Advanced Animation for Beginners in Adobe After Effects | Motion Design Mastery

1. Course Trailer: Here is how to create advanced animation in after effects as a beginner without years of trial and error. Watch closely because going advanced in after effects can feel like it takes years, especially if you're self taught like I was. I was there, too. I used to think that my animations were good until a client told me that they weren't and I had to refund. It hurt more when it repeated several times, and I realized that tutorials weren't enough. So I studied the real fundamentals through books, blogs, podcasts and breakdowns. I started improving and a Dutch tipped me 100 on $1.50 project because they really liked the animation and I delivered earlier. But what if you could skip the confusion, the failures and borrow my experience that I gained over six plus years of working with clients like this. Now, this course is a step by step roadmap that teaches you how to create advanced level animation, even if this is your very first time opening after effects, or you are a beginner who is stuck in that learning loop without making any real progress. By the end of this course, you want just to be following steps, you will understand what makes motion design work. You will have the principles and fundamentals behind transitions and high motion. You will have control over the graph editor like a pro. You will have a full mastery of text animators, puppet pins, trim paths, taper, and more. You will learn compositing principles for motion design to make them look premium and a process that you can apply across animation, explainer videos, logo animation, text reviews, editing, anything that you want that is related to after effect. 2. Class Project and Requirements: Class project, you have to pick any four letter word that you like. It can be fun, meaningful or just something random and animate it using the techniques you have learned in the class. We are sticking to four letter words so you can easily follow along without feeling overwhelmed. It is short enough to repeat techniques multiple times, which helps you practice and really understand the process. This repeton will train you to create your own animation confidently, so you are free to follow along with me step by step. And once you are comfortable, feel free to make your own. Once you are done, upload your finished project to share your creativity. For the class requirements, you will need Adob after effects 2020 or a newer version. I'm using Ado after effects 2024 version. The taper feature was introduced in May 2020, so older versions don't include it, and you won't be able to follow certain parts of this class without. 3. Use cases Or Real Life application: Are the use cases or I should say, real life applications or uses of this topic that you are going to learn in this course. Okay? So first one, if you learn puppet pins, you will be able to create character animations. You will also be able to create organic motions like clothes, plants, the benefits of learning puppet pins. It brings still artwork to life. It adds subtle natural movement without frame by frame animation. And most importantly, it is easy to use on layered Photoshop or Illustrator assets and even PNG files. Okay, so it is very flexible. Then we have text animators. So once you learn text animators, you will be able to create kinetic typography or those lyrical videos, you will be able to create title animations with character by character or word by word control. You will be able to create lower thirds and dynamic captions that are popular on social media. The benefits of learning text animators it is highly customizable with minimal keyframes and minimal efforts. It saves time, can save your animation as a preset and reuse it in your project. So here is a brief example. So here is a text animation that was done by animating position and opacity properties. Now, this took me around 5 minutes to make. So this position and opacity properties are transform properties. This text animation was done with 80 keyframes, 20 layers, and making a tiny change would ruin so many things. Now, here is the same text animated using text animator. Is done with just one layer, two keyframes and instead of two, I animated three properties with just two keyframes. And here you can change anything in a matter of seconds and you will have full control pimps and taper for Shap layers. So once you learn trim parts and tapers, you will be able to draw on effects for strokes, logos, reveals, icons. You'll be able to create those loading animations or even infographics. Once you learn trim parts, you will be able to create stylized handwriting or path following effects. It is great for UIUX animations and explainer video. We have graph editor. Once you learn graph editor, you will be able to smooth out your robotic or linear animations. It can take your animation to a whole new level. You will be able to fine tune, motion, timing, overshoot, bounce, ease in and ease out. You can do so many things with graph editor. You will be able to create expressive and realistic animation. The benefits of learning graph editor. So you will have total control over motion curves and so you can control the motion and not be bound by plugins or you don't have to compromise with it. You will be able to make your animation feel natural, snappy, or fluid. You will have total control over your motion. You can easily execute 12 principles of animation if you know graph editor, hence making it a perfect tool for creating professional advanced level animation. Last one is the principle of transition. So if you learn principle of transition, you will be able to move smoothly from one scene or one idea to the next. Transitions keep things connected so viewers don't feel lost or confused. The benefits of learning principles of transition is that it makes your animation feel smooth and easy to follow. And remember, your transition shows how advanced you really are. And also, it keeps people interested by adding variety and timing. Transition also helps different part of your video feel like they belong together. 4. Animation Lesson from an Abused Cat: Recently saw a video where a couple adopted a cat. Before the adoption, this cat had been brutally abused and carried a lot of trauma. When she arrived at her new safe home, she wouldn't leave the bathroom sink for some reason. That's why she felt mostly protected. Her new family didn't force her out. They simply let her be. She stayed in that sink for days. Slowly, she began accepting gentle pets. Over time, she left the sink and started exploring the house. And today, she's deeply loved and thriving. We all live in our own versions of that sink. Often, it's not a physical place but a mental. Some people call it comfort zone. I've been there, too, and I'm guessing in some ways you are, too. This course is designed to help you leave the sink, not by force, but by encouragement because it's okay to make mistakes. It's okay to fail. We all do. But I also want you to adopt some of the mindset, the philosophy of advanced animator. So advanced animators focus on solutions, not problems. Instead of saying, why is this so hard or I don't know what to do, ask yourself, what can I try right now that moves me forward? Even advanced animators get stuck, but they don't stay stuck. That's the they let go of the outcome and trust the process. This is the most important one, which is, of course, easier said than done, but they're so in love with animation that they don't have time to worry about whether it will get likes, views or even approval. They just show up and animate. Finally, advanced animators are advanced because they practice fundamentals more than regular people. They enjoy the stuff that doesn't give instant gratification because animation is a time consuming art. And remember, a cat must leave the sink herself. People can help and support, but it is the cat who has to make the decision. 5. Chap 1: Basics for beginners: Okay, so, hi. So welcome to this chapter. This chapter is going to be basically basics for complete beginners. So the reason why I'm making a specific chapter on this is because I want to ensure that even complete beginners feel confident and they don't get overwhelmed in the later chapters. Also, if you are not a beginner, you can skip this chapter completely. So these are all the parts that we will be covering. Of course, we will focus on the essential tools. For now, I'm going to explain and not the entire software. Okay this is basically a toolbar, and the most important part here is this, which is selection tool. So selection tool is your primary tool for selecting, moving and resizing, okay, all the layers that you want. So that's the selection tool. It's the most important part, and you will be using it more than anything else. Then we have hand tool. So this one is hand tool. Now, you don't have to specifically, go here and select this, okay. So by the way, shortcut for the selection tool is V. The shortcut for hand tool is H, okay? So tool is used for basically panning and navigating around your composition. So for example, if you have zoomed in and if you want to navigate, okay, right? And so that's how you do it. But you don't have to press even etch. So the shortcut for that is basically spacebar. When you hold space bar, the hand tool will be activated on its own, and when you let go of the space bar, it will deactivate. Then we have Zoom tool. So it's basic. Zoom tool helps you to zoom in and zoom out of the composition. These are all the three D tools. You don't have to worry about them right now, but they are basically related to the three D camera. Okay then this is a rotation tool. It basically helps us to rotate, like this. Then the shortcut for that is W. But this is the tool that I rarely use. Okay? I don't think I ever used that, and I'm going to tell you why. Then this one is the most important tool which is phindP behind or anchor point tool. The shortcut for that is why. This tool is really crucial for adjusting a layer's anchor point. So this is an anchor point, and we will go that into deep, I'm going to explain that later. Okay, so don't worry about that. This an anchor point, and this tool basically helps us to arrange that anchor point to wherever we want. Okay? Then we have this, which is called ctangleTol here. Okay. It allows us to create multiple shapes that we want. The shortcut for that is Q, pay attention here. Okay? So when I'm pressing Q, I'm basically switching, see? Now we have Ellipse tool. Now we have polygon tool. When you press Q, it basically switches, and then you can select that and then you can draw whatever it is that you want. Okay? It's that simple. Now we have pen tool. So the pantol is also equally important. Of course, every tool is equally important here. But pantol within shape, draws the custom shapes, it draws custom shapes. For example, let me change to white or something of this. Okay, so it basically draws the custom shapes. That you want, it can draw like stroke. It can do so many things, right? And that is pent. It can also draw motion parts and masks. Okay? It basically creates masks when you have already selected a layer. For example, if I select this, this tool basically creates a mask, so I'm going to just here. Now we have a mask. See? Okay? So that's the use of Pen tool. Pen tool is going to be important in this course as well. Then we have text tool. So it's basic text tool allows us to create an dit text. By the way, the shortcut for the pen tool is G, and the shortcut for the text tool or type tool is Control D. Then we have Brush tool, all these one, two, three, and four. So all these four tools are used for advanced editing. Brush tool can be used for animation. So Brush tool is basically you paint, it is used to paint on layers. Clone stamp tool is basically clone the pixels, okay? Then eraser tool is you understand you get the point and the roto Brass tool. Roto Bras tool is used to there is a person talking in front of the camera and you want to remove the background, then this tool is for you, but we are not going to use these tools like one, two, three, four. We're not going to use this, but I just wanted to give you the basic idea. Then we have Puppet Pin tool. This one is going to be really crucial in this course, make sure that you pay attention. The Puppet Pin tool lets you add points. Let me show you really quickly. I'm going to just draw rectangle here, and don't worry about anything for now. I'm just demonstrating, okay? And the things that you see here are called pins. Okay? We are going to go into much detail into this, but don't worry. I just wanted to demonstrate how powerful it is. Okay? It's really, really powerful and you can do some wonders with this. So Puppet Pin tool lets you add points or pins. So this yellow things that you see are called pins, and you can add it to any image, any shape layer, and move those points to create smooth, organic, and stretchy motion. These are all the basic tools. Let's understand the basic transform properties. So I'm going to get rid of this, okay? And so these are all the basic transform properties, okay? So the first one is the anchor point. Now, like I said, anchor point is the most important tool, okay? So, the reason why the cursor is still at the puppet pin is because I haven't pressed, so I'm going to press. And when we do that, we basically switch to the selection tool, okay? And so we are back to the selection tool. Like, you should be in habit of pressing V every now and then. First of all, let's understand the anchor point. The shortcut for the anchor point is A, okay? So when I press A, I will be able to see only anchor point. Okay? So the anchor point is the point around which all the transformations happen. Okay? It's basically the layers pi or center. Okay? So why it's crucial? So the position of the anchor point dramatically affects how animation looks. Okay? For example, think of it like a hinge of the door. So I'm going to just place it here. Don't worry about anything. Like I said, I'm going to just press R and then I'm going to just show you, okay? So, see, it basically changes from this point, right? So you get the point, right? So anchor point is basically the center of the layer, but you get to choose the center of the layer. Okay. So like I said, think of it like a hinge of the door. If the hinge is on the side, the door swings open differently than if the hinge was at the center. It's that simple. Okay? The shortcut for that angle four anchor point is A, then we have position which is P. So position basically controls the layer's location. So this is X coordinates. This is Y coordinates. And when you turn this into three D, we get z coordinates, okay? S? This all these three, this is Y. X, don't get confused about this for now, we are going to walk into D. We are not going to use this at all, but if you wanted to know, this are all the different coordinates. The shortcut for the position is P, and then we have scale. The shortcut for the scale is S. Scale basically controls the layers size. But there is something that I wanted to tell you. We get something like this constrained portions, okay? So basically, what it means is that if I change this, this will change it in the same proportion. For example, let's change this 200 and this 200 as well, okay? So I'm going to just get rid of that, and I think I'm going to keep both of them at 400, okay? The reason why it wasn't constrained and they both weren't in proportion is because I did something back and that's why? And if I change it, they both changed in a linear way and look it's changing from the anchor point, right? And so you get the point of the anchor point and the scale property as well. The last property is opacity. The shortcut for the opacity is not O, but It basically controls the layers transparency, right? So 0% is invisible, 100% is fully visible. So these are all the transform properties. Now, if you have updated tool like the latest version, okay, you are going to have all the layer transform properties here. Once you understand the basic properties, let's understand the key frames, okay? So what is a keyframe? So a keyframe is a marker in time that defines a specific value for a layer property. Example, I'm going to just press S to bring up the scale. I'm going to this stopwatch is basically what allows us to drop a keyframe. So this is called TV stopwatch. So I'm going to just drop a keyframe and this is called keyframe, then I'm going to go at ten frames. So this is basically a time indicator, and this is called a time line, by the way. And then I'm going to go at ten frames. These are all the frames by the way, and then keep this at I'm going to drop another keyframe. If you want to drop another keyframe, just click here. Okay, so it basically adds or removes the keyframe at the current time. Then I'm going to go here, and then I'm going to just change this to zero, okay? And then I'm going to just play by pressing Space bar, okay? And this is a basic animation, and these are all the key frames. So keyframes are really fundamental in after effects. Okay. So animation in after effects is created by setting at least two keyframes with different values for a property over time. Okay? After Effects, then what it does is that it basically calculates the frames between and it animates, okay? And in the olden age, what they did is what they had to do is basically they had to draw everything in between, right? Now we don't have to do that. We just have to assign the starting animation and the ending animation, and in between is taken care by the software. Okay? Let's move on to the last part which is layer Cs and precons. So what is a layer? So layer, so this is basically a layer, right? So a layer is a fundamental unit of composition representing an individual elements like videos, images, text or effects that contributes to overall design. For example, let's say if I import let me import a random image, okay? I'm going to import something like this astronaut, okay? So let's bring that astronaut. So we now have astronaut dot PNG. So I just render if I place it here, okay? So it is now basically layer. Okay? So a layer is basically a fundamental unit of composition and everything that you import in after effects and then you import into this timeline will be turned and will be called layer. Okay? Composition. So composition is a container. So this is basically a composition. And here is how you create a composition, okay? So you just click here and you will have a composition. Okay? We will go through this at the next lecture, we will start animating. Okay, so don't worry about that for now. Okay? So composition is basically a container or a canvas where you organize and arrange. Layers to create final video or final animation, okay? So it's basically a canvas for animation, right? Then we have something called precomps, okay? So what is precom? So precomps is a feature in after effects that allows us to group multiple layers into new and independent composition within your main project. For example, let's say, I want to animate both of them, right? For example, I want to animate both of them at the same time, but there is already this animation. So After Effects allows us to precompose. So I'm going to just pre compose and then Okay? So now look at them. Everything is like both of them are. And if I change this, okay? I can you get the point, right? And so basically becomes an individual layer, right? And that is what we call precomp. So this new composition or pre comp can then be tweeted like a single layer, like I said, and it makes things really easy to manage complex animation and effects. Okay? So why we use precom? So precoms like I already show you, it helps us organize complex projects. For example, if you want to let's say you want to export both of them for a different project, you can just precomp them, and then you can just save them as a completely different file, and then you don't have to redo this into a different project, you can just import this. Basically, you can create templates for yourself with precoms, o. Then you can also reuse animation, and then you can apply multiple effects. Of course, you can apply multiple effects on a multi layer, but some effects has its limits, okay? And this allows us to apply multiple things. Okay? This is effects and presets, okay? So effects and presets, I'm not going to go much deeper into this because it's really huge and you don't have to understand all of them. I don't even know all of them. Okay? So you don't have to worry about that for now, but this is effects and presets, and if you want to apply any all you have to do is just go here, and then you can search it, and then you can apply the layer, apply the effect, if you want to apply the effect, all you have to do is just search your effect. For example, let's apply the fill. So I'm going to just apply or let's apply something that makes things a lot cooler. So I'm going to search for dropshadow and then I'm going to just apply here. Then I'm going to just whenever an effect is applied, this panel will we will have the effects control. So these are all the properties. These are all the parameters that you can control. Okay? For example, we have opacity, then we have direction, then we have distance, then we have softness of this shadow. Okay, so I'm going to just see. It's really simple, right? And so this is the basic of after effects, and it's really simple and just stick with me, okay? 6. Chap 2: Workspace And folders : First thing that we always do in the courses is we start by setting up the workspace so that we are on the same page. So this is my workspace right now. It's not something that I want, I'm going to start setting up. So first of all, I'm going to click on this. Okay? So when you click on this, you have this dial up box or the panels open up and I'm going to just close it. I'm going to close panel and I'm going to close this panel as well. And then I'm going to bring this. So whenever you drag it like this, it becomes blue. So this basically means that it will be aligned to the already existing window. I'm going to just drop that here like that, and it will be aligned to that panels. Okay? And so we now have a group that we want, okay. But let's add character. Character is basically the text, but I'm going to add in something called paragraph, okay. I'm going to add everything here, okay. So on this side, we have aligned properties, effects, and preset, character and paragraph. Although everything is added into the properties, okay, I still sometimes may use them. Okay. Then on this side, we have project here we will add the assets that we want, then effect controls. Okay. Now, once that is done, we want to save this. Once the workspace is set, what we do is we create this folder. So I have already created these folders to create a folder. All you have to do is just click here, and then you can redeem it to whatever it is that you want. Okay? So if you don't do this, what will happen is that your project will not only look bad, but it will be tough to navigate. So you need to have these systems in place, and that is why I always start courses with this. First, we set up workspace, and then I introduce you to the folders. And it is because I want students to have the systems in place. It makes you efficient, okay? Okay? So first of all, 00 PC is where coms, 01 AI is where we store Illustrator files, if we have any 02 footage is where we store video footage. 03 images is where we store the images. 04 audio is where we store the audio files, and 05 randoms is the place where we store. Let's say I have a pre, I have a plugin that I have used and that plugin has created some folders. Okay, I will keep that folders in randoms. A after effects has a tendency to create solids. I will also add that to the randoms. Okay? So if I want to find I can easily find them in this folder. It will save lots of time, especially if you're working on projects that are big. These are the habits that are really crucial when you are starting out. If you become a pro and then you are adopting these habits, it could be really tough. So it's better to start early. 