Advanced 3D Animation in After Effects: Master Real & Fake 3D Motion

1. 1 Class Introduction 3D Fake 3D Anim: Ready to add real depth, dynamic camera movement, and powerful TD style admission to your after effects projects. Welcome to Advanced GDdmission in After effect. Master Real and fake D motion. Another exciting class, my complete Skillshare after effect series. Hi, I'm Mule, and in this class, I'll be guiding you through one of the most exciting areas of motion design inside after effects, creating admissions that feel dimensional, cinematic, and visually engaging. This class, we'll start by exploring the three D workspace in after effects, so you understand how three layers work and how to move objects through real depth. Then we'll look at lights and how you can completely transform the mood, realism, and visual quality of your admission. From there, we'll work with cameras, learning how to create depth, perspective, and movement that makes your scenes feel more immersive. You'll also learn how to work with three D models directly inside after effects, giving you more critic possibilities for building modern professional admissions. But we won't stop there. We'll also dive into fake admission. Powerful motion design technique that allows you to create the initial of tre D using two delayers, clever movement, perspective tricks, effects, and animision techniques. This is especially useful when you want your work to feel dimensional without building a fully complex treaty scene. Throughout the class we bring everything together through practical projects. We'll create a fit D admission. Product slide admission and cartoon network style hD logo admission. These projects will help you understand not just the tools, but how to combine them creatively to produce polished or fully worthy motion graphics. This class is part of a wider after effect learning journey. So if you've been following this series, you'll see how the admission principles, effects, transitions, logo admission and motion design techniques from previous classes all connect here. By the end of this class, you'll be more confident working with three D layers, light, cameras, TD models, and fake TD techniques inside after effects. So get your project files ready, open up after effect, and let's start creating motion with real depth energy and dimension. Oh 2. 2 Class Project1 3D Fake 3D Anim: In this class, you'll complete three class projects designed to help you practice both week three D and fake TD admission techniques in after effects. The first project is Class Project one, fake three D admission, which you'll complete in Video eight. In this project, you'll create a FikTDAdmission using two D layers and admission techniques that creates the illusion of depth. This project will help you understand how to use movement, perspective, layering and timing to make flat artwork feel more dimensional and dynamic. Second project is Class Project two, product slide admission, which you will complete in video nine. For this project, you create a product slide and mission using tre techniques, motion design principles, effects, and other creative methods covered across this after effect series. This is a great project because it shows you how to combine multiple skills into one polished commercial style admission, the kind of design you might use for product promos, social media arts, portfolio pieces or brand presentations. Third project is Class Project three, Cartoon Network three D logo admission, which you will complete in video ten. Here we'll create a bold and playful three D logo admission inspired by the cartoon network style. You will practice using depth, motion, timing, and visual energy to bring a logo style design to life in a fun and professional way. Together, these three projects will help you move beyond simply understanding the tools. You learn how to actually use TD and fattD techniques to create admissions that feel more exciting, more polished, and more visually powerful. Complete each project, feel free to experiment with your own colors, timing, logo, images, products, or design elements. The goal is not just to follow along, but to understand the work through well enough to make it your own. Once you're done, I highly recommend you upload your project to the class project section. Sharing your work is a great way to track your progress, receive feedback, and inspire other students in the class. So take your time, follow the lessons carefully, and most importantly, enjoy the creative process. 3. 3 Getting started with 3D & the 3D workspace: Hey, there, we all come back. In this video, we're going to start looking at three D in after effects. And you may notice that my interface has changed just a bit. Things are more darker here and it just changed a bit, and that's because I updated my after effect to 2025 and you don't have to worry about updating at this point. I just did that and it coincided with this recording. So you don't have to worry. A features are the same. Okay, just a few update here and there. You don't have to worry. This workflow still works in at least most older versions, especially the new treaDy maybe say 2024 version, 2023 version. Yeah, so you don't have to worry about this update, okay or the fact that I updated. Yeah, so we're going to be looking at tree D in after effects. And yeah, so just create a new composition here. Now, in your new composition, let's just name this tree D. First of all, So TD. Yeah. Now we have our composition settings. We have the basic, we have the advanced. Now if you come here, you're going to see three D renderer. Okay? Now, this is the section where you are able to select your three D renderer for your three D, okay? And now under renderers, we can click here to see that we have different rendering engines here in after effect. We have the classic Tre D, we have the advanced TD and we have the Cinema four D T D. Okay? So all these renderers can be used for different purposes. Okay? So the classic tree D is basically the default TD rendering engine in after effect. It's been here for a long time. It's suitable for turning two D layers into three D and just rotating them in three D space. It supports custom cameras, depth of field. It supports lighting, supports basic shadows, supports effect, blending moods and layer styles and track mats and so on and so forth, okay? So that's classic Tre D. And I'm listing all these features it supports because these other renders don't support some of these features. Okay? Like, for example, we have the Advanced TreaDy and this Advanced tre D is a new renderer for after effect. It was just brought in, I think in after effects 2023 or 2024. Okay? So it's quite new renderer, and the features are being updated or being added. So there are a lot of things you can't do here, but there are lots of really cool things you can still do here, okay? So with the advanced render, you get more realistic renderings as compared to the classic TreaD okay? It provides improved performance and enhanced TD capabilities, especially when compared to the cinema for the renderer. So it performs faster than this renderer. Okay. And these are some of the things that have been enabled with this feature, with this renderer and disabled with this render. We can see that with this renderer, we can get effect, we can add effect, we can add blending mode. We can add layer styles, track mats, masks, and so on and so forth. And don't worry there is always a walk around to all of these things, okay? But just note that you don't get all of these for now. Okay, you don't get all of these for now, but it supports extrusions, of texts, of ship layers. I support materials, more realistic materials, okay? It supports reflections, shininess, pecularity, crazy realistic shadows, okay? It supports environmental lights. And we're going to look at all of these things, all of these things. It's faster than the cinnapy render. And the Sema fody render is basically a cinema fody renderer. It's basically a link between after effects and cinema fody. Sima fody is a classic the native TD software. So this bridges the gap between after effects and cinema folding. It supports extrusions as well of texts and shapes, okay? It supports reflections as well. It doesn't support some kinds of light. It doesn't support environmental light. It doesn't support physically based renderings of tree D layers. It doesn't support effects, blended moods, layer styles, and so on and so forth. So that's enough for the speech on the types of cameras, right? Now, let's go in and see how to actually use them. So I'm going to select either of them. We're going to look at all of them, actually. So let's start with the classic. So just hit, okay? And you get your new composition. And now I'm just going to select my text tool and type some text. So I'm going to type three D. Yeah, and just align my paragraph to the middle and then align my text to the center of my composition, make this bigger and control old whom or command option whom to align or to bring our ankle points to the middle of our text on our scale is up even further, maybe change my text font. Let's look for thick font. Let's see this guy, okay? Not bad, but I think I will go with something else. So let's get the thick fonts. You mustn't be using the fonts I am using or I will use. I want something to bold. I won't spend all day looking for a front I just go with something. Let's just go with this. Good. So make this bigger. My change my color. Yeah, and then now for me to turn my layer to a tree D layer, all we need to do is click here to turn it to a treat layer, and immediately, you see the three gizmos, which we can use to rotate and to manipulate our tree D object in three D space. And if we open our properties or layer properties, we can now see that under our transform properties, we now have three properties. For skill, we have X Y, and Z, position X Y, and Z, encode point X Y, and Z, no longer X and Y, as we will have it under two D, as you can see here. So we have new options. We have new rotation property for X and Y, and Z. Okay, we can zoom in. We can rotate our ship or our text rather, and you can see that this is just a flat GD text. Okay? There's a flat three D text, no extrusion, and we don't have the ability to create extrusions in here. Yeah, now let's look at some of the options we get here. Now, with my selection tool selected and my three D layer selected, we can see that right here, we have this guy, which is the universal, is the universal tool, three D tool, which gives us the ability to move our three D object and rescale our three D object, okay? And also rotate our three D objects all at once. Okay? And we then have the move or the position, which gives us the ability to only move the position of our three D object. Next, we have the rotation, sorry, the scale, which gives us the ability to scale our three D object up or down. By using the gizmos, of course. Okay. And then we have the rotation which gives us the ability to only rotate our three D object. You can rotate our three D object with our rotation too. Perfect. We can snap using this. And we have these three things here, these three options. If you hover on it, first one, you're going to see local axis mood. Now, this local axis mood, when you have it selected, the properties of your layers, that the rotation, the scaling, and the orientation and the positioning, right, the axis are aligned to the layer itself. Okay? The axis of these properties are aligned to the layer itself. We have the next guy, which is the world axis mood. If you select the world axis mood, your axis will be aligned to the composition, okay? That's the native axis of the composition. Okay? Then we have the view axis mode, which aligns the axis of our properties to the view, which is the camera. Okay? Which is the default camera in this case. Yeah, so that's what we get with this. Now we have some other properties or some other options like these ones. These are the camera. So we have this as orbit tool. We can use this to orbit around our three D object like this, as you can see, freely. So if you select these two, you're going to have three options. You're going to have the free form, which allows you to orbit freely around your three D object. Okay, as I'm doing right here, you also have the horizontal constraint, which only gives you the ability to orbit horizontally like I'm doing right now. Then we have the vertical constraint which gives you the ability to orbit only vertically. Only vertically. To a couple of times, it gives you the ability to orbit only vertically. Perfect. And then we have the pan to, which gives you the ability to pan around your sin. So you are just panning around your sin. You're not really moving your tried object. Yeah, we're panning around your sin around your treD scin. Okay? And then we have the Dolly towards Crusot which gives you the ability to zoom in and zoom out of your sin just like this. Okay? Perfect. Go back to my selection to yeah. And then, let me just make more room here. We make more room here, you're going to see that we have more options. These are the options you're used to. But we have this new option. We have this draft three D, which gives us a draft version of our three D, which is easier to work with, okay, because the draft, of course, contains or requires less performance. But under this draft, we have our three D environment also in Nebo, so you can see our three D environment. You can just off this by clicking here. So we can off the three D environment grid by clicking here and and we have the three D extended view. It is a three d extended view, which shows our composition in relation to our three D environment. You can click here to close the three d extended view. Okay? Yeah, so that's where you get with the draft. And now here you get the renderers. Currently, we are using the classic three D renderer. We have the advanced, we have the Cinema four D. And we have the rendering options. If you click here, you'll be able to select rendering options. That's to edit the rendering options. Let's say we have our advanced three D selected. When we come to the rendering options, we're going to see that we have options for the render quality. Okay? The higher the quality, the longer it takes to render, of course, then we have the resolution of our shadows. The better the higher the better. But, of course, the higher, the longer it takes to render. And then we have the casting box box size. So that's the box size of the shadow, okay? That's the kind of bonding box of the shadow. So the bigger the bigger it is, the more our shadows will be extended. Or the bigger it is, the more objects in our scene will be kind of included in the calculations of the shadows. Okay? So we can reduce this or fit it to our scene. If we fit it to our scene you're going to see that the box is just within our scene, okay? So it means the shadows will only be casted here. So anything outside here, you won't see any shadow. But of course, we are not seeing shadows here because we've not added light and started repositioning things to enable shadows. So but that's the camera options for you if you right click and come to to switch viewer, view out rather, you're going to see that we can switch between one view and two views. So now we are seeing two views, and we can click here, and you're going to see this blue bonding boxes around our layout. And with this, we can now select the camera. Now if I just make more room here, you're going to see that if we select this, we can click here to select the camera we want this to show, either left, the front, the top, or even a custom camera. Okay? Just like this. We can click here to go back to this view. You can disable our three D draft if you want. We can select the view we want. Is it the default view? Is it the third custom view we want? We can also click here to select the number of views we want, the number of views we want in our viewpot we can click here can have four views. We can look at everything in T D, can manipulate this and we see them updating in real time. Okay? That's how to work in TD. And yeah, so these are just what you need to know about basically, or fundamentally. So just select this guy take it to the default. And yeah, now I will just select my guy and make sure I have my T D or advanced three D selected and open here. Now we get different options when we depending on the renderer we select. So for this advanced treaD we have these options, we have the transform options. We have these geometry options and we have material options. But if I change this to the classic treaty, we're not going to have geometry options, as you can see here. So that's just for you to know. So under geometry now, we have what we call Bevo. So Bo we have BEVo and we have extrusion. So if I just boost up my extrusion depth, we're going to now see that we are creating an extrusion in real time. So we've extruded our trea D this is now an actual tree D shape, where it says bevel. I zoom in here and just pan around and select a type of bevel bevel style. Let's say concave. We're going to see that we now have a bevel detail around the edge of our treat. If I increase the bevel depth, we're going to see that the detail increases in size. So this is what a bevel is. For now, we have just three types. We have the angular, we have the concave rather, we have the convex. Okay? The convex kind of smoothens the edge, and we can see it in tridi. Yeah, in other softwares, we have more types of bubbles or more styles of bubble. Okay? So that's the bubble for you, and we have the materials. Right now, we're not even seen any shadow. Right now, it's using the natural light or the natural environment light of after effects to lighten up our scene. Okay? So the next thing I would do now is just create a new solid. I'll make my solid white, heat okay, and heat okay. What I'll do then