mask. There are lots of ways to add the layer mask, actually. So one of the way you select your guy, that's the ship and just come and click on your ellipse to add an elliptical layer mask, just like this. Okay? It's going to add it just like this. You can do that with every other ship, every other ship. You Db click and it's going to add layer mask. So these are ways we could use or we can use to create layer mask or to add layer masks. So let me just explore one more effect which we can achieve by using er mask. So I've brought in my children playing videos, okay. That's a video we used in one of the previous lectures. So what I'm going to do is I'm just going to click on my video, right click and then new composition from selection. Now, this is a different way to create a composition. Okay? This is a different way to create a composition. We can create the composition by creating the composition from our selection. Okay? Good. So for this, I just want to take my pentel and then create a layer mask like this. Okay. Perfect. Now the next thing I will do is select the guy and Control D to duplicate, then select the one below and then hit M on my keyboard to bring up the mask option, then select the mask and just delete. Okay? And next now I'll do is select the one on top and then scale it. Okay? Scale it like this. Okay? So as we play the video, we're going to see this we're going to see that we're achieving this kind of effect that looks like a broken glass, right? So we get this effect with a broken glass. Yet if a glass or if a mirror gets broken like this, if a mirror gets broken, we usually get this effect, this unevenness, and maybe I scale it up too much, but you get the point. Okay? Maybe I should scale it up this much. Okay? So this is the effects I want to achieve. So yeah. So you can see how easy it is to achieve this effect this very cool effect using just the layer mask, right? So that's it for this video die. That's it for the video on Lear mask. See you in the next one. Bye bye. 14. 14 Convert Text to Shapes: Hello there. In this video, we're going to learn how to tone our text two shapes here in after effect. So create a new composition hit okay. I'm just going to take my text two and write AE, which stands for after effect. And then move my ankle points to the middle. I'm just going to go to my align panel here and align my AE to the middle of my composition, and I'll hit S to bring up my scale transform properties, which is the same thing as opening here and going here and then going to scale, I'll just scale this up a bit while holding on control so as to scale it gradually. You can hold on control or command on the mark to scale this gradually. Okay, so control the command to scale this gradually. So I'm just going to close this up, and we want to learn how to tone our text layers to ships. So we can see that every layer every type of layer has its features, right? A ship layer gives us certain features that the text layers don't give us. So what if we want to now inherit the features that the ship layers give us on our text layer. So it's going to be important to then convert our text layers to our ship layer. So how do we do that, select the layer, right click on it, and then create and then create shapes from text. So click on create ships from text, and right immediately, you see that our ship layer now turns into sorry, our text layer now turns into a ship layer. And now we have a new layer here. This is a ship layer, as you can see, okay? And then this is a text layer, and the text layer has been off or hidden. So we now have a ship layer, and with our ship layer, we have a field color just like this. We have a stroke color. If you want it, we could add a stroke color. We make this even bigger, a bit bigger. Here, now we have a field color and shoe color, and we've successfully converted our text layer into a ship layer. Okay? Now, it means that we have new properties, okay? We have newer properties. Now, if you open here, we have the transform like usual. And then we now have contents. We have contents, and then we then have the A, and we can now see the path of our text. So it means we can do this. Okay, we can now do this. I'm pulling down shift to move this on straight path like this, so we can do this. So as you can see, we can modify our ship, okay, our text, which we just converted into a ship layer. So this is something we couldn't do with we couldn't have done with we couldn't have been able to do with our text layer, with our converted layer, we are now doing it. So we can go into the parts. And as you know, with this ability, we can as well animate them. So by clicking on our stopwatch icon, we can animate even the movements of our encore points, even the editing of the details of our new ship layers like this, okay? So we can do this. We can do even more. Yeah, so I'm just going to save this file. I just feel like saving it. A text to shape. Hit save. So yeah, this file will made available to you as well. Yeah, so that's it for how to convert our text to shapes. Yeah, and that's it for this video. See you in the next one. Bye bye. 15. 15 Class Project 1 - Kids Playing in the Rain: Hey, there, welcome back. So in this video, we're going to be taking all that we've learned in this module and bringing every knowledge into this video to create our first animation here in after effect. So I promise you, it's going to be incredible. Yeah. So first things first, let's go ahead and bring in our files. So click here and go to the folder. So in the folder, we are going to bring in the children playing, select the children playing Hold on Control and select free background music, and then hold on Control and select the lighteaks MOV file, okay, and then hit in port. Perfect. Now, select the children video and then right click and then create new composition from selection. Perfect. So we just want to create a very short video animation with texts and really most of what we've learned in this module. The first thing I want to do is create my text to select my text, my horizontal text tool, and write happiness. Happiness. Now, I'm using the Clash display font. Okay? The clash display font is really popular font. It's really cool also. And you can get this font on the Internet for free if you don't have it or use something similar to this. So I'm just going to align this to the middle just like this. Perfect, and then reduce the size. Okay? That's a font size. And I just want to have the text happiness is free. Okay? So what I'll do is select my text, my happiness text, and then bring my time here while selecting my text and then go to edit and split layer. So click on split layer. And what we now see is after effects, then splits our layer into two, kind of create a duplicate from the existing layer. So cut our layer from this point, right? So what we now want to do is edit this text. So just click on the text here and it's going to be highlighted. And from here on just write is and then just do the same thing. So whenever you have your caps lock on, it's always going to show you this arrow, right, this refresh split. So release caps lock to refresh views. So you have to always have your caps lock off to be able to see your preview. Okay? So we're also going to do the same thing split layer for the E and then come to the last guy and type free. Perfect. So happiness is free. This is why we want to create happiness. Is free, but I want to make this text a bit longer. Okay, so happiness is free. Okay, so I just want to zoom in and make sure this guy is starting where this guy is ending. So I'll just reduce the timing. For this one, for the e, and make sure everything is aligned properly here as well. So everything is aligned properly here. So we have happiness is free. So we want it to stop here. So stop it here and just click here. Okay, click here on this line, just click and hold and rug it to this point and just release and then right click and then trim composition to work area. So this is what we have. So we have it just like this happiness is free. Okay. Perfect. So the next thing I want to do is start my animation. So I want to animate my scale. Okay, I want to animate my scale. So what I would do is zoom in and then go to my transform properties, go to scale. I can hit a for scale. Okay? And then now we have this guy here. Okay? We have the scale as 100 and the font size has 277.3. So I want to bring my time here and then create frame and then take my time back Okay, and then make this zero Killena so that we have it look like this. So it's killing up. Happiness is free. So we can see that it's doing that too fast. So I'm just going to spread out my key frames like this. Okay, perfect. Happiness is free. Now, I want to extend my key frames, o or I want to actually still scale it, still scale it up, but just a bit, okay? So from here to here, so from here, it's scaling 0-100 and then it's staying at 100. Not really staying at 100. From here to here, it's gonna be scaling from 100 to, let's see, one, one, two, hidena. And then I'm just going to bring it down here. Now, I can hold down Shift and bring my time, and it's going to be just kind of snap my time to the beginning of each film, right? So frame by film. So it's going to be easier for me to go to the end of my layer here. Perfect. So I can now just make this zero hiddena. So this is what we have now. Happiness. Just like this. Perfect. So now the next thing I want to do is just reduce the distance between this and this. So just spread this guy out like this so that it's now faster. Good. So we have happiness. And for this happiness, I think we should make this a bit faster. Happiness. It is free. Perfect. Okay, I want to do one more thing, one little thing. I want to actually reduce the skill for this point. I want to reduce the skill for this point, maybe make this 92. Okay? So that from 92, it scales up to 112. So we have zero to 92 then scales up to 112, and then down. Now, I want to do one special thing. We haven't covered this yet, but I want to just apply this effect, this little effect to our Q frames to make our admission look better. So all you need to do is make select your Q frame. So click and drag on your key frames and right click on your keyframes and then go to Keyframe Assistant and then go to Easy Ease. So click Easy Ease. And now when you play it, you're going to see that the admission looks better. It's not looking mechanic like before, you understand. Before, it's just looking mechanic without any without any easy es. Okay? Right now, the speed is not just constant like before, so we can see that it's more sweet. It's a sweeter animation. If you observe carefully, you get perfect. So that's what Ess does. We're going to study Es incredibly well cure in this course, in further module. So that's it for this guy. So happiness is free. And I also want to do one more thing here. I want to just work on the opacity. For opacity, I can hit T, which stands for transparency and going to open the opacity and I can just create a keyframe, just click here to create a keyframe and then bring it back here and make this zero. So this is what we now have. So it's starting from here, just like this. Ren, select everything here. Right click, Keyframe assistant Es. Perfect. There is a shortcut I can use to expose all my keyframes on my layer. So all I need to do is just hit you on my keyboard, so hit you, and all your keyframes will be exposed just like this. And instead of recreating this for every other text, I instead copy and paste. Okay? I don't want to spend a lot of time redoing what I just did on this layer. So I'll just select everything like this and copy copy Control C or Command C on the mark, okay? And then all I need to do is zoom out And come here to the beginning of this layer and select this layer and Control V. Okay? So when I control V, I can hit U, and we will then see that our keyframes have been copied to this layer. Okay? And what I'll do is I'll just extend my layer to the end of my keyframe like this, and then move this last layer to the beginning and then select it and control V. So that we have happiness is free, okay? Perfect. So happiness, Yes. Free. Yes, guy. So this is our first animation. This is our first animation. Very simple and incredible, very simple and incredible. Happiness is free. So I want to add drop shadow to our text, so dropshadow. Okay? So open the drop shadow, post up the size. And he boost up the size. We use opacity bit maybe 34, then just close it. I'll just copy my drop shadow, select my dropshadow and Control C or Command C on the MAC and then select E and Control V or Command V on the MAC, select three, Control V or Command V on the MAC. So we've just pisted or drop shadows, and the next thing I will do is right click new solid, and I'll just create a black solid and we are going to create mask on our solid. So we want to use our ellipse, so just double click and create a mask around our solid like this, okay? So select your mask, sorry your solid and go to mask and click Invert. Okay? So click Invert, and then open up the mask options, Boost up your feather just like this. Okay? Boost up your feather. Let's see. Let's boost up the expansion as well. So while selecting my selection tool, I can click on the point on my ankle points for my mask and just move them a bit up while holding down shift. Move them a bit up. This guy a bit down, perfect to create this shape. Perfect. Now, I also want to select this guy hit T for transparency, and just reduce the opacity of the entire ship. Yep, so that we have this now, happiness is free. Now I want to just bring this below our text so that it doesn't affect our text. We want our text to be bright, very bright, perfect. Happiness is free. You just created your first animation. So the next thing I would do is add or bring in this guy here. This light leak. So select it and bring it in and drop it here. And we can see that it's not as big as the composition. So I will just hit for skill or bring up the skill transform property and then just scale it up. Okay, scale it up. You can hold on control or command on the mark to scale it up gradually to fill up the shape of the composition or the size of the composition. Then just go ahead and click on the toggle switch button here to expose your blending mode and then change this blending mode to lighten. So let's use lighten for now and lighting is good, but we can do better. Let's say add or screen. Okay? So this is now what we have. Happiness is free. So we can as well reduce the opacity of lights of our lights leak layer, so heat T for transparency or opacity and reduce it just a bit. S 45. Perfect. And if we want, we can as well bring this guy below like this so that it doesn't affect our text. It only affects the layers below. Okay? Maybe I'll just bring it above the gtteOr maybe not. Maybe I'll just bring it below the black int. Then for my black int, I might just boost up the opacity to maybe 92. And then for my lights leak, maybe boost this up to 55 here and Perfect. And then I can duplicate my lights leak. You can see that it just stops here, right? So I can do Control D or Command D on the mark and just bring it to the right hand side. While holding down shift so that it snaps to the end of the previous layer just like this, okay? So when you hold down shift, it makes things very easy. Control D, to duplicate one more copy, hold down shift and do seem perfect. To have happiness, is free. Now, I think we can do one more thing. You just create a new solid, still give this black. Have this below or above every other thing except our text, and then just tt for your opacity, just reduce opacity just a bit. Just not a bit, but so much, okay? So maybe 18%. Yeah, so that we expose our text more you get happiness is free. For the last thing, we can just add our sound, right, our free sound. So these are free sound, drag it in, drop it. And now we have our video and our sound. So our sound starts from around here. Let's just open up the audio waveform. So it starts from here, right? So let's just bring it like this. Perfect. So please up. Yeah, so this will come to the end of our exercise guys, and we've created our first animation. So in order to save this, Control or command S, and then our first animation, then hit save. Perfect. So this file will be made available to you. Now, in order to make sure you have everything linked perfectly because this file contains links from external resources, right? So in order to make sure you don't have a problem opening this file, all I would do is come to file and then dependencies, and then collect files. So we can collect all files, make sure it's all files and then collect. So it's going to open the folder, and I'm just going to collect it in this in this place. So it hit save. So everything will be collected there. So everything will be collected here. Okay? So all you need to do is just come and open this file here, this after effects file, and you have exactly what I created. So that's how to basically export your project so as to have someone perfectly open it up in a different computer. And with this, we'll come to the end of our first exercise. See you in the next video. Bye bye. 16. 