7. Chap 3: Creating Text: We are going to start by creating and separating the text. So first thing we need is we need a canvas. Okay? I already explained what is composition in the previous chapter. So to create a new composition, I'm going to just click here. Okay? And then we have this. Now, make sure that you pay attention here, okay? So we have composition name. So I'm going to rename this to text. Renaming is really important. Okay. And then we have basic advanced three D render tabs. Okay, keep everything as it is. We don't have to really use much. Then I'm going to go into this preset. Okay, and then I'm going to select this social media landscape HD, 1920 by 1080, 30 frames per second. Okay? Keep everything as it is, except for this duration. So the duration is basically 1 second, which is something that I don't want. I'm going to change this duration to 10 seconds. Okay? And the background color is I'm going to keep it at black. But the thing that you have to remember is most of the time, the background color do not get rendered out, especially if you are rendering out AVI files. My point is that you have to create background on your ON after effects as well, ok? And then I'm going to just hit on o. The next thing that I'm going to do is I'm going to show you the importance of choosing the right fonts. Okay? So the fonts are going to be crucial here, okay? So the font that we need in this project to achieve this look that you see on the screen, we need them to be really playful, bubbly and rounded. If it's not rounded and thick, it won't look good because the effect will look like something is off, right? It has to look playful. And as you can see on the screen, I'm going to edit all the pictures of using the fonts that we shouldn't use. Make sure that you use fonts that are bubbly and rounded. So I'm going to select this, which is horizontal type tool, and then I'm going to create a text, Okay, select them in best time. Okay? The. So this is the font size. Okay? This is the leading, okay? Leading is basically, for example, let me show you, okay? This is leading, right? You get the point. Then we have this, which is the tracking, okay? See? Then we have filled, then we have stroke. So this is vertical scale. This is horizontal scale. This is the baseline shift. Okay, I don't even use this. I don't know what is this. I have never used this. Okay? It's like that 80 20 rule, we always rely on the 20% stuff to create 80% of our projects. So that's the thing with me as well, okay? So I'm going to just recenter the anchor point, okay? So to recenter the anchor point, all you have to do is press control allt home, which is the shortcut, okay? And I don't know why it doesn't work. Okay, it worked Now I'm going to scale this up. Okay. Now the next thing that I want to do and I want to remind you is that this size may not be adequate for the animation that we are trying to create, right? And I'm talking about the composition size, because see, the animation, the blobs or like the strokes that will be coming in has to come from distance. Okay? So I'm going to just press Control K. So Control K basically opens up composition settings, and if you want to open it manually, you just click on this Hamburger menu, you go to composition settings, and then you will have that. Okay? And so I'm going to just increase the height, okay? Span this much further where this might be too much. So this is like a random call, okay? Now I'm going to align it to the center, and to align anything to the center, all you have to do is just use this align tool, and then this is align left, aligned horizontally, and this is aligned vertically. These are the two of the most important elements here. Apart from that, I don't use much. Okay. Now the next thing that we need to do is we need to have every text on its own. Okay? So I'm going to duplicate this and I'm going to rename this. And to rename it after effets all you have to do is just press Enter, okay? And then I'm going to call this original. The shortcut for duplicating is Control D, o? As you can see here, Control D. I'm going to call this Loo. Let me change this color, okay? So I think I'm going to use this color, you can see that because of this, right? And it's much better for now. So I'm going to lock this, and this is lock. Basically, it prevents layers from being leted, right? And then what I'm going to do is I'm going to select this and I'm going to just delete that. Then I'm going to place it on top of that, and I'm going to duplicate this. It's not getting renamed on its own. Of the times, it does get renamed on its own, and I'm going to place it here, then I'm going to type in O. Then I'm going to duplicate this. Then I'm going to all this. Then I'm going to place it here, then type it. But this one is capital. I don't want it to be a capital, okay? Then I'm going to duplicate this. Then we have E. Okay. So I'm going to just place it accordingly, right? Now I'm going to give this a different color so that at least I know. I'm going to give this fusia and then I'm also going to change its color to the color that I picked, okay? I'm going to hide this for now. Okay? Now, let's understand what I did and why I did, okay? So first thing that I did is I created the text, and then I separated all the like this isn't renamed. I separated all the letters of this text on its own. The reason why I did this is because I want more control over this. It will be much easier to. 8. Chap 4: Animating stroke, Taper & Trim Path: So in this chapter, we are going to create those stroke animations to create those stroke animation we need of stroke, obviously. And there is something that I need to tell you I completely forgot in the previous chapter. So these are all the labels, by the way, okay? They don't play that much of an important role in animation. But, for example, I have labeled this as hia, let's call it pink for now. That's how I know that all these layers are in the same group. It gives me this visual idea. Okay, so this is this, and that's what label is, okay so first of all, what I'm going to do is I'm going to hide everything, okay? And so this eye, which you see, it's called video here. It basically hides. Okay, so if I click on this, everything else is gone. And now I can have this, okay? Or there is another option, if you want, it's called solo. Okay? So solo, basically it's this, okay? It hides all the known so layers. Okay? So for example, I click on this. Okay, I will be looking at this only, and then we have lock, so I can lock it. It's that simple, don't worry about all this. We will go into them as we move along. Okay? It's like a movie, right? Like, not everything is going to be given to you at the start. Okay? You have to wait and you have to enjoy the process, so enjoy the process of learning. Okay. And so I'm going to just get rid of this. Now the next thing that I'm going to do is I'm going to choose this. So this is a pen tool. The shortcut for the Pen tool is G, or you could just go here and click right? And now I'm going to show you what both of them are, and I'm going to reduce this to something like 24. Now, don't worry. That's a stroke width, by the way. Then I'm going to draw the shape, okay? So I'm going to draw the shape in a way that ends at L. Okay? And so this is shape layer. Every shape layer in after effects, even text layer has two properties for the color. The first one is fill, and then we have stroke. So fill is basically the color on the inside of the shape layer, and stroke is basically the outline, okay? And these are called handles, by the way, okay? So let's say, let me get rid of this again, and let's say that you have created like this, and now you don't have those handles. Okay? So what you do is you basically hold Alt or option and then click on this and then you have this. Okay. Now the reason why I'm keeping this at a distance is because if the stroke starts here, our animation will start here. Okay so make sure that this is the starting point is at the end, okay? And you can make changes as we move along. Okay, so don't worry about that. What we want is basically a stroke animation. So we don't really need fill. Okay? So how do we get rid of that? So I'm going to just click on this, and it opens up this fill options. So we have four options. First one is none. I basically gets rid of the fill then we have solid color, which basically is just color. And we have gradient color linear gradient and then radial gradients. These two are gradients, and we don't really use these options because these options are already available in the layer. Okay? So I'm going to click here, and it basically gets rid of the fill, okay. And I'm going to just make sure that this one looks really nice. Okay? And what we are basically doing is we are going to use this stroke to reveal this letter. For now, what I'm going to do is I'm going to increase the stroke width in a way that it matches with the stroke width of the L. Okay? Now this is completely uncalculated. Okay, so don't worry about that. You have to do that on your own. Now, let's move on to something that is really cool, might sound complicated. But I'm going to make it as easy as possible. So whenever you toggle down into this, you have two things. First one is transform, which I already explained in the first chapter, and then we have shape one. Shape one is basically this shape, right? And if I create another shape, okay, it will be called shape two, and you can also rename this, by the way, ok? For example, delete, okay? I'm going to delete this. And whatever control you have in this stroke, you will have control on this stroke as well. Great thing about shape layers is that you can animate this, okay? And don't worry, I'm going to explain that. But you can individually animate this. You can individually animate this, and you can individually animate the entire layer. I hope that makes sense. I'm going to just delete this for now to make things less complicated for you. Okay? So I'm going to trouble this down, and so we have this option. Part one, which basically is this path that you see here. Can also keyframe animate the path as well. Then we have stroke, stroke one. It's called stroke one here. Okay? This one is the key here. Okay, we are going to animate here. Then we have color, which is crucial. I have used this pink color. Then we have opacity, the transparency of the stroke, then we have stroke width, which is basically the stroke width, right? Then we have this line cap. Let me get rid of the L as well for now, okay? So as you can see, this is really flat, okay? The end of the line is flat. It's basically called cap, okay? And it's called butt cap. That's funny name, by the way, but I don't like this. Okay? I don't want this to be flat, okay? So I'm going to call this round cap. I'm going to change this to round cap, and now we have this rounded edge. Okay. Then we have line Okay. So line join is basically how this joint affects how they render. Okay? So we have round join. It doesn't really affect much because I have already changed it. Okay, then we have dashes. So you can also add dashes to a stroke, okay? All you have to do is just click on this plus icon and then you have dashes. But you might be thinking, Oh, where are the dashes? Well, you have to change here, okay? So you have to make change here. This basically changes the amount of dash, okay? And this basically offsets the dash, okay? It basically shifts the entire segment, okay? But I don't want that. I'm just explaining to you right now. So I'm going to just remove it by clicking on the minus option. Then we have taper, which I'm going to explain, and then we have wave, okay? So wave basically lets you create these cool waves, okay? See? It's really cool. You can do so many great things here. Now I'm going to shift the phase. Phase is basically the offset here, but when we are dealing with waves, I don't know they have called this phase. I'm going to change the amount to zero because we are not going to use that. These are all the properties of shape layers in after effects. Now I'm going to show you something that is really cool. That is this option. This option is basically the option of shape layer animators. Shape layer animators, are these special tools or settings that we find in this part. These are all the shape layer animators. And these are all the settings that allows us to add different properties to our already existing shape layer, okay? And it gives us more control over shape layer, okay? Because these things are not enough, and so after effects provides us with all these other additional things. Okay? For now, we are going to use something called trim paths. So I'm going to click on this, and now the trim paths has been added. Okay? What is a trim path? Let's understand that, okay? So a trim path basically allows you to reveal or hide a path over time, animating the stroke as if it's being drawn on or erased, okay? So see? So it's basically like being drawn, right? That's why it's called trim path. If you want to visualize trim path, the best way to visualize it is, like, it's a magical pen that lets you draw along your shape. But if you are working on logo animation, trim paths are your go to to locate trim paths are really useful. They are handy and probably the most used layer animator out there is trim paths because it's really easy. And once you get hold of it, you can do wonders with it. Okay? So the key properties here are start, okay? So start basically controls where the visible part of the stroke begins. So if I change this, okay, it basically starts from here because I'm changing the start property, okay? Okay? And all the properties are in percentage, by the way, okay? And so the end controls where the visible part of the stroke ends, okay? Along the path. So when I'm changing this, this one is changing because this one is, this one is start. Now, what determines the start and end? The first thing that we draw is going to be considered as the start and the last point is going to be considered as the end. Then we have offset. I'm going to trim this so that I can show you offset. Offset basically shifts the entire visible segment along the path without changing its length. So it's perfect for making things move along the path. Now I'm going to change this to zero, and then I'm going to bring it here for now. Okay, I'm going to change this. Okay, so what I'm going to do is I'm going to change this to 20 for now, and then I'm going to bring here, okay, so that you can see more properly, right? Now, the next thing that we need is we need taper, okay, right? So let's understand taper. Taper lets you control the thickness of a stroke along with its length. It basically creates this liquidy stroke, and it instantly adds style and organic feel to these simple lines making them look drawn or stylized instead of those uniform boring lines, okay? So it's really great for speed lines if you want to show motion, taper makes things really simple. So just look at the difference, right? I'm going to just duplicate this, okay. Then I'm going to bring it here, okay? And I'm going to go into taper, and then I'm going to change this S. Look at the difference between them. Which one do you think is moving in the direction? This one, right? And this one looks boring, and that's why taper is really cool. And really important. Okay. So let's understand them these properties. Okay. It's really simple and you have to play around, okay? It's not as complicated as dream parts, okay? This one is you have to play around and you will understand. But we have start length and end length, okay? So start length and end length are how far the tapo stretches. Okay? See how far the taper stretches from each end, okay? See? Okay, so I'm going to change this 200. Then we have start with and end width. So I'm going to change this zero for now. So start with and end width are basically how thick the stroke is at the start, okay? So it doesn't affect much because we haven't changed anything here. But if I change here, okay? And I change here, you can see the difference, right? And then we have start is and is. For that, I need this to be 100. Okay. So start is and end is this properties basically controls how smooth the taper transition is. So the taper transition is basically this part, okay? So this is basically transitioning into taper, okay? So if I change this or not this this, see Now, this doesn't look great, because the transition isn't working right. I'm going to change the zero and it really looks that drop, so this is taper. Now trim parts are what drives the animation. Taper is what gives that look of animation. These two hand in hand works really, really well. You can do wonders with this and by wonders I sincerely mean wonders. Right now, what we are going to do is we are going to animate the trim parts. So in trim parts, what we're going to do is we are going to animate the offset. So I'm going to change this to zero. I'm going to go at the offset here and then I'm going to drop the key frames. Then I'm going to press Shift page down, these are all the frames, o. So when I press Shift page down, I'm going to go ten frames move ten frames ahead, okay? And shift page down is the shortcut. I don't know why it's not getting displayed here, but I'm going to go shift page down again and don't worry about the timing. We are just going to start the animation. So I'm going to change this to here, okay? Now, I'm going to turn on the L, and then I'm going to rename this, okay? So I'm going to call this L, okay. And I'm just going to keep it at that. Okay? So I'm going to keep it blue, okay? But let's look at the basic animation that we have created so far, okay? See? So let's say you have set up the keyframes. Now I want to see the keyframes, right? So how do we do that? Now, normally, what you would do is you could go here and then, Oh, here is the offset, okay? That's how it works, basically. So I'm going to press U, and now we have the offset here. Okay? So basically reveals the keyframe set on the layer. Okay? So I'm going to bring this bit further, okay? Okay. So we have some really simple animation, nothing really much. And I'm going to make changes to this cur as well, okay? So that it looks better. And then what you can do is you could just come here and then you could make changes. And now, of course, you can do some crazy things here, okay? So if you want to make it something like this, you can do so many things here, and we are going to do that here. Okay. I think I'm going to keep it here and then I'm going to bring it like this. Okay. So this is our first animation. It's really simple and you can do wonders with it, okay? Just learning these two things like taper and trim path. And I'm going to edit some of the animation that I have made using the trim paths, like additional animation just to show you how powerful it is, okay? Look at the screen, everything has been created using the same thing that I taught you right now. I haven't done anything differently other than what I have taught. Okay? So that's how powerful this chapter is. And so make sure that you practice it and I will see you in the next chapter. 9. Chap 5A: The Graph Editor: Okay, so in this chapter, we are going to create this taper much better. Okay? So first of all, what I'm going to do is I'm going to rename this rename in After Effects all you have to do is press Enter, then to just call this taper so that I don't get confused moving further. Okay? And so let's look at the animation. Okay? So I'm going to play this and to play, all you have to do is press space bar, okay. And the animation is really slow, okay? To speed up, what you can do is you can basically just change the timing of it, okay? So I pressed and when you press, it reveals the key frames on the layer, okay? So I'm going to bring this in, okay? So let's say 20 frames or 19 would be. But you can change the timing in later stages. But for now, I'm going to go at 19 frames. We are going to understand graph editor. And I'm going to really quickly show you what is a graph editor. So these keyframes right now are linear keyframes, okay? Nothing in the real world moves linearly, okay? This is really robotic and we don't want that because real world doesn't real world is not robotic. Real motion, real world moves in arcs. Okay. And after effects, what it does is that it allows us to create and mimic those real world movements. And to do that, there is a tool called graph editor. Okay? So this is graph editor. And let me tell you something. So if you know this tool, you don't need anything else to make your motion stand out. And if you don't know this tool, nothing will help you. Nothing will save you. Nothing will make your motion better. Okay, no matter how many tools you buy, okay, it won't change a thing because you don't know the fundamental. Okay, so I'm going to really quickly explain what is a graph editor, okay? So the graph editor is a visual representation of how a property's value or speed change over time. Okay? So let me bring this up so that you can see more clearly. So if you want to visualize graph editor, here's the thing. So think of it like driving a car from point A to point B. Point A and point B are your key frames. Graph editor is how you drive between point A and point B. Okay, and how you drive between point A and point B is really important. I'm not going to go into that, but you get the point, this graph right now is linear graph. I'm going to press you these keyframes are called linear keyframes. But I don't want that because it really looks robotic. I don't like that. There is no subtle movements to it, okay? So what I'm going to do is I'm going to select this. So these two points that you see are basically two keyframes, right? And they are represented here in time as these yellow boxes, and I can select them and make change to them. I'm going to select them, and then I'm going to right click keyframe assistant and Easy Ease. So this Easy Ease is basically a way to create or mimic those real life movements, okay? And so let's look at the difference, okay? So I'm going to duplicate this Okay, by pressing Control D, I'm going to go out, and then I'm going to just bring this here so that I can just show you. Okay? So I'm going to turn this into linear keyframe and to turn them into linear keyframe, all you have to do is just select them and then click on Control and then just click, Okay. And then these are linear keyframes. Now let's look at this. Okay? See? Now you can see the difference. Okay, so I'm going to get rid of this. That was just for an example, right. And now let's go into the graph editor and let's in this. If it's empty, don't get scared. All you have to do is just click here, and then you basically have to select property so that it's visible here. Okay? So there are two graphs in graph editor. The first graph is called speed graph. So speed graph shows change in speed over time. Okay? Then we have value graph. Value graph shows change in value over time, okay? So look at this. So this is zero degrees per second, and then the speed increases, it increases, it goes to the pick, and then it comes back to the zero. So this is the change in speed, okay? Let's understand value graph. In value graph, the value goes from zero degrees to da, da, da, da, da, da, da, da, da, da, and it stays here. It doesn't go back to zero. It doesn't go back to zero because this is not a speed graph. If it was speed graph, it would have been a zero. But these two points here are representation of the values. These two points here are the representation of the speed. That's why they are on the same plane, and these two are not on the same plane, okay? So let's make it better. So this easy east key frames are also not that great. Okay? So what these are called is these are called handles, influence handles, okay? So what I'm going to do is I'm going to change my graph to something like this. Okay? Now, I'm going to give you two rules of thumbs, okay? So the first rule of thumb for the speed graph is that higher the curve, okay, faster the object. So this curve if it goes higher, okay, if it goes higher, it means that the object is really fast, okay? And how do we know that? Okay. So look at this, okay? So we go from here. It basically starts at -21.60 degrees. Okay, it goes, goes, goes, it goes, it goes, and here it goes really quick. Okay, and it goes back to zero. Okay? So let's look at the animation before we move on to the speed graph or value graph. Okay? See? Huge difference. Okay. Now I'm going to give you the second rule of thumb. The rule of thumb for the value graph is that steeper the curve, faster the object. Okay? Here, the graph is not that steep, right? But here it becomes really steep, okay? And so wherever there is stiffness, it means that the value changes really quickly, right? See? Okay, so here we go and here it goes in really quick succession, and we go back, go to the final value. Rule of thumb that you have to remember in value graph is that steeper the curve, faster the object. Here longer the curve or taller the curve faster the object. So that is graph editor. I don't want this graph. As you can see, this graph is too abrupt, see? It's too abrupt, it's too quick and I don't want that. What I'm going to do is I'm going to change this, so I'm going to press Shift F three, o. Now I'm going to reset this. To reset an already eased graph, all you have to do is right click on a keyframe then Easy Ease, or you could just press F nine. Then I'm going to change this graph, okay? First of all, I'm going to change this, then I'm going to explain, okay? So this is the graph that I want, okay? And the reason why I want this is because I don't want it to be too abrupt and I don't want it to be too slow as well. Okay? That's the only reason. Okay? So we go from here and it is gradual, right? Before this, it was too abrupt. Okay? So this is our graph, and let's play it. Okay, much better. 10. Chap 5B: Text Reveal: Now we are going to reveal this text, okay? So how do we reveal that? So I already taught you trim parts in the previous chapters, okay? Trim Paths are mostly used to reveal the shape layer, okay? But the problem that we are facing right now is that L, the letter L is not a shape layer, and we need a shape layer. Of course, what you can do is you can turn this into a shape layer, okay? You could just go here, create and create shapes from text, but that won't solve your problem as well. You would need to create another layer, and then we would be using some advanced techniques for that, but that would be too advanced for now, and we don't want that because there are easier ways to do that, and we are not going to use strim parts to reveal. We are going to use an effect called stroke, I'm going to select L, and then I'm going to go into Effects and Presets, o? And once you go into effects and presets, you go to generate stroke. Okay, here is stroke or you could just write type here stroke. And then I'm going to just table clic on it, and now we have the stroke effect. So let's understand the stroke efect. The stroke effect is used to draw out lines or stroke along the path or shape. It's commonly used for revealing text, animating lines or creating handwriting effect. The problem here is solved. So Trim Paths basically uses shape layer, but we cannot always use the shape layer. We cannot always turn everything into a shape layer. And that's its limitation. So what stroke allows us is that the stroke effect is generated, not using any shape layer, but it is generated using masks. Okay? So if you don't know what a mask is, well, in After Effects, masks let you show or hide the part of the layer controlling its visibility. With custom shapes. It's the same like that mask. It basically hides, let's understand stroke. So we have this stroke. Okay. Now here it's set to nun. So what I'm going to do is before we do anything, I'm going to create a mask so that I can explain all the parameters in action. I'm going to select the Pentool, the shortcut for that is G. Okay, and then I'm going to zoom in. Then I'm going to draw a mask, okay? And I'm clicking Alt. Okay? You have these handles so that you can make it. And if you don't want to click Alt, all you have to do is just track while clicking, okay? Then I'm going to bring this down and I'm going to make this straight. We now have created a mask and make sure that this mask is not closed. You don't want to close this. This one is an open ended mask. Now, let's understand the parameters. So first parameter here is path here I'm going to select mask one. Then we have color, then we have brush size. The brush size is the size of the brass. Okay, let me show you. See. Okay? This is the size of the brass. Okay. Then we have brush hardness. Okay? So the brass hardness shows the softness or sharpness of the edges. So I'm going to increase this, and then I'm going to increase this. It makes a difference. You can see the difference. Then there is opacity. Well, it's the opacity of the stroke. Then we have start and end. So this is the same thing that we saw with the trim path, okay? So start and end are basically used to animate the stroke along the path, okay? Tart basically controls the starting part and controls the ending portion. Okay? So you get the point, right? And then we have spacing. So spacing here affects the dashes if you are using custom strokes. Okay. See? You can create dashes if you want. Okay. Then we have paint style. Okay? So this one is really crucial. Make sure you pay attention. So on original image, what happens is stroke appear. Stroke will appear on top of the original image, okay? Then we have on transparent. So on transparent, only the stroke is visible, right? And then reveal original image. It basically reveals the underlying layer. And I'm going to reset this for now and then I'm going to quickly set this up. Okay? So I'm going to select mask one it's already selected, and then I'm going to change this to reveal original image. And now, it's not being revealed because the brush size is at two, okay? So I'm going to just increase it in a way that everything is filled. Now, the next thing that we are going to do is it's really simple, okay? Now, all you have to do is just animate the end, okay? So what we're going to do is I'm going to zoom in by using this shortcut. Okay? Then I'm going to press V. Okay. And then I'm going to just go at the frame where should I should animate. Okay. And now the thing that you have to remember about the Taper is that the Taper is not set in stones, if you want to change it, all you have to do is just press Go, then select this and now you can change it. So I'm going to turn this on. So this is why this layer is used, right? Because let's say if I can't see this right now, I have to disable this effect. But if I want to see the reference, I can use this original image and then I can make changes. But I'm going to just disable this, and I'm going to make change to the Taper because I think Taper. I'm going to teach you the principles about this as well, okay? So don't worry and don't get confused. And Taper is not setting stones. Okay, so make sure that you remember that. And you can change as the time passes, see? Okay? So this one is much better. I like this one. Okay? So I'm going to bring my current indicator here, and then I'm going to animate the end, okay? So I'm going to turn this on back the effect, and I'm going to animate the end. Okay? So what I'm going to do is I'm going to drop a keyframe here. Then I'm going to press you. You reveals the keyframes. Then I'm going to press Shift page down. Shift down brings your current time indicator to ten frames forward. Shift page down. Okay. And then I'm going to change this to something like hundred. Okay? Now I'm going to go to Selection Tool and then I'm going to play and see what's happening here. Okay? So it comes and now I'm going to increase this. Okay. So this is basically work area. Okay? This entire thing that you see is work area, and this blue part is called work area start. This one is work area. Now, let's say, if you want to play this part, all you have to do is just press zero, and it will be looped instantly. It will be looped continuously. And if you want to play whole thing, all you have to do is just brag this. Okay, you get the idea. First of all, I'm going to change the easing on this, okay? Easing is the most crucial part here. I'm going to press Shift F three, or you could just click here. Then I'm going to click Keyframe assistant, easy es, you could press F nine, then I'm going to zoom in. But basically, this is fit all graph to view, fit selection to view. You get the point. Then what I'm going to do is I'm going to bring the graph like this. I'm going to explain what is happening. Don't worry. Okay, so I'm going to change this to something like this. Okay? So what I want is I want this animation appear really quickly, right? This part of animation appear really quickly, but I want this part, like the end part, like this part to be slow, Okay? And that's the reason behind this graph, okay? And it's not set in stones as well. But once the puppet pins are set, okay, it could be difficult. So make sure that you remember that. Okay? So let's go back and see what's happening. See? We have created the easing, but now the next thing that we want is we want to make sure that we make the timing even better. I'm going to bring this keyframe here. The next thing that I'm going to do is I'm going to trim this layer. I'm basically trimming this layer. What we are doing is we are basically matching this. We are matching this with this. I'm going to show you. To trim, all you have to do is press Alt and you can see the shortcut, I don't know what to call it, but those square brackets, you see the shortcut. Okay? So I'm going to bring this here, let's see how it looks. Well, it looks decent, but we need to work on the timing. I'm going to bring this here. I'm also going to trim this, and it's not set in stones, you can trim like this, so the cursor changes and it basically looks something like this. Okay? And the shortcut to bring this work area end to the current time indicator is N, okay? And the shortcut to bring the work area start to current time indicator is B, okay. So let's see, right? The next thing that you can do that I'm going to do is I'm going to push as just a little bit further, okay? I think something around here would be fine or here, right? 