is just change my solid to three D layer, bring it below my three D object, and I will use my X axis and rotate my solid. I'll just make room here and use my properties panel right here and make sure my rotation. Actually want to rotate it not dientation the rotation should be 90 on 90, let me just make this zero and let's look at the rotation. Yeah, the rotation should be 90 degrees on your X axis. Your rotation should be 90 degrees and let's see -90. Yeah, so -90 degrees. Now we can move this object down. We can move this object down, can select the position to and just move it down so that it becomes like a plane or background for three D object to sit on. Yeah, and then we can take the scale and just scale this make it big so that it covers our scene. Yeah. Now we have a three D object in our scene, and we have it sitting on a background, right? Or a platform. Perfect. So now we can't even see shadows casting for our three D text object. So what we need to do is actually create light. So I'll come to layer new and then light. There are different types of lights. And we're going to look at the types of light. So I'm just going to select point light or spot light you, okay? Now we can see that our scene has been lighted, but we still don't have shadows casting on the ground, right? But the most important thing is our scene has been lighted for now and we can move our lights further. We can see our light here, we can rotate our light. We can basically manipulate our light just like a normal three D object, okay? And this light work also for our sigma foggy render. So if I select my sea fogy render, we're going to see that this is it, okay? Looking good with the lights. Yeah, so go back to my Advanced CD and open my light into my light. I will just select here an environmental light because I want to cast shadows on my scene. So I've selected an environmental light, and now it's serving as the environmental light for my scene. And we have cast shadows turned off. I just click here. You're going to see that it's going to process a bit, and you should have shadows now cast on our scene. Okay? We are not seeing shadows. So let's try to see what the problem is. Let's look at the transform. We transform, we can move around, we can move around or seeing. Sorry we can move our light around. And still yet, I'm not seeing my shadows. I just delete this light and creates a new one. So file or lay out new and then light, and I will just select an environmental light from here and hit okay. Now, let's see if the shadow casts. So click on shadows So my after effects ran into a problem and I couldn't generate shadows. So I had to just restart the whole process and try generating shadows again, and it worked the second time. Okay? So if you experience the same problem, just try restarting and you should be able to generate shadows. So you need to make sure cast shadows is turned on for your environmental light, okay? Only the environmental light is able to cast shadow for the advanced three D render. So just take note of that. So we have the shadow intensity, we have the shadow darkness. These are very self explanatory. If you just zoom in now, you're going to see that we're casting shadows here, but our shadow is noisy, right? Our shadows are noisy, and that's a bit problematic. What we can do is come here going to renderer options. And if we boost the quality of our render, we're going to see that gradually we eliminate our shadows, or the noise gets eliminated gradually. But the problem is this increases our render time. I hit we now, we're going to see that we have less noise in our shadows, but this increases render time. That's the only problem with this. It increases render time. We could as well, increase the smoothness of our shadows and that will also serve well. So we just want to keep our randow quality fairly low while working in the three d space, maybe 25. So I think the default is 25. Can it okay? Yeah. So that's how to clear the noise in our shadows. Yeah, so let's look at some of the options we get with our three D objects to select your tre object, open this up. And under your tree D object, of course, we've looked at the bevel and the extrusion. You can close the geometry options. We open the material options, and the material options, we have cast shadows. It's turned on. You can turn it off to see the effect. It's going to not cast shadows on the object on the object, and also on the plane. So we can turn it off on to cast our shadows back. We have accept shadows. We can turn this off, and we're going to see that it's not going to accept shadows that's on the object. Okay? So this one is just for the object, can turn it on to accept shadows back. Then we have accept light, which works just the same thing as shadows, the same way as shadows. We have shadow color. You can change the shadow color if you want. Could make this bit reddish. Here we can see that our shadows are now a bit reddish, then we make this more dark. And then we have the ambient, we have the diffuse. Okay? All these are light settings or how much exposed our object is to light. We have the specularity, intensity, or the specular intensity, which has to do with the shininess. And basically, yeah, the shininess and the reflection of our Object. So also with the specular shininess, if you make this 100, we're going to see that our object becomes very shiny and very reflective, okay? The metallic or the metal is the metallic property of our object. It makes our object metal or act like metal, just like you can see here. So we have our metallic as 100 or metal is 100 or specular shininess has 100, specular intensity has 100, and this is the result we get, okay? This is completely amazing. Yeah, so that's what we get with this. Maybe the shininess could be 50 to reduce the intensity of the effect. Yeah, so this is what we get with the shininess at 50. You can see looking good. So these are the options you get with your materials or for your materials. If we change rendr now, say for the rendr, we're going to get different options. Okay? We're going to get different options. We're going to get gets loading now. It's let wait for it to load. Yeah, so we can see that the environment light doesn't work with the cinema fody totally because it's not casting any shadows. It's not accepting light. It's just there, completely diffused. Yeah, but we get other options. Which will react with other types of lights, okay? So I'll just advise you to go through all these options yourselves. And for our classic three D renderer, we have other options as well. Okay, we have other options as well. We have the specular, we have the cast shadows. Okay, but we don't have geometric options. Of course, it doesn't accept or it doesn't give us the ability to create or to manipulate geometry, since we are not extruding anything here, okay? So go back to our advanced three D renderer. And that's basically it for these. Okay, we can add cameras, come to layer new camera. There are different types of cameras, but we won't look at the types of cameras for now. But basically, when you add the camera, you get your camera in your scene, and you are able to, let's just make this big, and you are able to kind of select the particular camera you want to view things on. And that camera will now appear. So let's see for this one, we are currently selecting the right view. We can come here and select our camera one, okay? So that we now look or we now see our camera one, which is our new camera which we created. So our camera one was created in the current view we wear, okay? That was the default view. So that's the camera one for you and you can see a camera here. It means we could have multiple cameras, so we can even create a new one. Se another camera. Hit Okay, that camera two. It's created in the same position as Camera one. You can just use this to move our camera. So now we see we have two cameras here. We could rotate this one. Okay. Rotate it, could move it. You position it. So we could have this as camera one and this as camera two. Yeah. So that's basically it, guys. That's basically This camera two. This camera one. Yeah, so we can animit everything here. We can anit our treD object. We can animit our cameras. We can do all sorts of things, create a keyframe. See, for TreD object, we have our transform options. We have a transform position. Rotation of skill and so on and so forth. Okay? All these things are unimutable. Yeah, that's basically it for an introduction into T D and the T D workspace here in after effect. In the next video, we're going to go further to look at more things we can achieve with TD in after effect. We'll see you in the next one. Bye bye. 4. 4 Lights: Here, in this video, we're going to look at three D lights in after effects and how to work with them. So in the last video, we looked at the three D interface, and we created this three D composition, and we looked at the environmental light which we've used to light up our scene and cast shadows on our background, okay, on our plane. And we saw that the three D environmental light only works with the advanced three D render, and we looked at the options for this light. Okay, we saw that or this is the type of light, which is the environment light, the source. We've not looked at the source. Now I want you to just come into your folder for this module and bring in this HDRI image. That's the blue photo studio fk dot exar file, select it and in port. And this is an HDRI image, and I'll just drag it into my scene and drop it. Close this for now, and now my dR image is in my scene and I don't really need to see it, so I can just disable the view and select my environmental light, open it up. And my environmental light is basically a light that wraps around my scene like an environment and lights up my scene from different angles. Okay? Now we can use an HGR image to pick up lighting data from it in order to light up our scene. All we need to do is to select our environmental light while having our HGR image in our scene in our composition. And then click on source. And when you click on Source, you're going to see that we now have the HDRI image on our list. So it means we can select it. So I can select it and choose it to be my source, and you're going to now see that my scene updates, and we start using our HDRI image as our environmental light. So it's taking a bit long to render. But right here, you can see that its rendered our scene, our top view. And we're going to take some time to render all other views. Okay, it has rendered this one, and it's rendered this one. And now it's going to finally render this last view here. And now it has rendered it. Yeah, so we can see that scene our lighting for our scene has totally changed now, because we are using our HDRI image for lighting or scene. Yeah, our lightning has changed and also our shadows have changed. Yeah. So that's how we can use hid image to light up our scene. And we have our transform properties for light. We can open this up and we can rotate the X and Y axis to change the positioning of our light and by extension, the way it appears or the way it affects our TD object and our shadows. So we could see rotate it on X axis, and right away you can see that our lighting changed. Our lighting changed for sin. Okay? So you could maybe enable just one panel or one view and then rotate it so that it doesn't take long to render all the views, okay? But that's how we can use an HGR image to light up our scene. And this option is only available with the environmental light, right, because an HGR image is, of course, an environment which we can use to light up our scenes in treat software, native treaty software, and in this case, in after effects as well. Yeah, so this thing won't work in our cinema fody renderer. Our Cinema fody render will not support this feature that's using our environmental light. So we can even try it and see where it won't work. Okay, it's not supported for our cinema fody renderer. And our cinema fody render takes a lot of time to render. But we can use other types of light for our cinema four G render. So you could, for example, go ahead and add a new light. To go to light. And now the light settings, you're going to see that we have the name of the light. We can give you the name. We have the light type. Okay? So because we selected our cinema fody render, we now have these light types. We do not have the environmental light because it's not supported for our a fody. We have the color of the light, we have the intensity, okay? We can enable cast shadows. We can enable a preview so that we see a preview of the light. Okay? But this is the ambient light, and the ambient light is kind of let me just hit okay so that you see how it functions. O. So it's taking time to render. I think we just need to kind of reduce our views here, maybe one view. So let's work with one view so that it doesn't take forever to render. Yeah, so our ambient light. Okay, let's use a different kind of light. So we can click here to go in between our light. Our ambient light basically just creates an ambient lighting, without any fall off, okay, in our scene. So you won't see any details. You're just going to see that the entire scene has been lighted. Okay, and then we have the spotlight, which is a spotlight, okay? And under the spotlight, it gives us this effect, this cone effect. And we have options here for the intensity, the color, the cone glue, okay? The cone feather. Okay? That's how smooth the edge of the cone is, and then the f off do you want it to flo smoothly, or do you want no fall off? So if you have no follow, you're going to see that we don't have any falloff, right? It's going to just be more lighted, more lighted. And yeah, basically, this is the view, and you can see our shadows here, right? We can see our shadows, which works with the cinema for the render. Yeah, so we have the radius, we have the f of distance, okay? So how fall off is going to be. Our fall off is basically the boundary between the boundaries of our lights, okay, and where our lights do not reach. Okay? So how smooth or how sharp that boundary is, okay? Yeah. That's basically what we mean by fall off and then we can enable or disable cast shadows. And yeah, so these are the options we get with our lights. That with our spotlight. Now point light is basically one that just acts like a point. Okay? So it lights up our scene from different angles, okay? Like a point. Okay? So in order to render our scene faster, I'm just going to change my renderer to the Advanced three D renderer. The advanced three D render these lights also work for the advanced three D renderer. It's just that they don't cast shadows. Okay? So now we can see the effect we get with our point light. Like I said, it's just a point. So we could maybe change to two views. One is top view, one is this custom view. Maybe I change the custom view to the custom view one, perfect. Then we can select our light here. And just reposition our light. Okay, we can see our light is getting closer to our three object now. We can even take our light higher so that it lights the entire scene from top, okay, something like this. So it's common practice to use multiple lights to light up our scene. Okay? We could maybe use this or we could maybe do a three point lighting. So let's say we want to change this to the front view or to the camera one view. So we could use our point light as the back light, and the back light will light up our scene from the back. Okay, we're going to have all these highlights highlighted by our light. Yeah, so we could use this as the back light and then maybe increase the the intensity beat maybe to one, 50 so that our highlight here, our three D edges are lighted very well. Then we could also create a new light. And for this one, we could use see spotlight and he okay? Yeah. T is our spotlight, our spotlight is selected here. We could reposition it well. For our spotlight, of course, you can see that we have this target, a target, which we can use to target the direction of our light. We can just bring it here and then rotate our light. So way to use my Gizmus here to rotate my light to focus more on my scene as much as possible. Mm. Okay, so let's off the spotlight or the point light so that we can see the effect of our spotlight. Okay? Our spotlight is not lighting our sceine properly. Okay, let's select it. And I think at this point, I'll just enable four points, then I'll make this full screen. Then for this one, I might just go ahead and enable the front view or so and then select my point light. Let me make sure it's my point light I've selected or my spotlight rather. And let's see how we can position this well. I'll just enable my ambient light so that I see what I'm doing better. Okay, so it seems we are lighting it from the back. Let me bring this bit forward. Okay, okay. So this is what we should have done actually. So you can see the light effect. Perfect, too. I can just go back to two views. And now we can see that our ambient light is lighting our scene from the back, and then this other guy is lighting our scene from the front, right? Yeah, let's go ahead and add a different kind of light. We have this other type of light which is called the parallel light. The parallel light basically light our scene in one direction. Okay? So this is the parallight. You can see that it just gives us this target which we can position and light our scene in that direction. Okay? In a parallel kind of direction, unlike the spotlight or the point light. Okay, so this is a typical way we could light up our scene. It could be way better than this. This is just me showing you the kinds of lights and basically what we can do with them. Now, you can just go ahead and look at all of these lighting options. The options here are very similar to the ones we've looked at before, okay? They mostly have a fall off, okay? So you can either choose none or you can select the kind of f off you want, and then the fol off reduce the fol off distance and then the intensity, and then the color and so on and so forth. So all of these are it's a very self explanatory. Yeah, but that's basically lighting for you in after effect. Yeah, and I hope you've learned something new. In the next lecture, we're going to dive deeper into three D cameras. So see you in the next one. Bye bye. 5. 