16 How to export out of After Effect SS: Hey, Do. Welcome back. So in this video, we're going to learn how to export our video from the last module. So in the last module, we went ahead and created this simple admission. Happiness is free, okay? So in this video, we're going to learn how to export our video out of Adobe After effects, okay? So in order to export your video, you have to come to the composition which you want to export, in this case, which is children playing. And then just go to File and then go to export this Export, and then go to ADT Render Cube. So click Art render Cube. And then the render queue is going to open up. So the render Que is just another composition. This is the render queue, and now you just have to now make your settings, okay do your settings. So just click on this best settings. Click on it, and this window will come up. And right in this window, you can go ahead and select the quality, okay of your render. This is there is best, there is draft, there is wireframe, so you can choose the quality. I'm choosing best. Always choose best for the best result. And then for resolution, you want it full resolution, okay? And these are the most important settings, and then you're going to see the size. You're going to see the size, takes cache. You don't need to select anything here. And really, you don't really need to select any other thing here except for the filame rate. So you can choose between your compositions frame rate, which is 25 frames per second, or you can use 30 frames per second. Okay? So you can just select all of this. You can enable frame blending, okay for all years. And basically, these are the most important settings. Okay. So you just hit Okay and go to the next sentence. Now the next sentence the setence on the opposite module. So just click here. Yeah, so this window will come up, and here you can select the format. This is H 0.264. Now, this is the format. This basically MP four format. So you can select this format if you want P four. But there are other formats. We have the JPEG sequence. We have the QuickTime format, which is the Movie, we have even audio formats like P three, like wave format also. So you can select either of them, whatever format you like to export, your video As all your video in, okay? Push render action. You don't need to select anything here, leave it as known. And if you want to resize, your video, you can resize, okay? If you don't want to resize, you can check this. And then if you want to crop also, you can crop. And basically, you don't need to do any other thing. Okay? You don't need to do any other thing. Oh, select your format and then click Okay. And then next is to select the output location. So just click here for the output location and go to your output location. Okay. Now our output location is the folder exports out of after effects, right? So just write in the name of your video, which is the same name in this case, children playing. And you can see that the video is MP four, right? It's MP four, so hit save. And after you hit Save, you're going to see that these options are now enabled, right? So you can just hit render to render right away or hit Q in AME to render it in the Adobe Media and Coda. So right now, our video is rendering. We're just going to wait and see how it goes. Perfect. So our video is done rendering. Now, let's just go back to our folder to see what our video looks like. So this is our video, let's just play it. Perfect, guys. We can see that we've been able to successfully render our video out of after effect, okay? So this is how you can right away render your video out of after effects. So in the next lecture, we're going to see how to render transparent videos out of after effect, because there are times where you might create something, maybe a lower third, and then you want to use that particular thing or use that particular element in other videos. Okay? Let's say you are a video creator and you want to create video C for YouTube. So you would like to use lower thirds a lot. So lower thirds like all those subscribe buttons and all those subscribe animations, like subscriber animations. So those are examples of lower so you will normally want to export videos like that as a transparent background, just like a PNG image so that you can just take them right away and apply them to your videos. Without having to come to after effects every time you want to publish a new video to export them, right? So we're going to learn how to export transparent videos in the next video. So see you in the next video. 17. 17 How to export with a transparent background: Hey, guys, in this video, we're going to learn how to export the video with a transparent background out of Ab after effect. Okay? So for this example, I'm going to just isolate the texts, okay? That's the texts for this video. So we're going to isolate them and then export them with transparent background. So what I'm going to do is just come to the text. Now, these are the texts. Happiness is free. So I'll just select the happiness, hit Shift and select free. I'll select both sorry, the three of them, right? So the next thing I'll do is just go ahead and click here to isolate them. So click here. I've isolated them, but you can see them because of course, the background is white, right? Right now, I'm just going to edit or change the color of my composition to black. So as to see them properly, okay? Perfect. Now, these are our text, right? This is what we are going to be exporting. So in order to export with a transparent background, you first of all, have to enable transparency, okay? For your composition, you first of all, have to enable transparency for your composition. And then how do we do that? We do that by clicking on this button here. So just click on this button or this icon. Now you can see that we've enabled transparency, right? We've enabled transparency, the next thing we will do is control. Or rather go to file and Export Export, Export and A to render Q. That's the same way to render Q, that's control. Okay? So you can do Control or Command M on the MAC to add to render Q. So when you add to render Q, you can go ahead and do your settings one more time. Click on best settings here, you don't need to change anything just like we did in the previous videos. So hit okay. Now in this one, you actually have to change something here. So just click here. Now you have to change the format, okay? So for transparent videos, not all formats work with transparent video. So the formats I will recommend are QuickTime. Okay? So QuickTime format works well for transparent videos. And then the AVI format also works well. Okay, but we're going to use the QuickTime, so select Quick Time, okay? So select QuickTime and then come here. Now where it says channel, you have to select RGB plus Alpha. So RGB plus Alpha. Now the Alpha channel is the transparent channel. Okay? So you have to select the RGB, which is the color channel and also the Alpha, which is the transparent channel, to select RGB plus Alpha, and for here, you don't need to select any other thing here also, you don't need to select any other thing. Okay? So select this and go ahead and hit okay. Okay, and then just click for your location and we want to exported to the same location, right? So let's just a transparent. Or let's say happiness is free, transparent. Happiness is free to transparent. Perfect, and then it save and at render. Perfect. So our rendering is done, and let's just go to our folder to see what our video looks like. So open your folder, and this is our video. Now we can see that the size is larger, right? It's large. So that's one characteristics of MOV format or QuickTime format. They are usually large. They're usually almost lose less, that's without any reduction in quality at all. Okay? So right now, I'll go ahead and bring it into after effects and put it on a new composition to see if the transparency holds true, right? So I'll just click it and drag into after effects and drop it there. Perfect. Next, I'll create a new composition, hit okay, and then just bring it into our new composition, and disable transparency for new composition. Okay? So now let's play it. Now you can see that our video is playing. Let me just hide transparency one more time. And let's play it and see. Now you can see what's happening. It's even exported with the sound, right? So it's non transparent. Our bagramming itself transparent. So if I just disable the transparency, we can now see that our transparent video is playing perfectly. Yes, guy. So that's how to export the transparent video out of after effects. Okay? That's how to export the transparent video out of after effect. So in the next lecture, we'll learn how to export in gift formats out of after effects. So see you in the next video. Bye bye. 18. 18 How to export GIFs from After Effects: Hey, D. Welcome back. In this video, we're going to learn how to export our video from after effect in GIF or gift format, okay? So GIF basically stands for graphics interchange format, okay? So it's a format which was designed for videos that need to be of really small size without losing significant quality and color, okay? And then gift formats are commonly used on the web and for simple videos like short looping animations and low risk video clips. So right here, we have our video from the previous lectures. And in this video, we want to export our text once again. So we're just going to select our texts or text animation, which is free. Okay, sorry, happiness is free. So I'll just go ahead and isolate them one more time. So click here to isolatee them. So we have this happiness is free. Okay? So we're going to export this little animation 16 seconds in the GIF or gift format. So or just go to File and then export and add to the Q. You can also do Control or Command M on the MAC to do this. So we don't need to change anything here. We don't need to change anything here. We don't need to change anything here. What we need to do is just click Add to AME, because we can't really export the gift format. Using after effects. So we need a separate application, which is the Adobe Media encoder which goes hand in hand with video software like after effects and Premiere Poo, right? So if you don't have the Adobe media encoder, just go ahead and install it, and when you're done installing it, just click Q in AME and then the Adobe Media coda should open up. This is the opening screen for Adobe Media and Coda. It's going to open and then load our video here. And right there, we can now go ahead and work on our GIF format, right? So this is doing media encoder and we can see that our video was loaded here. So all you need to do is come here, just click here and then select AnimitdGIF or AnimitdGiF and this is it. So AnimitdGi select it. And now you can click here. Okay. If you click here, it's going to open some settings. So just wait for the dynamic link to be created. Okay, so these are the settings for our video. Okay? So right here, you can select once again, unmitedGif or any other format you want to export your video in. For preset, just maintain unmitedGiF. Okay. And basically, you don't need to change any other thing here. You don't need to change any other thing here. You can click here to select the folder where you want to save your file, and it's going to be our folder from the previous videos to click Save. And if you want, you can use render in maximum quality, but that's not important. For this example, I'm just going to click Okay, and then come right here and click on the Start Queue button. So just click here or Hidena on your keyboard and we can see that our GIF is now exporting. So we're just going to come back when the video is done exporting. So our video has been exported. I'm just going to go to my folder right now. So this is my folder, and this is our video. Now, you can see that it's just six NB. So I'm just going to plead it. And this is basically our video. Happiness is free. Yeah, so that's the GIF or gift format for you. And now we can go ahead and use this video on websites, and it makes the whole thing very easy, okay? Yeah, that's it for this video on how to export our video from After Effects in GIF or gift format. See you in the next one. Bye bye. 19. 19 Getting started with Adobe Libraries SS: Hey, guys. Welcome back. So in this video, we're going to learn about Adobe libraries. We're going to learn how to use Adobe libraries to simplify our workflow here and after effect. So what is Adobe library? Adobe Library is a feature in Adobe software in most of Adobe software like Photoshop and Adobe Illusido. And this feature enables us to work across these software. So with this feature, we can basically work from Adobe After effect to IllusidO to Photoshop to in design to whatever Adobe software, which has the Adobe library feature. And this makes it very easy. And apart from that, Adobe library Oh, it's a way to kind of store our files as well. Okay? It's a way to kind of store our files, help us organize our files even better. So without further ado, let's go ahead and see how to use AB libraries here in after the effect. So go to Windows and then libraries. So go ahead and enable libraries. So the library panel will then open. Now, you need an AB subscription to be able to use libraries, okay? It's not free. You have to have an AB subscription to be able to use libraries. So the first thing we do right now is click here to create a new library. So click A and then NIM our library After Effects course. Yeah, so click Create. And now we are inside our libraries. And inside our libraries, we have a number of buttons. We have this guy here, which enables us kind of update our library. So let's say we add files into our library. We can go ahead and click here to refresh the files. Or let's say we add the file from a different software like Illustrtor, we can come here and then click here to update the file in case the file has not been updated, okay? Or, in case the library has not been updated, we can click here to create a new folder, click here to delete an item from our library, okay? We also have this button here and this funnel here, which helps us organize our files. This button here also helps us organize our file, whether we want to see our items as a list or otherwise, we can click here to search items within our libraries. You can click here to invite people to have access to our libraries, so we can click here to invite them and the Adobe Creative Cloud app will then open from there, you can go ahead and invite people to have access to your library. We have this button here, which enables us, okay? So AB Creative Cloud app just got open, and you can see that now we can invite to this library, right? To the after effects course library. And we just have to put in the names or the emails of the individuals, and then we can now send them an invite. And yeah, so that's basically how to invite people to our libraries. Let's go back to after effects. Okay? So apart from that, we can close our panel. We can get a link to our libraries. We can rename our library, we can delete our library, we can import and even export our library, okay? We can import and even export our library. So let's go out of our library by clicking here so we can go back. And now we see that these are all the libraries I have so far, okay? So let's say you are working on a branding project for a company or for a client, you can create library specially for that project. And let's say we start working in Illustrator right? Since it's a branding project. So right here in Illustrator, well, we can see that my