11. Chap 6: Puppet Pins: In this lecture, we are going to animate and use the puppet pins. So let's understand Puppet Pin tool, and before that, I'm going to drop some pins on it. Okay? I already explained what are pins in the first lecture. But don't worry, I'm going to explain it again. I'm going to select this, the shortcut for that is Control P, then I'm going to just drop it for now and then I'm going to show you, okay. So I'm going to go at the first frame, and I'm going to disable this for now, then I'm going to drop the pins. Okay. So let's understand puppet pins. I'm going to toggle this. Okay. So whenever you add pins to a layer, you have two to three things that happen. Okay? First of all, the effect is applied, right? And then you have these options open up. Okay? So first of all, puppet pin tools lets you animate static images, characters or illustrations by placing pins, right? These are pins that act like joints, okay? Joints. It's like turning a steel image into a flexible puppet. You have to pay attention where you are placing your pins because these are basically joints, and so make sure that it's not placed somewhere that won't make your animation look good. First of all, let's understand this. What is happening here? First of all, the puppet engine. The puppet engine it has two options. The first one is legacy and then advance. This has more control and this is the older version of puppet engine. This is the more developed and more advanced version. Then we have mash rotation refinement. But before that, let's understand what is mash. I'm going to select this. So mash is basically a grid made up of small triangles. This grid is what allows the layer to bend, stretch, and deform, okay? See? So this grid is what allows layer to bend, stretch, and deform smoothly when you move puppet pins. So why is the mesh important? I mash is not showing up because it's because you are not clicking here, and when you click on the show, you will be able to see that. So the mash defines which part of your layer will move and how smoothly they will move. Now, mash rotation refinement. So this basically controls how naturally parts rotate when they are animated. Okay. Higher numbers equal smoother bands and twist. The default here is 20. You cannot go further than the 20. Then we have on transparent. I don't use this option much. I haven't used I have never used this, but if you check, it basically treats transparent areas as solid affecting mesh behavior. Leave it unchecked if you want natural flexible motion on cutout shades. This is puppet, and then we have mash. I really explain what is here. Then we have expansion. Okay. If it's not active, if you cannot see the grid, it's because you haven't selected this. Okay? So expansion basically expands the mesh area. It helps include or exclude more of the image. Like if you want to animate just this part, only in the internal part, then you can do that, but make sure that you keep it at two, or you could also keep it at zero, I guess. Okay? You don't have to expand, but I'm going to keep it at two for now. Okay. Then we have density. So the density is the number of triangles in the mass, okay? So if I increase this, let's increase this to 20. While it's 12, see how many points we have. But the problem with this density is that higher the number equals smoother deformation, but it will slow your system down, really, really down. So make sure that you keep it keep everything at default. The final option that we have is the record options. Hold down the control key while dragging the puppet pin to record animation. I basically allows us to record animation. What I'm going to do is I'm going to just show you. I'm going to click Okay, and then I'm going to just hit on Control, when I hit on Control, the cursor changes to clock and then I'm going to just animate it, C. And now we have this animation. Of course, I don't want that. This was just for demonstration. Now let's move on to the final part, which is mesh one, ok? So ever you drop pins on your layer, you will have this option. Okay? We already understood this too. Now let's move on to deform, ok? What we have here is one, two, three, three pins, right? Okay. So whenever you drop pins, you have the deform option, and under that deform options, these are the number of the pins. And under each pin, you have pin type and the property that depends on the pin type. Okay? So first of all, let's understand that. First one is position. This is basically lets you move parts of the mesh. This one is used for the basic animation, we are going to use this one only. And then we have starch. Okay? So starch basically stiffens the area. Okay? So let's say that I don't want to move this part, okay? See how it acts. Okay? It basically makes that part unmovable. Okay. Then we have band. So when you click on band, it adds two properties. First one is rotation and the scale. Okay? S. And now you have control over this, okay? So if you get more controls here, okay? S. And you can play around with this as well. See, you can do so many things, see? Okay. So bend basically adds scale and rotation, and then we have advanced. Okay? So advanced basically adds position, scale and rotation, right? And you can control and animate all of them. Okay? And one thing that you may have noticed is that whenever you drop up at pins, you will have key frames added to it automatically. Okay? You don't have to do it manually, and you can also get rid of them, okay? And so I'm going to change this to position. And you know what? I'm going to redo this. So I did this to just explain. Okay? Now I'm going to just delete this. Okay? Now, I'm going to drop four pins, okay? So one Okay, I'm going to change this density to ten, two, three, and four. Okay? So we have four pins, and I'm going to explain why I did what I did. Okay, so don't worry. And then what we do is we move here, okay? And then we go into deform or if you don't want to do that, all you have to do is press, okay? So when you press, you will have the pins right in front of you, okay? So I'm going to select this. Now, let's understand and let's see where we can put our animation, okay? Now I'm going to enable this so we can see more properly. Okay. Now the next thing that you have to remember is that whenever, and this is general, okay, this applies not to just this course or this project, but this applies to every project and every animation that you are going to do. And this is the principle that took me so long to learn, but make sure that you always begin with the end. What do I mean by that? Let's say you are a beginner, okay? And I told you that we want to animate this, and what you did is you basically changed any puppet pin, right? But now when the letter is being revealed, it is tough to get back to that shape, right? You can do that. Of course, you can do that. You have to match it with the original text, okay? And that's too much of work, right? And so to avoid that, what we use is we use this principle called begin with the end. So what you do is whenever you have these key frames that are important, what you do is you don't change them, okay? You bring them to the end. Okay? So this is basically the end frame of the animation. So I'm going to bring that here. Okay. Then I'm going to go here, and then I'm going to copy these keyframes, ok? Then I'm going to paste this, so I'm going to press Control C and then Control B. Okay? Now, what we do is we basically animate in between, okay? And so I'm going to go here. I'm going to select this pin. Okay. I'm going to bring it here. Then I'm going to bring this pin like this. Okay. Now I'm going to enable the stroke, okay? And let's look at the animation. Okay? See? Now, we have some issue here, okay? I don't know if you can see that. So we need to work on timing. I'm going to press you on the taper. I'm going to bring this here. Okay? I don't think it needs to be trimmed at there, okay? See? Now, it makes sense. Okay? And you can do too many things here, by the way, okay? By too many, I really mean too many, okay? And so I think I'm going to make this better by bringing this up like this. Okay? And of course, make sure that you if you are here and if you change, you will have another keyframe. So make sure that you limit the numbers of the key frames as much as possible, okay? And I'm going to drag this down, okay? So I'm going to explain the motion in the match cut chapter, okay? So don't worry about that. But for now, just follow along and try to understand what I'm trying to tell you, okay? So I'm trying to create that stretchy look, okay. See? It looks nice. Now, Puppet Pin one is basically not getting animated because it should be starch. But I'm not going to change that. We are going to easy ease these three keyframes. So I'm going to select them, right click Keyframe Assistant, and then Easy Ease. Then I'm going to go into Graph Editor. Okay. Now I'm going to select this. Okay, I'm going to zoom in and then what I'm going to do say this is the So this bounding box is the bounding box of the keyframes, right? You can also stretch the keyframes. Okay, so I'm going to Okay, so why this graph, right? So let's call this graph because it looks like. I don't know what it's called really. But what I want is I want this stretch to happen really quick, right? But I want pause here, okay? And it's not a literal pause, but there is still some movement, but it slows down and then it goes really up. Okay? So let's see. See? So I think we're to go back, and I'm going to change this one, of course, you can rename this as well, but I don't think we need that right now. Okay. If you want, you can also expand the last keyframe. So I'm going to select them, and then I'm going to just drag it out. Or what you can do is I'm going to go press Control and I'm going to just expand only this key frames just to see what happens. This is the thing that you have to remember that whoever learns animation like myself, I'm self taught. I learned animation by simply experimenting and you can learn too many things by simply experimenting. Make sure that you keep experimenting. Just don't follow the system. What I'm asking you is I'm asking you to make sure that you play and have fun. While animating. You know, animation is not that serious. Okay? We basically move these pixels on the two D screen, and we want to make people feel something different with that. If you think about it, it's really stupid, but well, it works. I love animation. So calling it stupid hurts my feeling. But the new age is going to be filled with screens, and so your job will be more important as the time passes. So make sure that you're good at what you do, okay? And so let's see when I increase the timing here, okay, what is happening here is that the pause increases, and of course, I can change this as well, okay? Let's see. This one looks much better. I think I'm going to bring this here. So what it looks like is the taper is basically coming in, it's drawing this, okay? And we have this animation. Now, in the next chapter, I'm going to explain the principle behind the animation that we created, and you are going to understand why I did what I did and why we trimmed this and what is the role of easing in this, okay? 12. Chap 7: Duplicating "That" Effect: Chapter, we are going to duplicate this effect that we created. But before we move any further, let me because this exaggeration is, I think it's too much, so I'm going to press you, okay? And I think this exaggeration is a bit too much. Okay. So what I'm going to do is I'm going to bring both the puppet pins, like puppet pin four and three. I'm going to bring them up, okay? So I'm going to just drag this. So these two are basically the dimensions. This is X dimension, this is Y dimension. Or if you don't want to do that, you can just grab both of them like this and then you can, you know, because that was, I think, too much, okay? This is also so I'm going to drag this bit down, and I'm going to So like I said, this is not set in stones. You can make changes as you move forward, okay? So I'm making changes as my preferences. If you don't like this, if you like exaggeration, that's completely fine, go with it. But I think this is too much for me, okay? So I'm going to change this. Okay? So this one looks really nice. And I think I'm going to bring this one in, okay? So it looks as if the leg is kicking out like this, see? Okay. I think I'm going to bring this like this. Okay. So you have to remember this that you have to make changes at the exact time, okay, or else you will be creating different keyframes. Okay? So let's see. Okay, much better. I like this one. In this lecture, we are going to focus on duplicating this effect, okay? So I won't be showing you every letter, okay? I will be showing that to you in a fast forward, so you have to see that. But I'm going to show you the most complicated one here, which is O. So O is going to be the most complicated letter to mimic, okay? And you will see Y. Okay. So I'm going to introduce you to something called Shy, okay? So this is Shy. So Shi basically hides the layer in timeline, okay? So for example, I now don't need to see E and, okay? So I'm going to click on this. Well, nothing happens. So if I click on this, so this basically all this activates this, okay? So if you want to activate, for example, Shy, you have to click here. Okay? So this is basically switch. Okay? So I'm going to click on this and they are gone. By gone, they are gone from the timeline, okay. In reality, they exist, so it's not deleted. Okay? So don't worry if it doesn't really gets deleted, okay? So I'm going to do that. Duplicating is going to be really easy, okay? So first of all, I'm going to duplicate this. So I'm going to press Control D to duplicate this, okay? Right? The next thing that I'm going to do is instead of, like, moving this manually, what I'm going to do is I'm going to press G or just choose the pen tool, okay? And then I'm going to hover around, okay? And then I'm going to bring this here, okay. Now, the direction of the taper is going to be really important. And I'm doing this completely manually. There is no logic or there is no reasoning behind this. But it's really crucial that you place it in a way that it looks good. Okay? So I'm going to bring this bit back and then I'm going to so we are going to start from this like this, not like this. We're going to start like this. I think I'm going to bring this here. And see, this is not a curved line, right? And so I want handles here. So I'm going to just hold Alt, and then I'm going to drag this. Also, it's crucial that you understand this before you start dropping the pins and dropping that stroke effect here, okay? It's really important. So make sure that you decide what it is, what direction it's going to be. Okay? So I'm just going to review so that, okay, this one is nice. And I think I'm going to bring this. And so I'm going to bring this out and so it goes something like this. Okay, I'm going to bring this closer, right? So we have an animation like this. But see, this is the reason why you should keep it a bit back. Okay. Okay, do like this path. Okay? That is done. What we do is we rename this. So I'm going to call this I'm going to get rid of this underscore two, and then I'm going to change this to O. Okay? Now, the next thing that we do is we repeat the process that we did in the previous chapters. So what we did is we basically created the stroke animation, and then we added the puppet pins, okay? So you don't have to restart and redo everything. And another thing that you have to remember is that you have to make sure that the timing of the taper, okay? Timing and the easing stays the same. Okay? So we are basically copying everything. You don't have to offset anything in short, right? So I'm going to just go to L. Then I'm going to go to EX and presets. Okay? And then I'm going to control C. Okay. Then I'm going to go to O and then press Control V. Right? Now the problem here that we have is that we don't have mask already. So I'm going to get rid of this for now, okay? And I'm going to zoom in. Now I'm going to create a mask. And then for that, I'm going to press Control G, G, not control, G. Okay. And now I'm going to start dropping the mask, okay? But before that, I'm going to just adjust this in a way that it matches. Okay. So we are basically going to start from here. So I'm going to select O, make sure that O is selected so that you don't mask something else. And then I'm going to just draw a mask around like this. Okay? So this is our mask on O. It doesn't have to be it doesn't have to be perfect. But make sure that it looks decent. I bring this here so that I can make it look better. Now, let's say you make change to this handle, okay? Everything else moves, right? But what if you only want to make change to this part? So all you have to do is press Alt, right? And in that way, you will be making change to this without disturbing this, okay? So I'm going to just drag it out. This. Now I'm going to turn this on. But before that, I'm going to select mask one, okay? And let's see what happens, okay? So it comes here, okay? And it draws like this. See? So we have major issues here. First of all, the issue is the brush size. Okay. So the brush size is at 105. And so I'm going to just increase it. And if you look closely, here is a black spot, okay? So we don't want that either. So I'm going to just increase it even further. Okay? So it goes up to 156 to fill up the entire thing, okay? And so that's an issue here, right? See? Okay. But this doesn't look good at all, right? So what can we do? So we can do so many things here, okay? So first of all, I'm going to select O. And now I'm going to press you to bring up the keyframes here, okay? And then I'm going to see what happens, okay? So like I said in the beginning in the first or second lecture, that you always begin with the end. So I'm going to keyframe brush size, and I don't think I need to keyframe anything else apart from that for now, okay? And the reason why I'm key framing and animating the brush size is because I'm going to basically reduce this, okay? So let's go for something like 50. Right? And then it goes up to like this, right? But the problem that I'm seeing right now is I don't want this part, right? I don't want this part. It looks bad. So it basically begins here, and it basically extends here, see? As it moves forward, it extends here. This should not be the case. It should basically extend or reveal like this, right? This should be the shape, not this. So this reveal should not be here, right? And so I don't want that. So I'm going to press you again to reveal the key frame. So I'm going to bring this in like this. Okay right? It's still not working, right? So I'm going to key frame this path. Okay. And I'm going to press M. So M basically reveals the mask, okay? And then you have here mask one. So when you toggle down mask one, you have mask path. So this is basically the path, then you have feather. So if you want to feather, like, smoothen things up, that is what feather is. Then we have opacity, which is the opacity of the mask and then expands, and it basically expands the mask, okay? So what I'm going to do is I'm going to keyframe the mask path, right? And then I'm going to press you. You always begin with the end. Remember? You always begin with the end. And the second thing that you have to remember is that the mask path and the brush size, both of them should have the same timing or else it won't work, okay? So I'm going to go back, right? And then what I'm going to do is. And so this dialogue box, it may bother you, but it's autosave, okay? So autosave has been option. But if you don't want to lose your work, uh, you go to edit references, and then autosave, okay? So when you go here, what you do is you basically, for example, I have changed save every 2 minutes, okay? It's because I had some terrible experience in the past, and that's why I save my work every 2 minutes, and that's why we have that dialogue box open up, okay? So okay, that's how I save if you want, you can copy that as well, okay? So what I'm going to do is I'm going to bring this up like this. I'm going to bring this up like this. Now let's see. Okay? Well, it's still it is still bothering me. So what I'm going to do is I'm going to change the timing of it. I'm going to bring this. So I'm going to bring this in. Okay, I'm going to bring this here, right? And I'm going to change this to something like this. Okay? Now, let's review it. Okay? So we have an issue here, see? So it basically begins here. What we can do is we can basically, drag this forward and see where it. So here is here is the issue, right? So what I'm going to do is I'm going to bring this here, right? And so this is what I call cheap tricks, okay? You have to adapt with time. You don't have to, like, perfect everything. You don't want to do that. Okay? That's not a good habit. Okay, it works, but it still bothers me. And the reason why it bothers me is because of this little tiny portion that comes out, okay? But don't worry about that. So this is the thing that I want you to remember is that you have to keep moving forward despite things not working in your favor. And this is not working in my favor right now. That's completely fine, okay? So I'm not going to get stuck here. What we are going to do is we are going to try something else. So what we are going to do is we are basically going to mimic the puppet pins. So we're going to start by dropping the pins here and I'm going to just using this as a reference. So this is going to be my reference for timing. And now I see that this is the main reference time, ok. And the reason why I use reference is because I want to keep everything same. So I'm going to go at the first frame, right? I'm going to disable this effect. I'm going to zoom in. Then I'm going to select this or you would press Control P, right? Now, one, two, three, and four. Okay, so these are the four pins. Now I'm going to press you to reveal them. Okay? So these are our pins, right? Now I'm going to go at the last keyframe, right, select them, Control C, control V. Right now, I'm going to press you on this. I'm going to use this reference as well. So I'm going to go here, and then I'm going to turn this on. I'm going to turn the stroke effect on this on. Okay. What you can do is if you don't like this, this one is like I said, this one is not working in our favor, right? So what we can do is we can mimic this, right? So I'm going to drag this in like this, right? And then I'm going to bring this bit up. I'm going to bring this up. Then I think I'm going to bring this in, see. Okay, so let's see how it looks. Okay. So it looks much better. We have this portion which I don't like, so I'm going to make it. I'm going to drag this here. It doesn't have to be perfect, like I said. Okay, so I'm going to this one looks much better than what it used to. Right? And that's the thing. You have to overcome perfectionism. Then I'm going to just open up the graph editor, and I'm going to see how this graph looks, okay? So I'm going to copy this graph, right? I'm going to just select all of them. Not all of them, all of them, but just this part, one, two, three, and four. I'm going to select them right click Keyframe Assistant and Easy Ease. Then I'm going to select this. I'm going to move these handles like this. Then I'm going to move these handles like this. Okay? Now I'm going to see how it looks compared to this. Okay, much better. Much better. Okay. Now I'm going to zoom out. And let's see. Okay, so as you can tell that you have to, like, sometimes let go of your perfectionism because this works much better than I expected. Okay? The thing that I'm going to do is I'm going to make sure that this taper here ends at this portion. Okay? So it basically hides that part. Okay. Also, I don't like how it moves inside, right? See? For example, I'm going to bring this in. I'm going to bring this up. Okay? So when it moves here, see I don't like this. And it is probably happening because of the brush sharpness, okay? So I'm going to change this to I think 100. Okay. That basically solves our problem. And if you see that issue in the L as well, you can change that as well. Okay? So I'm going to change this to 100, right? And that basically solves our problem, right? But I'm going to select this, okay? And you can not only key frame this, we can also key frame this. Okay? So what I'm going to do is I'm going to bring this bit in, okay, like this. See? Now, it begins perfectly and that issue is gone, okay? So let's look at that. See? Now it works perfectly fine. And so that's how you do it, okay? Just click on this, which is Shy button. Then I'm going to turn this on, right? Now I'm going to show you how to quickly duplicate. I already told you how to do that. Now, I might fast forward this or I might even just keep it as it is. Okay? For the people that want to watch the entire thing, you can watch it. Now let's focus on creating this effect as quickly as possible. Okay, now about. Okay? So we already have turned on. So what I'm going to do is I'm going to duplicate the L taper. Okay? So I'm going to come here, and then I'm going to duplicate this. Okay. Then I'm going to move this here, right? Then I'm going to click I'm going to press Enter, then I'm going to get rid of the two. Then I'm going to type in. And also, I'm going to keep this sequence as it is, okay? So this is LVO. Okay? So I'm going to change this to LOVE. Okay. And now I'm going to change this motion path. And I think I'm going to bring this like this. Okay? Okay. Let's look at how all three of them enter and how it looks, okay? It looks nice. Now, we already have taper for. Now let's create animation for the stroke effect. So I'm going to go to O. I'm going to select this. Or let's copy the stroke from L. Okay? So I'm going to copy this. I'm going to select this. And also, I'm going to click on this for now, and I'm going to hide the E so that it doesn't bother me, right? And then I'm going to press U. So you basically have to keep the reference in mind. Now, let's say that you don't want to open this up and see the reference, right? So what is a better way? So the better way is marker, okay? So the shortcut for marker is tisk. I don't know if it's called trisko? Pardon my English. I mean, I apologize for my bad English. It's not my first language. But anyways, these two are basically the markers, okay? And so now I don't have to open this up every time, right? And you can also drag marker from here, right? So if you want to drag this, all you have to do is just bring this here, right? And if you want to delete them, you just hold on control, and then you