5 Using cameras for depth and perspective: Here, we'll come back. In this lecture, we are going to be diving deeper into cameras in after effect. So a camera in after effect is basically a layer that mimics an actual camera in real life, okay? And of course, we are familiar with cameras, so I don't need to start telling you what a camera does in real life. But basically, we can see through a camera. And we can admit the path of our camera and we can do all sorts of things with our camera. After Effects tries its best to kind of give us the features we get with an actual camera right here in after effect. So the first thing I'm going to do now is create a new camera. So I'll go to layer and then new and camera. Now, this is our camera settings interface, and if you come here, you're going to see that we actually have two types of cameras. We have the one node camera and the two node camera. Okay, so there is no much difference between them. The only difference is that one node camera is kind of simple kind of camera with a single point of control, okay? So this moves freely in three D space without being constrained to a point of interest. Okay? That's the one node camera. So if I select the one hood camera and I hit, okay, we're going to see that. Okay, I'll just click here and make these two views. So you can see the top view of our camera. Now we have our camera selected, and this is just what we get with our camera. You can see that we just have the controls here, we can move it, we can rotate it. We can do all sorts of things, okay, to our camera. And if we open the camera options here, open the transform options, you're going to see that we have our position, our orientation, our X, Y, and Z rotations, okay? So these are the controls you get with your camera, with your one node camera. If I do layers and camera settings, and I select the two node types of camera and enable my preview. You're going to see that we now have a third or an additional control, which is the point of interest, okay? So that's the difference between the one node camera and the two node camera. The two node camera has two points of controls, which are the camera itself and also the point of interest, okay? So the point of interest is basically a target, which the camera is focused on. Okay? So as you move the camera, the points of interest remains focused on a specific target. So if I move this to the right hand side, you're going to see that now we have this little.in the middle. Remember, when I selected one node camera, we didn't have that point, but now with a two node camera, we have that point. And that point is what is referred to as the point of interest. Now we can take this point forward. We can move it. We can basically control the view of our camera using the point of interest. Okay? So we could focus the point of interest and also move our camera, as you can see. So our camera is moving, but our point of interest is focused on this point. Okay? So that's what we get with the one noot camera and the two not camera. Now, these are not all you need to know about cameras. We actually have one other thing, which is very important. So go back to the camera settings, and that is the preset. If you click on the preset, you're going to see that we have a number of preset here. Okay. And these are actual the focal lengths of the camera. And what is a focal length? A focal length is basically a feature in our camera that determines the zoom level of our camera and the field of view, okay? That's the field of capturing. That's how wide our camera is able to capture. So all of these are controlled by the preset or by the focal length, okay? So shorter focal length creates wider field of views, and longer focal lengths create shorter field of view. So let's say I I just cancel on this and reset my camera view and go to my camera settings. Move this and then now start selecting different preset. So if I select the 15 millimeters, you're going to see that there is a wider field of view. So this is wider from here to here is wider, as you can see. So if I keep going down, we're going to keep seeing that the whiteness gradually reduces, the length of the cone of our camera of the angle of capturing of our camera widens or increases. So if I make this 50, we're going to see that the witness, which is, of course, the field of view reduces, but the length increases. So let's take it to 200, so you see how it now looks. So we can now see that with 200, it's very long, but the width kind of reduces. You get the point. So if I do can, for example, and then go in and bring in an image from my folder, the sky image, input this and then just bring this into my background or into my composition and make this three D. And yeah, just make it three. And now just notice how much we've zoomed into our image. Okay? Now, I'll just go into my camera settings. Select my camera, go into my camera settings and change the focal lent so that you see the view we get with different focal length. So 50, and now you see that we've kind of zoomed out, right? We've kind of zoomed out because we've chosen a smaller focal length to 35, we've zoomed out even further and so on and so forth. And gradually, our entire image is now put in because we've chosen a different or shorter focal length. So that's how these features work. And with our camera, we have a lot of options. So just come and open your camera options, and of course, these are the transform options. These are very self explanatory. We have the camera options right here. And because we have our advanced renderer selected, we only see the Zoom option under the camera options. I'm going to select my classic TD. Now you're going to see that we actually have lots of other options on the camera options, depending on the selected renderer. Depending on the selected render. So we have the depth of field, and the depth of field is basically a feature that controls how much camera blow we add to our camera, depending on distances of different objects to our camera in our scene. Okay, so that's the field of view, and then we have the focus distance, that's the distance of the focus of our camera. Okay? Because our camera is meant to focus on different objects in our scene. We have the aperture, we have the blow level and so on and so forth. Okay Now, we won't look at all of these setons for now, but we are going to go in and create something so that we see how some of these settings react with our actual scene, or an actual composition. So for that, I will first of all, delete everything I have here. Even here, and then just go into my folder. I'm just going to do open project. No save this and go into my folder for this module. And in my folder for this module, you're going to see that I have this project. In this folder, which is pet Images folder. Okay? So just come into the PET Images folder. You're going to see the Pet Images project to select it and hit open. Perfect. So this is the project, and what I have done here is I have just brought in some images, downloaded some images from pexels.com, as you can see, and I created this placeholders, which we are going to be using to explore our camera here and after effect. Okay? So these are just placeholders with images. Okay? So the first thing I'll do now is just save a copy so that I don't save to the original version in case I will save a copy and this copy, I'll name it camera animation class projects. And then just hit save. Perfect. Now the next thing I'm going to do is create a new composition to create a new composition and I'll name this mint comp. Or whatever thing you want to mit, so hit okay and then go into my sorry, my place holders and select all my placeholders and bring them into my new composition. Here we have our placeholders. I will just while selecting them, click on Togo which is and modes, and I will just enable my tree D. Actually, my tree D is here. So enable my Tre D for all these layers, and I'll hits for skill and skill them to say 45 hit e. Yeah. And then go ahead and create a new camera. A new camera, yeah. So just select the 50 MM, and then hit okay. And the next thing I'll do is just come here and see two views. First thing, I'll just hide my camera. I don't want to interact with my camera for now. The things I want to interact with are these images. So I want to just kind of offset their positions, okay? So I'll select all of them, except the first one. So I'll select the first one and then I'll just move the rest back into my scene. And then select the second one of the rest back and just keep doing that. Select the sixth one of the rest and so on and so forth. Okay. Okay, so as you can see, we are still working on our pet images project, and actually want to be working in the duplicate I created, not the original, okay? I don't want you to come and have to deal with the entire new changes we're creating when you open the Pet Images project, okay? I want to do the entire changes in a new project. That's why I duplicated it in the first place. So I'll just actually open the new project. So open recent, and that should be camera and mission class project. So open this and I won't save this in the Pets pictures project. So I'll just go ahead and do what I did quickly. So bring all my precompositions or my placeholders and bring them make them td, hits for skill, make our skill 45, for all and then create a new camera, hit okay, go into two views, and start repositioning our images. I'll just fast forward the video so that we don't spend all day doing this. Yeah, so I have all my images placed in this manner. Okay? Now, what I will now do is just come here to this view and just start repositioning them so that they don't just stay in one line. Okay? So I'll just reposition them like this and even rotate them. Rotate them, reposition them. Yeah. I can also reposition them from the top view, which will make things which makes things more easy. We have this image, an image of a flower. So for this one, I will actually create a duplicate. I will reposition it here and also create a duplicate. Okay? I think I'll reposition it in front of this image and also create a duplicate so Control D and just move it from here using the top view. Move it here, move the duplicate here. Maybe I'll move it down this time, and move it to the right hand side, and just rotate it a bit or tilt it a bit. Okay? Yeah, I could just do Control D one more time, and just move the next version here, rotate it, use my top view, and move it to the left hand side like this. Perfect. And then if I come here, I have this last image, and this is actually an image of a flower too. So for this one, I'll just take it up like this. Okay? And I want to come into images. And I actually have an image of a sky, and this is it, this image. So I'll just bring it bring it in. I don't need to place it at the back actually, but I can place it at the back and then just make it red and now just push it back into my scene, back into my sin, back to the back, just like this. And we can now see that it's going way behind all these images. Okay? And you can hit S for scale and just rescale it to cover our entire scene. Perfect. And now we have our composition. So we can now enable our camera and select our camera, and now we can move our camera into our scene, and now we see that we are basically going into our scene, going in between our images, and this looks just incredible. Down to our last image, which is our background, right? So we can even start from here, so we can start from here. So we can just create a new keyframe, open your options, your transform options, and we can create a keyframe for point of interest, position, orientation. In fact, everything just create a keyframe for everything, then come here and just zoom back or go back. Okay, to this point and perfect. So now if I play this now, we're going to see that we start from the back and we zoom into our scene, okay, or we zoom out of our sin down to the first image. And that's just so incredible. That's just so incredible. In fact, we can just select our Q frames and easy use them. Okay, I'll just easy ease them by hitting F nine on the keyboard, and we can come to the second second or maybe come here to 10 seconds, and then just kind of adjust the rotation. Okay? Let's see, not Y. Let's see the Z rotation. Or let's start with the X rotation. Let's come to 8 seconds and just bring this down. Okay? Come here. Now, let's play this and see. Yeah, so you see how the rotation is adding a bit of flair to animiion. H, Maybe when we come here, we might just create we just adjust the rotation like this. Okay? Now let's play this and see. Yeah. So you can also select this view and just come here and change this to the right view so that we see our camera from this angle. Okay? So it means we can maybe move our position like this if we want, or adjust it in this manner if we want. Okay? So that's another way we could work with our camera. So you see, these are our key frames. Okay? We could adjust them. Okay, that's actually not my key frame. Let me see. I was selecting something else. I think that's my point of interest. But anyways, we are basically using all of these controls to reposition our camera along the path along our camera path and create a very nice looking animion. Yeah, incredible. Now, we could just come here and say, create a new solid a white solid. And at this point, we just want to hit T for transparency and come here, create iframe for transparency, and then come here in time and make this zero so that from here, we just fed into white or white solid, so that it kind of fits our scene out, just like this. Incredible. Maybe even bring this bit forward so that our scene ends before our camera stops completely. And if we want, we could also begin with feeding animation. So click here to copy this keyframe or to recreate this keyframe and then come here and make this 100 so that we fed from white and then basically go into our scene. Incredible. Yeah, and then while having our camera selected, we can go into our camera options, close my camera transform options for now, and then open my camera options. And in my camera options, I will just go ahead and enable my depth of field. So just take note of my camera here. So if I click on depth of field, you're going to see that line appear. I'm not sure if the line is visible for now, so let me just off this and on its back. Okay? So it seems the line is aligned to the edge of our camera here. Okay, that's the depth of field. If I just go ahead and change my focus distance or make it smaller, you're going to see the line going back, okay? Now, that's the depth of field or the line for the depth of field. So this line determines our depth of field. So this line is basically like the focus, okay? So the images that are here in front of this line at this line position are going to be focused most while the ones that we are going to be blurred out. Okay, so now let me just first of all, increase my aperture to see 100 if I do that, now I'm going to see that my images, these images that are not focus, that are not in focus are currently blowed out. So this is blowed out, this is blowed out. And only only these ones are sharp. So our focus or taptopl is just around these images. That's the one that are in focus, okay? So if I select this we're going to see that this is the one I selected, and it's just in front of our line here because this is our line, right? Okay, let me just take this and move this closer to the image. So as I move this closer to the image to this image, you can see that the image is sharper than every other one. Okay, let's bring our focus, our focus distance back. Okay. So I've brought it back towards this image. Let me even make it go even further back, say in front of the image so that it focuses more on the image. Now, we see that the image is most focused, while the other ones are sharp. The image is most sharp while the other ones are blurred out. Okay? So that's the depth of field. And as we increase our aperture, the effect gets increased, as you can see here. So let's see 120. For aperture. Now if we play this, it's going to look even better. It's going to add more depth to our scin. Yes, guys, now let's play our scene and see. So we see that we've added a lot of depth to our scene using the depth of field. And our admission looks just so incredible right now. Yeah, we could even add motion blow to make things even tastier. Okay? Yeah. And that's basically it for our exercise or our study on cameras here in after effects. We can go ahead and render out our scene because this is a really nice looking animation or nice looking composition. Yeah. Incredible. Incredible. Incredible. I will just go ahead and save this to Control to save this to this project. And I will also collect files so that you also have access to this particular project which I have worked on personally. So camera animation class project folder. Perfect. Hit Save. Yeah. And so this is the project Project folder for this project we just worked on. Yeah, that's it for this video on cameras in After Effects. See you in the next one. Bye bye. 6. 