library has been updated, right? Yeah, the library I created in after effects has been updated. So I am here in Illus Rito and we are just going to take this new HHF creations logo, which we have and then add it to our library. So far, I haven't provided you with this file, but let me just go ahead and do that. Let me just go ahead and save this. I'll just go to file and then save a copy. Now, save it in your project's folder so that you get access to this file, right? So let's see HF creations new logo. Okay, so you can see that it's an after Adobe Losito file. In case you don't have Adobe Los Stridor, you should install a Ado Bossi Do and you'll be able to open the file in Ado Bosto right just go ahead and open your file, and now we are going to use this logo in our library. So just go ahead and open your libraries and add drag it and drop in your library. Okay. Now, there's one thing we can't do in Illustrito sorry in after effects so far, and that's adding items to our libraries, okay? So we can't really add things to our libraries from after effects, but we can add from other software like Illustrito and Photoshop. So go ahead and add the graphic or the logo to our new library and go back to after effect. And right here in after effects, we can now see that our file has been updated. So it means we can access this file right from after effect. So I'm just going to go ahead and create a new composition, maybe give you a white background. Hit okay. And all I need to do is click and brag, and we have now imported our logo into after effects. Okay, we've now imported our logo into after effects. And actually, our logo is of a small race, and that's due to its size from here. So what I'll do is I'll just let's see we skim this and Um, so just go ahead and rescale it and add it and add the reskilled version. Okay? So let's go ahead and add the reskilled version and then go back to after effect. Perfect. Now, go back to after effect, and now this is the reskilled version, right? So let's import the reskilled version and try bringing it here. Now we see it's of a bigger size, right? So your resolution or the size of your artwork matters a lot. So I'm just going to delete the small one hits to rescale it. Yeah. So we can see that it's been very easy bringing in our file from Illustrator. Yeah. So basically, that's how you work within or between softwares. Now, if you go back to Photoshop or if you go to Photoshop, we then see that on the libraries, our folder or our library has been updated. So we have our library also in Photoshop, and we can do more stuff. We can bring it in. It, okay? We can do further stuff. Let's say we want to add effects, and we can add the effect and then update it back into our libraries, okay? Because it's also possible to add things to our libraries from Foot shop. But it's not possible to add things into our library from Illustrator or sorry, from after effect. It's only possible to just take things out of our library, okay? So you are basically bringing stuff from softwares like Illustrator and FoodShop and then bringing them out into softwares like after effect and then working on them, right? So we can go ahead and maybe do our logo animation with this file or further process it. So that's how to work with libraries here in after effect. And actually, you can do more with libraries in Photoshop and Illustrator. Unlike after effects, where you can't really do much, okay? So if you want to learn how to really work and do magic with libraries or do more stuff with libraries, I would advise you enroll in my Photoshop and Illustrator courses where we dive deeper into libraries, okay? So that's it for this very quick video on libraries. See you in the next one. Bye bye. 20. 20 adobe color: Hey, there. Welcome back. So this is Adobe Color. You can access this site by colo.adb.com, by going to colo.adb.com on your browser. It's going to bring you to this page. So this is Adobe's color resource for designers like you and I, and this resource can really help you in elevating or refining your creativity. It can really help your creativity in the respect of selecting colors and working with color. So here is the home page, and you just get to know more about the tool. In the homepage, and you can go through the homepage to see what there is. But I'm not going to go through the homepage because I want this video to be quick. So right here on top of the manubr, you have the Create panel. If you click on Create, it's going to take you to the create panel. Okay. And we have the Explore panel, we have the trend panel, we have the lab panel, and we have the Libraries panel. Okay? So here in Create, you are able to create color themes. Okay? You're able to create color themes, and you can add those themes to your libraries. Okay? So what we're going to do is we're going to create a color theme with several work flues because there are several work flues which you can use. Okay? For example, you can create with a color wheel, and this is the color wheel right in front of you. You can also extract color from or an image, for example, you can extract color themes, you can extract gradients. Okay? So this is the color wheel, and the color wheel is just an arrangement of colors like this, and this forms the basis for a lot of things we do with color in design. Okay? So we have the primary colors, the secondary colors. And so on and so forth them. Very sure you've heard about primary colors and secondary colors and all that. So we have what we call the color harmony rules, and this is a way that designers have created over time to use colors more intelligently. So, for example, if you click here, we have what we call the analogous colors, and this is the arrangement for the analogous colors. The analogous colors are colors that are arranged next to each other on the color wheel, just like you can see here, okay? So with this tool now, we can create analogous colors, and as you can see, the themes the colors in the theme are changing. So the arrangement doesn't change, but the colors can change, right? So all of these colors you see now are analogous colors. Okay? All these are analogous colors, and you can click here to change the color mood. We have RGB, of course, you know what RGB is. We have HSB and lab and LIB so basically, this is how to change or how to adjust or a dt or color. And as you can see here, we have the color codes. We can copy the color code, copy the color codes if we want, okay? We also have the monochromatic colors. So the monochromatic colors are arranged this way on the color wheel, so you can see that the arrangement doesn't change, but the colors change, okay? We can go round the color wheel and have several versions of monochromatic colors. So come here, we check the triadic colors. They arranged in a triadic format, okay? In a triangular format just like this. We have the complimentary colors, the split complimentary colors. Okay? So all of these are just arrangements of how these colors can be arranged to make sense, right? And now, right here, let's say we create a color theme using our color wheel, we can come right here and then write in the name of our color wheel. So let's see my color theme, okay? And then we can put in tags, we can publish the theme Okay. And we can as well add the theme to our library. So if you just click here, you're going to see your libraries. So if you can remember from the previous video, this is the library we created, right? So we select this library and then click Save. You're going to save it to our library, like you can see here. Okay? Now, you can go back to after effect. Now here is my library, and we can see that the new color theme has been added, okay? So we have our color theme, my color theme, and all of these are the colors in no color theme. So we can go ahead and use these colors for our project. Here in after effect. Go back and we have to extract color. Now with this, we can extract color from an image. So you click here to select your image. Let's say we want to use good to download. Let's say we want to use this image. Kit, okay? Now, you can use a random image, right? Mustn't be this particular image. So we can see that right away. I go ahead and selected colors from our image and then created a theme. We can as well add this theme to our library. Okay, we can give you the name and then add it to our library. So it's been added to our library. Go back to our library. You're going to see that. Let's just update this. Yeah, you're going to see that the theme has been added, right? And this is available throughout our Adobe software, okay? So you can get access to this in after effects, premier pool, illustrator, Photoshop, and so on and so forth, in design and so on and so forth. So that extract color for you. We have the extract gradient. So it's going to extract gradient from our image, okay? So you can see the gradient that's created. You can still save them to our team. Okay, so these are all ways to create color themes using this tool. We have Explore and on the Explore, you can go ahead and explore the themes other people have created. Okay? So you can explore them and also add them to your library. You can save them as a JPEG. You can add to library, can save as a JPEG, okay? You can download them as a JPEG. Okay? And you also see the names of the artist that created this theme. So it means if we publish if we enable publish them here, we can also others can also see the themes we create, okay? So that's how this thing works. So you can go ahead and check all of these for yourselves. You can you can, like, filter your search by thumbs, okay? So for example, summer, it's going to show you summer related color themes, okay, neutral palettes, primary colors, okay, primary colors, or vapor wave, spring and so on and so forth. So it depends on what you are looking for. It depends on what you want to create basically. But this can be an incredibly important tool, an incredibly really useful to basically for your creativity. So we have the trends, and right here in trends, you basically see the color trends based on several creative industries. So for example, we have the architectural industry, you're going to see the color trends, the color theme trends. Okay? So these are the trends currently in the architecture creative space, right? So for example, we have this image and we have the color theme from this particular image. We have the creator here, and we can even see the B hands project. You can get access to the BhansPject where the color theme has been extracted from. That's how this thing works. You can go to game design, you can go to flavors, you can go to travel. Basically, the list is quite endless, possibilities are quite endless. You can see this guy, so you can click here to view the project in Bay hands once more. Okay, we can see incredible projects, incredible stuff here, incredible stuff. So that's how we get these color themes. That's how we get these color themes. We have the lab, and here in lab, you can recall your artwork, your vector artwork. So you have to bring in a vector artwork like an Illustrator file or an SVG file. Okay, so all of these are vector artworks or an ESP file, but this is not a vector course we're working on right now. So but if you bring in your file here, you'll be able to recolor your artwork, means you'll be able to create several variations of your artwork, several color variations of your artwork using these themes here, okay? Yeah, so that's it, and then you get to see your libraries. And yeah, we have other tools here, but I'll just let you to explore them for yourself. Okay? The most important thing is what we've covered right now. We've covered how to create color themes using this tool and how to see color trends, how to see what other creators are working on, what other creators are creating, okay, so as to be in line or be in tune with the current trends. So that's it for this video on Adobe Color. I hope this tool becomes really part of your arsenal, and I hope you really find a way of bringing it into your creative workflow. It can be of immense value to you, okay? Yeah, so that's it for this video. See you in the next one. Bye bye. 21. 21 Track mattes SS: Hey, D. Welcome back. In this video, we're going to learn about track mats in after effect. So track mats are used to create transparency effects in after effect, okay? And they are a bit similar to masks, even though they give us more control and give us the ability to create more advanced effects as compared to masks. Okay? So I'll just go ahead and create a new composition here. 1920 by ten t and then go into my folder for this module, which is useful after effect skills, and then bring in this lady with birds video, select the video and click Import. I'll just go ahead and bring in the video, bring the video into my composition. Hit ask for scale, rescale it just the size of my composition. Yep, and then come here, right click and then new and then new Shapla. So for my ship layer, I just want to select a polygon and then draw out a polygon. So for my ship layer, I want to draw out a pentagon, sorry, an octagon, which has five sides. You can use any shape, actually. You mustn't use a pentagon like me. So just go ahead and draw out your shape, and I'll just give this a solid color. Mine is set to ingredient right now. Just click on the name fill, and then select this guy, this second guy, which is the solid color. Given the solid color. I'll also change the color, even though you don't need to change the color for this effect to work. Okay. Perfect. So now we are going to start with the first type of track mats, which is the Alpha mat, okay? So what's an alpha mat? An Alpha mat is a type of track mat that uses the Alpha channel information on one layer to create opacity effects on another layer. Okay? So every layer in after effects has an Alpha channel. So for example, we have isolated just my shape layer, right? I want to prove to you that my ship layer has an Alpha channel, okay, that every layer has an Alpha channel. So an Alpha channel is a transparency channel, okay? It enables us or it shows us that our layer has the ability to be transparent or has transparency in it. So for example, this layer has the shape of an octagon, and we have the ship being opaque and outside the ship being transparent. So if I just come here and then enable Alpha. We're going to see that within my ship, I have the white color, and outside my ship, I have the black color. So for Alpha channels, white colour reveals while black color conceals. So that's why you are seeing black colour around my ship that's representing the transparency of my ship. That's why when I trigger or when I bring it back to RGB and have my transparency grid on, you are going to see that the space which was shrin black is the space with transparency, right? So this proves that our ship or layer has an Alpha channel. So that's the channel we are going to be using to drive transparency on this video layer. So select your video layer, and then come here where it says track mat, you might not see this button or this option. All you need to do is to click on the Toggle Switches slash Moods button. So if you click on it, you're going to be able to see it if you're not seeing it right now. Okay? So click on and you're going to be able to see it. So you're going to be able to see the track mat. And the track mat feature was or is a bit different in the versions of after effects. So this new technique of track matting was brought or was introduced in, I think after effects 2023. Here there's Latsis version. So, this new system makes it very easy to track mats, okay? And it doesn't take account of the positioning of the layers, okay? The layer can be here above or the ship layer can be above this girl layer, and it's still going to work unlike the previous versions of after effects, which have to have the layers arranged in a specific way, okay? So if you have older versions, of after effect, it's still possible to do track mats, only that it's not going to be this easy. It's not going to be this easy. I'll advise you to have the latest version installed. In order to use the Alpha channel of my ship layer to drive transparency, on my video layer, all I need to do is to select my video layer and then come here to Track Mat and then click here and select my Ship layer one. Okay? So select it. And now you can see that my video only