hover over to the marker, and then it will be deleted. But I don't want to delete that. So this is going to be our timing for now, so I'm going to just copy this, paste this. Then I'm going to dress you right? Now we haven't created the mask, okay? So first of all, I'm going to get rid of that. Then I'm going to draw mask, okay? This mask is going to be really simple. So for now, these two are basically getting merged and I cannot see properly, and I'm going to turn on solo. Okay? So one, two, and three. Right? That's simple. And then I'm going to select mask one, and I'm going to turn this on, right? Now, let's see. Now I'm going to urnslo this. Now let's look at this. Okay? Well, it looks really nice, to be honest. I like this. But say, here we are running into that same issue that we ran into with Oh, okay? We are going to do the same thing, right? So I'm going to animate the brass size. I'm going to frame this, right? Then I'm going to press M. Then I'm going to keyframe that as well. Then I'm going to press U, right. And now I'm going to go back here. And before we move any further, I'm also going to drop the keyframes on the puppet pins, okay, so that we can change everything all at once. So I'm going to go at this marker, and then I'm going to select this that I'm going to drop the pins. Okay? So we are going to have three pins. I'm going to solo this so that I can see more properly. So I'm going to solo one, two, and three, right? Okay. Now I'm going to press U again. So basically, okay, it basically closes. Then I'm going to go into this. Then I'm going to press Control C. I'm going to take my time indicator here, press Control V, right? Now, I'm going to activate this, okay? So we can make changes as we move forward. So first of all, I'm going to drag this bit down like this. And the reason why I'm doing that, I'm going to unsolo this is because this O may touch V, and I don't want that, okay? And so I'm going to mimic the timing of the stretch as well, okay? So I'm going to just see where it annulates and I'm going to copy the timing of the key frames, okay? And then I'm going to move this here. Okay? So it basically stretches out, right? And I'm going to bring this like this. Then I'm going to, I think, bring this up like this. Okay? This is completely spontaneous. Okay? I didn't plan this, and it goes back, see? This one looks much better. But before that, we have work to do. Because I'm going to change the brush size. I'm going to reduce the size of it. Okay. So I think this one looks much better. Then I'm going to select the mask path. Now, I cannot see the mask path. Oh, my God, where is mask path? Well, mask path cannot be seen is because we have puppet position pint active. I'm going to just select this and now we have mask. I think I'm going to bring this here like this. And I'm going to bring this here. Let's see. So let's look at that. Okay, this one looks really better. And it looks too car to me, I guess. So I think I'm going to change this because this is too much. So I'm going to select this and I'm going to bring this in just a little bit. I think it's a good idea. It's completely spontaneous, by the way. I did not plan this. Okay, but it looks good. It looks good. Okay. So now what we have to do is we have to mimic those key frames, okay? So first of all, I'm going to press. I'm going to select these keyframes and then I'm going to eases. I'm going to select this keyframe, then I'm going to easy ease, okay? One thing that I forgot is I forgot to ease these keyframes. I'm going to keyframe assistant, Easy Ease. I'm going to select this. Then I'm going to go into the graph editor. Okay. Now let's look at them one by one, okay? So this one is mask path, okay? So I want it to be slow at first, not fast, slow at first, it basically slows okay. So if I change this, look at this. What happens is it grows quickly, right? I don't want that. Okay? So this is going to be the graph for the mask, okay? And it looks much better. Now, I'm going to animate this and I'm going to basically do the same thing. So it is slow at first, and when it joins, it basically grows, see? It looks better. See letters are dancing, right? And we're going to copy the same thing here as well. So I'm going to come out of the graph editor. I'm going to zoom in. First of all, let's change this. Okay, let's say that you haven't animate, we haven't animated Puppet position pin one, right? And so if it's not animated, just don't get rid of the keyframe, okay? Right? So I'm going to select this. I'm going to press Shift F three. I don't know why, but Shift F three does not get displayed. Okay? So I'm going to select this keyframes. I'm going to change to this. And to this. So it basically grows, but there is this gradual stoppage to it, and there is this gradual slowness and it basically grows quick, and then we have that same pause again. Okay. Now I'm going to select this, then I'm going to mimic that, okay? Now I'm going to crush Shift F three after selecting both the keyframes. Then I'm going to just click Keyframe assistant, easy is, keyframe assistant, easy is. Then I'm going to select only one, which is this, then I'm going to move this. Then I'm going to select this, then I'm going to move this. Right? So let's look at the animation so far. I think I like the animation of really. It's really cool. So I'm going to go here. I think needs a bit of exaggeration. I don't know if you feel it that way or not, but I think needs an exaggeration, a little bit. Okay? So it grows up. Right. This might be too much. And I think I'm going to change the mask path as well. Oh brush size. No, not brush size. I'm going to change the mask. Okay. Let's look at that. This one is much better. And see, they both are on the same plate. Right? It's not calculated by the way, this is completely spontaneous. Now we have done our work, so LOV. Let's create the final letter. I'm going to get rid of this and then I'm going to turn this on. I'm going to come here and then I'm going to select this 10, basically, O Saper. Then I'm going to duplicate this, bring this on top. I'm going to rename this. I'm going to call this E underscore taper, select this anchor point and then bring it here, something like this, right? Now, the motion path of this is going to be really interesting, okay? So what I'm going to do is I'm going to exaggerate something like this. So it basically moves up, right? Okay, I'm going to move this back a little bit. This is what happens when you have Pen tool selected. Okay? So it might basically connect both of them. We don't want that. Okay, so here it's getting, I think, bit I'm going to bring this in. Okay. I think this one looks really nice. Okay. Now, I'm going to copy the stroke from to E. Okay? Then I'm going to press U, right? Now I'm going to get rid of this. I'm going to solo this. Then I'm going to mask this, okay? And remember, you have to start masking from the point where the stroke or the taper touches. So if taper is touching here, you have to start masking from here. First point should be the point of touch where the taper touches. It has to be that way. So if taper is touching here, it has to start from here. The mask has to start from here. Then I'm going to just bring this in like this. I'm going to draw this mask, and it's done. It doesn't have to be perfect at all. The thing that you have to remember is that you cannot always have perfection in everything. Okay? So, this one looks much better. And it's okay if it grows like this, okay? That's completely fine. So the thing that you have to remember is that in the next lecture, we are going to create effects, okay? In a way that will make this look plastic. Well, it expands, and so that's completely fine with whatever we are trying to create, right? And so I think I'm going to reduce the brush size because I don't want these cuts to be there. Okay. See? Now, the next thing that we are going to do is we are going to add in puppet pins. Okay? So I'm going to select the puppet pins. Then I'm going to go at this marker. I'm going to go to efec and Control. Then I'm going to get rid of this. Then I'm going to drop one, two, three, and I think this point is going to be the fourth one. This is completely intuitive. Then I'm going to go here, then I'm going to press Control C, Control V. Now I'm going to press U, and then I'm going to select this one. And I'm going to turn this on. So it basically starts like this. Let's increase this a bit because this is too thin, right? So I'm going to go and I'm going to unsolo this, okay, so I can see what is happening with other pins or other letters as well so that they don't like they don't have to touch each other. I'm going to bring this up like this. I'm going to bring this up, as well. I'm going to bring this up as well. So it starts And you might have to change taper as you move forward. So I'm going to get rid of this so that I can see more clearly, okay? And then I'm going to just change the taper to here, okay? Then I'm going to go back to eat, turn this on, and let's see. Okay? So it basically starts from here. It moves in, and then we have this. Okay, so what I don't like is how this pin is moving beyond this path. Okay? So let's try to keep this pin on its path. Okay? So I'm going to select this pin. Okay, I'm going to select this pin. I'm going to bring this here. Okay. Then basically grows and won't you bring this in? Why does this look like a shark? You know, I don't know if you can see this or not, but this looks like an evil shark smiling. Anyways. Won't to bring this down. Yes. Okay, so let's look at the animation without the sing. Okay, this one looks much better, although you might find flaws in E. But there is no flaw in E. You know why? Because, well, flaw wall doesn't have E in it. Anyways, I'm going to increase the because this looks like it doesn't have eaten for days. I'm going to change the brush size. Okay. Like, you have to be mindful with all the settings that you have to do. So make sure that everything looks consistent, but they are not at all consistent. But it looks as if it's consistent, right? And I think I'm going to bring this like this pin bit up this one as well. Okay? So it goes. Yes. And then I'm going to bring these keyframes. Bit like this. Okay? Now, this is the final letter, and let's start our final walk of easing. So I'm going to select all of them, keyframe assistant, Easy Ease, press Shift F three. But let's do that one by one, okay? We don't have to overwhelm ourselves ourselves. So I'm going to select this. Now, let's say that whenever you move keyframes, you have these two instances of one keyframe, right? So this is basically outgoing, this is incoming velocity. Okay? What is happening here is that if your keyframe is resting at zero pixels per second, as you can see here, but this is the ending velocity of this keyframe, right? But the starting velocity of the keyframe is 0.31 pixels per second. It doesn't make any sense, right? Be starting point and ending point should be at like, for example, if the keyframe ends here, it should basically start there, right? And so they basically get separated here and we don't want that, right? And that might accidentally happen. If you don't want that, double click on this and we have this dialogue box open up. This is keyframe velocity. Okay? So if you basically click on continuous, you will have lock outgoing to incoming. So this is outgoing, this is incoming and this locks them, you don't have this, right? So if you click on this, you won't have that problem. Well, it's a minor problem. Then I'm going to do this. Right? I'm not going to look at the animation now, and that is the thing that you have to remember, okay? Like, you don't have to look at animation while you are walking. Okay. By the way, this button is basically fit all graph to you. So if your graph is like, Oh, my God, it's too tiny, how do I zoom it? All we have to do is just Taha. Okay, so I'm going to select this. I'm not going to do that continuous thing. I just wanted to tell you how it works. Then I'm going to bring this like this. Okay. Then I'm going to select this. Then I'm going to go into the graph editor. Then I'm going to move this like this. Then I'm going to move this like this. Okay. So let's look at our animation, and let's see if we have any final changes. Oh, my God. The E looks so better, so much good. I like it. Okay. So even if you see issues here, there are no issues. And the reason why I'm telling that is because this is animation. You don't have to make things perfect. Just make sure that you enjoy the process and if it looks good to you while it is good. And as you move forward, you will understand how to make your craft better. Okay? So for now, this is good for me. This is good enough. Okay? It doesn't have to be perfect. We are not striving for perfection. Okay? We are striving for good enough because we are good enough. 13. Chap 8A : "That" Look, Plastic & shadow: So in this lecture, we are going to create that look. But before we move any further, what I want is I'm going to adjust a few of the settings, okay? I think I'm going to just readjust the timing of this. And so I'm going to select all this, and then I'm going to press you, okay? And I'm going to select all these starting keyframes, okay? But as you can see, some of the keyframes are displaced, okay? So I'm going to bring it back, okay? So I'm going to select all this and then I'm going to just bring it here. And then I think this one looks much better. I don't know why that timing problem happened. And now I'm going to trim this from here, I guess. I'm going to bring this here. Okay. I basically selected all of them, and then this cursor activates at the end of the layer, and so I basically trimmed it, let's look at it. So I'm going to press zero. Okay? Now, this one looks much better, okay? I'm going to create a new composition, okay? So I'm going to call this Okay, so pay attention. So first of all, I'm going to call this main text Windows score PC. Okay? And then it's going to be landscape, 1920 by 1080, and it's going to be 30 frames per second. Keep everything as it is. Keep it at 10 seconds, okay? Copy these settings. I haven't changed a thing on the other parts. Okay? So I'm going to just hit on Okay. Now we have the composition, okay? That I'm going to do is I'm going to move all of this into PC. Now I'm going to also rename this. I'm going to call this text under scope PC. Okay? I'm going to bring this text and discoePC into the main composition. Okay? And these are the markers that are set in the composition. Okay? So if you see that, it's this, okay? So I'm going to get rid of that. I don't need them. So I'm going to just hold control and then get rid of them. Then I'm going to change the size of this so that it fits, and let's see how it looks. I think I'm going to reduce the size. Let's see. Okay. The only thing that you have to remember while reducing the size is that you have to see that not anything is getting trimmed off the screen. Okay? So that's the only concern that you should have. The next thing that we are going to do is we are going to start applying the effects, okay? So the first effect that I'm going to apply here is called CC plastic, okay? And to apply the effect, all you have to do is go to effects and presets and you wait. Then I'm going to search for plastic. Okay? Then I'm going to just drop it here. Okay? And then I'm going to go back to align. Okay? Now, what is CC plastic? Okay. So let's see, first of all, okay? So you can see the difference, right? See? It's visible, but it's not something that we want. So it's set default settings, okay? So CC plastic allows us to simulate bump late plastic like surface on our layer using the lighting and surface textures. Okay? It gives this fake three D material effect two or two D layer. So it's based on highlights and shadows that is created from a bump map, okay? Now, here we have three categories, surface bump. Light and shading, okay? So the surface bump, this section controls the bump mapping, which simulates surface texture based on a gray scale layer. Okay? Don't worry, don't get confused. I'm going to explain everything. Okay, then we have light. So light controls the direction, intensity, and type of light that hits the bump mapped surface, okay? And finally, we have shading. Shading controls how the surface react to the light. Okay? So it basically is like the material options that you have in the three D softwares, okay? And so go into them. Okay? So first of all, we have bump layer. Okay. I'm going to select text underscore PC, we don't have any other layer here. But if you have many layers, make sure that the layer that you apply on is selected. Then we have property. So in property, we have lightness, luminance, Alpha, blue, green and red. Okay, so these are basically channels of the bump layer. Okay. So here, in the property, I'm going to change the property of luminance to Alpha. So Alpha uses the transparency for depth and luminance. Uses brightness levels, okay? Although you might not be able to see that right now, but once we start tweaking, you will be able to see that. Then we have softness. Softness controls how blurred Okay. How blurred or sharp the bump edges are. Higher equals smoother or softer texture, okay? So if I change this, okay, you can see the difference, right? See? So I'm going to bring this to around 60. Then we have height. So height controls how deep or raised bumps are, okay? Higher values exaggerate the three D look, okay? I'm going to change this to the highest, which is 100 here. Then we have cut men and cut max. These two property defines threshold for which grayscale values are considered in bump mapping. So this property removes lower grayscale values. So it basically flattens the shadow. Okay? So if I change this, okay, it will flatten the shadow, okay? Then we have cut max. So cut max basically flattens the highlight. Okay? So if I change this, it basically flattens the highlight, okay? See? Okay. So I'm going to change this 200. Okay. Then we have light. I already said light controls the direction, intensity, and type of light. Okay. So I'm going to open this up, and let's understand all of them. So first of all, we can choose which light we want, okay? So you have effect light, and then we have Alights, okay? So effect light uses the built in light inside the effect, okay? And Alight basically uses actual three D lights from your composition if you have any, okay? So you have to, like, create a light from here, this. Okay. You have to create this light, and it basically uses that light, but we don't want that. We want to use inbuilt effect light, so we don't have to go too advanced and our computer will be slowed down with the native Alight. Then we have light color. So this is self explanatory. It is a color of light. And before that, we have light intensity, okay? So it basically changes the intensity of light, okay? And I think I'm going to change this. I'm going to change this to something around here. It might look too much, but don't worry. We are going to fix that. So we have light type. So this determines how the light behaves. Point light radiates from a point like a bulb. Then we have distant light. Okay? So distant light is parallel rays like sunlight, great for uniform lighting and you want to go with distant light here. I'm going to reduce this to something around here. Then we have light direction. Okay? So this determines from which point the light is directed on our object, that is our text here. Okay? So I'm going to change this because these highlights are not looking that nice, but as you can see, effect is starting to be visible. So I'm going to change this just a little bit. Around 18 70, let's go with 17. Then we have ambient light color. Ambient light color is a general fill light that softens the shadows and adds base light, if I change this, so many things change here, but we don't want that, right? You can see Okay. So I'm going to keep it at white. Okay? So we are done with two sections, so I'm going to just minimize them for now. Then what we have is shading. So shading basically controls how the surface reacts to the light, okay? So basically, like I said, it is material properties of, like, three D softwares that is used to mimic, like, real three D. So first of all, we have ambience. Ambient is brightness of the overall field lights. Higher equals less shadow contrast. So I'm going to change this because since the color of our original layer is quite different. So I'm going to reduce this. Okay, so I'm going to bring this around. Let's go with 60. This one looks much better. Then we have diffuse. So diffuse affects how matt the object looks, okay? So it basically diffuses the light around the material. So I'm going to increase this. Okay. Then we have dust. Dust basically adds a dusty, foggy layer over our material like it is usually used for aging or that grunge. Okay. So I'm going to just increase it, Okay, just to show you and well, it looks bad. Okay? So I'm going to bring it down to Let's go with zero. Okay? So with zero, it looks nice because I don't want any grunge over this. Then we have speculars. So specular controls highlight intensity. High values make the object appear glossier or seiner. Okay? So I'm going to so we have it at 100, okay? So if I reduce it, you can see the difference. So I think this might be too much. So I'm going to just reduce it around 50. Let's go with 45. Okay. Then we have roughness. Roughness affects how scattered the specular highlight is so low value equals sharp highlight like polished plastic, and high value equals soft highlights. Okay? So let's increase this and see how it looks. Okay? See? So this might be too much. I'm going to change this to So whenever you are changing, pay attention here, not here, okay? I'm looking here. So make sure that you make changes based on how this looks, not on the values. I don't pay attention here, I pay attention here. Okay, so make sure that you do that, right? And the final thing that we have in CC plastic is something called metal. So metal basically controls how metallic the surface looks. So higher makes it more reflective and chrome like it basically gives it chrome like vibe. Okay? So it makes it more reflective. But if I reduce this, okay, it won't be as reflective. Okay? So I'm going to keep it at 100. Or let's change it to something You know, let's change it to zero for now. Okay? So let's see the difference. I'm going to change this 200, I'm going to change this to zero. So I'm going to keep this at 50, okay, right? So we are done with applying the effect, okay? Now, the thing that I don't like right now is that I want to add more highlights to this part, okay on this side. We are going to add specific highlights later. But for now, what I'm going to do is to add highlights on this side, I'm going to use something called layer styles, okay? So I'm going to right click Layer Styles and inner shadow. Choose inner shadow. These are all the layer styles, by the way, okay? And I'm going to explain it really quickly. So layer styles are effects you can apply to any layer. Like text layer, shape layer, or even image layer. Okay? So it basically gives this Photoshop like visual treatment. So it is borrowed from Photoshop. It makes things look visually stunning, and this is non destructive, okay? And customizable. You can add shadows, bawels, strokes, glows, gradients, and so much more, okay? So this is really, really handy tool, okay? And then we have applied an effect called layer styles called inner shadow. Okay? So I'm going to open this up. I'm going to bring this up so that you can see more properly. Right? So first of all, what we have is blend mode. So blend mode is these are all the blending options. Okay? So this controls how this shadow inner shadow that we have created blends with the layer. Then we have color. So I'm going to change this color to something like red. Okay. Then we have opacity. So opacity is basically the opacity. Then we use global light. So global light is basically using the global lights that you have set up. Before. Okay? So I'm going to keep it off. I don't want to use global light. Then I don't like the angle that we are at right now. Okay? So I'm going to change this. And whenever you are changing, make sure that you pay attention on the composition and not the values. Okay? So we have something like this, but it is not blending well, and it's not blending well because I have selected a blend mode that is not really great. And I'm going to explain blending modes later. But I'm going to change this to something like ten. Okay? See how better it looks or screen. Okay. So I think I'm going to go with screen because it's subtle. Then we have distance. So distance is basically the distance of the shadow, okay? So I'm going to change this to extreme so that you can see the distance, okay? So I'm going to bring it at pi. Let's change it to something like this. Okay. Then we have choke. So I'm going to expand this and then I'm going to show you what choke is. Okay? This parameter chokes or shrinks the shadow, making it tighter around the edges of the layer. Okay? So a higher choke value makes the shadow appear harder, okay? And lower choke value makes it softer. I'm going to keep it at zero. Then we have size, okay? So the size is the spread. Okay? So it basically spreads, C, okay? C? I'm going to change this to ten. I changed that for example, only. Okay? And the final property that we have is noise. So this adds that little noisy texture here as you can see, okay? But I don't want that, okay? 14. Chap 8B : Adjustment Layers & also "That" look: So now we have created the text that we want, the effect that we want, but I want to make it more chunkier. So this is not as chunkier as I want it to be. Now, we are going to create an adjustment layer. So what is an adjustment layer? First of all, let me create an adjustment layer and then I'm going to explain what is an adjustment layer. So I'm going to right click New Adjustment layer, or you could press Control Y. So this is adjustment layer ten. I'm going to just call this chunky effect. This icon, this basically means that this layer is an adjustment layer. If you create a like this, a shape layer, and then you click on this, not this, this, it becomes an adjustment layer. Let me tell you what is an adjustment layer. So an adjustment layer is a transparent layer. So as I applied this, it became transparent, right? So an adjustment layer is a transparent layer that lets you apply effects to all the layers beneath it in the timeline without affecting the layers directly. I'm going to get rid of this, right? And then I'm going to go and select this adjustment layer. The first effect that I'm going to apply is called gaussian blur. Okay? Not Gaussian blur. It's called Gaussian blur. Okay. So I'm going to apply this, not this, this. So I'm going to apply the gaussian blur effect. Okay? So what we are trying to make here. So we are basically trying to expand this layer or this composition to further. Like, I want to just make it chunkier if it makes sense. We have three values here. First, blurriness, this is the amount of blur, okay? See? Then we have blur dimension. So you can here decide in which direction you want blur. To go, for example, if you want it to go in the horizontal direction or you want it to go in the vertical direction or you can select both, keep it at both. Then finally, we have repeat edge pixels. This prevents dark edges from appearing during blur by repeating the pixels near the edge of the layer. If I check this, you won't be able to see that because this is an adjustment layer. So Adjustment layer is the size of the composition. So nothing goes out of this adjustment layer. But if I change, for example, if I reduce the size of it, you might be able to see this. Okay? So if I uncheck this, S. Okay. See, see the difference. Okay. I'm going to just press controls at multiple times. I'm going to keep it at unchecked. Then I'm going to change this to something around 12 Okay. Once this effect is applied, the next effect that we want is called simple choker. Simple choker shrinks or expands the edges, okay, Alpha edges. So I'm going to go here and search for choker. We have two choker. One of them is simple choker and the other one is mat choker. So I'm going to just bring this here. So here, the first one is view. Here we have final output and mat. Okay? Then we have choke mat. So