6 Working with 3D models inside After Effects: So before now, working with three D objects in after effects was a far fetched reality. And in order to attempt doing that, you need external plugins like the video copiload element three D plugin, Okay, which enabled us to kind of attempt doing that. So after effect has never been a native three D application, and it still is not okay. But with the recent update to after effect, starting from, I think, 2023, we can now use three D objects inside of After effect. And this brings the reality of after effects to a whole new level. And, trust me, Adewa has been doing a lot of cool stuff since the inception of this, and it just keeps getting better, okay? Now, let's go ahead and look at how to actually use three D objects inside of After effect. So I'll just go into my fold nount for this module and bring in my three D object. So in the folder, we have this Mazda, it's a three D object, and it's a GLB file. So it in part. And I'm just going to click here to create a new composition and hit Ok. Okay? Yeah. So in order to now work with our three D object inside of after effects, we need to select it and drop it in our composition. And we have this settings window, which pops up, and we can now give this three D object a name. We can click here to make the three D object, the size of our composition. If I shift this, you're going to see the outline of our three D object right here. So if I click here, it's going to bring it into our composition and making it fits our composition, y. And we have this set in here which we can use to control the scaling. Okay? So we can see that it has been scaled down 25% of its actual size. You can increase the scaling if you want. You can reduce the scaling. We can choose the model unit. We can choose what axis, we want to import it us. Is it the X axis or the Y axis, or that's the up axis, okay? We can flip the axis as well. And basically, we can hit, okay, to import our object. And now we have a TD object in after effect. That's incredible. Now we can manipulate our tre D object with our tre D Gizmos, just like a native TD object. And the first thing I'm going to do now is hold down Control and Home key to centralize my ankle point, and then just rotate around my tre D object using my gizmos. And we can see that this is a model of a car Okay. And yeah, that is our three D object. And you can see that this is a GLB format. So GLB format is kind of native TD format, which has textures embedded in it. As you can see, our TD object comes with textures. It's well textured. That's because it's a GLB format, and it embedded with its textures, okay? After effect also supports formats like the OBG format. But the OBG format doesn't always come with the textures like this, and it's a little bit tougher to handle. Okay, due to its inabilities to embed textures on the LB format. So I will always advise you to bring in the LB format. This model is one I downloaded from sketchfab.com. There are lots of sites which you can get free models from such as the sketchfab.com, which I got this model from, okay? You can also use CgtradR. You can also use fretred.com, and there are just a lot of websites which you can Google and find three models, free three D models to use ASAP. Yeah. So right now, I'm just going to go ahead and enable two views. And now we can see how three D model from the top view, can move this and you see that I'm moving it deeper into my tree D scene. Yeah. Next thing I'm going to do now is just go ahead and create a new solid. Hit okay. I'm going to make my solid three D solid and just now rotate my solid? Make this bigger, and you can see that our orientation is 73. So let's just make our orientation 270, and now it's flat, and we can move this down to make our three D objects sit on it. Okay? So just zoom in and reposition this properly. Perfect. Right now, we can just hit us for scale and just scale this **** up, okay? Scale our solid, scale it up, and it feels our sin down, and now clay won't see anything, but it is actually an animated T D object. So after effect gives us the ability to even import animated three D objects. That's incredible. So let's see how to enable the animon for this D object. So just come here, open this up, and go under animation options. So if you open our animon options, you're going to see the name of the animation, you're going to see that we have an animation here, so click here, and our layer is going to get trimmed to the length of our animation, so that it admits till the end of our animation. Yeah. So if you play this now, we're going to see that there is actually an animation embedded in this as well, okay? So we don't just get to embed textures into this format. We can also embed animations into this format. Incredible. Absolutely incredible. So that's the JB format for you next thing, I'm going to do is just a click or go to Layers new and light. And this model or three D models here work with the environmental light. In order for them to cast shadows, they need the environmental light. So we're going to have our environmental light. And right now, we're using our environmental light to light up our scene. And now we can zoom in and see that we now have shadows, realistic shadows added to our three D object, okay? Or added to our scene casted by our three D object. So we can select our tre object, rotate it, and everything follows realistically. Okay? I didn't rotate it. Let me just pick my rotation tool and actually rotate this. It might take some time for our shadows to follow along because our shadows kind of slow down our scene. But here is our three object rotated and looking incredible. And we can open other options, see the transform options for three D object and see that we have options for our anchor point, position, our scale, and it means we can admit our three D object in three D space. Okay? You can admit this because we have the X, Z and Y axis. Incredible. And we're going to also see how to admit this scene and create something really cool. But I close this and going into the compositing settings, we have the curt shadows on and off. We have the accept shadows on and off. We have the accept light on and off, okay? And then we have the shadow colors. So these are the settings we get with this. And we have to be using the advanced three D render right here in order for this to work in order for this to cast traduce and to work. Yeah. So these are the things we get. Now, I'm just going to select my light, open this up, and bring in my HGI images. So go into your folder and bring in the HDRI images. So we have the studio small HGI image. I'm going to select it and select the blue photo studio HDRI image as well and hiding pot and bring the both of them into our composition. And just hide them because we don't need to see them. Now, if you go into our light source and clicker, we're going to see our HDRI images. So if I select this guy, for example, our scene will now be lighted using our HDRI image, our selected HDRI image. You can see that our scene has updated, our lighting has updated, and it seems our light is not very intense, so maybe I'll just make this 150 to boost up my light intensity and see the effect I get. Yeah, so it seems it's loading, maybe wait for it to load and update. But the next thing we can do is select our light, go into our light rotation, and now we can rotate our light, right? And we can just see that our scene has been updated, and this is a bit too much, the intensity is a bit too much let's make this 120 hid andar. And this show takes a bit of time to update because of our shadows. If we just disable our shadows temporarily, so let's just disable our shadows temporarily. So yeah, without our shadows now, it's going to be faster. It's going to react faster to whatever we do. So we can rotate our lights, as you can see now, our light is rotating and our scene is changing, our lighting is changing, on our three object. You see the effect we get while rotating our light could even rotate the Y rotation. Okay? And of course, this is an HGRI image. It's basically a dome image, which can be used to light up our scene, which is usually used in the native TD world to light up scene. So we can also use this to light up our scene. Yeah, now I'll just go ahead and create a new camera. So go to Layers new camera, make this one nude camera, ido, and I just squash this view to select the two views. And this would be my top view, and this would be my main view, okay, my active camera. So we could select a camera Okay, first of all, maybe we select our car and move our car into our composition more into our composition. And yeah, we can do draft three D to see an extended view. You can move it deep into our composition, if you want. We just leave it here and select our camera and just create a keyframe for our camera. So go into the camera transform, create keyframes here. And then we just come here and come here actually. So our animation is just 8 seconds long, about 8 seconds long. So we just hit N to trim our work area, trim come to work area. Basically, we have this, and then we just zoom in Okay? Okay, actually, we want to, we want to just go say 2 seconds forward and zoom in and maybe rotate and reposition our scene. So you want to be selecting the position, or you want to be selecting your camera here when you see your X, Y, and Z or when you see the X, Y, and Z, on your coser. Okay? Now, that will enable you to select all axes and move this in all axes, okay? Perfect. So you just want to then come to maybe two more seconds and then move this around maybe rotate it first and just move it rotate and further move it. Maybe like this. Then once you just come to seconds more and further rotate and move our camera Okay? Come here. Maybe at this point, we'll just finish things up. Route or camera. Maybe we'll push things a bit back. Yeah, so something like this. Let's play this and see what we've got. Or Yeah, not looking bad. We could come to key frames like this, maybe the next keyframe here and just maybe do a little bit of Z axis rotation. Come here, make it go the other way. Come here. And come here and make it zero. We can see that these are just normal linear keyframes, so the movement is very mechanic. You can click on this view, this view, and then make it the right view so that we add some bit of transformations on the right view. Come here. Next view, we just maybe take this up and rotate it like this. Come to the next view. Maybe take this down and rotate it up. Okay, then go to our next view. Maybe do this. Okay. Then finally, for our last view. We'll do this. So try to master how to use your three digisms really make the work easy for you. So I'll select all my q frames down and hit F nine to Easyze them. And now let's play and see. Okay, not bad, but I think we need to maybe smoothen out our movements a bit more. So I'll come here and just look at these points. That these points like this one, you can see how sharp or how angular they are. So I'll just come here and pick my convert vertex too and then click them and drag to smoothen those points out, so that the motion is kind of smooth, as you can see now. I'll just do same with all the other keyframes. Yeah. Smoothing them out like this. For this one, I was smoothing it out like this. So the movement comes like this and then you get the point. Now, let's play and see if things are better now. And So maybe we might need to maybe adjust things a bit at this point. We move things up so that it doesn't go this slow or maybe come to this point and then just tick things a bit higher like this. You just tick the camera a bit higher so that you get this move. Okay. Yeah. Incredible. And this is just the tip of an iceberg for what we can achieve using this new T D feature in After Effect, we can achieve a whole lot of crazy stuff. We can do compositing. We can add three D objects into videos realistically. We can do so much. And we will actually do so much, especially in module, our next module, which is our final project. Okay, we are going to do so much with T D, with exploring, lot of things. Yeah. But basically, that's it for this one. That's it for how to kind of use three D models in after effects. And we can just go ahead and enable our shadows, and go ahead and render this out. So just enable your shadows and we can now render this out. Maybe I'll even make my solid larger this solid, this particular solid here. I could just go back to two views and make it really large that it covers everywhere, so that it covers everywhere. Let's see where it sits. Let's actually make this the top view, not the right view, and just make this just hit, and scale this up so that it covers a wide area. Yeah, and this is basically it. So you can go ahead and render out your scene, and, yeah, that's it for this video. See you in the next one. 7. 7 Getting started with Fake 3D animation: Hey, there. In this video, we're going to look at fake D. So factor D is a way to make your objects appear like they are in T D without actually being in tri D. Okay? So we achieve factory D by basically adjusting the parts of our shapes at different points in time. Okay? So let's go ahead and look at how to achieve very simple fact D very quickly. So I'll go ahead and create a new composition named this fat D. And basic or basics and hit okay. And now I want to just go ahead and create a shape, a rectangle. So how shift and create a perfect square. And I'll control ld hum key and control Hom key to align my ankle point to the middle of my shape and align my shape to the middle of my composition. And the next thing I'm going to do is just control R to bring up my ruler, and I want to create some ruler guides. I want to click and drag and come and create these ruler guides just follow as I do, okay? So your rule guide should look like this on the left hand side and right hand side of our ship, and also on the top and bottom of our ships of our ship, just like I'm doing right here. Okay, so create your guide to look like this. And the next thing I'll do is select my shape now and then go into my rectangle options and open my stroke. And for my line cup, I will choose the round cup and also for my line joint, I will choose round joint. Close this and select my rectangle one, right click on it and convert to busier parts. Okay, so we now have parts instead of shape, and I can now animate my parts, right? Okay? Yeah, so next I'll do is just Control D on my layer and create a duplicate. Now select both of them and just type parts so that we have our parts options exposed for all our layers. And then next thing I'll do is create my first keyframes here. So click here, create our first keyframes and then come to 1 second in time. Okay, 1 second and then create some new q frames. Repeat the key frames so that we have everything looking good. Perfect now. The next thing I'll do is come here. And right here, I want to select my first layer, and then take my pen to click here and click care to select these two points and bring them to the left hand side, aligned to this line like this. So that's the first step you need to do. And the second step will be to select this point and take it up. Just hold down shift to do this in the straight line, take it up and this point, bring it down. Okay, and then go back and select these points which we edited initially and move them to the left hand side, aligning them to this line. Okay, while holding down shift, of course, and you can zoom in and use your ARO keys to just push them forward to align them to the line. Perfect. So I'm using my left key and my shift to move my line. Perfect. Now, that's the first thing you have to do on this keyframe, on this time, at this time. Then come to the first time and you want to select your layer one, ship layer one, and do the opposite. So for the opposite, we're going to take our pento, select our layer one, and click on these points, and bring this to the right hand side, while holy now shift, zoom in and align them to our line, of course. And then do the same thing we did for our previous ship only that we are doing the opposite. Perfect. And then select this one and select this one and bring it and just zoom in and pull down shift and move this to the left hand side to align this better what I'll do. Perfect. Everything is aligned to my line. And now when we play this, we're going to see that we are now achieving a cube like animation, okay? And we don't have any Tre D here. In fact, our layers have not been turned to T D, but just by animating our parts, we are creating the illusion of Tre D. So this is what is known as fake Tre D. Next thing I want to do is come to the middle of my composition to 15 frames because my composition is 30 frames per second. And then I want to select these points. Okay, this point here and just move them up and down. Same with the points for this layer. So click and select and move them up. You zoom in and position everything better perfect and do the same thing with this guy. Perfect. Now when we play, we're going to see that by doing this, we have improved our perspective. Okay? Perfect. So that's the first thing you want to do. Now the next thing I'm going to do is try to recreate this for the vertical or the Y axis. Okay? What I will do is come here, select this layer and Control Shift D to cut it this point and delete the excess, and I'll select this one and Control D to duplicate this and bring my third layer or my duplicate just under. Now select this guy and control shift to cut it at this point, select this guy and delete so that we're working with this one. Okay? And I'll select this guy come here and hit enter to expose my parts properties, so that we now have this two to work with for this part of the admission. Okay? Then I'll come to my 2 seconds. Zoom in, come to 2 seconds and just create new keyframes for these two layers. So click here and click here to create two new keyframes. Perfect. Now, all we need to do is do the same thing we did for the two layers, but vertically this time. Okay? So I just want to come here to the last film, select this guy, take my pentel, click here and click here, zoom in and move these points up. Okay? Align them to this line. Just like this and select this point, move it to the