appears within my shape, and we now have our shape visibility turned off automatically. And then we have some two little icons here that have appeared on our layers and on my layer panel, we also have this button or this icon showing us that we've selected the Alpha Mt. Okay? So this is the alpha mat. If you want to invert our MT, we can click here to invert our MT. This is an invert of our Alpha mat, right? So we can click back to take it back to what we had before. And yeah, so this is the alphamat now. The difference between the track mats and the masks is that the track mats give us the ability to work on our layers individually. Okay? So we can kind of work on the transform features of my ship separately from my layer, unlike masks which are automatically connected to the host layers. Okay? So it means if I select my ship layer right here and I move it, we can see that I'm moving it and the video is not moving, right? So it can move and transform independent of the video. So that's one feature that this track mats give us, okay? And now the next type of track mat is the lumarmt. Now on the lumar mat, all you need to do to enable this is just click here, and now you've enabled the lumar mat. Now what's the luma mat? The lumar mat uses the brightness values of the ship layer. To create the opacity effect on our video layer. So the brightness values like black and white, right, like black and white. So if we now, for example, select our shape layer and then select field and bring this field to white, we can now see that we are seeing our video, we are seeing our video fully, but if you take this to black, our video is hidden gets hidden rather. Okay, our video gets hidden. So it recognizes the black and white values, instead of the Alpha value like the Alpha Mt. So you can also invert this by clicking here. Okay? We can also invert this by clicking here. Yep. So that's the Lumar mat for you. That's the Alpha mat and the Lumar mat. These are the two types of track mats, and you can do magic with them. You can do magic with them. So we can just take this back and there is another way to create the alpha mat or rather the track MAT effect. Instead of coming here to select, you can just click on this Pick Whip icon. This button here, just click on it and drag it to the layer which you want to use for track mat. Just drag it and release and now you can see that our track mat has been achieved. And this new technique of track mat enables us to use one layer, just like our ship layer here as a track mat layer for multiple layers, for multiple videos, just like how we have it here. So we can have multiple videos and use just one layer. As the track mat layer for all of them, as a track mat layer for all of them. Okay? So that wasn't possible with older versions, but the new version of track mats makes that possible. Okay, but we're not going to explore that in this video, okay? So I'm just going to select my shape layer one more time and give you the ingredient field. So select the field here and select the gradient field and heat okay. Then click here to adjust my gradient. Now, we can see that my gradient has white hair and black hair, so we hit okay. Now, because of the nature of my gradient, we can now see that we have basically divided our shape into two, the transparent part and the opaque part. It's just flowing gradient or the nature of our gradient. That's to explain the track martin or the lumar tract martin for us even better. So you can just take this back to the alpha mat and everything just goes back to how it was before. So it means we can select our shape here, hit P for position, maybe, hit P for position, then just create a key frame and then bring this to the right hand side. Just like this, select everything, right click, KF assistant and easy ease. So if you play this now, you don't see that. Shape is moving without our video moving, okay? So this is basically the fundamentals of track martin, okay? I don't want to go advanced in this video because I just want you to understand the concept and how this whole thing works, how the track martin works, okay? So that's it for this video on track Mats. See you in the next one. Bye bye. 22. 22 Frame blending, Invert selection: Hey, welcome back. In this video, we'll talk about frame blending and select inverse. Okay? Now, these are little things in after effects, but they can go a long way in making your experience better. Okay? So what is frame blending? Frame blending is basically a way to blend between frames. Now, this comes in handy when you have messed with the frame rates of your video. So you can mess with the frame rates of your video by maybe quickening your video, maybe speeding your video up or slowing it down. So when you adjust the speed of your video, these are instances where frame blending can come in, and maybe some other instances as well. But these are the most common instances that frame blending can come in. So frame blending has a way of making your video better, making your video smoother, okay? So if you apply frame blending, it now turns as if your video was shot like that originally. So you can apply frame blending by just right clicking on your video. And then on your layer, and then go to frame blending. Now this is frame blending. Now, there are two types of frame blending. We have the frame mix and the pixel motion. So these are the two types of frame blending, and now I'm just going to explain them. The frame mix is the simpler type of frame blending. Now, this metal simply blends between frames by feeding in between them. Then the new frames are created by blending the pixels of Adjacent frames and it results to a smoother transition between the frames. Then this method is faster to render, but the results can sometimes be not so good. It can result to ghost inner times and then double limaging effect, especially if the scene is a first scene or is a first video. This is best for simpler projects or for projects where rendering time is a very major requirement. You get. So that's the frame blending for you. And then we have the pixel motion type of frame blending, which is more advanced or more sweeter kind of frame blending, right? So this one it analyzes between the motion of pixels between frames, and then it interpolates new frames by creating new pixel data based on this motion. Now, this can be a bit not easy to understand, but just know that this is the better or yeah, the better kind of frame blending, even though it's more expensive in render time, but it gives you the best result. So we can see that frame blending is currently off for this layer. We can enable it to enable frame blending. And then this is frame blending as well. This is frame blending. We didn't speak about it in the video where we explained the features of the layer. That's because I wanted to dedicate a specific video for it, okay? If you have it like this, you click one, it's going to give you the first one, which is the frame mix type of frame blending. And if you click it one more time, it's going to give you the pixel motion type of frame blending. You might not see it's in effect in this video because we are not messing with the frames, right? So but this comes in handy where you are slowing down your video or making your video faster. And in the next video, we're actually going to be slowing down our videos and making our videos faster, okay, with the next features which we're going to be looking at. So this knowledge comes in handy in this video, okay? And the next thing I want us to look at is what we call select inverse. Now, this is a very simple feature. Let me just go ahead and open Puja Crowder. So open recent of recent and then our first animation, right? So we don't need to sieve this, so don't sieve. Yeah, so this is our first animation, and we can see that we have a lot of layers, we have a lot of layers. So let's say we want to select all the layers except the text layers. So how do we do that? We know that we select we can start selecting them one by one, okay and maybe hit shift and then just select them like this. But let's say we have the text layers in between them. It might kind of give us a bit of headache to select them one by one, okay? So there is a way we can select the text layers because they are fewer and then Invert select so as to select the remaining ones which we actually wanted to select. So when you select the text layers, then you can just write click here or we click here, and then go to select Inverse. This is Select Inverse or invert selection. So Invert Selection, and now you can see that all layers have been selected. So this is a very quick one, very little feature, but it can come in handy at times. It can come in handy. Can really save your speed at times. So these are what we are going to be covering in this video. And yeah, so that's it for this video on frame blending and invert selection, very quick one and see you in the next video. Bye bye. 23. 23 Time Remapping 1: Hey, welcome back. And this video, we're going to learn how to do time remap in After Effects. Go ahead and create a new composition and then go into your folder for this module and bring in this video, adorable puppy running. So Import. Yep. And then drag the video into the composition, scale it down to the size of my composition. And this is basically the video of a puppy running, okay? I'll just trim my composition to the length of my video and then trim come to work area. And yeah, this is the video of a dog running, right or of a puppy running. So time remapping is a way of adjusting the speed of our video using keyframes. Those keyframes are what we are going to be using to control the speed of our video. Okay? So in order to enable time remapping, all you need to do is right click on your video and then come to time and then time remap enable time remapping. So if you click Enable time remapping, you can now see that two keyframes have now been added to our video. So we have one keyframe here and one keyframe here, and then we have the time remap effect added to this layer. Just like this. So we have the speed of this entire video within the two keyframes, okay? So this is what we have. And there has been no change to the speed of our video so far. But as soon as I select my keyframe here and start to move it to the left hand side, we are basically reducing the size or rather the length of our video by compressing the speed. You get so it means. Okay, so our time is here now, and as my keyframe is here, we can see where our dog is. But as soon as I bring it, further, we can see that I'm taking my video closer to the end, right? So I'm kind of spinning my video. So this is now what we have. So we can see that he's faster now, our dog he is faster now, right? Although he's faster now. And let's just take it even closer so as to see the effect more exaggerated. So we can tell how fast our dog is. So that's basically time remapping. And in this instance, you need to enable frame blending to properly blend between the flames, okay? Because like I said, in the last video, by messing with the frame rides or the speed of our video, we actually need the frame blending to go in and blend things out, okay? So that's time remapping for you. So there are lots of ways we can use time remapping to create amazing effect, okay? Amazing effect. So, for example, we could bring our frame here, or rather our time here and then click here to create a new keyframe and click and bring it here and then click here to create a new keyframe and just basically move this guy here like this. So this is now what we get. We get our dog running and then it's going to speed up here. So we see it's speeding up here, right? So it's speeding up here. Okay, it's speeding up here. So let's just try let's just do one more thing. Let's go ahead and create a new keyframe here and one here. And let's just compress them to create a fter movement or fter movement around here. Okay? So let's play this and see. So we can see that it starts slow speed up and continue slowly and then speeds up to the end. You get. So let me just move these two keyframes here a bit and then just move this guy here, bit, just like this and then play. Yep. So we can see the incredible effects we're achieving with time remapping. Yeah. And we can do a whole lot of effects, a whole lot of things. Okay? We can create more one more and just adjust them. Okay? So we have it slow and then speeds up and then slow and then speed up, and then you get the point. So that's basically it for time remapping. Now, there are a lot of complex toff we can use this to achieve. Okay, there are a lot of complex top we can use this to achieve. Okay? But of course, we're just kind of scratching the surface here. We're just doing an introduction. You know what, I'll just did this keyframe and then create one from here and then move it just like this. Yeah. So we can see how we've basically adjusted the speed of our video, the speed of our video. So after doing this, just go here, click two times to enable your frame remapping or sorry, your frame blending. Okay? So click and it's going to play better. It's going to be smoother. It's going to be smoother. So just allow it to render first and then play one more time. So you can see how smooth it is, how sweet it is, okay? You can basically observe it. You can practically observe the richness in motion, the smoothness in motion, you can see it. Incredible. Incredible. So that's basically time remap for you. That's basically time remap for you. And when we finally study keyframes and the graph editor, you're going to see that there are lots of incredible things we can achieve just by messing with the graph editor and also with the keyframes, okay? So for example, you can do right click and EZ is them. For starters. Okay? This immediately makes things even better, okay? Without going into the graph editor and doing more stuff. So that's basically it guys for time remapping. That's basically it for time remapping and that's it for this video. In the next video, we're going to look at more time related features in after effects. So see you in the next video. Bye bye. 24. 24 Time Reverse, Stretch anf Frame Freeze: Hey, D. Welcome back. And this one, we're going to learn about time reverse, time stretch, and frame freeze. Okay? So go ahead and create a new composition and bring in the image, sorry, the video or your adorable puppy running video, bring it into your new composition, scale it down to the size of your composition. Perfect. And yeah, this is the same video we used for the last effect, okay, for the time remap effect. Okay, now this is the time remap. This is the final result for the time remap. But by the way, let's go back to composition two. And now we are looking at time reverse, time stretch, and frame freeze. Now what's time reverse? Time reverse is basically reversing your time. Let's say we want to reverse our time from here, we can just maybe split our composition. So edit and then split layer. We can do Control Shift D or command Shift D on the mac and just delete this guy, and then Control J to duplicate this one and then bring this one just here. Okay? Let's just bring it here. Okay, let's start. Let this one start immediately where this one is ending. All you need to do now is just right click on this, go to time, and then time reverse, time reverse. So click on time reverse, and it's just going to reverse the time. So let's play and see. This is what we had. Okay? Now we're going to have the reverse, okay? This is just the reverse. You get, this what we had and this is reverse. Yeah, so that's time reverse for you. It's a very simple effect, and that's just what it does. Time reverse. Perfect. Now the next one we are going to be looking at is the time stretch, right? The time stretch. Now, this is the time stretch, time stretch. Now, time stretch, what time stretch it does is, it kind of fastens up our video or reduces the speed of our video by a percentage. Okay? So we have the stretch factor and we have the new durion. Okay, so there's an old duration. And now the old duration for this guy is 4 seconds, 12 milliseconds, right? So as we adjust the stretch factor here, if we make it 200, we're going to see that our time gets doubled, right? That's our duration, our new duration gets doubled. It means our video was slow down. So if I hit okay, we now see that our video is longer down and it's basically slowed down, so the speed is slown down. You get let me just undo that on Z. And now go back to time and time stretch. Yeah, time stretch. Now if I make this 50, we can now see that our video length was slashed by half. So we hit okay. Now we can see that our video length is slashed by half, and it's way faster now. It's way faster now, it's way faster. So that's basically time stretch for you. It stretches the time by a stretch factor. And then the last one is the frame freeze. So this is frame freeze and frame freeze basically enables you freeze a frame. Let's say we want to freeze from here, we can do Control Shift D or Command Shift D to split the layer from where we want to freeze it and then right click and go to time and then freeze frame. So you click on freeze frame, and now you can now see this freeze keyframe. This is the freeze keyframe. Now it has been added to our layer at this point. So it means we can start playing our video and then when it reaches here, it's just going to freeze just like this so we can see it's freezing, right? So that's basically frame freeze rather for you. Yeah, and with this, we'll come to the end of our video on time reverse, time stretch, and frame freeze. See you in the next one. Bye. 25. 