the negative value, okay, it basically expands. Okay? See, look, so it is basically expanding. It is making it chunkier than it was, right? And the positive value, it basically shrinks. Okay? That's why it's called choker. It basically chokes, right? Then I'm going to change this to I think minus three is five. Something around this. You have to pay attention here, not here. See the difference. Huge difference. Now, once that is done, I'm going to apply another effect called Mt choker. Mat choker is a more advanced age refinement tool. It basically works in iteration and gives finer control over the edge softness. As you can see here, we have bit like this little pixelated, if I get rid of that, although it's still there, but I think I want to make this more finer. First of all, we have geometric softness. Geometric softness softens the edges like feathers, okay? So I'm going to keep it at zero. So this choke is basically this choke, okay? So it does the same thing. So if I go into minus, it will expand. Okay. I will go around here -114. Okay. The effect is getting visible. Then we have gray level softness, okay? So this basically softens the mat based on gray scale levels, useful for anteilized edges, okay? So it basically softens the edges if it gets pixelated, okay? So I'm going to turn this to ten. Okay. Then we have geometric softness, too. The second pass softness also zero. So I'm going to keep it at zero. Okay, I'm going to keep the choke two at zero as well. But if you want to see, you can make changes to it, but it won't be affected much. I'm going to keep everything as it is. I hope I made things clear here. This was a bit complicated. I think these are the effects that are like, you know, once you learn it, you don't have to learn deeply. For example, these two effects are used to expand and shrink objects. Okay? That's the only thing that you have to remember, right? We made it chunkier, and now what we need is we need a highlight, okay? So how do we create a highlight? So I'm going to create another adjustment layer by pressing Control Alt Y, or you could just go here and adjustment layer. So I'm going to press Control Alt Y. Okay? I'm going to call this highlight. And I think I'm going to bring it below. Also, this adjustment layer will also affect this adjustment layer, okay? So you have to be careful in the order of the adjustment layers, okay? I did this because I know and I have practiced this, okay? But you might, for example, if you might do this, and you might say, Oh, it's not working. Well, it's not working because it's not in the same order. So you have to pay attention to the order of this as well. Okay? So the first effect that I'm going to apply here is called fill where is fill. Okay? So I'm going to apply fill. So filled overrides the color of your layer, replacing it with a solid color. And I'm going to change this to black. Then I'm going to add an effect called Babel Alpha. Okay. We have two effect bevel edges and Bewl Alpha. I'm going to apply Bevil Alpha. So this basically adds a three D beveled edge look based on Alpha channel. So I don't know if you can see this, but you can see the highlight already. Alpha is basically the transparency of layer. Okay? So first of all, we have edge thickness. Controls how thick the bevel edges. So I think I'm going to change this to four. Four looks nice. Right? Then we have light angle. So this controls the direction from which the virtual light is coming, okay? So if I change this, okay? So I'm going to make around here. Okay. Then we have light colors. So this is self explanatory. This is the color of the light. If I change this, well, we might have a different result. But let's keep it at white for now. We can make changes to it in the later stages. Then we have light intensity. This controls the brightness. You can see the effect taking place, right? So now we have our highlight ready. But you might be thinking, Well, why can't I see it? Because this isn't something that we want. So what is happening here is that the fill effect is affecting this, okay? So if I get rid of this, we have this. But we also want highlight. Only on these edges, okay? So how do we do that? How do we solve this problem? And so there is an easier way to solve this problem, which is through the blending modes, okay? So I'm going to change the blending mode to screen. Let's go with AD. Add is too much. So what is a blending mode? So blending modes control one layer, so how this layer interacts with this layer. Okay? If I change this to multiply, we will have a different result. If I change this to add, we will have a different result. Let me quickly explain what are these blending modes, okay? So first of all, this mode are basically called darkened modes. This makes things darker. Okay. Then we have lighten modes. So these are all the lighten modes. Okay? They make things brighter, like we already saw, so multiply made it darker. This made it brighter. Okay? Then we have contrast mode. So it basically adds this punch to it. So if I change overlay, you can see how it looks punchie it's going to punch you in the face, right? Okay, so it adds that you know, like over the top effect. Okay? So you can try different things then we have inversion or difference modes. These are the difference modes, these are basically used for special effects. It won't be visible here, but if I was using a video, you will be able to see how they behave. And then we have color component. Okay? So there's hue, saturation, color, and luminosity. Okay? So this basically affects specific image qualities. Okay. So if I change this to color, well, it changes. So you have to play around to see how it works. I'm not going to go much deeper into the blending mode, but you have to play around, okay? I learned this on my own. This is all you have to remember is blend mode is used to make things visually more appealing, okay? And normally you would be using only this from this to this. I haven't used this, but these are all used for mats. Okay. And so I'm going to change this to screen. If you want, you can also go with Add, but I think add is too much. So let's look at our animation. Okay? Now you can see the difference. Now it's completely changed. We went from this to this. Huge difference, right? And we did it 12, three, four, five and six. We did it with just six effects. So in this chapter, we created this really cool effect. And also, let's say that you want to apply this effect to, for example, let's say CC plastic. You want to apply this effect to another of your project. So you don't have to go through the same trial and error of changing values every time. All you have to do is just go here animation. Make sure that the effect is selected and save animation preset and then just rename this to whatever it is that you want. Right? And then hit save, and it will be saved. Okay? So next time, you can just go here and then search for your effect. Or if you have saved it somewhere else, all you have to do is just go to apply animation presets, okay? And then what you have to do is you have to search for the effect wherever you have saved, okay? And then all you have to do is just click on it, then open, and then it will be applied, right? That's how simple it is. Okay? You can save this highlight as well if you want to apply highlight to your next project. All you have to do is just an adjustment layer and then apply this effect and then just change the blending mode and it will be applied. Same thing goes for this if you want to make things chunkier. Okay? You can do that here. You can make changes as time passes. Okay? But you get the point. 15. Chap 9A: Adding Text & boxes: Hi. So in this lecture, I'm going to simplify text animators. The text animators could be really tough to learn because people teach how to create text animations, but they don't teach what are the fundamentals of that, okay? But before that, I'm going to rename this composition, ok? So I'm going to press Control, okay? And I'm going to call this text effect, underscore PC, okay? Then I'm going to hit Okay, right? Now, the next thing that I'm going to do is I'm going to create a new composition, okay? And then I'm going to call this main text underscore PC and keep everything as it is, okay? I haven't changed a thing here. I'm going to hit on, okay, right? Now, I'm going to bring this text effect underscore PC into this composition. So I'm going to just drag this and drop it. Okay? Now I'm going to move forward and see how it looks. Now, I think the text effect is really huge at this point. Okay? So I think I want to tame it down a little bit and I want to make it a little bit smaller. Okay. But before that, I'm going to create a new solid. Okay? So solid is basically a background. Then I'm going to right click New solid, right? Or Control Y, and then we have the solid. I'm going to keep this color at blue for now, okay? Right? And so this color is the color that I chose last time. Okay? So it basically remembers so I'm going to import color palette to import anything in after effects, all you have to do is double click here, right? Or you could go to File, Import File, right? Or the shortcut for that is Control I. Okay. And then I'm going to just quickly import this color. Okay? Now, I'm going to just press Control Shift Y. Okay. So whenever you want to change the color of the already existing solid, all you have to do is press Control Shift Y or you go here, and then you find something called solid settings, okay? So I'm going to press Control Shift Y, ok. And then I'm going to just use this color picker, and then I'm going to just, that was the same color, but I just wanted to show you, don't worry about importing. We're going to work on that in the next chapter. So I'm going to just drop that there, right? Now we have this. It looks decent at the time, but we are going to make it much better. So first of all, I'm going to lock this so I don't accidentally select this. Now I'm going to create a new text. I'm going to just select this horizontal type tool, and then I'm going to type in made with. Okay. Now, I'm going to select everything by pressing Control A, and then I'm going to change the color to white. Okay. And then I'm going to change the font to something like this. Okay. Then I'm going to change this fonts to something around here. Then I'm going to go to align panel and then I'm going to align it to the center. Then I'm going to recenter the anchor point. The shortcut to reenter the anchor point is controlled home, and then I'm going to bring it below like this, right? Now I'm going to just lock this layer so that I don't accidentally move it. Okay, now think this compared to this text, this text is much bigger. You can definitely change the size of it from here, okay? But look at the problem that you will face, okay? So that's not a great idea. The good idea is to go into the composition and you change the scale here, okay? So I'm going to go up to let's see. And by the way, if you want these values in the decimal points, okay, all you have to do is hit control. Okay? So when you hit control, and then you change, you will have more control over it, okay? So I think I'm going to go with something this, okay, pay attention here whenever you are changing values, not here. Okay. The results, this is the effect. Okay. All you have to do is pay attention here and this will take care of itself. Okay? Now I'm going to go back into the main composition. To go back, all you have to do is press tab. So when you click on tab, this opens up. This dialogue box is basically a flow chart, okay? And then I'm going to go click on this. So if you can basically travel here. So this is text underscore PC. Okay? This is the comp we created, then we have text effect PC. Okay? And then we have main text underscore PC. Okay? So I'm going to click on main text do score PC, and then we are in our composion. Now look how decent it looks compared to what it was. Now, I want to create few rectangles, okay? So I'm going to select this. Okay. Then I'm going to click on that and then I'm going to select rounded rectangle. And then I'm going to get rid of the fill. And I'm going to change the stroke to one. Okay. Now I'm going to just track this. And very carefully, I'm going to create a rectangle here. Okay. So I'm going to go into so whenever you create any shape, okay, you have this option. So this is rectangle path. This is stroke. Basically, this is stroke, and this is field. Now, fill is invisible here because we disabled it here, okay? Now, I'm going to go into this, and I think I'm going to change the values here, okay? So something around here. Okay. So I think I'm going to reduce this one. I'm going to change this around. Let's go with 70, and I don't want any points, so I'm going to just get rid of this. Okay. So we now have our rectangle, okay? So first, we have size. Okay. So this one is size, basically the scale of the rectangle, but this is different than this one, okay? This is the size and scale of the shape layer. And these are the size and shape of the entire layer. And this is the position. The position is zero because it basically counts the place from where we have created the layer as the center. But if I change this, we have, and this is the anchor point of this. This is basically the anchor point of this. Okay? It's not the anchor point of the entire layer. So I'm going to press control that. Then I'm going to zoom out, okay? And then I'm going to change the size of it because I think this is humongous. Before that, I'm going to reenter the anchor point to reenter the anchor point. All you have to do is press control all at home, and then I'm going to just make it smaller. Something around this. Okay. So these are all these supporting elements, right? It doesn't have to be the main character, okay? So it doesn't matter if it looks nice or not. It just has to make the design feel good, okay? Now I'm going to duplicate this by pressing Control D. Then I'm going to bring it here. I'm going to zoom in so I can see more clearly. Okay. Then I'm going to select both of them, press Control D, bring it below, right? Then I'm going to select this, press Control D, and then place it like this. Okay? The next thing that we are going to do is we are going to add some text into this. Okay? Now, I'm going to just select this. Okay. Then I'm going to just duplicate this, bring it here, and then I'm going to lock that. I'm going to zoom in. Let's go with faith for now. So I'm going to reduce this to around 25 or 26. Let's say you want this text in the center of the rectangle. All you have to do is hit Control. Control activates the snapping. It's this C. If you click on this, it will be activated. Then I'm going to press Control D, and then I'm going to type in something like this, but we already have that word, okay? So I think let's go with nature. And then I'm going to recenter the anchor point. Okay. Now I'm going to duplicate both of them. Control D, bring it below, hit Control, and it snaps. Okay. Then I'm going to call this water. Then I'm going to recenter the anchor point. Then I'm going to select the nature to and then I'm going to let's see design. These are just some random words. Then I'm going to line it. Then I'm going to press Control D. Then I'm going to bring it here. Then I'm going to make this hope. Then I'm going to recenter the anchor point and then I'm going to snap it to the center. Okay? Then I'm going to just and see how beautiful it looks. Okay. Although it's not done, it looks nice, okay? And I'm going to unlock this and I'm going to bring it just a little bit down like this. You can change the size of this, okay, at later stages. So don't worry about that fun 16. Chap 9B: Notorious Text Animator: We are going to animate each and every text on this, okay? And we are going to we are basically going to learn the text animators. Okay? So I already have the text here. It is Lou. So let's understand text animators, okay? So the text animators are not as intuitive as you would think, okay? Everyone is afraid of text animators. I haven't seen many people using text animators. When people who are extremely professional, I have seen them using the transform animations. Create text animators. That is a waste of time and a waste of potential. Okay? Because text animators is not that tough. Yes, it's not intuitive, but it's not that difficult once you understand this. Okay? And so in this lecture, we are going to understand that. Okay? So first of all, we open up this text. You have three options. The first one is source text. Okay? So source text basically stores the text, okay? So if I click on this, okay, then I go forward. Then I change something like this, okay? I so these keyframes are called hold keyframes. It basically holds the value of the text, okay? And there is no linear keyframes here, so it won't change it between, but it will change on this frame. That's why it's called hold keyframe. It basically holds it in the place. Then I'm going to get rid of this. Then we have path options. Let's say that I'm going to create a mask, like this. Now, we have a path. Okay? So masks are basically used to give paths. So let's say that if you want to wrap your text around some you can use this option. Then I'm going to select mask one and then we have it here. Okay? Then when you do that, you have many options that open up first one is reverse path, you can basically reverse the path if you want. Perpendicular to the path is self explanatory, but it basically means that it will stay perpendicular to the mask. Then force alignment will see. You don't want that. Then we have for margin. Okay, and last margin. Okay? So first margin basically moves the first margin. Last margin moves the last margin, okay? It's not that difficult. Okay? So I'm going to get rid of this. I'm going to get rid of the masks. Then we have more options. Okay? These are not that important for now, okay? So let's understand text animator. Okay. So to add text animator, what you need is you need text animator, and this is text animator, when you click on this, you have all these properties that you can animate, okay? So let's go with some of the simplest, okay? So for example, let's go with position because we are going to animate the position in the main composition, okay? So I'm going to go with position for now. Okay. So when you add position, see what happens, okay? I'm going to just toggle this down, okay? So first of all, we have animator one, okay? And this is text animator, okay? And in text animator, we have two things. First one is the property that we selected from this portion, and the ther thing is the range selector. Okay? Now, first of all, I'm going to quickly create the animation. Okay. And then I'm going to explain it to you in detail, so that you understand. I'm going to just go into range selector, don't worry. I'm going to explain each and everything. I'm just going to quickly set up the key frames, I'm going to just bring it out like this. No out. I'm going to bring it here. Okay. Then I'm going to go into advanced then I'm going to go with amp up. Okay. And here I'm going to keep it at characters, and then I'm going to change this to -100. I'm going to set up a keyframe. Then I'm going to press Shift page down, one, two, three, four, five, and then we are at 15 frames, then I'm going to just Okay. So we have animation like this. Okay? Let me drag this out of the screen for now so that you don't think that we are not accomplishing Okay? So we have an animation like this. Okay. Really quickly, right? Now, let's understand text animator. Okay, which is considered to be one of the toughest concept for some people, but it's not that tough. So imagine your text is a line of people in the stadium, right? Okay? So if you just use regular transform tools, like positions, scale, rotation, okay? The whole crowd. So consider them as individual people, right? And so if you animate this, whole crowd will move on its own with it, right? And we don't want that. Okay? What we want is we want to create a wave of this. For example, I want L to come first, then I want O, then then E. Okay, that is what I want to create. Doing that with the transform properties would be really, really tough. And by tough, what I mean is that we would have to bring each letter on its own layer, and then we would have to animate. Imagine the time it would waste. That would be waste of time and energy, and we don't want that. Okay? And so that won't work, right? Because these properties are very limited, okay? And it's chaotic. So this text animator, if these letters are people, we want them to wave to the camera one by one, okay? And that is our goal right now, okay? Now the text animator is a director, okay? And they walk down the line, tapping people one by one to stand up or wave. Now, this basically creates a smooth ripple, as you can see here, okay? Now, text animators do not actually animate, okay? Text animators do not actually animate. They store the states, okay? Now, before I make it more complex, okay, let's simplify it. So when you add a text animator, you are telling after effects what the state of the text should be, okay? So now, I'm going to explain. Okay? So, so I'm going to get rid of the keyframe, okay? Now, so that I can explain it to you more clearly, okay? So this is basically a state, okay? I'm going to bring this up. Okay. So this is basically state one. Okay? And this is our final state. So what text animator does is that text animator stores both the values and then it allows us to animate. Okay? So basically, when you add a text animator, you are telling after effects what the final state of the text should be. Okay? So to simplify things even further, what I'm going to do is I'm going to get rid of this animator, okay? And let's simplify this. Okay? So for example, let's say that you want to animate the scale. Normally, you would just animate this, but it won't always work. What I want is I want each letter to come out scale up one by one, okay? So what I'm going to do is I'm going to just select this, go to animate, and then add scale, okay? Then this is the state. So this 100 is the value. This scale value is the value of the text animator and not the layer. Okay? So if I make change to this, for example, let's go with 50 for now, okay? So you can see that the text strings to 50, right? Now, in selector is the director. Like I said, rain selector is what allows us to bring the text to the final state. Okay? So this is state one. Now, I want to animate and I want to make it and take it to the next state, okay? So what I'm going to do is I'm going to simply change this 200, okay? So I'm going to go back to zero. I'm going to drop a keyframe here. Okay. Then I'm going to press Shift page down, and then I'm going to change this to 100. Okay? And as you can see, we have our animation. Now you get the point, right? So you have to remember two things. First one is the animator, okay? The animator sets what the new style, motion or effect is going to be, right? Okay? And the range selector controls the when, who gets affected. Okay? And this combination of this combination, this combination creates a wave that we want. I'm going to quickly get rid of this. Now I'm going to explain to you each and everything from the beginning. I just wanted to give you the basic idea of states, okay, and so that you don't get confused right now because I'm going to speed up this, okay? So I'm going to just get rid of this. I'm going to delete the animator, okay? Now I'm going to add position, okay? Okay. So first of all, let's understand range selector, okay? So when you open up range selector, okay? So this is basically the control panel for the wave that we want to create, right? Okay? So an selector determines which part of the text, okay? So you look at this, see? These two arrows, they are basically start and end, okay? This one is start. This one is end. Okay? So they are basically assigning range to our text that is going to be affected. So these two are not used much, okay? What we use is we always use offset when it comes to text animation, okay? So this is the most important property, like I said, to animate. It basically shifts the entire selection, okay? See? See? It is shifting the entire selection. Pay attention to these red lines. Okay then I'm going to change this to zero, and animating offset is the standard way to make effect travel from beginning to the end. Then we have advanced. Okay? So these options are confusing, and some of them are pretty much useless, in my opinion. But well, they are for a reason here, okay? So let's not go there. Okay? So this drop down menu give you precise control over the behavior and the quality of the animation. Okay? So first of all, we have units. So this is percentage and index. So percentage is the default and the most common way. So this is basically measurement unit, okay? So we are basically measuring in the unit. Okay, if you change this to index, well, it changes. Okay? So index basically it basically measures based on number of characters or words. You should keep it at percentage. Then we have based on. So this one is important. So based on characters, excluding spaces, words and lines, okay? So if I want to animate the entire if I want to animate, let's say you have some entire paragraph and you want each word to come out on its own, okay? And then you can change it based on determines the building block of your animation. Okay? For example, character. So character affects the text, one letter at a time. Okay, characters excluding spaces. Well, it's same as above, but it basically ignores the spaces in between. Then we have words. It basically affects one word at a time, okay? And then we have lines. So it affects one line at a time, especially if you are working with paragraph, okay? Then we have mode. Okay. So mode is how the animators effect is combined with the text, okay? So add is default and works for almost all situations. Okay? So this, okay, mode units. And I'm going to tell you a few of the settings that you have to keep it at default. You don't have to worry about them at all, okay? And then we have amount. Well, keep it at 100 because this is okay. Then we have shape. This one is crucial, okay? So the shape is a critical setting that defines the edge of your animation's influence, okay? So this is basically the transition, okay? How your text transition from one state to the another is defined using the shape. Okay? This is not really a shape. This is basically a shape of transition. So the first one is square so it's basically on or off transition, it basically snaps. Then we have ramp up. Amp up creates a smooth, gradual transition as the effect moves up, okay? So if you want anything to move up, you should choose ramp up. If you want anything to move down, you should choose ramp down. Amp down basically creates a smooth, gradual transition as the effect moves out. Then we have triangle. So triangle ramps the effect up to a peak in the middle of the range and then ramps it down. It basically goes up and down. And don't worry, I'm going to explain each one. Then we have round which creates even softer or more organic transitions, okay, than we have smooth. So smooth basically creates even smoother and more organic transitions between the states, okay, than we have the smoothness, okay? So smoothness as the character leaves the peak of the animation. This is the same peak as the graph editor. Don't get confused about that. There is no graph here. Okay, but I just wanted to give this picture of this. Okay? Then we have es high and Es low, okay? So these two are basically easing, okay? And the ribbon tolds the smoothness as the characters enter the animation, okay? Then randomize order. So when turned on, it ignores the natural selection, okay? And it will randomize things. Okay? Now, let's understand this really, really quickly. So I'm going to get rid of this and I'm going to add in position. Okay. Then I'm going to rename this. You can also rename the animator, so I'm going to recall this position in. Okay? Now, I'm going to define the state first. So this is the first thing that you do. First, you define the state, so I'm going to bring this here. Okay? Then you set up the keyframe. You don't touch this two, you may mess with this two. But before you mess with that, you have to change advanced options. Okay? So you go into advanced Okay. And you don't worry about anything else except the shape. Shape