left hand side, while holding down shift, do the same thing with this one move to the right hand side, while holding down shift, then select this guy and this guy move them up while holding down shift. Now, zoom in and do shift and up key to move this and make it aligned to this line. Perfect. Then all I need to do is to come to the first guy here, select this layer, and do the opposite. So click here and click here and move this to the downside. Zoom in, align it to my line. Click here, move it to the left hand side. Okay, I just tick my pen to click here, move it to the left hand side. While Huli now shift, click here, move it to the right hand side, while Hulinn shift. Then click this, click this and move them down. And align them to my line. Maybe use my u ki to align them better. Perfect. And now let's play this and see. Now you see all I need to do now is just come to 2 seconds and maybe 2 seconds and one frame. So I'll just do Control and write Au key to go one frame and I'll hit end on my keyboard to trim my comb to work area and trim comb to work area. I just play this and we have our mission plane in the loop. Maybe I'll trim the comp to work area from here. We trim comp to work area. Yeah, but we actually need to come to 15 trims, that's here, the middle here, and then just do the same thing we did here. That's take our pen too, click here, move it to the right hand side, click here, move it to the left hand side, just to make our perspective look better. Zoom in and align, this to this, and this to this. Perfect. Now, all I need to do is play, and we have our admission, horizontal and vertical cube admission happening seamlessly without really having to create any tree delayer. So I can just delete my ruler guides and I can even add colors. See give this field color. Give this different color. And give this different colour. I'd be red. Yeah, now let's play and see what we've got. Of course, if we want, we could make this faster, could squash our keyframes, could easy ease our que frames at nine, can do a whole lot of things and have different effects. You see, by easing our Q frames, we now have this effect, right? We can go into our graph editor, could select all our keyframes, maybe do this, and we get a different effect. And do this and get a different effect. Yeah, so that's fake three D for you. The limit is basically your imagination. The limit is basically your imagination. Okay, I think I'll just use a normal EZ is for this and I'll do controls to save this and fake three D Basics and save. Yeah, that's basically it for fake TD for an introduction into Factory D. FateRD can go way crazier than this. We can use that for facial regain, for character regain. In fact, crazy things, okay? The list goes on and on and on and on, and we're going to look at more advanced methods of FictRD in further lessons. So see you in the next one. Bye bye. 8. 8 Exercise Fake 3D Animation: Here, welcome back. This exercise, we're going to be creating a quite simple yet incredible fake three D animation. Okay? So go ahead and bring in your file. So come to the folder for this module and bring in the fake three D animation Illustrator file. Select the Illustrator file and make sure you're selecting composition retain layer sizes, and hiding port. Yeah, so I'll just going into the compositions, and this is our composition. So we're going to be creating a fake Dadmission using this compositions. So the first thing I'll do is just do Control K, go into my composition settings and make sure some things are straight. I want to make sure my duration is 6 seconds, just like I have here. My frame rate is 30 frames per second, and I'll maintain my composition size and hedoky. Perfect. Next. The next thing I'll do is select everything, right click and go to create shapes from vector layers. Hit ok, and then I'll just bring all my new ships to the top of my layers staack and go down and just delete all my Vctorias. Perfect. Yeah. So this is Fike three D and what we're basically doing is creating multiple poses and creating keyframes in those poses. Yeah, like we saw in the last video on Fike TD. Yeah, so we just need to select everything now, Control A, and come here and type parts. So that we open the path options. And the path options, we want to come to the middle here, which is the neutral puse. Okay? So we're going to have two poses. We are going to have this neutral pose and two extreme poses. So the extreme pose here will be the repetition of all the extreme pose here, at the end will be the repetition of the extreme pose at the beginning. Okay? So, in essence, we are having two poses, the first one and the middle one because the last one is just going to be a replacement or a repetition of the first one. Okay? So come to the middle. And create keyframes on your path properties. I'm just going to click and drag, drag it down to create keyframes on all my path properties. And for my background, I will just delete the keyframes and lock my background so that I don't select my background. Perfect. Now, I just come here and do the same thing, creates new keyframes. I'll just click here hold and drag up to create keyframes on all the path properties for all the layers, and then do the same thing on my first keyframes, click and drag down. Perfect. Now we have all our keyframes created. What I would do now is just come here and create my first pose. This is our second pus and then our third pose would be repetition of our first puse. We're just going to copy all these keyframes after they are modified and then replace them here to make our third pose. Perfect. The next thing I'll do is just go to my first keyframes here and start modifying my layers. Yeah. Now before I do that, I'll actually do one extra stuff. I'll come here, come to layers. Then I want to create a ship layer and I want to just create a ground level. For my building, okay? So I'll just take my pen to here and click here and hold down shift and click here. Okay, to create this ground level. Okay? So I just want this to be this long. And then I want to bring this to the down to the lower end of my layer stack just before my background. Perfect. I want to select this, maybe make this 12 and then go into my properties, my contents, my shape, and then my stroke, and I want to make this around joint and around cap. Close this and then into my path property to open this up and create a keyframes here, come to 3 seconds, create a keyframes. And come here and create a key frame. Perfect. So right now, all we need to do is start animating or start changing our pose to our first pose. Yeah. So for that, I'll come here, now select this part of my design of my building, just take my pen to click a and then go back to my move tool and just Markey select all of these points and just move them to the right hand side while holding down shift. I want to move them here, and then Markeeselect these points. Zoom in, move them to the right hand side, zoom out Markie select these guys and move them to the right hand side. Okay? So I just want to create this look so I just take some little time to make my look perfect or my push perfect, to make it look better. So I just select all of them and still move to the right hand side. Select these guys and further move them like this. Yeah, so for now, I think this is good. I'll just do Control R to bring up my ruler too, and I will straight up just drag a ruler guide and place it at the middle of this shape. This just at the middle, just to help me create my first window here, okay? So I'll just select my first window or this window at the middle. I will exclude this one for now. So select this one at the middle, take my pen to, click Hit V for my move tool for my selection tool and select all these points and move them here. Okay? Just aligning them to the middle of my real guide, and then I'll just squash the windows like this. Okay. Perfect. The next thing I'll do is just select this guy, select my pen to click hit V to select my selection too, and I'll just move this guy here. Select these points, scratch them, select these points, squash them, zoom in a bit, and reposition things better. Yeah, looking good. And finally, I'll take this guy and do just the same thing I've done for these other two windows. Move this zoom in and position things better. Yeah, looking perfect. So you see what I have done. So this is the initial, and this is the present. Perfect. Yeah. And, I think we could make our perspective more intense. So what I'll do is I'll just take my pentul and just further squash this sheep. Okay? I actually want to make my perspective more intense, so I'll just move this a bit to the right hand side. Maybe diselect this guy. Oh, sorry, maybe select this guy on and move him. Okay. Looking okay, looking good. So I'll just redo the repositioning for all these three windows. So first of all, for my line here, perfect, and then take this guy, select my parts, and just move my parts and reposition or rescale my windows. No, do seem to this one and this one. Yeah, not looking bad. So I think this is quite enough. This level of squash is quite enough. Perfect. Now the next thing we do is just go ahead and fix these other ones. Before I do them, I will just bring my line, my ruler guide here and create new ruler guides to guide our placement of the other windows and the door. And I'll quickly go ahead and please this door and all these other windows. So I'll take my pen tool and quickly do that. I'm just going to fast forward the video so that we don't make the video too long, since you already know what to do here. A yeah, I have completely placed my doors and windows correctly. Next thing I will work on is this part right here. Or let's work on this part right here. That's the roof. For the roof, I'll come, take my pent, click on one of the points and take my selection tool, select all these anchor points and drag them to the side while holding down shift, of course, just place them like this correctly and then select this guy. And drag this guy right here. Okay. Just like this. And I actually want this part and also this part to be a bit towards this side, okay? I'll select this one also and just take it a bit towards the left. Looking good. Yeah, looking good. Make sure you are holding down shift as you move these points, because that will make sure you are moving the points in a straight line. And that's very important. The next thing we do is select this one, take our pen to and hit V, select our selection tool and select these points and just draw them like this and select these ones and tick them to the end. Zoom in and position things like this. Yeah. So far so good, this is what we have. Incredible. Yeah. So the next thing I'll work on is our chimney here, select our chimney, select this part, the pent, click, hit V, select everything, drag them here. And I just zoom in move this. And then I will select these parts and just shift them to the right hand side. To this extent to this extent, and then take this guy, select all the points and just push them on top of the existing ones. Perfect. Next, I will select my smook a and then move my smoke layer to my chimney position. Perfect. For our smoke layer, we just want to quickly give it a gradient of a layer, heat okay, and I'll just move this gradient here. First of all, move it here to the position of my ship, and we can see that my gradient points got disappeared initially. So just do this and do this. Yeah, perfect. And for this one, we just want to go into our gradient here and for my gradient color here, we can see that my gradient has zero opacity here. It has zero opacit here and 100 opacity here. It's between white and white so far, but I want to select this white color or this color and make sure it's not white okay. It's not white really. It's white and the background color here. So make sure you're selecting the background color as the color for this part of your gradient. So it okay, so that it creates this beautiful blend with the background. Yeah. So the next thing we have to work on is our our sky here, our cloud here, and, you know, the cloud doesn't move as much since it's the cloud, and it's just in the sky, right? So it just moves slightly. So it won't move as much as the house will move. So for the cloud here, for this one, I'll just move it to the right hand side a bit slightly, and same also with this one bit slightly. And same also with this cloud here. Just move it slightly to the right hand side. Perfect. So this is what we have. Incredible. And we've achieved great progress with just this little amount of work. The next thing will do is move our grass here. So our grass that this grass is right here, are supposed to be closer to the camera. So their movement will be much. Their movement will be more than all the other parts. So select this guy here for this guy, I want to actually bring him here. Okay. To bring it here and just move him down a bit. Perfect. So we have this and this. And for this guy, I want him to come here because he's further behind our grass behind this particular one. So the movement will not be as profound as this first grass we pleated, okay or we moved. So we just move him slightly. Same also for this one. It's supposed to be behind all other ones. So what would actually, it's actually not behind, but we're going to make it behind. So we're going to make it further away from the camera. More into our sin compared to this one. So just select it and just move it like this and even take it up to make it look way into our sin, and we actually need to decrease our size for this grass. So what I'll do is I'll select my layer and at S, create a keyframes for scale and hit U, come here. Ckframe same here. Then I'll come here and I actually want my skill here to be smaller. So our skill here should be just this big Okay. Perfect. So you can select all our layers back and type path to expose our path property. Yeah, now let's continue with other parts. Next nowadays, I want to actually move our tree here. So for our tree here, we need to take our pinto, select our points, and we just move it here, okay? And we move the stem of the tree. Or the body of the tree and then move it here. And for this one, it's supposed to move behind our building, and it's actually supposed to be in front or behind our building as well. Okay? That's at the pk of our building. So now let's do that quickly. So select your points, hit select your points, Markey select your points and just move this here. So you can see that it's actually in front of our building, and we're going to fix that very soon. So let's move the body of our tree. All we need to do is select these layers and just control shift left bracket key to take the layers to the end of our layer stack and we'll just do control right bracket key to bring them above our background. Perfect, so that they are behind all other layers except our background. Yeah. And with this, the last thing we need to work on is our ground level. So for ground level, it's supposed to be actually behind this tree. So I'll select my ground level and move it behind the tree. Yeah. So this is our fiefen from ground level. We need to come here and just take our pent, select this guy, hit V, and just move it here and select this guy and move it here. Perfect. And now I can just delete my guides my little guides. Yeah. So now let's play this and see what we've done. Incredible. Yeah, so all we need to do now is select and hit U to expose all keyframes and select all initial keyframes, and just come to the end here and Control V. Since we are having some errors here, sook the piece cannot be completed. So let's just hit Okay and see what the problem is. So what is our problem? Okay, so I'm just going to select keyframes now, Control C, CtraV. Okay, so apparently some of our layers are problematic. So what I'll do is select everything here and just type paths and make sure I'm copying only the path keyframes and then we'll do the skill keyframes later on. I'll select all our path keyframes and try we doing our pisting. So come here and control V. And we see right now they all pisted without any problems. So I'm going to take this layer, which has our skill keyframes and hit S for scale copy this scale here, Control C, come here and Control V. Okay? Now, let's play everything and see our awesomeness. Incredible. Now the final thing I'll do is just add the wave warp effects on or to my smoke here. So come here to your effects and presets panel and type Wave wop. And this is our effect. And here we just want to make this 0% or zero degrees. Yeah, so zero degrees will work. Now let's play and see what we've got Yeah, maybe for the for the height and width, we might just adjust a bit. Okay, so we work with these values, and now we're done with our fake CD admission. So if we like, we can just select all Q films to Control A and hit you to select all your Q films. Mike select them Control Shift or sorry, shift, La shift, and Mike select these ones as well, and just easy ease your Q frames. And now we can round preview this. Yeah. Do you just need to let this around preview completely? Yeah. How awesome is this. Incredible. And that's our fake three D animation. Okay? We can see how simple but exquisite this looks. Okay, incredible, this looks. Yeah, and that's it for this exercise. Will come to the end of our video and our exercise. See you in the next one. Bye bye. 9. 