25 Precompositions: Hey, in this video, we're going to look at pre compositions in after effects. And to look at this, we're going to use one of our previous projects, that's our first animation project. So go to file, go to open recent, and then our first animation. So bring it in. Yeah, and this is our first animation, right? Yeah, so what are precompositions? Pre compositions are a way to group our layers together. So let's say we have lots of layers and we want to group them by their type. So let's say we want to group them by the text. So let's say we want a group text together so that we can apply effects to the entire group, okay, or maybe do transformations to the entire group together. So we can achieve this by creating a pre composition from our layer. So select your text layers in this case, and then right click on them and then go to precompose. So click on precompose, and this precompose dialog box comes up. Now you can type in the name of the new composition, okay? I'm just going to leave it a precompose one, and you can enable adjusted composition duration to the timespan of the selected layers by clicking here. But that's not too important. Basically, you just need to give it a name, okay, and then hit okay. So it basically creating a new composition with these files in it, okay? And adding the new composition here in our old composition. So that's the way we group layers together in after effects. Now with this, we can we can work on the group entirely by working on the new group, okay, the new composition. So like I just adjusted the transform, that's a position. You then see that all other texts gets transformed as well, got transformed as well. Okay? I'm just going to do this. So that's precomposed for you. That's precomposed for you. You can right click here and the treat this as a group. Okay, so that's basically precomposed for you. It's very simple but can come in really handy, okay? It can help your work very much. Okay? Yeah, so that's it for this video on precompositions. See you in the next one. 26. 26 Content aware fill: Hey, there. In this video, we're going to look at the content aware fill feature in after effect. So go ahead and create a new composition, hit Okay, and then go into your folder for this module and bring in this video boy on a swing. Okay, Import. And actually, we don't need to create a new composition. We're just going to create our composition from the image, sorry, from the video, okay? So select the video that's right click and then new composition from selection. Yeah, and then we can just delete this composition, the composition one. Yeah, so this is our video, and we're going to explore content aware feel with this video. Now, what is Content Aware feel? Content Aware feel is a feature that enables us erase parts of a video or footage and fills the erased part automatically. Okay? So after effects, is going to calculate what is supposed to be there, and then it's going to fill the erased part automatically. So that's content away feel for you. And we're going to explore that in this video. So go to Windows and on the Windows, you're going to be enabling the content aware feel panel, right? And this is it. Content Aware feel. So select it. And now, the first thing you have to do is, first of all, select the part you want to erase. Okay? So for this video, I want to erase this thing here. I don't know what it is, but it looks like a wood stump. I want to now select it with my pen tool, select your pen tool, select your video, and then just create a mask around your shape. Around it, just like this. And then hit for your mask and just invert it. Invert it. We want to cut this part out just like this. And then when you have it like this, just come to your content away feel panel and then click on generate fill layer. Click here, and now you be asked to save your project, right? So let's just see it as content away feel. And then heat save. Now, after effect, it's going to do its magic. It's going to analyze the clip and then feel the irased part, okay? Now we can see that we've been able to generate a feel layer covering our erased layer, right? And it has created a new layer for this. So if I hide my new layer, we now see that we have our erased part showing. And when I enable this, we're going to see that this was just added. This was just generated by after effects and then added to cover the erased part. Okay? So let's just play it and see. So this is what we now have. Okay? So the effect is usually better when when the erasing is smaller, right? Or when the place you want to erase is smaller. So we can see this artifact here. I don't know why it generated that, but that's also due to the fact that the part we wanted to erase was a bit big, right? So yeah, so sometimes you might need to do this a couple of times to get a better result. So you can go ahead and hit generate filer again, and then you might get a different or a better result. Okay? So that's basically it for content aware feel in after effects. See you in the next one. 27. 27 Stabilize shaky footage: Hey, guys, welcome back. And this video, we're going to learn how to stabilize shaky videos here in after effect. Okay? So that's one of the very few most important things I recommend you learn how to do at this beginner stage. So in order to start, we're going to go ahead and bring in our footage, and this is our footage. So go into your folder and bring in this footage, these girls dancing, bring the image, sorry, the footage in or the video in, and just right click on it, new composition from selection. And as you can see, this is just a video of two girls dancing, right? And if you observe, you see that the footage is actually shaky. That's probably when we're taking the video, the person holding the phone or the camera had a shaky hand, right? You hand shaking while taking it, as you can see, it's shaking shaking. It's not stable, okay? So that's the kind of thing we are going to learn how to fix. Hearing after effect. It's really simple to fix. All you need to do is to right click on the video and then go to Track stabilize. So go to Track and stabilize and then Track Motion. So click on Track Motion. And if you click on Track Motion, you're going to see that the tracker panel gets opened, and then you are brought to this interface with what we call a track point. So the trick here is to position the truck point in a place with contrast that is a bit stable or that is kind of stable in the video. So oh, you see the track point has two squares, right? We have the inner square, which moves the entire thing, and then the outer square, which also moves the entire thing, right? And we can actually scale this up and scale this up as well. We get. But we can't scale the inner square bigger than the outer square, right? It's inside the outer square. So that's what you're going to do. You're going to place this outer square in a place like this. Okay? I'm going to choose, I'm going to choose this red please, okay, because it's, it's a stable place in the video, and it has some contrast, right. So I'm going to select this red mark here, and then now this outer box will be bigger like this, and the inner box will just contain the red color, just like this. And you have to note that the bigger your tracker, the longer it's going to take to track your points, right? And the more stress it's going to apply on your computer. So when you place your tracker points like this, accurately like this, the next thing you do is just go ahead on your tracker, on your tracker, go ahead and click on this button. This analyze forward. So click on it. First of all, bring it to the beginning, okay? Bring your time to the beginning, place your points properly. Perfect. And then analyze forward and wait for tracking to complete. So I'm just going to speed up this video and then come back when it's done. Hey, so our tracking is done, and if we go around our time, you're going to see that this point is being tracked by our track point, right? So everything has completed successfully. Now the next thing you have to do is come here where it says Transform, click here and click on Stabilize, Okay, and then click on Apply, and then click Okay. Okay? So the stabilization has now been applied to our video. Now, if you play our video, we're going to see that it's more stable. Even though there's a bit of problem, and that's because of the level of shakiness of our video, destabilization makes our video kind of exposes part of our video like this. Like makes our video go out of frame, like you can see here. So the solution to this is just to hit and then scale your video. So you skill your video just to close the explosion, okay? So please, you have to skill your video so it's bigger than this. You get you go round your time and make sure new part of your video is going out of frame. Now, if I plead Okay, let me just play it and render it once and then play it one more time. Perfect, guys. And now, if you look at the edges, you can see how stable our video is. Our video is now very stable, okay? Or video is now very stable. There's no longer any shakiness. Now, let me bring in the original video and compare it to the one we just edited. So this is the edited one without any shakiness. Yeah, that's the edited one without any shakiness. As you can see, there's no shakiness on the video, right? There's no shakiness on the video. Now, let me just show you the original video, the original version with the shakiness. Now you can see the original version. You can see how shaky it is. Okay? Let me play this from the beginning. You can see how shaky it is, right? You can see how shaky it is. Yeah, so we've successfully removed the shakiness for video. See you in the next one. Bye bye. 28. 28 Class Project 2 - Desert Drive Video: Hey, D. Welcome back. So in this exercise, we're going to be covering most of the things we have learned in this module, most especially the time remap feature in after effect. So without further ado, let's go ahead and get into it. So the first thing I'll do now is import my files. So I'll just click to go right into my folder for this module, which is useful after effect skills and then bring in my files. Now, I'm just going to desert racing. Go into this folder and bring in all of these files. So select first one, hold down Shift, select the last one, and imports. So select the footage right click and then new composition from selection, and then skip this one because it's the footage used in this composition. That's a mistake I made. Skip it, and then go to the next one and do the same thing and skip this one and go to the next one and do the same thing, and skip this one, go to the next one, do the same thing, skip this one, go to the next one. Skip this one, go to the next one, skip this one and go to the next one. Perfect. Now, these are footages. Our footages have come with sound. So first thing I'll do is just go ahead and disable the sound. So disable the sound, and I'll do that for all our compositions. Perfect. Now, this is the footage we've got. So we're going to use time remap to just basically quicken some parts of the video and slow down some parts of the video, okay? Just to create this kind of exaggerated view, just like what we covered in the video on time remap. Now these videos are 60 frames per second. So it's going to take a toll on your computer. First thing I'll do is come here and reduce the resolution to half, because it's going to take a lot of power from my computer. The next thing I'll do is right click on my footage, go to time, and then enable time remap. Perfect. Now we've gotten our two key films here I'll go ahead and start slowing down some parts and making some parts faster, right? So that's just what we are going to do for all those footage. Perfect. So the first thing I want to do is create a keyframe here. Let's try making the beginning quicker, okay? So let's start very fast. Start very fast, and then slow down a bit, okay? So let's bring it down here. Okay, let's bring it down here. Okay, let's bring the time here and then create a keyframe and then spread it out like this. So it starts very fast and then slows down. And then we go very fast. Okay, so let's come here, create a keyframe, and then compress it. Okay? So we go slow and then go very fast. You go very fast. And then, yeah, let's just play it first and see what you've got. Slow and then very fast, and then slow. Let's just create one more kefime here, spread it out. So I think it's too much. Let's just spread it out like this. Okay, and maybe bring this guy here just like this. Okay. And we can select all of them. Hold down and click and basically adjust the entire length of the video just like this. Okay? So let's make it a bit around 6 seconds, okay? A bit maybe above 6 seconds a bit. So let's play and see. I, Okay, so this is the first one. We might come back to do more changes, but for now, we are okay with what we have. Okay? So I'll just reduce the length of my composition here, right click, dream come to work area, go to the next one and see how this one is. So this one is 10 seconds long. And let's just plead. Let's reduce the resolution. Let's make it third so as to speed up the entire thing, right? So we don't spend all the here. Okay, so we want to start first, okay? Let's go ahead and enable time remap and then create a keyframe here and bring it clues to the first one like this. So we start very fast. Okay. Then we slow down a bit. So we bring it here like this. Then create a keyframe, spread it out. Oh, let's actually make it from here. Okay, let's create the keyframe from here. So create your keyframe from here, spread it out to here. So we come very fast and then slow down. Very fast and then slow down. Yeah, and then very fast. Okay? Very fast. So very fast, slow down, and then very fast. Thank you. Then slow down, Let's slow it down. Okay. Let's make it very fast. Let's bring this one down here. Maybe even slow it down a bit from here, okay? Clip one and then spread this guy out like this. So it is what we have. C. Not bad. You know what? I'll just delete these two key frames. Or, I'll delete this guy, spread this guy back, and I'll redo the remap here. So I want the speed to stop as soon as the car hits the ground, you get. Yeah. Just around here. So something like this. Perfect. And then create one more keyframe here and just spread it out like this. Perfect. Yeah. So we've completed the two. That's the first one and the second one. Let me just play the first 11 more time and see if I like what I'm having here. Yeah, the first one is also good. It's not too dramatic or as dramatic as the second one. But let's just go ahead. We have a lot of them to work on. So never worry. Right click, and then good time remap. Yeah, so first things first, we want to kind of spread this out even more to spread it out even more. And then speed the remaining part up. Okay, at least till this please. Okay? So speed it up like this. So we start slow we speed up. Okay. You slow down again. And then we speed up. Well, you know what? Let's just spread this guy out, bring this guy here, create a new keyframe, make this very very fast. Just like this. Okay? So if