is basically the transition, okay? So I'm going to change this to ramp up for now. And now I'm going to change the offset to -100. So I want this, which is the end range, okay? I want this to be here. Okay? So I'm going to change this to -100. And then I'm going to press Shift pate down. Okay, I'm going to go at 15 frames, and then I'm going to change this 200. Okay? So we have an animation like this. Really simple, really sweet, nothing complicated, right? Now, let's see the shape, aka transition. Okay? This is basically a transition, okay? So I'm going to change this to square and see how messed up it gets, okay? So square is where it snaps from one thing to another, okay? This is one thing, this is another, and it gets back. And I'm going to change this, and ramp up really walks here. Okay? And if I change this to ramp down, we have different results, okay? So it basically comes down, okay? Then I'm going to change it to triangle. Okay? So it basically comes down and goes back. Then I'm going to change this to round. Okay. Then I'm going to change this to smooth. Okay. So the reason why they are acting like this is because of the offset. So offset is basically traveling from -100 200. And the reason why they are going back is because if I could, okay? So they go back because here, the position somewhere in between goes to zero, okay? And if I had to explain it through the graph, okay? I'm going to just right click if I'm assistant, ess, okay? So this is what is happening, ok? So the text is getting animated here. So here is the one cycle where it reaches the zero. It's not zero, but you get the point, okay? Then it goes back up. And that's why it's behaving weirdly, okay? And it's not behaving weirdly in ramp up, okay? And I'm going to change this to back. Okay? So we have an animation like this. Really sweet. Okay? Now I'm going to change this. So this is Es high and Es low, okay? So here, the main properties are one, two, three, and four. These are the only properties that you have to play around, okay? So I'm going to change with words, okay, just to see, see? Now I'm going to go with characters. See? Okay. Now, what I'm going to do is I'm going to just change the ease high to see how it looks, okay? Okay. Now you might be thinking, well, this text is basically coming from here to here. What's the use of it, right? And that's a valid question. And here is where the great thing comes in, and that great thing is you can also add multiple properties in the same animator. Okay? If you use this part, it will create a different animator. But if you click on this, it will you will have two things. First one is this. These are basically the selectors range wigly expression, okay? Then we have properties. Okay? So I'm going to add in opacity. Okay. And as you can see, we now have another property as well. Okay, so I'm going to change this to zero. Okay. And now let's look at the animation. See how beautiful that looks, how easy it is. I animated two properties with two keyframes. Okay, so that's how simple it is. Now, when you look at this, you have two things. First one is the property. So these are all the properties that you can add. And you can play around here, okay? You don't have to worry about anything. Okay? And you can play around with a lot of things. For example, if you want to add in a color, okay? So see, you can already see the difference. See? Okay. I animated three properties with just two keyframes. That's how powerful it is. 17. Chap 9C: "Out" Animation: Let's say that you want to create an animation, text animation, right? Now, doing this all the time would create lots of problems, you have to redo this continuously, right? That would be an issue. After Effects allows us to basically create presets, okay? And these presets will help us to apply this animation directly without doing anything. So what I'm going to do is I'm going to just minimize this, and then I'm going to go to animation, save animation, preset. And now I'm just going to call this posh, for my sake, and I'm going to show you. So I'm going to just call this posh and score in. And then save. Okay? Now this is basically a warning because I'm saving this in a folder that is that will not, for example, if you save in that folder, what would happen is that you can directly apply it from effects and presets. But what I like to do is I like to keep it separately, and I don't use it normally. Okay? So I save it in different folder, okay? If you do that, this warning will pop up. So I'm going to just hit Okay, and now we already have our preset. Okay? So this is basically saving the preset, okay? Now, let's say that you want to apply the preset to this. For example, let's apply the preset. I'm going to log this and I'm going to just apply this. So what you do is animation, go to animation, apply animation presets, these are all the presets that I have created, and then we are going to find something this. Okay? So pause and score in, I'm going to just apply it. Okay. And I'm going to press you. Okay. And key frames will be applied at the time indicator, okay? So we now have our animation ready. See? And you can make any change to it, okay, and it will be affected. For example, let's say that this distance I think is too much. Okay? So I'm going to open this up, then I'm going to go to position. Okay, so I'm going to find position. Okay. And I'm going to bring this up like this. Okay? So here is the primary state, okay? And I don't want that. So I'm going to just bring this up like this. Okay? See? That's simple. Okay? And that's how you do that. Now I'm going to go back to text animators. I'm going to just press you, and I'm going to just delete this. This was just for an example, okay? So I'm going to go back to text animators. I just showed you how to easily apply the presets, okay? Now, let's say that you have created this animation, right? But you also want to add something that like, for example, this is in animation. Now you also want to create an out animation. So how do you do that? Now, to create an out animation, you don't have to use this. Okay? You have to create another animator. Okay? So you cannot add. Of course, you can do that, but I suggest don't I'm going to go and add something called scale. This is just a random thing. Okay? So I'm going to add in scale, right? And then I'm going to call this SCA underscore. Out. Okay. So this is going to be our scale animation, which is going to be an out animation, okay? So it will basically start from here. So let's refer our steps. So the first thing that you change is you change the final state, okay? So state here is going to be okay, something like this. So I'm going to change this to zero. Okay? This is the final animation. This is the final state. Okay. Then you go into advanced, okay? And then before you change anything, change shape to ramp up or in this case, ramp down. Okay? And then you basically move this. For example, I'm going to go at 1 second. Okay? And then I'm going to key frame this shift pit down, one, two, three, four, five. We are at 15 frames, and then I'm going to just change this 200. Okay. Now you can make any change that you want, for example, let's change this to 50, okay? And if you want, you can also add different properties here, but this is just an example, okay So let's look at the final animation. So the text comes in and then it scales out. Okay? And the final thing that you want to do is you want to enable motion blurs on every animation that you perform, okay? So this is motion blur, okay? It basically simulates shutter duration, okay? So I'm going to just enable this here and then here, okay? Now this animation is not that great, but this was just for an example. Now you can play around with this however you want. Now, the sky is your limit, and this is really easy. 18. Chap 9D : Applying Text animation: So what I'm going to do is I'm going to go into the main composition, and I'm going to give it a different label color. Okay, so I'm going to give it, right, because it's easier to see. Okay. Now I'm going to select this, and then I'm going to apply that preset. Okay? So I'm going to apply animation preset. And I already have created another preset that I really like. It's not that different. But I'm going to show you. So I'm going to just select that and I'm going to apply it. So it's called smooth up, and I'm going to press U. Okay. The only difference here is the difference of easing, okay? These keyframes are east. Those keyframes were not east, okay? I accidentally opened up a different Okay, so I'm going to just bring it here. Okay. And I'm going to give you this preset as well, okay? So don't worry even the easing is simple, okay so let's look at this preset, okay? So it has the same thing here. The only difference is the position. Okay, the position is at hundred here, the position was at a different. For example, it's 300. You can change this 200, okay and then it will change from that. Okay? You get the point. Okay? So apart from that, look at this, nothing. I haven't changed anything except this. So this E high is -50, es low is 100. Okay. And see, these values are not set in stones and they are not intuitive. You have to play around and see what works, what doesn't work. Okay? And that's how I got this. So let's see, okay? So really simple animation, okay. And one thing that I'm going to do is I'm going to bring this, okay, text effect underscore PC on top of everything, right? We are going to work on the timing, but before that, I'm going to apply this animation preset to each and every text. So you don't have to go every time. All you have to do is recent animation preset, and then or there is this shortcut as well, which is Control Alt Shift F. I'm just going to apply this. Okay? And we have animation like this, okay? But they are really quick, and I'm going to bring them in like this. Okay. Also this one. And I'm going to zoom in, and I'm going to expand this, okay? Now, I'm just going to offset them randomly. Okay? So the animation is too quick and it's too quick because of the easing, okay? And the other reason why I don't like this is because it basically comes out of the box, and I don't want that, okay? So how do we solve that? So to solve this issue, I'm going to bring current time indicator at the end, and then I'm just going to start by masking, okay? So first of all, let's go with faith. I'm going to select rectangle tool, draw a mask. Okay, select this, draw a mask and make sure that the mask aligns with the rectangle. So when you do this, the mask will act as a mask and this text will appear only when they are inside the mask, okay? C pay attention to both of them. Okay? See? Then I'm going to mask not nature. And you have to select them, by the way. So I'm going to select nature. Okay, I'm going to mask this. Then I'm going to select design. I'm going to mask this. Then I'm going to select hope and then I'm going to mask this one out. Okay. And I'm going to get rid of the easing on this because I think easing sucks here. So I'm going to just hold control, click, okay. And let's see how it looks. Okay. Well, it looks much better. And you can also change the easing for example, if it's too fast, I think this animator was much better. Okay? This animator is much better than what we did. Okay? So you can change it. I'm going to change it later. I'm not going to show that to you, okay? If you look closely, we have two things here. One of them is property and the other one is selector. We have covered property so far, and in the next lecture, we are going to cover 19. Chap 9E: Text Selectors: Lecture, I'm going to explain all the selectors, okay? So I'm going to go into text animator. I'm going to open this up, and I'm going to get rid of this by going at this frame. Now, let's understand selectors. Okay? So first of all, I'm going to add in two properties. I'm going to add in the position. Once that is added, I'm going to add in the rotation, okay. And let's see the selectors. Okay? So we have three selectors. First one is range, wiggly and expression. Okay? So in After Effects, selectors are tools that controls which characters in your text, which character in your text gets affected by the text animator. Okay? So first one is the rain selector. So this one is rain selector as well. So it is automatically added when you add from here. But if you want to add an extra rain selector, you can add extra rain selector, okay? From selector. So it's the same thing that I explained in the previous chapter. Then we have wiggly selector. So wiggly selector add as random jittery motion to the animation, okay? It works like the range selector, but instead of smooth control, it randomly picks letters and changes the value, great for, like, those subtle movements, okay, like subtle movements, it could be used for chaotic effects or glitch effects as well. Okay? Then the final one is the expression selector. So what are expressions in after effects? So expressions are small piece of code. Can write inside After Effect. It's basically a code in JavaScript. It is used to create smart dynamic animations without key frames. So expressions are really handy. They automate animation. They can link properties together. They can add randomness and you can make so many things with expressions. Expressions are endless, but don't worry if you are not a coder. I'm not going to go into that. I'm just explaining what is it. Okay? So I'm going to add wiggly expressions here, okay? So not wiggly expression, just wiggly selector. Okay? When you add wiggly selector, you have the same thing that happens. This is mode, which is add subtract, intersect mean max difference, and keep it at intersect. Okay. Then the max amount. These are the max and minimum amount of the wigels. This is based on what do you want wiggle to affect? It could be characters. Yes, this is the same thing. This is the wiggles per second. This is self explanatory. This is co relation, meaning the relation between the wiggle. Okay? This is temporal phase, that is the time. This is the spatial phase, that is the space, okay, and lock dimensions. Okay, so this basically locks the dimension, and this one will work only when the scale animation is applied. Then we have random sets. So if you want to randomize stuff, you can do that. Okay. I'm going to change this to let's go with three and three. And here I'm going to add in three, as well. Okay? So let's look at the animation. See? Whenever you are using selectors, you have to follow the same process, okay? So the steps are going to be the same. First you add a property from here, then you add selector, and then you make change to the properties. And finally, you make change here as per your preference. So for example, I think this motion is too much. So I'm going to reduce this to 50 and -50. I'm going to change this to 0.5, and I'm going to change correlation to zero. And let's see if it looks nice. Is very subtle. As you can see, it is very subtle. So I want to change this, so I'm going to change this to 70 and -70, and I'm going to increase this to something like this. Okay? Such a beautiful animation. It's really subtle. Look at this. Really, really subtle animation. Okay? But I'm still going to add expressions. Okay I said expressions are the code. So I'm going to add in expressions, okay? So to add expression to any property, all you have to do is hold Alt, and then you click on the stopwatch. Okay? So I'm going to click on this, and then this is the editor for the code. So I'm going to add in wiggle 0.3 Homa one. Okay. Okay. So here we have three things. First one is the expression. Then we have frequency. One is amplitude. So what is frequency and what is amplitude? So frequency is the property wiggles, 0.3 times per second. Okay? 0.3 is the amount of wiggles, okay? And amplitude is the maximum distance the property move from its original position, okay? So we have assigned one here, so it can move up to one pixel in any direction, X or Y, especially if we have used position, okay? So and by the way, wiggle and those bracket. These are the functions that are in build, okay? So all you have to do is just add this. Okay? So let's amp this up. So let's go with ten here. Okay? Now let's look at the difference. Okay? You can see the difference. It's subtle. And I want to create the effect of as if it's floating on the water, okay? So I'm going to reduce this to something like Phi, okay? And it's subtle, see? And I'm going to increase the rotation, okay? And I'm going to copy this, and I'm going to paste this in the rotation as well, okay? So that it rotates. See? Now it looks as if it's floating on the water, but I'm going to change this to something like three. Okay. And make sure that the code looks like mine. Okay? If there are any errors, you will have errors here, okay? So any change to it could create error as this is codes. Okay? So I think I like this one. Okay? So what I'm going to do is I'm going to save this and I'm going to call this wiggle on water. Okay? So wiggle water. And I'm going to go to animation, save animation presets, and I'm going to call this wiggle on water. Okay. Now, we're going to go into the main text. Okay. And first of all, I'm going to select only one. For example, I'm going to select letter E, and then I'm going to go to animation presets, recent animation, and I'm going to select wiggle on water. And as you can see here, the animation breaks here. And the animation breaks because we are wiggling out of the proportion, and this breakage is happening because of the puppet pins. So like I said, puppet pins are destructive. Are preventing layers from rotating. I'm going to open this up, and I'm going to go into text and then I'm going to go into wiggle wiggle water, and then I'm going to get rid of the expressions by just pressing Alt, and then I'm going to change this to three, and I'm going to change this to three. Okay? This is still too much. I'm going to key frame this. Then I'm going to go one, two, and three frames ahead, and then I'm going to drop key frames, and then I'm going to change this to zero. Zero and zero. Okay? So we have something like this. But there is still this breakage here, okay? And if you think that it's too much, what you can do is you can change this to. Let's go with two. That breakage is still there. Now, let's say that you don't want that breakage. So what you can do is you can basically press U, and then I'm going to press Control Shift D basically breaks up the layer. Okay. I'm going to just select this layer, okay, this upper layer, and then I'm going to get rid of both this and it will work, see? Doesn't break anymore. The animation is complete, and once the animation is complete, we have this effect. Okay? So let's look at it. These are the things that you have to remember, okay? So I'm going to get rid of the key frames from this, okay? And I'm going to press I'm going to just press, okay? And I think I'm going to change this to three, not here. Okay. I'm going to go at this keyframe, and then I'm going to change this to three, three, and three. Okay? So let's see how it works. Well, it looks nice. So we go from value zero, and then we start the animation, okay? So it looks nice. Okay, so I'm going to do the same thing with everything, okay? And you don't have to like repeat the same process. All you have to do is press Control C, okay? And then I'm going to minimize all of them, Okay, except E, and then I'm going to press Control, Shift B. Okay, this is a huge shortcut. I don't know why that didn't work. Control Shift D. Well, I have to do that one by one. So Control Shift D, Control Shift D. Okay? So I'm going to select all these top layers and then I'm going to give them a different color. Let's go with green. Okay? Then I'm going to press on this, and I don't need this anymore, okay? So I'm going to just select them, and then I'm going to press Control V. Okay? Now, let's see that we have this, okay? So I'm going to minimize each and everything, and then I'm going to just quickly see whether it looks nice. Well, it looks nice, and if you want to make it abrupt, you can make it abrupt as well. So I'm going to just select this label group, then I'm going to just hide it. Okay. And I'm going to open this up. Okay, this is another way of doing this. I'm going to just press Control V. Then I'm going to press you so that I can see that. And now you have the same thing here, see? Okay? So you can choose the method that you want, and also we have this issue. So I'm going to trim this. I'm going to bring that here. Okay? So these are the two ways that you can solve this problem, okay? But you have to remember that you have to think outside of the box. You see? One thing that I have learned is that we always want to control things, we want to plan things. And I'm not against planning. I plan things as well. I plan this course. I plan so many things. With that being said, there are going to be times where you will run into problems that are unseen and you cannot predict them from the moment you started working on. Okay. And when such problem arises, what you have to do is you have to keep your cool and you have to think in terms of the solution, not in terms of the problem. If you want to go to an advanced level, you have to remember this. Okay? The philosophy, if you want to go to advanced level, you have to think and you have to become a solution oriented person. Okay? You are going to make mistakes. I make mistake. Everyone makes mistakes. It's part of our life, except that mistakes and ugly animations are the starting point of your career and that's completely fine and accept it. So that's really important. But when such problem arises, think in terms of solution, not in terms of problem. 20. Chap 10A: Assets: Lecture, we are going to create that final look and we are going to create all the elements before we begin, what I'm going to do is I'm going to import. I already showed you how to do that. I'm going to click here and then I'm going to press Control I. So these are all the assets. So first of all, this is BG water lilies, o this one is an AI file that I have already prepared. And if you don't want to create your background, you can use this background. And we also have This one, okay? Okay? So this is another background that you can use. This force is mostly focused on creating that effect, okay? But if you want to make it look better, because it is important to make them look visually stunning. And for that, I have included this. Okay, all you have to do is just import them and you can use them. Then we have this green screen, fish, okay? So you can create this animation on your own, too, okay? But it would take too much time because this animation can be easily created using the puppet pin animation that I have already shown you. What you can do is you can use this video as a reference to create your own animation. All you have to do is just drop some pins here, and then you will be able to create that. Then we have the half tone texture. Okay, and here is the pond element, okay? So I have included a fish, frog, then we have this dragonfly, and then I have also included another water lily. This has this watercolor effect to it. Okay, so that's why I have added this. So you can add and use these elements if you want, and you can create your own background, okay? And finally, we have particles. So this is particles. So I'm going to go into After Effects and then I'm going to press Control I, and I'm going to import all the assets. Import an Illustrator file. You have to do something differently, okay? So first, I'm going to import Illustrator file. So I'm going to select this one, two, and three. And then all you have to do is selectimport a, and here composition retain layer sizes. Okay? Now, let's say that you are importing only one thing. For example, I don't want BG underscore water lilies. I want this so all you have to do is just select that import. And when you import, you will have a dialogue box that will open up. And this dialogue box is really, really important because if you don't select this composition and you select footage, it will be a simple two D layer, okay and you won't be able to do much. But when I choose composition, the AI layers, okay, Adobe Illustrator files layers will be a layer in after effects as well, and keep this at layer size and then hit Okay, right? And what happens is when you import illustrator files into after effects, you have two things. First one is these are all the layers, okay, that are created in Illustrator and that are separated in illustrator. I'm going to give you the bonus about that as well, so don't worry about that. Focus on this right now. So these are all the layers that are separated in Illustrator. And when you import an illustrator file, After Effects creates this automatically, okay? You don't have to do anything. Now you can animate this. Okay? That's how simple and powerful it is. Okay, but make sure that you don't delete this because if you delete this, you will mess this up, okay? So these layers are basically this. See, Layer two is layer two, if I delete here, from here, this will be deleted as well, okay? So I'm going to move this into AI, not PC, I'm going to move this into Okay, this could happen sometime. So all you have to do is just click on this shortcut that you see and then just drop. With this shortcut, you can maximize the screen. Okay? If that makes sense, then I'm going to go back. And I'm going to move this in PC and then I'm going to press Control I again. Okay? So let me input this as well so that I can show you. Okay? And if you want to import directly, all you have to do is select composition here and then it import, and the composition will be selected, okay? And then I'm going to move this into AI and I'm going to move this into PC. Okay? So I'm going to open up the pond elements, okay? Now, let's say that you want to animate the fish, okay? So you can do so many things here. Also, one of the things that you have to remember is that whenever you import an illustrator file into after effects, you can also turn that into a native shape layer of the after effect. Okay? By shape layer, what I mean is by this. Okay? Just like this, you can have so many controls over here. You can use the animators. But if it's just an illustrator file, all you can do is just use this transform animation and add some effects. Okay. With that being said, you can also use puppet pins on this. So all you have to do is just drop some pins on this. Okay, and then you can you can create the animation that you want, okay? And it's that simple, okay? A fish is dancing. Okay? So accidentally hit control, see? That's a cute animation. Yeah, it's dancing. It's, you know, one of those Bollywood masala dance. It looks like this, see? Tura, turn a turn Okay. Anyways, now I'm going to get rid of the effects from here, and let's say that you want to animate this dragonfly. So if you want to animate them, this could be really tough, see? What you are going to do. What you can do is you can basically create some mask and then separate them, but that would be too much of a work. Okay? So I'm going to just go to create and create shapes from vector. And just like that, we now have everything on its own. So group one, two, three is the body, and then everything else is wings, ok? And so that's how you can animate them as well. So I'm going to just delete that. Next thing that I'm going to do is I'm going to import another footage. Okay so I'm going to press Control I, and then I'm going to import one, two, and three and then import. Okay. And I'm going to move this half tone texture into images, and I'm going to close this because I don't need that right now. 21. Chap 10B: Animating Water lilies: Now we are going to start importing the assets. So first of all, I'm going to import the water lilies into this composition. So I'm going to go into PC and then I'm going to just bring that in. Okay. And well, it looks I don't think it looks that great. So I'm going to first of all, resize it by pressing S and then just scaling it down. Now, if you want to create a composition like this, composition is created in a way. Okay, first of all, let me close this. That is distracting. If you look closely, every leaf is kind of facing towards the main character, and that is how I have composited in this. Okay? But the another option that I've shown you, it would not be that great for making it visually appealing. I'm going to bring this here, okay? And