9 Cartoon Network 3D logo Animation: Here, welcome back. And this exercise, we're going to be recreating this three D logo animation for the cartoon network here in after effect. We can see that the logo animation is made up of two cubes which are just rotating, and then settling down to form the logo. So it's a very simple animation. So we're going to start by creating a new composition. So go ahead and create a new composition, give it whatever name you want to give it. I can also give it 1920 by ten TP, ik. Okay, and you want to bring in the cartoon network logo. So go into your folder for this module and bring in the cartoon network logo, PNG, okay? Hidden port. I have mine Imported. So the next thing I would do is just bring my logo into my composition, drop it in and I'll just scale this down to the size I want. Yeah, this is the size I want. And the next thing I'm going to do is right click here a new solid. Create a new solid. I'll make this 11080 by ten ETP, just a square solid hit okay. Then I'll just scale it down, it has to scale it down. Scale it down and I want to fit and I want to make it fit one of these boxes, one of these boxes. I'll just scale it up to fit one of these boxes. I can hit T for transparency of opacity and reduce my opacity so that if I go beyond the boxes, I hit SPAC to scale it up and can zoom in to see if everything is aligned properly. We can see that we need to move it a bit lower and maybe we need to rescale the size, maybe reduce the size a bit. So I'll just make this 45 HilanaO 45.2. Okay. Or 45.3 in I will just move it to the left hand side, making sure everything looks perfect and everything looks perfect for me except that I might just need to move it bit lefthand side and hopefully it seems we need to increase the size of C 45.4. It's better to have it a little bit bigger rather than have it smaller than the actual size. This looks good and perfect. Now the next thing I'm going to do is just at bring up my opacity or maybe not. I can just go to layer and then change the color of my solid to black or my solid to be black. Then I want to make my solid T D. Before that, I will just rename my solid to front. Okay. So we have front, and my solid t and select my solid now and then just Come here and let's choose the custom view one. So we can see the custom view. Now we can see our solid in three D. Next thing we're going to do is just tick our ankle 0.2, click on your anchor 0.2, and I want to move the anchor point of my solid to this point. So what I'll do is just click hold and drag and I will hold down Control to snap to the point. So it snaps to this point and Control D to duplicate it, and I'll rename this bottom. I just want to go into the rotation and rotate it move to my selection tool and rotate it along the X axis. I want to rotate it along the X axis. I want this to be -90 -90 degrees. Then next thing I'll do is take my ankle point and Holon Control and snap my ankle point to this point and just duplicate this Control D, I'll name it back Okay, and then hit R for rotation, and I want to rotate it to minus 180 degrees. Okay. Perfect. Next, I would just, I think I need to rotate the pits or pan it to give more room, perfect. Yeah, then next I will take my ankle point to Wood on Control and my ankle point to this point. And then I'll do Control D and rename these two top. Then open my rotation and just rotate it to minus 270 degrees. Okay. Perfect. Next, I select this guy. Then while selecting my ankle 0.2, I'll just move the ankle point to the middle while holding down control, of course, to snap to the middle and then move it to the left hand side while holding down control to this point. I'll Control D and nim this left. So Nim just left. We name this to left. That's the left side and then hit R. I just want to rotate this K Y axis. To Y axis, should be 90 degrees or -90 and select the front, take my ankle 0.2 on Control and snap it to this point and then Control D, and I want to rename it right. Hit R, with my Y axis and rotate this to 90 degrees. Yeah. So we have our cube completed with all sites. All sites have been created. We can see we have six sites, one, two, three, four, five, six. Perfect. So we just go back to our active camera or active camera view. And I just want to select everything now and hit T for transparency and make our transparency 100. Yep. Now we just select our cartoon network logo, Control D to duplicate it and just hide this one, this duplicate and then for this one, I'll just bring it on top. Of my layers here, and I just want to select the rectangle tool while selecting my cartoon network logo and I want to just scrub the C out, scrub the C out, just like this and perfect. Then maybe we just enable this re enable this so that we can have some context, before I continue, I just want to do one important thing. I just want to come to my custom review one more time, select this part which is the top, go to my layer solid settings and make this white. Then do the same thing to the bottom. So top and bottom. Select the bottom, go to layer sentence, make this white. Perfect. Hit Okay. Yeah, now we can go back. Now we can just orbit around and see how beautiful our cub is looking, how perfect our cub is looking. Yeah. Now, just go back to your active camera. Now the next thing I want to do is create a controller for this cube, something that will control this cube and that will be a null object to create a new null object, you can name it left cube controller. Left cube controller. Yeah, left cube controller and select our no object, control all home to move our uncle post the middle or command option home, and then control or command home to move it to the middle of our composition. And I just want to make this TD. Make this tree D. And the first thing I'm going to do is select the next thing I'm going to do is select my front. I just want to align my left cube controller to the middle of our left cube, so that it controls it from the middle. I'll select my front, hit P for position. Come here, click on the position property, just click here and then Control C and then go to our left cube and hit P and then select it and Control V. Now we can see that actually it brings it here because our anchle point for front is not in the middle. What we can do is just go back to our custom view one and now let's bring it to the middle. Take our ankle 0.2 and then pull on control and snap it to the middle. We can zoom in and see how this looks and make sure you snap it to the middle of your composition. Yeah. It seems it's in the middle of our composition. Let's go back to our front view. Let's go back to our front view and see. Yeah, from our front view, you can do Control R to bring up the camera, sorry the ruler and then just drag our ruler guide and compare and see. We can do this just to make sure the anchor point is in the middle of our ship, okay? Yeah, our anchor point is in the middle of our ship, perfect. Now we can select our front, copy the position one more time, Control C, and go to the cube controller and select the position and Control V. Now you see it's in the middle of our front. Let's go back to our custom V one. We can see that it's just in the middle here, it's not in the middle of our cube. We can delete these ruler guides. We see it's not in the middle of our cube, what can we do? We can select this guy. We can select him and just hit P Okay. And then we want to move the anchor point for this left hand side to the middle of the shape as well. So we can just take our ankle 0.2 and then control and move this to the middle of our shape. Perfect. Now, what we'll do is we'll copy the Z property Z position property for the left hand side. So select it here and Control C. Now we want to come here to the cube controller and paste it on the Z position, so Control V. Now we see that we have the uncle points or sorry, we have the cube controller in the middle of our cube. So it's completely in the middle of our cube both horizontally and vertically and in the Z axis. So this is what we want to have. Yeah, so just go back to your active camera. So now we can select this guy and parent him to our left cube controller can select our top down to our front and parent all of them to our left cube controller. Okay? Perfect. We actually need to turn this to TD. The cartoon network logo. So turn into TD. Let's click here, turn into TD and now we see it's lost. But let's go to our custom view one and see what's happening. So we see that it's actually in the middle of our cube. We don't want that. Let's try bringing it to the front and see. Let's go back to active camera and we see it now in the front. Perfect. This is what we want to have let's hide this for now. We see if we select this guy, that's the controller and we go into our custom view and rotate. You see that everything rotates with it. Incredible. Everything rotates with it. That's what we want to have. Go back to our active camera. Yeah, now we can select everything from here to here, and you guessed it. Just Control D, control D to duplicate everything and then just click and drag them on top of our layer stack. Okay? Yeah, perfect. Now, we just want to change the name of this guy, rename him from left cube controller to right cube controller because we are now going to control the right cube using it. Right cube controller, then select it and just move it to the right hand side. And everything will follow since everything has been parented to it. Yeah, we can even click here and make this front view so that we see everything straight. So we want it looking like this. And before we align everything perfectly, we can even select the front cube and make it white. But first of all, I'll just say the top and bottom and make them black. To make it black because it has to be the opposite of the left hand cube, the cube on the left hand side, and then the bottom as well, make it black so that the front will now be white. The front and the back will now be white. Yeah, let's go back to our active camera. Now what you want to do is select this guy. So you want to select this guy, that is the logo, the letter C, that has been maxed out, just hit M for your mask and then select your mask. And now come here, click on one of the point and hold and then hold down Shift and drag this left hand side to expose your N. Okay? Perfect. Yeah, something like this, maybe zoom in and make sure there is even space. Outside the ends, okay? Perfect. The next thing I'll do is just select it and just move it now on top of my cube. Yeah, and then select down my right cube controller and make sure everything is aligned perfectly. Maybe I'll go to my front view and make sure everything is aligned perfectly. Yeah, just like this. Perfect. Now we can maybe go into our custom view and you can see that on our front view, we can see our logos, and that's maybe because they are getting a bit behind our front cube, but that's not the problem. If we want to be too meticulous, we will just select them and just slightly bring them out, slightly slightly bring them out. And then check out front to see if they are pack you see there perfect. Go back to your custom view one and let's just see if everything looks perfect. Everything looks perfect. Everything looks perfect. And now we can start animating. You see, we have our three D logo and just go back to your active camera, perfect. Now here active camera we will just duplicate this guy. Control D, and then open a mask. So it for mask, select the mask. And for this guy, we just want to select the mask and bring the mask down to expose our network, and select these points, drag them down, holing down shift, select this guy right hand side to expose our TM, select this guy take it to the left hand side a bit, and we want to do s with this one. Select him, Control D, Control D to duplicate and then hit M for mask, select the mask part and just move this down while holding down shift. Select these points, take them down. Select these points, take them bits to the right hand side, this and a bit to the left hand side. Perfect. Now we just want to clean up our scene. I'll select everything except for my uu. Sorry, my right cube controller and my left cube controllers. Just this will I leave and I will just shy everything and enable the shy here so that we only have our cube controllers to control. Just this. Perfect. Same with this. Incredible. Good. So the next thing we're going to do is do our animation. So we just want to select all our cube controllers and then hit R for rotation, and now we want to rotate. Now, let's start with the right guy. Let's just tick things slowly. So let's start with the right rotation. So select the right cube controller and then go to your rotation, and we want to rotate on the X axis. Okay? Rotate on the X axis. So we want to come here and make our X rotation, let's say 27270 looks good, and then create the qframe yeah, and then now we just want to go like ten frames or ten to 12 frames for now, let's say 12 frames. So good to 12 frames, and we just want to make this -90 Okay, from 270 to -90. Then we just want to go four frames forward. One, two, three, four, you can do Control and write uruki for that or command and write Ruki on your mac. And then we want to make this -75, and then go four frames forward. Yeah, and we just want to repeat the key frame here and then go four frames forward. Or let's say five frames forward. So five frames forward, and for the fifth frame or for this frame, we just want to make this -95. Take it back to -95. And just go to the next or let's give this like one, two, three, four, five, six, seven, eight. Let's say eight frames forward and make this 19190, and then go five frames or four fimsO two, three, four, four frames and just make this 170. Okay, so 170. I want to go four frames, one, two, three, four, make this 190. And then go five fimsO two, three, four, five, and make this 270. So 270 and and then we just want to go see ten films or eight frames, one, two, three, four, five, six, seven, eight, nine, ten, ten frames should be perfect. And then for the ten frames, we actually want to just take this C minus one minus one and C -56. Okay, so minus one minus and -56, and we want to take this eight frames forward, one, two, three, four, five, six, seven, eight, then we want to make this just minus one. That should bring us to the end of our keyframing for right cube controller. So we have this. And what we just did here is create a series of rotations and overpasses, overpasses and anticipations. Yeah. So when we ease everything, you're going to see everything come to life. Everything makes sens. For this guy, we just hit our for the left cube controller, come here. And what we want to do is create the same set of q frames here only that we have to create them in the opposite. If we have plus 70 here, we're going to have minus 270 here, okay? So minus 270 for first que frame and then come to this next que frame, and we see that it's plus 90 and next will be -90. Sorry it's -90. So the next will be 90 plus 90, that what you just want to do for all these kframe. So I'm just going to do that and fast for the video. Yeah, so we have all our Q frames done. So I'll just select everything here and just F nine to easy ease them. And I want to select while having all my Q frames selected, I'll just go down Alt and click and hold and drag this to increase the length of my entire Q frames to widen everything up proportionally, and just make it as long as 3 seconds and and see. Sorry about that. 3 seconds and see 14 films 3 seconds 14 films. Just about 4 seconds and you can play to see your admission. Yeah, good. The next thing I'm going to do is just come here and I want to select my two controllers, hit S for scale, create keyframes here. Create keyframes here and maybe create keyframes here and then come to zero second then make this zero, then select my keyframes and Es so that we have this. Perfect. And then select all my layers and just do Shift R to expose the rotation, or we can just hit you to expose the keyframes just to see the keyframes and we just want to create a new null object to create a new null object. And parent these two null objects to our new null object, select the two of them and just parent them to our new null object. Now null object controls everything. Our new null object controls everything. Perfect. I'll just select my new null object hit P for position and I want my position to actually change. I could even hit a maybe to scale this down because I think I want to scale it down a bit. Maybe scale this down a bit. So that we have everything looking like this at the end. This is the end which I want to this is the skill I want to have at the end so perfect. Now we just come here at this point. Maybe at this point and I'll just create a keyframe for position. Select my new null object and hit P for position, create a keyframe and then come here. I just come in time, come a few frames in time and just move it up and then just come here, few frames after the last sets of keyframes and then just copy the first keyframes or this one, copy it on C and Control V to bring it down. Select everything and hit F nine to easy ease and now let's play and see what we've got. Perfect. So that's basically it. And I'll just maybe come to 6 seconds and trim my composition hit end and trim my composition to work area. And let's play to see our admission. Maybe make this full. Yeah, and that's our admission. And with this we'll come to the end of this exercise, see you in the next one. Bye bye. 10. 