we like, we could actually maybe maybe make this a bit faster at first. Just like this, okay? Yes, guys, this is good, go to the next one, right click and it will time map. Let's just split and see what we've got. I think for this one, first of all, speeding it up a bit. Speed it up to this part Nike frame, spread it out, you compress it. Is what we've got now. Maybe will make it quicker. Then we have the slow down Okay. Have you dress like this. Or maybe we should actually reduce the length of this video, because it's quite long. So we're speeding it up. This then slow it down. Then speed up. So just trim my composition to this length, okay? So right kick, and then trim com to ceria. This is what we have. Yeah, so let's go to the next one, next one, right click Time and the bot remap. Yep. And then for this one, I think we're going to start very fast. We're going to start very fast. Okay? So start by quitting. I'll keep him here, compressing it. So it comes very fast. Los like this. Yes, and then we slow it down a bit. Okay, slow it down a bit. Oh Perfect. Now we can just speed it up. Okay. Slay down and then speed it up one more time. Just lay down. And then just spit it up. Yeah. So just compress the length one more time by holding them alt or option on the mark, okay? Just pin my composition like this. Okay, so let's go ahead and work on the next one, right click and time time remap. So first things first, I think we're going to just speed it up so speed it up like this. Just spread it out. Let's see from here, spread it out. This, speed it up and then spread it out and then speed it up. You then speed it up. Spit it up, spread it out, then spit it up and then spread it out finally speed it up. Yeah, finally, speed it up. Create one and speed it up. Perfect. Yeah, so let's just trim our composition, make it shorter. Perfect. Now let's go to the last one. I feel that these clips really need some color adjustment, some color correction. Because like you can see here, this guy is a bit brighter than the others and doesn't have much contrast. So we might do a bit of color correction, even though we've not covered effects, but we're just going to follow what I am doing, and you'll be cool. For this one, we're going to start very fast, I think. Let me just play it and see. Yeah, so we're going to start very fast. Okay? We're going to start very fast, but we want to slow it down as the kai is in air, mid air. So we're going to start very fast. So just create your keyframe and just move this. Okay. You're going to start very fast. So we're going to just spread it out as the Kais is in the air. It's like this, very fast and then spread it out. And then we're going to just speed it up as it's landing, right? So let's speed it up from here. Okay, so spread it out, then speed it up. Perfect. Let's see. Yeah, so for this one, I'll just trim my composition. And here we have all our videos ready. So the next thing we do is create a new composition to have all our compositions inside, okay? And our composition has to be the same as our current composition, as our video clips, rather, okay? And that's two K. This K sorry, this three K resolution. I think it's even four K. Okay? This is even four K because this is 3840 by 2160. Let me just let me confirm. I go into composition settings. Okay, it's actually not four k. It's 2k25 60 by 1440. Okay? So we're just going to create a new composition 2560 by 1441440. And then hit okay. Perfect. Now, let's go ahead and bring in our compositions. So the first one comes in first. Okay? And for the length of our composition. Okay, let's just work on. Let's just work with the length we have for now, which is around 26 seconds. So the first one comes in even though I show off. You have disabled the sound, but the sound keeps coming back. So nevertheless. Okay, we actually imported the video clip, not the composition. So delete the video clip and select the composition and bring it in. So we can see that the composition is actually still bigger than our composition. And we don't want that because we want to maintain the best quality, right? We don't want to reduce or lose quality. So I'm just going to go in and actually, the size is 3840 by 2160. So it appears that our compositions have different sizes, okay? So we're going to use this size. This is a four key resolution 3840 by 2160. So our new composition should be 3840. 3840, Completion settings and then Control v38 40 I think, where is it? B21 62160. Then hit okay. We actually want the frame rate to be of 60 frames per second, just like how we had it here in the original compositions, right? So, Yeah. This is not the first clip. Let's just delete this and bring in the first clip or the first composition. This should be the first composition. Bring it in the let's just do that to all other compositions. Let's bring all of them in. You can see that some of them are actually not as big as the four key resolution. So just kill them up. So first of all, let's make our composition. Our composition one, let's make this bigger or longer rather. So right now I'm seeing okay, wait. Right now I'm seeing sorry. Okay, that's because I had that selected. That's because I had composition, this particulon selected, okay? So this is 26 seconds. Let's make this 35 seconds. Let's just say 40 seconds for now. 40 seconds and okay? So that we can bring in everything, right? So this guy, bring him in. And here, we have all our compositions. One, two, three, four, five, six, one, two, three, four, five, six. They actually seven. So it means we didn't bring in one. We actually left out one. Let's just glit everything because they are not named properly, so it's going to be hard to know which one was not brought in. So let's just do this from scratch. Bring them in from scratch. Yeah, so we are one, two, three, four, five, six, seven, perfect. Or just spread them out. So just split this, see what we've got. Okay, so it doesn't have to be this long, and we're just going to scale it up, scale this up. Okay to cover everywhere. And for the resolution I tick it to cutter so as to reduce the stress on my computer. To start very fast, slow down. And for this one, I think I'll just walk on the speed one more time. I'll just I think I'll just, do this, delete the two, and just bring this guy clues and end it here, okay? Make this shutter. Yeah. Okay. Go back, first of all, trim this. Go back to composition one, and I think I'll end it even before the end. So I'll just reduce the length of my composition like this and then bring in the next composition. So it's going to be like this. Guy Yeah, and then we bring in the next clip. Okay. And for this one, I think it should end first. It should end first. It should end first so that we can just transit into the next composition. I'll end first. Sorry. So most probably we might just delete this two and just compress it like this so that it ends here, okay? Do it. And then just trim this to work area and go back to composition one and bring in the next composition. Yep. And then go to the next die. A For this one, I think we're just going to cut it at around the side to Control Shift D or command Shift D and just delete this part and just bring this part right after the previous composition. J. Yeah, this one, we need to scale this up. Okay. Yep. Yeah, so I'll just trim my composition. Right click Trim Comp to work area and perfect. So this is what we now have. Now I can go ahead and do a bit of color correction, color adjustment to this clip so right click here new adjustment layer. Perfect. Now, just click on my effects and preset panel, click here, and then go ahead and search Lumetric Lu metric, just like this. Lumetri then click on it to add the lumetric color correction preset or effect and just open the basic. And now for this, I want to do a couple of adjustments. I want to expose my clip a bit. So for exposure, let's try 1.1. Okay? For contrast, let's try 13. Then for highlights, let's reduce the highlight a bit. So let's see -15. Okay? Then for shadows, let's also reduce the shadows a bit by increasing the value, okay? That's increasing the light value. Okay, so for shadows, let's ry 3.4. And now let's just compare this to before. This before, this is what we have now. Maybe we should increase the contrast. It's too much. Maybe make this 26. Now, for this clip, we actually have to create separate color correction, right, because it appears different from all the others. But first of all, before I do that, I'll go ahead and boost up the saturation. Let's see one oh nine or one oh ten or 110. So 10110 or 115. Yeah, 115 isn't bad. 115 isn't bad. Now the next thing I'll do is just click New and then new solid black solid. Is it okay? Okay? It okay. Do. And then for my solid, I just want to go ahead and create a mask. I want to create this liner defect. So do click to create this mask on my solid and then click Invert to invert my mask and open the mask options, boost up my feather, boost up my feather and then my expansion. You just mess with your settings to create a very nice Vinarefect I'll just maybe mess with this mask shape a bit. Yeah, so the next thing we do is work on this part of our composition one. This part that needs to be edited. Here this composition as this brtle and this last one. I'll just select my adjustment layer and then Control Shift D or command Shift D to split it here and I'll just reduce the exposure for this part. Okay? So just reduce the exposure. We don't want it to be too exposed, and I want to also increase the contrast. E Okay. And then maybe we boost up the shadows a bit. Okay? Yeah, something like this. Yeah. So I think this is good. Yeah, so basically, we're done with our time remapping and arrangement of our compositions in our ultimate composition, which is composition one, right? The next thing we'll be doing is adding some text. I want to add some text. So the first thing I'll do is, of course, take my text to come here and add some text. So I'll just go ahead and click and write my text. So I want to write choose life but I'll first of all write choose. Okay, so choose and then just make my composition. Sorry, my text this long. I'll split it up from here, okay? Control Shift D or Command Shift D, we have choose here. I'll just use my pan behind or my ankle point to bring the anchle point of my text to the middle and then boost up the font size to be just this big. Okay. Perfect. So we have choose life. Okay? So the next thing I want to do now is animate my text. I want my text to come from below to the present location. I'll just select my text and then hit P for position and create a keyframe at this point, almost 30 frames. Just create a keyframe here and then come to the first frame and just bring it down like this. Cool down shift and bring it down just to this point. Just to this point. Then the next thing I'll do is create a new shape layer. I want to create a ship. I want to create a rectangle and I want to cover my text with a rectangle. Zoom in maybe change the color and just cover your text with a rectangle, just like this. Perfect. So that we have something like this. So we have the text coming here from behind the rectangle. So I'll cut my rectangle from here, here at this point. Control Shift D, or command Shift D and delete the rectangle. Now, what I want to do is I want to use my rectangle as an Alpha mat for my text, so that it covers my text so that my text just looks like it's coming from nowhere. Okay, just from the middle of the screen and then it appears, you get. So that's the effect I want to achieve, and I can do that with my Alpha Mt. So just click here, that's the toggle switch Mod button to expose the alpha mat effect or the alpha mat feature and then just select your chosen layer and come here and select your Ship layer one. That's what you need to do. I actually need to make it Alpha inverted. Alpha inverted, make sure it's Alpha inverted, it means you're going to enable this. If not, it's going to appear like this. But you want it Alpha inverted. This is what we want to create. Yeah. So choose life. Now select the boots of the key frames on our text, right click and easy Yeah, so that we have this choose life, okay? The first thing I'll do is create a null object to drive the transformations for both layers here, o Now I'm creating a null object because our layer has keyframes on the position, and I want to change the position. So it means if I change the position here, it's going to record a new keyframe, and that's not what I want. I want to adjust the position based on how it's going to fit with the next line of text, which is life. Okay? So just come to new layer. And then null object. These are our null objects, so we need to bring our null object on top of the two layers, select both of them like this, and come here where it says parent whip. Okay, parent pick whip, so click and drop on the null object. Now the null object controls them, okay? Perfect. So just undo that and just cut the null object from here. Perfect. Now we want to duplicate this. Select the null object, select the two layers and Control D to duplicate, and then click on one of them and bring them on top of the topmost layer. So just click on the highlighted ones and bring them on top of the topmost layer to bring them on top of the layer stack, so that we have choose and just adjust this guy a bit. That's the timing for the top three layers. And then I'm just going to use my null object now to move this copy down. So that we have choose life, so that we have a new version, and then we have life. You get to take my text to and select this Control A or Command A and just type live we have choose Life. I want to offset this a bit more. Yeah, this is what we want to have. Choose live yeah, choose life. Okay, I want to select both of them, sorry, all of them, and Control Shift D or command Shift D to split them and just delete the copies, okay? And then select just the texts, the text to choose on life, and then Control D, and then just move them to where the previous version starts, okay? So just like this. Perfect. Now, for these new layers, I'll just select the both of them, right click on them. Go to Time and Time Reverse. Okay, so that we now have this. But before I conclude on these little ones, I want to just select the ship layers and move them over our text layers, right? You see that we cover our text layers as well so that we have this choose life, and then we have a reverse. You get perfect. Choose life, then we have a reverse. Perfect. Now the next thing I will do is select all of these layers. I know it's getting a bit complicated, but just hang on with me for a little while. I promise you this won't take time. So select all of them, and then right click and precompose. Then we have text. Just name in text and hit okay. And we want to come to where the text ends that here and select our layer, our precomposed layer. Okay, that's just around here. Select our precompose layer and Control Shift D or command Shift D to split it and then delete the Xs so that we have this, right? Now, go to your project folder, then go and look for this composition. That's the text composition. And now we want to duplicate our composition, go to edit and duplicate or Control D, so that we have text too and we want to do this a couple more times Control D, Control D, Control D. Let's just leave it at five for now, select the second one, bring it here. Okay. And then you just keep cutting them where the text ends. And I'll do that with all the other versions very quickly. Yes, guys. So we have all of this. Choose life, choose lie, choose Life, choose life. So I want to just go in and make edits to the text. So for this one, it's going to be choose happiness. Go back to Composition one. Then now we have choose life, and then we have choose happiness. For this one, we're going to type Mike someone. So in case of choose, we're going to type M then Control A, control C, and then control. Then for life, we're going to type someone. Control A, Control C, or Command E, command C, and Control V or Command V on your MAC, go back to Composition one. Then we have choose life, mix someone. Then for this one, we're just going to type smile smile. In cis of choose, we're just going to write smile and smile. Yeah. And then for life, we just hide this and go back to composition one. So we don't need this last composition, delete. And for this one, I just want to