before we do anything, I think I'm going to change the blending mode. Let's go with overlay. Okay. I'm going to bring this here. Okay? Well, it looks much better than this. Okay? You can also try different blending modes. You can try add. You can try multiply. Well, multiply looks really bad. You can try softlight. You can try overlay. So I'm going to go with overlay for now. You can make changes to this, I'm going to show you some of the things that you can do. But for now, let's go with this, okay? Now, I'm going to go into the BG Water Lies too, and then we are going to animate this. So I'm going to zoom Okay. Move to so many. And then I think I'm going to select all of them, okay? And I'm going to push them here. Okay? Then what I'm going to do is I'm going to select the top layers, o and the top layer. Okay, C, they haven't moved, so I'm going to move them as well. Then I'm going to select any one layer, but this layer is an empty layer, see. So this is mistake on my part. So I'm going to delete them. Then Okay, this one is fine, but we have a few issues here, see? So what happened is when I was creating this asset, this two layer may have been on the same layer. If you want to animate it, it should be on its own layer. Now, this is an issue. How do I solve this? So I'm going to just mask this. I'm going to mask this. Then I'm going to re center the anchor point. And I'm going to place the anchor point on the flower. Then I'm going to duplicate this. I'm going to press M. There I'm going to invert this and I'm going to place the anchor point here. Okay, the anchor point is important here is because we are going to animate the scale property. So I'm going to press V now, and I'm going to just scale the scale up. Okay, so I'm going to drop the keyframe here. Then I'm going to go with one, two, three, four and five. Okay? So let's go with 20 frames animation, and we can change that animation later. Okay? So I'm going to bring this to zero. Okay. Then I'm going to right click keyframe assistant, Easys. I'm going to go into the graph editor. So we have an animation like this, see? Really nice, really subtle. Okay. And I'm going to copy this by pressing Control, see? And I'm going to select all of them. Then I'm going to recenter the anchor point by pressing Control all at home. So the anchor point are at the center. Okay? Then I'm going to go at this frame and then I'm going to press Control V. Okay. Now, I'm going to press Control V on this one elsewhere. Okay? So now we have an animation like this, right? But they all are appearing at the same time, okay? So I'm going to roughly change this. Okay, so I'm going to push this back. I'm going to push this like this. Okay, so this is completely random, okay? I'm going to push this further. But I think I'm going to push this back. So just randomly do this. Okay, you can push some in front as well. So let's look at see now it looks decent and much more interesting. Just make sure that everything has a different timing, okay? It looks beautiful. I like this. Okay? Now, I'm going to go into the main composition, and I'm going to bring this up here. So I'm going to zoom in just to see the timing of it, and I think I'm going to. So what I want. The reason why I'm pushing this back is because I want people to focus on this animation because we have worked hard on this, okay? So I'm going to push it back. Do something around here. Okay? So the animation takes place, and when it's done, we have this. Okay? So I think I'm going to go with this. Okay, 15 frames. Okay, let's see. Well, that might be too much, so I think I'm going to go with one. The text effect doesn't look really nice. I'm going to just look up for drop shadow, in this effect, and I'm going to bring that here. Another effect that I'm going to drop is hue and saturation. Okay? So this is used for color correction. First of all, I'm going to get rid of this and I'm going to work on this. So I'm going to just sample the background color, and then I'm going to make it a bit darker, something around here. So let's look at this. What we have shadow color. Okay, self explanatory. We have opacity. The direction is the direction of the shadow, and then we have distance. The distance is the distance of the shadow and softness softens the shadow, when you click on this, we only have shadow. Okay? I'm going to push this further. It's too much. Okay, then I'm going to soften it up. Okay. 16 looks nice, right? Now, I'm going to enable this effect, and Human saturation, like I said, you have to play around with this effect, and I'm going to just make things look more interesting, okay? Hue and saturation. So hue and saturation changes colors. It shows how strong they are and how bright or dark the image. Looks. The first parameter is channel control. It helps you to pick which color range you want to change. Then we have master hue. So it shifts all the colors around the color wheel like changing red to blue, right? Then we have master saturation. So it makes color more or less vibrant, okay? Then we have master lightness. So it makes everything like darker or brighter. Then we have colo ize, okay? So this turns everything into one single tone of color. Like you know those filters, yes, that is colorize. Then we have colorize hue, saturation and lightness. So this basically changes the tone, strength, and brightness of that color filter. Also, I don't like the place from which the highlight is coming here, okay? So I'm going to go into the text effect, and I'm going to change this to let's go with plus 63. Okay? Yeah, this one looks much better, and we have a contact here and it looks nice. I don't mind that. So I'm going to go into the composition and Okay, so this tiny effect is making a huge difference. So I'm going to take this to 16, I guess, okay? And you can change this to something extraordinary, but don't go overboard with this, and I'm going to go with 16. Okay. And I'm going to keep this at one, I guess, or zero would be, zero is much better. So we have done the major work. Right? Now, I'm going to improve on the timing of the text. So this made with this text comes in really, really quick, okay? And I don't like that, to be honest. And this is the stage where we change things. We work on the timing as well, okay so make sure that you don't run away from this stuff. So I'm going to zoom in so that I can focus. And I'm going to bring this on top, okay, because that one is really important. So I think I want this animation to begin at 15 frames, okay? And I'm going to just, like, you know, arrange them in this way, okay? So first, we have faith, then we have water, then we have nature, then we have design, then we have. Okay. So I'm going to just make this sequence better. So I think nature should be here. I'm going to bring this here and I'm going to push this here, okay? So the animation goes something like this, see? Now we are talking. Okay? So I'm going to play it, and this timing could be improved. Okay. So I think I'm going to push it back just a little bit, okay? And I'm going to go into the I'm going to press you, and then I'm going to just increase this. Okay. Let's see. Oh, my God, it looks nice, really nice. I think I'm going to push this just a little back. Okay, I won't So you have to work on the timing because timing comes in with trial and error, okay? It's not something that will happen with you intuitively, okay? Also, if you don't like this overlay. Now the reason why this is not something like this is because because you can do so many things here, right? You can add in drop shad. Of course, we are going to add in drop shadow to this as well. But the reason why it's not in its original career is because we want to make sure that people focus on our main content and not on the things that are not important. Like I said in the previous lectures, that this all are these supporting elements made with love. This are the only important stuff. These are all the supporting actors, okay? Of course, supporting actors are crucial. So I'm going to change this back to overlay, and I'm going to add drop shadow, okay? So let's add drop shadow to this, okay? And let's increase. See how beautiful it's starting to look. Okay. So I'm going to feather this up. You want to make sure that your eyes stay on the main subject of your video and not on the secondary objects, right? Once that is done, we need something that will make viewers focus their eyes on the center, which is made with love. Okay? And to do that, I'm going to create a new solid. Okay? I'm going to press and let's say that you have selected this and there is no place to select anything. You can, of course, click here, but it won't solve you. The shortcut to deselect in after a fix is F two, okay? E, F two. Then I'm going to press Control Y. And this is going to be so I'm going to call the radio waves, and I'm going to apply an effect called radio waves on this. So radio waves helps us create those circular loops of non destructive. You can play around with this as much as you like. And it's a great effect, if you ask me. I'm going to change this expansion. So the expansion is the expansion of those radio waves, you can go like abrupt or, you know, so I'm going to place it back first of all. Okay. So I'm going to place it here. Okay? And this is too much, okay? So I'm going to change this to around let's go with four. Okay. And I think I'm going to keep everything as it is. I'm going to just select this color and make this a bit darker, okay? Or you know what? Let's keep that color as low. You can also change the strokes Okay? There are so many things here. If you want to change, this is wave type polygon, you can change this to image contours. Okay? And if I change image contours, I have to select the image. So if I change text effect, we might have something different, okay? And see this is happening. So it could create many great effects, but I would suggest don't walk where you don't need to work, okay? Let's go with six because Okay. And I'm going to change the opacity because as you can tell, this is too much. So I'm going to press T, and then I'm going to reduce the opacity to something around 23, and I'm going to change the blending mode and multiply and I'm going to Okay, this is perfect. Okay? 22. Chap 10C: Texturing: Thing that I'm going to do is I'm going to import that texture. So I'm going to go into images, and I already have this half tone texture, and I'm going to bring that in, okay? And one more thing that I'm noticing right now is the shadows of the lilies are a bit distracting for me, okay? So I'm going to change this to let's go with six, and this is too much. So I'm going to go with something around 160 or 28. See the difference, okay? It's not. It's subtle. It's subtle. You have to remember the word subtle. Okay? Now I have imported the half tone texture. Okay? Now it's white. I don't want that. I want to change it to black. Okay? So how do I do that? So there are many ways to do that. You can apply an effect called fill, and then you can change it. But let's try something else. So I'm going to apply an effect called invert, okay? So this innards color. Okay? And I'm going to press S, and then I'm going to scale it down. This depends on your preference, on your taste, okay? You can also change this to 180. Well, if you want, okay? I'm not going to do that. I was just going to show you. Okay. And I'm going to change this to blending mode to Let's go with overlay. Okay? This might be soft light. Soft light is really nice. Okay? Now you can see how beautiful this texture is looking here, okay? So I think the size is too much, so I'm going to keep it at 100 for now. Okay, 100 is a bit too much, so I'm going to reduce it and I'm going to reduce the opacity as well. Let's go around here. This one is softer on the ice. Then we need noise, okay? Not that noise. Okay, I'm not talking about that noise. I'm talking about the texture. Noise. Okay. So for that, I'm going to create another solid. And if you want to experiment with effects, the best way to experiment with an effect is to apply it on solid, and then you change the blending mode and you will see how effect interacts with other effect, okay? So I'm going to just press Control Y. Okay. Okay, that was auto sieve. Okay? And I'm going to call this noise and make sure that it is comp size, okay? Then I'm going to just hit on, Okay, right? Now, the first effect that I'm going to add is fill effect. Okay I'm going to drop fill, and I'm going to change this to something around like pinkish. Okay? Like I don't know if it's called pink, but something like this orange. Okay? This could be orange. Once that is done, I'm going to apply an effect called turbulent noise. Okay? So there are so many noise here in my background as well. There are kids playing. Okay? So turbulent noise. Okay. And when you apply turbulent noise, oh, my God, what is this? So turbulent noise creates animated cloudy or wavy textures. It is often used for smoke, water, or distortions. Fractal type. So factaltype is the type of pattern that is used for noise. Then we have noise type. So this changes how smooth or rough the noise looks. Then we have invert, which flips the black and white part of the pattern. Then we have contrast. So it increases the difference between dark and light parts, then we have brightness. So brightness makes the whole texture lighter or darker. Then we have overflow. So overflow controls how extreme brightness is handled. And transform, this allows us to transform. These are all the transform properties that we have here, okay? See? This is something like that, and you can change it and it will change it on its own. I'm not going to change much uniform scaling, okay? If you uncheck this, you will have to scale width, scale height. Okay, you can do so many things here. And we have complexity. So complexity adds more detail to the noise. So if you want to make things like less complex, all you have to do is just decrease it, okay? And more complexity makes your computer slower, by the way. Then we have evolution. So evolution is normally animated on effects that has evolution. You change values on every other parameter, and at the end, you animate evolution. Okay? So evolution here animates the noise over time, like it's moving or changing, right? So it's basically evolving and it looks as if it's moving. Then we have opacity. Well, it is the opacity. This is not the opacity of the layer, but this is the opacity of the effect, okay it controls how see through the effect is, right? Then we have blending mode, well it decides how this effect mixes with the original layer. We are not going to do so many things here, okay? And they go to change the complexity to one. Okay? And I'm going to animate evolution, okay? Okay. Now I'm going to add in an expression, okay, on the evolution. And this expression is going to be the time expression, okay? So the time expression gives you the current time of the timeline in seconds, you can use it to create continuous and automatic animation without using keyframes, okay? So we have something like time, then we have star that is asterisk and then value. Okay? So I'm going to click on the evolution, and then I'm going to add in time, then I'm going to type in 50. And then I'm going to apply another effect called noise, this noise. Okay, so I'm going to apply that here. Noise adds grainy texture like old film or static amount of noise decides how much grain to add, and we have used color noise. So it adds colored grain instead of just black and white. Well, this depends on your preference. Then we have clip result value. So it keeps the brightness levels within the safe fringe, no overexposure. And I'm going to change this around 75. Let's go with this. Okay. And then I'm going to change this to overlay. Okay? This is too much too much, I mean, really too much. Then I'm going to reduce the opacity to something like 40 Okay. But this is also too much, I guess. Okay. So I'm going to reduce it around here, okay? Now, let's see what is this noise doing. See? It is adding that jittery motion, okay? And if you don't like this, you can get rid of that, okay? Now I'm going to create a mask on this. Okay. I'm going to show you something really cool. Like, I know that this effect is not looking that great right now, okay? And what I'm going to do is I'm going to select this and then I'm going to create a mask on this. Okay. So let's go around here. Okay? So this is a random mask, right? And then I'm going to press F. F brings up the feather, feather softens it, and then increase it. Okay, let's look at the djiary motion, okay? See? Anyways, that's done. Okay, now, the next thing that we are going to do is we need to create and give that feeling of the pain. Okay, I want to give that. So I'm going to unlock this, and I'm going to apply an effect called drizzle. Okay? C see drizzle. This simulates this rain water effect. It's already visible. Okay? But I think it's too much. This is self explanatory. I'm not going to explain each and every effect in this lecture. But these effects are self explanatory. You can play around with them. They're basically simulation. Okay? So I'm going to change this to around let's reduce this. 0.6. Okay. Then I'm going to change this as well. Okay? So pay attention here, not here, okay? This one is nice. Then let's change the Okay, something around. That's COVID 88. Okay, 88 is making it disappear. Okay, this one is nice. Wow. It is 88. See? Good. And I think I'm going to change the spreading as well. I want to make it as subtle as possible. So let's go with 60. Okay. Then I'm going to go into lights, and I'm going to change the light intensity to let's go with 44. Okay. And I'm going to change this. Okay, this is too much. I'm going to bring this up as well. Okay. So let's look at our animation. Okay. So it really looks decent now. Okay? 23. Chap 10D: Fish animation: Going to add fishes to this. Okay? So I'm not going to add fish directly here. I'm going to precompose the fish, and then I'm going to bring that comp into this. So to precompose Hollywood to do is just bring it on top of the composition button, and now we have our fish. So the problem with this video is that the fish doesn't start dancing until this point, this point. So I'm going to sotten the walk area. I'm going to bring this here, and then I'm going to press Control Shift X. Okay? It is this composition trim comp to walk area. I basically trimmed the walk area, right? Okay. So I'm going to change this to full full num, and I'm going to apply an effect called key lite. Okay? So key lite helps us to get rid of the green screen. Okay. Then I'm going to go here and then select this. Okay? Now, I'm going to go into the main text, okay PC and then I'm going to bring in the fish. But before that, I'm going to rename this. I'm going to call this let's call this fish underscore PC, and I'm going to move that here. Okay. And I'm going to bring it here. Okay, right? Where is our fish. Okay? So we already have an issue here. See? There are two lines here, okay? And I don't like this. I don't know why they are here, so don't worry. All you have to do is just mask it. Okay. Just make sure that you are not masking out the parts of the fishes. Okay? And then I'm going to apply an effect called fill. Okay. Then I'm going to change this to dark blue. Okay. I'm going to reduce the size of it, right? Now, the next crucial thing here is going to be the timing, when do you want your fish to come? So I think I'm going to keep it at the same timing as that of water lilies. But if you want the fish to come earlier, well, you can do that as well. So I'm going to change the rotation here by pressing R. And I think I'm going to change the blending mode here because fish is sketching my eyes. It's not good, it's not good. So I'm going to change this to multiply. Then I'm going to reduce the opacity. You know, when I was starting out, there was a part of me that wanted to make stuff in which everything is important, right? So when everything is important, nothing is important. And that's a sad part, I guess. Now, I'm going to teach you another shortcut. If you want to drop a keyframe on the position property, you have to press P, and then you have to drop keyframe here, right? That's too much of work. So the shortcut for that is Alt Shift P in the same way Alt Shift R, Alt Shift S. Then I'm going to go around here and I'm going to place it below the water lilies, it looks as if it is coming out of that. Okay? So I'm going to press you. Then let's go somewhere around here. Okay. And let's bring this keyframe. So now, if you want to select this keyframe, right? So these two points, this square is basically a keyframe, right? See, when I selected that, so I'm going to select this. So this one is basically a keyframe. Now if I want to change this, all you have to do is just drag this back, right? And now let's look at our animation, okay? Now, the fish is too fast, of course, so I'm going to just drag this back. Okay. So I'm going to mark the place where it enters. But before that, I want to see how is the speed of it is nice or not, okay? So this is too fast. Okay? So now, when the things like this happen, you can push the key frames really, really back, okay? So I pushed it back. Now, what I'm going to do is I'm going to come here and then I'm going to push I'm going to mark this by pressing this shortcut, and I'm going to come here and then I'm going to just print this here, and then I'm going to drag this even further, okay? And I'm going to change the rotation as well. So I think I'm going to keep this rotation. So basically this line, it follows that. Then I'm going to duplicate this by pressing Control D. I'm going to press U, and I'm going to zoom out. Well, I cannot see another keyframe here. And the reason why I cannot is because that keyframe is out of the work area. Okay? So I'm going to bring this here and I'm going to just select this, okay? And I think I'm going to go here and I'm going to just drag this here. Okay. So let's see if it looks nice, okay? When the keyframe the fish is moving in different directions. So I'm going to change the rotation. All you have to do is just match this rotation with this, then I'm going to see the size of it because I think it's too much. I'm going to change the size on that. I'm going to just reduce this to 55, and I'm going to duplicate this. Then I'm going to press Control D, and I'm going to go at the first keyframe, then I'm going to bring it here like this. Okay. And I'm going to change the rotation. Okay, that fish was spinning. Then I'm going to bring it something around here. So we have some moments. So I'm going to bring both of them around here. Another thing that I'm going to change is I'm going to reduce the size because I don't know if you can see this, but something looks off, and it's because of this. I'm going to change this to around here. Okay, this one looks much better. All right. And if you want, you can also mask this, okay? But we are going to do that later. So let's look at the animation, and let's work on the timing. Because this fish, I don't know why I keep pointing my fingers, but this fish is faster than it should be, I guess. Okay. But as far as I'm concerned, it looks this scene really looks nice. And let's say that the timing on this is you want to slow this down, right? This text effect is too fast, right? And you want to slow things down. But we already have done so much work here, right? Changing the timing in this would cause lots and lots of issues here, okay? And I'm going to show you something called time remapping, okay? So this is time remapping. So time remapping allows us to remap the time. Okay? So if you want to slow things down, you can slow things down. If you want to make things faster, you can make them faster. So I'm going to press Control T. So these key frames are basically the time. Okay? This one is starting point, this one is the ending point, okay? If I change this, I'm basically changing the ending. Okay? And I'm going to push that further so that we have died slowdown. Okay? So we might have to change things, but I'm just trying stuff, okay? Okay, I like this timing. This timing is really nice. It looks good. Everything works out really, really well. So I'm going to show you something really quick. So this is an old file, and I have this watercolor, I'm going to bring that in really quickly. And I'm going to show you something really cool, okay? So I'm going to change the rotation on it. I'm going to change this to 90. I'm going to scale this up, like really up. And you can already see the difference, right? Then I'm going to change this to add, then I'm going to reduce the opacity. And we now have watercolor effect, okay? But this is of course, this requires so much of work, but you get the point, right? I do so many things with this background. So I'm going to bring this into another composition. So I'm going to bring this here, and I'm going to rename this. So I'm going to press Control K, and I'm going to call this advanced text animation. I'm going to bring in the particles. Okay. Then I'm going to change this to add, okay? Now the next thing that I'm going to do is I'm going to create an adjustment layer really quickly, control all to Y. Then I'm going to bring it here. And I'm going to apply an effect called camera lens pl, really, really handy effect and really great effect. But this effect will slow down your computer, okay? So I'm going to change this to around 15, okay? And it is blurred. I'm going to go here and I'm going to select the rounded rectangle, and then I'm going to just draw a mask. Now, let's say that you want to make things more rounded. Okay, all you have to do is press the arrows. But these arrows, I mean up and down arrows, okay? So I think I'm going to change it. And this is already heating up my computer, okay. So make sure that you disable the effect before you do this. Then I'm going to just enable this effect, and I'm going to invert this, and I'm going to feather this. Okay. I think this looks really nice. This effect is bringing everything together. Okay? Now, the next thing that I'm going to do is I'm going to go into this and I'm going to bring this into this. I'm going to place it around here. Let's go around with 27. 