10 Product Slide show Animation: Hey, dear. Well, come back. In this exercise, we are going to be creating this product slide show animation After Effects. So let's go ahead and try to analyze and see what we did here. So we can see that I used some three D objects, okay? And this is our product, that's the shoe, and we have the Nike logo on the background, and we have this dot pattern background. Okay so we're going to be creating everything in this exercise. So I'm just going to close this and start with a new project. So new project, Control O N or Command Option N, and then I'll hit Save. Now we have our new project. So I'll click here to go into my folder and bring in my files. So I'm going to start by selecting the Nike logo, and I'll select this sho product. We won't use all of them, but let's just take three of them. Okay. So three of them in hitting pot. You can select whichever one you want and I'll click here to create a new project. Sorry, to create a new composition, and I'll name this slide one. And heat okay. And I want this to actually be black. Yeah. Now the next thing I'll do is create another compositions, to create a new compositions. I'll call this please hold a one. And we are going to make this 1920 by 1920 so that it's square and heat okay. And I'll just bring in my shoe. I'll start with shoe two, bring it in and just kill it down to the side of my composition. Yeah, this is perfect. Sight is perfect. So I select my shoe that my placeholder one and bring it into my compositions. Yeah, and just hit this for skill and scale it down. And now I'll just go ahead and try to redesign my compositions, okay? So next thing I'll do is select this guy and just hide him for now, and I will take my ellipse too and just draw out an ellipse. I will give you this white colour. And without shook, I'll select and control all home key to bring the ankle point to the middle and control home key to align this to the middle. And I'll just select it and go into my search by her type size. And I want to expose the size of my ellipse and I want this size to be ten, okay? Close this, close this. And now I just want to add a repeater, shape animator to my shape layer. And now open this up. Let's increase our copies. So increase our copies. Now, I'm just trying to make the dotted background, okay? So increase our copies, and I just want to go to my transform repeater and just reduce my position. And bring the copies closer. Then I'll just offset this to the left hand side, and I'll use Control to move this slightly and maybe increase my position a bit and set this and just increase my copies. Increase my copies Yeah. So 38.2 looks perfect. And now we can select this and add another repeater to add another repeater, where is repeater, this repeater. And we just want to come to the transform for repeater, that's repeater, too. And we want to come to the position and make this zero and make this 100 so that we have it going vertically, and we can further reduce the size so as to make our pattern look like, Oh, it's been arranged in a square format. You get a point. So this looks perfect. And what we're going to do now is just move our offset. Okay? So move our offset. We're going to move this up. You can use Control to slightly move it or move it slowly, and I will increase my copies Yeah, to fill the entire space. And now just select it from here, select the anchor point from here and manually centralize it. Okay? And this looks perfect. I'll close this up. And now I'll do one thing, create a new solid heat okay, and I'll add one effect to my solid that the fractal noise. So fractal noise added to my solid and I want to come here and select block. I want to increase my contrast, say to 220. My brightness to say ten. Or let's say five. Yeah, and open my transform and just reduce my size. Just reduce my size. I just want to come to evolution and click here or option click here and type time times 270 and just click away so it's unanimited, with our expression. Yeah, so we have a movement. And now we just want to select this guy, come to your track mat or pick whip, click and drag, and just drop this on our ShipleyerO. Yeah. So let's play this, and now we see that our dots or our dots are animated, okay? Yeah, looking good. So it's a bit subtle, but we're going to work with it like that. Select everything here and right click and precompose. And we just want to name these dots or fractal dots because of the two effects. So fractal dots move all attributes into new composition heat, okay. Yeah. So we have our placeholder and we have our fractal dots. Next our right click and new solid. I'll just name this background. Okay, background. Heat, okay. Now just add a new effects. I'll add the gradient ramp effect. So add the gradient ramp effect. And for this please, I just want to select this color. Okay. Do something close to this. You can choose whatever color you want for this. But I'm going to go with something close to this. Okay? Yeah. So this looks good. Here, okay. I'll go back to my project and bring in my Nike logo, drop my Nike logo, and of course, I need to skill my Nike logo. So I just scale this down and make sure my background is actually the background, and then select my Nike logo, scale this down, this size, reposition it a bit so that it looks like it's centralized. Yeah, and this looks good for my fractal dots, I'll bring it behind my Nike logo, and I'll just change the blend mode to add yeah, so we get this. If I play this, we'll see some subtle movement in the background. If you want, we could make the movement more obvious. Okay? That's the admission for our fractal dots. But let's go ahead and finish things up. The next thing I will do is, maybe move this down, sorry, move the Nike logo down a bit, just to centralize things. Yeah, and I will type the motto, okay? And I will type just do it. So that's supposed to be the tag line for Nike. Okay? And then I'll just do Control A to whom to centralize this anchor points to the middle and I'll just use the align panel here to align this to the middle. Just have it pleased on the bottom here. So we're almost done with designing our compositions, and now we just need to create our three D objects. So for three D objects, I'll just hide everything here. And then come here, select my ellipse to and create an ellipse. I'll create an ellipse, I'll remove the field color. I'll give you a stroke color and a stroke of two. I'll do Control Alt hum to align the ankle point to the middle, select it, and I'll just type size here, type size. And just give you the size of 200 for now and turn it into a three D object into a three layer, so select it, click on toggle switches and moods and turn this to a three D object or the OIT d layer and I'll just open up my geometry options. And for my bevel style, I will select convex, and for my bevel depth, I will hit 50, I'll type 50. So we get this with 50 as our bevel depth. Okay? Now we can just rotate our three D object Okay, but before I do that, I just want to, I'll just come here and make sure I have two views so that I can see my right view. So I'll select this and make sure it's my right view or my side view, either then and select this. I want to make my ankle point positioned in the middle. Okay? So what I'll do is take my ankle points and now move this to the middle. If you move it to the end, we are going to see that the value is 100. So you want to move it to where you see 50, which is the middle, okay? So this is, this is not 50. Let me just I do that and do it again. So 50 is my target. Yeah, so this is 50, and this is the middle, come back here and make sure on my one view option. And then now you have to make sure you're on your advanced three D settings, your advanced three D endra to be able to flow along. So now I will just hit R and just rotat my three D object. Like this, maybe hit and just kill it up a bit, and I will enable my placeholder here so that I can just arrange things better. So this guy is meant to be behind our placeholder. Okay, so we'll have him look like this. Okay, so let's just hit R for rotation and just rotate this feel free to use whatever rotation or whatever look you want. You mustn't use the look I'm going for, feel free to do customization. So select this. I'll just rename this three D one. Okay. Now I'll just select it and duplicate it, Control D, and move the copy up and rotate the copy. You just hit a for scale and re scale this for that rotate it, take it up, reposition it to look like what we had in the original version. In the first version I created. So maybe I should type size one more time and go into the size and then make this bigger. Okay? So you see that we are controlling the reduce of our three D objects as we edit the size. Yeah, so this looks good for now. Next thing I'll do is just close this up, close this up, and I want to even hide the placeholder, then come and create a new shipler and I'll just take this and create a square. I'll align my uncle point to the middle control to and just go into my ship layer. Maybe I'll rename this first, maybe three D three. Then go into my rectangle and right click here and convert this to a busier path. And I'll just take my path to and just delete one of the points here. Yeah. And the control to bring up my ruler and drag a ruler guide to the middle of my shape, place it here in the middle of my ship, just like this, perfect. Now, I will take my pen to select this point, who shift and drag it and basically align it to this line so that we have the straight line. You and I can just move this down a bit. Okay? Perfect, and select this guy and close this. That's my tree tree, open this up, and I'll add around corners, ship modifier, open this up, increase my radius. Just slightly. S 85. Close this and make this three D object and then put this up, go into my geometry options, and I'll select convex and make this 52. We have it this big. We can reduce it if it's too big, we can make it say 45. 45 45 works also can hit S for scale and just scale this up ever so slightly and go into our right view. Okay? And just move our ankle point to the middle. Maybe I freezer fall, move it to the side and then just move our ankle point to the middle, take our ankle points to, then just move it to the middle. To 50. Perfect. Maybe not 50, I think. This time, let me undo a couple more times. Yeah, so let's see the value at the end. So the value at the end is around 94. So let's make this 45, 46, 47, I think 47. Okay? So seven around 47 or 46 47 should do. And we just want to come here and bring this down also just to this point. Perfect, so that our rotation is happening from the middle of the ship. Yeah, go back to one view, and now we want to reposition this. So first of all, scale this down, we hit S, scale this down. Reposition one copy here, above here, just rotate this So you can switch between these axis modes. That's the world axis mode and the local axis mode in order to enable you rotate in different ways, okay? Yeah. So you can as well just hit R for rotation and do that manually here. Position things enable placeholder so that we see how things can be positioned even better. So for this one, I will just put him, I think, above my shape, and then do control D to create a duplicate and heat for the size and resize this and just bring this down and rotate the shape You'll the shape. And maybe for bevel depth, let me just go to my geometry and for my bevel depth, I might reduce this to say 35 and hit for scale and make this bigger. Yeah, and this doesn't look bad. Yeah, this doesn't look bad. Maybe you will move this up a bit. So like I said, you mustn't go for the exact look I'm going for. You can feel free to feel free to edit to your liking, open this up, go to my geometry options. And for my bevel depth, I think I'll reduce this to say 40. I actually edited the wrong one. So, let's just select this sky park and open the geometry and one make this 40. Yeah. For this one, Okay, it's still 50. So let's just work with 50, and maybe I'll just move this bit down. And I think for now, let's just work with what we have here. Okay, let's just work with what we have here. I'll just go ahead and work on the materials. So select my three D three. Close my transform, open my materials, and for my materials, I want my difus to be 100. I want my specular intensity, G to be 100. And I want my specular shininess to be 65 and my metallic to be 100. Same also for this one. I want my diffuse to be 100, my specular intensity 100, my specular shininess 65 and my metallic 100. And for this one, I will do a bit of change. So for it, I will make my metallic zero. Keep my metal zero. I'll make this guy 65 like the others and this guy 100 and this guy 100. Okay? Same also with this one. So I'll close the geometry options and open my materials, make this guy zero, make this guy 65, make this guy 100 and make this guy 100. And in order to see the beauty of our materials, we're just going to go ahead and add a new light. So come to Lear Maybe I'll just select everything and include this first, and we can re click here and just create an environmental light and hit Okay and go into my folder and bring in the blue photo studio EXR file. That's the HGRI file, hidden port, and I'll just bring it into my scene. I'll hide it. I would even shy it and open this up. Okay, open my environmental light up and I'll select the blue studio photo as the source. Okay and our lighting should change immediately. And I will just disable cast shadows so that we don't cast shadows. Now you see the beauty of our materials, right? We can further adjust our lights by opening the transform options, and let's just see what we can do with our rotation. Maybe we make this 30 k, and then 31, let's see 31. Let's see 31. Yeah, it's basically the same thing. And then for Y rotation, let's take this up and see the look we get. Yeah, this looks good. So we can close this for now, and let's enib all other layers and see what our composition looks like. Incredible. Now, before we start admitting, I'm going to create one more thing. So that is a ship layer. I'll just create a little rectangle here. I'll give it no stroke, and I'll give it a field color of blue. It okay. Yeah, heat okay. And we just want to select it and give it round corners, ship modifier, open the round corners and just boost up the reduce property so that we get something that looks like this. So around 90 looks good. Can select it. You can do control to to bring the ankle point to the middle Okay, and we can just align this to the middle of our composition using the align panel. Click here to align this. And now I'll do Control D to duplicate it and just move it. And before that, I will just rename this. So I'll rename this to Blue box and just control D and move it to the left hand side. Perfect. And we actually want to move this behind our dots of fractal dots. Yeah, this looks good. And now I will just take some little time to further adjust my elements to give me the look I want. I'll just speed up the video and you are going to see the final look after I'm done. A a Yeah, so here is my final arrangement. So you can pause the video and arrange yours to look like mine if you like. But I'll just go ahead with the animation. So I'm going to start animating my elements. I'm going to start with my three D elements. So these are my three D elements. Select all my three D elements. Okay? Yeah, there are four of them, and then I'll hit R on the keyboard. Now just make this little bit bigger and just make this fits. Yeah. And now I will just come here to the start of my composition and I'll create a Q frame for my X Y and Z rotation for all my three D shapes. And I'll go 3 seconds in time and basically copy these keyframes and paste. Okay and then go 6 seconds in time and paste. Yeah, and then I'll just select everything and EZ Es with F nine. Now, I'll just come to the middle keyframes and now edit the rotation for each of them. Now I'll start with this one. So for the middle, I'll just go ahead and edit my X rotation just doing this randomly, o to make sure our ship rotates thoroughly. Okay? So let me play this down and see what I have. And we can see that this is taking a tool on our computer. We can reduce the resolution to third and we can click on Graph three D so that our rendering can be faster. Now, let me play this, and you're going to see that it's going to play better. Okay? So we see what we now have Okay. So for some reason, I feel like the anchor point for this one is not really in the middle. I'm not sure I moved it, but let's just work with it like that. Basically, you want to create something that looks like this. Okay? So maybe I'll come to the middle and further edit my keyframes, my rotation rather. Okay, so let's play this and see. Okay, it's not looking as nice as before. So let me do this. Yeah, so this looks better. So I'm going to stay with this. And now let's go to the next guy. The next ship. I'm going to select this ship, and edit the middle keyframes, the middle rotation. Just do it randomly like we did the first one so let's play and see. Okay, for this one, I think we need to do a bit more of this. Yeah, so this looks perfect for me. Yeah. So these look good. Yeah, now we go to the next shape, which is this right here and just come to the middle keyframes and go ahead and create our rotation. We want to rotate it this way, we want to rotate it this way. Okay? And this way. Let's play. Yeah. So this is looking good. And I'll go ahead and do that to the final one to the last one, which is this big boy right here. So teats X axis on the Y axis and on the Z axis. So let's play. Yeah, this looking perfect. Yeah, and then just come here, come to maybe close to 1 second and select all of them and do shifts to expose my scale keyframes and then create a keyframes for scale, and then go to zero second, and we're going to make this zero, for all of them to just kill it up, basically. So select everything and easy Es. Using F nine to easy s. So for the skill keyframes, I think I will just go to my graph editor and maybe do this. Let's try this. Okay. Not bad. Yeah, so let's go with this. And finally, we want to also create a keyframes for position. So we're going to come to this keyframes to this time rather and then select all of them. And then hit Shift P to expose our position keyframes and create a keyframes here, then go to the zero second and now start moving your position down. So for this one, we want to move him here. Okay. And for this one, we want to move him way below. For this guy, we want to move him way down. For this one, we want to keep him just here. Okay. Let's play this and see. Yeah. So this is looking good. Select all my keyframes and easy ease them. And I think we might just widen up our Q films, our