align it to the middle centralize it like this. Perfect. So we have choose life, choose happiness, make someone smile. So that's just the basic message. Choose life, chose happiness, make someone smile. Let's see. You can see that for this someone, we actually need to go in and make our rectangle a bit bigger. First of all, I'll just change the color of my composition to black so as to see things better. We actually need to make our rectangle just this big, perfect. Then go back to composition one. So we have this. It looks better now. Yeah, so that's just the message. And now the last thing we would do is just add some music. Okay? So go to Import. And then in your folder for this module, you're going to see this music. So just bring it in. And if you have a better sound, you can go ahead and use it if you don't like this one I'm using, okay? So just cut it from here. Control shift the move it to the beginning. And then scroll down and delete this one. And just make sure it starts when the video starts. Oh You guys, playing it might not really work because, you know, it's a fogy video and then there are lots of things, right? So the last thing we do is just enable frame blending for all our videos. So go in to each and every one of them now and enable frame blending. Okay? This will finish everything up. So just click her two times to enable the pixel motion type of frame blending, okay? Just go into every one of them and enable frame blending. Guy, because it might take so much time to render it and play it live here, what I would just do is go ahead and render it out as a video and then play it as a video. So for that, I'll do Control or command M, and go ahead and choose the best settings, hit okay. We are okay with these settings as well. So the next thing we need to do is just select the output location. And yeah, the output location, we just do this and then see Let's see with us desert. Okay, and then hit safe and hit render. So we're going to render our video and then come back when it's done. Hey, there, so our video is done rendering. And let me just go ahead and play my video and play our video so that you see what we've been able to achieve. So I'm just going to hit Play. Yeah, so that's the video for you. That's the video for you. We've been able to turn little random clips into a very captivating video, using just time remapping and a few other things we learned in this module. Okay? So I'll just go ahead and export the project files for this module so that you have access to the project, okay? So just have access to the project. Yeah, these are resin itsafe. So writing your projects folder, you're going to have access to the project files for this particular one I worked on, okay? So with this, we've come to the end of our video. See you in the next one. Bye bye. H 29. 29 Important Shortcuts in After Effects SS: Hey, welcome back. In this video, we're going to be learning some really important shortcuts and after effects. These shortcuts have the ability to speed up your workflow incredibly, okay? So without further ado, let's go ahead and start looking at these shortcuts one after the other. So we're going to be starting from the simpler ones to the more advanced ones. Now the first shortcut I want us to look at is your selection tool, okay? Because your selection tool is kind of the most used to, okay? It's kind of the used most important tool. That's this tool right here, the selection tool. So the shortcut for this tool is V. So you just hit V on your keyboard. Let's say you are in a different tool. If you just hit V on your keyboard, you are going to be brought back to the selection tool. Okay? So that's the very first short cut. And the second shortcut is for the second most used tool or most of the time. And that is the text tool, okay? So for the text tool, all you need to do is Control plus T or Command plus T on the mark. So if you do Control plus T or command plus T on the MAC, you're going to be able to just select your text tool and create a text right away, okay? So that's for the text tool. The next sets of short codes are related to your transform properties, okay? So for transform properties, you have the position, you have the scale, you have the opacity. You have the rotation, the anchor point, okay? So these are things you use over and over again. These are things you manipulate over and over again. The short calls for them are very simple. For position, all you need to do is to hit P on your keyboard. Hit P and the position property will be brought up, you can do your position in. Okay, so that's the position property. And then for the opacity, all you need to do is to hit T on your keyboard. So just hit T and you have your opacity brought up and you can maniplate or a DT opacity. Now the next one is a scale. And for scale, all you need to do is to hit S on your keyboard. So hits on your keyboard, and now you have your skill property brought up. The next is the rotation, and for rotation, all you need to do is hit you guessed it R. So hit R on your keyboard and you have your rotation. And finally, for this set of shortcuts, the uncle point shortcut, and that's A, Okay? So ankle point, just hit A, and you're going to have your ankle point brought up. Okay? So that's the transform property shortcuts for you. Now, it's possible to also expose multiple of these transform properties. So let's say we have A for our anchle point and we want to expose the others. Let's say we also want to expose the scale. All we need to do is to hit Shift on our keyboard and S, and now we can see that the scale has now been added to the list, and let's say we want to add the rotation as well, hold down Shift and R. For rotation, pull down shift and T for trans for opacity, okay? And of course, if you want to take it back, you just need to hit the letter one more time. So for rotation, let's say we want to take rotation back. We just need to hold down shift and hit R one more time, and it's out. For uncle point, just hit A one more time, and uncle point is out and same also for scale. Okay? So that's shift and the keyboard short code. Now the next short code has to do with our key frame. So let's say we want to expose our key frames Okay. All we need to do is hit you. Okay? So it seems on this composition, we don't have any keyframes. Let me just go to composition with keyframes. So let's go to the text composition. Yeah. So let's just hit you on your keyboard, so you hit on your keyboard and you're going to see that your key frames will be exposed on all layers. Okay? So hit you without selecting any layer for all the keyframes to be exposed. Now, if you want it to be exposed just for a certain layer or a particular layer, all you need to do is select the layer and then hit you, and the keyframes only for that layer will be exposed, okay? And one other thing you can do is hit you two times, and now it's going to expose all your transform properties that have been modified, okay? It's going to expose all your transform properties that have been modified. That's hit you a couple of times. That's two times rather. So hit you two times and it's going to show all your transform properties that have been modified. And the next short code has to do with duplicating our layers or our files. So if you want to duplicate your file or your layer, just select your layer and then Control D. Control D on the PC or Command D on the mark to duplicate your layer. So you can have multiple duplicates, okay? Just by Control D. If you want to copy, you Control C. If you want to copy, you control C. Copy layer, copy, keep frames, copy whatever you want to copy with Control C, and then Control V for pasting, if you want to piste, you just need to do Control V. Control C, Control V, copy this and pieced it just like and T here. Okay? And then in order to save your file, all you need to do is Control S. So that's a very simple one because that's the same for many softwares, right? So Control S will save your file. So Control S or command S on the mark to save your file. Perfect. Now, just go ahead and delete all of these layers and just leave the first one, the original one. Now the next shortcut we have to do with splitting our layer, okay? And we have used this shortcut a couple of times or several times in the past video. So all we need to do is to select or first of all, take our time to where we want to cut, then select our layer and Control Shift D or command Shift D on the mark. So Control Shift Command Shift D on the mark, and you split your layer into two. Okay? Undo that. And perfect. Now the next short call will have to do with trimming our layers. Okay? So let's say we're working with our layers and we want to trim our layer from here. So instead of just being Control Ch D and then deleting this guy, we can actually trim our layer. All we need to do is hold down or option on the mark and then our open square bracket key. So open square bracket key, and then you can see that we have trimmed this whole part out, okay? And if you want to trim from this side and trim the right hand side out. All you need to do is hold down s or option on the mark, and then the right square bracket key just like this. And you've now successfully trimmed out the right hand side of the layer. So Control Z, Control Z to bring our sides back. Perfect. Now the next short cut, we have to do it moving our layer up or down the layer stack. So let's say we want to move this our audio file up the layer stack. All we need to do is select our layer and then control, l or command option and then arrow key. So the up arraky to move it up the layer stack and down rake to move it down the layer stack, just like this. Okay? As you can see, we are moving our layer up and down the layer. Okay, just like this. And if we want to just move up or down the layer stack without moving the file, maybe we just want to select a particular layer out of a stack of layers, all we need to do is hold down Control or command, and then the arch up or down arukis to move up or down the layer stack. And if we have a file selected, and we want to move that particular layer, Okay, up or down. All you need to do is to hold down Control and then alt or command option on the mark, and then use your arrow keys to move that particular layer up or down the layer stack. So the next short cut has to do with creating a new composition. So let's say we want to create a new composition, how do we do that very quickly? You can do that by doing Control N or command N on the MAC. So Control N or command N on the MAC, and now you have your composition settings opened for you to create a new composition. Okay? So what if we want to do composition settings or we want to kind of edit the composition settings rather than create a new composition, okay? So that edit the composition settings of an existing composition. In order to do that, you just need to do Control K or command key on the mark. Control K or command key on the MAC will open your composition settings, okay? Control key or command key on the mark will open your composition settings. So to create a new solid, all you need to do is hit Control plus Y or Command plus Y on the MAC to create a new solid Control Y or Command Y, and now you have the solid settings where you can type in those settings and then hit Create to create a new solid. That's it for creating a new solid. Perfect. Now the next shot call is something we've explored a lot of times in past videos as well. So I'm just going to come to this composition with animated text. Now, just go ahead and hit Control K. To change my composition color to black so as to see my texts. Okay? So I'm just going to hit first of all, select this layer and then hit you to see the key frames, and let's see we want to spread our key frames out, right? In fact, let's hit you on this layer too, and let's see we want to spread all our key frames out. Okay, we want to spread them. Want to reduce or increase their length, the length of time while maintaining The existing intervals between our Q frames. All we need to do is to hold on all and click, and now you can see that we are compressing or expanding our q frames while maintaining the relativity of their distances, okay? So that's this very short code. So you just hold on hold on the PC or option on the mark and then click on one of them on the one outside and then just drag and drag to increase or reduce their speeds. Okay? So that's this short code for you. Control Z. Contr us. Perfect. Now the next shortcut is something you find very interesting and very helpful, okay? Because we've had to do this manually, and I just maintained the manual method so that we can explore the shortcut in this video. Yeah, so the shortcut has to do with moving our ankle points to the middle of our shape of our layer. So how do we do that? We can do that by holding down Control, and then the home key, okay? Like you can see now, it has been moved to the center. So let me just move it away from the center one more time, so you see. So Control, Alt or command option, and then the home key on the keyboard. Okay? So the home key, control or command Alt and the home key. Okay? Let's say we want to centralize our shape, that bring our shape to the center of our composition. How do we do that? We do that by holding on control and then the home key to bring it to the center of our composition. So control and then Hom key, control, and then Home key or command and home key on the MAC. So command, Hom key on the MAC, control Home on the PC, control Alt, home key. Command option hum key to move this guy or the anchor points to the middle of our layer, and then control Hum ki to centralize our shape to the middle of the composition. Now the next shortcut is something I find very interesting. It helps us maximize our panels. So there are times where we might be watching and then want to maximize or see a certain panel in the biggest way possible. You can actually do that by using the tilda key. Okay? So the til key is just below your escape key on the top left hand corner of your keyboard. It's mostly there for most keyboards, okay? So just hover on the particular panel or window and then just hit the til key to expand it just like this. Okay? So just hover your mouse on this specific panel and then just hit the til key to expand it. So you might want to play your video in full res okay or in full screen rather. So you can just hit the tiller key to expand your view and then just fit this and now plead. You see how easy that is, how sweet that is. That's this shortcut for you, just the tiller key on your keyboard. Now the next short cut has to do with our keyframes, even though we've not studied keyframes specially, but I feel that since this is something we've done a couple of times, it's good that we learn the short cut and that to easy ease our keyframes to easy ease our keyframes, we use the F nine key. On your keyboard. Let's just go to one of these guys with a keyframe to select. Or, let's just create a new keyframe for this guy here. So you hit P for position and then let's create a keyframe here and one other keyframe here. So all you need to do is select the both of them, and then your F nine button on your keyboard to easy ease your keyframes, okay? Just delete them. Yeah. So that's it for easy easing your keyframes. Now the last short cut we'll be looking at is one that helps you precompose your files. So let's go to one of these compositions. And let's say we want to precompose our layers. Let's just select our layers. Let's see from this guy to this guy, we want to precompose them into a single composition. So how do we do that? We do that by hitting Control, Shift and C or Command Shift C on the MAC and you're going to have your precompose panel or window open, and then you can type in the name choose your settings and hit okay to precompose, okay? So Control, Shift C, or command Shift C on the mac to precompose. Yeah, and with this, we've come to the end of this video on important shortcuts here in of the effects. Now, this might be a bit cumbersome. So we might not use all the shortcutes we've studied very early on in this course, but we'll start introducing them little by little, so that you gradually get used to them. Okay? So that's how I'm going to approach this. And I will also provide a file a PDF file, most probably with these shortcuts written so that you can print them out and learn them on your own, and work with them and learn them and get used to them. Okay? So these are things I will do to help you adjust and learn even better. Yeah, and with this, we've come to the end of this video. See you in the next one. Bye. 30. 