24. Chap 11: UFO & Principle Of Transition: Chapter, I'm going to introduce you to the concept of match cut, which is a type of transition that is used in animation to seamlessly move from one shot to the another. And now I'm going to play this example that you see on the screen so that you understand what is going on. So first of all, let's understand what is a transition. So a transition is just how you move from one frame to the another without making it awkward, forced or sudden. Now, match cut is a type of transition that is really common. It's really easy to achieve, and once achieved, it looks good, but it's principle based. Meaning, once you learn it, you will be able to apply that into anything that you want. Okay? A match cut is a type of transition where two shots are connected, okay? Where two shots here, this one. So for example, here we go from taper to the UFO. Okay? So these two shots are connected through a visual similarity, Okay, such as motion. So this paper and UFO are connected through the motion, okay? So it could be connected through motion, shape, direction, speed. There are so many things to achieve that to create match court. You need to understand something called continuity. Continuity is maintaining visual consistency and flow between frames for seamless storytelling, okay? It's one of the most powerful and stylistic tool in animation and motion design, allowing you to transform one object into the another. Now, I'm going to explain the key principle behind the match cot and then I'm going to show you how I achieved and used that not only here, but this one, but in this example as well. So this one basically uses match cut as well. We are basically matching this tapers speed, okay. With this, this is basically establishing the continuity, okay? And that is the principle behind this transition. And then now we are going to go deeper into that. Okay? So the key principle behind match cut is continuity. Like I said, key thing that you have to remember is continuity, okay? And don't worry about anything. I'm going to explain everything. Some people might call this morphing, but I don't think morphing is really a right word for this because I think professionals call it match cut, especially in filmmaking. Okay? It's basically called matchcut. So I'm going to call this match cut. You could call it morphing if you want, but I don't think morphing is that appropriate for it. Okay? I'm going to go into the UFO, and now I'm going to show you how I created this. It's really simple example, so don't worry about that. Okay. So I'm going to bring this up so that you can see. Now, I have two compositions. First one is where the cow is getting abducted, and the second one is where the dinosaurs, basically scares them away. Okay? So I'm going to open up the UFO dino because both of them are essentially same. So first of all, let's open up with UFO and the score cow. Now, I'm going to bring this here. This is a sound effect. This is a text. You don't need to I'm going to get rid of that. This is a cow mat. Cow mat is basically the mat, Matt is basically it acts as a mask. I want this cow to disappear here. What I did is I basically created this shape layer. This is a shape layer. See? This is a a layer. Okay? And what I want is I don't want this cow to, like, go over this part, okay? I wanted it to feel at least feel like that this cow is moving into this white part, okay? And that's why I created this random shape with Pentool, okay? And then I basically created this Okay, which is called track mat. And then I inverted it. Then I created this ground. I created this ground using just solid, and then I applied an effect to, like, roughen it. The effect is called roughen edges. And this is a random choice, by the way. So if you want to, like, roughen things up, for example, if I don't roughen it up, see how it looks bad, right? And so I wanted to make it feel more authentic. And that's why I added this effect. I changed this. I don't think I have changed many things, but okay, that's how I created this ground. Then the most important part here is UFO in UFO out, and all this. Okay, so one, two, three, four, five, six. These are the most important part here. Everything else is like supporting you know how in movies, there are supporting actors, okay? So everything else is supporting actor except this. This is main character. So I'm going to solo this. Now, the most important thing that you have to remember whenever you want to achieve match cut is the match cut cannot be achieved if you don't know graph editor. Graph Editor is the crucial part here. So this is UFOI. So this is basically this taper that comes in here, okay? So I'm going to go here, and then I'm going to press you, okay? So let's see what's happening here, okay? So here, I have created the shape like we did here, okay? I have created the shape using the Pen tool, right? But right after that, what we did is we animated the offset, right? But as you can see here, I have animated the start and the end, okay? Now, what could be the possible reason for that? Now, the reason for that is because here, I don't mind if that tail or this taper remains consistent. But since we are dealing with the objects that are in the space, right? So I wanted to, like, you know, how spaceships when they move really quick, they leave this tray, okay? And that's why I did this. So basically, what I did is I basically animated start and end from zero to hundred, okay? And then I offset this by few key frames. Okay? Now, what I did after that is I duplicated it and I placed it here, okay? But but there is huge butt here, okay? So this taper basically ends where the UFO begins. So this was the initial position of the UFO. Okay? So this is going to be the UFO. And if I change the trim, okay, you can see here that this taper basically ends here. Okay? So basically, what I did, and now I'm going to reveal how I did what I did, okay? So first of all, I imported this, okay? Illustrator file. Okay? I imported this as an illustrator file. Then don't get confused. Okay, pay attention. Okay. Then what I did is I basically created shapes from that, okay? And now before doing anything before animating UFO, what I did is I basically created this using Pentool, okay, this shape using Pentool, and then I animated this, okay? And so what happens is I now have the initial position, so it will be easier to match. So if you look closely, okay, this is where it matches. C, it matches perfectly, right? And that is why it's called match cut. Okay? So I'm going to press Control Z to trim that. Okay. Now, once that was done, I basically separated every part of the UFO, o every part of this UFO is on its own. For example, we have exhaust, then we have this body which is this blue part, and then we have this window, right? So every part of this layer is on its own. So this UFO was basically built or separated in Illustrator, and there is a chapter on that as well. So don't get confused right now. Your focus should be on understanding the principle and not how I made this. Okay? So focus on learning and understanding the principle. Okay? So what I did is I basically separated everything on its own. And the reason why I did that is because I wanted this exhaust to have its own animation. I'm going to press you on it doesn't open up because I have created an expression for this. Okay. So if you look closely, say, Okay. Like, it's really busting with energy, okay? And so I'm going to press E. E basically opens up the expressions. And so I applied this expression, and I searched for this, This is not my creation, okay? So what I did is I basically went to Cha GPD and I said, Hey, had GPD, I want to create this UFO that is busting with energy and abducts a cow. Okay? And so give me an expression for that wiggle. Okay? But I want it to be abrupt and in a way that looks good, okay? And so that was the prompt. And I'm going to give that prompt to you. Okay, so don't worry about that, okay? So this is the prompt that I used, and I got this expression, and then I applied it. Okay? And that's how I did that. Okay. Now the next thing that I did is these two are not animated, right? But I still want to animate them, right? But the problem is, I have already created an expression on the position property, right? So animating it would ruin this, okay? So what we use is we use something called null so null object is basically an invisible helper, right? So this is basically a null object, okay? So, see, this is null one. So null object is basically an invisible helper. Like it doesn't show up in a final render, but it's just a blank layer that you can use to control other things. Okay? So think of it like this. You can parent other layers to null object. And then when you move, okay? When you move, scale, rotate the null, all the connected layers, all the parented layers follow, okay? So let's understand what is parenting first, okay? I taught you null, now let's understand what is parenting. So this is basically parent, and these are all the child. Now, how do you determine who are the child and who are the parent? Okay? Now, in real life, you do not get to choose your parents. But in after effects, you get that freedom. You can choose and create your parents. As stupid as it sounds, I'm not kidding. Okay? So this portion, right, is what is called parent. So this is basically parent pick Whip tool, okay? So if I drag this onto this, okay, null one will be the parent. And these layers, these layers will follow the it's the same thing in life, okay? This is how parenting works in after effects, right? Now, I'm going to show you something. So I'm going to press you. Okay, first of all, I'm going to select them, then I'm going to press you, okay? Then I'm going to press you on this. Okay. And don't get confused here. I'm going to explain. I'm going to bring this up. So here, this and this, there is no difference on both of them, okay? So I'm going to select them, and then I'm going to click on this. So this is basically shy, okay? So it's like that shy guy in the school. He basically hides. Okay? So I'm going to click on this. And now he has, like, you know, how we put our head on the bench to hide our face. I think that's the symbol. I don't know if it's true or not. And then I'm going to click on this to activate this Shy, and so it's gone. It's not gone. It's here, but it's basically hiding. And that's why it's called Shy. Okay? This is a Shy button. Okay? So I'm going to press you and I'm going to hide this. So there is no difference between this animation, ok and this animation. Right? There is absolutely no difference. Okay? So let's understand this key frames so that you can understand it more clearly. So here, I'm going to match this incoming taper with this and how I did that. So I already have the path for the paper. And I already know the ending point, which is going to be this point. And it has already been keyframed, right? I already taught you the principle of begin with the end, okay? So what I did is I dropped these keyframes, okay? And then I went back. Okay? And then what I did is I tried to match this like this null with this path, okay? And then I trimmed it in a way that it looks as if they both are the same object. And that is how you achieve the match cut. Okay? Now, key part here is the graph editor, and I'm going to show you it's not that complicated here. I'm going to show you graph on each of them. So I'm going to open this up, and this is the graph for this, okay? So we go slow and then really really quick, okay? So how do you know how to match cut. Okay? So why I trimmed this layer at this point? Okay, why not here? Why here? And the answer to that is on the peak. So I'm going to press Shift F three, or I'm going to just click here. And so this basically is where both the layers are on the peak of the speed, okay? So it's in between, right? So whenever the object is fastest, you trim there, okay? That's the principle that you have to remember. Okay? So I basically trimmed it there and then look at all these layers, okay? So they basically begin here. Okay? And then it goes from here to here, okay? Don't worry about this, focus only on this part, okay? So let's understand this one by one. So first of all, I created this, right? Then I matched the null with this path, okay, with this path. And then I created the graph in a way that I can trim this layer at the end, okay? So it basically is the fastest at the end, okay? So you have to remember that if you want to create match curd, you have to cut or trim this layer at the fastest point, okay? And if I make a tiny mistake here, it will be ruined, see? See? Okay. So this streaming is really crucial and now I'm going to show you this one as well. So I'm going to go into graph editor, okay? Right? So let's see position. So position has this graph, okay? And it's completely fine, S. And it's completely fine because we basically start here. So it turns and then it goes really quick, right? And then it stops. And so that's how you achieve the match cut. And that's what we did in the previous chapter, right? So you can also label keyframes in after effects, all you have to do is just select the keyframe, right click right click on the keyframe, by the way, right click on the keyframe, label, and then whatever it is you want to choose, okay? Now, the reason why I labeled these keyframes is because these keyframes are basically this subtle movement of the UFO here, okay? And that's why I have changed this color so that I remember that, okay, yeah, this is that, right? The next thing is, it basically goes here, right? It goes back and then it disappears into the space. 25. Proof: Compositing principles at work: Start with the surfaces created using rectangles. Add green gradients, and then it acts as a stage. The darker base underneath adds contrast, shadow, and depth, making the whole thing feel grounded in the frame. Feel the background with the solid, then add repeating text. This text adds texture and rhythm without pulling focus. On top of that, the main title stands out clearly thanks to visual now the sneaker comes in where it's placed matters. Using the rule of thirds gives its presence and makes it the clear focal point of the scene. Now the second sneaker comes in the background. Adding tint, change the tint to green, blur it using camera lens blur. This creates a shallow depth of field, which helps guide the viewers eyes towards the main sneaker, reinforcing it as the star of the scene. The shadow under the sneaker isn't just a dark shape. It's what connects the object to the platform. It's masked to fit perfectly, which helps sell the idea that it's really sitting there to make things feel alive we add a tiny bit of motion, a soft float, just enough to keep the scene from feeling static. It adds elegance without being distracting. Texture and light bring the vibe. Some noise breaks up the flatness, a soft vignette and window overlay suggests a static, adding a flicker effect on an adjustment layer in the beginning. Unites everything together. This flicker effect is an inbuilt effect. Each element here began as something basic created with standard built in after effects tools, nothing out of the blue. On their own or poorly assembled, they could easily look mediocre. However, applying core compositing principles like unity rule of thirds hierarchy transforms the simple components into expensive looking video. It's not about fancy plugins or complex tricks. It's about knowing how to use the fundamentals to make something that looks polished, professional, and expensive. 26. Compositing principles: Great composition is about guiding the viewer's eye, creating visual hierarchy, and establishing harmony and unity. In this lecture, we will go through the core principles that will instantly elevate your work. The common mistake most animators make is that they focus too much on animation itself. While animation is important, the average viewer cares more about overall visual appeal. If your motion design looks stunning, it will stand out even without complex animations. Most people struggle because they don't understand the fundamental principles behind good composition. But once you learn these principles, you won't have to reinvent the wheel. You will follow the proven patterns that make creating great composition effortless and make your work look stunning without much hard work. And when your composition is strong, your animation becomes more effective because it enhances communication. You will know exactly what needs animation and to avoid unnecessary animation. This will save you lots of time, lots of effort, and it will make your work look good and professional. I'm sure you have looked at your motion design and sometimes you feel like something is wrong. Maybe it's too cluttered, overloaded with animations or it doesn't have that clear focus. Now, most of the time you realize this after you have made your motion design and you look at it and you have to restart it, so this waste your time, okay? So this is where the compositing principles come in. Of them as cheat codes to instantly make your designs and motion and your dits look more polished and professional. Okay? So let's break them down. Rule of thirds. Stop centering everything. Many beginners instinctively place elements in the middle of the frame, but that often looks stiff and boring. Instead, divide your frame into nine equal sections using two horizontal and two vertical lines. Position key elements along these lines are at their intersections. This naturally draws the viewers eyes making the composition feel more dynamic and engaging. Then we have leading lines. So have you ever looked at an image and felt as if your eyes are being pulled towards a specific point? And if you have, that's the power of leading lines. Roads, pathways, building edges or even object arrangements can create a natural flow. Instead of hoping that our viewers might look at a right place, we use the lines consciously to direct. Then we have balance. A well balanced composition just feels right. If something seems off, it's likely missing balance. So there are two types of balance, symmetrical balance and asymmetrical balance. Symmetrical balance is where everything is evenly distributed, creating a structured and harmonious look. Now, if you are getting confused about the topics, don't worry about that. There is a detailed example, included in this course, so don't worry about that, okay? Then we have asymmetrical balance. So instead of mirroring the elements, contrast is used, for example, a large object on one side, balanced by a smaller or high contrast element on the other side. So the goal is to avoid one side feel too visually heavy. Okay? So in symmetrical balance, there is symmetry between two objects. In asymmetrical balance, there is an asymmetry between the two objects. Okay? The point of them is to make your main element look more appealing, okay? Then we have hierarchy. So your audience shouldn't have to guess what's important. Design with intent by establishing hierarchy, okay? You have to work on paper before you start animation, and it's going to save you lots of time. And so I want you to design with intent. Okay? And to design with intent, hierarchy is one of the key compositing principles that could really help you, okay? You can design with intent by establishing hierarchy in size. For example, bigger elements draw more attention, or you could use two bigger elements to make them irrelevant and make the audience feel on the smaller element, which is the key element, right? Then there is color. So high contrast bright colors stand out. Then there is placement, the top left and center of the frame naturally attract the eye first. So if you want to test this, here is what you do. So you look at your design and ask, where do my eyes go first? If it's not the key element, your hierarchy needs work. Then we have contrast. So if everything looks the same, nothing stands out. But if everything stands out, the viewer will feel overwhelmed. The key is to balance the contrast. In terms of colors, it's light versus dark, warm versus cool, in size, it's big versus small. In shapes, we have sharp edges, and now we have these rounded cows, right, soft cows. So too little contrast makes design look flat and too much creates chaos. So find the sweet spot for a polished and we have unity. So unity ties everything together, making your motion design and edits feel more cohesive. So I'm sure you have seen the videos, like you're looking at the video, and suddenly you feel like, What the hell am I watching a different video? Because this feels like a completely different video. This is what happens when you don't establish unity, okay? So poorly designed videos often look like a mix of unrelated scenes. If you are experimenting with different styles, there should be unifying element in your videos. Okay? So how do we achieve unity? We achieve unity through consistent use of colors, okay, which I think is the most powerful tool for unity. Then we have fonts and styles. So keep them aligned with your theme. Then there is visual flow. So your transitions and your composition should feel connected, okay? It should feel as if it's intentional. Okay? Everything in your animation and your edit should feel as if they are intentional. A lack of unity makes your work look unprofessional, while strong unity makes it feel intentional and high end. 27. Elements of Premium motion design: So besides the strong compositing principles, here are the key elements that makes motion design and your edits look expensive, okay? So the first one is high quality typography. Use professional and well paired fonts. There are resources in the description. Make sure that you look at it. Okay? It has all the resources that you need related to everything that I'm going to explain. Okay? Then we have smooth easing and animation curve, okay? So avoid linear animation. Use easing for smooth animation. Graph editor is your best friend. So adjust speed graph or value graph to create satisfying motion follow the 12 principles of animations. It could be overshoot, squash and stretch, and secondary motion to add more realism. Then we have subtle details and micro animation. So you don't have to make huge changes to make your animation look expensive. Sometimes small movements like subtle three D animation, parallax effects, like shuttle textures or tiny glows makes design and your edits feel more richer, okay? Texture overlays, slight noise or grain can add so much to the quality of the video. Okay. Then there is my favorite, which is cinematic effects and blurs. Use shadows for depth, for example, but when it comes to shadows, be mindful. Then you can use fake three D depth using layered motion and parallax effects. Which one is my personal favorite? Then you can use glow effect, lens flares and environmental lighting, like lights in after effects is an underrated tool. Okay, you can really use that to add more realism. And one way to make your composition instantly look better is through vignettes, and the other one is depth of field using adjustment layers. Okay. Then you should use color palettes intentionally. So use color harmonies. There are analogous, complimentary and triadic. So many color harmonies, okay? Instead of random colors, pick colors with intent, decide what it is that you want your audience to feel, and based on that feeling, pick a color and then from that color, make your color palette, okay? Colors are really, really crucial, especially if you're working in motion design. Color grading can add cinematic or brand specific look, right? Then we have seamless transitions and flow. So expensive looking motion design don't have abrupt cuts, okay? Everything is intentional, like I'm saying in each and every point. You should use smooth motion. You should use smooth transitions. Everything must feel intentional, so take your time with preproduction. Write everything down on paper before you start animation. So the last point is consistency and unity. So make sure that your fonts, colors, and animation style, create a cohesive video. Avoid too many styles mixed together. You don't want to overload your audiences. Simplicity and consistency feel premium. And also, you have to use white space effectively instead of cramming too much into frame, you can sometimes tell so many things by using so little as well. And that brings me to the last tape which I consider to be a pro tape which is less is more. So expensive design isn't about adding more effects. It's about polishing the details and using motion strategically. See, expensive looking motion design comes from precision and intention, not overloading everything with animation. And that's the thing that you have to remember that it is a means and medium of communication. 28. Litmus test of GREAT motion design: So in this lecture, I'm going to show you why complexity is not always a great idea. So I want to show you an example of video I made back in 2019. So this video took me about three days to make. It is packed with effects, textures, and visually pleasing colors. At least, that's what I thought. But despite all that, something felt off. It just didn't look good, or it just didn't look right is what I should. Now here is another video that I made for a class for this class project. I made this in just 40 minutes. The key images in center are AI generated and are free to use. So what makes this simpler video more effective? To understand that, let's break down the core of motion design and compositing that is storytelling. In the first example, there is no clear focal there are two important elements, a telescope and an eye. But when I revisited the video, I had to ask myself, what was I even trying to say? Well, my original intent was to highlight the importance of health of our eyes as motion designers, because we work on screens all the time. And that reminded me of a crucial principle when I looked at the video. And that is, if your composition doesn't communicate your story without a sound or a voiceover, it's not working. So this is the ultimate litmus test of motion design. So watch your video without sound or voice over. And if the flow of the video makes sense, great. If not, your video lacks the most essential element of motion design, and that is storytelling. So if you don't know this is what some great directors do, I have heard many directors like Martin Scorsese say this, okay? They watch the entire movie without any sound, okay and so that's how they look at the composition and story. Okay? So composition is basically a visual storytelling medium. Your key element, that is the main character of your scene, that is the main character of your scene, should stand out and interact with other elements in a way that conveys meaning. Now, in the second example, the storytelling is clear. There is a structured flow leading to a conclusion reinforced by the text at the end. Even though this video is much simpler, it has a higher chance of connecting with viewers than a more complex. Reason behind this is the kiss principle, KISS, which stands for, keep it simple, stupid. Okay? So we often think that adding more motion and complexity will grab attention. But that's not always true. A simple approach doesn't mean sacrificing quality because there is simple animation does not mean that it is low quality. Instead, focus on crafting a strong narrative first. And once you have that, ensure that every composition reflects your message. The first video is overloaded with animation, diluting the story, or I should say, doesn't even have a story. Meanwhile, the second video has just one or two animations, yet the impact is much stronger compared to the first. Difference is staggering, and the difference is storytelling. I'm going to give you a simple yet effective formula for crafting a story, which is an A, B, CD formula. A stands for attention, B stands for buildup, C stands for conflict, and D stands for delivery that is resolution. Okay? So first of all, you start with A, which is you start with a hook that grabs audience's attention. This could be a surprising fact, an intriguing question or an emotional moment. For example, John had everything, money, a great job, and a loving family. But what he saw on the way home changed everything. Then we go to build up, which is B. So introduce the context. Who is the main character? What is their goal? What challenges are they facing? So, for example, after years of walking on the same road, John takes a different road. But he found a huge spider web and got stuck in it. Okay? So this is a build up. Then we have C, which is conflict, the tension or the turning point, okay? So what obstacle must the character overcome? What's at stake here, okay? So for example, here, he tried to break free. Like, he was worried about his family. He just wanted to go back home, but it has been three days and he's still stuck, and his body is getting weaker and weaker as the time passes. All of his efforts were failing. Of course, I haven't mentioned that really well through the visuals, okay, I have kept this example as simple as possible, but I'm just exaggerating the conflict here. That's the principle of animation as well, okay? You should sometimes exaggerate your stories. That's completely fine. Then we move on to D, which is delivery or the resolution of the story. So how is that conflict resolved? So here we the story with a lesson, a realization or a transformation. There is a huge transformation between the character. Okay? So, for example, John freed himself from the web the moment he realized that his struggle to get out was only tightening the web's grip. And the instant he stopped fighting and just he let go of everything, the web loosened itself, and he able to effortlessly break free. Okay? So our character goes through a massive transformation from A to B to C to D, okay? So A is starting point and D is the ending point. So this is the basic formula that you can use, and just because I talk about character doesn't mean it always have to be characters, okay? There are so many ways to tell your stories, but make sure that your story reflects in your composition. Okay? And that's the entire point. If your composition does not tell your story and you still use these principles, that will be useless, okay? First, craft a story, and use these principles to draw better drawings of your thumbnails, okay? And then you start animating, okay? So it's really crucial that your composition reflects what it is that you are trying to tell, and you must have conviction in that, okay? And so that's the end of this class