position QFmes because we see how fast the admission is. It's too fast. So maybe I'll select my position and my scale QFms and just move them. Let's move them. Let's widen them up and see. Yeah, so maybe I will select all my keyframes now for my skill and my position, my position and skill qframes and I'll just go to the graph editor and maybe select them one more time and just do F nine to easy ease them so that I have basically the same graph for my skill and my position keyframes. So do this, I will select this ones and do this and I'll play and see what I've got. Yeah, not looking bad, looking good. So we're done with these ones. Now the next thing we're going to do, I'll just hit draft ready to go back to my actual view. Now we want to select all our rotation keyframes. So I'll go down and select all of them. Like this. I just copy them and come here and Control V. That past the keyframes starting from sixth second. We're going to have something that looks like a loop. We're basically going to have a loop. Control V again and we're going to have a loop. Actually don't need to go this far. I'll just do. We're actually stopping the admission at 8 seconds. Let's just play this and see how everything plays. We're stopping the admission at 8 seconds, we might need to adjust these guys to come to 8 seconds. Yeah. So I'll just delete these ones. So just delete, delete and delete and select these ones. And I will just bring them to 8 seconds. Perfect. Yeah, and then we want to do one last thing. We want to come too, let's go like ten films, ten or more films. So I'll go ten films backward. So I'm doing control and left arrow key, so one, two, three, four, five, six, seven, eight, nine, ten, and it seems we need to go even further. So 11, 12, 13, 14, 15, 16, 17, 18, 19, 2020 films. Okay, let's go 20 films, and I will just click here to create new keyframes or to repeat these keyframes for my position and my skill. Okay, I'll do that for all my position and my skill keyframes on my three D objects. And then come to my eight second and I just want to move them out of my view. Okay, so move them here. So for this one, I'll move it here. And for this one, where is it? Okay, let's just select them here from the La stack. So for this one, I will move it maybe far away, a bit far away. And for this one, okay, we've moved that one, and for this one, I will move it not too far. Okay. Then for the last one here, I will move it maybe far away. Yeah, I'll move it far away. And for our scale, we're just going to make our scale 100 for this. We just want to scale them slightly, not totally to zero. So for this one, I'll make it 80. For this one, I will make it say 50. For this one, I'll make it 100. So let's play and see what we have. Let's just hit draft three so that our plane gets faster. Good. So this is what we want to have. Maybe I'll select my keyframes one final time, these last keyframes for my position and my scale. And I'll just go to my graph editor and select them like this and maybe, yeah, have something that looks like this, basically. I want them to start faster or quite fast and move slowly at the end. Yeah, something like this looks perfect. So close this, and now we're done with our three D shapes. The next thing we're going to do is handle the admission for our main guy here, that's our placeholder, that's our shoe. Okay? So one thing we can do is just hide or shy our three D shapes so that layers tack gets a bit more space. Okay? So I'll select my shoe, which is my placeholder, and I'll just come here and hit P. Create a keyframes, hit S, let's shifts and create the q frame, come here. I just want and also hit R, hit Shift R for rotation and create a Keyframe. And we want to come here and for our rotation, we just want to make this zero. Okay. And for our scale, we can see that our initial rotation or our final rotation is 15. Maybe I'll just make this even higher than 15, 16.8. Then for our scale, we could make this scale say 20. Okay? And then for the position, we then move this guy down. Okay? So let's play and see. Okay. So I'll just do F nine and maybe widen my keyframes using Alt or option on the MC to drag, okay? Yeah. So let's go to the graph editor and adjust our graph a bit. Okay, so, this isn't looking bad. This is looking good. Yeah. Let's try bringing everything to 2 seconds, and see. Some dragging len Alt to widen the keyframes. Okay, so I like this better. And while we are here, we can just go to 4 seconds and we want to create new keyframes. So we want to just rotate this back to say zero, Rotate this back to zero, and also for the scale, we could scale this down a bit. That's too much, maybe just slightly. Okay then come to 6 seconds. Yeah, and just copy this Control C, contra V, and Control C contro V. Okay? Let's see if a higher rotation value make more sense. So maybe even rotate it a bit higher, say 25.8. Then come here to 8 seconds, and we just want to copy these guys, Control C contra V, contro C contra V we have this. Okay. Let's see. Let's play this one more time and see. Okay, so I'll select my skill and rotation keyframes and just go to the graph editor and see if we can achieve something better. I edit this one to look like this. So let's come first and then we slow down, and then we are basically faster here, and maybe we slow things down here this and then faster you get the point. Let's play and see. Okay. Not looking bad. Not the king bad. So let's continue close our graph editor, and while we're here, maybe before D, maybe at this point, we can create a keyframes for position. So click here to repeat our keyframe here and maybe for scale, we can also create one. We can not necessarily. We don't need to create a keyframes for scale, but only for position, and then we just move this down. Just move this down. Okay, looking perfect. Let's go to graph editor and see. Maybe we just do this bit. Yeah, not looking bad. What I will do is I will just widen this keyframes a bit so that it takes longer to complete. Perfect. So the next thing we need to do is animate our Nike logo. So take my Nike logo. I can just hide this guy now. I can just shy him and then select my Nike logo. And before that, I will just right click and precompose my Nike logo, and, yeah, it okay. Now I've precomposed my Nike logo, I can just hit P for my Nike logo, come here and create a keyframes here and go to zero second and make this go down. From here, and then for my scale, I can also hit shifts, create the keyframes for scale, go down and make this see 50%. Let's go from here to here. Perfect. I can select these, move them forward. And then select these guys and F nine to easy. Go into my graph editor, select these guys, and let's see. Maybe this will make sense. Yeah, this is looking good. I'll just go into my Nike composition and just do Control key for settings and change this to white so I can see my logo better and just create a new shape layer and then create a box over my Nike logo. Color doesn't matter for now, or the position doesn't matter for now. It just has to be over my Nike logo, and then I can just come here hit P, create keyframes, come here, bring my position down, okay? Just like this. So like my keyframes and easy ease and then go to my effects panel, my effects and presets panel, click on it. I'll just type the weavap effect. So you just type Wave and this is your weave rap effect and I'll add it to my hip layer, make this bigger and a bit higher. Okay. I'll make this wider. So just like this. So this is looking good. I can play this now, and this is what we want to have, o? So we'll make it a bit Bami 164 bit higher. And then I'll select my shipler one, take my truck mouth, pick whip and drop it on my Nike logo so that we get this, looking perfect. So we can just select these guys, Control D to duplicate them, bring them on top of the layer stack, offset them a bit. So we get this. Now we can change this one's color to see black. You get the point. So this is what we now have. We can select this one and make some adjustments to the wave warp effect so that we get something different here. Maybe make this higher, maybe change the rotation a bit to get this looking perfect. Let's play this and see. Perfect. So for my color, I think I want to change my color. I think I want to change my color to Okay, let's go back to my slide one and see if this color is making sense. Yeah, so the color actually makes sense. Maybe we can just add another copy to Control D, bring this to lower end of my layer stack, select this guy. Sorry select the four of them, the topmost four of them and just offset them one more time. And for this one, we can maybe do some change to my wave wrap and then change the color, okay? We can't see anything happening, but as soon as I change the color of my ship here, you can see that we're getting something different. Okay? So this is looking good, this looking perfect. So this is what I want to have basically and go back, and now play this, we're going to see that we're having something really cool. Okay. I don't like the way this color blends with the background, so I'm just going to change the color bit. I think I should change the color. A bit, maybe just edit, maybe make it richer. Let's see if this works better for me. Okay, let's play this and see. Honestly, this isn't bad. We can spend all day doing edit, but you get the point. Yeah. So finally, I'll just select this guy and give him a turbulent displace effect. Can come here. And while here or maybe before here, we can just create a keyframes for amount and size, then come here and make sure we make this. Sorry, we make this zero. Okay? So let's play this and see. And then for the size also, hit you. Then for the size also, we want to we want to make sure maybe we reduce the size to say 70 at this point, so that as it progresses, the size also reduces, okay? You are not looking bad so far. Yeah, so the next thing I want to do is animit these guys to select them, two of them, or just hit P, and we want to unmit them after all of these have unmited have been brought into the frame. So come here. I'll just come here and create keyframes for position and go some frames backward and just move them slightly out of frame while holding down shift, of course, so that we move them in a straight line and then just easy Es with F nine. And that's too abrupt, so I'll widen my keyframes. I'll select these keyframes going into the graph editor and create a graph that looks like this. I just want to widen these keyframes even more. Yeah, so this is looking perfect. And maybe our logo, maybe we should widen the keyframes for my position and skill for my logo. But first of all, I'm going to select these guys and Esse them, select these guys and then widen them up and see good to my graph, so. Yeah, my graph is looking good. Maybe I should do this. Okay, not looking bad. So next thing we're going to do is just right click New Adjustment layer, and I just want to add the lens, not lens optical compensation effect. So optical compensation, add it, and we just want to do something really cool here. We want to make our field of view 50. Okay? So field of view should be 50. Then we want to click here reverse lens distortion, and I want to make this diagonal. And I'm not really seeing any change. I don't know why. But let's just come and move this. See or remove the draft three D. So I think it's because of the draft three D that I wasn't seen any change, right? So let's reset things, make this 50. Yeah, now we are seeing the changes. Now, click here to reverse, and we just want to make this diagonal. And now we want to come to the first keyframes. Now we want to come to zero second, and create a keyframes on view center and just move your view center to the left. Like this to this point. Okay. So I'll just hit you for my keyframes and I'll just zoom out and come to 2 seconds. And at 2 seconds, we want to then move our view center to the right. Okay? So we want to move our view center to the right. Just to create this treed looking effect. Remember this is motion graphics animation. This is an animation, and in animation, you want to always keep things moving to excite your viewer and to keep your viewer interested, basically, okay? So this is one of the ways we can do that by making movements, okay? So we're going to add this three d y of movement using optics compensation. So I'll copy this guy, Control C, contro V, and come to the 6 seconds. I'm giving an offset of two, 2 seconds. So come to 6 seconds, copy this guy, Control C, Controv come to eight second. Copy this one, Control C, contro V. Come to 10 seconds. Control C, contro V. And for this effect, for 10 seconds, we have to copy this guy, Contra controv and then 12 seconds, you want to copy Control C, Control V. And for this effect, we are going to use it beyond 8 seconds. So don't worry. I know what I'm doing. Okay? So copy this one, Control C, Control V. And yeah, I think this should be the last one. I think we're just going to do two slides, 8 seconds long each. So let's just stop here at 16 seconds. We can hit N. Yeah. So here is what we've got. We can select all the keyframes also and eases them and just play our animation I'll just take it back and run preview it and play it now. Yeah, so we see our animation playing well looking good. You get the point. So we're just going to go ahead and finish up our animission. We have one more text, which we've not admitted. That's our De text. Where is it? This is our text. We want to make it black. Yeah, and then animate it. Now we're going to animit it. Just open this up. Yeah, so we have three text animeos and I will just come here and come to my first text A meter, which is my skill text and meter and I'll make my skill zero. Okay, and just open my Ring selector and adjust my start 0-100 and we see that our skill is adjusting, right? So we will just come here, and at this point, we want our skill to be 100. But we just go back first and click here and then come forward and make our skill 100 so that we have this Okay. Perfect. So that's what we want to have for our scale. You can just select an easy es. And now we just come down to our next animeo which is our position and meter. And for position meto, I just want to take this down a bit. Okay? And then come here and we want to come here and then open our Ring selector. And now come here, make this 100, then go back and make this zero, okay? So we have it admitting from ground to up. So select the keyframes Eze And if we wanted, we could maybe adjust these to the front so that they appear first or maybe to the back so that we see them as they're coming up. We get the point. Yeah, either way, we're making sense. The next thing is the third text animal, which is the tracking. So we just want to come here, make our tracking amount zero. Okay? Screen the keyframes here and then come here and make our tracking amount 100. Let's play and see. This is what we get. Let's select everything in eases. Maybe for tracking, we might move the keyframes back a bit to align them with the scale keyframes. Okay, so we'll just continue. You can go in and try to achieve better detail, but since we want this video to be as short as possible, we're going to continue. Now we're going to go ahead and imit our last elements, and they are our logo, and then this guy right here, these blue boxes to select our blue boxes, hit to expose the keyframes and we want to stop our dmission at 8 seconds, remember? At 8 seconds, we're going to create the QFrame we're going to basically repeat our QFrames. So we're going to just click here to repeat our keyframes and then move them back a bit and then copy these keyframes, Control C contro V, Control C, contro V so that we get this. Okay. Yeah, so this is looking good. Yeah, we'll move to the next one, which is our Nike logo. So we hit you for the keyframes and just come here to 8 seconds, create a keyframes for a position and the scale, then move them forward and then move the scale or the position. Let's see up. Let's go up this time. So we can just go up out of our frame, take it up out of our frame. Make him perfect. And maybe just kill this down a bit. Let's see, 60%. Play. Go into our graph editor, and let's see what we can do to make this better. Maybe this. Feel free to do something different. So I feel this v 11. 11 Conclusion 3D Fake 3D Anim: Congratulations. You've done an amazing job making it to the end of this class. Throughout this class, you explore some of the most exciting and visually powerful techniques inside after effects. You learned how to work with the TD workspace, how to use light to add mood and realism, how to use cameras to create depth and perspective, and how to bring TD models into your after effect workflow. You also learned how to create fit admission, which is one of the most useful techniques in motion design because it allows you to create the feeling of depth and dimension without always needing a complex TD setup. Before you move on, make sure you complete and upload your class project. Doesn't have to be perfect. What matters most is that you practice, experiment, and show your progress. And because this class is part of a larger after effect series, I also encourage you to continue with the next class in the series. This class is designed to build your skills step by step, helping you move from the basics of after effects into more advanced motion graphics, visual effects, and mission and creative workflows. And if you missed any of the previous classes, you can always go back and explore them. They will help you strengthen your foundation and give you even more techniques to bring into your T D and fake TD and mission projects. Thank you so much for joining me in this class. I'm proud of the progress you're making, and I'm excited for what you'll create next. Keep practicing, keep experimenting, and keep bringing your ideas to life with motion. I'll see you in the next class.