30 custom shortcuts: Hey, there. So in this very quick one, we're going to look at custom shot codes in after effects. So it's possible to create your custom shortcuts. Let's say you don't want all these short codes we've been looking at, we looked at in the past video. You can create your custom shortcut, and we're going to explore that in this video. So go to Edit, and then keyboard shortcuts. Okay. And you can see that it also has a short cut. For that, that is old sorry, Control Old. And then what do we call this? This should be the protof? Yeah, Control Old apotrov. Yep. So this is the keyboard short code, and from here, you can create custom keyboard short code. You can save custom keyboard short code. You can open custom keyboard short code. Okay? So this is what you get to see. And right here, you can search for anything. So let's say composition. Okay, composition. So if we search for composition now, you're going to see all the shortcuts related to your composition. So we have new composition, Control N, we have composition settings, Control K, and then we have all these other composition shortcuts, lots and lots of them, okay? So it means you can just search for a particular thing, and then you get its short cut. And there are things that don't have shortcuts here, even though I think most of them do have short cuts. So in order to explore creating our own shortcut, I would suggest that we replace an existing shortcut, because it's not going to be easy to find an action without a short cut. So for this, I'll just do composition. I'll type composition. Okay? So let's go ahead and change the short cut for new composition. So the current short cde is Control N, and if you want to change the composition, you just click here and you see now you've removed the composition. Now, if you want to add a new composition, sorry, if you want to add a new short cut, okay, I'll using composition in place of short cut. So if you want to add a new shortcut, just click here and then go ahead and type in the short cut you want to put in, okay? So let's say control. So you have to hit Control on your keyboard, and then the key you want to add it with. So let's say controlled Que even though I know that it should have an existing short. So we can see that now Control Q has been added here, but it's giving us an error message. It's saying Control Q is already in use by another application command. So we can quit or we can just just replace it, right? So we don't want to replace it. So for this, we are just going to use Control Tilda. Remember the Tilda key from the previous video. So just do Control Tilda, and this is what we now have or command Tilda, right? So this is what we now have. Okay? So there isn't any short code attached to this particular short code. So you can just do that and then hit Okay. Now if you do Control tilda, we now see that you are able to create a new composition with Control Tilda instead of Control N as we know it. Okay? So you can go back, edit, and then keyboard short code. And let's type composition. Okay? So you can click here to remove and replace it with the original short code that's Control N. Okay? Yeah. So that's basically it. Now, you can go ahead and change all of these shortcds if you want. If you're okay with what you have, you can save your preset. You can save your preset, give it a name and save your preset. So that later on, you can switch between presets, between your preferred presets. So if you click here, you're going to see that we have the Adobe After Effects default. You can select the default and it's going to be the default short code. And you can select the custom and then put in your custom short code. Okay? So basically, that's it for this video on custom shortcde. You can go ahead and explore the window even more to see for yourself. All the other things you can do in this window, keyboard for this video, we're just going to cover creating custom shortcuts. Now you can hit okay to complete your short cut. And now if you do Control N, should bring back our new composition. Okay? So basically, that's it for this video on Custom Shortcuts. See you in the next one. Bye bye. 31. 31 Important workflow tips: Hey, there. In this video, we're going to learn some useful workflow tips in after effects. Now, these workflow tips can incredibly speed up and simplify your tasks here and after effect. Now the first workflow tip we're going to be looking at has to do with our ship layers. Okay? So every time we open a ship or every time we create a ship, we have our anchor point note centered to the middle of the ship, and this can be a headache sometimes. It's possible to set after effect to always centralize our anchor point whenever we create a new shape layer or whenever we create a new shape. So how do we do that? We can do that by coming to edit and then preferences. So go to preferences, and then general. And then the general, just make sure this option is checked that center anchor point in new ship layers. So check this and hit, okay. And from now on, every time you create a new ship layer, you're going to have your anchor point at the center at the middle of your ship. So that's very simple. And the next workflow tip has to do with organizing our files. So it's really good to always organize our files to always have our files in folders. So we can create different folders for C compositions, for example, we can name these compositions. Okay, creates new folders for images, sorry, for images, for videos, for video footage, and so on and so forth, audio and so on and so forth. And basically bringing these files into their folders. Okay? So let's select all the compositions and bring them into their folders. So you can see how organized this thing looks already. Select all the videos, all the video footages and bring them into the video. Folder, where is the video fuler. I think I didn't create a video folder. But basically, you get the point. When you organize your files, it makes it easier. You can even have folders within folders, and this can really make your work easier. It can make finding things easier as well, okay? So that's a really important workflow tip, which I myself, I'm guilty of fol in most of the times, as you can already testify, right? But if you take note of this workflow tip and follow it, if you organize your files properly, it's going to really save you a lot of time and effort. Now, one other thing that can really speed up your workflow is adjusting your resolution, right? So you, of course, know that this is where you adjust your resolution. So always working in lower resolution makes enough Ram available for you to preview your videos, for you to preview your videos. And this makes it very easy to work. If you're working in very high s like full resolution, it usually takes a lot of time to pre render and this delay will in turn lead to a lot of time wastage, which is not good, which is something we want to cut down on as much as possible. Always use maybe half resolution or the third to preview your files, to preview your videos, and it's going to help you speed up your workflow. And one of the thing I will always advise you to do is always find the habit of clearing your cache. So come to edit and then page and then all cache. So always be of the habit of clearing your cache regularly. And this will help make after effect run faster, thereby speeding up your workflow. The next thing I want to talk about are plugins and preset. This can as well really speed up your workflows, even though some of them can make your software ultimately run a bit slower, but preset and plugins are a great way to speed up your workflow, because there are preset and plugins for doing very little things, things that we do over and over again. Okay? Now, one other thing I find really helpful is designing my scenes outside after effects, okay? Because after effects, I won't say it's so much of a perfect or incredible design tool. It's more of an animation and visual effects tool. Okay? So designing your scenes might not be very easy in after effects. As for me, I find way easier to design my motion graphic scenes outside after effects, okay? Outside after effects. So you can use softwares like Pootoshop. You can use softwares like Adobe Illustrto. I use Adobe Illustrto a lot when doing motion graphics and Photoshop a lot when doing things like compositing and basically bringing life into my scenes before bringing them then into after effects and then animating them. So it's way easier for me that way, at least for me. Okay, I find it way easier that way. So you can just design your scenes in whatever resolution you intend to be working with here in after effect. You just use your ADB Lost or photoshop to design your scenes and then bring them here into after effect, then build up from there. So that's a very incredible very fat way to work from my experience. So the next tip I have for you has to do with organizing your layers, based on colors and even organizing your key frames as well, based on colors. So you can just organize your layers based on colors by clicking here to select the particular color you want to assign to your layer. So for this layer, I've chosen this pink color, right? So there are different colors. Let's see red. So you might want to just select red for all our text precomposed layers, okay? So select the color and do that for other layers as well. Maybe for music, we want this to be orange, okay? Then for this guy, maybe we want to give him a different color. Basically, this is a way to organize your files and make them stand out. Now with this, you're making your files stand out and you can locate them more easily and ultimately speed up your workflow. You can as well do this to keyframes, not just layers. With recent updates to after effects, you can even color your key frames as well. So let's go to one of these compositions with keyframes. So this is so let's hit you to expose all our keyframes hit you to expose all your keyframes. Now you can select your keyframe, right click on your Keyframe, then go to Libel and then assign a color. So right click, go to Libel and assign a color. Let's change this color. Let's give it something a bit shouty like red. Yeah, so as you can see, we are basically changing the colors of our frames. So this is one way we can also make our work stand out, make our frame stand out, okay, thereby speeding up our workflow. As you can see, incredible. Let's give this a yellow. Yeah, so we've basically been able to color our qi frames thereby making them stand out more, making them more arranged and ultimately speeding up our workflow. The next step I want to explore is how you can go from one composition to another composition very easily, without having to come here and start looking for the names and so on and so forth. You can use the mini flow chart by just hitting Tab on your keyboard. So if you hit Tab on your keyboard, you're going to have this com open. This is what we call the mini flow chart, and this kind of shows you all your compositions, okay? So we see that we have the main composition, which is composition one. Okay? If you hit tab, you're going to see all other compositions and we have the text for composition. Okay? Hit tab. You can go back or you can go to the text free composition hit tab. You can click here. You can actually click here. This shows the end of your compositions, which are linked to your composition one. But you can click here to go back to Composition one. You can hit Tab. Okay? Just fly into any of these compositions hit Tab. Hi tab, go back, tab, okay? Basically, just by hitting tab, you get. So you can also go to the end of the compositions click here to see all of them just like that. Hit tap on your keyboard and it's going to expose the mini flow chart which can enable you go in between compositions seamlessly. Next tip is Autosv. So you can enable Autosv by coming to edit and then preference. So preferences, so go ahead and where is preferences, preferences, yeah. So preferences, and then on the preferences, you're going to see Autosvs Autosive. Click on autosave. And this is basically after effect saving your file after every specified number of minutes, right? So for now, it said to 20 minutes. So after every 20 minutes, it saves your file. And this feature comes in really handy because sometimes your software might crash and you might lose the current progress of your project. So it's always good to have Autosiv So that it sieves automatically. Okay, so it okay. And the last one I want to talk about is proxies. In one of our last videos, we worked with 40 resolution videos and 60 frames per second. So if you have videos or footage that are very high in resolution, like eight K, 16 K, it's going to be very hard to work on them, or to work with them in after effects, even with a very good system. Okay, it's going to be very hard. So there is a way you can create proxies of those particular files so as to work better. Okay? So I can now select one of them, for example. So let's say I want to select this guy here and create a proxy of this guy. All I need to do is right click on him and then go to Create Proxy and then either choose steal or movie. Now steal will create an image proxy, while movie will create a video proxy. For this, we want video proxy. So select movie, and it's going to then open your place your folder. Okay, where you would want to save the file, the proxy file, okay? So you at sieve, and it's then go to open the render cue for you. Now in the Render Queue, you can click to select different format. The EVI format usually export very large file. But you can select any other format. Let's say, QuickTime. QuickTime also creates a large file, but I see that this sorry, P four files are not really large, select mp four if you want and then hit Okay. And then just select the location again if you want to change the location or the name, so you can just hit Render and it's going to render your proxy file. So it's going to render your proxy file and you're going to see that it's now going to be easier to work with your proxy file. Perfect. So it's done rendering your proxy file automatically we can see that it created composition, a new composition. If you click on the composition, you're going to see that our file is non here and it's going to be easier to play our file right now. This is a proxy file and it's in a very low resolution. So it's easier to play our file right now. Let me just disable the sound. And it's smoother and easier to play our file right now to render our file right now. So this is a proxy file. And right here, we see that there is a little box appearing at the left hand side of our footage, right? This is showing that it has a proxy attached to it. So you can click on the box to disable the proxy. So if I just zoom in, you're going to see that. When I disable the proxy, the video resolution is now better. When I enable the proxy, you can now see that it's a very low res version, right? So you can disable the proxy by clicking here or enable it by clicking here. But ultimately the proxy makes your work smoother. I now makes it very easy for you to preview high res footage, high res files, hearing after effects. Basically, that's it for videos on important workflow tips. I hope you learned a lot. I hope you can use these tips of shed to make your experience in after effect even better. So that's it for this one. See you in the next one. Bye bye. 32. 32 Conclusion: Congratulations on completing the first chapter of your journey into the world of Adobe After effect. You've taken an incredible step in learning the fundamentals of Adobe After effect. By mastering the basics, you've laid a solid foundation for creating amazing admissions and visual effects. But this is just the beginning. There is so much more to explore. Advanced to stunning techniques and creative possibilities that will elevate your skill to the next level. Be sure to check out the next chapters in this series where we will dive deeper into the magic of after effects. Together, we will unlock its full potential and bring your creative visions to life. Keep learning, keep creating, and I will see you in the next class. Bye.